At the Video Store


When VHS was king.

(2019) Documentary (ArgotBill Hader, John Waters, Nicole Holofcener, Alex Ross Perry, Thelma Schoonmaker, Gus Van Sant, Penelope Spheeris, Ondi Timoner, Todd Haynes, Lance Bangs, Ehren McGhehey, Charles Mudede, Danny Peary, Milos Stehlik, Ted Hope, John Sloss, Aaron Hillis, Marty Arno, Zach Clark, Dana Harris, Catherine Tchen. Directed by James Westby

Film critics and film bloggers are also inherently film geeks; we love all things cinematic, whether it be genre films, foreign films, art house mainstays, classic movies, big mindless blockbusters or niche films. For many of us, that love begn in the video store.

Those of a certain age group will remember trips to the video store in the 80s and 90s, which started out largely as mom and pop operations until megachains such as Hollywood Video or, more to the point, Blockbuster Video, took over and put a stranglehold on the industry. Ironically speaking, there is but one Blockbuster store left; there are many more mom and pop stores that remain. That’s what karma is all about.

This documentary is a love letter to those mom and pop stores, where the clerks knew the tastes of their customers well enough that they could confidently recommend esoteric or rare movies. They were places where friendships (and sometimes romances) formed, lively debates ensued (“Was Godard better than Truffaut? Discuss!”) and memories were made.

The movie has lots of talking heads, from those who owned the stores that are fondly remembered or better yet, still in business, to those who went on to make an impact in the film industry themselves. There is a bit of the bittersweet in the overall attitude of the movie as Westby engenders a wistful quality to his nostalgia. They were simpler days indeed, before streaming (and to a lesser extent, Redbox) took over. Not that there is anything wrong with streaming, mind you – it’s the next logical step in home video evolution, but it lacks the personal touch of a video store. A computer recommendation isn’t the same as one coming from a teen kid in a Herschell Gordon Lewis t-shirt who knows the difference between Bloodsucking Freaks and Blood Feast and will tell you that the remake of 2,000 Maniacs is crap. An algorithm can only look at your rental habits and make a recommendation based on subject matter; it doesn’t distinguish between a hidden gem and a piece of trash.

The movie does tend to ramble a bit, and there are some curious choices; a musical interlude, for example. There are some original songs that nicely capture the feel for the old video stores, but they do get distracting after a while. Still, everyone who has ever debated the merits of Todd Solondz versus Paul Thomas Anderson will likely find this delightful. Those who could care less about those sorts of movies will likely feel like they are at a party where they don’t know anybody.

REASONS TO SEE: A must-see for film nerds.
REASONS TO AVOID: The musical number was unnecessary and the music was intrusive.
FAMILY VALUES: Some references to sex and violence.
TRIVIAL PURSUIT: The film took six years to make; several of the stores depicted went out of business in the meantime.
CRITICAL MASS: As of 8/26/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
BEYOND THE THEATERS: Virtual Cinematic Experience
COMPARISON SHOPPING: Surviving Supercon
FINAL RATING: 5.5/10
NEXT:
Apocalypse ’45

Big Sonia


Big hearts can come in small packages.

(2017) Documentary (Argot) Sonia Warshawski, Regina Kort, Caroline Kennedy, Morrie Warshawski, SuEllen Fried, Debbie Warshawski, Marcie Sillman (voice), Chris Morris, Ehsan Javed, Rachel Black, Kollin Schechinger, Grace Lamar, Isabella Mangan, Leah Warshawski. Directed by Todd Soliday and Leah Warshawski

 

After the events in Charlottesville and as we watch the rise of white nationalism and an emergence of racism in the wake of last year’s Presidential election, one has to wonder what Holocaust survivors must think, particularly those who came to the United States to heal, raise families and move forward with their lives. I can’t imagine how awful it must be for them to hear our president characterize those low-life scumbags as “fine people.”

Sonia Warshawski is one of the dwindling number of concentration camp survivors living in the United States, in her case in the Kansas City area. 90 years old at the time of filming (she turned 92 this month), she continues to run her late husband’s (also a Holocaust survivor) tailor shop, the last remaining storefront in an otherwise deserted mall. It is her lifeblood, where she is able to interact with long-time customers, sew and help people dress with somewhat more panache. She’s the kind of gal who is fond of leopard prints and is unembarrassed by it – “(they) never go out of style” she crows at one point in this documentary. Still beautiful even in her 90s, she has a style and glamour all her own.

A somewhat recent development in her life has been her willingness to speak out about her experiences in Auschwitz and Bergen-Belsen. She had rarely spoken to her own children about the war, although they were aware that both their parents were haunted by their experiences (daughter Regina Kort speaks about John screaming in his sleep at night which is why she never hosted sleepovers at her own home). However when she heard about Holocaust deniers and American Nazis, she felt it was her duty to those who didn’t survive to speak about her experiences and share them with high school kids while she still could.

Even more recently Regina has been accompanying her mother on these speaking engagements, usually presenting a sobering preamble before her mother speaks. Displaying a family photograph of about 20 people, she points out an 11-year-old Sonia and her sister as the only two who survived. Sonia’s entire family was wiped out almost overnight. At 15, she witnessed her mother being herded into the gas chamber; she recalls vividly that the last act she saw her mother perform was to comfort a fellow prisoner headed for certain death. Afterwards, she would discover that the fertilizer she was spreading in the fields was the ashes of the victims that had come straight from the crematorium.

Speaking at a prison, hardened convicts describe her as “WAY tougher than (we are)” and reduced some of them to tears. One high school student, Caroline Kennedy (not JFK’s daughter) was so moved by her encounter with Sonia that after graduation she formed an organization to help inspire other students called Empower. Sonia has that effect on people.

Like many Holocaust survivors, family is of the utmost importance to Sonia and she has instilled that value in her children, her grandchildren (one of whom is co-director of the film) and even her great-grandchildren. Sonia makes homemade gefilte fish for Passover and Rosh Hashanah and seems to be surrounded by members of her family nearly all the time.

Her life isn’t without challenges though; the property owners of the mall are dithering whether to demolish the property and build condos or rebuild it. Either way, Sonia’s beloved tailor shop is in a state of flux in many ways. She’s survived so much worse however and it is clear that regardless of what happens she will survive this too.

This is absolutely a labor of love; yes, her granddaughter is one of the directors but it goes beyond that. Much of the film revolves around an NPR interview Sonia gave a few years ago with Marcie Sillman, but that’s only a framework. The centerpiece of the movie is Sonia herself.

Nearly everyone who encounters Sonia in the film becomes an admirer but the filmmakers manage to give the film a sense of balance. Sonia is no saint, but she’s pretty dang close. Some of the interviews with her children are heartbreaking, recalling how guilty they’d feel for giving their parents hell when they’d both lived through hell. Morrie, Sonia’s writer son, breaks down while reading a poem he wrote about his mother during a passage where he describes her whistling a tune her brother used to hum to her while they were hiding from the Nazis, an uncle who he would never meet. There are quite a few scenes of similar emotional power.

Buoyed by almost incongruously light animated sequences that show visually some of the most horrible moments from Sonia’s time in the camps, the movie isn’t a downer although it could well have been. Rather, this is uplifting that makes you want to cry and laugh and sing. You will want to take this woman in your arms and give her a hug and it might even give you a renewed determination to see the forces of racism and tolerance be made to slink back under the rocks they’ve crawled up from under. Those who shouted “We will not be replaced by Jews” should only be so lucky.

In any case, this is a movie that can change your life and I don’t say that lightly. It played the Central Florida Jewish Film Festival here in Orlando recently and has begun a brief theatrical run in New York, Los Angeles and Kansas City and hopefully other cities will show the film as well. This is certainly one of the year’s very best and I can’t recommend it enough.

REASONS TO GO: Sonia is a major inspiration. This is most definitely a labor of love. The pain she and her family feel isn’t kept hidden. A movie that makes you appreciate the things you have.
REASONS TO STAY: There is some repetition that goes on with Sonia’s presentations.
FAMILY VALUES: There are some very adult themes regarding the Holocaust.
TRIVIAL PURSUIT: The diminutive Sonia stands at 4’8” tall.
CRITICAL MASS: As of 11/20/17: Rotten Tomatoes: 86% positive reviews. Metacritic: 68/100.
COMPARISON SHOPPING: Shoah
FINAL RATING: 9.5/10
NEXT:
Despicable Me 3