I’m gonna make you love me


Brian Belovitch contemplates a life well-lived.

(2019) Documentary (Bernstein DocumentariesBrian Belovitch, Michael Musto, Nelson Sullivan, Andy Anderson, Tabboo, Gabriel Rotello, David Belovitch, Jim Belovitch, Gloria, Jeffrey Belovitch, Todd Belovitch, Sheila. Directed by Karen Bernstein

I’m gonna make you love me, which had its World Premiere a few days ago at DOC NYC (and will be playing there again shortly), covers the fascinating life of Brian Belovitch, a man whose life has taken him to a wildly diverse array of places and lives. He for many years came out as a transitioning woman and lived as an Army wife for several years, hosting Tupperware parties in Germany as Natalia.

Following the dissolution of that marriage, he returned to New York City as club performer Tish in the 80s, one of the most famous club and lounge performers of the time. He went through the rigors of local fame (and in New York that can be truly intoxicating) with the drug addiction that sometimes accompanies celebrity, which in turn led to an HIV-positive diagnosis and deep depression.

Brian came to the conclusion that life as a woman wasn’t really what he wanted and so for the second time in his life, he came out, re-transitioning back as a gay male. These days, he’s married to Jim, pushing 60 and for the first time in his life, truly comfortable in his own skin.

There is plenty of archival footage of Brian’s days as Tish, both performance video as well as home movies. Tish’s friendship with journalist/raconteur/rock star Michael Musto helped expand her notoriety but it seemed that her career was beginning to run out of gas, which was part of what seemed to lead to the depression that Brian suffered from.

We hear from several of Brian’s siblings – he had seven – and there is varying degrees of acceptance among them. I know from first-hand experience it’s not an easy thing always to accept that someone you knew as one gender has become another; it takes time to let go of the person that was and accept the person who is. Some, sadly, are never able to do it; as I said, it’s hard but not impossible unless you are bound and determined not to accept that person’s transition. Although Brian seemed fairly devoted to his mother, their relationship was certainly complicated; she wasn’t very supportive of him and there appeared to be some emotional abuse going on. Brian as a young teen frequently ran away from home.

Brian himself has one of those personalities that just fills a room whenever he’s in it. He is proudly – even defiantly – gay and there is no mistaking his sexuality for a moment. He is a great storyteller, and boy does he have a ton of stories to tell! Bernstein could have just sat him down in a chair, turned the camera on him for an hour and a half and she would have had an entertaining movie.

Where the movie fails is in continuity. People that are important to Brian – like his only friend as a teen, Paul whose mother Gloria he is still close to – fall out of the narrative. Brian alludes to Gloria “losing” him, but that’s not spelled out. Did he pass away? Or did they have a falling out? Something similar also happens with Natalia’s husband David; he just fizzles out of the story. It would have been nice for the filmmakers to spend a few moments just explaining what happened to these people who at one time were important to Brian’s life.

Other than that, the story is a fascinating one. Jim describes his relationship with Brian thusly; “I try to be a rudder for him. Brian is all sail” and that seems like an apt way to characterize him. Brian is larger than life and while Jim is much more laid-back, the affection between the two is without question. There’s more love between these two guys than in a lot of hetero relationships I’ve known. They are poster boys for why gay marriage is a necessary right, one which still remains under threat given the conservative nature of the Supreme Court these days.

But I digress. I wouldn’t say this is essential viewing; it’s basically the story of one guy and while it’s a fascinating story, it isn’t a story that will change your life except maybe to help you realize that it is never too late to change your life completely. Not every life we choose for ourselves is the one we were meant to lead; Brian Belovitch is living proof that the most important thing when it comes to choosing a life is that you choose the one that makes you happy.

REASONS TO SEE: This is a story about a very different journey.
REASONS TO AVOID: A lot of story lines are left dangling.
FAMILY VALUES: The thematic content is very adult; there is also some profanity, brief nudity and plenty of graphic sexual references.
TRIVIAL PURSUIT: Brian works today as a drug abuse counselor; Jim works as a botanist.
CRITICAL MASS: As of 11/11/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: XY Chelsea
FINAL RATING: 5.5/10
NEXT:
The All-Americans

To Kid or Not to Kid


Maxine Trump and Megan Turner share a moment.

(2018) Documentary (Helpman) Maxine Trump, Megan Turner, Josh Granger, Karen Malone Wright, Marcia Drut-Davis, Jane Kevers, Douglas Stein, Mandy Harvey, Tim Belcher, Victoria Elder, Juniper Melnicoff, Andy Williams, Lesley Melnicoff, Leon Wojciechowski, Dutch Yardley, Cynthia Yardley, Dawn Bowker, Bryan Caplan, Dina Ibarra. Directed by Maxine Trump

Motherhood is a central facet of a woman’s life. Biological imperatives aside, women have been socially assigned a nurturing role, one traditionally associated with child-rearing. For most women, having children is a central part of their existence. It was what they were born to do.

But that isn’t the case for all women. Recent studies have shown that one out of five women over the age of forty are childless. Some of that percentage has to do with infertility, but for many women, children just aren’t a part of the picture. Having babies may not fit in with career and life goals.

As filmmaker Maxine Trump (no relation to the President) discovered, there is a stigma attached to being childless when you’re a woman, particularly once you get married. There’s always family pressure: “When are you going to have a baby,” “When are you going to make me a grandma,” when when when. For Maxine, she wasn’t sure what the answer to that question was. That answer might truly turn out to be “never.”

Being a filmmaker, Maxine decided to turn the camera on herself as she went in search of an answer to that very important question – whether or not she wanted to have kids. In Maxine’s case, there were some compelling arguments against; surgeries when she had been younger had left doctors warning her that it was likely that she wouldn’t be able to bring a baby to term initially and that she would have to suffer through several miscarriages before successfully giving birth, which alone would be enough to give anybody pause.

Maxine also values her freedom to pursue her career, and being a filmmaker doesn’t mix terribly well with raising children as she is often called upon to shoot in all sorts of places around the world, some which you wouldn’t want to take a child to. Pursuing that dream was more a part of her identity as traditional female roles were.

It’s not that Maxine hates kids – she has plenty of nieces, nephews and other children around her and she’s more than happy to be around them. It’s just the drastic change in lifestyle wasn’t one that she wanted to make…but at the same time, there was that biological urge nagging at her, telling her that her clock was ticking ever onward and that her window of opportunity to be a mother was shrinking fast. What would her final decision be?

Well, the answer will be much more obvious to viewers I think than it was to Maxine herself. She dithers for much of the movie, often breaking down into tears which she claims at one point that she doesn’t do but by that time she had already done so several times. The question is clearly one that is eating her alive, not the least of which is that if she should choose to be childless she felt it would cost her friendships and relationships. It had already cost her a close friend who had gotten into an argument with her over whether it was selfish or not to have kids (or not to have them) and the two hadn’t spoken in years because of it.

On the selfishness question, incidentally, I need to weigh in since the question is brought up several times during the movie. It is selfish to have children, of course it is. It is also selfish not to have them. So what? What does it matter? It is selfish to eat because in taking in sustenance we are killing a living thing, be it plant or animal. It is selfish to breathe because we expel carbon dioxide into the atmosphere and in our own small way contribute to global warming. In some things, it is okay to be selfish. We have got to stop apologizing for existing as a culture. It’s okay to be a part of the human race and to want to have kids – or not. It truly isn’t anybody’s business.

This is clearly Maxine’s movie and this is a chronicle of her journey. There are times when her conflict felt a little bit managed in order to give the film some dramatic conflict, but in the end I don’t think that it actually was. There were some points that got pounded away a bit which felt a bit like nagging but perhaps I’m just sensitive to such things.

The movie also follows the quest of 20-something Brit Megan Turner who is attempting to get surgically sterilized. She has no desire to have kids and is concerned that if she continues to be sexually active that she will accidentally get pregnant. There is some resistance from the National Health Service to perform such a surgery without a medical reason; she is continually counseled by doctors to think over her decision since it isn’t reversible once the surgery is performed. At the end of the movie, Megan still awaits the surgery she has been seeking for more than three years.

It’s apparent that the goal for Maxine was to inform other women undergoing the same anguish she herself felt that it is okay to have these needs and to not want to have kids. It doesn’t make her – or they – any less of a woman despite the social backlash. It may be a bit of a primer in places but she does raise valid questions and tries to give valid answers. Not everyone will be able to get past their own ingrained preconceptions about women who choose to be childless and this movie simply won’t work for them. However, for those women out there who are questioning whether or not to have children, this is a good place to start looking for arguments on the side of “not to kid.”

REASONS TO GO: Some valid questions are raised here.
REASONS TO STAY: At times, it felt a bit like it was rehashing territory already covered.
FAMILY VALUES: There is some profanity as well as sexual content.
TRIVIAL PURSUIT: Two years after attending her first Childless by Choice conference in Cleveland, Trump would become a featured speaker at the annual event
CRITICAL MASS: As of 11/19/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Good Life
FINAL RATING: 6/10
NEXT:
Jonathan

Under the Wire (2018)


Riding a motorcycle through a drainage tunnel is not recommended – unless you’re running for your life.

(2018) Documentary (Abramorama) Paul Conroy, Sean Ryan, Lindsey Pilsum, Marie Colvin, Wa’el, Edith Bouvier, Dr. Mohamed Mohamed, Remi Ochlik, William Daniels, Anderson Cooper, Janine Birkett, Julian Lewis Jones, Ziad Abaza, Nathan Dean Williams, Karine Myriam Lapouble, Anne Wittman. Directed by Christopher Martin

In this dangerous era when even the gathering of news has become politicized and reporters identified by national figures as “enemies of the people,” we need more than ever to remember the heroic nature of some journalists who risk their lives to report the news – and occasionally, give them.

American Marie Colvin remains today regarded as the finest war correspondent of her generation. She often went into places no sane person would willingly go to tell the stories of those who cannot leave – victims of genocide, civil war or governmental terrorism. She is credited with saving the lives of 1,500 people (mostly women and children) in East Timor in 1999, refusing to leave when other journalists fled, shining the light on what might have been an unspeakable act of violence by the Indonesian government who, faced with Colvin’s bulldog-like reporting, eventually backed down.

She lost her eye in 2001 covering the Sri Lankan civil war by a governmental soldier firing a rocket-propelled grenade launcher – despite crying out “Journalist, journalist!” which normally stops soldiers in their tracks. She would later claim that this one knew exactly what he was doing. Thereafter she wore an eyepatch which became something of a trademark for her.

Her frequent collaborator, British photographer Paul Conroy (Colvin by this time was employed by the Sunday Times of London) snuck into Homs, a city in Syria that had borne the brunt of dictator Bashar al-Assad’s genocidal fury as a stronghold for those wishing a democratically elected government in Syria. They were smuggled in via a drainage tunnel by anti-government activists including Wa’el, a translator for the team. The Syrian government to that time was refusing to allow reporters in Homs ostensibly for safety reason, but more likely because they didn’t want anyone to know that they were raining down a terrifying barrage of mortars onto civilian targets.

On the evening of February 22, 2012, the improvised media center was bombarded by explosive shells even as those who remained were planning to leave. Colvin and French photographer Remi Ochlik were killed in the explosion; Conroy and French journalist Edith Bouvier were both gravely wounded. With little in the way of medical supplies, the two journalists desperately needed to get out but things looked pretty hopeless for them.

Martin uses footage shot by Conroy, recreations and other sources to show the last days of Colvin and Conroy’s miraculous escape, as well as interviews with Conroy, Wa’el, Bouvier and journalist William Daniels who was also there, as well as interviews with Colvin’s editor Sean Ryan and colleague and friend Lindsey Pilsum. He also uses some of her television appearances, including her final broadcast from Homs being interviewed by Anderson Cooper on CNN the night before she died. It is likely that the Syrian government forces utilized her satellite phone signal to target the building, although Syria has to this day denied any involvement with Colvin’s death, asserting that it was a homemade terrorist bomb filled with nails that was the cause of the journalists’ death – a claim hotly disputed by Conroy.

We see the sometimes hard to watch footage of broken bodies and explosions bringing rubble onto the heads of those inside; we watch a nurse assisting Dr. Mohamed Mohamed (who remains in Homs today, treating those wounded in government attacks) realize that the baby she is treating is her granddaughter – and then the agony of having to watch the baby die because they don’t have the medical supplies needed to save her. It is these types of story that are Colvin’s legacy.

The movie is raw and sometimes unbearable. This won’t win any prizes for subtlety. At times it may seem a bit hagiographic but at the same time it also reminds us just how dangerous and non-glamorous war correspondence is, Hollywood’s best efforts to the contrary. The film also makes one wonder why the world hasn’t done something about Assad, a cockroach of a human being – well, that’s being perhaps a bit overly nasty to cockroaches – who should have been tried years ago for war crimes against his own people. It also makes anew the President’s claims against the media not credible.

The fact is that we need the media to keep us informed. How otherwise would we know about the genocide in Rwanda, the continuing crisis in Syria, the atrocities around the world that continue to go on year after bloody year. We justifiably salute first responders and the men and women of the military who put their lives on the line to protect our freedom and to save lives. Are reporters like Marie Colvin, Remi Ochlik, William Daniels, Edith Bouvier and Paul Conroy doing any less? Don’t they deserve that kind of respect? This film shows that they do.

REASONS TO GO: This is a true portrait in courage. It is almost like a Hollywood action film in places. Conroy’s account of his escape is absolutely incredible. The images are horrifying and certain to stir some fury at the Syrian regime.
REASONS TO STAY: The depiction of Colvin’s ultimate end is a bit clinical.
FAMILY VALUES: There is profanity and some disturbing images as well as depictions of violence.
TRIVIAL PURSUIT: In 2016 Colvin’s family filed a wrongful death lawsuit against the Syrian government, claiming that they had proof that the attack was ordered by the Syrian military.
CRITICAL MASS: As of 11/17/18: Rotten Tomatoes: 88% positive reviews: Metacritic: 73/100.
COMPARISON SHOPPING: A Private War
FINAL RATING: 10/10
NEXT:
To Kid or Not to Kid

Sky and Ground


A sign outside of a closed refugee camp is an ironic statement of our fear and humanity – or lack thereof.

(2017) Documentary (A Show of Force) Guevara Nabi, Heba Nabi, Shireen Nabi, Suleiman Abderahman, Oum Mohamed, Rita Nabi, Abdo Nabi, Abu Raman. Directed by Talya Tibbon and Joshua Bennett

I really can’t fathom man’s inhumanity to man. How screwed up a species are we when you consider how many people in the world have been uprooted from their homes, forced to live as refugees? Then again, I don’t think most of the rest of us even have a clue about the tribulations refugees face on a daily basis.

Guevara Nabi – so called because as a student in university he professed admiration for the Cuban revolutionary Che Guevara – has fled Aleppo. Not because he wanted to; his instinct was to stay and fight for his city. However, he knew that the situation was untenable for his aging mother and the rest of his family and that for the safety of his nieces, nephews, sister and mom the family had to get out of Syria. They ended up in a refugee camp in Greece called Idomeni.

They are Syrians of Kurdish descent so the radical Muslim militants who were helping to defend Aleppo saw them as infidels who were just as bad as Bashir’s forces; Guevara knew that if his family stayed they would most likely end up dead or worse but the refugee camp had its own problems. Food was getting scarce and five days after they arrived Macedonia closed its borders. Two of Guevara’s brothers live in Berlin and could put the rest of the family up. The problem is getting there.

The problem is that the flow of refugees has caused many European nations to close their borders, fearful of terrorists sneaking in along with the refugees. Even Greece, where they’re staying, is getting ready to close Idomeni down and clear the refugees out. The way Guevara sees it, they have no choice but to try and move illegally through the Balkan states to safety in Germany where refugees continue to be welcomed.

This is no easy task. It involves moving an extended family including a frail mother and a child through rough terrain with hostile police who will arrest you and send you right back where you started. The villages are not much help either; it is rumored that there is a cash reward for turning illegal refugees in. Even the humanitarian organizations are liable to report your presence to the police. Smugglers are even more dangerous; they charge a high price and entire families have been known to disappear once they give their trust to a smuggler. Guevara doesn’t trust them but when one member of their group injures a leg he is forced to reconsider.

The film plays almost like a thriller at least to begin with; you are on the edge of your seat watching the family make its way through the perilous terrain of the Macedonian mountains and valleys. Every so often they end up mere feet away from policemen searching the countryside for people just like them. Throughout it all, they keep their spirits up as best they can and make the best of a bad situation. Sure there are complaints and sure sometimes they all question the wisdom of what they’re doing but never for one moment do they lose faith in one another.

It doesn’t hurt that the family is physically attractive but I think what you’ll remember more about them is that very faith I referred to; this is a family that is close-knit and even though they haven’t always been living in the same place (the mom notes that the last time the particular group she was travelling with had been all together in the same place was for a wedding seven years earlier) it’s obvious that the connections between all of them are strong, even the ones by marriage.

The movie does lose a little steam after the first hour as they get closer to their goal. The obstacles are a lot different as the environment becomes more urban and they are worried about being caught without passports on a train. You don’t get the same sense of imminent danger at every moment and maybe that’s a good thing but I think that it does become a different film at that point.

I have to give the filmmakers kudos because they are right with the family every step of the way. It couldn’t have been an easy shoot and of course they were subject to the same perils that the family was in being arrested and deported. Even so they allow us to get to know the family, to care about them and root for them to find sanctuary in Germany. It also gives us an insight into the refugee issue; it was shocking to me (although on reflection it shouldn’t have been) that little Rita Nabi hadn’t been to school in seven years due to the bombings in Aleppo. At 12 years old she can barely read or write.

We are also starkly reminded that the United States, once the shining beacon of freedom and hope, is closing her own doors to refugees who need that hope more than ever. That we could turn our backs on people like the Nabi family is a failure of what we’re meant to be.

Near the end of the film Heba, one of the nieces, says “We have no home. We have nothing but the sky and the ground…and family.” It shouldn’t have to be that way. Maybe films like this will bring us closer to a day when it won’t be.

REASONS TO GO: The film keeps you on the edge of your seat throughout.
REASONS TO STAY: About halfway through the movie loses some momentum.
FAMILY VALUES: There are adult themes and some brief profanity.
TRIVIAL PURSUIT: This is the first of a planned three-film series about the problems facing refugees entitled Humanity on the Move.
CRITICAL MASS: As of 11/13/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Exodus (2016)
FINAL RATING: 6.5/10
NEXT:
The Mighty Atom

A Murder in Mansfield


Some father-son chats are more intense than others.

(2017) Documentary (Cabin Creek) Collier Landry, Dr. John Boyle, Rusty Cates, Matt Trammel, Annie Trammel, Mark Caudill, Susan Messmore, Dave Messmore, George Ziegler, Susan Ziegler, Dr. Dennis Marikis, Bryan Neff, Sylvia Neff, Michelle Barth. Directed by Barbara Kopple

On December 30, 1989, Noreen Boyle – wife of a popular and charismatic doctor in Mansfield, Ohio – disappeared. 26 days later, she was found wrapped in a green plastic tarp below a concrete basement in a home in Erie, Pennsylvania that her husband had bought for his pregnant mistress, intending to move in. Noreen had asked for a divorce prior to her disappearance.

The good doctor was accused of the crime and put on trial. Certainly there was evidence – he had purchased a jackhammer two days before his wife disappeared, for example – but the most damning testimony was that of his then 12-year-old son Collier whose composed, almost eerily adult demeanor won a lot of people over. He became something of a local hero and was instrumental in getting the conviction of his dad.

More than a quarter century later, Collier – now using the surname Landry – is an L.A.-based filmmaker who is returning home to Mansfield to get some closure. He had undergone an ordeal that was simply unimaginable, losing his mother and father and adopted sister all within days. He was completely and utterly alone. The detective on the case, David Messmore and his wife Susan, were eager to adopt the young boy and young Collier wanted to live with them but a judge ruled that the Ziegler family instead would raise Collier. The young man was devastated at first but eventually accepted the situation and became close to his adopted family which enabled him to remain in Mansfield and keep his friends close.

Collier wants to reconnect with the people important to him but also get closure from his dad who continued to maintain his innocence from prison for 26 years. After his first parole hearing, John Boyle changed his tune somewhat to claim that Noreen had fallen accidentally and hit her head and that he was only guilty of trying to cover it up. Collier doesn’t believe it. Neither do we.

It’s hard not to be inspired by Collier Landry. If you spoke to him on the street, you’d never know he has such an awful tragedy in his past. He seems pretty well-adjusted and grounded and as we get details about his father’s neglect and abusive behavior, it’s a wonder he didn’t indulge in a violent lifestyle himself. Landry is certainly the star of the show, from the video of his testimony from the 1990 trial of his father (at the age of 12, sounding and acting more like an adult than most adults in similar circumstances would) to the jailhouse interview with his dad in which he asks him point blank “What happened that night?” followed by “Are you a sociopath?” Landry and Kopple clearly think that he is and you can’t really disagree.

This isn’t a true crime documentary in the strictest sense, although there are elements of it. This isn’t like anything you routinely see on Investigation Discovery or 48 Hours. This is rather more about the journey of Collier Landry, how he overcame the demons of his childhood to lead a productive and satisfying life. One has to admire his resilience and even now, 26 years after the crime, the town of Mansfield clearly still holds him dear to their hearts as a radio interview early on in the movie illustrates.

And yet Landry is still haunting by the crime, as well he should be. He spends time talking to a psychiatrist and to his adopted parents, asking them for their advice on meeting up with his dad. The confrontation, which takes place in prison, is not really the emotional payoff you’d think. As with most things in life, it doesn’t go exactly as we might hope and while Collier professes that he got the closure that he needed, it wasn’t the closure that he wanted. Life is funny like that sometimes.

This isn’t among Koppel’s best work (last year’s Miss Sharon Jones! was) but it still approaches true crime from the point of view of those left behind to deal with the loss of loved ones, something we rarely get with any detail from documentaries. The finished product here feels a bit unfinished, if you get my drift – there’s a lot of the story that feels unexplored and perhaps too much emphasis was placed on Collier’s confrontation with his dad which while packing a dramatic punch conceptually doesn’t really deliver it in reality. The real attraction here is Collier Landry himself and more time should have been spent on his journey than on his father’s. Either way, this is compelling drama and for those who like both character studies or true crime documentaries there is something  there for both camps.

The film made it’s world premiere earlier this evening (as it was published) at the prestigious DOC NYC festival, the largest film festival in the world devoted to documentaries. It should be playing the film festival circuit in the upcoming months with possible a limited release afterwards; if what you read here sounds interesting to you, keep an eye out for it.

REASONS TO GO: Landry is an inspiring subject. The interviews are less talking heads and more friends catching up. This is a home movie in the best possible sense.
REASONS TO STAY: The movie would have been better without the soap opera elements.
FAMILY VALUES: There is some brief profanity, adult themes and some gruesome images of a murder victim.
TRIVIAL PURSUIT: Kopple has been making documentaries for more than 40 years, winning an Oscar for Harlan County USA.
CRITICAL MASS: As of 11/12/17: Rotten Tomatoes: No score yet. Metacritic: No score yet
COMPARISON SHOPPING: Into the Abyss
FINAL RATING: 8/10
NEXT:
Sky and Ground