movies
She Ain’t Livin’ the Blues
In 1968, Johnny Cash played Folsom State Prison, in what would
become the defi nitive live performance of his career. It’s a show that
will never be forgotten. This wasn’t, however, the fi rst prison-bound
performance to make history, and it certainly wasn’t the last. Director
Bruce McDonald’s documentary Music from the Big House follows
Canadian blues vocalist Rita Chiarelli as she journeys into the Louisiana
State Penitentiary at Angola — the same prison where, legend has it,
Leadbelly gave a performance that secured his pardon and eventual
freedom — as well as the joy of music that rings deftly throughout its
halls.
Shot almost entirely in black and white (save for a few borrowed
clips from an LSP-TV broadcast, shot simultaneously), Music from the
Big House captures Chiarelli’s soulful-yet-bluesy, diva-esque persona
and parades it to the point of nausea; granted, there is no denying that
her passion for music and history is robust, but the fi lm loses some of
Holy Shit! Habemus Papam
its grace and goodwill by way of that little voice inside crying, “She ain’t
At last, the white smoke wafts up from the Vatican
lets a room. He acclimates into his popelessness, navigating
chimney, and the exultant masses cheer Habemus Papam.
the quotidian drear of our modern malaise. He achieves
Thankfully, the interviews in McDonald’s fi lm focus not only upon
Translation: We Have a Pope, a sly new comedy by Italian
something approaching grace, which is just the fl ip side of
Chiarelli, but also upon the Angola inmates, who give voice to their
fi lmmaker Nanni Moretti. The premise is delicious, like
despair.
thoughts on a variety of topics. In reality, Music from the Big House is
Dostoyevsky’s “Grand Inquisitor” fi lmed as broad satire by
In an acting career spanning four decades, Piccoli
not just a compilation of well-shot footage from a prison concert; it is a
the late Hal Ashby: The Pope has died, and the international
has worked with such legendary directors as Hitchcock,
musing on issues of reality, morality, religion and reincarnation, viewed
gathering of cardinals — each of whom fervently begs God
Buñuel, Godard and Renoir. In Habemus Papam Piccoli’s
through the impact of true rehabilitation.
not to be chosen — votes in the long-shot Cardinal Melville,
performance is a tour-de-force. With his beefy, kind face
played to sympathetic perfection by French actor Michel
and ungainly gravitational girth (like a papal Tony Soprano),
Piccoli.
he evokes exquisite moments with the tiniest gestures: a
really livin’ the blues.”
The fi lm’s antagonist and focal point is not the singer but Ray Jones,
an inmate of Angola since 1980. Once you cast aside the fact that
Music from the Big House often masquerades as some bullshit learning
This newly ordained Pope freaks out just before taking
twitch of a grin, an eye-fl ash of loathing that softens into
experience for a white Canadian woman (Chiarelli, to be just, does
the balcony to greet the thousands of faithful gathered
acceptance. Once Picolli’s Pope enters the world, disrobed
come from a blue-collar background of hardworking and blues-worthy
below in St. Peter’s Square. His eyes bug and he screams with
of his supreme pontiff’s identity, we see — as we follow his
individuals), the point of contact becomes Jones and his fellow inmates.
unbearable anguish: “Help me! I can’t do this!” It’s a papal
pilgrim’s progress through shopping malls and boarding
Too rarely are we moved by spoken words alone, especially from men
anxiety attack! He fl ees down the hall and into seclusion.
houses — that his indecision and reluctance are anchored in
that society deems unfi t for civic interaction, but the thoughts and
Needless to say, the biblical shit hits the papal fan. A
a tragic understanding of his spiritual offi ce; in a very real
words of these men are heartfelt and sincere — and it is music, religion
psychoanalyst is brought in, hilariously, to no avail; they try
way, he now carries the weight of the world. Piccoli gives
and an acceptance of moral reality that have brought them to a place of
the psychoanalyst’s estranged wife, also an analyst. Leaving
the movie a depth and complexity it might otherwise have
contentment, alongside the old-school country diva that is Rita Chiarelli.
her offi ce, the Pope suddenly vanishes, alone, into the
lacked, and his fi nal scene is shattering. — Rick Levin
— Andy Valentine
secular buzz of the city, where he wanders anonymously. He
We Have a Pope opens Friday, June 22, at the Bijou; bijou-cinemas.com
Music from the Big House is now playing at the Bijou; bijou-cinemas.com
6 /2 1
SALT
OF LIFE
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MARVEL’S THE AVENGERS
(DIGITAL) PG-13
2:05, 5:20, 8:35
MEN IN BLACK 3 (3D) PG-13
11:15, 2:00, 4:45, 7:30, 10:15
MEN IN BLACK 3 (DIGITAL)
PG-13
12:10, 2:55, 5:40, 8:25
PROMETHEUS (3D) R
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PROMETHEUS (DIGITAL) R
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ROCK OF AGES (DIGITAL)
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SEEKING A FRIEND FOR
THE END OF THE WORLD
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SNOW WHITE AND THE
HUNTSMAN (DIGITAL) PG-13
10:55, 1:50, 4:45, 7:40, 10:35
THAT’S MY BOY (DIGITAL) R
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10:45, 1:30, 4:15, 7:00, 9:45
BRAVE (DIGITAL) PG
11:40, 2:25, 5:10, 7:55, 10:40
THE HUNGER GAMES
(DIGITAL) PG-13
12:40, 7:00
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