BIG SCREEN: Meet the Inspiring Talent Behind Louisiana's "Beasts of the Southern Wild"

I honestly believe that non-natives to South Louisiana provide some of the best perspectives on the unusual, unwieldy, slightly unsettling vibe of this region. And it helps when those non-natives are sort of kooky, creative types with keen powers of observation, and a genuine affection for this place.

The makers of Beasts of the Southern Wild, an independent film that’s been winning film festival awards and getting lots of great industry buzz, took on the rather daunting task of trying to convey the strange and remarkable undercurrent of energy that truly separates this region from the rest of the country, with pretty impressive results. Just as the movie's co-writer, Lucy Alibar suggests, “It’s cinematic, completely visual, and sensory. It does everything that only a movie can do.”

Shot in Terrebonne Parish using local, first-time actors, it’s the story of a young girl named Hushpuppy who lives in a remote, fictional swamp community at the very tip of Louisiana, called The Bathtub. Her mother has long since abandoned her, and her alcoholic, ailing father (Dwight Henry, owner of the Buttermilk Drop Bakery and Café in Mid-City, New Orleans) uses a tough-love approach in preparing his daughter for his death and an impending storm, which is threatening to decimate their home.

At first glance, theirs is a filthy, harsh, bizarre existence, but as the story progresses, with the help of Hushpuppy’s insightful and colorful narration, and a rather unconventional filmmaking style, we begin to appreciate the amazing outlook that the lifestyle and culture has afforded this little girl. It combines mythological elements (prehistoric cave paintings that come to life) with ecological considerations (the destruction of Louisiana’s wetlands, thanks to disruptive levees) and existential ponderings (Hushpuppy often contemplates the unraveling of the fabric of the universe). The outcome is a very primal, yet sort of high-concept representation of the region. Does that sound obtuse and pretentious? Sorry, it’s a multi-layered film that’s a bit hard to describe!

Luckily, I got the chance to speak with the filmmaker, his co-writer, and the star of the movie just before the New Orleans premiere. Each add some much-needed humanity to my clumsy attempt at a synopsis.

After a little prodding, Quvenzhané Wallis, the spunky eight-year-old from Houma, Louisiana, who plays Hushpuppy, sheepishly admits that like any normal kid, she’d rather be spending time with her Yorkshire Terrier and family at home. But she politely responds to a question about the grueling post-production marketing campaign (which has included press junkets and trips down the red carpet in Cannes, L.A., and now New Orleans) by happily chirping, “I want to be positive, it’s all been great and beautiful!”

When I first met Quvenzhané, known as “Nazie” to friends and family, she had casually plopped herself in the director’s lap, and remained there while we chatted. This may sound a little sketchy on paper, but it was actually quite sweet, as Behn Zeitlin is a youthful, moppy-haired 29-year-old who seems more like her big brother than the boss who made her traipse around the swamps for seven weeks.

On the subject of filming the movie, she says, while grinning and hugging Behn’s neck, “It was not boring with this director! And I liked all the animals, except the pig. He was big and fat,” she admits, seemingly struggling to stop herself from holding her nose, as though indicating a possible pork-based hygiene issue would be rude. “And I’m used to the swamp, but I’m not used to the mosquitoes – all the mosquitoes! We don’t have mosquitoes like that in Houma!”

Mosquitos weren’t the only challenges they faced during filming. Guess what oil well in the Gulf of Mexico exploded during day-one of production! Considering the storyline of the movie, I wondered what effect the timing of the BP oil spill disaster would have on the production.

“It definitely felt like life imitating art. It was eery,” Behn explains. “We didn’t want to make a political movie or anything that was about the science of (Hurricane Katrina) or a call to action, but more of an emotional experience of living through an environmental catastrophe.”

And there it was. Right on cue.

Benh has been friends with his co-writer, the aforementioned Lucy Alibar, since they were 13 years old, so their decision to collaborate was an easy one. For this project, they decided to combine elements of Lucy’s imaginative, Southern gothic play, Juicy and Delicious, which is based on her own struggle to come to terms with her father’s declining health, with Behn’s short film, Glory at Sea, which is about a mysterious man who gets people to build a boat using Hurricane Katrina wreckage to rescue loved ones lost at sea. To gain a little insight during the writing process, they moved into a Terrebonne Parish fishing village to observe the language and the general vibe of the locals.

Lucy is a sunny, thoughtful young woman who uses her whole body to speak. When describing her experience in Louisiana, she gets a distant look in her eyes and seems to channel the tides, making wide, fluid motions with her arms. “I had never been to Louisiana before, but it felt like home,“ she admits. Then, she sums up the locals’ style of communication thusly, “They give you the whole world when you ask a simple question.”

Behn conveys a similarly esoteric, feel-don’t-think approach when describing the production. “We cast as we wrote, and we kind of let actors rewrite their roles. We tried to let places and people that are in the film breathe and speak for themselves, and not bring in preconceived notions. We were just trying to… stay back and not force any ideas.”

In speaking with both Benh and Lucy, you can’t help but recognize the heartfelt fondness they feel for this region. Benh has made New Orleans’ Bywater neighborhood his permanent home, while Lucy admits that she’s never felt like a true New Yorker, and she wants to move to New Orleans, as well. I wondered how two writers from New York could connect so quickly and deeply with South Louisiana, then I discovered, they both have roots in the South. Behn’s mom is from South Carolina, while Lucy is originally from South Georgia.

Ah, therein lies the basis for the connection. South Louisiana is like the foreign-born cousin to the Deep South. It’s definitely its own country, but with some decidedly familial Southern threads.

As unique and somewhat odd as it is, Beasts of the Southern Wild probably won’t be everyone’s cup of tea, but those who get it, will really appreciate the affection with which this film was made. It taps into and conveys the indescribably energy that locals are born with, and so many of us transplants are so excited to discover.

Beasts of the Southern Wild opens at The Theatres at Canal Place and Prytania Theater on July 4.

BIG SCREEN: Brave 3D Revieux (Rated PG)

From the second it begins, Brave definitely has a different vibe than most Disney princess movies. It’s beautiful and ethereal, but with a slight… darkness and depth, I guess? It’s hard to pinpoint, but there’s a quality about it that makes it feel more akin to centuries-old European fables than to the Americanized cotton candy fairytales of the last several decades. So, off to a good start.

And then, we meet Merida (Kelly Macdonald). She’s a young Scottish princess whose unruly red hair matches her wild, adventurous spirit. Though she’d rather charge through the forest on her trusty steed and practice extreme archery and execute death-defying rock-climbs, her lovely, graceful, almond-eyed mother, Queen Elinor (Emma Thompson) desperately tries to instill in her daughter a sense of royal duty and decorum. The two stand in stark contrast to one another, and they are constantly butting heads.

When Merida finds out she is to become betrothed against her will, she makes some reckless choices that put her mother and the entire kingdom in peril. There’s no doubt she’s gutsy, but she’ll now have to rely on her heart and her head to right these terrible wrongs.

One of the things I loved most about this movie is that it didn’t lay out a standard good guys vs. bad guys scenario. No evil stepmother, no pristine heroine, no smarmy prince. All the principal characters were more complicated. They had flaws, made mistakes, faced major challenges, and learned valuable lessons. WOW! Just like in real life. What a concept.

I really, really dug Brave, and am hoping it resonates with kids. It’s got magic and humor and awesome characters -- her burly dad (Billy Connolly) and mischievous and mute triplet brothers are pure delight -- and I think Merida might be my favorite Disney princess ever. Mainly because she is the anti-Disney princess. And the fact that my six-year-old son wanted to discuss the moral of the story and the meaning of the metaphors (my words, not his, but still!) proves that a cartoon can actually be mentally stimulating to kids.

There’s a time and place for schmaltz and mindless silliness, but it sure is nice to get treated to a little smarting up instead of dumbing down in a kids' movie every now and then!

BIG EASY: Restaurant R’evolution

I can’t begin to express the sheer delight I experience when I receive invitations like this: “Join us for a champagne reception, ribbon cutting, and grand opening celebration for Chef John Folse’s Restaurant R’evolution.”

Who, me? Hobnob with the likes of Mayor Landrieu and Secretary of State Dardenne, not to mention the legendary Chef Folse, the divine Mrs. Leah Chase, and the sublime Irvin Mayfield, whose Jazz Playhouse will serve nibbly things from the R’evolution’s kitchen? Seriously, I thought I'd died and gone to New Orleans heaven. (What other kind is there, right?)

As we sipped lovely bubbly in the lush courtyard of the Royal Sonesta Hotel in the French Quarter, a lineup of distinguished speakers took turns singing the praises of everyone involved in this joint venture between Chefs Folse and Rick Tramonto of Chicago, which offers “reinterpretations of classic Cajun and Creole cuisine.” Following the speeches, they moved on to the cutting of the ribbon. And by “ribbon,” I mean a garland of groceries. Wielding razor-sharp chef’s knives, they sliced and diced their way through peppers, garlic, sausages, and sweet potatoes, signifying the commencement of the mad dash (only a slight exaggeration) to the new facility, conveniently located adjacent to the hotel courtyard, with another entrance on Bienville Street.


The space is divided into multiple distinctive areas: Bar R’Evolution, a sophisticated, lantern-lit bar area with a gray slate floor, lots of dark wood, and gracefully arching backlit curio cabinets; the Storyville Parlor, a lavish center dining room with a grand chandelier and delicate hand-painted murals that depict New Orleans’ seven most distinctive cultural influences; the checkerboard-floored Market Room, so named for its old-world vibe, complete with cypress-topped communal tables and vintage-looking glass coolers, stocked with hanging roasts and such; the semi-private Wine Room, with a view of, you guessed it, the impressive 10,000-bottle wine collection; plus the Bienville Suite and Courtyard Room, which flank the hotel’s courtyard and Bienville Street, respectively.

We were also given a personal tour of the million-dollar custom-built Viking kitchen, which was both fascinating and intimidating. And while such tours may not be conducted so freely during regular operating hours, if you’re willing to shell out a few extra bucks, you can reserve the very secluded private chef's dining room for you and your friends. It comes complete with a private entrance and a bird’s eye view of the kitchen.

So. Stinkin’. Cool.


Okay, so on to the food. Let’s just say, if I still had a gallbladder, it would have punished me violently for indulging in an evening of such gastronomical decadence. There was a station set up to sample a dizzying array of cured meats and cheeses, and another for roasted pork and oysters, but the true delights were served like a tray parade of culinary treats. Everyone descended like locusts every time a server emerged with a fresh tray, so if you weren’t smart enough to station yourself near the kitchen door, well, you just had to suffer the disappointment of grabbing at an empty tray.

Guess where I stayed. And guess why my notes (and pictures) are so sparse. ‘Tis very difficult to balance a wine glass and plate while scribbling on paper or operating a camera, people! So, I focused most of my attention on tray after tray of perfectly seared scallops, velvety foie gras, bright and briny caviar (made from local alligator gar eggs, believe it or not!), impossibly tender sliced tenderloin, tangy goat cheese and beet salad, savory duck ravioli, and my personal favorite of the night – incredibly rich turtle soup (the recipe, dating back to the 1800s, is displayed prominently on a mirrored wall, by the way). Of course, there were also desserts like coffee beignets, Turbodog chocolate cake, and my second favorite of the night – white chocolate bread pudding with a crème brulee topping. Completely unreal.

Oh, there was more, but I seriously can’t recall the rest. Partly because of my poor note-taking, and perhaps, partly because of the free-flowing Chardonnay and Cuvee Blanc. Yes, like I always say: I'm more of an "eatie" than a "foodie." Therefore, I sacrificed journalistic integrity for gluttonous indulgence... and I'd do it again!!

Suffice it to say, the food is outrageous and the ambience is exquisite. Both cuisine and décor are painstakingly loaded with details and nuances that pay homage to our beloved city! Viva la R’evolution!

The restaurant is now officially open (as of June 4), so I highly recommend reserving that table asap. A place this amazing is guaranteed to book up fast!

Restaurant R'evolution
504.553.2277
http://revolutionnola.com

BIG SCREEN: Darling Companion Revieux (Rated PG-13)

Ever found yourself in a conversation with an adorable child or elderly person who talks in circles, but is so sweet and desperate for attention that you willingly indulge them? Well, that’s sort of how I felt watching Darling Companion.

Diane Keaton and Kevin Kline star as Beth and Joseph, a married couple with a bit of empty nest syndrome. Joseph is an uptight surgeon who has no patience for Beth’s high-strung disposition and emotional outbursts, so he’s especially annoyed when she rescues a dog, which becomes the light of her life. While marrying off their remaining single daughter (Elizabeth Moss) at their vacation home in the mountains, Joseph loses the dog during a walk in the woods. Naturally, this sends Beth into a tailspin, so everyone bands together to form a search party. This group includes Joseph’s crunchy granola sister, Penny (Dianne Wiest), her questionable new boyfriend, Russell (Richard Jenkins), Penny’s son Bryan (Mark Duplass), and a gypsy wedding coordinator named Carmen (Ayelet Zurer), who sends the group on countless wild goose chases, based on her “visions.”

Oh, not that it really matters, but the great Sam Shepard plays a not particularly interesting, bumbling sheriff.

As silly as it seems, this premise actually could’ve been a great vehicle for character development and conflict resolution. People wandering around the woods, contemplating life, being honest, facing challenges, learning through adversity, yada yada yada. And it seemed like it was going somewhere at first. But, alas, much like the gypsy’s visions, and a child's or elderly person’s ramblings, it really went nowhere.

Now I, personally, don’t think of the stellar cast as elderly – they’re actually some of my favorites -- but the script sort of treated them as such. It seems as though they were spoonfed bland, easily digestible roles, then sent off to scuttle about in the woods for a couple of days. It was sort of sweet, in a benign and syrupy way, but there were no… pancakes under all that syrup. Ugh, so who served us this plate of pancake-less syrup? That would be writer/director Lawrence Kasden, of The Big Chill and Raiders of the Lost Ark fame.

Say, what?

I’d like to blame Hollywood’s ageism for this waste of an amazing, albeit “mature” cast, but the fault, in my opinion, sits squarely on Kasden’s shoulders. He’s not only capable of more, but being that he’s a sextagenarian like the cast, you'd think he’d be more motivated to represent his peeps a little better. These people are still way too talented to be happy just to be seen. But I guess in Hollywood, it’s better to be patronized than totally ignored.

Sad.

BIG SCREEN: Men In Black 3 in 3D Revieux (Rated PG-13)

Good things come to those who wait… and we’ve waited a long time for this third installment of the Men In Black franchise!

In Men in Black 3, our stylin’ duo, Agent K (Tommy Lee Jones) and Agent J (Will Smith) is once again in a race to save the world. In this case, it’s from a super bad, one-armed alien-guy who’s so nasty that they had to build a high security prison for him, and him alone, on the moon. He breaks out after 40 years, and is ready to exact revenge on the man who put him there. By going back in time to kill K, dude can save his arm and avoid prison. Oh, and this will not only erase K from existence, but also eradicate the awesome shield that’s been protecting the Earth from full-scale alien attack all this time. To save K and Earth, Agent J has to travel back to the 60s to protect the young Agent K.

This premise does two really cool things. The first is revisiting the groovy 60s in Manhattan, and even getting to meet people like Andy Warhol, as portrayed by SNL's Bill Hader. The second is having James Brolin blow our minds with his portrayal of a young Tommy Lee Jones! So. Dead. On.

And how can I forget to mention the divine Ms. Emma Thompson as Agent O, who has taken over for the late Zed (Rip Torn) as head of the agency? Love. Her.

To me, this is an ideal sequel. The chemistry is still there, as is each actor’s distinctive comedic timing and delivery. It still has all the crazy aliens and action and special effects, but it’s also satisfyingly nostalgic, revealing more of the main characters’ backstories. And the 3D was actually cool for once -- seamlessly woven into the movie to enhance it, as opposed to just distract.

While I thoroughly enjoyed the movie, my 6-year-old did not. (Yes, I know it’s PG-13, but many action films are these days, so I slip him in on occasion. Sue me.) He watched the first one with no problem, but for some reason gave this one a thumbs-down, saying it was scary. I don’t know about your kids, but mine enjoys being a bit dramatic from time to time. Never once during the movie did he cover his face or grab my arm – and he certainly didn’t have nightmares or anything that night – yet, he panned it. I’m thinking it had more to do with the fact that they spent a bit more time telling the story than blasting aliens – and I suppose, to a kindergartener, that is pure horror.

Oh, but there’s definitely some cursing, so take that into consideration. Given how much we hear on radio and prime time TV these days, we’ve decided to take the “we don’t say that” disclaimer approach after hearing raw language, rather than put him in a bubble. But, to each his own.

Men in Black 3 is playing now in New Orleans. Visit here to get show times and location.