Review: Act & Punishment – The Pussy Riot Trials

Text © Robert Barry Francos / FFanzeen, 2018

Images from the Internet

Act & Punishment: The Pussy Riot Trials

Produced, written and directed by Evgeny Mitta

Cleopatra Entertainment / 2Plan2 / Paperworks / MVD Visual

90 minutes, 2018

www.cleopatra-entertainment.com

www.mvdvisual.com

You say you want a revolution…

Pussy Riot is now more than just a band, they are the symbols of a social movement that have spawned a few documentaries. Unlike the United States, in many countries it’s the art students that are on the forefront of revolution. They see an imaginative vision of what is possible and what is needed through eyes of those who have studied philosophy, art history, and culture, and have the education to extrapolate from what is to what can be. This scares a lot of politicians.

This documentary wisely starts off with this theme, interviewing painters and art historians, and showing how the “artist” has been at the forefront of activism, even in the time of Ivan the Terrible. This motif is picked up repeatedly as a subtopic throughout the film. When we first meet our heroes, however, they are at trial, stating their names, places of birth, etc., to the judge.

Once we get to know identify the trio that make up the core of Pussy Riot (PR), we “meet” see them individually, talking to the director on camera, discussing how they came to where they met, and from there forward. Present are some consistent themes, such as politics, art, and especially Feminism. Some might call them post-Feminists (a term of which I am not fond), as they are seen in feminine make-up and wearing fine dresses, as opposed to the stereotypical gear (plaid shirts, overalls, etc.). To me, PR is more punk rock Feminism, by taking on the oppressive image of sexualized women and reclaiming it as something else. This is the empowerment that spawned PR.

PR played a post-punk rock sound music reminiscent musically of the likes of Black Flag’s “Rise Above,” spitting out lines of protest like bullets, but spiritually they are closer to the riot grrrls of the mid-1990s (aka the better half of grunge), and ideologically leaning toward anti-capitalists like the Crass. In a few impromptu performances, they played guerrilla style in places like on top of a bus in a terminal, or in front of a prison. However, it was an attempted show which was shut down before they could even play that got them arrested for “hooliganism,” which was in the main Russian Orthodox Church – the equivalent of St. Peter’s in Vatican City – whose congregation includes Putin. The head priest had come out in favor as Putin for President, and this was PR’s comment on that. Before they could even play, they were overwhelmed by a bunch of men, and shortly were arrested.

It was at this point PR became a meta-symbol for revolutionary vision and tactics as art. The video posted of them went viral and the music actually became secondary to what they stood for, which is, in my opinion, unfortunate. Movements can come and go, but the message of the music will remain afterwards. But I’m adding to what is beyond the scope of the documentary.

It’s very well put together in a mostly chronological order, mixed with post-event interviews with the trio of PR (Nadia, Masha, Katia; though up to 11 others have been in and out of the band over time), as well as thought-out placements of art-as-activism, as I mentioned. The whole she-bang is in Russian, of course, and there are subtitles throughout.

By switching back and forth between PR and art-proper, the interest in both is kept at high levels, never sinking to overexposure of people nor ideology.

An interesting aspect for me is how what is going on in Russia in this documentary is echoed in current United States under a Republic president, House and Senate. The assumption of power, the use of religious symbolism by the government (here it’s Evangelicals, there Russian Orthodox), and having an emboldened right wing – err – wing that uses force to smash their counterparts in a cowardice of indirect contact by officials; in the film, we see muscular men destroying peaceful protests by kicking down tents, and assaulting people who they deem as threats. Charlottesville, anyone?

My one complaint about the whole PR movement, and this documentary in particular, is that as a punk rocker, I am interested in the music, as well as the activism. Talking about, say, the SoCal scene without hearing “Holiday in Cambodia,” for example, sort of confuses the point, and takes out a key factor of both why and especially how the protests work.

There’s lots of footage of various marches of protest both in support of PR (mostly outside Russia), and those who oppose (the largest segment inside Russia). An interesting one that is massive is led by the Church, full of women in traditional babushka headgear reminiscent of the hijab, or sheitels. It’s almost like religion does not want women to have hair. But I digress…

In a very short time, Pussy Riot went from relative obscurity to them and their crude woolen hats turned into hood-type balaclavas becoming iconic to the 2010s (arguably replaced in culture by the anti-Trump pussy hats); that is the political cache of PR. And yet, the name Pussy Riot immediately gets a nod from everyone. Yet, very few in the West know what they look like, what they actually stand for, and what is their musical direction. That’s part of why this documentary is so important on the world stage. It humanizes both the movement and who is behind it.

This is especially necessary in today’s political environment, where societies in general are becoming more isolated and reactionary, and religious fanaticism (in the guise of fiscal conservativism) threatens the fabric of modern culture and the social bonds. As much as I appreciate and respect the real #metoo movement, I’m glad this came before it, otherwise it would just most likely be lumped into a single wheelhouse.

With Madonna

The movement is worldwide, but the focus is on Russia here, with protesters, and bands like Faith No More (“We Care a Lot”) playing in Moscow while wearing PR-inspired woolen headgear. When PR are sentence to prison in Russia, the worldwide protests are compiled into a powerful montage while we hear the song “Free Pussy Riot” by Peaches and Simonne Jones.

The extras are English subtitles, chapters, a 2:00 photo slideshow (mostly taken from the film proper), over the “Free Pussy Riot” song, and the trailer. I would have liked to have had a couple (at least) of their music videos included, if possible).

The documentary ends at the same time as the trial does in 2011, which is not surprising considering the film’s title. What happened after, well, I’m guessing that may just be a sequel, which I will also look forward to seeing.

Extra Videos:

Women of Power CD Reviews: Laura Cheadle and Kimm Rogers

Text © Robert Barry Francos / FFanzeen, 2014
Images from the Internet

Where the strong women singers start their albums with the same few words...

 Kimm Rogers

Where the Pavement Grows
www.kimmrogers.com

I’m not sure how I first became aware of Kimm Rogers, but I know it was when her first Island Records release, Soundtrack of My Life, was out in 1990. I fell in love it with it, and it’s one of the few song collections I own in more than two formats (LP, cassette, CD). First I gave a copy of it to my then girlfriend (now spouse), then passed it on to others as well; we all became fans. The video that came out of it was “Right By You.” Honestly, to me, it could have been a dartboard choice because every cut on it was worthy. They self-examine her place in life, both in a small focus and writ large.

One more full release on Island in 1992, Two Sides, also had a powerful video attached, ”Will Work For Food,” a political piece about the impoverished lives seen strewn around major cities.

And what do I enjoy and appreciate about Kimm? Many reasons, but essentially it’s that she has her own, unique voice, both figuratively and literally. Her vocals are distinctive, and is easily identifiable as hers, such as with the likes of Patti Smith, Lucinda Williams or Emmylou Harris. What’s more, she has a slightly different way of enunciation, with the push of certain syllables, and her songs bend in ways that are her own.   

Twenty-two years later, she has once again put her heart on the line with her latest, self-released Where the Pavement Grows.  Fortunately, as usual, all the songs here are her originals. There is a definite growth in song writing here, yet without losing anything that is what I have come to like about the singer-songwriter. A good example is “Twenty-Three,” which is sort of a mirror refection look back to the song “2-0-19,” from her first album. In the earlier, she wonders what life will look like in the future compared to the time, and in the more recent, she thinks back from today compared to when she was younger. This is just one of a number of up-beat numbers that will both have you thinking and tapping your foot. Even her mushy love ballads, such as “Rain,” and “Gravity” (the latter of which would make a great film theme song) keep your heart warm.  

Jazz and Rock musician Julian Coryell does magnificently in keeping Kimm’s voice in the front without losing any of the sounds backing her, many of which are played by himself. It’s crisp and the vocals are clear. Still, the big sounding “Eventually,” full of memorable lines like “I’m not killing time it’s killing me / I’ll end up where I’m supposed to be / Eventually,” never loses itself into excesses.

This is a very measured, seasoned release, taken from a different perspective from her earlier life, though obviously through the same eyes / style. There is growth, maturity in both lyrics and fluidity, even when looking at the harder aspects of existence, such as the title cut or the doubts of “Valentine’s Day.”

It may have taken over two decades for this to reach its present form, but it was worth the wait.  Check out the video below as a sample and then head on to her Website. Meanwhile, I’ll hope she’ll tour so I can finally get to see her perform live.

Laura Cheadle

Where the Blues Hangs Out
Bloozy Toonz Records
www.lauracheadle.com

Another artist I have not yet had the opportunity to see live but am bidding my time is the luxuriously sounding Laura Cheadle. Don’t let the pictures of this young, white thang fool you; she can both blast the blues and R&B (and I mean the real stuff).

How do you know she’s solid? Well, for starts, she writes most of her own material, along with the Cheadle family who usually support her both in the formation and performing aspects. And yet you can imagine the likes of Ella or Bessie feeling at home with these tunes.

Then there is that voice. Not the gravel of, say, Janis, but more of a sexiness, late-night lovin’ vibe that relies strongly on her powerful vox, various keyboards and hot electric Northern Blues guitar style (Chicago/Detroit). Oh, and there is the occasional use of 20 Feet From Fame type backing boys or gals. Despite being a “home-grown” South Jersey recording, the production is slick without being slick, if ya know what I mean.

Many of Laura’s songs deal with love and loving, and her voice wanders the R&B scales without being a show-off about it (e.g., Mariah and Xtina, who I find boring for that reason despite their talent, unlike Laura). Whether she’s purring like on “The Best That It Could Feel,” shimmering as with “This Life Is Made to Dance,” or shattering on “Blue Sky” and the title cut opener, she will keep your attention.

Then there are numbers where she does it all, like the cover of Lil’ Son Jackson’s “Rock Me Baby” that would have fit on the stage of the Fillmore, both East and West (see video below). Her choice of covers is smart, such as a live version of T-Bone Walker’s “Call It Stormy Monday,” or the Gershwin/Howard standard, “Summertime.” The latter is done is a deep tone making it just sizzle, as it was meant to be. Sometimes in previous recordings she leans towards the sexual, but here she’s waist deep in the sensual.

Cheadle constantly pleases, with a voice that’s a mixture of honey and velvet, with a touch of vinegar. It’s also a bit timeless. I could imagine her singing in just about any era in the last 80 years or so. On the stage of the Cotton Club, the Apollo, the Blue Note, any jazz festival, or even Woodstock, she could find a place to be comfortable. That’s quite the range. For someone who is as prolific as she has been over the past few years, the quality of her work seems to be still on the incline. And I’m grateful.

Kimm Rogers:

Laura Cheadle:

 

DVD Review: Of Dolls & Murder

Text © Robert Barry Francos/FFanzeen, 2012
Images from the Internet

Of Dolls & Murder: Extended Version
Written and directed by Susan Marks
I See Dead Dolls Films / Da Silva Pictures / Seminal Films, 2012
70 minutes, USD $14.95
Seminalfilms.com
OfDollsAndMurder.com
MVDvisual.com

At the turn of the century, a woman’s “place” was considered to be in the home, especially for an heiress from Chicago. This was the culture into which Frances Glessner Lee was born, locked out of a professional life in those pre-suffrage days.



Frances Glessner Lee

 But Lee was not one to shirk away. After an unhappy marriage, into her 50s, the socialite turned her interest in forensics (and a talent for textile art) into not only a career, but she revolutionized the science. Before her influence, police work relied more sleuthing, rather than an exact, scientific study. By the time she was done, she also founded Harvard’s Legal Medicine department.

In 1939, she started the yearly Seminar of Homicide Investigations for State Police, which is still being held, years after her death in 1962, while in her mid-80s. For many of these seminars, she personally created what are known as the Nutshell Studies of Unexplained Deaths, a series of 1-foot = 1-inch dioramas of actual death scenes using dolls, which were employed in the colloquium as teaching tools. In fact, 18 of the 20 known Nutshells (one was crushed in transit, one is missing) are still used as teaching tools in Harvard to this day.

This is merely the starting point of this fascinating documentary, about not only Lee and her dioramas, but what cultural outcome has resulted from her work.

Now, the whole dolls-death-diorama thing may sound familiar. If it does, odds are you watched the season of CSI: Crime Scene Investigation where there was a serial killer who did similar dollhouse scenes. This was a nod to Lee, and is discussed in detail in this film. In fact, the whole relationship of the television show to culture is a topic as much as Lee. There are clips from the program, and one of the interviewees is connected to the TV series. There are also plenty of shots of the Nutshells (called that after the expression, “...in a nutshell”), including some fine details.

Along with dissecting the Nutshells as the camera lovingly flows around the scenes, forensic science is compared with the television show, such as the fact that even though all the machinery is real, there is no actual existing single police-related space that is that sophisticated; a producer sadly states that the CSI set has the best forensic lab in the world. Also, they tell of the real amount of time it takes the police to get pertinent information, such as DNA or fingerprint identification.

A quite shocking focus of the film is what’s known colloquially as the Body Farm. Apparently, people donate their bodies to this scientific space, and their corporeal remains are tested for rates of rot by being left exposed to the air, or put into peculiar situations (such as being in a sealed garbage bin or plastic bag), for example. We get to see particular body parts covered with bugs and maggots, skulls, and the like, which is occasionally gruesome; but honestly, there is nothing here that is more gross than the fake CSI show.

One aspect I found particularly interesting was the two-sided question about evidence. On one hand, thanks to the plethora of sophisticated television cop shows (not to mention how many times they are rerun), jurors are more likely to pay attention during the trial to scientific information, and understand it better. On the other hand, it is becoming harder to get a conviction without DNA evidence. For example, just this week (end of March 2012), a man was found innocent of murdering his wife in a wide-publicized trial because all of the evidence against him – of which the police felt was sufficient and substantial – was circumstantial. One has to wonder if there may have been a different outcome pre-CSI.

As a strange choice, the narrator of this very serious documentary is legendary auteur-of-the-outcast-and-bizarre filmmaker John Waters (part of this documentary takes place in his beloved Baltimore, which is the locus of all his films). Waters is an admitted crime buff, so his interest in the topic is understandable. It was a brave choice to use him, but he does an outstanding job, without camping it up (and, I am proud to admit that I am a Waters’ fan). Each section of this release goes into detail about a particular Nutshell, with Waters describing the real-life circumstances that led to the death depicted in the dollhouse.

There are five extras included: the first is “John Waters on the Nutshells,” in which he describes what they mean to him, and how he sees them as a hidden (i.e., not public) art project (2:40). The second is “John Waters on Frances Glessner Lee,” where director Susan Marks interviews Waters, who jokingly refers to Lee as possibly having been “…a cop hag,” and how he is “intrigued by true crime treatise.” (2:30).

The third short is “The Patron Saint of Forensic Medicine,” which goes deeper into detail about Lee and her relationship to her Nutshells. For example, she hand-knit all the clothes, and it is explained that she was more interested in them being an aid to investigative thinking in processing evidence than actually solving the crimes they depict (5:30). The last of the films is “The Missing Nutshells,” which describes the two missing ones indicated above, and includes still pictures of them (1:00).

The last extra is a full-length film commentary, which is quite interesting, though occasionally frustrating. People who make films, listen up: If there are more than two people talking (there are four here), since we can’t see you, it is hard to tell who is saying what. No, we don’t necessarily want multiple commentary tracks; just make it as easy for us as possible, okay? Note I am saying this with a smile, and not a finger-point.

This is a film that is fascinating viewing, on a weird topic as its thread. Director Susan Marks keeps the pace steady and the topics interesting. As documentaries go, it never loses the audience’s attention while covering many topics, and yet is never obtuse, without talking down to its audience. It’s as much a cultural study about forensic science as it pertains to our perceptions as it is about Lee and her Nutshell Studies. Good viewing all the way around.