The Best Books I Read in 2022

Crossroads, Jonathan Franzen

Crossroads book cover

Usually when you pick up a long novel it takes two or three chapters, maybe 50 or 100 pages to get into it. With Franzen it takes about a page and a half. He writes of the ordinary life of ordinary people, but in his prose they are anything but.

Crossroads is about the Hildebrandt family. They live in a parsonage in suburban Illinois. Russ, the father, is an assistant minister. He lives with his wife and four children, one in college, two in high school and one younger. Russ and Marion do not have a happy marriage (but really who writes 500+ page novels about happy marriages). It’s 1971, so the oldest, Clem, is thinking about his student deferment and his draft status number. (At the time we were all subjected to a lottery drawing which determined what our chances were of ending up in Vietnam.)

Each member of this family is on the verge of making some bad choices, in some cases life-changing bad choices. And when they’re not contemplating these self-destructive moves they’re bemoaning the bad choices they’ve made in the past.

Crossroads is the name of a church sponsored youth social group where most of the consequential scenes in Franzen’s story take place. There’s not too much religion there but some drugs, some sex, and even a little rock and roll.

The strength of Franzen’s writing is not just the depth of his characters but his descriptive powers. Here’s one example. If you ever had this electronic NFL game as a child, you’ll enjoy this. “The sheet-metal playing field vibrated electrically, with a sound like a Norelco shaver’s, beneath two teams of tiny plastic gridders with oblongs of plastic turf glued to their feet, the quarterbacks eternally frozen in he-man forward-passing posture, the halfbacks carrying a ‘ball’ that was more like a pellet of pocket lint and frequently fumbling it, or becoming so disoriented in the buzzy scrum that they speeded toward their own end zone…”

You take a look at a Franzen book and it seems to promise a significant investment in time. It won’t be. Like the two previous Franzen novels I read, I ripped right through it. Not sure I could name a better contemporary novelist.

True: The Four Seasons of Jackie Robinson, Kostya Kennedy

True book cover

One might think that everything that could possibly be said about arguably America’s most consequential athlete has already been said. If you read True, you’ll find that’s not the case.

Kostya Kennedy’s bio covers four ‘seasons’ in Jackie Robinson’s life. 1946 when he played his first year of professional baseball with the Montreal Royals, the Brooklyn Dodgers AAA farm team. 1949, his third year of major league baseball, a time when he shed the “turn the other cheek” Jackie and became the fiery competitor that he truly was. 1956, his final year of baseball, when, according to Kennedy “Robinson might, from his locker room stall reflect on civil rights, segregation, the implications of say, Brown vs. Board of Education. just as soon as he might remark on the Dodgers hotel accommodations in the South.” And 1972, the year he passed. The last chapter is really all about life after baseball when Robinson encountered personal tragedy and deteriorating health.

Kennedy does not dwell on the racist crap that Robinson had to put up with. But he does point out a few that were new to me. Like the ignorant comments of Ben Chapman, unsuccessful manager of the lowly Philadelphia Phillies, who suggested in 1947 that what Robinson was after was sex with his teammates wives. And there are the charming folks from Greenwich, Conn., who many years later sold their homes because Jackie and his wife Rachel moved into the neighborhood.

Not all is venom and vile however. There were the people of Montreal, baseball fans or not, who greeted the Robinsons with a smile on their faces. And Kennedy says of the Dodgers Brooklyn home “was there in 1949 another public accommodation in America so naturally desegregated as Ebbets Field?”

This is a really well written book. One of the things that Kennedy does so well is capture the feel of the time and place. So when Robinson in appearing in the 1949 all-star game, the author doesn’t just rattle off the stats from Robinson’s at bats, he takes us to the corner of E 95th Street and Church Avenue in East Flatbush where Dodger fans, likely not TV owners, are watching the game on a black and white screen in the window of a TV shop. Others are listening on big wooden console radios in their living rooms.

I think this book comes as close as you can come to feeling what it was like to be Jackie Robinson, especially in the latter part of the 1940’s when he was breaking through the color barrier. It is a little piece of American history as much as it is a biography of a sports hero.

The Premonition: A Pandemic Story, Michael Lewis

The Premonition book cover

This is a story about health care heroes, and about the people, agencies and companies that blocked them from saving us from the pandemic.

One of those heroes is Joe DeRisi. He ran a lab at the University of California -San Francisco where he invented a tool that would identify previously unknown viruses. When the pandemic started, he set up a test facility that would provide quick turnaround on COVID test results for free. It was underutilized as hospitals and public health agencies were committed to the paid company labs like Quest
despite their too slow to be useful processing.

Another of those heroes is Carter Mecher. A doctor at a VA hospital in Atlanta, Mecher would eventually write the first pandemic plan while working for the Bush administration. He used what Lewis calls ‘redneck epidemiology,’ an extensive study of the 1918 flu pandemic and a model created by a 15-year old girl for her science project. His Targeted Layered Containment plan involved telework, social distancing, banning large gatherings and closing schools. When the COVID outbreak started, neither Carter, his plan, nor anyone he worked with were in the conversation at the Trump White House where they were busy denying the existence of a pandemic.

Maybe the most interesting of Lewis’ health care heroes is Charity Dean. A young woman raised with no advantages, she got herself to college and then through medical school. Eschewing the big bucks of private practice she instead took up a county health officer position, partly because of her fascination with communicable disease. Fast forward a few years and she was the L6 in California. The concept of an L6 is based on the thought that in any organization there is someone who knows his or her stuff and knows what to do. But that person is never one of the heads of the organization. The L6 is that person and is likely six layers down the org chart.

After reading this I’m not sure I’ll ever think of the CDC the same way again. After one failed attempt to get their help Dean said, “I was mad they were such pansies. I was mad that the man behind the curtain ended up being so disappointing.”

Why were they not involved in working on Mecher’s plan? “They’d be constrained by their sense that they already knew everything worth knowing about disease control, and would be threatened by the possibility that in fact they did not.”

Lewis describes an incident shortly after the pandemic broke out in China. Fifty-seven persons traveling from Wuhan were quarantined for two weeks in Omaha. When the nearby Global Center for Health Security wanted to test them, CDC director Robert Redford refused permission claiming it would be ‘doing research on imprisoned persons.’ This despite the fact that the travelers wanted to be tested.

Ultimately what this book does is explain how it came to pass that more Americans died from COVID than any other group. Lewis writes this public health story in the same fast-paced play-by-play style that he used writing about football (The Blind Side). I know next to nothing about medical biology but everything here is clearly explained and presented. It makes for not just a very timely, but a very readable story.

Anxious People, Fredrik Backman

Anxious people cover

The bank teller is anxious. The bank robber is anxious. The hostages are anxious. The police are anxious. Hence the title.

But this is not solely a tale of anxiety. The author tells us on page one “this is a story about a lot of things, but mostly about idiots.” Much of what follows corroborates that statement.

The basic plot involves an attempted bank robbery of a small-town institution in Sweden. It is a cashless bank. So the bank robber comes up empty handed, flees into a nearby apartment building and walks in on a viewing of a for-sale apartment. The viewers, as well as the realtor, become the hostages.

The story revolves around this odd collection of hostages, as well as a marginally functional father-son police team. There’s a bickering lesbian couple expecting a child. An older couple with a bruised ego husband. A bank exec who has made apartment viewing her hobby and a heavy drinking, reminiscing older woman. The author connects this disparate group of characters like a jigsaw puzzle, the connecting piece being a 10-year old suicide.

There is no violence and no one gets hurt. These hostages, as well as the perpetrator, need a battery of psychologists more than they need a law enforcement intervention. The story offers some suspense and some mystery. Buy mostly what it offers is humor, which occasionally hits a laugh out loud level. If there’s a moral it’s that there’s a little bit of wisdom in every idiot.

Mill Town: Reckoning with What Remains, Kerri Arsenault

Mill Town cover

It’s a story you’ve heard before. This one’s about Mexico, Maine, and it’s a paper mill. But it could be a Massachusetts town with a textile factory, a Pennsylvania town with a steel mill, or a New Jersey town with a chemical plant. A whole town is built around a manufacturing facility that provides good jobs and supports a middle-class lifestyle for a generation or two or three. Then somebody starts to figure out how to do the same thing cheaper. They figure out that they don’t need so many people and they decide they can’t afford to pay a living wage.

The younger generation begins to disappear. The movie theater closes, as does the other stores that are named after a local family, not a national chain. Homes lose their value and are abandoned or foreclosed. And to top it off, we begin to realize that the stench that hovers over the town, what they used to say was “the smell of money” instead seems to be the smell of cancer.

Kerri Arsenault’s story is, however, much more personal than that. She traces her Acadian ancestry back to the Canadian Maritime Provinces and even further back to France. She grew up in Mexico (Maine), goes back to visit her parents and old friends and remembers the sense of community nostalgically. She even connects with some community activists trying to stop neighboring Rumford from contracting with Nestle to tap into the town water supply. (If you read this book, you’ll never buy Poland Spring again.) She describes the environment in which she grew up: “We lived in a Shrinky Dink world where everything we needed was there, just smaller.” But she also realizes that she, her family, her neighbors didn’t realize that “all of what was before us was not as bright as what had passed.”

For all of the pride and backward-looking fondness Arsenault shows for the community she grew up in, she can’t look back without remembering her grandfather and father, both of whom spent most of their adult lives in that paper mill and both of whom died of cancer. “When my father retired from the mill after forty-three years, he received a toolbox (which he used), a Bulova watch (which he never wore) and asbestosis of the lungs.”

After being sold by its founder and town benefactor, the mill was sold several more times. Over the years it spewed out asbestos, mercury and dioxin. It’s toxic legacy is in the soil, in the water and in the air. One can make the case that America’s industrial polluters didn’t understand the consequences of what they were doing. But that rings hollow when you see the efforts made to not find or understand those consequences. And that’s not just from the mill owners but from the local, state and national agencies that are supposed to be looking after such things. Arsenault talks to everyone who’ll talk to her, plows through every document she can find. She can identify the poisons, she can identify the diseases, but a clear, irrefutable line between the two remains evasive, in spite of what common sense tells you.

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Some American Art from the Department of State

The New Jersey State Museum was founded by an act of the state legislature in 1895. Initially it was a natural history museum. It later added archaeology, ethnography, cultural history and fine arts to its collections. It moved into its current facility as part of the state’s cultural complex in 1965 and it became a division of the N.J. Department of State in 1983. It has a surprisingly diverse and interesting collection of works by 20th century American artists. Here are some samples.

Emmet, George and Ella Marvin (The Marvin Family), James Chapin
Emmet, George and Ella Marvin (The Marvin Family), James Chapin, 1934
An Expression of a Silk Town in New Jersey, Oscar Bluemner, 1914-1915
An Expression of a Silk Town in New Jersey, Oscar Bluemner, 1914-1915
Whitewashed Barn, Ralston Crawford, 1937
Whitewashed Barn, Ralston Crawford, 1937
Black Division, Alice Trumbull Mason, 1944
Black Division, Alice Trumbull Mason, 1944
Arrangement, Byron Browne, 1938
Arrangement, Byron Browne, 1938
Ritual, Norman Wilfred Lewis, 1950
Ritual, Norman Wilfred Lewis, 1950
April, Grace Hartigan, 1960
April, Grace Hartigan, 1960
Abstraction, Alfred Leslie, 1954-55
Abstraction, Alfred Leslie, 1954-55
Untitled, Ben Wilson, late 1960's, early 1970's
Untitled, Ben Wilson, late 1960’s, early 1970’s
Dream House Wall, Louise Nevelson
Dream House Wall, Louise Nevelson
Parts of the Face, Larry Rivers, 1962
Parts of the Face, Larry Rivers, 1962
Female Model in Hammock, Arms Over Head, Philip Pearlstein, 1976
Female Model in Hammock, Arms Over Head, Philip Pearlstein, 1976
Mel Leipzig, Jonathan Shahn, 2006
In the Spirit of West Senegalese Dance with Mary Alice Pace, Lorenzo Pace, 1987-97
In the Spirit of West Senegalese Dance with Mary Alice Pace, Lorenzo Pace, 1987-97
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This Guy Was President!!??

Confidence Man: The Making of Donald Trump and the Breaking of America, Maggie Haberman

Confidence Man book cover

To be honest, I didn’t open this book with an open mind. As far as I’m concerned, Trump is a lying scoundrel suffocating in his own narcissism. Nothing in the book suggests otherwise.

Confidence Man is not a biography. It’s a detailed chronicle of Trump’s professional life, starting with some real estate deals he did with his father, going through his emergence as a widely-known public figure in New York, something between a superstar builder and a con artist, and ending with the conclusion of his single term presidency. Taken as a whole there is little in the way of consistent ideology or commitment to any particular issues (unless it personally affects him). But there is a consistency throughout his career of personality and behavioral traits.  Here’s a few examples:

– He doesn’t pay his bills.

“Trump left only scattered impressions on classmates (during his time at Fordham University). One recalled Trump somehow managing to avoid paying the Triborough Bridge twenty-five-cent toll and leaving it to a friend with considerably less economic means to pay each time.”

– He’s a serial attention hound

“When the director Chris Columbus was filming a sequel to Home Alone and went to the Plaza’s lobby, Trump forced his way into the film. ‘The only way you can use the Plaza is if I’m in the movie.’”

– He’s self-absorbed

Shortly after 9/11 and the attacks on the World Trade Center, he was interviewed on a local TV station. Was he thinking about those who were killed? Their families? First responders? Nope. He said, “Forty Wall Street (which he owned) was the second tallest building in downtown Manhattan and it was before the World Trade Center was the tallest, and then when they built the World Trade Center it became known as the second tallest, and now it’s the tallest.” (That, of course, wasn’t true.)

Trump plane

– He’s crude

While discussing the issue of transgender bathroom use during a practice session for upcoming debates during his initial presidential campaign, he commented, “‘well I think it matters a lot.’ What if a girl was in the bathroom and someone came in, lifted up her skirt, and ‘a schlong’ was hanging out.”

– He’s a sore loser

After losing the Iowa caucuses at the start of the 2015 primary season: “‘It was stolen from me,’ he told his advisors. For days thereafter, he called Iowa’s Republican chairman daily with an order to redo the vote, threatening to sue over what he called ‘fraud.’’

Trump

– He’s a bully

While describing a meeting with military leaders and cabinet members, Haberman observed: “Those who did not know Trump well and who sat through that meeting in the Tank with him failed to consider something that people who have dealt with him over years had experienced: Trump knew that he was being told something he did not fully comprehend, and instead of acknowledging that, he shouted down the teachers.”

– He’s irrational

After news reports about how Trump hid in an underground White House bunker during the Black Lives Matter demonstrations, “Trump felt humiliated by a disclosure that he thought made him appear incapacitated by street protests. In another meeting with aides Trump demanded to know ‘Who leaked that story?’ He proposed that the person responsible be ‘executed.’

– He’s a liar

Okay, there’s an example of that on virtually ever one of the 500+ pages.

And speaking of consistent bad behavior there’s this gem about Rudy Giuliani: 

In 1992 after Giuliani lost the mayoral election to David Dinkins, he declared “They stole that election from me. They stole votes in the Black parts of Brooklyn and in Washington Heights.” City investigators found nothing to substantiate claims of fraud.

Haberman is a veteran journalist who has won a Pulitzer. Having worked for the New York Post and New York Daily News before her current position at the New York Times, she’s probably spent more time around Trump than most of his wives. Her writing reflects her professionalism. This is a book full of factual information with all sources clearly identified. The title and subtitle pretty much tells you the conclusion that it leads to, but Haberman doesn’t beat you over the head with it and lets the reader come to the obvious conclusion on his or her own. 

Trump

I acquired this book when Haberman made an appearance at the Montclair Public Library. During the Q&A that followed the interview, someone asked, “Is Trump evil?”  She refrained from answering.

Five hundred pages is a lot of Trump. Perhaps too much. As I mentioned in the beginning, it didn’t change my perception of the man, but even I was surprised at how grossly unfit for office he was (and is).

I couldn’t help musing about how this is a guy who doesn’t read, but who desperately needs to know what people say and think of him. So what does he do? I imagined this scenario. He commissions an aide at Mar-a-Lago to read the book and tell him what it says. The aid reads the book then comes in walking on eggshells knowing the boss’ famous temper. Maybe he starts by discrediting Haberman but eventually gets around to noting “Mr. President, she seems to think you’re a little dishonest and maybe a bit unethical.” Trump then goes off, fires the guy and refuses to pay him.

(Images used here were downloaded from Unsplash and Pixabay and are not from the book.)

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Light Up the Sculpture Park

Night Forms, Infinite Wave

Grounds for Sculpture, Hamilton Township, N.J.

Night Forms, Infinite Wave, is a collaboration of the Grounds for Sculpture and Klip Collective, a Philadelphia-based art shop that produces video projection experiences. This is the second year that GFS has presented this after-hours light and sound exhibit. It is designed to fit with the sculptures and horticulture of the park. Night Forms will be at Grounds for Sculpture through April. Having seen a number of light shows at various gardens over the years, this one is the best I’ve ever seen.

Dorion
Eolith
Memory
Froghead Rainbow

Seward Johnson

Seward Johnson was the founder of the Grounds for Sculpture and he was a fixture in the park until his death in March of 2020 at the age of 89. He used to lead sing-a-longs with park guests. His painted life-like sculptures are prominently displayed throughout the park. You can see more of his work here and here. Below are a few Seward Johnson sculptures lit up for Night Forms.

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The Zimmerli

The Zimmerli Art Museum is located on the campus of Rutgers University in New Brunswick, N.J. Situated as it is between two cities, New York and Philadelphia, known for their museums, it doesn’t get a whole lot of attention. But the Zimmerli has an impressive collection of Russian art, including a vast number of works by underground artists from the Soviet era (Make Art, Not War). It also houses the collection of the Jersey City Art Museum, which was donated to the Zinnerli after that museum closed its doors. Here’s a sample of what you can see (and it’s free).

George Segal Sculptures

American Stories (from the collection of the Jersey City Art Museum)

Pulaski Skyway, Joseph Konopka
Pulaski Skyway, Joseph Konopka
Large Pie with Extra WMD, Joe Waks
Large Pie with Extra WMD, Joe Waks

European Art

Russian Art

American Women

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Made in America 1900-1930

from the exhibit A New Age: Early Twentieth Century Modernism at the Whitney Museum of American Art

Self Portrait, Charles G. Shaw
Self Portrait, Charles G. Shaw
Untitled, Louise Nevelson
Untitled, Louise Nevelson
Landscape, Marsden Hartley
Landscape, Marsden Hartley
White Horses, John Marin
White Horses, John Marin
From a Flower, Helen Tor
From a Flower, Helen Torr
Cowboy and Horse, Ben Benn
Cowboy and Horse, Ben Benn
Noise Number 13, E.E. Cummings
Noise Number 13, E.E. Cummings
Oriental Synchromy in Blue-Green, Stanton Macdonald-Wright
Oriental Synchromy in Blue-Green, Stanton Macdonald-Wright
Chinese Restaurant, Max Weber
Chinese Restaurant, Max Weber
Sun, Florine Stetheimer
Sun, Florine Stetheimer
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Make Art, Not War

Russian art from the Soviet Era

From the exhibit, Non-Conformist Art from the Soviet Union, at the Zimmerli Art Museum on the campus of Rutgers University in New Brunswick, N.J. These are works by underground artists in Russia as well as in some of the former Soviet states, from the 1950’s through the 1980’s.

Krasikov Street, Erik Bulatov
Krasikov Street, Erik Bulatov
Molotov Cocktail, Alexander Kosolapov
Molotov Cocktail, Alexander Kosolapov
Morning Procession, Anatolii Slepyshev
Morning Procession, Anatolii Slepyshev
Ruins of a City, Olga Potapova
Ruins of a City, Olga Potapova

Artists from Georgia

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A Sanctuary for Words

wall of words

Planet Word is a museum of language. (Stifle that yawn!) It is a dynamic and interesting museum. Off the beaten path from the most popular Washington attractions, it is not beset by the hordes of visitors that many DC museums experience. It is only two years old, having opened in 2020. It is a very interactive museum, so my photos don’t really do it justice. It’s a fun place and from what I saw on my visit, kids enjoy it too. And it’s free

Planet Word
(answer at end of post)
The Spoken Word at Planet Word
The Spoken Word. In this room you can get a taste of various world languages. On each of the screens set up on stands throughout the room, you can interact with talking heads to get a quick lesson. I tried Turkish, Ethiopian and Hawaiian.
Word chart at Planet Word.

A few words of wisdom

Planet Word
Planet Word
Planet Word
the answer (from The Lorax)
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A Killer, A Donkey, and an Airborne Toxic Event

Narrative features from the Montclair Film Festival

The Holy Spider

In the holy city of Mashhad, Iran, the spider killer goes out on his motorbike and picks up a sex worker on the street. He brings her to his home, his wife and kids are visiting her family, and strangles his victim with her headscarf. He then dumps the body in roughly the same place each time and calls a local journalist to let him know that he has continued his holy crusade to rid the town of ‘corrupt’ women. He’s done this 16 times.

Rahimi is a very brave and single-minded woman journalist who comes from Teheran to cover this story. She even dons the makeup and poses as a streetwalker herself to find the killer.

This is not a mystery as in who is the murderer. We know that from the get go. The mystery is why the police claim to have no clue, whether he will actually be prosecuted when caught and whether he will be sentenced by a judge in this city.  Perhaps the biggest mystery is why so many townsfolk consider the killer a hero.

While this is a crime story, it’s also very much about the timely topic of the treatment of women in Iran. When Rahimi goes to check in to the hotel where she has a reservation, the clerk whispers to his manager that an unmarried woman wants to check in by herself. That seems to prompt an error in the reservation system resulting in no room being available. And Rahimi’s reputation precedes her. Seems she was fired from a previous job because she refused and reported the sexual advances of her editor. For that she is labeled a slut.

This is a riveting can’t take your eyes off the screen movie. It is brilliantly acted by Zar Amir Ebrahimi (Rahimi) and Mehdi Bajestari (the spider killer). It has a couple of gruesome scenes and is overall disturbing. Even more so when you realize it is based on a true story. This is the best of the films reviewed here.

EO

You may think you’ve seen just about everything in movies, but have you seen a serious adult film about a donkey? EO opens the movie as a donkey in a traveling circus. We see him showered with love and affection by his handler and co-star Cassandra. Due to some government edict we’re not clear about, he is repossessed by the government and shipped to a horse farm. EO sees the horses run free, get their pictures taken, get bathed, while all he gets is to pull a cart. When he rebels against that he gets shipped to another farm. Here there’s other donkeys and he’s treated better. But Cassandra finds him and visits. When she leaves, he knocks down a fence and heads out. Thus begins the donkey adventure which is the main focus of this movie.

EO wanders through forest and town. Along the way he encounters a soccer match, a beer hall, a skinhead attack and a couple dodgy rides in the back of a truck. Some good things and some bad things happen to him. For the odd collection of humans he encounters along the way, it’s mostly bad.

This is a movie of few words. The camera does most of the talking. The views of the Polish countryside are beautiful. There is one scene where EO is in the woods at night with wolves, owls, raptors and hunters. The darkly filmed scene breathes suspense.  This is a film to be seen on a big screen. There are numerous shots of the soulful eyes of the donkey. Are those supposed to be tears? We’re led to believe that EO is dreaming of Cassandra. The movie imbues the donkey with dignity and will power.

The super-heavy eerie soundtrack is overdone in my opinion. On a positive note there is a graphic at the end assuring us that no animal was harmed in the making of this movie. It may be a story about a donkey, but don’t bring the kids.

White Noise

Jack is a professor at the College on the Hill. Fourteen years ago he started the Hitler Studies program. He is looking forward to the Nazi education conference he is hosting. White Noise opens with one of his colleagues lecturing on the joys of American car crashes. I’m not sure if it’s the same class or a different one when we see him later making the case to his students that Elvis was a ‘mama’s boy.’

Meanwhile on a highway nearby a truck driver carrying a tanker full of some toxic substance is reaching for the bottle of Jack Daniels he keeps on the passenger seat. Losing concentration he barrels into a train causing it to derail and jackknife. The resulting explosion causes an ‘airborne toxic event.’ The town evacuates and holes up in a Girl Scout camp. All this blows over and folks head home, although Jack has to live with the thought that he’s going to die because he got out of the car to pump gas while evacuating.

That ends the outdoor part of the movie. Most of the rest of the movie is in Jack’s house with his wife and four kids. As with so many cinematic families, the kids are way smarter than the adults. The oldest, a teenage boy, can explain everything, explanations that are way over his parents’ heads. His sister is a junior detective who uses her skills to expose her parents’ secrets. There’s some mystery pharmaceuticals, some marital infidelity, some violence. Some of it is presented dramatically, but you can’t take it seriously.

There are a handful of things to chuckle at in this movie. Most of it is nonsense. If I appeared to be about to clap my hands when the first credits rolled, it was only because it was over.

(White Noise is scheduled to be released in theaters around Thanksgiving and to be streamed on Netflix at the end of the year.)

Clairidge Theater, Montclair NJ
The Clairidge Theater, where most of the festival screenings took place, is 100 years old. It is operated year-round as a non-profit by Montclair Film. Its previous commercial owner, Bow Tie Cinemas, bailed during the pandemic.
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Families on Film

Domumentaries at the 2022 Montclair Film Festival

Bad Axe

This film could have been titled American Dream/American Nightmare. Instead it’s called Bad Axe, the unlikely name of the Michigan town where it is set. Bad Axe is small, almost exclusively white and Trump signs dot the landscape.

For his first full length feature documentary, David Siev has chosen the subject that he knows best, his family. His dad was one of six kids whose mother got them out of the killing fields in Cambodia. His mom is a second generation Mexican-American. They started out in Bad Axe with a donut shop and martial arts studio, then later started a restaurant. He has two older sisters, 30-something Jaclyn and 20-something Rachel. They are educated, smart, outspoken and outgoing women, exactly the type that usually leave a town like Bad Axe in their wake. But these two never stop supporting their family and working in the restaurant. For a while Jaclyn did so by commuting 2-½ hours every weekend from Ann Arbor where her day job was located.

The film is shot during the pandemic. The family is forced to close their doors and serve takeout only. Not only do they face the challenge of COVID but must deal with the inexplicable wave of Asian-American hatred that swept the country. There’s the red neck vigilantes that try to terrorize Rachel by tailing her after she closes the restaurant. There’s the morons who refuse to wear a mask to enter and become abusive when asked to do so. And there’s the customers who vow never to come back after the two sisters are seen at a Black Lives Matter rally after George Floyd’s murder.

There is an intimacy about the portrait of this family that likely could only be achieved by having a family member behind the camera. It has the feel of a bunch of iPhone videos shot at the spur of the moment. You see everyone’s high and lows, the bickering and the self doubt, but mostly the honesty and commitment.

This isn’t a drama so it’s not a spoiler to tell you that the restaurant has survived, is doing well and has the support of the community. Siev called this documentary a love letter to his family. You can just feel that in scene after scene. These guys are the quintessential 21st century American family.

(Scheduled to open in theaters mid-November.)

Relative

Tracey Arcabasso Smith also chose to make her first feature length documentary about her family. Bad Axe is a feel good story. Relative is anything but.

Smith turns the camera on herself to describe in a fair amount of detail how she was sexually abused as a young teen by two older cousins. She turns the camera on her mother who acknowledges being abused by her grandfather. Her 89-year-old grandmother was abused as a child four times, twice by relatives. A great aunt adds her story about a cousin. And another relative, who later asked to be pulled from the film, was raped by her father.

These interviews are interspersed with a giant archive of home videos: births, weddings, religious ceremonies, every type of family gathering. Everybody looks joyful and smiling. I could only think of how the women who were treated like this had to go to one big family event after another in the presence of their abusers. There is one incredible scene in which four women, all of whom must be 75+ sit around a kitchen table with Smith and talk about how they were abused as young girls, something they likely haven’t talked about for decades. This isn’t a script somebody wrote folks, this is real.

Much of the discussion in the film is about how and why nothing was said. They talked about how as a child you blame yourself. They talked about how they didn’t want to blow up the family and about how maybe it wasn’t that bad because it wasn’t rape. The older women especially, at least on the surface, seemed to say “it happens, then you move on.” Some forgave. Nobody forgot. There is love in this family too. We just don’t see it in the men.

Maybe these revelations are therapeutic. Maybe someone will speak up next time since it has been brought into the open. Maybe it will prevent another young girl from being abused. That’s all good, but it’s still hard to watch.

The Picture Taker

This is a different type of family saga, one about a family trying to keep alive the legacy of a deceased father and grandfather despite some uncomfortable truths.

The picture taker is Ernest Withers. He got his start in the segregated army in World War II. He returned to his home in Memphis and opened a photography studio. He was one of the first Black policemen in a racist city, though he was dismissed from the force for an extracurricular financial transaction that may or may not have happened.

What his contemporaries remember is that he and his camera were everywhere. He chronicled the civil rights movement in Memphis, the Emmett Till trial, a landmark sanitation workers strike and the aftermath of the assassination of Martin Luther King. He photographed famous musicians and the clubs they performed in on Beale Street. He photographed Negro league baseball games. Mostly he photographed his community, their weddings, their funerals, their parties.

Our introduction is of a beloved community resource. That is until we find out he was a paid informer for the FBI. This is the J. Edgar Hoover FBI ever ready to suggest a link between the Communist Party and the civil rights and later the Black power movements. Also ever ready to use whatever surveillance techniques he could find to prove his point. Withers infiltrated local organizations, tracked local activists and fed the info to the FBI.

All that notwithstanding, the archive of Withers’ work is amazing and we see so much of it in this film. It is rare to see a documentary that uses still shots so extensively and that leaves the camera on those stills so we can absorb them.

There are extensive interviews with Withers’ children and grandchildren. There are also interviews with some of the activists that Withers may well have passed information about. It produces a legacy of ambiguity. The filmmakers do not lead us to an easy conclusion.

The documentary opens with a Withers quote: “If you ain’t what you is, you is what you ain’t.” Community legend or traitor, I ain’t exactly sure what Withers is.

(Film is scheduled to be shown on PBS Independent Lens this winter and made available on the PBS app.)

All the Beauty and the Bloodshed

This documentary is like two different movies in one. There is the story of the group PAIN and their campaign against the Sackler family, owner of Purdue Pharma, makers of oxicontin. The other is a life story of photographer Nan Goldin.  What ties them together? Goldin founded PAIN.

I described Goldin as a photographer. Having watched this she is or has been an activist, an addict, a sex worker, a curator, a dancer, a bartender. 

Two of the most moving scenes in the movie are about two very different families. The Sacklers reached agreement with a bankruptcy court that they would pay a settlement but would then be immune from civil lawsuits. Part of the conditions of that settlement was that they listen to the families of the victims of pain-killer addiction. In a virtual conference three Sacklers listen to the tearful stories of families who lost their children to overdoses stemming from their oxicontin addiction.

The other scene involves Goldin’s family. While she was a child, Goldin lost an older sister to suicide after her parents, who couldn’t deal with her, sent her to an orphanage. Goldin eventually gets hold of all the doctors’ reports from the various institutions where her sister ended up. It tells the story of a normal rebellious teenager. Loving parenting was the missing ingredient.

There are also moments of triumph like getting numerous museums to turn away the Sacklers donations and taking their name off of galleries, including the Louvre, the Met and the Guggenheim.

Amidst all of these stories is Goldin’s impressive body of work. She was a chronicler of the counterculture of the 70’s and 80’s as well as the AIDS crisis. Some of her portraits reminded of Diane Arbus. Many of her photographs are organized into slideshows with musical accompaniment.

There is so much to this movie. My description only scratches the surface. Sometimes it seems like it’s all over the place. But every part of it is so interesting. So what if it doesn’t all fit together seamlessly.

(This movie is currently playing in a couple New York theaters. HBO owns streaming rights.)

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