Video

Fiction

Charles Pooter is a middle-aged, middle-class, midlevel clerk in a London firm. Both pompous and easily offended, he takes himself a bit more seriously than his position, class, or character warrants. Writing in his journal, Pooter records the social highs and domestic lows as well as other indignities of everyday life in late Victorian England. Written as a comic novel by brothers George and Weedon Grossmith in 1891, Pooter's trials and tribulations are as amusing today as they were more than 100 years ago. Charles comes to life through the expert performance of British actor Hugh Bonneville in these four 30-minute episodes adapted for British television. Period costumes, furniture, and other Victorian-era artifacts give the piece a ring of authenticity. Extras include a brief Grossmith biography and Bonneville filmography. This one-man show will be enjoyed by a wide range of viewers. Highly recommended.—Linda Frederiksen, Washington State Univ. Lib., Vancouver

Two lengthy feature films based on Evelyn Waugh novels—A Handful of Dust (1934; originally produced in 1988) and Scoop (1938; filmed in 1987)—comprise this collection, newly offered on DVD. Though blurbed as grimly comic,Handful of Dust is, instead, quite sad, revealing the potentially destructive boredom of the British upper crust. Scoop, by contrast, is a spoof of British journalism, employing broad exaggeration in portraying the aristocratic newspaper owner wielding immense power but easily manipulated by women; the chief editor giving his all to please the boss while managing subordinates by evading their questions; and the naïve but innately clever country squire, William Boot, weaving his way through an obstacle course of incredible hazards to achieve ultimate success. Stereotypically British, Boot and his reactions come across as a splendidly conceived and executed cartoon. Excellent casting, superb acting, and marvelous photography make both films immensely watchable. Highly recommended for public libraries serving audiences sophisticated enough to appreciate Waugh.—Sheila S. Intner, Emerita, Simmons GSLIS at Mount Holyoke Coll., South Hadley, MA

Based on Jill Ker Conway's 1989 memoir about growing up Down Under on a sheep ranch, this exemplary Masterpiece Theatre adaptation dramatizes her tough coming of age. Largely raised by her devoted but domineering mom after her dad's death in World War II, Conway spent a good part of her life coming to terms with their complicated relationship. Katherine Slattery is excellent as the adult Conway, who went on to become the first female president of Smith College, but it's veteran actress Juliet Stevenson (The Politician's Wife) as her steely mother who really gets the chance to show off her acting chops. Director Maher manages to make the beautifully austere Aussie outback a peripheral character in this smart and compelling narrative. For those who can't get enough of family dramas, no matter the continent.—Jeff T. Dick, Davenport, IA

Nonagenarian men's suit designer Jack Taylor has impeccable taste, having proudly dressed stars such as Frank Sinatra and Elvis Presley. He is a dynamic on-screen presence, and throughout his interviews, he is adamant about creating excellent quality, handmade suits regardless of the current preference for mass-produced menswear. The film includes interviews with Taylor, his wife, several fabric vendors, and the many stars and others who comprise his clientele. Of course, his patrons speak highly of Taylor's product, but they also admire his dedication and friendship. The one thing lacking here are the details of what motivates Taylor as a designer. Entertaining and informative, this film is recommended for students of fashion design and/or history. More at www.jacktaylorthemovie.com.—Claire A. Moitra, Providence

With an unabashedly political bent, this impassioned and manifold documentary profiles the life and times of Raymundo Gleyzer, an Argentine documentarian who, in 1976, at the age of 34, was kidnapped, tortured, and murdered by paramilitary guerrillas. In the early 1960s, Gleyzer began making documentaries intended to promote change by raising awareness of injustice. To that end, he created Cine de la Base, a socialist-revolutionary filmmaking collective dedicated to producing and distributing politically charged films concerning events of the day spanning all of South America. This carefully constructed montage of archival footage, clips from Gleyzer's films and home movies, animation, diary excerpts, and narration by Gleyzer's friends, family, and colleagues chronicles Gleyzer's life within the social and political context of Argentina in the 1960s and 1970s, as well as in relation to the emerging "revolutionary cinema" of Central and South America. Extras include an archival photo gallery. Recommended for those concerned with freedom of expression worldwide.—Robert A. Sica, Eastern Kentucky Univ. Lib., Richmond

This four-disc set features variety-show and standup highlights of five icons of American comedy: Dick Van Dyke, Phyllis Diller, Tim Conway, Redd Foxx, and Groucho Marx. The combination is perplexing because the links among these entertainers is tenuous. Van Dyke's patented physicality and use of song illustrate his familiarity with vaudevillian technique, providing a connection to Marx. However, Marx is featured near the end of his life, with only a glimmer of his earlier genius. The narrative incongruity among the four discs magnifies the questionable union of these comics. As a historical document, the performances are most relevant in comparison to contemporary techniques and topics—the variety shows seem banal beside the more revelatory, edgy humor of today (though Foxx's set gives a glimpse of his influence on contemporary comics such as Chris Rock). Recommended for audiences familiar with these five comedians. Those seeking an introduction would be better off watching the films and broadcasts that made these individuals legends.—Christopher Rager, Pasadena, CA

Why did the late author J.D. Salinger withdraw from public life in 1965, and what had he written since? French writer Frédéric Beigbeder, discussing these questions with some friends in 2007, decides to come to the United States to seek out Salinger and ask him himself. He retraces some of iconic protagonist Holden Caulfield's steps in New York City and talks about Catcher in the Rye with several high-profile American authors, including Jay McInerney, Rick Moody, and Stewart O'Nan, unearthing lightweight nuggets like, "His silence is his novel now." Beigbeder drives around Cornish, NH, apparently at random (no one will talk to him), not knowing where Salinger's house is, what he looks like, or even if he really wants to bother the then-89-year-old recluse. Beigbeder proves an engaging tour guide, even when the cheer seems a little forced, but the real star here is cinematographer Perier, who proves equally dazzling with cityscapes or rural scenes. Not a necessary purchase, this quirky film might be popular given Salinger's recent death and the possibility of posthumous publication.—John Hiett, Iowa City P.L.

This is an affectionate look at magical, musical years 1971–74 of the legendary Cowtown Ballroom in Kansas City, MO. Filmmaker Heyen documents the facility from its 1927 origins—as Kansas City's only integrated auditorium, hosting the likes of Count Basie, Jay McShann, and Cab Calloway—through the time when Van Morrison, The Byrds, Alice Cooper, and hundreds of others appeared there. Although short on archival footage, the film does a great job of re-creating the period and the cultural and political context of the space. Along with interviews with the organizers and performers (including BB King and Steve Miller), some of the most delightful moments are those with concertgoers and their smoke-filled nostalgia for that time. Brewer & Shipley's "One Toke Over the Line" provided more than merely the inspiration for the film's title. This film will appeal to anyone with a fond remembrance for that era. See the trailer at www.cowbr.com.—Bill Baars, Lake Oswego P.L., OR

Various strong woods, venerable tools, and practiced skills combine to produce handmade Steinway pianos as individual as the people who construct and play them. James Barron's Piano: The Making af a Steinway Concert Grand (Times Bks., 2006) described bending a piano rim as "choreography"; this beautifully edited film depicts the dance. Several classical and jazz pianists and young students try out pianos, then audibly demonstrate differences among their chosen artistic partners. Note by Note honors careful human hands, whether holding a chisel or a fermata, shaping a felt hammer or a musical phrase, playing notes repeatedly for tuning or performance. Eyes, hearts, and concentrated minds are similarly celebrated as essential ingredients for continual joyous discovery in piano craft and art. Extras include deleted/extended scenes, performances, and interviews with pianists and Henry Z. Steinway, last in the family to run Steinway & Sons. Highly recommended for all arts and crafts audiences and individuals with a song in their hearts. More at www.notebynotethemovie.com.—Bonnie Jo Dopp, Emerita, Univ. of Maryland, College Park

Intended for postsecondary audiences, this three-disc set takes a comprehensive look at the past, present, and future state of women's sports, especially in colleges. Talking heads, including heavy-hitters in the field like Cal State professor Carole Oglesby and former Women's Sports Foundation CEO Donna Lopiano, engagingly recount their childhoods in sport, reveal research results, and detail the embattled history of Title IX legislation, which was designed to equalize opportunities for women in educational institutions. Great photos and clips of women playing, e.g., intercollegiate basketball at Smith College in the early 1900s, enliven the viewing experience while also illustrating points about inequities between men's and women's athletics. The speakers especially address arguments that Title IX hurts men's programs. Each of 14 chapters ends with a list of exercises for further study. Perfect for those studying legal issues, gender issues, and physical education, this DVD will continue to be useful for years. More information at www.aahperd.org/nagws/programs/titleix.—Kathy Ruffle, Coll. of New Caledonia Lib., Prince George, BC

In the wake of a covert drug investigation in Tulia, TX, in 1999, 46 individuals were arrested, 39 of them black. On the strength of the uncorroborated work and testimony of a single undercover investigator, eight defendants were prosecuted, and the rest took plea bargains; all received exceedingly stiff sentences. The filmmakers allow the players in this exceptional documentary to lead us through the events. Speaking from their varied points of view, defendants, investigator, sheriff, Tulia residents, a jury member, and the attorney who took an interest in the case expose the miscarriage of justice that resulted from the unscrupulous investigator's manufactured and perjured evidence and testimony. Herrman and Whalen succeed in calling into question the tactics used by drug task forces; their film is an important part of the conversation about the entrenched biases in the war on drugs. Recommended for criminal justice collections.—Joan Pedzich, Harris Beach PLLC, Rochester, NY

Three DVDs provide an overview of the critical issues of college selection and how to find the tuition. 411offers in-depth coverage on funding college expenses, including such tips as filling out scholarship applications and writing personal essays. Providing a coherent explanation of state and federal funds, it shows how student aid sources are classified. Organized into 23 chapters, this DVD is a recording of a workshop program, with the speaker referring to a PowerPoint presentation. Slides, such as charts provided by the Department of Education, are included to elucidate the information. Most valuable to parents are the special features, among them recommended web sites and an offer of an accompanying $9.95 workbook.

Finding College Cash is also a recorded workshop composed of six parts, with speaker Kaplan sharing his experience in obtaining scholarships and suggestions for receiving free support. Focusing primarily on scholarship availability, the disc also covers student loans, with explanations about needs-based financial aid. This program includes extra features like printable forms. Unfortunately, you must print the forms prior to viewing, and that directive doesn't appear until after the program begins. (Directions for retrieval of the forms were inadequate for a PC environment.) Also, the audio levels were uneven and the background music was quite loud.

Incorporating interviews for more colorful, active images, College Admission Simplified features six episodes in which teens and parents learn about college application components such as AP courses, CLEP tests, and financial aid scenarios. Based on comments from college students and admissions counselors, the disc presents food for thought on why attending college will have lifelong benefits, admissions pitfalls, high school activities and courses recommended for optimum consideration, and time lines. Equally appealing to teens and parents, it is possible to view the episodes separately. Disconcertingly, many of the episodes repeat original sound bites and images from earlier episodes, with some uneven audio. 411 has a straightforward approach; Finding College Cash, the most expensive, includes humor to engage the audience but has technical deficiencies; and College Admission Simplified employs a college setting to lend authority to the interviews. All are appropriate for high school and public library collections.—Marianne Eimer, SUNY at Fredonia Lib.

Originally an eight-part series for Czech television, Private Century offers a unique look at how the forces of history impact the lives of individuals and families. Filmmaker Šikl uses the home movies, photos, letters, and memoirs of Czech citizens from varying walks of life to produce a history of Czechoslovakia you won't find in any textbook. The material covers the 1920s to the late 1960s, showing its subjects both at work and play, while the voice-over narration describes what the images omit. Life goes on, relationships are built and dissolved, and, as it happens, most of the film's subjects remained insulated from World War II, while the legacies of the postwar Communist regime are discord, deprivation, and misery. Unfortunately, Private Century ends before the events that led to the region's 1989 return to democracy and the creation of the Czech Republic. Includes nudity, occasional profanity, and adult themes. Recommended for libraries with a focus on European history.—J. Osicki, Saint John Free P.L., NB

Presented as an exposé, this video aims to refute claims of an Israeli massacre of Palestinians at the town of Jenin in 2002. It contrasts early media reports of 500–700 victims with the official death toll of 23 Israeli soldiers and 50 Palestinians and reveals the results of a UN investigation, which found no evidence of a massacre. Nevertheless, a Palestinian doctor on camera claims his hospital was hit by 11 Israeli tank shells, though the film crew finds no substantial damage, and an elderly Palestinian man tells of being shot twice point-blank by an Israeli soldier but bears no scars. The film convincingly presents its case that events at Jenin have been distorted while explaining why such distortion might occur; given ongoing tensions in the Middle East, notes an Australian aid worker, the Palestinians have developed a powerful multigenerational mythology that energizes their hatred of Israel. The film tells its story without narration through on-camera interviews with Israelis, Palestinians, and neutral parties. For anyone concerned about the gulf between Israelis and Palestinians.—Lawrence R. Maxted, Gannon Univ. Lib., Erie, PA

New York City-based film critic/filmmaker Cheshire returns to his hometown of Raleigh, NC, to discover that his cousin is moving their family's antebellum home, Midway Plantation, off their land and miles away from urban sprawl. This inspires Cheshire to explore how uprooting and moving the buildings affects not only members of his family but also ancestors of the slaves who built the beautiful structures and labored in the plantation's cotton fields. The film gets interesting when NYU Africana studies professor Robert Hinton, grandson of a Midway slave, visits Raleigh and offers poignant and provocative commentary on Southern history and attitudes, a fascinating counterpart to Cheshire's relatives' views. Cheshire occasionally steps away from this very personal story to analyze the distorted or unrealistic literary and cinematic representations of Southern plantations in works such as Gone with the Wind. Students of race relations in the American South and the legacy of slavery will gain substantial insight from this film, but it can easily be appreciated on a nonacademic level as well. More at www.movingmidway.com.—Douglas King, Univ. of South Carolina Lib., Columbia

Afghan Star: In Afghanistan, You Risk Your Life To Sing. color. 88+ min. color. In English, Dari, & Pashto w/English subtitles. Havana Marking, Redstart Media/Roast Beef Prods./Kaboora Prods., dist. by Zeitgeist Films, www.zeitgeistfilms.com. 2010. DVD UPC 7-95975-11243-7. $29.99. INT AFFAIRS

After years of Taliban rule in Afghanistan, where there was no television or music, a new TV show began in 2005 in which the public could vote for their favorite singers. For many, Afghan Star is their first taste of democracy. Tolo TV, which produces the show, feels it is helping to bring the many diverse ethnic tribes of Afghanistan together into one music-loving whole, as the competition is open to all. Three women audition, and two make it to the finals, weathering slurs and death threats. The film follows them and two other top ten finalists, facing the culture clash of becoming a pop idol in wartorn Afghanistan. Director Marking includes small slices of everyday life along with face-to-face interviews with the finalists, the producers of the show, Afghani viewers, and those who actively "campaign" for their favorites. For those who enjoy history, pop culture, and music, this Sundance award winner illustrates a hopeful cultural resurgence in Afghanistan.—Charli Osborne, Oxford P.L., MI

It is 2004, and Afghanistan holds its first democratic election. Defying all odds, a woman, Dr. Massouda Jalal (b. 1962), runs for president. Despite the Taliban's crushing, misogynistic, and longstanding hold on the Afghani people, Jalal takes on the big military, financial, and religious powers to represent the new spirit and hope of the long-oppressed and unheard in her country. We want to root for underdog Jalal. But the same problem that may have hurt her campaign also hurts this film: Jalal comes across as pedantic, unsmiling, and totally lacking in charisma. We already know who wins the election, but there could have been more drama and buildup to the outcome; it is difficult to get too invested in Jalal's candidacy without any feeling of personal engagement with her. This is a positive record of a special time in Afghanistan's history, but it ultimately left this reviewer feeling let down.—Ellen Druda, Half Hollow Hills Community Lib., Dix Hills, NY