DVD Review: Official Rejection -- Two-Disc Rejection Collection Edition (2008)

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Back in 2008, a Park City, Utah sized ski mountain of 2,051 film submission packets were sent to Robert Redford's holy grail of film festivals regardless of the fact that there were only 16 competitive slots available at Sundance. Similar to the way that Ivy League schools are flooded with applications and rake in the dough from those who realistically may have zero chance of ever getting to wear Harvard Crimson, Yale Bulldog Blue (or receive the envied Sundance swag), filmmakers will not be dissuaded from playing the lottery by shooting for those hallowed halls or auditoriums.

And the reason they go through the agony is simple: like Cinderellas waiting for their Prince Charmings or filmmakers waiting for their own versions of Bob and Harvey Weinstein, they've all heard the fairy tales of former indie icons turned major directors like Steven Soderbergh, Quentin Tarantino, Robert Rodriguez, Edward Burns, and Kevin Smith who were plucked out of obscurity and given the glass slipper of theatrical distribution, studio contracts, and best of all, the chance to pay off the dozens of credit cards a majority of entrants used to finance their films in the first place.

And even though some modern filmmakers still opt for the expensive but gorgeous look of celluloid film stock, with digital video cameras both readily available and on the cheap along with screenwriting, editing, and musical mixing computer software, we have more filmmakers than ever, opting for a do-it-yourself method and the ability to make a film for next to nothing.

While some of the '80s and '90s independent films were undoubtedly of low quality as well, today in the advent of YouTube and too-much-information, everyone can become a filmmaker. And because it seems like a great democratization of the industry, they shoot for the moon as obviously, Sundance remains the premiere festival in the country to play.

Yet as an astute interviewee remarks in this fascinating documentary, just because you can make a film, it doesn't necessarily mean you should... however, the same can be said for putting on film festivals. Essentially our country is flooded with festivals, which have become a never-ending convention for struggling filmmakers wherein some provide invaluable resources for networking and literal accolades and others which are run out of a van or as we find out in the film, barely run at all.

Yet when you understand how many official rejection letters were sent out in stark contrast to Sundance's 16 titles deemed official selections, which increasingly involve Hollywood stars slumming it in “indiewood” for the chance to appear in a film not made opposite a green screen, it's no wonder that so many filmmakers then decide to take the roughly year long festival circuit express to find if not acceptance than at least an audience.

While one would assume that actually making the movie would be the biggest hurdle, as we're quick to discover in Paul Osborne's wise, heartbreaking, passionate, and darkly funny insider's documentary, once the film is finally cut the way they'd want it to play, the real work begins as marketing the movie and getting it into the hands of others becomes a full-time job.

If they're lucky enough not to have maxed out their cards on production budgets, playing the festival game suddenly begins requiring every single card in their wallets. While a majority of filmmakers still have their day jobs out of necessity unless they're being temporarily supported by a significant other and risk the high incidence of eventual breakups from separation, stress, finances, and the emotional rollercoaster of the lengthy process, they also begin their second job as their own PR mastermind immediately.

Designing and ordering postcards, fliers, stickers, and promotional items along with screeners, postage and more to create their own do-it-yourself press kits they submit along with paperback book length admission forms and of course an admission fee that may run filmmakers anywhere from $50 to $100 for each and every festival, filmmakers stockpile rejection slips until finally an acceptance appears.

Yet, then the question comes becomes, "is it the right venue to hold your premiere" as we discover that filmmakers can debut too early or too late in the film fest equivalent of knowing if it'll be a white wedding or one whereas they may as well just wear the brightest dress they can find, since the film has been screened everywhere.

Chronicling his own journey of bringing the film he wrote and his friend Scott Storm directed Ten 'Til Noon to the various festivals across the country, documentarian Paul Osborne makes what he shares is a not just a cathartic work having lived the experience but one he wished he'd had beforehand, realizing that no films detailed "the festival circuit" in a way "that could help [him] understand the politics [he] was facing." The result is Official Rejection, Osborne's fascinating, no-holds-barred examination of what really happens when the shooting ends and a lavish La La Land wrap party, red carpet premieres, international press, and/or studio run marketing campaigns aren't in a filmmaker's corner.

Featuring candid interviews with festival directors, programmers, volunteers and others who have braved the circuit including Kevin Smith, Bryan Singer, Troy Duffy, The Office's Jenna Fischer, Blayne Weaver, and several others, Official Rejection is an in-depth examination of the state of modern independent film.

Weighing the pluses and minuses of the festival circuit, we witness Osborne and Storm's own journey to find some festivals which are genuinely passionate about fostering a community and delivering excellent programming and others where the overall goal seems to be in creating a less than stellar lineup as long as they can add more “exclusive” works or world premieres to their festival guides.

In fact, we're flabbergasted by the unprofessional tactics of either trying to blackmail a filmmaker into pre-selling their own performances in a completely different state or their movie will be pulled or by stealing movies from other festivals as a very prominent festival tries to talk Osborne and Storm out of their commitment to another festival with mean-spirited gossip and warnings.

Along with author Chris Gore's well-respected Ultimate Film Festival Survival Guide, this movie should be mandatory viewing for those who attend, work, or run festivals. Furthermore, it's of particular interest to moviegoers who are simply confused by just what constitutes an independent film anymore.

Post-Miramax, the term "independent" has been thrown around as hastily as calling something "genius" and sure enough the true, few and worthwhile do-it-yourself indies (which are now nearly drowned in a sea of far too many and far too poorly made works) find themselves unwittingly in competition with big budget or studio backed films. With faux "independent" marketing campaigns, loose labeling or "independent" divisions of major studios, real independent films suffer by comparison to the Hollywood polish of movies such as American Beauty Oscar winner Sam Mendes' Away We Go, Oscar winner Steven Soderbergh's Warner Brothers feature The Informant! and Oscar nominated Jason Reitman's Up in the Air, all of which are included on my Top 10 list for 2009 alongside truly independent made works.

Similarly, I enjoyed Official Rejection on a number of levels. While overwhelmingly, it was a blast to watch as a critic who was delighted to put names with the faces of some of the individuals whose movies I've reviewed in the past (like Blayne Weaver who made the charming Weather Girl) or see a candid Kevin Smith whose new box set was right next to this screener, I found it particularly revealing as a former film festival volunteer supervisor, grant and film summary writer as well.

In this sense, Rejection provided me with a rare glimpse of perceiving the festival from the perspective of not a worker or a press member but instead via those who fly in (often on their own dime at some of the festivals showcased) and realize that just because they're in the festival, it doesn't automatically guarantee that anyone will buy their movie's tickets without some good old fashioned shoe leather, flier hand-outs, and local press visits.

Additionally, wanting to ensure that viewers would have as much information as they wanted that couldn't fit into the running time, deleted scenes and extended conversations are contained on a second disc as witnessed in a particularly revealing interview with Kevin Smith who humbly discusses his Clerks experience and admits that he doubts he'd get chosen for Sundance today, or practical tales from the battlefield from the kindhearted Lollilove writer/director Jenna Fischer.

Likewise, since Arizona's acclaimed Phoenix Film Festival was featured in great detail for not only airing Osborne and Storm's earlier film Ten Til Noon but also screening this title as well in 2009, it was enjoyable to see from a local perspective. Celebrating the fact that the Phoenix Film Festival was actually created by independent filmmakers all too familiar with what it means to spend over a year in their shoes, Official Rejection also gives you the chance to do the same as well for its 107 minute running time that may wind up changing the way you think about not just festivals but the importance of groundbreaking, risk-taking, entertaining and worthwhile independent film in general.

Text ©2009, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com
Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited.

FTC Disclosure: Per standard critical practice, I received a screener of Official Rejection to use for my review but this had no impact on my evaluation of the film, which incidentally championed the importance of critics whose words last forever.

Blu-ray Review: Valkyrie (2008)

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Despite being born and raised in the era of “Free to Be You and Me,” following World War II, I never felt free to be German. Seemingly unable to escape my heritage because it is the country from which my last name is derived-- as a child if you were to ask me about my ethnic background, I'd list the other four nationalities first, drop an octave and then apologetically whisper “and German.”

It made little difference that my relatives had all arrived via Ellis Island and were not a part of Hitler's Germany-- for just like now we find so many people of Middle Eastern descent being typecast as villains in Hollywood films. For every year without fail and usually in the attempt to lure more Oscar nominations, studios release a plethora of World War II pictures filled with nefarious Germans, swastikas galore, and more points of view from the unspeakably horrific global war.

And while with greater education and cinematic offerings we’ve begun to catch new aspects of the war from foreign films like Black Book, Downfall, The Counterfeiters, and Nowhere in Africa—regardless of their origin, the films instantly makes the small amount of German blood in me boil and the results find me feeling irrationally guilty.

Last winter was no exception as once more theaters were filled with titles concerning World War II that ranged from The Boy in the Striped Pajamas to The Reader to Defiance to the long-delayed Bryan Singer venture Valkyrie produced by and starring United Artists’ new studio head Tom Cruise.

Although as Oscar host Hugh Jackman even joked, basically nobody checked out The Reader (much to the surprise of everyone when Kate Winslet took home both a Golden Globe and Academy award for her little-seen role), the reaction to Pajamas was extremely mixed, and Defiance opened under everyone’s radar after the holiday season. Yet despite its controversy and ever-changing release date that once had been scheduled for Valentines Day of 2009, in the end it was the senselessly pre-judged and ridiculed Valkyrie that scored a major “V for Victory" both for United Artists and World War II movies as it became “one of the biggest grossing box office adult movies* of the past holiday season,” as the press release acknowledges. (* Yes, I didn't think the word order of "adult movies" was a great choice either.)

Although public perception had drastically improved for some of the previously questionable antics of Tom Cruise following his hysterical cameo in Ben Stiller’s Tropic Thunder which may have helped turn the tide for a film that was receiving negative buzz way before it opened.

Whatever the case may be, in my view the movie is a success on a number of levels. Sophisticated and highly intellectual, the work which tells the true story of a brilliantly engineered plan headed up by Colonel Claus von Stauffenberg (Cruise) and several other high ranking German soldiers to assassinate Adolf Hitler in 1944 engages you deeply into its suspenseful plot. This is all done via the painstakingly historical efforts put forth by Singer and screenwriters Christopher McQuarrie (Oscar winner for The Usual Suspects) and his co-writer Nathan Alexander.

Despite the fact that there were fifteen recorded attempts to take out Hitler, it was the amazingly methodical and meticulous organization of von Stauffenberg, a tight-knit group of officers and a network that expanded to seven hundred others that made Operation Valkyrie the closest the Germans ever got to putting an end once and for all to the madness of Hitler’s Nazi tyranny.

Curiously and despite the fact that it's a natural plot for Hollywood fodder, the story is long overdue for cinematic treatment and it’s one that as the Blu-ray for the release informs us, McQuarrie literally chanced upon while in Germany years ago researching something else entirely. When he noticed a small memorial of four soldiers including von Stauffenberg, he discovered that Germany’s involvement in the war was not quite as “black-and-white” as it has been portrayed for decades on the silver screen.

As the living grandson of the real von Stauffenberg explains, his grandfather like other men were proud to soldiers and serve their country and did not consider themselves to be part of the Nazi regime. Following an attack on von Stauffenberg’s 10th Panzer Division serving in Tunisia which left him seriously wounded (including the loss of one eye, a hand and other fingers), upon his return to his family and home in Berlin, he’s soon ushered into the ongoing plot and secret meetings among other disillusioned and disgusted German soldiers to eliminate Hitler.

However and despite a tense failed attempt to simply execute via a bomb in a move spearheaded by Major-General Henning von Tresckow (Kenneth Branagh)-- with von Stauffenberg’s level-headed assurance that there must be a plan to follow Hitler's demise, they realize that it’s a far more complex proposition than simply just walking up and shooting him at close range the way most had no doubt fantasized.

In addition to von Stauffenberg and von Tresckow, we meet several key players including General Frierich Olbricht (Bill Nighy), Ludwig Beck (Terence Stamp), and General Friedrich Fromm (Tom Wilkinson) and more including some like Fromm who are fearful of what would happen if it goes horribly wrong.

Although once von Stauffenberg realizes that the best way to stage a coup and seriously deconstruct the military stronghold to immobilize the SS so that he and the others can work to set things right once the Fuhrer falls, the smartest yet most dangerous move is to use Hitler’s own Operation Valkyrie contingency plan against him.

Bravely rewriting it, setting new details into play and forming alliances with a string of like-minded soldiers-- von Stauffenberg never makes a misstep even when he’s face-to-face with Hitler himself and has to receive his signature on the new document.

Likewise, Bryan Singer doesn't miss the opportunity to use his penchant for suspense to punch up the execution of Alexander and McQuarrie’s dialogue driven script (inspired by HBO’s Conspiracy, ironically starring Kenneth Branagh). In doing so, he makes every scene a truly intense action sequence even when a pen and not a sword is used and this approach is precisely what made Valkyrie one of the most thoroughly gripping and fresh takes on the World War II genre in a long time.

Although initially, I must admit that seeing Cruise playing von Stauffenberg with the same intensity and style he injects into a majority of his interchangeable American hero films was a bit disconcerting. Moreover, I was also taken aback by Singer’s extremely odd decision to have his cast go with their natural accents (mostly British with the exception of Cruise’s contemporary American fast-talking rhythm) as opposed to striving for some sort of more balanced sound for the ensemble.

While the X-Men and Usual Suspects director explained in the production notes that adopting accents would most likely have distracted from the plot as a whole and he felt more inclined to just make the piece “engaging” rather than docu-drama like--given its meticulous attention to detail in filming for example some of the firing squad sequences exactly where they happened makes this deviation from authenticity increasingly hard to ignore.

Yet despite this choice, the film is a tremendous achievement and one that triumphs wholeheartedly in finally shedding light on this inspiring effort by soldiers determined that by not trying to counter the Nazi regime, the world would assume that Germany was simply Hitler’s Germany and not the country in which they loved and were proud to serve.

Loaded with bonus features including a second digital copy disc of the film to transfer to your compatible Apple or PC portable devices--per usual for Fox and MGM Blu-ray releases-- the clarity in sound and picture is first rate and manages to make it even more exciting than it was in the theatre. This is especially true considering that do to the intricacies of the script, we’re able to focus more on the many characterizations of the rather large ensemble involved when we have the chance to watch at our own pace and better digest information.

While Journey of the Valkyrie and two commentary tracks are included (including one with childhood friends and Usual Suspects colleagues Singer and McQuarrie and star/producer Tom Cruise and the other with writers) along with other featurettes that reveal just how much Cruise and some cast members looked damn near identical to the men they portrayed (see below)—the two standouts on the Blu-ray include a historical mini-documentary hosted by von Stauffeberg’s grandson called The Road to Resistance and a Q&A conversation hosted by Annette Insdorf with Singer and Cruise.

At last a film that illustrates the multiple layers of the war and educates viewers who may have easily jumped to the conclusion that Germany equals Hitler and Soldier equals Nazi as depicted in countless films—while some may still nit-pick on the accuracies of certain portions including von Stauffenberg’s motive or the film’s absence of an exact plan for how the new leaders would’ve found a way to stop the devastation—it’s a stellar and involving work.

Passionately made by Singer who recalls in a conversation with Insdorf that when he was growing up Jewish and obsessed with the war his two best friends just so happened to have been German born German Americans here in the states—Valkyrie honors the brave and intricate plan and similarly those involved. In other words, it reminds us once again of the important lesson that there’s so many sides to every story. And on a more personal note, after walking out of a WWII picture for the first time in my life, I finally felt not just "free to be" but very proud to be a German American.