Wild Review

Let’s address What We Notice First: This is Reese Witherspoon like you have never seen before
So in the first minutes of the film, you see Reese Witherspoon dressed in not so glamorous clothing, taking off her boot, and revealing a bloodied and blackened toe! The boot falls off the cliff, and she sends the other shoe over the cliff as well. Then you hear her saying, “You f—ing b—ch.”
And then you think about Legally Blonde and you do a double take. This is the same actress?
True Reese has done meaty film roles when she acted in for instance, Vanity Fair and Walk the Line. But, she hasn’t acted in anything so gritty, and unglamorous as Wild. It is a vision to see her in this light.
This film is a feminist film at its height
Perhaps my favorite aspect of this film is that it is a film which showcases feminism at its best. It does show a woman all by herself going cross country to redeem herself after years of spiraling downwards into drug addicted behavior, cheating on her husband a countless number of times, and at one point even becoming pregnant with one of her adulterer’s children. Traditionally women have often been designated to be with someone- a husband, a father, or even among the company of other women. But women, haven’t traditionally been recommended by society to be alone. You are told that you need a man for money, a house, and for protection. What Cheryl does- going out in the wilderness by herself is unheard of.
And there are definitely times, when the filmmakers make sure that people get this message. First, it is when Cheryl goes to check-in at the motel and the motel clerk (For the record, it’s Carolyn from Mad Men- Roger’s secretary) says that you have to list an emergency contact, and Cheryl says that she is here by herself and the clerk, says no you cannot be. You have to have an emergency contact. This back- and forth exchange goes on for a while, until Cheryl finally lists her ex-husband as her contact. But, this exchange showcases to viewers, how society is telling a woman that she must have somebody— how she be totally without somebody? How can she truly be by herself as Cheryl says she is.
Another instance, this film test’s society’s (and possibly viewer’s assumptions) is when Cheryl is picked up by the farmworker and taken to his house for dinner. His wife has made a lot of food, and as the three of them sit down for dinner, Cheryl tells them of her solo journey. The wife says, “Oh my husband would never let me do that.” And the husband chimes in, “You are right, I wouldn’t.” I think the message the filmmakers want us to walk away with are that women still need men’s permission when it is time for them to do something different than ‘wifely’ tasks like cooking.
Perhaps this is the cornerstone of the feminist elements of this film is when Cheryl runs into a man who is a reporter and who works for a paper called The Hobo Times. He says that he would like to interview a female hobo for the paper. And every time Cheryl says, I am not a hobo, he asks her another question about being a female hobo. It’s pretty hilarious! Eventually this conversation prompts Cheryl to say that when can a women ever leave? We are either somebody’s wife or somebody’s mother. The reporter then asks/tells her that she sounds like a feminist. And her response of course is, Yes, I am.
Chery’s story is truly unprecedented. Here is a woman, who fends for herself, makes her own food, and travels in the elements- without much help from others. If this film cannot convince a sexist, that women need men like a bicycle needs a fish- then I don’t know what can.
This film really plays with sexuality
From the orgasmic breathing as Reese hikes to the top of the cliff in the beginning of the film, to when a fellow hiker questions her 12 condoms in her backpack, to the men who eye her ravenously on the trail ( and later even show up unannounced)—this film has a sexual feel to it. Sometimes the sexual feeling which permeates this film- has a predator and prey pull to it.
Disappointments in the movie
I remember reading up on the movie before seeing it on the big screen. I also remember Reese Witherspoon discussing how Cheryl Strayed had sexual experiences with different men and how she (Reese) found this empowering. In fact, Reese went onto explain how these stories’ from Cheryl’s life helped Reese have conversations with her daughter about female sexuality; and how sometimes as a girl/woman growing up, “.. you just need to be with those guys ( sexually). We all have different needs and sometimes you need to sleep with those men at that point in your life. “
But honestly, I didn’t see Cheryl have a lot of “free healthy sex” relationships with many men outside the confines of marriage. Don’t misunderstand me, sex within the confines of marriage is absolutely fine, and with such a caring husband like Cheryl’s that’s even better! But, since sex outside of marriage has been traditionally looked down upon for women, and this film has been hailed as a feminist film—so I guess I wanted to see more of that.
Perhaps, the only twice I saw her have healthy free sex, was towards the end of the movie when she is done with the trail and she has sex with a guy she meets at a concert. And he graciously accepts her physical scars and seems caring.
The other times she had sex, were times in my mind when she shouldn’t have sex. This is because they all seemed to be from times when she cheated on her husband. Her husband in my eyes, was a saint. He stayed with Cheryl for many years despite the fact that she cheated on him; when she was high out of her mind on the street, he picked her up, he dealt with her shouts, and when they were no longer together he was her emergency contact, and even mailed her packages at different rest stops along the Pacific crest trail.
When she worked as a waitress a few times it looked like she took some customers to the back of the alley and had sex with them. And it really bothered me to see this because first of all, we as the audience didn’t know if these men were married or not. So by sleeping with her they could be committing adultery.
Furthermore, WE as the audience know that she is married, so it is really hard to see her committing adultery. But these relationships seemed like snippets of the film. You don’t see her engaging in too many physical relationships, and furthermore relationships which as Reese Witherspoon said, “ Sometimes you just need to sleep with those boys.” Where was that?
Yes, it is a great feminist (and human) journey to take such a bold, unique, and incredibly hard journey through nature’s elements by yourself. At the same time, it would have been nice to see her show snippets of healthy female sexuality-especially when sexual elements like the orgasmic breathing intro or the men who watch her like prey on the trail- make the film a bit sexually charged. To have the environment be sexually charged and not see much actual sex scene tidbits, well makes parts of the film a bit of sexual tease.
Family and Redemption
The fourth and in my opinion, sweetest aspect of this film is family. Cheryl is really close with her mother Bobbie and while she was a child, her brother. Cheryl’s mother is a woman in an abusive relationship while Cheryl was growing up. In fact, from time to time there are flashbacks of Cheryl running into a drug store and running out with cotton pads and rubbing alcohol to wipe away her mother’s wounds. This sad family backdrop probably helped shape Cheryl into the feminist she became. But, it probably made all three of them very tight-knit because that is all they had. Her mother Bobbi (so brilliantly and lovingly played by Laura Dern) maintains her happiness despite what little material possessions and dilapidated house they have. At times, Cheryl resents her mother’s upbeat cheerfulness and questions on her how she can be so happy. Cheryl even challenges her mother’s ideas about the books they both have to read for a class. Cheryl’s source of annoyance at her mother isn’t always clear- but there is a feeling that it could stem from the age old saying which says, “We hurt the ones we love the most.” And it is clear that Cheryl deeply loves her mom. When her mother unexpectedly dies, Cheryl cries as if she is being burnt at the stake.
And at the end of the day, Cheryl feels that she lost her way in life because of the loss of her mother, and says, “I am going to walk back to the woman my mother was proud of.” Her redemptive journey is rooted in the reason of family.
Cheryl also seems to have found a family with her former husband. Even though they decide not to be together anymore, they decide to get tattoos which will connect them permanently in a way. While she is on the road, her only emergency contact and somebody who sends her care packages. He is the only family she has at times.
And at the end of the movie. Cheryl even mentions how after her journey is over that she ends up marrying somebody a few years later and has a son and then a daughter. So, her redemptive journey eventually led her to the reason why she did this on foot journey in the first place: family.

REVIEW: 93rd Annual All Media Exhibition

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I attended the opening reception for the 93rd Annual All Media Exhibition. The event was packed with art-lovers and the walls were decked out with works of art. The live music contributed to the classiness of the atmosphere and the free wine and appetizers satisfied the crowd. A few artists that captured my attention as I made my way through the gallery were Michael Reedy and Cathryn Amidei. All of the exhibited artists are based in the Great Lakes region and these artists in particular are based in Michigan.

Reedy’s piece in the exhibition, entitled The Kiss, is a mixed-media piece. It involves a naked female-figure and a child-figure in an ambiguous space. The naked female-figure sits and embraces the child-figure with closed eyes. Hauntingly, the child-figure is eyeless and skinless; the viewer sees its veins, organs, and skeletal structure. Both figures are vulnerable insofar as the female-figure is naked and the child-figure’s bodily insides are literally exposed. The relationship between the two figures suggests intimacy and the title, The Kiss, reinforces this perceived intimacy. The ambiguous space in the background highlights the all-consuming intensity of their intimacy. Nothing else exists.

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Amidei’s piece in the exhibition, entitled Receptor, is a hand-woven fabric piece. Its solitary female figure directly stares at the viewer and her gaze is longs for attention. A familiar-feeling pattern spreads across her face. The greens and purples add to the seductive quality of her gaze. The piece is quite hypnotic in-person because the texture is more perceptible. The title, Receptor, implies receiving and the state of openness. The piece invites its viewers to step into into its seductively-patterned world. The Kiss involves figures engaged with each other rather than with the viewer; Receptor, however, involves a solitary figure that directly and hypnotically engages the viewer.

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Several other artists participated in the exhibition and their works are worth experiencing in-person. Importantly, the exhibition included Great Lakes artists that work in a variety of media. Artists tend to concentrate within somewhat limited scopes of expertise. For example, an accomplished painter may know little about photography and likewise an accomplished photographer may know little about painting. The exhibition combines artists with differing scopes of expertise and celebrates their shared characteristics: firstly, their ability to create art and secondly, their ties to the Great Lakes region.

The 93rd Annual All Media Exhibition will run until the end of November.

Preview: Halloween Band Masquerade at The Blind Pig

It’s that time of the year when Ann Arbor is abuzz again with events taking over every minute of Halloween Weekend. The 7th Annual Band Masquerade is happening at The Blind Pig with five local bands performing covers of some of the most popular rock songs and artists of all time. Well, we all dress as our favorite characters and go around town, so these immensely talented artists decided to dress like their favorite bands! I am extremely excited for this event as I’ve heard these artists for years, wished to be teleported to the 70s and every time I listen to either of these, I get the chills – and this is perfect for the season of spooks, chills and thrills! Feel The Pigs and the Dogs as you take your trip up the Stairway to Heaven and take a Bullet in the Head because IT’S HALLOWEEN TIME! (if you don’t get these references, please take time to listen to a few of their songs or make your way to The Blind Pig because you are seriously missing out on some amazing music)

The line up for the night will be:

-PINK FLOYD’S “Animals” album as performed by Counter Cosby & Friends

-LED ZEPPELIN as performed by Scissor Now!

-RAGE AGAINST THE MACHINE as performed by Volcano Worshippers Hour!

-THE KINKS as performed by Cyrano Jones

-BJORK as performed by Junglefowl

This event is 18+ so bring all your friends and a valid ID for entry. Amazing wigs, trippy costumes and costumes are absolutely encouraged to get a blast of the past and well, have the most fabulous time jamming to this music. Come say hi to the girl in a Sriracha sauce costume if you spot me there! Tickets are $11 for 18+ and $8 for 21+.

You can find out more about the event on Facebook https://www.facebook.com/events/910215925724800/

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REVIEW: Meet the Patels

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Ravi Patel, star and co-director of Meet the Patels, concealed his caucasian girlfriend from his Indian parents. He knew they would react with disappointment with his decision to date a caucasian woman. Yet he realizes he can’t lead two separate lives anymore, ends his relationship with his girlfriend, and embarks on finding an Indian girlfriend and potential spouse. Meet the Patels chronicles Ravi’s search for an Indian wife.

The film begins with scenes from the family’s annual trip to their home village in India. Everyone inquires about Ravi’s personal life. The interrogations drive him crazy. He’s under an incredible amount of pressure to marry an Indian woman. Ravi returns to the United States and sifts through the resumés of unmarried Indian women. He travels across the country during his search and even attends a matrimonial convention.

Ravi becomes confused as to what he wants. Initially, he wanted an Indian partner to appease his parents. But he also wants someone who shares his American upbringing. The film suggests that Ravi misses his ex-girlfriend. In the end, Ravi gets back with her. His parents seem content with this decision and with the fact that that he’s no longer single. The last scene of the film involves them gathered around the dinner table. His father then suggests they should have kids, which the viewer assumes is another expectation that his parents have. The film ends on this comical note. Overall, Meet the Patels was heartwarming. Ravi’s parents constantly smiled and made jokes throughout the film. Admittingly, I expected some sort of marriage scene because Ravi and his girlfriend got back together at the end of the film. But the film didn’t end in a marriage.

My parents never pressured me into marriage; they didn’t even have a traditional wedding because they didn’t care for the pomp and circumstance. I think members of their generation rebelled against the marriage traditions that their parents practiced. In contemporary American society it’s considered normal to be unmarried at any age or to be in a committed relationship without marrying someone. Meet the Patels is about different cultures clashing but it’s also about different generations clashing. But it stars a comedian and his hilarious family, which adds comedy to an otherwise serious topic.

REVIEW: Sankai Juku’s “UMUSUNA”

From the very first moment to the last, the Butoh dance company Sankai Juku captivated all audiences with their movements. All eight company members exerted utter control over their bodies, in the artistic sense that we do not see in the Western dance forms.

Founded by Ushio Amagatsu in 1975, Sankai Juku is one of the leading Butoh dance company from Japan. Butoh is an indescribable and difficult-to-define genre with playful and grotesque imagery, taboo topics, and extreme or absurd environments. As with many other Butoh dancers, performers of Sankai Juku paint their bodies white, shave their heads, and wear simple costumes — either all-white or white with one additional color. As a result, they look much like classical marble statues dancing on stage. In fact, the idea of using cloth-wrapping as their costume was inspired by ancient Greeks and Romans, when these clothes were considered gender-neutral and generic. (It was nice to be able to read this article in Japanese to find this out.)

Ushio Amagatsu in his solo act of “UMUSUNA”. Photo courtesy of the artist.

Although the marble statues may be a Western/European idea, Sankai Juku diverges from the Western aesthetics in dance in many ways. The biggest one is the ideas surrounding “tension” — Amagatsu describes Butoh as “a conversation with gravity”, in which the dancers seek to achieve “relaxation” by going along with gravity in their movements as much as possible. In ballet, dancers intentionally add tension by dancing en pointe and lifting up their bodies; in Butoh, they intentionally bring down their center of gravity. As such, each movement is very slow and steady — in the opening 20-feet-walk that could take 3 seconds in our daily life, Amagatsu takes 3 minutes. Choreography incorporates lying down, crawling, bending, gasping for air, and many other movements that are vital in our life — “UMUSUNA” is the concept of entering into a world, on a blank slate.

UMUSUNA is a very old word originating from ancient Japan that has the same root as ubusuna (one’s place of birth). Ubusu means birth, the beginning of life, or entering the world. The word umusu also embodies the concepts of everything and hothing, existence and nothingness. Na evokes the land, the ground/sosil. and one’s native place. (Taken from program notes)

 

In the simplistic stage setup for “UMUSUNA,” sand constantly falling from the ceiling reminds us of time that flows very slowly and steadily. One scene flows to the next seamlessly. To me, the most incredible scene change was the one from “III. Memories from water” and “IV. In winds blown to the far distance.” After four dancers spent the entire act crawling, sliding, and lying down on the sand-covered platform, the lighting changes to cast shadow on the traces that these dancers have made. Then, the dancers gradually switch out — and the new dancers stare at the traces made by their predecessors — as if they are looking back to their infancy and childhood, their “birthplace (ubusuna)”.

Watching Sankai Juku’s performance challenged me to think about contemporary dance from different perspectives. It makes me feel very happy that these people have come from Japan to perform — the same ubusuna as me. Thanks (again) UMS and Pomegranate Arts for bringing this wonderful performance to Ann Arbor!

PREVIEW: Wild Child w/sg Elliot Moss

Credit: Courtney Chavanell

Looking for something to do this Halloween that has nothing to do with Halloween?

Look no further.

This Saturday night, Wild Child will be performing at The Ark. Wild Child is an indie-folk band hailing from Austin, Texas. Their songs feature up-beat melodies and wryly crafted lyrics, and utilize a wide variety of sounds and instruments. Their latest album, Fools, was released on October 2nd.

For a taste of Wild Child: https://www.youtube.com/watch?v=87PZgweY-gY

Singer-songwriter Elliot Moss will be opening for Wild Child. His songs have a dark ambient mood and slow, drawn-out feel to them.

For a taste of Elliot Moss: https://www.youtube.com/watch?v=AMzjbyZhM5U

Once again, this concert will be at The Ark on October 31st. Doors open at 7:30 and the show starts at 8:00. For more information: http://www.theark.org/shows-events/2015/oct/31/wild-child-wsg-elliot-moss

Ticket Price: $15 for general admission/$22 for reserved seating