On film: Cuarón’s Roma is a very personal project

In Roma, Academy Award-winning director and writer Alfonso Cuarón (Gravity, Children of Men, and Y Tu Mama Tambien) has delivered an artful love letter to the women who raised him. Presented in Spanish with English subtitles, this immaculately photographed 135-minute film presented in black and white is a beautiful ode to his Mexican childhood. It draws upon Cuarón’s early life experiences growing up in a middle-class family in Mexico City’s Colonia Roma district to create both “a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.” It’s a film about resilience and survival.

As Roma begins, one critic describes its opening as “a mesmerizing four-minute credit sequence – the mopping of a courtyard – the flow of foamy water establishes a rhythm as well as a cleansing metaphor about life and memory.”

The film follows its protagonist Cleo (portrayed by first-time actress Yalitza Aparicio), a young live-in domestic helper, and captures both her devotion to Cuarón’s family as well as detailing her personal problems. She becomes the focal point of the film in what becomes a collection of childhood memories about Cuarón’s family, the house he grew up in, and his neighborhood.

As the film’s writer, Cuarón wrote the script as a stream of consciousness. So, we see a combination of personal and social issues unfold in front of us. It seemed that because Cuarón allowed his emotions to play out, some of the scenes run long without tight editing. However, as the film unfolds it becomes its strength and not a liability.

Roma is meant to make us think. It’s an art film not an entertainment movie. Because Cuarón chose to film it in black and white, we gain more intimate details – and it lends itself toward recalling memory. After all, memory can be subjective – but it can also be objective, too. There is a lot of subtlety, a touch of humor, and plenty of honesty. Several things that are foreshadowed play out later in the movie such as an earthquake, a massive fire and the Corpus Christi massacre of 1971 that is shockingly detailed and restaged by Cuarón.

Roma opens in theaters just in time for the holidays and it’s sure to gain momentum as the awards season comes into full view. It will also be released simultaneously on Netflix, which will allow the film to reach a wider audience. However, Roma is best seen on a large screen and preferably in a classic, single-screen cinema like I saw it on a recent Sunday morning in northwest Washington, D.C. Its directionality of sound is truly amazing. Recently, one critic described Roma’s sound as a “bewilderingly intricate tapestry of distant street sounds, ambient noise and close-up conversations.” It’s a film that you can definitely watch with your ears, but you’ll want to see it with your eyes, too.

Toy Story at Twenty: To infinity and beyond!

Toy Story / A great story with great characters.

With the release of The Good Dinosaur over Thanksgiving weekend, it's hard to believe that it's been 20 years since the debut of Toy Story, the memorable tale of a group of toys that come to life which was the first feature-length computer-animated film and the first theatrical film produced by Pixar.

At San Francisco International Airport, I recently happened upon SFO Museum's newest curated exhibition, "Toy Story at Twenty," which tells the story behind the story of this wonderful buddy-comedy adventure film through a variety of artifacts -- early sketches, toys and sculptures of the unforgettable characters Woody, a pull-string cowboy doll, and Buzz Lightyear, an astronaut figure -- as well as sharing backstories from many of the principals at Pixar such as director John Lasseter, producer Ralph Guggenheim, and story co-creator Andrew Stanton, who were involved in the production that forever changed the landscape of feature animation.

Toy Story / A buddy movie where the buddies are toys.

"It'll be a buddy movie: a banter-laden tale of a bitter alliance blossoming into a true friendship," said Toy Story director John Lasseter, as quoted in the exhibition. "It'll have a few unusual twists. First, the buddies will be toys. And second, it will be the first time an entire movie will have been created using computer animation."

According to Toy Story producer Ralph Guggenheim, "Nobody knew what skills we'd need when we started. It was a completely new series of combinations that had to add up to more than the sum of its parts." Added story supervisor Joe Ranft, "If the story isn't there, all the breakthrough computer graphics in the world piled onto it won't matter. You'll have made a piece of passing fashion."

Fortunately, the vivid, entertaining and moving story was there and it resonated with its audience. The iconic and timeless Toy Story had its theatrical debut on November 22, 1995, and went on to earn over $361 million worldwide.

Toy Story / An early sketch image of Woody.

The voices Woody and Buzz Lightyear are familiar ones belonging to actors Tom Hanks and Tim Allen.

"Getting a line reading from Tom Hanks is like getting this big, incredibly wet sponge," remembered animator Glenn McQueen. "It's overflowing with different possibilities for you to wring out." Meanwhile, as John Lasseter described it, "Casting Tim Allen to voice Buzz gave us that quality we wanted of a macho guy with a soft underbelly. Tim's perfect at doing an everyday guy."

Toy Story story co-creator Andrew Stanton said: "We never thought Woody and Buzz's repartee would hold the spotlight in and of itself. But once they were animated, suddenly the chemistry between them was the highlight of the movie."

Toy Story / A prototype of Buzz Lightyear.

The film received three Academy Award nominations, including Best Original Screenplay, Best Original Score, and Best Original Song for "You've Got a Friend in Me" written and performed by Randy Newman. It won a Special Achievement Academy Award.

"Randy (Newman) turned out to be a great help to us when we needed a lot of emotion told to the audience, and accepted by the audience in a short amount of time," said Andrew Stanton.

"'You've Got a Friend in Me' speaks volumes about the love between Andy and Woody, better than we ever could tell it in dialogue. The way you feel it at the end of the song, we would have needed two more sequences without a song to get that point across."

Peter Schneider, president of Walt Disney Feature Animation, summed it up best: "At the end of the day, it's not the technique that the audience cares about; it's a great story, a visual feast, and great characters. They want to be taken on an emotional journey they've never been on before."

"Toy Story at Twenty" opened last week and it's on continuous display daily through May 22, 2016, for free, pre-security, in the SFO International Terminal main hall departures lobby. It is accessible to all airport visitors, and I highly recommend it.

To infinity and beyond!

Images: Courtesy of Pixar and Toy Story at Twenty.

What a mural can tell us about our glorious past

Our glorious past / A mural depicts the famous Key System
electric trains that connected Oakland and San Francisco.

There are many colorful, vivid and fascinating murals that dot the urban landscape in my Oakland neighborhood. While some of them are reminders of the glorious past history of this East Bay city situated across the bay from San Francisco, in particular, one of them depicts the famous Key System electric trains.

Believe me, there's plenty we can learn from studying a single, neo-WPA mural.

The Key Route Plaza mural, a 23-by-14-foot colorful and historic mural created by local artist Rocky Baird in 2005, tells a story about a bygone era of transportation that once connected Oakland and San Francisco, two major northern California cities on opposite sides of San Francisco Bay.

The Key System electric trolley car company established its first transit depot at Key Route Plaza, at the corner of Piedmont Avenue and 41st Street in Oakland, in 1904. The orange and silver train depicted in the mural that is located on what formerly was part of the transit depot is Car No. 159 on the C-Line which, according to a historic plaque, made its final departure from Piedmont Station on April 19, 1958 at 6:45 p.m.

The quixotic creator of the Key Route, Francis Marion "Borax" Smith, is a larger-than-life giant figure shown in the mural. He was a Nevada mining magnate who made his fortune in borax before he lost much of it in transit. The key that he is holding "has three rings at its handle to symbolize three lines to Berkeley, Oakland and Piedmont. The long stem represents the Key Pier, which carried trains about three miles over the bay, and the teeth represent the ferry slip," wrote Sam Whiting in a 2005 San Francisco Chronicle article.

At its height during the 1940s, the Key System had over 66 miles of track and serviced the hills and dales of Oakland and Berkeley as well as other East Bay cities like Alameda, Emeryville, Piedmont, San Leandro, El Cerrito, Richmond and Albany.

A historic plaque at the site of Key Route Plaza.

According to the commemorative plaque at Key Route Plaza, back in 1939 it took the streamlined trains 27 minutes to travel from Oakland's Piedmont Station over the Bay Bridge to the First and Mission Station in "The City." Not bad considering that in 2014 it still takes 20 minutes to travel by light rail transit on BART from MacArthur Station in Oakland to Embarcadero Station in San Francisco.

The Key Route Plaza mural is filled with other symbolism, too. There are sections of the mural in which we see figures representing the Black Power and Women's Suffrage movements as well as a link to U.S. military might and our need for petroleum.

According to the artist, who was interviewed by the San Francisco Chronicle about the mural, "the mural took two months of research and three months of painting." At a cost of $5,000 to create, Baird sold off the window seats in the train at $500 each to help raise funds.

Today, half of the depot sits idle while it awaits refurbishing into a cafe, while the other half has morphed into a popular municipal parking lot, which tells the fate of a train system that was displaced by the rise and popularity of the automobile.

To learn more about the history of the Key System: http://en.wikipedia.org/wiki/Key_System

To read more about the history of Oakland's electric trains: http://www.oaklandmagazine.com/Oakland-Magazine/January-2008/When-Trains-Ruled-the-East-Bay/

Photos by Michael Dickens ©2014.

David Hockney: A feeling of liberation in his art

David Hockney / Self portrait with red braces.
Watercolor on paper, 2003.

David Hockney: A Bigger Exhibition, assembled exclusively for the de Young Fine Arts Museum in San Francisco's Golden Gate Park, is both expansive in its scope and monumental in its scale. Think big and you get the picture.

It's the first comprehensive exhibition of David Hockney's 21st-century artwork -- featuring more than 300 works of this celebrated 76-year-old British artist's work shown utilizing 18,000 square feet of gallery space and spread over two floors -- and it includes not only watercolor on paper and oil on canvas, but also iPad drawings and digital movies.

My wife and I happened upon David Hockney: A Bigger Exhibition on a recent Friday evening about three weeks after its opening and we were both impressed by how Hockney's work, which surveys the artist's work from 2002 to present, incorporates both the use of traditional materials and also evolving technologies.

"This exhibition illustrates Hockney's concentration during this period on two genres, portraits and landscapes, in media ranging from the complex technologies used to make the movies to simple pencil and paper," wrote Richard Benefield in the museum's Fine Arts magazine. "Like an artist alchemist, Hockney in one minute uses a modern digital device to make a colorful iPad drawing; in the next he shows us that he is one of our greatest draftsmen by rendering an exactingly detailed charcoal drawing of a forest scene in East Yorkshire."

David Hockney / Yosemite I
iPad drawing printed on paper (6 sheets)
and mounted on Dibond (6 sheets),  2011.

One can't help notice some very larger-than-life paintings -- big picture en plein air landscapes -- assembled on many of the walls throughout the Herbst Exhibition Galleries that were assembled by Hockney's longtime friend and colleague Gregory Evans. Many of these landscapes are grand in their size and include multi-canvas oil paintings and large-scale digital movies that were shot using multiple cameras, some which utilized as many as 18 monitors for their display.

"Not only does he make vivid a startling range of green hues in landscape paintings, but his drawings -- even those made on an iPad -- continually probe for marks, textures and patterns to register nature's details," wrote San Francisco Chronicle art critic Kenneth Baker in his review of the Hockney exhibition.

David Hockney/ Woldgate Woods, 26, 27, & 30 July 2006.
Oil on canvas (6 panels).

There's a little something of everything for everyone and a lot of Hockney goes a long way. It's the largest exhibition ever mounted by the de Young -- much of it is shown chronologically -- and it includes still lifes, portraits and photographic collages. Throughout, Hockney makes use of a wonderful sense of color -- he stirs our emotions through his exuberance for beauty and nature -- and he's a master of modern digital technology.

"Hockney might seem an odd choice for the largest exhibition ever in San Francisco's Fine Arts Museums," wrote Baker. "But on at least two grounds it makes sense: The Bay Area has a deep history of interest in and production of figurative art, and Hockney's work has much to teach us about observation and depiction that links to the long history of art."

David Hockney / Self-portrait with Charlie, 2005. Oil on canvas.
• • •
A Bigger Exhibition / Paintings, works on paper and video.

At the de Young, San Francisco, Oct. 26, 2013-Jan. 20, 2014.

All photographs courtesy of Google images, 2013.

On pop culture: A great design that's always making a fashion statement

The Converse Chuck Taylor All-Star sneaker

In recent years, the colorful, unisex appeal of Converse Chuck Taylor All-Star sneakers has become quite noticeable, especially among teens and young, college-aged adults.

After all, great design never goes out of style. Sometimes, it just gets a little edgy and interactive.

I learned this first hand last week while perusing a Converse Store during a walk along Santa Monica's Third Street Promenade, which houses the largest collection of Converse footwear (which includes Chuck Taylor All-Star and their companion sneaker Jack Purcell) and apparel in the world.

Converse Chuck Taylor All-Star sneakers have come a long way since their basic black and white styles were once the elite footwear of choice for generations of basketball-playing Americans. Their popularity predates Adidas and Nike. In the 1970s, the iconic American punk rock band The Ramones gave the Converse brand a worldwide counterculture status. Other notables who've worn the Chuck Taylor All-Star brand include Kurt Cobain of grunge rock Nirvana fame and British actor David Tennant, the Tenth Doctor, in the BBC television science fiction series Dr. Who.

Today, thanks to their casual appearance and variety of bright and vivid colors, the Converse Chuck Taylor All-Star sneakers are a "must-have" for a new generation of sneaker wearers. While they are now known more for their vintage fashion appeal than their athletic use, there is still a "wow" factor and a casual sense of coolness attached to them.

At Converse's Third Street Promenade flagship store, you can even design your own creative, one-of-a-kind pair of All-Star kicks in what is billed as Converse Customization. Through the use of iPad technology and over 150 customization graphics, including collaborations with local Santa Monica artists, customers can channel their inner Jackson Pollack or Andy Warhol in expressing their own personal and artistic style -- from abstract expressionist to modern pop art.

The Converse Chuck Taylor All-Star sneakers remain a great design, always making a fashion statement.

Photograph of Converse Chuck Taylor All-Star sneakers by Michael Dickens, copyright 2013.

Always in style, always smiling, too!

The Jack Purcell sneaker/ Always in style, always smiling, too!

The original Jack Purcell sneakers were known for their great, classic look and timeless style. Designed with comfort in mind and worn with casual attire, they were easily identifiable by their signature "smile" across the toe. Today, they are still known for these same, great qualities. And, they're more colorful, too.

Great design never goes out of style.

While perusing the San Francisco designer shoe store DSW, near Union Square, on a recent Sunday afternoon, I couldn't help but notice the navy blue Jack Purcell shoes that were on display. Seeing them brought back fond memories of my childhood.

My parents bought me my first pair of Jack Purcell sneakers in the middle-to-late 1960s while I was growing up in southern California. Back then, the only colors manufactured were in basic black and white. I loved them equally. Jack Purcells were popular as athletic footwear along with Converse's Chuck Taylor All-Stars in an era before Adidas and, later, Nike became the athletic footwear of choice for generations of Americans. 

The namesake of the stylish Jack Purcell footwear is John Edward "Jack" Purcell, who was a Canadian world champion badminton player. It was during his athletic career that Purcell (1903-1991) designed a canvas and rubber badminton sneaker for the B.F. Goodrich Company of Canada in 1935. The idea behind his shoe design was to create a sneaker that could provide more protection and support on badminton courts. 

Fast forward and Converse now owns the trademark rights to Jack Purcell sneakers, and their appearance and variety of bright and vivid colors are similar to the Chuck Taylor All-Stars. While both Jack Purcells and Chuck Taylor All-Stars are now known more for their vintage fashion appeal than for their athletic use, there is still a "wow" factor to them. And, in recent years, their colorful, unisex appeal has become quite noticeable, especially among teens and young, college-aged adults. Yet, I truly believe all ages can pull off the look. Which is why I still love to wear Jack Purcell sneakers.

While I don't remember how many pairs of Jack Purcell sneakers I've worn in my lifetime, I maintain an appreciation for their style ~ even if they are a lot more expensive than I remember them being as a kid. They look equally cool worn with khakis or blue jeans. And, now that they come in navy blue ~ my favorite color ~ I just might be tempted to purchase my first new pair of Jack Purcell sneakers in ages.

After all, great design never goes out of style.

Photograph of Jack Purcell sneakers by Michael Dickens, copyright 2012. All rights reserved.