Posted on: Friday, August 2, 2002

Indie film lovers finally having their day

• Coming attractions
• How they compare

By Wayne Harada
Advertiser Entertainment Writer

"C.Q.," opening today at The Art House at Restaurant Row, takes place in 1969. It's about an idealistic filmmaker who's working on a floundering sci-fi film in Paris; his true passion, however, is a cinema verite of his own life. Fantasy and reality become blurred, he falls in love with the sci-fi star, and how it all ends is anyone's guess.

Toby Bailin and Jim Butt of Makiki, who adore art films, have become twice-a-week patrons of The Art House at Restaurant Row.

"We get to see films we never thought would come to Honolulu," Bailin said last Saturday night.

"I'd read about some of the movies in the New York Times and L.A. Times, and in the past, the Asian films would eventually come," said Butt. "Only rarely, the European ones. So it's nice that many of the titles are here now."

Bailin and Butt are typical of the growing number of movie buffs, particularly fans of art or independent films, who are responding to the array of titles at the nine-screen Wallace Theatres operation that converted to an all-art-film menu in mid-June.

And they are not alone.

"There was a real need for this," said Betsy Turgeon of 'Aiea, an enthusiastic fan who gives the concept a thumb's up. Turgeon had just seen "Enigma" with Jim Ormand last Saturday at The Art House. "I used to go to the art academy, but I am not a member this year. I still go to the Varsity, too. But I like the selection here. And the location. I don't normally like to go to two films in one day, but I'm thinking of going to one movie, having dinner in between at one of the restaurants here, and then going to a second movie."

Where once there were perhaps two to four screens showing independent and foreign films on a given week, there are now a dozen sites where one can see Chinese, Japanese, East Indian, Filipino, Israeli, French, even on-the-edge gay material appealing to a variety of demographics. The feast is so plentiful, it's almost like attacking the Todai sushi buffet: It's hard to decide where to start.

In recent times, you had to attend the Hawai'i International Film Festival to sample that much diversity.

Dally, and a title you intended to check out may disappear.

Not anymore. A hot title lingers for two, three months. Maybe longer.

"An art film is one that makes you think," said Don Brown, who has been the defining force in nurturing the growth of art-house fare in

Honolulu. First, as film curator at the Honolulu Academy of Arts; now, as manager of The Art House at Restaurant Row, where Wallace designated all nine screens, large and small, for exhibition of a variety of art films.

"My goal is to bring in films that show the world the way it is; to get in touch with your humanity, especially after 9/11," said Brown, who seems to have touched a community nerve.

So for those who don't thirst for films with alien monsters, comic super heroes or over-the-title marquee stars, The Art House has become a welcome destination. The theater has real art on the walls, not movie posters; it has six cafe tables, at which you can sip herbal tea and hold a post-screen tete-a-tete, along with standby cola; it offers upscale munchies such as Lindt chocolates and fresh-baked cookies, and occasional special pupu linked to specific titles, along with the popcorn.

The Art House has joined the venerable Varsity Twins (two screens), which reliably books the "commercial" art films, and the renovated Doris Duke at the Academy (one screen), a venerable player in the flourishing art-house spectrum.

Ann Brandman, curator of films at the Doris Duke at the Academy (the renamed theater at the Honolulu Academy of Arts), is Brown's successor, and she has been watching the art-film market for a couple of decades. And vigorous changes have emerged, she said.

"The standards for art film have shifted over time; art films used to be indie films, movies produced by non-big studios, without big-studio backing; often, they were foreign," said Brandman.

"But all of this is changing now and the perception of what is an art film also has changed. To me, art films are generally those that won't be shown in most theaters, those with a specialized audience in mind; those with a degree of merit but not always a mass-crowd pleaser."

But even within the genre, the boundaries are blurring. "My Big Fat Greek Wedding," which had its Hawai'i premiere at the Maui Film Festival earlier this year, quietly opened in two Honolulu sites, The Art House and the Kahala 8. It's an art film, with obvious cultural orientation and slice-of-life honesty, that has emerged as a "commercial" hit, thanks to positive word-of-mouth, and since has expanded to other Consolidated and Signature theaters.

Terri Harris of Waikiki was waiting for "My Big Fat Greek Wedding" at The Art House. "Several people told me there were several good movies here, and it's a good concept to have that much variety. This gives people choice; I think I'd come back. It's like a mini film festival."

Dean Schaff, film buyer for Pacific Theatres (parent company of Consolidated Theatres), said the emergence of The Art House screens is a plus for the community. "I think it's good for the marketplace; it's certainly good for Restaurant Row," said Schaff. "We don't label our theaters (the Varsity Twins) as 'art houses,' but we compete for the same films. 'Specialized' is the word we use in our bookings."

He said having only two screens can sometimes affect business and the flow of regular openings. "When something's doing good business, you keep it there," said Schaff. "Or, when you get a presentation like 'Crouching Tiger, Hidden Dragon,' you move it to a larger hall like the Waikiki."

Art patrons are loyal, he said, flocking to wherever they can find the films. Thus, playing "Brotherhood of the Wolf" at the Ward complex, or "Monster's Ball" at a suburban mall theater still will draw a crowd. The Kahala complex was the sole site of the Oscar-winning art (foreign) film, "A Beautiful Life," and the Koko Marina in Hawai'i Kai has emerged as an alternate site when the Varsity was tied up with ongoing favorites, said Schaff.

Spokesmen for Signature Theatres, which has screens at Dole Cannery, Pearl Highlands and Windward Mall, declined to comment. Signature lacks an art-house venue, though it regularly books artsy titles as part of its movie mix.

The art scene growth has been slow but encouraging, said Brown. "A lot has to do with distribution; art films are not widely exhibited," he said. "But the line dividing art or indie film with commercial films has been blurred. And the thing that blurs it is money."

"Greek Wedding" is from a small indie company, IFC (Independent Film Channel), out of New York, said Brown. It opened, it started making money, it's now a crossover hit.

"I think art films like 'Greek Wedding' have heart, and, ultimately, make you think," said Brown. "It has no explosion, no car chases, no big name stars. Most American pop culture films are geared to escapism, and get you away from thinking, which is sad."

He said his presence at the Wallace facilities at Restaurant Row benefited, in part, from the fallout of the events of Sept. 11.

"A lot of people have told me they've wanted to get in touch with humanity, the need to explore the virtues of family," said Brown. "Many of the indie films dwell on family issues."

Many films originate from global markets, often with international film festival links, said Brandman. "I would say that our programming is more like a year-round film festival of diverse offerings, since many of the films we show are hot off the global film festival circuit. So, in essence, we are showing quality films — national and international — that may not get a viewing here in Honolulu's smaller market. We are also showcasing debut films by new directors."

Indeed, the sense of discovery — of little-known subjects, of quaint but universal films, of cultural minorities worthy of broader exposure, of up-and-coming filmmakers — is what make art-house flicks sizzle.

"American Adobo" and "The Debut," Filipino indies produced on shoestring budgets by visionary film writers, directors and producers, have found a certified voice and venue in Hawai'i. "Adobo" was launched at The Art House and "Debut" had wider exposure on Consolidated and Signature screens, alongside summer biggies.

Gene Cajayon, director of "The Debut," a coming-of-age portrait of Filipino youths, had kind praise for Honolulans who responded to his feature. In non-art houses, ranging from Ward Stadium to Kapolei, Dole Cannery and Pearl Highlands, the movie competed with commercial hits — and held its own.

"Pretty cool for a little indie with no ad budget," he said, not neglecting the wave of summer competition he was faced with (from "Lilo & Stitch" to "Minority Report," from "Star Wars: Episode II — Attack of the Clones" to "Men in Black II"), before moving his movie to Seattle. "For the first time in our year-and-a-half-long tour, our audiences have been, on the average, about 50 percent non-Filipino."

Brown initially booked art films into one of the Wallace facilities. With support from management, a burgeoning roster of potential films and a database that seems to give the operation a seal of approval, the Art House was born.

"I wasn't a stranger and it helped," Brown said of the Wallace leadership's support. "I had worked with them before and we made the switch in June."

With all nine screens dedicated to art films, Brown developed an active e-mail list. "We've signed up thousands of people," he said. "Every Thursday, with updates from the Mainland, these people know what's coming up the following week."

He looks for titles for potential promotion. Last week, the Japanese film by Shohei Imamura titled "Warm Water Under a Red Bridge" was a natural to promote and schedule a dining outing with Sansei Seafood Restaurant & Sushi Bar, a Restaurant Row tenant. Depending on when you saw the film, the meal preceded or followed the viewing. Tapas for Greek films; Indian cuisine, for the upcoming "Lagaan"; and so on.

Brandman said the academy realizes that some titles are more popular than others. But with one screen and a hectic calendar of multiple events at the theater, matinee screenings, starting next week, are one solution.

"We don't have a lot of screens (only one) and often can't show a movie longer than two nights," she said. So the mid-afternoon slot, on Wednesdays and Thursdays, seemed suitable for the academy's older clientele, including retirees who have the time and inclination to make a matinee.

By tradition, the academy draws a sophisticated crowd of viewers. "That's why the academy is an educational process for media literacy; we need to carry on this mission," said Brandman.

"My films are all over the map, my demographics include everything from Korean punk films to the gay and lesbian title 'The Cockettes,' coming up later. Sometimes, publicity is a factor in how the public responds to a film."

She called her divergent slate "vibrant," and she said the academy "is interested in serving the underserved, especially in terms of arts and culture. Our choices hopefully are something of quality and deserved to be seen."

The theater, recently renamed for Doris Duke, the tobacco heiress, this fall will exhibit a number of Islamic films linked to the opening of the Doris Duke Islamic Wing at the art academy. It's all part of a grant from the Doris Duke Charitable Foundation that will support an array of art, film, dance, and other educational endeavors in the years ahead.

• • •

COMING ATTRACTIONS

At The Art House:

• "Circuit," directed by Dirk Shafer. A policeman who realizes he's gay and unhappy in a small town moves to West Hollywood to explore his wilder side. Opens today.
• "C.Q.," directed by Roman Coppola. Set in 1969, Jeremy Davies is Paul, an idealistic filmmaker who's working on a sci-fi feature in Paris; his real passion is a cinema verite of his daily life. Opens today.
• "Lovely and Amazing," directed by Nicole Holofcener. A movie about four women who feel they are not lovely and amazing, but are willing to keep on trying. Opens today.
• "The Piano Teacher," directed by Michael Haneke. Isabelle Huppert stars as a respected music instructor who has a fascination with the sexual weaknesses and tastes of men. Opens today.
• "Very Annie-Mary," directed by Sara Sugarman. Rachel Griffiths as a Welsh woman struggling for independence from her domineering, opera-loving father. Opens today.
• "Lagaan," directed by Zacharias Kunuk. A Bollywood musical, set in 1893, about an Indian village forced into a cricket match with British colonial authorities to avoid paying a crushing new tax. Opening Aug. 9.
• "Who is Cletis Tout?" directed by Chris Ver Wiel. Tim Allen as a hit man, Christian Slater as his intended victim who spins a tale about mistaken identity, magic and a jewel thief. Opening Aug. 9.
• "Late Marriage," directed by Dover Koshashvili. A comedy about a bachelor, 39, whose singlehood worries his parents. Opening Aug. 9.
• "Master of the Flying Guillotine," directed by Yu Wang. A reissue of a classic Hong Kong film concerning a One-Armed Boxer who runs a kung fu school that teaches respect and discipline for the craft. Opening Aug. 9.
• "Home Movie," directed by Chris Smith. Amusing documentary from the director of "American Movie," about how some of us live in rural America, including a Big Island woman who lives in a tree house. Opening Aug. 16.
• "My Wife is an Actress," directed by Yvan Attal. An autobiographical look at the travails of a man married to a famous French actress, acted by the director's real wife, Charlotte Gainsbourg. Opening Aug. 16.
• "Notorious C.H.O.," an encore stage presentation by the inimitable Margaret Cho. Opening Aug. 23.
• "Tosca and Read My Lips," a French film. In September.

At the Varsity Twins:

• "Full Frontal," directed by Steven Soderbergh. A film within a film: A group, including Julia Roberts, Blair Underwood and David Hyde Pierce, try to make a movie. Opens today.
• "Sunshine State," directed by John Sayles. Three factions struggle, pro and con, with the possible development of Plantation Island, Fla. Opening shortly.
• "The Kid Stays in the Picture," directed by Brett Morgen, Nanette Burstein and Robert Evans. Adapted from Evans' autobiography, the film traces the Hollywood producer's rise, fall and rise. Opening soon.

At Doris Duke at the Academy:

• "Mule Skinner Blues," directed by Stephen Earnhart. A look at trailer-park inhabitants. At 7:30 p.m. today and Saturday.
• "Domestic Violence," directed by Frederick Wiseman. A cinema-verite study of a shelter for battered women in Tampa, Fla. At 4 p.m. Sunday, and 7:30 p.m. Monday and Tuesday.
• "Much Ado About Something," directed by Michael Rubbo. An exploration of the who-wrote-Shakespeare controversy. At 1 and 7:30 p.m. Wednesday, and 1 p.m. Thursday.
• "The Farewell," directed by Jan Schütte. A German film, unfolding over a single summer day near the end of the life of Bertolt Brecht. At 7:30 p.m. Aug. 9 and 10, and 4 p.m. Aug. 11.
• "Étoiles: Dancers of the Paris Opera Ballet," directed by Nils Tavernier. At 7:30 p.m. Aug. 12 and 13.
• "Songs From the Second Floor," directed by Roy Andersson. A Swedish comedy of 45 staged vignettes which cumulatively create an impending doom. At 7:30 p.m. Aug. 14, 15, 16 and 17; and 1 p.m. Aug. 14 and 15.
• "Yellow Asphalt," directed by Danny Verete. An Israeli film, probing the reclusive Bedouin population entrenched in culture and tradition. At 7:30 p.m. Aug. 19, 20 and 21; and 1 p.m. Aug. 21.
• "Split Decision," directed by Mary Garriott. A look at boxer Jesus "El Matador" Chavez, whose championship is cut short when he is deported to Mexico. At 7:30 p.m. Aug. 22 and 23, and 1 p.m. Aug. 22.
• "Last Dance," directed by Mirra Bank. A U.S. film goes behind the scenes with the iconoclastic dance company Pilobolus, and author-illustrator Maurice Sendak, as they transform a holocaust legacy into a theater-dance piece. At 4 p.m. Aug. 25, and 7:30 p.m. Aug. 26 and 27.
• "The Cockettes," directed by Bill Weber and David Weisman. A U.S. documentary on the flamboyant, gender-bending song-and-dance group from the Haight-Ashbury hippie scene of 1969. At 7:30 p.m. Aug. 28, 29, 30 and 31; and 1 p.m. Aug. 28 and 29.

• • •

HOW THEY COMPARE

Varsity Twins

• No. of screens: Two
• Seating comfort: Reasonably comfortable, with first-class-width leg space between rows, though seats are coach-class snug.
• Capacity: About 250 seats in each venue; one is slightly smaller.
• Snacks: Usual fare, including popcorn, soda, kakimochi
• Location: Its proximity to the University of Hawai'i-Manoa attracts an academic crowd; nearby restaurants offer meal choices; Bubbies across the street enables post-viewing discussions over ice cream.
• Upside: Mainstream art films, longer runs for hits, so you can avoid first-week crowds
• Downside: Sound from one theater often bleeds into the other; hit titles occasionally remain for months, meaning slower turnover of films.
• Admission: $7.75 general, $6 military, $4.50 for 60 and older, $4.50 children 2-6; $5 for matinees.
• Parking: Adjoining lot, $2 evenings and weekends
• Reputation: The dean of art houses and an oasis among the commercial-run theaters

The Art House at Restaurant Row

• No. of screens: Nine
• Capacity: 1,000 seats; largest theater (No. 4) seats 214; smallest (Nos. 1 and 7) seat 78
• Seating comfort: Cozy and comfortable
• Snacks: Usual fare, including popcorn, soda; but some upgrades, like fresh-baked cookies and Lindt chocolate, with occasional film-linked snacks and meal packages (Japanese for Japanese films, French for French, etc.)
• Location: Its presence among eateries at Restaurant Row offer substantial dining choices before or after a movie.
• Upside: A veritable smorgasbord of film fare, most in first-run premieres, so choice of titles is abundant; periodic food tie-ins with specific films
• Downside: Little-known titles run for a week, so you need to catch them early; a couple of theaters have tiny screens, so the experience is like watching big-screen TV.
• Admission: $7 general, $4.50 for 62 and older, $4 children; $4.50 for all screenings before 6 p.m.; $4.50 for all Tuesday screenings
• Parking: Free, with validation at box office
• Reputation: A relative newcomer — the David among the Goliath of commercial movie houses

Doris Duke at the Academy

• No. of screens: One
• Seating comfort: Reasonably comfortable since remodeling
• Capacity: 292 seats
• Snacks: None
• Location: Its presence on the grounds of the Honolulu Academy of Arts gives it cultural importance.
• Upside: First-run titles, occasionally spotlighting minority demographics, such as the gay community; new matinee screenings on tap; new and improved screen and sound system
• Downside: Movies without popcorn? Blasphemy!
• Admission: $5 general, $3 for academy members; prices may vary with some titles.
• Parking: Few stalls adjoining theater; free street parking except during tow-away hours; pay lot at academy's Linekona site.
• Reputation: An all-purpose arts and culture space, with music, dance, lectures and other programs.