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F E B RUA RY 17-23, 2 010 · VO L . 2 6, N O. 5 1 · SA N J OS E , CA · F R E E

Win: Dashboard Confessional | Ballet’s Romeo & Juliet | Cinequest Passes METROGIVEAWAYS.COM

Cineque st c o-founders Half dan Hus sey and K athle een P owell Cinequest co-founders Halfdan Hussey Kathleen Powell

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FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

[03]

[04] CCONTENTS ONTENTS

FEBRUARY F E B R U A R Y 17-23, 1 7 - 2 3 , 2010 2 0 1 0 M E T R O S I L I C O N VA VA L L E Y

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M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

[05]

[06] LETTERS

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

For Shame The Merc published more than a dozen stories suggesting that superintendent Bob NuĂąez was guilty—many of them on page 1 (“Audit Clears NuĂąez,â€? SanJoseInside, Feb. 10) . The story about the report exonerating him was buried on page 19. Shame on them. Local From SanJoseInside,com

An Ounce of Prevention I wonder if Coto and Fong (“Reed Rips Fong and Coto,â€? The Fly, Feb. 10) will ďŹ nd some way to give a “bailoutâ€? to San Jose to cover the millions of dollars that the courts will be awarding to the people who are abused by the SJPD instead of that investment of $250,000 worth of prevention that the audit would have provided.

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Downtownster From SanJoseInside.com

Eat Your Veggies Recently, First Lady Michelle Obama called on the U.S. Conference of Mayors to help

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Seeing Green I absolutely loved Jessica Fromm’s “Green Revolution� article (“Marijuana to the Rescue,� Cover Story, Jan. 27) for many reasons. Not only did it present a fresh, informative outlook on this tedious and drawn-out debate, but it presented information from a critical view, looking at all sides of the argument and the possible outcomes, should marijuana be legalized for personal use. As

someone who has been a longtime supporter of the legalization, it was refreshing and empowering to see how advanced the Bay Area is in moving forward, as opposed to things on the state and national level. Although there are many who still don’t, and may never, agree, I give my full gratitude and commendation for such a wellthought-out article and look forward to reading more on the issue. Brittany Buzzini Morgan Hill

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Shlock and Awe Richard von Busack’s columns are far from being the “shlockâ€? that he alluded to in a recent ďŹ lm review (“Dear John,â€? Review, Feb. 10). This Hemingway reader ďŹ nds Mr. von B’s columns most literary indeed, and is quite grateful to have been forewarned against the shlock that is Dear John! Donald Wright San Jose

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her ďŹ ght the national scourge of childhood obesity. She noted that one-third of all children are overweight or obese. She proposed healthier school lunch fares, increased physical activity, and nutrition education. Traditionally, the National School Lunch Program has served as a dumping ground for the USDA’s surplus meat and dairy commodities. Not surprisingly, the USDA’s own surveys indicate that 90 percent of American children consume excessive amounts of fat, and only 15 percent eat the recommended servings of fruits and vegetables. Their early dietary aws become lifelong addictions, raising their risk of diabetes, heart disease and stroke. In the past few years, several state legislatures have asked their schools to offer daily vegetarian options. According to the School Nutrition Association, 52 percent of U.S. school districts now do. Last fall, the Baltimore City Public School system became the ďŹ rst in the United States to offer its 80,000 students a complete weekly break from meat. Parents and others who care about our children’s health should demand healthful plant-based school meals, snacks and vendingmachine items. Larry Rogawitz Santa Rosa

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I saw you, young adult male trying to be cool in front of the cute girl, arguing with the ofďŹ cer who had politely asked you to hang up your cell phone while he was trying to ascertain what happened. You argued about hanging up, braying you had the right to be on your phone, while the ofďŹ cer was trying to take a statement. I don’t blame the ofďŹ cer for ďŹ nally losing his patience and informing you that you could continue to talk on your phone— after being cuffed and placed in the back of his car! Stop letting your testosterone make your decisions and use your brain sometimes! SEND US your anonymous rants and raves about your co-workers or any badly behaving citizen—or about citizens you admire. I SAW YOU, Metro, 550 S. First St., San Jose, 95113, or via email to Isawyou@metronews.com.

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M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

[07]

[08] SILICON ALLEYS

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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GARY SINGH

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Cheesy History

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Y MENTIONING the story behind the very first Chuck E. Cheese’s Pizza Time Theatre a few weeks ago, the author knew he would hit it off with certain crackpot historians who share a passion for the ignored slices of Silicon Valley history. But he was not prepared for the assemblage of historical bric-a-brac located upstairs in the storage rooms of the Chuck E. Cheese’s on Tully Road. He found broken arcade games, old fixtures and signs, patches of original carpeting, piles of ancient tokens, decades-old electronics, benches, wires, vintage posters, giant tubing and pieces of long-defunct costumes. All it took was one source—we’ll call him Seymour—to provide the author with unlimited access, completely unbeknownst to anyone else in the entire three-story building. Back in 1977, Nolan Bushnell of Atari opened the first Pizza Time Theatre on Winchester and the second one soon followed on Kooser, where it still sits today. The Tully facility, originally the biggest one at the time, opened in the former Magic Village Toy Store, on a triangular parcel, right at the southeast corner of the Tully and Highway 101 interchange. To this day, a giant statue of Chuck E. Cheese stands on the west side of the building, facing 101. Seymour led me through a labyrinth of stairways, crooked corridors and freight elevators. We prowled through probably a dozen rooms, including a former upstairs training kitchen, the current tech shop and several junk storage areas. “This is where old video games go to die,” he explained. “Well, sort of. We still fix some of them.” Back when the Tully restaurant actually sold beer, Seymour told me, it was second only to the Flea Market in total beer sold in Santa Clara County. As we navigated past old fixtures and a dead Battlezone arcade game, he also pointed out that some of the building’s circuit breakers actually still say things like “bicycles,” from back when the place was Magic Village 35 years ago. Just three years ago, a few dozen rabid Chuck E. Cheese’s collector nerds from across the United States made a trip to California to celebrate the 30th anniversary of the place. Seymour was their point man for Silicon Valley. “Those guys were fanatics,” he recalled, shaking his head in disbelief. Speaking of history, the process of how Chuck E. Cheese himself has changed over the years is downright fascinating. The first and now collectible version of Chuck was much more gangsterlike than the sanitized mousey Chuck one now sees. “He began as a rat, and now he’s a mouse,” Seymour explained. “And he no longer ‘This is where old has whiskers.” video games go to die,’ As we continued through the maze he explained. ‘Well, upstairs, we arrived at the obligatory storage room of ancient electronics. sort of. We still fix The Cyberamics Control System, for some of them.’ example, is what drove the pneumatic Pizza Time Theatre stage characters in the ’70s. Moments later, we paused at a bay window overlooking the 101 and Tully interchange, where Seymour continued to rattle off stories nonstop. “Back in 1981, a store opened in Capitola,” he told me. “That was going to be their model store. But it only lasted for a few years.” According to Seymour, the French version of Playboy even sent a reporter to that particular Chuck E. Cheese’s to profile the whole place, along with its surfer-girl waitresses. Thanks to Seymour and his tour of Pizza Time Theatre storage, the author is emboldened with still more appreciation for the ignored. Those who search out the forgotten history of Silicon Valley mustn’t end their quest with the Atari 2600. If the author gets his way in some fantasy version of the future, this wreckage of past Chuck E. Cheese’s oddities might someday be available for all to see. As he proclaimed once before, “If Greece and Rome can turn their ruins into tourist traps, then why shouldn’t San Jose?”

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What’s your favorite memory of old San Jose? Let me know at SiliconAlleys@metronews.com.

mashup

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 MASHUP

[09]

best of the local web

A roundup of news, commentary and opinion from around the valley. Opinions expressed do not necessarily reflect Metro’s editorial views.

Microsoft’s Lengthy Video Walk-through

TED vs. Sarah Silverman Fight Gets Retarded

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The TED vs. Sarah Silverman debacle is turning uglier. Quick background— comedian Sarah Silverman, who is known for shock and insult humor, was invited to give a TED talk. She was subsequently trashed by TED organizer Chris Anderson, who tweeted “I know I shouldn’t say this about one of my own speakers, but I thought Sarah Silverman was god-awful.”

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The problem was that Silverman kept using the word “retarded” to fight Sarah Palin’s recent rant about the word. The whole talk flew right over the TED crowd. Anderson deleted his tweet, but Silverman hit back today with her own, saying “Kudos to @TEDChris for making TED an unsafe haven for all! You’re a barnacle of mediocrity on Bill Gates’ asshole.” Somewhat randomly, AOL founder Steve Case waded into the fight to defend Anderson. He (also tweeting) said “Shame on you” to Silverman, adding “The sad thing is you’re not that funny.” Silverman’s response: “@SteveCase You should be nicer to the last person on earth w an aol account.” The fight between Silverman and Case continued, but you get the picture. Our take: Silverman was invited to TED to do what she does, and she did it. No one should have been surprised by her brand of humor. She was then personally attacked by Anderson. It’s no surprise she fired back. TED speakers beware—make sure your talks are within acceptable parameters or face the wrath of TED. And their friends.

The Great Google Buzz Backtrack

—JACK MCKENNA, TECHCRUNCH.COM

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 NEWS

Santa Clara Valley, California

the

“It’s All Downhill From Here”

February 17-23, 2010

FLY

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Reverse Charges Cleared by a recent report, ousted Superintendent Bob Nuñez turns the tables on the board that fired him By Jessica Fromm

T

rustees and district staff peered from the dais in stunned silence when embattled former superintendent Bob Nuñez made a surprise appearance at an East Side Union High School District board meeting last week. Many of them sat with arms folded across their chests and scowls on their faces as Nuñez dropped a bombshell and leveled charges of fraud at the highly politicized board. Nuñez was unceremoniously ousted by the East Side board last October amid accusations that he misspent district money and abused his position. Two weeks ago, he was cleared of the charges by outside auditor Fiscal Crisis & Management Assistance Team (FCMAT). Its report instead found the board itself responsible for mismanaging the district. The Feb. 9 emergency meeting was called with one day’s notice, a week after the report’s release. Nuñez, who

was not invited, nonetheless caught wind of it. After pointing out that he was glad FCMAT finally cleared his name, Nuñez launched into a speech and attacked the way the board hands out large contracts. “Back about two years ago, I had concerns in regard to activities within the facilities department,” Nuñez said. “Those were brought to me by board members, they were brought to me by community members and my staff. They all were talking about how contracts were given out.” He said he looked into the matter and called a meeting with two current board members and the associate superintendent of Student Services and Facilities, Alan Garofalo. “In those meetings, there was an attempt on the part of the board members to try to repair our relationship, and I indicated that really was not this issue,” Nuñez said. “The issue was, as I see it, exactly what is pointed out in the FCMAT report. That contracts were given

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out and bids were not provided, and we could not explain why certain persons had gotten contracts with us. He said that Garofalo had what appeared to be a conflict of interest with Blach Construction, a company that was awarded many contracts by the district, because he appeared in the company’s advertisements. For his part, Garofalo told Metro he found Nuñez’s entire presentation at the Feb. 9 emergency trustees meeting “bizarre.” “I think everybody that was there was shocked by his behavior,” Garofalo says. “Everything he said was a fabrication. It was his opportunity to blow off steam I guess, but I would have hoped he would have been professional about it. “It only tells me that the board of trustees made the right decision.” Garofalo declined to respond directly to Nuñez’s specific charges. “I can’t even comment to the specifics because they were bizarre comments,” he said. He denied that

he made a commercial for Blach Construction, saying he offered a “testimonial,” as did several other school district superintendents. While at the dais, Nuñez also raised concerns about intimidation of district personnel—another issue dealt with in the FCMAT report. The final report, which was paid for by the Santa Clara Country Office of Education, found Nuñez innocent of any fiscal illegalities. Instead, the 30-page report placed blame on the district’s five member Board of Trustees themselves. It states that the school district suffers from a climate of “mistrust and intimidation,” and that the district “lacks internal control systems.” Nuñez told the board members he had been made aware of this behavior. “At least seven persons have indicated to me that there has been intimidation and or harassment,” Nuñez said, adding that they “are still fearful for their jobs.” Nuñez told the board that he felt compelled to bring these issues to them now that the FCMAT report is officially finished, in hopes that they would look into what he sees as the district’s real problem. “What I am here to say is that I believe there needs to be further review recommended within the FCMAT report,” Nuñez said. When he was finished speaking, most of the 20-some audience members in the boardroom broke into applause.

Gadfly or Whistleblower? The Feb. 9 special emergency board meeting came two weeks after the release of the third in a series of audits on the 26,000-student, 18school district’s practices. The 60-year-old East Side Union High School District saw extensive budget cuts and layoffs in 2009. Last summer, the San Jose Mercury News extensively reported on the district’s investigation into the allegations against Nuñez, making it the top story of its Local section week after week. The newspaper’s last story on the subject, headlined “State Audit Clears East Side District and Ex-Chief of Fraud—Instead, Report Blames &'

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Board for Lax Financial Oversight” ran in the Feb. 3 issue on page B4. During his address to the board, Nuñez made a point to address trustees Eddie Garcia and Frank Biehl’s recent comments in that Feb. 3 Mercury News article, in which they said the report did not change their minds about the ousted superintendent. “There is a quote in the paper that said I chose to resign. That is not true,” Nuñez said at the end of his speech to the board. Afterward, board clerk Patricia MartinezRoach said she was personally shocked by the FCMAT report’s findings. “I’m very, very, very disgusted that we have people who have been awarded contracts without bidding processes, and with favoritism,” Martinez-Roach said. “I mean, it’s all right here. We should all be embarrassed by this.” Biehl, on the other hand, said that he wondered why Nuñez waited so long to make accusations of misconduct against the district. “I was surprised that those issues were not brought to the attention of the board during his tenure as superintendent,” Biehl said. “Certainly, it is the responsibility of any superintendent, if there are any issues within the district that he believes are of great concern, they need to be brought forward to the board. And, I can tell you, on my three years on the board, none of those issues were ever brought forward to me personally, or to the board as a whole.” Biehl said that he hoped the board would move on from this issue now that the FCMAT report’s findings were out. He said that he thinks the most important thing the East Side board can do right now is to work to reinstate an internal auditor. “I just think we need to be methodical about addressing the issues that need to be taken care of in this district,” Biehl said. “There are some simple things that need to happen, and we need to make sure that they happen. The best way is that we restore the internal auditor functions within the district. You can pass resolutions, you can pass board policies and create administrative regulations, but if you don’t have some sort of mechanism to inspect and make sure that they are being followed, you’re really never going to have effective policies.” Garofalo points out that he and the East Side Union High School District facilities department recently went through another outside audit conducted by the company

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Vavrinek, Trine, Day & Co. (VTD). He says the VTD audit found nothing out of order with his department, and that their results will be posted to the East Side Union District website this week. “I have gone through so many audits,” Garofalo said. “I just finished with an outside audit, not just FCMAT, but a third party independent audit firm that did 96 percent of our contracts and expenditures, and they found absolutely no discrepancies. “On [Measure] G and [Measure] E, there are absolutely no discrepancies. I don’t know how much more you can go through. There’s nothing. It’s clear. It’s clean.” During the board’s discussion, MartinezRoach said she was “puzzled” by the board’s decision to call an emergency meeting to discuss the FCMAT report on such short notice. Tuesday’s special meeting was officially announced and posted Monday afternoon. Board president Eddie Garcia said that the trustee’s legally needed to respond to FCMAT’s report within 14 days. The district received the FCMAT report on Jan. 29, he said. The FCMAT report will be formally presented to the trustee’s by Santa Clara County Superintendent of Schools Charles Weis at the Feb. 18 board meeting at the East Side Union High School District office at 4pm. Weis sat at the back of the boardroom during the Feb. 9 meeting. He declined to comment officially, but told Metro he was there to observe and would be making all of his official comments when he presents the FCMAT report to the board on Feb. 18. Politics has always figured prominently in the district leadership. Nuñez’s predecessors include Frank Fiscalini (1955–82) and Joe Coto (1989–2003), who went on to become city councilmember and state assemblyman, respectively. Former board president George Shirakawa is now a county supervisor and current board member J. Manuel Herrera is running for San Jose City Council. Members of the East Side Teachers Association’s, who have officially supported Nuñez since the beginning of the district’s turmoil, say they are expecting “fireworks and drama” at the Feb. 18 meeting. “None of what [Nuñez] said is news,” said Wendy Stegeman, East Side Teachers Association’s rep at Andrew Hill High School, on Feb. 9. “A lot of it is known around the district. It’s been going on for a long time.” M

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 SAN JOSE INSIDE

a look inside san jose politics and culture

Complacency Threatens Silicon Valley By Diane Solomon

LAST Friday a thousand notables from high tech companies, public utilities, hospitals, local governments and NGOs filled 96 tables at the McEnery Convention Center to hear about the State of the Valley according to the 2010 Silicon Valley Index released by Joint Venture: Silicon Valley Network and the Silicon Valley Community Foundation. “The Index has a lot of bad news this year,” said Russell Hancock, Joint Venture’s president. Employers aren’t hiring. Meanwhile, the 33 percent increase in commercial vacancy rates is like having 15 empty Empire State Buildings here. Historically, Silicon Valley’s response to economic downturns has been to find and ride the next wave of innovation. But with the number of new local patents continuing to decline and excellence in public education tanking, innovation may be as hard to find as a software engineering job. The Index shows venture capital didn’t come to the rescue and isn’t likely to in the near future. Hancock cited a Kauffman Foundation report suggesting venture capitalists could have made more money over the last 10 years if they had invested in the S&P 500 instead of Silicon Valley companies. With venture capital decreasing, is federal government procurement spending the new venture capital? If it is, said Community Foundation president Emmett Carson, Silicon Valley needs to do a better job of attracting it. In 2008 the valley received $6.7 billion from the federal government, which was 1.3 percent of the total dollars dispersed. Doug Henton of Collaborative Economics, the outfit that number-crunched the Index, said Silicon Valley is losing its share of federal procurement spending while Huntsville, Ala., is gaining on us. He warned that the Index shows danger signs that should be taken seriously. “Our complacency could be life threatening. Our mythology is that we became Silicon Valley because people had garages here where they weren’t storing stuff.” Carson said massive government spending here made Silicon Valley the center of innovation. “Federal investment is why all of those smart people came here. They came here because the government was funding aerospace and defense R&D, the semiconductor industry and the ARPANET. Once they were here working at places like Fairchild Semiconductor and SRI they started meeting and talking to each other and doing other stuff. That’s where the innovation came from. We forget the front part and just remember the garages.”

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[15]

[16] COVER STORY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

cinequest

DOUBLE DECADE

DUO Founders Halfdan Hussey and Kathleen Powell look back at how a simple idea turned into a lifetime quest By Richard von Busack

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 COVER STORY

A

T 20 years of age, San Jose’s film festival Cinequest has survived its adolescence, one-and-a-half recessions and the dotcom collapse. While Mike Rabehl’s programming skills and the efforts of some 500 volunteers account for part of the reason Cinequest continues into the new century, the two founders’ tenacity has been essential to its success. The three-day festival that began in 1990 at a single theater with $20,000 in city grants now has a year-round staff of 10, an annual budget of more than $1 million and an audience of 85,000. It has expanded to 13 days and multiple venues, and has achieved a reputation both for bringing in established names (Spike Lee, Ben Kingsley) and taking chances on emerging new talent—as well as for its early embrace of new technologies, like streaming films over the Internet before the practice was popularized by Hulu, YouTube or Netflix. Halfdan O. Hussey was a teacher’s son in Boulder, Colo. He often watched films from the booth where his father worked part-time as a projectionist. “I used to do that Cinema Paradiso thing,” Hussey says from his office in downtown San Jose’s SoFA District. His partner in the festival, Kathleen Powell, grew up in Topeka, Kan., and went to Boulder as a graduate student in computer engineering. She had never been much of a film fan. The two met in the Colorado college town. Hussey was organizing his first film and encountered Powell through a friend of a friend. Powell recalls, “They twisted my arm into playing on Halfdan’s softball team, the real reason being that they wanted me as a producer.” The 73-minute black-and-white film He’s Still There, which Hussey directed and Powell produced, was the end result of time Hussey spent studying film and literature at NYU, where he drove a night-shift cab to support himself in a landscape that still had enough grit to inspire auteurs. “Giuliani hadn’t cleaned up the city yet,” he says. After leaving New York, Hussey went back home to Boulder with a list of contacts and actors. Since she owned a software company, Powell understood more about money than about film. She was brought onto He’s Still There “because I knew about business,” she says. “Being a producer is all about business: it’s all about hiring the right people, managing the money and making things happen, from the conception all the way to the last distribution dollar received.” But something happened as she got to see the actors at work. “I come from a very analytic background,” Powell explains, “and the process of filmmaking was artistic. I wasn’t used to seeing what artists did: actors standing before directors and writers, being judged by feelings rather than being judged by having the right answers on a test. I admired people who were so passionate about their work, despite so much rejection.” Together, Powell and Hussey took He’s Still There to the Venice Film Festival in 1990. The way they were treated in Venice planted the idea of someday starting a film festival of their own. Powell remembers, “It was a tremendous experience. Italians have so much appreciation for the arts. Being young filmmakers and being presented at the festival— and seeing the appreciation of the crowds and the media and the press. . . . I think we just wanted to take away those elements of appreciation of artists and pass them on.” “We learned how to take care of people,” Hussey adds. “The Italians were just so good at making the unknowns known. It wasn’t all about celebrity. They gave us a press conference in the spot right after GoodFellas, and they treated us the same as the talent from that film. They gave us the same attention, the same care and the same journalists. We’ve tried to carry that spirit forward into Cinequest: we want to connect people and care for them, even if we don’t put that in the press releases.”

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After Venice, Powell got a job at HP and moved to Silicon Valley. Hussey followed. The other thing they had learned at Venice was that a sense of destination was important to starting a film festival. Venice’s festival, the world’s oldest, had begun as 18

[17]

[18] COVER STORY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

cinequest

17

a scheme to get tourists into town during the off-season. Sundance was the same way—it started as a Salt Lake City film fest, and then Sydney Pollack suggested that it would draw more Los Angeleans if they moved it into the mountains where there was some skiing. Powell and Hussey lived in a valley with an affluent, educated population, with temperate winter weather, corporate sponsors and one-hour flights to Los Angeles. Even then, it was nobody’s idea of a tourist destination. Others had tried to establish film festivals in San Jose but failed. Powell notes, “I think what we heard constantly is that the idea wouldn’t work. Usually, when we’re told we can’t do something, it drives us harder to have it done. The first encouragement we got was from Jim Zuur and Jack Nyblom at the Cameras.” After a meeting with then-Mayor Tom McEnery, city official Dan McFadden helped arrange for two city grants. “The city was starting to change and transform,” Hussey adds. “But while you had an arguably intelligent community, they weren’t necessary culturally predisposed. Cinequest was well attended from the beginning, in 1990, but you needed to build an audience the way you built up the sponsors: one at a time. Today, though, when we have a screening, it can be at Tuesday at 1pm, showing a film from name-that-country . . . and it’s still well attended.” Powell says that the festival benefited from the participation of two people who are no longer with the festival: the late Los Gatos graphic designer Rick Tharp, who professionalized the festival’s branding, and former Netscape marketing VP Mike Homer, who died last year at 50 of a rare brain disease. “We didn’t know anything about marketing,” Powell says. “We had to learn it all.” During Cinequest’s 20 years, the festival has witnessed stunning advances in technology and a previously unthinkable democratization of film. Hussey and Powell were right: a world of filmgoers could be drawn to a place then considered the cultural backwater of the San Francisco Bay Area. And they were right to anticipate filmmakers would someday distribute their films through the Internet. But they were especially right in anticipating that digital images would someday rival traditional film. Hussey says, “The reason, I guess, [was] that the early evangelists we met were so convincing about the way they’d planned out the future. Larry Thorpe of Canon pushed this thing for years, and I really believed what he was telling me, that eventually digital would correlate to film . . . even though at first the psychological experience wasn’t the same at all. The poor quality of early [digital] video, the too-much-information of it . . . that all

changed. I made my first two films on film, but my next one will be digital: it’s so much easier, in time and money. “But what nobody’s able to figure out is how the distribution is going to work. All the things we’ve been part of and excited about still face the big problem: how to get films distributed and how to get people to pay for them, whether it’s going to be advertisers or subscribers.”

High-Def Days Though Cinequest has flown in stars, cinematographers and directors by the dozen during these 20 years, the embrace of provocative and socially relevant themes is when Cinequest is at its best. Last year’s gathering, on the stage of the California Theatre, of men and women who had been falsely accused, jailed and exonerated in a wave of Kern County molestation prosecutions proved poignant and powerful. Five years ago, the premiere of Emmanuel’s Gift brought Emmanuel Ofosu Yeboah, an amputee who bicycled across Africa to draw attention to the second-class status of handicapped persons there, to the same stage in a similarly emotional moment. However, both Powell and Hussey agree that one highlight stands out, a small-budget documentary at the 2004 Cinequest about a PFC from Virginia who won the Congressional Medal of Honor. A pacifist, the unarmed medic dragged critically wounded comrades to safety amid heavy enemy gunfire and shelling during a horrific battle in Okinawa in 1945. “Desmond Doss,” Powell says. “It was such an inspirational story, he was so committed to his belief—and he was a really nice man, too. It was so fortunate for us that he could come to Cinequest and share his life.” “When Desmond Doss came to Cinequest with The Conscientious Objector,” Hussey says, “it was the world premiere of a film on highdef digital, but more importantly the subject matter was inspiring. He was a truly heroic human being. “That’s been the happiest moment so far. It hasn’t always been happy. Truth is that the ideal time between festivals would be a year and a half instead of once every year. There have been times when it was more like a service than a real pleasure, and I didn’t know how long I’d be doing it But we’ve built up such a great staff and so many resources that now I genuinely enjoy doing the festival.” The medium has changed, and so has the cityscape, but Cinequest has been an unlikely success. Now starting its third decade, it’s an institution of local life.

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[20] COVER STORY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

Top Picks cinequest Ifsjbo

Cooking History

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Applause

(Denmark; 85 min.) Compelling, close-up drama about Thea, a famous Danish actress (Paprika Steen) currently playing Martha in Who’s Afraid of Virginia Woolf? onstage. It’s a role far too close to home for this caustic, alcoholic narcissist who has chased away everyone close to her. Although she’s a great hater of ordinary people, she’s still trying to mend things with the young children she both beat and abandoned. Martin Pieter Zandvliet’s urgent post-Dogme film silhouettes Steen against the harsh white light of hallways and rooms. Thea’s moods are just as starkly contrasted with the infuriating reasonableness of the people around her. Thea never seems like a spoiled child or a serious nutter; this furious woman keeps our understanding and—oddly—our sympathy. (RvB) Feb. 24 at 6:30pm, C3; March 3 at 1pm, C12; March 6 at 4:30pm, C12

a cosmetician. It’s my favorite single shot in this year’s film fest. (RvB) Feb. 26 at 7pm, SJ Rep; March 3 at 7:30pm, C12

The Bone Man

(Germany; 121 min.) Already a sensation in Germany and Austria, this third film adaptation of co-screenwriter Wolf Haas’ Simon Brenner detective novels is a dark, club-footed waltz between old and new Europe. Circumstances reduce hangdog exdetective Brenner (Josef Hader) to chasing a stolen VW Beetle into a seedy Bratislavian resort with a sinister meat grinder in the restaurant basement (like German cuisine, the film has more dubious meat than a Francis Bacon painting). Groping through

(Slovakia et al.; 88 min.) Ever find yourself waiting in a dentist’s office thumbing through a New Yorker magazine, when you get sucked into a seemingly uninteresting article about something like the invention of the stapler or the function of dewclaws on cats only to be enthralled by great storytelling and new-found perspectives? The superb, beautifully photographed documentary Cooking History is kind of like that. Through poignant remembrances by aging military cooks, re-enactments of war and chilling archival footage, the films tells the story of six modern European wars through the lens of food. It plays like a secret history of World War II, the Chechen war, the Soviet invasion of Czechoslovakia, the French war in Algeria and other conflicts. Food is a powerful force of national identity as well as a necessity, even more so when troops are in battle, hungry and facing death. In the end the film, and the multitude of meanings food conjures up, is bittersweet, like the memories of meals with friends and family long since gone. (SH) Feb. 24 at 6pm, C12; Feb. 25 at 1:30pm, C12; March 1 at 7pm, C3

Green Waters

(Argentina; 90 min.) The bastard child of some scandalous three-way between Hitchcock thrillers, Polanski mind-melt flicks and ’70s paranoia films, Green Waters just might be the most intense movie you’ll see at Cinequest. First-time Argentine writer-

director Mariano De Rosa has taken the simple story of a family on a seaside vacation (at Green Waters, thus the title) and turned it into a sometimes funny, sometimes creepy—but always riveting—portrait of one father seemingly on the road to Crazy Town. Or is he? That’s the question the true paranoia gems keep you asking, right? And there’s a quiver of question marks riddling the first half, as father Juan (Alenjandro Fiore Milagrow) seems to be ruining the family vacation with his obsessive suspicion about his teenage daughter, Laura (Julieta Morav), and a mysterious, good-looking stranger she meets at a gas station who seems to have followed them to their destination. Incredibly, the film only gets more enigmatic and freaky from there, as whispers, glances, cruel smiles and power plays threaten to crack Juan up for good. Is everyone really out to get him? I’m not entirely sure even now, but the end is a shocker no matter how you look at it. Green Waters has more psychosexual subtext than anything I’ve seen out of the United States in a long time. (SP) Feb. 25 at 4pm, C12; Feb. 28 at noon, C12; March 3 at 4:15pm, C12

Heiran

(Iran; 88 min.) In rural Iran, the daughter of a hardscrabble citrus farmer falls hopelessly in love with an illegal Afghan immigrant; the boy faces the same problems in Iran that Hispanic illegals face in the United States. Old prejudices meet new troubles as the daughter has her way and follows him to Tehran. This was likely sold to the Iranian authorities as a cautionary tale to young romantics (and it certainly can be read that way), but the film is simple, critical and compassionate, and the last scenes are very affecting. Even lesser Iranian movies have an understated naturalism that makes them models for low-budget filmmakers. Such is the case with this debut by director Shalizeh Arefpour, who unfolds this tragic tale with no discernible melodrama. It’s the last film starring Iranian superstar Khosro Shakibaei, who plays the father of the bride. (RvB) Feb. 24 at 5pm, C12; Feb. 28 at 2pm, C12; March 2 at 5pm, C3

Babnik

(U.S.; 81 min.) Just as a beatnik is someone into beat culture, a babnik (in Russian) is someone who is into the babes. Alejandro Adams shows why his work has been getting national attention. His new film is an almost completely sex-and-violence-free tale about a nexus of lives affected by the skin trade. Adams’ usual slipperiness leads to a whatjust-happened ending. Let me say that ever since Cinequest started, I’ve been watching semipro actors playing violent criminals in local settings, and it never looked right. By contrast, the actors are believable here, even when the story is more implied than told. As the sympathetic Slavic thug, Michael Umansky is first-rate. The women here have the sharp, expectant look of the performers in Toulouse-Lautrec posters. Adams takes on a regular film noir trope—the beefy hoodlum getting a rubdown—and transforms it into a long scene of a woman getting a facial by

Uif!Cpof!Nbo the clumsiness, duplicity and gore, Brenner finds a facsimile of love with the innkeeper Birgit (Birgit Minichmayr). The film’s northern European morbidity and the Eastern European absurdity remind us of where the Coen brothers’ sardonic humor was born before it immigrated to the northern plains of America. (DH) Feb. 24 at 9:30pm, California Theatre; Feb. 26 at 4pm, C12; Feb. 27 at 11:15pm, California Theatre

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[22] COVER STORY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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cinequest Top Picks

20

No Tomorrow

(U.S.; 80 min.) A gritty, emotional documentary-within-a-documentary that focuses on the life and grisly murder of a former ward of the state. Back in 2004, ďŹ lmmakers Roger Weisberg and Vanessa Roth chose 18-year-old Risa Bejarano as the subject of their documentary ďŹ lm Aging Out, following one year in the life of the young woman as she was emancipated from the L.A. foster care system and went off to college. After the ďŹ lm wrapped, however, Bejarano was brutally shot to death by a gang member. Suddenly, the duo’s documentary took on a whole new meaning in the hands of the prosecution. In No Tomorrow, Weisberg and Roth narrate their moral and ethical struggles as Aging Out is used as courtroom evidence to tug the jury’s heartstrings and condemn the young woman’s killer. Ultimately, this is a dramatic, suspenseful look at a death penalty trial and a commiseration over the right of the state to take a life for a life. Be warned: the ďŹ lmmakers show many graphic photos of Bejarano’s bloody, shot-up dead body, and the bodies of other gang victims. (JF) Feb. 27 at 1:45pm, C12; Feb. 28 at 11:30pm, SJ Rep; March 6 at 6:30pm, C12

Passenger Side

(Canada; 85 min.) With a wit dryer than the Joshua Tree desert in its middle third, Passenger Side is a hyperverbal, daylong meandering drive through a greater L.A. and through the minds of two disaffected brothers. Their mood is sullen, but their banter is as well timed as a jazz combo’s. Novelist/ad copywriter Michael (Adam Scott) tells his actor-with-a-drug-problem brother Tobey (an excellent Joel Bissonnette) about his next semiautobiographical novel. Tobey asks, “Is this the one where the stupid white guy sadly wastes his life or the one where the sad white guy stupidly wastes his life?â€? An ironic ’90s indie-rock soundtrack (including Santa Cruz’s Camper Van Beethoven) is the third character in this road ďŹ lm. Despite the self-pity, this is Sideways for thirtysomethings. (DH) Feb. 25 at 7:15pm, SJ Rep; Feb. 27 at 11:30am, SJ Rep; March 4 at 11:30am, C12

Peepers

(Canada: 83 min.) Seth W. Owen’s vision of a cluster of Montreal voyeurs is well worked out, even if the premise has the dead-end quality of an academic joke. Steve (Joe Cobden) is the lynchpin of a group of roof crawlers who meet in all sorts of weather; their dedicated window peeping is disturbed by a college professor (Janine ThĂŠriault, very good) who has come to study them. But her own clear shot at the Hassenpfeffer Fellowship is disturbed when her interest grows: not in destroying sexist paradigms of the watcher and the watched but in the lowbrow pastime of catching glimpses of dicks, balls and girls with big nipples. To the ďŹ lm theorist, all moviegoers are voyeurs; naturally, Peepers cites Rear Window

Qbttfohfs!Tjef and Peeping Tom (aside from a Scrabble board, is there any other use for the word “scopophilia� than to describe that Michael Powell movie?). One gets a “where was Brian de Palma when they needed him� vibe when watching this. To the rescue: the skin scenes and Montreal’s sturdy tradition of improv comedy, evinced by the sweet Quinn O’Neill as a girl who turned exhibitionist (a turn-off to these peepers); and Daniel Perlmutter and Mark Slutsky as the obnoxious rivals who are caddish enough to sell what they’ve watched on their website. (RvB) Feb. 26 at 9:30pm, C12; Feb. 28 at 9:15pm, C12; March 2 at 1:30pm, C12

Road to Sangam

(India; 135 min.) When India’s greatest martyr died, he asked that his ashes be divided into 20 parts and sent off with the ow of the nation’s 20 rivers. Amit Rai’s proudly humanist ďŹ lm is a ďŹ ction, yet it’s based on the real-life discovery, some 60 years on, of a cask of the ashes of Mahatma Gandhi. In Utter Pradesh, a terrorist bombing sets off repression by the Indian police against the Muslims; meanwhile, a humble but farsighted Muslim mechanic in Allahabad gets the job to ďŹ x the engine of a vintage V8 truck—little realizing that this truck had once been used long ago to transport some of Gandhi-ji’s ashes, and that the authorities hope to use the truck in the upcoming ceremony. But a general strike by outraged Muslim merchants threatens the mechanic’s task. Star Paresh Rawal and the regal Om Puri engage in a discourse about the partitioning of India that’s real food for thought. (RvB) Feb. 24 at 8:30pm, C12; Feb. 25 at 1pm, C12; Feb. 28 at 1:15pm, California Theatre

The Tijuana Project

(U.S./Mexico; 61 min.) The sunny dispositions of the six kids in this documentary belie its tragic setting: a Tijuana trash dump in which they and their families live and scavenge for survival. The Fausto Gonzales neighborhood is as desolate as a trash-strewn moon. The only other adults around are drug peddlers and addicts living in an adjacent cemetery. Yet a schoolteacher invites an art and music teacher into the two-room dump-side school. Director John Sheedy ably captures the children’s most endearing and enduring trait: the ability to improvise fun anywhere. (DH) Feb. 26 at 7:15pm, C12; Feb. 27 at 7:15pm, C12

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cinequest

yet more films

Camembert Rose

(Hungary; 93 min.) Do you know those depressing people who go on about how we have to have a return to modesty? Here’s a movie for them. At first, Barnabas Toth’s film seems to be an interesting sex comedy about the rivalry between a father and son. The debonair old goat Tibor is a bald, bearded Budapest gynecologist whose life is one long one-night stand. His bullied virgin son, Daniel, a pre-med student, feels walled in by the old man’s constant pressure on him to go out and get laid. Daniel has manifested his fear of sex through a horror of cheese (since the father decided to gross out the boy by telling him the scent of a woman is like the smell of Camembert). Hungary has been a real pornucopia, as I’m sure you men know, and this film reacts to the easily downloadable mud slide of smut and its effects on the local morals. In the film’s second half, in the French countryside, Dani meets a gorgeous and available older woman and learns to stop worrying and love cheese. But as he sits and pounds on his Swiss hang (a lugubrious metal hand drum the same size and shape as a wok), Dani’s honorable intentions start to look very prissy. Local color abounds: we see Budapest as a land of petty theft, an inferior power grid and rich humid summers. (RvB) Feb. 25 at 4:30pm, C12; Feb. 26 at noon, C12; Feb. 28 at 2:15pm, C12

Life in One Day

(Netherlands; 91 min.) The conceit of the title, based on a Dutch science fiction novel, is a world where humans are born, grow, love, breed and die in one day. A pastor describes this as heaven. Every experience is new, never to be repeated. The film is indeed frantic and ecstatic during this day. Gini (Lois Dols de Jong) and Benny (Matthijs van de Sande Bakhuyzen) meet but want the day to last. Their devil’s bargain results in some empty but well-photographed trysts and in very compelling use of split-screen photography for the duration. (DH) Feb. 24 at 7pm, California Theatre; Feb. 27 at 9:45pm, C12

Little Fish, Strange Pond

(U.S.; 90 min.) A couple of white guys walking around L.A. talking and killing women. Yes, Sweet Stephen (Callum Blue of Smallville) and his alter ego, Mr. Jack (executive producer Matthew Modine, looking dapper), owe plenty to Tarantino’s hit men in Pulp Fiction, but despite their philosophizing, they’re no Travolta and Jackson. The film peaks early when the chattering pair enter a porn store where the manager, Bucky (Zach Galifianakis), lives by the credo “Don’t fuck around.” When yet more speculations on the nature of being prolong a botched hold-up

attempt in the store, Bucky shouts, “What the fuck is this, my robbery with Andre?” If only screenwriter Robert Dean Klein had followed Bucky’s advice and reduced the chatter, the film might not try the viewer’s patience so much. (DH) Feb. 26 at 9:15pm, SJ Rep; Feb. 27 at 11:59pm, C12; March 1 at 9:15pm, California Theatre

Lost Persons Area

(Belgium et al.; 109 min.) Marcus, Bettina and their daughter, Tessa, live in a trailer amid a bleak, spare landscape crossed by hightension towers. Marcus leads a crew that works on the towers. Bettina lives an aimless life marooned in the trailer, where she runs a commissary/cantina for the workers. As for little Tessa, she’s largely ignored by everyone as she ditches school and roams about the dusty and bleak surroundings collecting animal bones, stones and strange bits of trash that only have meaning for her. Hungarian immigrant and worker Sobolz enters the trio’s life as a lone force of good in all the grinding despair and selfishness that define Marcus and Bettina’s relationship. Director Caroline Strubbe paints beautiful if desperate portraits of these lost lives, particularly that of Tessa, a self-possessed girl driven slowly mad by her mother’s neglect. It’s tempting to dismiss the film for the crushing despair it instills, but the stories and lives it depicts have a way of haunting your thoughts for days. (SH) Feb. 28 at 6:15pm, C3; March 2 at 3:45pm, C12; March 5 at 4:15pm, C3.

Low Lights

(Lithuania, Germany; 92 min.) Antonioni goes to Vilnius. Laura and Tadas are a disaffected young urban, professional couple, stuck in a lousy half-built flat thrown up during the last economic boom in a district called “The Box” for its stunning architectural brutality. The couple—numb from the ugliness around them—go their separate ways for the course of a night: the wedge is the husband’s old pal from school, Linas, who turns up like a bad penny. He takes Tadas out for a drive to nowhere on the freeways of the city. Despite what you’ve heard about the charms of Lithuania’s capital, you just about won’t

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see a building more than 10 years old in this movie, and aside from a turn in a scary forest, the only natural thing you’ll see is the grass in the median strips. The landscape is thoroughly Americanized in the nightlighted gas stations and aimless rituals: Radas and Linas even go in for an automobile sideshow, burning some of the rubber on Tadas’ Mercedes. Identity games ahoy, with the Mimi Rogers–like Laura turning up tarted up with lipstick and spinning out in a fancy ride of her own. Clearly, a wakeup call to the Baltic States. (RvB) Feb. 24 at 9:15pm, C12; March 5 at 5pm, C12.

Parallels

(U.S.; 16 min.) Norman Mailer once said you measure schizophrenia not by how many selves there are but by how well the selves can speak to one another. In Parallels, we see Emilie Germain weaving and bobbing between two different pieces of herself. One character is a French-speaking woman fresh from a bloody encounter in a man’s apartment—she escapes without too many clothes on. The other character represents the rational side of the psyche, trying to suppress the first character. Several layers of meaning emerge right from the very start, as the Blondie tune “In the Flesh” opens the film. Later, we see Germain contemplating a Warhol print of Debby Harry on the wall of a dude’s apartment. “She looks so disconnected and conflicted,” says the character. Ah! Now we’re getting somewhere. This short shows with Hell Is Other People. (GS) Feb. 27 at 4:15pm, SJ Rep; March 3 at 7pm, C3

Paulista

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(Brazil; 82 min.) In an early nightclub scene, volatile chanteuse Justine (Danni Carlos) sings Radiohead’s “Don’t Leave Me High, Don’t Leave Me Dry.” This Brazilian ballad of sexual dependency and desertion is at once exotic and matter-of-fact. To start her acting career, country girl Marina (Silvia Lourenço) moves into her cousin Suzana’s (Maria Clara Spinelli) apartment in Paulista, São

Paolo—the best neighborhood in the biggest city in Brazil. Marina soon discovers the unpredictability of loving someone “exciting.” Suzana falls for another lawyer in the macho enclave of a South American law firm. Although not particularly original, Paulista is a sophisticated and worldly story of carnal desire and disappointment. (DH) Feb. 27 at 7pm, C12; March 1 at 3pm, C12; March 5 at 11pm, C12

Raspberry Magic

(U.S.; 88 min.) Although not as harrowing as The Effect of Gamma Rays on Man-in-theMoon Marigolds, Raspberry Magic is a wellacted, modest and inspiring family drama hinging on a girl in a science fair. Eleven-yearold Monica Shah (Lily Javaherpour) wants to succeed in the school science fair and to keep her family together. The parents in this economically troubled middle-class family emigrated from India, but writer/director Leena Pendharkar doesn’t fuss over that fact. She focuses on the efforts of Monica to corral her younger sister, engage her father (Ravi Kapoor) and cheer up her mother (Meera Simhan), who is attempting to write a cookbook. Both the family and the film are a long way from Bollywood. (DH) Feb. 24 at 7:15pm, C12; March 5 at 7:15pm, C12; March 6 at 7pm, C12

The Robbers

(China; 92 min.) In a remote Chinese village long ago, two bandits—equal parts rakish and buffoonish—try to shake down a local man and his daughter. Soon, some imperial soldiers show up and do a lot worse. The bandits side with the villages, the villagers turn on the bandits, the bandits turn back against the villagers and so it goes in the rice paddies. Director Yang Shupeng milks the historical warrior genre mostly for laughs: an oftrepeated dirty joke, plenty of mugging, lots of exaggerated scowling and excessive shouting. (MSG) Feb 25 at 6:45pm, C12; Feb. 27 at 1:30pm, C12; March 4 at noon, C12 25

[24] COVER STORY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

2006

cinequest a timeline

Deepa Mehta’s Water closes the fest, opened by the all-time best movie ever to open Cinequest, Thank You for Smoking. William H. Macy drops in fast, talking on his cell phone all the way to the stage to receive his Maverick spirit award. In his honor: a screening of his white-guy-on-a-rampage film Edmond. Also: Kim Clark and Luane Beck of SJSU’s documentary God and Gays, Lomax the Songhunter, the Denver-set S.E. Hinton–like drama Fall From Grace.

They said it couldn’t be done, but now it’s officially 20 years of Cinequest. Halfdan Hussey, Kathleen Powell and programmer Mike Rabehl—among many others—brought to San Jose famed celebrities, local heroes and once-great names with a tricky indie movie to flog. Metro was there for all of them, if not in the sense that we were down with all of them. We look back now, year by year, remembering the sights, the sounds, even the smells: the garlands of roses laid at the feat of some beloved star, the incense burnt to some silent-film great, the aroma of burnt trust fund, left behind long after someone’s home-brewed movie is forgotten.

Best Metro Pan: It’s a Mishmash. “You know it’s bad when you start wishing for a Salman Khan cameo.”

2005 Manual for Love Stories and My Jealous Barber open and close, respectively. Matt Zeller Stoltz’s Home plays. The California Theatre does big-screen justice to Harold Lloyd’s Safety Last. Blanchard Ryan (Open Water) bails out, but Ben Kingsley turns up, claiming his secret as an actor is “I will not trivialize what I do.” Jon Polito (The Big Lebowski) makes a personal appearance in honor of his turn in Scott Smith’s madein–San Jose caper comedy Charlie the Ox.

—Richard von Busack

2009 Alejandro Adams’ Canary is an audience divider. Jeffrey Goodman’s The Last Lullaby—a tough, filmed-in-Shreveport noir—goes over easier with the crowd. Lou Gossett is scheduled. Diablo Cody, Kevin Pollak and Bijou Phillips turn up. The locally made documentary Witch Hunt concerns politically motivated child-abuse prosecutions in Kern County. Billy Was a Deaf Kid’s Rhett and Burke Lewis were everywhere, promoting their Utah brand of mumblecore. Intolerance unreels at the California Theatre, and a barroom screening of Whiskey Tears plays Slamdance to Cinequest’s Sundance. Number of films compared by Metro reviewers to Lifetime Channel movies: 2.

Best Metro Pan: Elephant Shoes. “As Mel Brooks once said, this is the kind of premise that needs to be tried again and again, before it’s finally abandoned all together.”

2007 Mira Nair, The Usual Suspects scriptwriter Christopher McQuarrie, and Christine Vachon are among the guests; Nair’s The Namesake opens, and The Owl and the Butterfly closes. M Dot Strange’s We Are the Strange brings “str8nime” (a form of machinima) to San Jose. Chances are it’s still lying around here somewhere. J.J. Abrams tells the audience he’ll have to kill them if he tells them anything about his version of Star Trek. Hitler Meets Christ plays; Christ wins. Alex Orr’s Blood Car and Outsourced (returning this year for a repeat engagement) are audience faves.

Winners: Firaaq (Maverick Spirit Award), The Friend (Best First Feature), Heart of Stone (Best Documentary).

Jens Lien’s The Bothersome Man takes the Maverick Spirit Award.

Best Metro Pan: Blue Road. “I’d rather watch these two do something remotely interesting (driving off a cliff a la Thelma & Louise is a good start) than have to listen to them emotionally masturbate.”

Best Metro Pan: Just Sex and Nothing Else. “This one-pistoned farce climbs its steep, steep hill by inches. [Judith] Schell’s underwear scenes are staged with all the Lubitschian delicacy of a Benny Hill sketch.”

2004

2003

Arnold Schwarzenegger: a Republican Maverick. David and Janet Peoples, scriptwriters of Twelve Monkeys, explain their techniques. The Norse soccer movie United opens; closing is The Conscientious Objector, the story of Desmond Doss, the Seventh Day Adventist pacifist who won a Congressional Medal of Honor. The documentary The Agronomist by Jonathan Demme is essential viewing about Haiti. The shocker: Awful Normal, a documentary in which a pair of sisters confront their molesters. Best Metro Pan: Rhapsody in White. “It’s hailed as ‘one of the most successful Bulgarian films in recent years’—which says it all.”

The 100 Mile Rule closes; opener is The Movie Hero (a real bad one, starring Jeremy Sisto, the guy you wanted to punch in Six Feet Under). Celebs include animator Ralph Bakshi and the weary yet indomitable Dolemite himself, Rudy Ray Moore, clad in leopard skin and carrying a cane but still his old self. RIP. Anticipating the Romanian Wave: Every Day God Kisses Us on the Mouth. (“When Dumitru and his pet goose get home, the ex-con finds his wife’s been raped and impregnated by his fat, hearty brother.”) Best Metro Pan: Crazy Jones. “The hint of pedophilia is somehow less shameful than the ending, which is completely without shame.”

2008 Kurt Kuenne’s Dear Zachary is the fest’s phenom, a documentary about the murder of a former area man as remembered by his close pal. Bill Rose’s This Dust of Words (currently, a project being pitched by Fred Dekker as a feature film) concerns a brilliant Stanford student consumed by madness. Guests include Michael Keaton, Michael Arndt of Little Miss Sunshine, Bobby Moresco from Crash and Danny Glover. Alejandro Adams’ Around the Bay debuts. Ozu’s I Was Born, But . . . plays the California Theatre with Jim Riggs at the organ. Young People Fucking fails to become a scandal. Maverick Spirit Award goes to Superheroes by Alan Brown. Best Metro Pan: The Reject. “This is the kind of film where many Meaningful Looks are exchanged, the kind that seem to say ‘Aaaahhhhh’ even though there’s absolutely nothing to say ‘Aaaaahhhh’ about.”

2002 The Search for John Gissing opens this post 9/11 fest; the closer is 13 Moons by the indefatigable Alexandre Rockwell. Cooler, though is Lili Taylor and Sir Ian McKellen turning up. Best Metro Pan: Hard to find, but it must have been about 13 Moons.

2001 Great guests: Ron (Bull Durham) Shelton, Macy Gray, Spike Lee and master documentarian Richard Leacock. Scheduled guest Billy Bob Thornton takes a powder. Of some sort. Anyway, he doesn’t show up. Todd Robinson’s excellent documentary Amargosa stands up to time nicely. Shawn Flannagan’s The Friggin’ Mafia Movie plays. Opening this year’s edition is Kari Nevil’s shot-in–Half Moon Bay Your Guardian. At the new DXD section of the fest there’s some talk of

26

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 COVER STORY

cinequest

[25]

23

yet more films

Little Orchard Health Center

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The Sonosopher: Alex Caldiero in Life . . . In Sound

(U.S.; 66 min.) A self-styled Sicilian-born, Brooklyn-raised beatnik Mormon, poet Alex Caldiero must puzzle his fellow LDSers in Utah, where he teaches at Utah Valley University. Caldiero practices a particularly abstract form of “sound” poetry, intoning words until they unmoor themselves from meaning—think Allen Ginsberg times 10. He even composes elaborate written flurries of repeated letters that only he can translate. A voluble, bearish man, Caldiero expounds excitedly in this adoring documentary. He must be a hell of an entertaining teacher, although he grows tiring after about 45 minutes—sometimes, he’s a bit too much like a crank yelling on a street corner. In the best parts, the filmmakers combine Caldiero’s wilder soundscapes with rapid-fire edited images that recall the best experimental films of the 1950s and ’60s. (MSG) Feb. 28 at 4pm, C3; March 2 at 7:15pm, C3; March 4 at 2:45pm, C12

Upperdog

(Norway; 90 min.) Another degrees-ofseparation drama, this one set in an Oslo circle that includes a dry-cleaners’ daughter, an upper-class cad, a Polish maid and a traumatized NATO soldier whose accidental shooting of an Afghan boy ends up on an antiwar poster. While the playful, unforced sex scenes help out, director Sara Johnsen (Kissed by Winter, Cinequest ’06) has an

engineering problem: while the cast is full of good-looking people, she doesn’t have the level of acting she needs to make us care about these characters, their separation anxieties, their rivalries and their hurts. And it’s hard to laugh at them, either, despite the invitation we get to laugh from the classical music contrasted with the farcical behavior. Upperdog has its moments, but films like this are the reason why Crash has been called the worst movie of the Oughties, if only because of the kind of filmmaking it influenced. (RvB) Feb. 24 at 8:45pm, C3; Feb. 27 at 9:30pm, California Theatre; March 2 at 2pm, C12

Will You Marry Us?

(Switzerland; 90 min.) This lighthearted Swiss-German date-night film is certainly not breaking any new ground with its love triangle parable, but the charming cast and startlingly humanlike female leads are refreshing compared to the usual American romcom cadre (no needled-nosed Anistons here). Marie Leuenberger plays an overstressed and underloved small-town marriage official who has the unenviable task of wedding her old flame, played by a rail-thin Dominique Jann, to his prima donna movie-star girlfriend. The romance between the two is reignited through a series of very low-drama tribulations and quibbles in preparation for the big day. Besides a willingness to flirt with the idea that marriage ain’t all it’s cracked up to be, there’s nothing new here, but pretty people falling in love is not something audiences seem to tire of. (JL) March 1 at 7pm at California Theatre; March 5 at 4:30pm at C12; March 6 at 9:15pm, C12

[26] COVER STORY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

cinequest a timeline 2001

24 digital film, which will replace celluloid. The result of low-cost film is a hitherto unseen landslide of movies about filmmakers trying to make films. “It’s a pretty common theme. I think about 30 to 40 of the features out of the 400 we received were about filmmakers making films,” programmer Mike Rabehl told us. The now-prestigious closer: Amores Perros. Best Metro Pan: Shoe Shine Boys. “Director/writer Mikki Allek Willis thinks that just saying the word ‘tampon’ will evoke peals of laughter.”

2000 Long-time indie filmmaker Robert M. Young turns up with Dominick and Eugene. Also a headliner is Robert Miller, “director of the first all-digital film Mail Bonding.” Dario Argento discovers the meaning of real horror by coming to downtown San Jose. Andy Warhol’s Trash revived. Danny De Vito and Kevin Spacey in The Big Kahuna open the fest. Best Metro Appreciations (Tie): Whipped. “When they broke out the nipple clamps, I was bleating like Joe ‘The Worst Stooge’ Besser: ‘Owwww! Easy on the mateeerial!’”

Six Days at Roswell. “The film reaches the heights of Mount Ineffable with a performance of a musical about the UFO landing performed with amateur relish at the Roswell Community Little Theater— Waiting for Guffman pales by comparison.”

1997 Jennifer Jason Leigh turns up to introduce Last Exit to Brooklyn, Mrs. Parker and the Vicious Circle and the seriously overheated Georgia, as well as one of her best performances, in Miami Blues. Area man Julian Stone’s Follow the Bitch shows up, as does local-man Pete Anderson’s gangsta movie Partners for Life, partially shot at the Ajax Lounge. The documentary Herbert’s Hippopotamuses recalls Herbert Marcuse. Best line: “This, too, can be a learning experience,” a school administrator during a massacre in The Delicate Art of the Rifle. Best Metro Pan: Timeless “The title unfortunately describes the experience of sitting through this.”

Rain, rain, rain and a big lineup for the year before the dotcoms went smash. Cinematographer Barry Sonnenfeld, Kevin Spacey, editor’s editor Walter Murch (bringing his excellent Return to Oz), Jackie Chan, John Schlesinger, Walter Hill and Phil Kaufman (introducing Henry and June). Wow. Roger Nygard’s Trekkies shows the kind of Star Trek fans even Star Trek fans avoid. Griffin Lamachy’s Joe Flies concerns a man inheriting money and deciding to make a movie: we had here, then, a local filmmaker tacking this subject pretty early in the game. Good words for Labyrinth of Dreams. Dreams of a City: The Creation of East Palo Alto tells of the utopian roots of a then very dangerous place. Best Metro Pan: Bloodsucking Freaks. “It was picketed by Women Against Pornography in 1982. Those protesters had a right to be angry—you will be too if you accidentally stumble into this pig.”

1999

Best Metro Pan: OK Garage. “In a bizarre, nonsensical performance, Will Patton plays Sean, some kind of writer who carries small lizards in his pockets and mutters and rolls his eyes like a movie-ofthe-week serial killer.”

Quest 6 opens the Theater of the Future, the UA Pavilion—at last, downtown San Jose is anchored!. Present and accounted for: Luis Valdez, Robert Wise (introducing The Haunting); Neil Jordan (with The Company of Wolves). Gus Van Sant brings four films, including his very Mavericky Mala Noche. RvB, introducing Van Sant at the Camera One, stupidly asks the director what filmmakers see in Keanu Reeves. Not appreciated! Brad Anderson (later of big things like The Mechanic and Transsiberian) brings his debut, the fine proto-mumblecore The Darien Gap. Best Metro Pan: Apparently, this was the year in which the staff decided that discretion is the better form of valor.

1995

1994

1998

Vilmos Zsigmond introduces Deliverance (one of the all-time best revival experiences, despite out of focus first 10 minutes). “They chose it because it’s not been shown for a long time,” quipped the renowned cinematographer. Asked if he’d been out camping since he made Deliverance; “Not in that part of Georgia, no.” Jennifer Beals turned up white-gowned, surrounded by stage-door johnnies. Wilbur Falls is one of the highlights. A Hungarian remake of The Postman Always Rings Twice, Passion, turns out to be coscripted by Bela Tarr, gladdening the heart of all “Tarr Babies,” who can’t get enough Magyar agony.

1996

The worst Cinequest ever in that there is no Cinequest at all in 1995, the event having been postponed a few months to spring 1996.

Werner Herzog and John Waters turn up. Little persists in my memory of this year as much as the revival of Russ Meyer’s 1979’s Beyond the Valley of the Ultra-Vixens playing at the Studio Theater. As is customary, Meyer hand-carries the cans of film from the trunk of his car to the theater. We who are there learn a message of racial brotherhood, are exposed to the sexual proclivities of Martin Bormann and discover that the so-called Lola Langusta—“hotter than a Mexican’s lunch!”—is none other than Kitten Natividad. Michael Radford arrives, with Il Postino.

1993 Paul Bartel brings Shelf Life, featuring Sam Shepard’s ex O-Lan Jones and Duck’s Breath Theater’s Jim Turner—it’s the story of a group of kids sealed in a fallout shelter who go feral and act out TV skits. In interviews, Bartel (Rock and Roll High School and Eating Raoul) reveals that his model as an actor is Monty Woolley. Carl Franklin screens his fine little noir One False Move.

1992 German actress Lena Stolze (The Nasty Girl, The Swing) is honored. Tesmistocles López’s Chain of Desire, appears: a New York independent movie based on Max Ophuls’ La Ronde. Julie Cypher’s short but arduous Arduous Moon plays: the ultimate lesbian mafia cast! Ellen, Melissa Etheridge, k.d. lang. Kenneth Branagh/Rita Rudner comedy Peter’s Friends closes; by today’s estimation, the big star would be not Branagh or Emma Thompson but Hugh “Dr. House” Laurie.

1990 1991 My Own Private Idaho plays as does High Strung, with comedian Steve Oedekerk (Patch Adams, and several movies starring thumbs); stuck in his apartment, he complains about the bitterness of life, until Death (played by an uncredited Jim Carrey) turns up.

Jon Jost’s Sure Fire plays, and even at this distance I’m pretty sure it’s the single most rebarbative film ever to play at Cinequest, with a seemingly 20-minute-long shot of a man’s legs as seen from another room. Jost is back with more this year, on March 4.

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 COVER STORY

cinequest

at a glance

Just the Facts The festival runs Feb. 23–March 7 in downtown San Jose at the Camera 12 and Camera 3 Cinemas, San Jose Repertory Theatre and the California Theatre.

Full Disclosure Metro is one of the sponsors of the festival.

Getting In Cinequest can be digested film by film for $5 for students and $10 for general audiences (and only $7 for matinees). The opening- and closing-night galas, with screenings and parties, run $40. The Maverick Spirit events are $15–$20. Run-of-the-festival passes run $145 and up, with privileges priced accordingly. For full ticket and schedule information, visit www.cinequest.org.

For Starters The festival opens Feb. 23 (7pm at the California Theatre) with The Good Heart. Brian Cox and Paul Dano star in this story of a profane old bartender who makes friends with a homeless young man after the latter’s suicide attempt. The screening is followed by a party with the filmmakers at E&O Trading Co.

Maverick Spirit Awards

Deepak Chopra will be honored March 2 at 7pm at the California Theatre; it’s Benjamin Bratt’s turn March 4 at 7pm at the California Theatre, and he brings with him the film La Mission.

Forums and Workshops In addition to films, the festival also presents a variety of afternoon forums and workshops about the future of filmmaking and film distribution, including sessions on “The New Distribution” (Feb. 26), “3-D Cinema” (Feb. 27) and “Maverick Filmmaking With the Olson Brothers (March 6).”

Old-School The Stanford Theatre Foundation screens two silent-film operettas at the California Theatre. Erich von Stroheim’s The Merry Widow shows Feb. 26 at 7pm. Ernst Lubitsch’s The Student Prince in Old Heidelberg shows March 5 at 7pm. Dennis James does the honors on the organ.

Wait, There’s More Next week’s Metro will contain extra coverage of the films, events and personalities of Cinequest. Keep up with our running coverage of the festival online at SanJoseInside.com and Metroactive.com. Quick hits and updates can be had by joining us on Facebook at MetroFB.com or on Twitter at twitter. com/metronewspaper. And be sure to give us plenty of feedback at our blog www.metroactive.com/moviesandtvblog just in case our reviewers were criminally wide of the mark.

Speaking of Reviewers Our Cinequest coverage was provided by Richard von Busack (RvB), Michael S. Gant (MSG), Steve Palopoli (SP), Jessica Fromm (JF), Don Hines (DH), Eric Johnson (EJ), Jessica Lussenhop (JL), Stett Holbrook (SH) and Gary Singh (GS).

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[30] EVENTS

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

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[32] STYLE

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

LUXURIOUS LATHER!!Dibsjtnb!cfbvuz!qspevdut!dpncjof!gvo-!!

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High Gloss

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ORGET HEMP SOAPS reeking of patchouli oil—when Shari Moran started making her own all-natural, handmade beauty products, she wanted them to be fresh and fun, not all hippie-dippie. That’s why Charisma, the line of lip balms and soaps she makes in her home in Campbell, looks decidedly modern and chic. A professional graphic designer during the day, Moran made sure that what’s on the outside of her products is just as impressive as what goes into them. The packaging of each one of her luxurious lather soaps and lip balms features its own individual design themes with sexy, James Bond–esque female silhouettes surrounded by jewels, crowns and bubbles. “I wanted to incorporate some of my fun design into it,” Moran says about how she came up with Charisma’s distinctive style. “I feel so many natural products are woven with hemp and stuff, but I wanted this to actually be fun too. It doesn’t have to be so serious, and that’s why I threw my own stuff on it.” We especially liked her Charisma Lip Service lip balms, which are basically a fragrance for one’s mouth. Meant to inspire the wearer, her lip balms come with names like “Powerful” (a chai tea–infused balm), “Positive” (an orange-flavored gloss) and “Princess” (a creamy vanilla flavor). They make one’s pout silky smooth, and their yummy flavors last much longer then those old Bonne Bell Lip Smackers every girl wore back in middle school. Moran says she whips these lip scents up in her own kitchen. Hovering over a double boiler, she combines natural ingredients like soybean lipids, fruit oil, beeswax, carnauba wax and stevia-leaf extract for a little sweetness. She then pours them into lip gloss tubes and slaps on her own custom, crystal-adorned labels for a unique beauty product. Similarly, her Charisma luxurious lather olive oil soaps are nothing if not packed with potent scent. Each 3-by-2-inch bar may look tiny, but take it into the shower, and the entire bathroom with smell like delicious Pearberry or scrumptious Cherry Almond in minutes. All of this, plus the fact that each Charisma luxurious lather and lip service sells for an extremely reasonable $2, makes us think that Charisma products are a great local, all-natural alternative to those old Bath & Body Works products at the mall. Charisma products can be purchased online at www.etsy.com/shop/charisma4 everyone. Jessica Fromm

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 MENU

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[33]

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Under new chef Mike Alsop, I Gatti in Los Gatos rings new changes on familiar Italian-American cuisine By Stett Holbrook

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HERE’S NOTHING wrong with saucy, cheesy Italian-American food. Who doesn’t like a big plate of spaghetti and meatballs, mozzarella-covered lasagna and the obligatory fettuccine Alfredo? It’s good stuff, really. My gripe is simply that there is just too much of it. Some Italian restaurants do the style better than others, but the vast majority in Silicon Valley seem to draw on the same menu of Sicilian-inuenced ItalianAmerican standards. That’s what I was thinking when I walked into I Gatti in Los Gatos. The restaurant has been around since 1994 and has become a mainstay of Los Gatos dining, but I had yet to try it. I confess I expected more of the oversauced, overcheesed school of Italian-American food. There’s some of that, but I was pleased and surprised to discover that there is also a livelier, more inventive side to the restaurant and a high level of quality and execution. The spring in I Gatti’s step comes from new chef Mike Alsop, who came aboard nine months ago.

Alsop is a veteran of several Silicon Valley restaurants, including Orlo’s, Le Mouton Noir, Emile’s and Stratta Bar and Grill. Since he took over the kitchen, he has tried to reďŹ ne and tighten up the menu, paring it down, eliminating some redundancies and adding a few specials of his own. In reality, I Gatti isn’t a straight-up Italian restaurant. There are French and Spanish accents as well, and Alsop is keen to draw out some of those inuences as he tweaks the menu. The challenge of reworking the menu of a 16-year-old restaurant is keeping the regulars happy with the dishes they have come to expect while offering something to attract new diners. “It’s a tough Catch-22 here,â€? Alsop admits. “I have a lot of veterans who have been coming here for years, but after 16 years, you can’t rely on those people coming back.â€? For the regulars, Alsop has updated several longtime dishes, such as the linguini nere ($21), a house-made pasta tinted black with squid ink and tossed with fresh chunks of lobster, scallops and shrimp in a spicy but judiciously

applied tomato sauce. The dish used to be made with frozen seafood, but now the ingredients are all fresh. What regular is going to complain about that? For newcomers and regulars looking to branch out, keep an eye peeled for Alsop’s changing lineup of specials. On my visit, the standout was the roasted PaciďŹ c swordďŹ sh with tapenade and bacony white beans ($29). West Coast swordďŹ sh come from a better-managed ďŹ shery than those from international waters, since many foreign ďŹ shermen employ long-line ďŹ shing gear that hooks and kills many unintended species. It’s nice to ďŹ nd a chef who seeks out more sustainably sourced ďŹ sh, and who prepares it with such delicious simplicity as Alsop does. Another gem on the specials list was the pork-belly salad ($8), a lightly smoked chunk of pork paired with blue cheese and an arugula salad. While it wasn’t a light dish by any means, since we’re talking about a stapler-size piece of uncured bacon, much of the fat had been rendered, and the pairing with peppery greens and bright

balsamic vinaigrette qualiďŹ ed it for salad status. I had an excellent soup, too, a thick and velvety mushroom and fennel creation sprinkled with smoked paprika ($6) that hit the spot on a rainy night. There are several winners on the regular menu as well. I enjoyed the sweet rock-shrimp fritters ($9) and the beet and crispy manchego cheese salad ($8). The rigatoni with meatballs (beef, pork and veal) is old-school, but the lightness and savory avor of the meatballs elevated the dish to new heights. Chicken saltimbocca ($23) isn’t a cutting-edge dish either, but I Gatti does it well—juicy chicken breasts rolled up into a plump package with asparagus and prosciutto and paired with bubbling, truffleavored macaroni and cheese. Not everything works as well. The eggplant Parmesan appetizer ($8) looked good on the plate with the ďŹ n of crisped Parmesan cheese protruding from the top, but I expected a more elemental, stripped-down version of the ()

[34] MENU

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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dish since it was an appetizer. While the portion was scaled down, it oated on a red tomato sauce and wore a thick mantle of molten mozzarella, an appetite sapper instead of an appetizer. Desserts are weak. Some are outsourced and some made in-house, but nothing I tried, including the chocolate torte ($7) and tiramisu ($8), was memorable. Service is another weak link. Servers are friendly but perfunctory at best. During my two visits, both servers who waited on me didn’t display much enthusiasm or knowledge of the menu. I Gatti offers a plush yet neighborhood friendly charm, but the servers don’t help nurture that feeling along. Questions about the menu are met with bland, noncommittal answers, and on several occasions my server disappeared for long gaps of time. Worst of all were the three fruit ies that turned up oating in my Manhattan. The waitress’s response? “I’m so sorry. That hasn’t happened for a really long time.â€?

In reality, I Gatti isn’t a straight-up Italian restaurant. There are French and Spanish accents as well, and Alsop is keen to draw out some of those inuences as he tweaks the menu.

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Gjhh^Vc 8V[‚ VcY 9Za^ Gjhh^Vc# # I]^h ^h V hbVaa Yikes. It happened before? Time to implement some new glass-cleaning/ bartending procedures. Pricewise, I Gatti is a midtier restaurant, and I don’t expect awless service, but a little more polish and conviction would help. Silicon Valley needs more Italian restaurants willing to break out of the pizza-and-ravioli rut, and Alsop is taking small steps to reinvent a long-lived Los Gatos restaurant. Getting the front of the house to step up its game needs to be part of the plan as well.

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 DINING GUIDE

dpmvno xjof Going

Greens

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OST vegetables, left to their own devices, won’t slide easily into a flavor partnership with wine. That’s because flora in general, and green veggies in particular, bring their own herbal, grassy, sometimes even metallic bitter tones to the table. Wines, on the other hand, love to partner with flavors that offer fruit, meatiness, butter, olive oil—in other words, rich, strong, earthy attitudes. Vegetables are known for other, well, virtues. And that means, as many chefs know all too well, that it can be challenging to make a wine-friendly dish of Brussels sprouts or asparagus. Worst offenders? Artichokes, asparagus and arugula. The A-list wreaks havoc with most wines. They fight with your basic sangiovese or cab as much as the mother of difficult seasonings, cilantro. One strategy is to pump up the preparation. Roasting veggies with garlic and olive oil, for example, will help to intensify their essential earthiness. Or enhance them with sauces that add some fruit or cream to the experience. If you prepare vegetables in a way that accentuates their richness—for example, by grilling—they will work much better with wines, especially red wines that have been sculpted by aging in oak. In general, the rule seems to be either to work with the prevailing flavor—earthy with earthy, tart with tart—or play against it. Pair a spicy, fruity wine such as a pinot noir with spicy cooking styles and a dry, mineral-laden riesling with a cucumber salad. Or do contrast matching—sweet roasted carrots with a tartly perfumed albariño, or a sweet sauternes with salty anchovies, marcona almonds or—an obvious match—a pungent Camembert. If you like the idea of accentuating the inherent flavors of certain vegetables, then experiment with wines that resonate along with them. Minerally, dry whites bring out the delightfully eccentric mineral quality of asparagus, or even fennel. High-acid items, for example tomatoes, might go well with a crisp sauvignon blanc. Mushroom sauces or mushroom lasagnas are brilliant with a well-made, earthy pinot noir. Christina Waters

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[35]

[36] DINING GUIDE

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

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[38]

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

[39]

[40] DINING GUIDE

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 DINING GUIDE

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F I HAD to choose, I would spend my days eating at hole-in-the-wall Mexican, Chinese, Vietnamese, Korean, Pakistani and Indian eateries instead of fancy white-table restaurants with posh interiors and expensive wine lists. For me, it’s these so-called ethnic restaurants that offer the most exciting and interesting food in Silicon Valley. (I say “so-called ethnic” because ethnic is a loaded term that’s quickly losing its meaning. As Silicon Valley and California at large become ever less white, the word is increasingly anachronistic. Ethnic according to whom? Labeling something as ethnic presumes that one is white or at least a member of America’s dominant culture. But where do Indian or Vietnamese immigrants living in Silicon Valley go for ethnic food? Denny’s? Armadillo Willy’s? Ethnic is in the eye of the beholder. But I digress). But as happy as I am sidling up to a taco truck for a plate of carnitas tacos or sitting down at an East Side San Jose pho shop, I’m faced with a dilemma. My favorite kinds of restaurants are typically the ones most likely to serve factory-farmed meat and industrially produced fruit and vegetables. Taquerias and noodle shops are not the places to find organic produce and sustainably raised meat. Why is that? The easy answer is that it is too costly for these often barebones, mom-and-pop restaurants. Organic and sustainably produced food generally costs more than food loaded off a Sysco truck or grown on a big corporate farm somewhere in the Central Valley. A low-rent restaurant run by Vietnamese immigrants isn’t likely to have a budget big enough to buy grass-fed beef or organic produce from a local farm. Similarly, the restaurant’s customers are probably not willing to pay a premium for these kinds of foods. But the bigger reason isn’t that good food is too costly, but rather that we have a food and economic system that encourages the externalization of costs onto the environment, society at large and future generations. Companies that do business this way are rewarded with increased sales because they can sell their stuff for “cheap.” Of course, there’s nothing cheap about cheap food. Cheap at Costco generally means more it’s more expensive in terms of environmental or social impact (groundwater contamination, tainted beef, loss of genetic diversity in plants, health-care costs to treat obesity and Type 2 diabetes and oil dependence). But those cost are borne by society as a whole rather than by the consumer at the cash register. Everybody loves a bargain, right? Why pay more? There are organizations that help restaurants implement more environmentally sound practices, but food isn’t their main focus. Thimmakka is a nonprofit group in Oakland that works with the Association of Bay Area Governments to help restaurants lessen their output of waste, energy, water and pollutants. But sourcing better food isn’t part of the program. That’s a gap that needs filling. What will it take to bring more ethnic restaurants into the fold and help them to embrace environmentally sound menus? In a word: money. Until the day when capitalism is swapped out for a more communitarian economic order, any plan has got to make economic sense in order for a restaurateur to make the changes required for a healthier world. Appeals to morality don’t put food on the table or money in the bank. I wish I knew how to get there. Perhaps tax exemptions for restaurants for taking significant steps toward greening their menus would provide the right motivation. Or perhaps we need a nonprofit organization that acts as a broker for low-budget restaurants, a co-op that pools the restaurants’ buying power to negotiate lower prices for sustainably sourced meat and produce. This isn’t just so that food-obsessed, guilty liberals like me can get organic arugula in their burritos. It could be a small step toward kicking over a rotten food system that rewards bad behavior at expense of the common good. We all have to eat, and voting with our food dollars can have a powerful impact. The more restaurants and customers there are willing to break out of the industrial food complex and create a new, more sustainable system the better. When it comes to what we eat, we either pay now or pay later. I’d rather pay up-front and enjoy my food now. Stett Holbrook (Twitter.com/SVDining)

[41]

[42] DINING GUIDE

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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98 8 S. S. Almaden Almaden Ave, Ave, San San Jose Jose

14523 Basin Saratoga 1452 3 Big B asin Way, Way, S aratoga

408.29.BLANK 408 29.B 408.29 BLANK

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408.872.0309 408 872. 408.8 2 0309

Wed W ed – 9pm; free free

Fri Sat Sat F ri – 8pm, p S at – 5pm, 5 S at – 8pm; $ $35/$45

Fri-Sat $12/$20 F ri-Sat – 7pm; 7 $12/$2 0

Fri F r – 10pm; ri 10pm; free free

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 CALENDAR

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Paul Dianno

Bon Jovi

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Sat – 10pm; free

Sun – 3pm; $10-$30

Sun – 7:30pm; $10/$15

Mon – 7:30pm; $29.50-$135

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FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 ARTS

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[47]

METROGUIDE

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This year’s Oscar shorts are a cut above_53

Zines on The Scene 8djgiZhn 6ccd 9db^c^

A new show at Anno Domini showcases a dazzling and sometimes bewildering array of DIY publications By Gary Singh

T BETTER THAN A BLOG Uif!ubdujmf!kpzt!pg!! {joft!pvuxfjhi!uif! tqffe!pg!uif!xfc/

EN YEARS AGO, graphic designers Brian Eder and Cherri Lakey opened an art gallery called Anno Domini with the intention of fostering monthly subculture-art receptions in San Jose. Located in an unmarked warehouse in the industrial badlands near Diridon Station, the gallery quickly gained an underground following thanks to its regular events, one of which was an annual “Art of Zines” show. Originally shortened from the word “fanzines,” zines are homemade, tiny-circulation, self-distributed, doit-yourself communiqués devoted to any subject one can imagine. They range from sublime, colorful packages to abysmal 20th-generation photocopied eyesores. The producers distribute them for pennies on the dollar or often just leave them anywhere for anyone to pick up and read. Eder and Lakey staged their first zines show in 2001. As both designers and artists in an age where academic bureaucrats are hell-bent on separating those two disciplines, Eder and Lakey reveled in the art-

and-design crossover mentality inherent in many of the zines. The aesthetic reminded the two gallery owners of themselves. “When working as graphic designers, the projects we enjoyed the most were the ones we could be passionate about, where we could put some of our own personality into it,” Lakey explained. “Those were the clients we enjoyed the most and the jobs we enjoyed the most.” And when viewing many of these zines, one really gets a glimpse into the personalities and mindsets of the artists. The passion and dedication of those who create zines is even more bizarre knowing that absolutely nothing is expected in return. No one’s trying to make any money out of this. “The resourcefulness of the doit-yourself spirit is incredible in the zinester community,” Lakey said. “They take all this time and effort—the passion is just amazing. And then to just go and leave it in a cafe with a hope that some random person will pick it up and read it. Who does that without getting paid? Or any fame?”

Since 2005, Anno Domini has been located on South First Street and was just voted 43rd in Juxtapoz Magazine’s list of Top 100 galleries and museums in the country. As people from all over the world continue to send in their zines, Lakey and Eder are amassing a “zine library” for future shows and/or projects. “How you can throw them away?” Lakey said. “This is a little tiny particle of someone’s soul.” About 300–400 new zines comprise the current show. All a visitor has to do is walk into the gallery and find a few titles to identify with. I chose Media Whore, Scumbags and Superstars, Functionally Ill and Cranky Buddha. That last one features an octopus on the cover and advertises “Religious tomfoolery, 17th-century dildo poems and much more.” And the zines don’t just arrive by postal mail. At the opening last Feb. 5 for South First Friday, a few local zinemakers manned tables and hawked their stuff. One titled San Jose I’ll Keep You: A Travelogue by Kate Saturday features an entire streetscape of all the South First

Street galleries and art venues. Admittedly inspired by Anno Domini’s activities over the years, the homemade booklet includes oddball scenes from the local landscape, including a donut shop, the Rosicrucian Museum and a peculiar tree at Stevens Creek Boulevard and Finch. The artist’s website is www.confoundedcontraption.com —which makes one wonder: If these people have websites, why are they constructing homemade print booklets to disseminate their information? “I know it’s circular reasoning, and it doesn’t make sense all the time,” said Lakey. “Why have something tactile and in 3-D when you can just put a blog up? But it’s different; it’s in the moment of making these things and putting them out and having something tangible that is never going away. I don’t care what anybody says about the end of print. This culture is not going away.” THE ART OF ZINES runs through March 13 at Anno Domini, 366 S. First St., San Jose. (408.271.5155)

[48] STAGE/ART/LIT

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Mission City Opera

La Boheme

Friday, Feb 19 & 26, 8 PM Sunday, Feb 21 & 28, 3 PM

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Mission City CPA 3250 Monroe St, Santa Clara Tickets: $51/43/31/19 408 749-7607 on-line: www.missioncityopera.org

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Palo Alto Philharmonic

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Orchestra Concert III

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Daniel Glover, pianist

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Saturday, Feb 20, 8 PM Cubberley Theatre 4000 Middlefield Rd, Palo Alto Tickets: $18/15/8 www.paphil.org

San Jose Wind Symphony

From Sea to Shining Sea

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Joseph Alessi, trombone

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Sunday, Feb 21, 3 PM McAfee Center 20300 Herriman Ave, Saratoga Tickets: $22/16/7 www.sjws.org

Discover the Arts www.svArts.org

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[49]

STAGE REVIEW 9VkZ AZedg^

YOUTH IN REVOLT!!Nbhhjf!Nbtpo!spdlt!bhbjotu!sfqsfttjpo!jo!Upn!TupqqbseÖt!ÕSpdl!ÖoÖ!Spmm/Ö

Velvet Goldmine

San Jose Stage cast handles everything Tom Stoppard can throw at them in the dense ‘Rock ’n’ Roll’ Y GUESS IS Tom Stoppard is well past the point in his career when anyone’s going to say, “Gee, Tom, this looks good, but it could use some serious editing.” Especially when the subject is something as obviously close to the heart as the political fate of his native Czechoslovakia. Wait, one might ask, isn’t Stoppard’s Rock ’n’ Roll about—rock & roll? Yup, that too, and that’s another very personal subject Stoppard has packed into the action of his 2006 work. He tries to find the intersection of these two obsessions, using a blazing trail of rock-music history and Czech politics to fuel the play’s underlying debate over whether revolution is political or cultural, personal or collective. That’s all fine and good, but I would recommend studying up on the history of socialism in Czechoslovakia from the 1968 Soviet invasion to the 1989 Velvet Revolution—the time span of the story—before tackling the first third of San Jose Stage’s new production. Reading the background notes in the program will probably do, but there’s a lot of detail Stoppard has worked into the dialogue, and so much, of course, that he couldn’t. The music, too, requires some background knowledge. I was lucky, since the main musical focus is on cult-rock figure Syd Barrett, one of my favorites. But for instance, those who don’t that know Roger Waters and David Gilmour wrote “Wish You Were Here” as a tribute to Pink Floyd’s mad former frontman in the 1970s will miss out on a shiver-inducing moment near the middle of Rock ’n’ Roll, when the song is played. The thing about San Jose Stage’s production, however, is that it fairly quickly breaks through the ice that is Stoppard’s deep sociopolitical subconscious. As the action shifts between Prague and Cambridge, the great performances by Jonathan Rhys Williams as rock-loving-but-politically-waffling dissident Jan, Ayla Yarkut as Eleanor (and also her daughter, Esme, who believes “the piper” Syd Barrett—another cloaked Floyd reference—has appeared in her back yard to sing to her) and Julian López-Morillas as die-hard British socialist Max bring out the emotion lying just under the surface of Stoppard’s setup. Yarkut in particular is incredible as the tightly controlled Eleanor, who after a long battle with cancer, finally melts down in a fight with her husband, Max. (Maggie Mason, who plays the younger version of Esme, as well as Esme’s daughter, Alice, is also quite good.) At that point, the play demands your attention. By the second act, all cylinders are firing in the dialogue and plotting, and Rock ’n’ Roll jumps from fascinating to sublime. The personal relationships all come to a head in one dinner scene, and while the political implications are still being tossed around, it’s the emotional connections that matter. San Jose Stage Company’s production is all the more memorable for staying true to the heart of Rock ’n’ Roll.

M

Steve Palopoli ROCK ’N’ ROLL, a San Jose Stage Company production, plays Wednesday–Thursday at 7:30pm, Friday– Saturday at 8pm and Sunday at 2pm through March 7 at The Stage, 490 S. First St., San Jose. Tickets are $28–$45. (408.283.7142)

UPCOMING EVENTS AT MONTALVO An Evening with Bob James :: Feb 25, 7:30 pm :: $35/30, Members $31/27 Grammy-winning pianist with more than 30 solo albums. Founder of the jazz ensemble Fourplay. “... his many years of dedication to smooth sounds and rhythms have not diminished his inventiveness or his sense of swing ...” - Los Angeles Times

Ladysmith Black Mambazo :: Mar 10, 7:30 pm :: $50/45, Members $45/40 The legendary South African vocal ensemble, performing for more than 40 years, won a 2009 Grammy for “Ilembe: Honoring Shaka Zulu.” “It isn’t merely the grace and power of their dancing or the beauty of their singing that rivets the attention, but the sheer joy and love that emanates from their being.” - Paul Simon

Women of the Blues: A Tribute to Koko Taylor :: Mar 19, 8 pm :: $32/27, Members $29/24 A tribute to the late Grammy-winning blues genius Koko Taylor presented by J.C. Smith featuring Sista Monica Parker, Pat Wilder & Sharon Lewis. The Chicago-Sun Times said of Koko Taylor...”Chicago’s best blues singer… she has fire in her lungs.”

Anoushka Shankar Project :: Apr 29, 7:30 pm :: $40/35; Members $36/31 Sitar Master Ravi Shankar’s daughter is a leading figure in World Music today. On her latest record she teamed up with sister Norah Jones! The Chicago Tribune raved about Anoushka’s stellar talent “... sounding every bit the equal of her illustrious father.”

All events at the Carriage House Theatre

Tickets: Montalvo Box Office 408.961.5858 M-F, 10am-4pm or ticketmaster.com :: montalvoarts.org

JOIN NOW :: montalvoarts.org/membership

[50] STAGE/ART/LIT

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y 9Vk^Y 6aaZc

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M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 STAGE/ART/LIT

[51]

GdWZgi H]dbaZg

ART REVIEW

ROMANCE AHEAD!!JuĂ–t!opu!upp!fbsmz!up!hsbc!tpnf!ujdlfut!gps!Cbmmfu!Tbo!KptfĂ–t!tvnquvpvt!!

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Leagues Apart

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A new exhibit at the King Library charts the history of the Negro baseball leagues

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ART OF a traveling exhibit, “Pride and Passion: The African-American Baseball Experienceâ€? made its eighth stop on a nationwide circuit at the Dr. Martin Luther King Jr. library two weeks ago. Organized by the National Baseball Hall of Fame and the American Library Association, the exhibition chronicles a tumultuous time in history when the challenges of racial divide took hold of America’s favorite pastime. As the escalator slowly ascended to the second oor of the library for the Feb. 6 opening, my curiosity about black baseball leagues began to remind me of how little I know about segregation. ConďŹ ned to a space about the size of an average classroom, the responsibility of translating more than 150 years’ worth of history was left to a few 10-foot tall partitions. A mixture of both black-and-white and color photographs captured the beginnings of the African-American baseball leagues when players gathered in the backwoods of Southern plantations during the early 1850s. When the Civil War ended in 1865, black players found little solace in being part of an integrated roster in which teammates hurled racial slurs at them. Eventually, when the practice of not renewing any of the players’ contracts became an unspoken agreement among white team owners some 20 years later, black players organized groups themselves in what would later come to be recognized as the Negro leagues. The Negro league players traveled across the nation, in much the same way as their white Major League counterparts, but never played in the same towns. It was an obvious paradox that manifested through stadium seats ďŹ lled by either white fans or black fans, but never a mix. It is jarring to realize that much, if not all, of what was transpiring off the ďŹ eld was also taking place on it. The same afflictions of racial conict and segregation that affected black people all over the country were just as evident even during a nineinning game—always, the players were reminded of their secondary status in social inadequateness. The age of discrimination begin to dissipate with the debut of Jackie Robinson in 1947 playing for the Brooklyn Dodgers. The exhibit dedicates an entire partition to Robinson alone, and rightfully so. His acceptance (albeit slowly) on a white team signiďŹ ed not only the direction of Major League baseball but also everything that existed outside of this bubble. Although it would be two decades before this slow trickle reached the heart of the Civil Rights movement, it symbolized the beginning of the end to a way of life that affected so many. These few 10-foot-tall partitions are a reminder of how huge a part racism played in so many lives and how important Black History month is in keeping those memories alive. Angelo Scrofani PRICE AND PASSION: THE AFRICAN-AMERICAN BASEBALL EXPERIENCE is now on display at the Dr. Martin Luther King Jr. Man Library, 150 E. San Fernando St., San Jose. (408.808.2000)

[52] STAGE/ART/LIT

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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BOOK REVIEW

HIT A HOMER [bdi!NbtpoÖt!ÕUif!Mptu!Cpplt!pg!uif!PezttfzÖ!jt!b!qmbzgvm!uxjtu!po!IpnfsÖt!fqjd/!

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Time Traveler

Author Zach Mason bends time and space in surreal variations on the Odysseus tale

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E’VE ALL heard, in part or in whole, the tale of Homer’s Odyssey—how Odysseus, the clever, long-suffering hero of the Trojan War, takes 10 years to get home to his faithful wife, Penelope, having a seemingly endless series of life-threatening and erotic adventures along the way. It’s an epic feast of Freudian symbolism, a middle-aged fantasy of resilient ingenuity and potency, a tale of identity lost and regained. Now The Odyssey has come to us in another form, disguised as cleverly and strategically as Odysseus himself when cloaked by the goddess Athena’s concealing mists. Only neither Odysseus nor Athena were writers or poets, and Zachary Mason, Silicon Valley computer scientist and author of The Lost Books of the Odyssey, is both. The Lost Books takes the form of a series of carefully crafted vignettes that rework the well-worn paths of The Odyssey with a deftly innovative lyrical style and a compelling philosophical, even metaphysical, slant. Framed by the pretense of “translating” recently discovered fragments of “pre-Ptolemaic papyrus excavated from the desiccated rubbish mounds of Oxyrhynchus” and containing dozens of variations on the Odysseus story, Mason’s narrative is at times playful in its revisions and at others darkly chilling. In one episode, after defeating the Trojans and wandering the seas for years in an effort to get home, a shipwrecked Odysseus finds himself in a time slip: his rescuer is Agamemnon, who is on his way to Troy to fight the war that has not yet begun. Locked below decks on Agamemnon’s ship and imprisoned in the labyrinth of time, Odysseus discovers a book called The Iliad. As he begins to read the story of the famous war—featuring himself—he notices that the author gets many of the details wrong. Time and its variable, ironic nature is a central theme in Mason’s work; almost every one of the vignettes bends or refracts time in order to imagine alternative destinies for the mythical heroes whose archetypal quests form the foundation of Western culture. Besides Odysseus, Mason reworks scenes from legends about Theseus, Agamemnon, Achilles and Alexander the Great—all of which shatter any previous fixed notions we might have had about these figures. Some of the most interesting characters subjected to Mason’s radical revisions are the women of The Odyssey. Odysseus’ wife, Penelope, takes many different forms throughout the vignettes, most memorably that of a shape-shifting wild woodland creature. Odysseus’ witchy lover Circe turns out to be the leader of the Bacchae. He is also propositioned by the goddess Athena, and—unbeknownst to him—hapless Ariadne, after her abandonment by Theseus, takes on a new identity as the seductress Calypso. Before Odysseus lands on Calypso’s island and becomes her lover, Mason has him overhear the three blind Fates discussing his destiny. Should they make Calypso a “horror” to punish him? Hiding outside their grisly cave, Odysseus perfectly imitates one of their voices and interjects, “No, let her be beautiful and kind as summer.” Thinking that one of the other hags has made this suggestion, the Fates assent, but comment, “Do not forget . . . he is, for all that he is bound to us, allowed just once to direct his fate. . . . Let us hope he does not meddle enough to get himself home.” Odysseus has just wasted his one chance to change his destiny, but at least Calypso will be a beauty. Reading Mason’s book is a journey through the imagination via lush, eloquent prose that will reignite a love of mythology within its readers, or—if they weren’t there before—inspire entirely fresh insights into the ways that myths shape and inform the way we tell the stories of our lives. Valerie Ross THE LOST BOOKS OF THE ODYSSEY, by Zacharay Mason; Farrar, Straus and Giroux; 240 pages; $24 hardback. Mason makes an author appearance on Tuesday, Feb. 23, at 7:30pm at Kepler’s, 1010 El Camino Real, Menlo Park. Free. (650.324.4321)

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 FILM

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[53]

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Short and Sweet

This year’s Oscar-nominated short films, both animated and live-action, outstrip most full-length features By Richard von Busack

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S AN Oscar mudslide for Avatar is imminent, the less publicized races are all the more interesting and far more fun to handicap. There’s a furious energy in today’s shortfilm filmmaking, since distribution possibilities are everywhere. Starting Friday, Camera 3 in San Jose is screening the finalists in Best Short Film and Best Animated Shorts categories. The latter are better: the five animated shorts add up to the finest selection I’ve seen in at least a decade. Three of these cartoons depend upon the comedic use of the crone. Granny O’Grimm’s Sleeping Beauty, acted by the Irish standup comic Kathleen O’Rourke, concerns a bitter old piss pot working out her personal traumas on a terrified child using a bedtime story as a weapon. Illustrated in gilded 2-D and scary 3-D, it’s an easy knockout. More quietly droll is French Roast, a Tatiesque offering by Fabrice O. Joubert, in which a gentleman is stranded at a cafe with a Quasimodolike barista, a pesky transient who looks like a walking chimney brush and a sweet-faced old nun. The Lady and the Reaper by Javier Recio Gracia stars yet another granny, a pious, white-braided widow. VeraLynn’s sayonara song “We’ll Meet Again” sets the stage for the arrival of our eventual pal Mr. Happy Death. Here’s a reminder of why it’s so imperative to sign those “No Heroic Measures” forms when a muscle-

bound cardiologist and a chorus line of curvy nurses disturb the natural process. Tex Avery may be dead, but this Spanish animator still has a votive candle burning to him. Then there’s the return of Wallace and Gromit. Nick Park’s A Matter of Loaf and Death has Wallace—that stalwart of pre-Yankified England— toiling in the artisan bread trade. His pedigreed boffin-hound Gromit is the brains of the operation. The unprepared Wallace meets danger in the form of a beautiful woman (voiced by Sally Lindsay)— she was once the balloon-riding mascot of the Bake-O-Lite bread company and Wallace’s longtime dream girl. The British murder mystery is gorgeously lampooned in this compact and delightful adventure: the brief, well-chosen movie quotes (the one from Ghost was the best) are especially amusing. One admires Park’s entry from all angles. Is Gromit getting to be a better actor, or is it just that we’ve spent so much time with him that we’re more attuned to his slighter reactions? He has a petite amie here: a French poodle whose downcast eyes and air of muted desperation match his own. The two dogs ought to star in an East End revival of Separate Tables. The Wallace and Gromit show is impressive, beguiling work, but the best of the five, Logorama, proves why the great is the enemy of the good. It is the work of a French collective doing business as “H5.”

Logorama is a computer-animated Sim City of Southern California in which everything, from the humans to the zoo animals to the insects, is a living logo—Naomi Klein’s worst nightmare. The city is the setting for a Tarantino chin-music opera of rough cops (a pair of Michelin Men) on the trail of a cackling psycho. “Tonton Ronald” is what the French subtitles called this killer clown. “Fair Use” is what I’d call Ronald McDonald here, at large and carrying a gun. Logorama is as revolutionary as a year’s worth of The Simpsons. It is as highly watchable as a kinetic cop drama. It is dense, eye-popping and seriously subversive. And the worst thing is that it tingles those weird childish feelings of comfort when one sees a logo: that satisfaction when sighting a Best Western sign glowing at the end of a lost dark highway. What unholy power do these symbols hold? The film is all wrapped up with a posh yet well-chosen soundtrack, too, from an obscure Dean Martin track to the Ink Spots’ “I Don’t Want to Set the World On Fire.” With the exception of the cute but inconsequential Swedish comedy Instead of Abracadabra, each of the five finalists in the live action package (shown for a separate admission) tries to tackle a social issue. Juanita Wilson’s funereal The Door, based on an oral history by Nikolai Kalugin, was filmed on location in Chernobyl and the ghost town of Pripyat. More than anything, The

Door is a quick answer to those insisting we need to ramp up nuclear power without delay—by “those,” one includes President Obama. Kavi by Gregg Helvey addresses the global problem of slave labor at an Indian brickyard in terms of Oliver Twist, and makes Slumdog Millionaire look like Satyajit Ray. (It’s a callingcard film, hoping to reach investors to finance a full-length version.) The New Tenants, with its ending celebrating gay partnership, has a witty script, a jaundiced eye and fierce, entertaining performances by Kevin Corrigan and Vincent D’Onofrio. Nothing, however, was as flabbergasting as Luke Doolan’s film Miracle Fish. I don’t care to reveal its particular social issue because of the way the Australian director sneaks up on it. On his 8th birthday, a pickedupon little boy (Karl Beattie) gets a present from his mother: a celluloid fortune-telling fish. He receives a more important birthday present, however, in that he gets to keep living. Miracle Fish is the highest-level tale of the unexpected, as in Roald Dahl or Ambrose Bierce’s “Chickamauga.” Doolan’s visions of abandonment, empty interiors and an insignificant toy that turns out to be a lifesaver are, as the title suggests, miraculous. OSCAR NOMINATED SHORT FILMS 2010: ANIMATED and LIVE ACTION opens Feb. 19 at Camera 3 in San Jose.

FEAR AND LOAFING Xbmmbdf!boe!Hspnju! ublf!vq!uif!bsujtbo! csfbe!qspgfttjpo!jo! ÕB!Nbuufs!pg!Mpbg! boe!Efbui/Ö

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FILM FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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Reviews by Michael S. Gant and Richard von Busack.

New Cinequest See story on page 16. (Opens Feb 23 in downtown San Jose.) North Face (Unrated; 121 min.) See review on page 55. The Most Dangerous Man in America (Unrated; 92 min.) See review on page 56. Shutter Island (R; 138 min.) Martin Scorsese directs Leonardo DiCaprio, Ben Kingsley and Mark Ruffalo in a dark thriller about a man stuck investigating an escape from a sinister

asylum. (Opens Feb 19.) 2010 Oscar Nominated Shorts See review on page 53. (Opens Feb 19 at Camera 3 in San Jose.)

Revivals Niles Film Museum Beau Geste (1926). An epic of the French Foreign Legion. The noble Geste brothers (Ronald Colman, Neil Hamilton and Ralph Forbes) are propelled by English scandal to enlist in the Foreign Legion, even if it means dying to keep Africa French. Noah Beery is memorable as the cruel sergeant. The director: Herbert Brenon, who also did the lost version of The Great Gatsby. Billed with Character Studies (1927), in which Carter de Haven (and some trick photography) brings us luminaries of the day. And The Tramp (1915). Charlie Chaplin began the journeys of his little tramp in too-tight jacket and too-big trousers. He’s

a hero drifter who saves a farm girl from thugs; when he wanders out on the road in the famous iris shot at the end, he is leaving our area for good, for Los Angeles and super-stardom. Jon Mirsalis provides the night’s music. (Plays Feb 20 at 7:30 in Fremont at the Niles Film Museum, 37417 Niles Blvd.) (RvB) Seven Samurai (1954) A Kurosawa festival begins at the Stanford Theatre with a screening of his extraordinary epic about a hardy band of 16th-century samurai who come to protect a beleaguered village. At ďŹ rst, they are in it for the money, but eventually, ďŹ ghting back becomes an existential statement. The classic story line, leading from the recruitment of the ďŹ ghters to the rustic interludes between attacks to the ďŹ nal astonishing mud-splattered showdown, has been plundered ever since (most notably by The MagniďŹ cent Seven). The black-andwhite cinematography by Asakazu Nakai, Kurosawa’s longtime collaborator, proves that compositions can be as thrilling as shock cuts. Stars Toshiro Mifune in a deďŹ ning role as an impetuous young swordsman. Not to be missed on the big screen. (Plays Feb 20-21 at 2 and 7:30pm and Feb 22-25 at 7:30pm in Palo Alto at the Stanford Theatre.) (MSG)

Sex Kittens Go to College/ Untamed Youth (1960/1957) Topless “Tallahassee tassel tosserâ€? Mamie Van Doren in an exposĂŠ of today’s free and easy college students! Jackie Coogan! Arabs! Conway Twitty! Voltaire the Chimp (dubbed by Mel Blanc)! Straight from his engagement at the 1939 New York World’s Fair at the Westinghouse Pavilion: Elektro the Robot (as “Thinko the Robotâ€?)! Gangsters! Brigitte Bardot’s easily affordable younger sister! Louie Nye, the Clean-Up Man! The actually good actress Tuesday Weld (if she’d been known as Susan Weld, she’d be remembered as one of America’s best actresses, argues David Thomson). John Carradine! Vampira! If one were to scientiďŹ cally breed a psychotronic movie for generations, one couldn’t get a bloodline this pure. Billed with Untamed Youth, in which Van Doren is made to pick cotton at a prison farm, while running around in her underwear. Such is Thrillville and Will the Thrill’s tribute to Van Doren (as in the sentence “You wanted Marilyn Monroe, you’d settle for Jayne MansďŹ eld, you got ...â€? ). Plus live music by Aardvark and the Rockabilly Models (Plays Feb 25 at 7:30pm in San Jose at Camera 3; $10 admission.) (RvB)

Reviews Avatar (PG-13; 162 min.) A victory for people who insist that science ďŹ ction has to be dumb. In the future, Earthling mercenaries are shipped to the planet Pandora, where 9foot-tall, blue-skinned noble savages called Na’vi live in a phosphorescent forest full of saurian beasts. Jake (Sam Worthington) is the paraplegic brother of a dead soldier hooked up to a Na’vi shell; the program is under the direction of a chain-smoking biologist (Sigourney Weaver). While it is a maxim of screenwriting that the plot ought to be the longest distance between two points, James Cameron’s terrible script for this putative end-of-the-decade experience really overworks the principle. The politics play it both ways; letting us swoon over the military hardware and still lament for the plundered forests. After an hour, the drugs wear off, and the appeal of synthespianism starts to drag; motion capture isn’t exactly motion release (compare the synthetic Weaver to the real thing), and the cobbledtogether story of eco-rebellion isn’t be eclipsed by the visuals. If you’re going to see it anyway, see it in 3-D. (RvB) The Book of Eli (R; 118 min.) Denzel Washington stars

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 FILM as the usual wanderer on the usual postapocalyptic wastes. The Hughes brothers’ Bible-flogging apocalypso could be read as a Western, but it’s a monomaniacal one. Washington underplays the part of a soft-spoken drifter who deals with a vicious yet zany town boss (Gary Oldman). The film is blessed with actors (Tom Waits, Michael Gambon and a probably synthesized but touching Mr. Bigglesworth cat), but the movie has this pious streak that can’t be overcome. Scriptwriter Gary Whitta, as in the IMDb sentence, “Gary Whitta was editor of PC Gamer for several years,” seems to have retrofitted this film from a video game. In the end, it’s hard to overlook the arbitrariness of what survives (sunglasses, high-powered ammo, Hummers, lingerie, cicadas, the Transamerica Pyramid) over what doesn’t (common sense, humans’ unique ability to invent and band together). (RvB) Crazy Heart (R; 111 min.) Jeff Bridges is the draw in Scott Cooper’s typical softball Sundancian exercise. It’s a belly-baring role for this terrific actor, playing Bad Blake, a morose satyr of an outlaw musician. He travels via an ancient 1978 Chevy Suburban and slaps together sets with pickup bands. In

his few sober moments, Blake lives with the humiliation of having been commercially surpassed by a country superstar named Billy Sweet (Colin Farrell), who was once one of his backup musicians. Touring in Santa Fe, Bad meets a newspaper reporter named Jean (Maggie Gyllenhaal), who lets Bad pick her up. Despite the credited input by T-Bone Burnett, none of the tunes are really memorable, but you sink into them anyway, and the encircling camera gives the scenes some rhythm. What integrity Crazy Heart doesn’t borrow from Bridges it picks up from the glorious wide-open-spaces cinematography by Barry Markowitz (Sling Blade). (RvB) Dear John (PG-13; 105 min.) Dear John is based on Nicholas Sparks’ epistle romance between a big, shy lug of a Green Beret named John Tyree (Channing Tatum) and Savannah Curtis (Amanda Seyfried), a well-off college girl who lives by the beach in South Carolina. She is a good girl who doesn’t drink, doesn’t smoke and doesn’t sleep around. Despite the good breeding, upon the first kiss with Tatum, she wraps her legs around him like he’s a brass stripper pole. Tyree begs Savannah to wait for her while his tour of duty ends. Then Sept. 11 strikes: a choice between his country and Amanda

Seyfried. The Forever War is cornstarch to hold this batter together—the movie shuns female curves and goes full porno on the fuselages of cargo planes instead. Director Lasse Hallström does a few things neat—a matching shot between a fountain of brass shell casings and tumbling of coins at the mint. (RvB) Edge of Darkness (R; 117 min.) Scriptwriters William Monahan and Andrew Bevel have shaped this remake of a 1985 British TV series for Mel Gibson. There’s an inside joke about the actor/director’s knowledge of Latin, for example, and Gibson’s character, Boston police detective Thomas Craven, sums up his moral stance: “Either you’re hanging from the cross, or you’re banging in the nails.” Craven is a bereaved dad, as well as judge, jury, executioner and bailiff, so he likes to do a bit of both hanging and hammering. The cop’s daughter, Emma (Bojana Novakovic), gets shot by parties unknown; Craven goes on search for the killers. The trail leads to Emma’s workplace, a sinister government-run nuclear facility. Craven is hindered by the plant’s operator (Danny Huston) and helped by knowing government functionary Ray Winstone, by miles the best thing in this movie. Until

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FILM REVIEW

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Mountain High Two men tackle the ‘North Face’ of the Eiger and the looming specter of Nazism

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NE NEEDED Werner Herzog for North Face; one got Philipp Stölzl, a former music-video director whose next effort is titled Goethe! (The exclamation point doesn’t bode well.) Stölzl has to subject this otherwise compelling actioner to elaborate de-Nazification: North Face gets into trouble anytime a character opens his mouth, thanks to the work of four credited writers. The film also wastes some time in the presentation of trumped-up counterpoint. It cuts to despicably soft-living cynics who don’t care about the harrowing ascent of the north face of the Eiger in Switzerland, and who would rather look at the mountains in comfort from a respectful distance, clutching a glass of champagne in unfrostbitten fingers. How do some people shave in the morning? Essential to the plot—as it was to a 1975 Eastwood movie The Eiger Sanction, where one indomitable rocky face met another—is the fact that the Bernese built a scenic railroad through the Eiger. It makes the torment of scrabbling over all that treacherous stone harder to explain to those who love nice solid ground under their feet. Two mountaineers (from Nazi stronghold Berchtesgaden, yet—you can see the film’s problem right away) attempt the fateful climb in the mid-1930s. Benno Fürmann plays Toni, Viggo Mortensonian in seriousness; Florian Lukas is Andreas, a.k.a. Andi, the more playful one. Both are visually like the square-headed heroes in Goebbels-era films, though they’re clearly not so into the Wehrmacht, in which they serve. They have to scrub urinals because of their bad attitude toward officers and punctuality—not that they’re overly concerned about Adolf and whatever he’s up to. Two sinister pro-Anschluss Austrians take up that overtly political department, like a good pair of straw men. Johanna Wokalek plays Luisa, who works for a newspaper under the toxic mentoring of Berlin (hiss) editor Henry (Ulrich Tukur). On a whim, this editor dispatches Luisa to the Alps since she knows these climbers. She will be the photographer when her two childhood chums conquer the dreaded Nordwand: several thousand sheer feet of crumbly rock and slippery ice. The real star of the movie is the Nordwand itself. “Mordwand” was the pun: “murder wall,” after some 60 climbers died on it. Once the throat-clearing stops, the film gets interesting. The ordeal itself is all about incremental things: lives depending on a decision to leave a rope in place or not, on the chance of a July snowstorm, or whether a man, blackened like a corpse from exposure, might die while still being within talking range of help. The climbing scenes put you through it, and then the cynics are chastised—Luisa asks her editor, “Are you not also a human being?” which says more about her lack of journalistic experience than an editor’s lack of humanity. That’s the kind of writing in North Face. The fingers, poring over a leather notebook full of pressed edelweiss at the film’s beginning, point to the movie’s end. Christian Kolonovitz’s orchestral soundtrack out-avalanches the avalanche. You wouldn’t want your life to hang from narrative rigging like this, but North Face is a compelling enough warning of what can happen to men tangled in their own knotted webs. Richard von Busack NORTH FACE (Unrated; 121 min.), directed by Philipp Stölzl, written by Stölzl, Christoph Silber et al., photographed by Kolja Brandt and starring Benno Fürmann and Florian Lukas, opens Feb. 19 at Camera 3 in San Jose.

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FILM FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

FILM REVIEW

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Whistleblower ‘The Most Dangerous Man in America’ profiles the remarkable journey of Daniel Ellsberg

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HEY WERE called the Pentagon Papers: a 7,000-page document compiled by the RAND Corporation. They were meant to provide a euphemism-free account of how America got entangled in Vietnam’s civil war. The man who passed them on to the public in 1970 is our local hero Dr. Daniel Ellsberg. In the beginning of The Most Dangerous Man in America, Ellsberg recalls meeting Henry Kissinger. This was years before Kissinger was to describe Ellsberg in exactly the words of this documentary’s title. What Kissinger was told about Vietnam ought to be called Ellsberg’s Law. First comes exhilaration at having secret information. Second comes the feeling of being a fool for not knowing it all along. Third comes the final feeling: the idea that every expert is a fool because he doesn’t know what you know. That stage is when you start cutting yourself off from the reality-based community. Judith Ehrlich and Rick Goldsmith tell how this former Marine and game theorist became dangerous when he copied the papers and distributed them. Ellsberg tried to do it the honest way, leaking them to the Senate. With the exception of Alaska’s Mike Gravel, the solons showed little desire to hold the hot potato. The spud in question passed to The New York Times. When the papers were published, Ellsberg became a fugitive, persecuted by a vengeful president of the United States. Richard Nixon eventually sealed his own downfall when he unleashed a new force of shadow men—the leak-hunting “plumbers”; a loyal yet clumsy team that went from burglarizing Ellsberg’s psychiatrist’s office to the Watergate Hotel. Erlich and Goldsmith pre-empt the bloggers who will be repeating the Nixonian line that Ellsberg was giving “aid and comfort to the enemy.” This enemy already knew, as Ellsberg put it, “that we weren’t backing the wrong side, we were the wrong side.” The documentary does not traffic in ’60s lore, nor is it overly nostalgic for the smell of vintage teargas. Without it being quite on his sleeve, Ellsberg’s heart is on display. We see him as an amateur magician entertaining kids. We learn of the trauma of an early accident that gave him a lifelong feeling that “father” (or the government) didn’t always know best. And one is touched by the long if interrupted courtship between Ellsberg and his wife (and fellow peace activist Patricia). She might have been left behind if Ellsberg had been sentenced to even some the 115 years the government tried to give him. Nixon’s Plan A failed: “Let’s convict the son of a bitch in the press.” As per Errol Morris, the new style of documentary uses all the classic movie techniques: the stock footage, the tight close-up, the giant clock face ticking away; if they’re clichés, at least they’re attractive ones. The real cliché would have been how a fictional feature film would handle this story, ending it on a note of triumph. The full story is sadder. The public knew the war was a lie but brought Nixon back with a landslide for four more years. (And then they repeated a similar folly in ’04.) This is immaterial to the rare bravery and steadfastness of Ellsberg, as well as the other interviewees: the late Howard Zinn, Ben Bagdikian and various personnel from The New York Times. This is a story to refresh the memories of the old and inspire the young. Richard von Busack THE MOST DANGEROUS MAN IN AMERICA (Unrated; 92 min.), directed by Judith Ehrlich and Rick Goldsmith, opens Feb. 19 at Camera 12 in San Jose.

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the final shootouts, which are brisk as firecrackers, Edge of Darkness plods through its one-clue-per-scene story. (RvB) An Education (PG-13; 95 min.) Lone Scherfig’s British coming-of-age film ends with a marathon session of tea brewing, but it has its good points. The look is cool—1960ish England may be more interesting than the full-blown and overexposed later ’60s. Twickenhamraised Jenny (Carey Mulligan) is studying for Oxford when she gets picked up by David (Peter Sarsgaard), a slightly older rotter; his slightly cruel eyes and flat smile forecast trouble to come. Until then, Jenny gets to see London highlife and nightclubs, and voyages to Paris. Smelling class, and wanting to make their hard-working daughter happy, Jenny’s parents (Cara Seymour, Alfred Molina) relax the leash. And that’s when the young girl learns how David makes his money without working days. No one in the movie apparently saw one of those melodramas about the wealthy seducer who steals a poor but honest girl; letting that matter aside, Mulligan is charming, the meet-cute is deft and Olivia Williams bears all the movie’s spine as a deliberately drabbed-down English teacher. Nick Hornby’s screenplay, from Lynn Barber’s memoir, might have meant he had input on the film’s excellent pre– Swinging London soundtrack. Singer Beth Rowley steals the show as the breathy canary at one nightspot. (RvB) From Paris With Love (R; 92 min.) Jonathan Rhys Meyers plays a naive ambassadorial employee working with a hardened American spy (John Travolta) to fight terrorists in Paris. Sacre blue! The Imaginarium of Doctor Parnassus (PG-13; 122 min.) For Terry Gilliam, Don Quixote is still the ur-text. Despite the various stops and starts he has had adapting the Cervantes classic, Gilliam repeatedly makes films about fantasy as an escape from a cruel world. The Imaginarium of Doctor Parnassus, a very personal and not-so-coherent fantasy, has Christopher Plummer in the Man of la Mancha role this time, with Verne Troyer as Percy, a dwarf Sancho Panza. Plummer plays Doctor Parnassus, an immortal sage reduced to busking in a horse-drawn Gypsy wagon. He and his crew set up their stand in

the streets of modern-day London at its vilest, trying to lure patrons into a world beyond the doctor’s mirror. On board is his daughter, who doesn’t know that she has been promised to the devil on her 16th birthday; Mr. Nick (Tom Waits) is sniffing around already. During their travels, the group rescues a hanged man named Tony (an irresolute Heath Ledger). Certainly, Gilliam’s love for antique theater is true—although the greasepaint and cardboard make one wonder why he didn’t stage this story instead of filming it. The autobiographical angle is plain regarding the showman’s heartbreak—begging for money and coaxing an audience. We can understand why it’s hard for Gilliam when we see his vision of what the audience really is: rich matinee dames; wide-mouthed tarts coming out of a pub; a scurvy, violent little brat with a Game Boy. (RvB) The Last Station (R; 112 min.) Well cast, visually pleasant yet strangely toneless film about Tolstoy’s last days. Around 1910 in Moscow, Valentin (James McAvoy) is recruited by Chertkov (Paul Giamatti), who is dedicated to carrying out the author’s reformist ideas regarding celibacy and manual labor. Valentin will live on Tolstoy’s commune and record the great man’s thoughts. Tolstoy (Christopher Plummer) is enjoying a sort of Indian summer, watching his minifarm bloom and receiving the adulation of the world. But the count’s countess—Sofya, his wife of nearly 50 years, played by Helen Mirren—has tired of her husband’s utopian politics. Meanwhile, Valentin’s desire to stay pure and virginal is sorely tested by Masha (Kerry Condon). Mirren does the great lady thing with ease; Plummer plays Tolstoy with the gusto of a hamloving actor tackling Fiddler on the Roof. Director Michael Hoffman gives us Tolstoy as a cracked, principled old grandfather, manipulated by outsiders. (RvB) Percy Jackson and the Olympians (PG; 119 min.) A fantasy adventure about a young man caught up in the war between the gods of ancient Greece. Starings Logan Lerman, Uma Thurman and Pierce Brosnan. Precious: Based on the Novel Push by Sapphire (R; 110 min.) Much lauded, but it’s a bulldozer. It’s 1987, during some of Harlem’s most suffering years. A girl of immense girth, 16-year-old Claireece (Gabourey “Gabby” Sidibe) makes her way through life. She has intelligence, but she can’t focus, and we learn why in flashback; she was serially raped by her mother’s boyfriend. Her scathing, angry mother, Mary (Mo’Nique), blames Precious for this and her resulting pregnancy), urging her to stop this foolishness about school and go on welfare. Watching Sidibe, we see something of what this movie could have been if it hadn’t been so overcooked. Precious is practically a pre-Clinton-era dream of the need for welfare reform: here, welfare is a generational evil that Precious might fall heir to. As you’ve heard, Mo’Nique is great, but Precious has a judgmental streak that won’t quit. And that’s been essential to a

success worthy of its sensationalism. By the end of the movie, you know who all the heroes and all the villains are, and you can go home comfortable. (RvB) Sherlock Holmes (PG-13; 128 min.) There are moments during Sherlock Holmes when you wish you could hit director Guy Ritchie with his own storyboard; there are bone-crushing fights that you feel like applauding just to celebrate the fact that they’re over at last. Yet all in all, Sherlock Holmes is ripping fun. Robert Downey Jr.’s expert acting reflects Aldous Huxley’s thought that if you could open the doors of perception, you would see the world as it is: infinite. This insight sums up the mind of the world’s greatest detective—it also sums up the mind of a schizophrenic. Downey’s Holmes is a dandy in high Victorian regalia, smoked glasses, ascots and the kind of slanted hats worn in Oscar Wilde’s circle. But we also see another side of Holmes—a hermit crab in a dank flat, huddled under a silk dressing gown so raveled it looks shaggy as a bear skin. Mark Strong’s Lord Blackwood is apprehended by Holmes in mid–black mass and ushered in to a well-deserved hanging. Naturally, Inspector Lestrade (Eddie Marsan) decides that the case is closed. But it seems the grave cannot hold Blackwood. Holmes is approached by two different clients: the ever-troublesome Irene Adler (Rachel McAdams) and the head of a Masons-like group, who are troubled by the specter of Blackwood. The movie keeps coming back to a serene partnership—when Holmes says “The game’s afoot,” Jude Law’s formidable Watson picks up the rest of the Henry V quote. (RvB) A Single Man (R; 99 min.) Tom Ford’s adaptation of Christopher Isherwood’s novel, essential reading in the gay canon. Colin Firth plays professor George Falconer, an Englishman in Los Angeles in the early 1960s. He’s a bereaved figure; being in the closet, he isn’t permitted to show his sorrow after the death of his longtime male lover in an automobile accident. This grieving single man’s secret is known only to his friend Charlotte, called Charley (Julianne Moore), also a former flame, who has never quite got over George. Falconer has another secret, though: he is putting his affairs in order, with the plan of committing suicide that night. Certainly, Firth looks like a man of the era in question. Moore practically mainlined her eye shadow to get that zonked 1960s aura. Despite the opera on A Single Man’s soundtrack, it couldn’t be less operatic: nothing seems like a matter of life and death. The film is beautiful, but it’s not the kind of beauty one can feel much about. Ford is good with the placement of actors on a set; he’s a tableau maker. The fine clothes don’t make the men. (RvB) Tooth Fairy (PG; 101 min.) It might rekindle your child’s faith in the tooth fairy, but it won’t do their faith in the movies any good. Dwayne Johnson, a.k.a. the Rock, stars as a mean hockey player on the skids in Lansing, Mich. His remark about the nonexistence of the tooth fairy makes the fairies enslave him for two weeks. Once-hot scriptwriters Babaloo Mendel and Lowell Ganz have had their script amended, but it’s a real end-of-the-line project with Ashley Judd (as Johnson’s girlfriend) looking the most likely to be carried down by the wreck. Johnson tries to fluff the movie but there’s no help there, either; Chase Ellison as the teenage son is, oddly, the noteworthy performance; some might think that director Michael Lembeck let Ellison play the kid as too troubled, but at least there’s a sense in him of troubles too big to be healed by the usual “dream big” speeches. Billy Crystal is mucho bad as fairyland’s gadget expert. Julie Andrews, as the head fairy, goes beyond self-parody into a look of near pain; she recalls her old foe Pauline Kael’s comment: “They may have forgotten how to make good movies in Hollywood,

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 FILM gossip has it that Lawrence’s brother was killed by a tame dancing bear owned by a band of Gypsies; when investigating on a moonlit night, Lawrence himself is nearly killed by the real culprit. The ďŹ ancĂŠ of the late brother (Emily Blunt) stays to nurse Lawrence back to health. And when the next moon rises, well, you know. Probably you could hire a makeup man just to make Del Toro look less like a wolf. But the Talbot scenes suggest Del Toro was cast for his resemblance to Lon Chaney Jr., with his clouded, thick features and his air of suffering. We see the human under the fur. (RvB) The Young Victoria (PG; 104 min.) Unforgivably static, despite the fascinating subject: the early and often unpopular years of the longest-reigning and most iron-bottomed British royal who ever lived. As Victoria, the lovely and suitably

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but at least they’re good at preserving people.â€? (RvB) Up in the Air (R; 109 min.) As the predatory Ryan Bingham, George Clooney delivers a startlingly good performance. Sadly, the ďŹ lm is compromised by director Jason Reitman, who shows signs of morphing into Cameron Crowe. Bingham is a hired terminator—a man brought in to ďŹ re people; he tolerates this job with the beneďŹ ts of an executive life with plenty of travel. Enter a young, seemingly equally callous rival (Anna Kendrick). Having this inexperienced girl along interrupts Ryan’s regularly scheduled no-strings ings with a fellow constant business traveler, Alex (Vera Farmiga). The acrid ďŹ rst half is the best part—Clooney makes us admire Ryan’s gamesmanship. The ďŹ lm wants us to equate two different kinds of toxicities—to draw a line between the corporate bloodletting that juices up stock portfolios and the wrongness of the present-tense sex life that Ryan and Alex enjoy. Too bad that Farmiga and Clooney are such a scintillating pair that you don’t want to see them pay the piper. And as a critique of corporate culture, Up in the Air is about as bold as Connecticut salsa. (RvB) Valentine’s Day (PG-13; 125 min.) The ďŹ lm is as much about director Garry Marshall’s love of Los Angeles as it is about the popular pagan-inspired holiday. And give the man credit—he’s nothing if not thorough in showing it. Here, he has gone out of his way to make room for a cattle call of Hollywood stars in a fairy tale that makes a passing pretense of cynicism before giving most of its luminous cast their happily-everafters. Characters, some of whom seem to exist solely to justify tossing more stars in the mix, drift in and out of the story with such frequency it’s hard to keep up. Hector Elizondo plays a natural romantic who

discovers his longtime wife’s inďŹ delity on the big day, and George Lopez shows up as a orist’s assistant and best buddy to Ashton Kutcher. The movie is commendable for its ambition. It has been popularly branded the American Love, Actually, and the similarities are obvious. Both feature all-star casts eshing out indulgently paced, saccharine love stories. Yet Valentine’s Day is the less cloying of the two, and the less predictable. It also boasts some of the oddest cameos you’re likely to ďŹ nd, including a truly head-scratching turn by an uncredited Joe Mantegna. (RD) When in Rome (PG-13) A romantic comedy with Kristen Bell and Josh Duhamel. The White Ribbon (R; 144 min.) In the insigniďŹ cant village of Eichwald (“Oakwoodâ€?), just before World War I, we hear a series of stories. These stories concern acts of violence that disturbed the orderly progression of the years. The events are narrated by an old man who was, long ago, the town’s vacantlooking schoolteacher (Christian Friedel). He advises us that everything we will see is based on things half-heard and halfremembered. We can take this ineffectual man’s word for it. Clues pass him by, and he can’t provide a solid resolution for the story. He doesn’t seem to understand that Eichwald is poisoned, root and branch. The schoolteacher comments that what we see will help us understand “the events that came after.â€? By “the events,â€? director Michael Haneke may mean Germany’s next 30 years after 1914. Eichwald is a serpent’segg hatchery: the village’s obedient children will be participants in the kaiser’s war and Hitler’s crime wave. (RvB) The Wolfman (R; 102 min.) It’s not a perfect ďŹ lm, but this is a loving remake, made by people who understood the romance, pathos

and torment of the original 1941 ďŹ lm. This new animal has speed on his side, and there’s more viscera ying around. In 1891, after the horriďŹ c death of his brother, the noted Shakespearean actor Lawrence Talbot (Benicio del Toro) returns home to his family’s mansion. This means a re-encounter with his estranged father Sir John (Anthony Hopkins). The town

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[57]

aristocratic Emily Blunt is the best part of this story. Treated with brutal overcaution and surveillance by her mother, the Duchess of Kent (Miranda Richardson), and her friend (perhaps with beneďŹ ts) Lord Conroy, the girl is kept locked up and escorted down all stairs as if she were a brittle-boned child. When she grows older, her cousin Albert (Rupert Friend) comes to court, and this starts a romance, tainted with scheming by the power in Albert’s family, the perďŹ dious Belgian king (Thomas Kretschmann). Director Jean-Marc ValĂŠe slows things down and smooths over the complexities of history; matters get simpliďŹ ed to the point where it seems like nothing is going on in the world outside the problem of Victoria trying to get some time alone with Albert. The sketchy background and the slow pace bring on the familiar PBS-watcher’s narcosis. (RvB)

[58]

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

METROGUIDE

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M E T R O S I L I C O N VA L L E Y FEBRUARY17-23, 2010 MUSIC

[59]

The Buzzcocks_63 KKUP Folk Marathon_64 Newpoli_65 Salmon_66

Between The Lions Two new books on how we philosophize about music By Gabe Meline

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REALLY wanted to like Joshua Clover’s new book, 1989: Bob Dylan Didn’t Have This to Sing About (UC Press; $21.95). I hoped it would take an in-depth look at the musical climate of 1989 by assessing a range of pop singles and underground movements and how they refracted world events. I hoped it would, in the words of the inside flap, “boldly reimagine how we understand both pop music and its social context in a vibrant exploration of a year famously described as ‘the end of history.’” Instead, 1989 can be summed up in a few sentences. “Right Here, Right Now” is a Jesus Jones song that’s about some stuff. N.W.A were cruder and more popular than Public Enemy. Rave was cool, but Nirvana was cooler. The Berlin Wall and Tiananmen Square sometimes but not very often influenced pop music. The end. Never mind that “Right Here, Right Now”—acting as a philosophical talisman of Clover’s book, reappearing incessantly time and again in his musings—wasn’t actually released in 1989. Many of the book’s subjects—U2’s Achtung Baby, pop singles like “Nothing Compares 2 U,” “Groove Is in the Heart” and “Freedom ’90”—are from a year or two afterward; even the cover photo of Kurt Cobain is from 1990. “The current of the mainstream is slower to divert than Alpheus and Peneus,” Clover explains,

and in referencing the Labors of Hercules, along with James Joyce, Francis Fukuyama, Guy Debord and Fredric Jameson, we are made to recognize that Clover is well read in literature and deep thinkers. I wish he wasn’t, and I wish he would write smooth sentences about music and politics instead of “this congealing of historical process into a pseudo-concrete thing in turn allows antagonism as an entirety then to be subjected to ‘the absolute deconstruction.’” When Clover is making sense, his music acumen remains sound, particularly with a passage on Roxette’s “Listen to Your Heart,” which happened to be the No. 1 song in America when the Berlin Wall came down. Casting the power ballad as an exaggerated reflection of pop music itself, Clover finally ruminates on the very nature of pop music in 1989, with the song and era as “pop’s attempt to know itself as excess, as a superfluity which exceeds every container, which is liberation and infinitude.” At no point in 1989 are any interviews conducted, and all quotes come from pre-existing sources. Reading it has the distinct feel of a guy looking up stuff on the Internet and commenting on it at great, monotonous length. This betrayal of a potentially wonderful project derailed by gobbledygook exacerbates

the book’s tiny motes into giant beams. In contrast to the worldshifting music events it purports to document, it simply is, pinned motionless under the stupefying weight of its intellectualism. Such problems don’t plague The Jazz Ear (Times Books; $15), a refreshingly readable book by New York Times jazz critic and Coltrane biographer Ben Ratliff. In 15 interviews with both giants and lesser-knowns, Ratliff engages in the great tradition of sitting down with musicians in their own homes, throwing on other people’s music and chatting about it. Kindly, he allows the subjects of his book to do the philosophizing. Ratliff’s open-ended request of each musician is to pick five or so pieces of music that inspire, be they jazz, classical, world music or pop, and the ensuing discussion is never less than gripping. Thus, we get Sonny Rollins in his apartment listening to and effusing about the nuances of Coleman Hawkins’ “The Man I Love.” We get Joshua Redman, continuing the lineage, sitting in front of the stereo and dissecting Rollins’ famous solo from “St. Thomas.” Deep thoughts abound. “Do you think ‘the brain’ is a good title for the brain?” asks Ornette Coleman, seemingly out of the blue but perhaps linked in some way to the music playing at the time. Wayne

Shorter ruminates on life itself as Ralph Vaughan Williams’ Symphony no. 6 plays: “It’s no great mystery about why things are the way they are,” he says. “Doubt, denial, fear, trepidation reinforce the artificial barriers to the real, the barriers that keep us from going into the real adventure of eternity.” Ratliff throughout provides illuminating background for each musician, so that even those who haven’t heard of Maria Schneider will have a run-down of her noteworthy accomplishments to date. But the author encourages much more from these people in his listening sessions, capitalizing on the power of music to open people up to thought, emotion and memory. By the end of Schneider’s chapter, after listening to the Fifth Dimension’s “Up, Up and Away,” she tells a story about a night watchman who teaches a group of injured crows to say “Go to hell.” Bebo Valdes talking about crying to Rachmaninoff’s Piano Concerto no. 2. Roy Haynes’ onomatopoetic enthusiasm over Sarah Vaughan’s “Lover Man.” Branford Marsalis, living in a kind of self-imposed exile in North Carolina, listening to Louis Armstrong sing “Up a Lazy River” and remarking on Americans’ inability to truly hear music. Such gems are scattered all throughout The Jazz Ear. Here’s to a second volume, soon I hope. M

[60] GALLERY

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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[62] MUSIC

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

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The Kingdom of Zion Tour

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)HE Still Time/Forrest Day Atrium (Ages 21+) )HE Tater Famine/Old Man Markley Atrium (Ages 21+) )HE Visqueen Atrium (Ages 21+) )HE Tarrus Riley/Sherieta Lewis (Ages 16+) )HE Santa Cruz TME “Jersey Shore� (Ages 18+) )HE Epic Entertainment’s “Runnin’ Wild� Atrium (Ages 21+) 0DU The Pack/ DEV (Ages 16+) 0DU Andre Nickatina (Ages 16+) 0DU Trombone Shorty/ New Mastersounds (Ages 21+) 0DU New Found Glory/ Saves the Day (Ages 16+) 0DU Iration (Ages 16+) 0DU Hank III/Assjack (Ages 21+) $SU Yonder Mountain String Band (Ages 21+) $SU Collie Buddz (Ages 16+)

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MICHAEL ROSE/ TWINKLE BROS.

SOXV Beats Antique $23 Adv./ $26 Dr. • Drs. 7 p.m., Show 8 p.m.

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Les Claypool

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1011 PACIFIC AVE. SANTA CRUZ 831-423-1336

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[63]

[64] MUSIC

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MACEO M AC EO PARKER PARKER

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KEITH K EITH JJARRETT, ARRET T, S SOLO O LO Friday, March Friday, March 19, 19, 8PM 8 PM Davies D avie s Symphony Sy m p h o ny H Hall a ll

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KURT K URT E ELLING L LI N G W WITH IT H T THE HE C COUNT O U NT B BASIE A SI E O ORCHESTRA RC H E ST R A BASIE-SINATRA B A SI E - SI N AT R A R REVISITED EVISITE D May 7PM SSunday, unday, M ay 30, 30, 7 PM D avie s Symphony Sy m p h o ny H a ll Davies Hall

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In two years, you’ve put on the equivalent of a 5-year-old child about to outgrow his car seat. That isn’t going up a dress size; it’s going up a tent size. Love might be blind, but male lust usually has a weight limit. There are those guys who are fatty fanciers, but a guy who got together with you 40 pounds ago probably isn’t one of them. Male sexuality is highly visual. Women tend to feel superior for not caring as much about looks, but we’re all just acting on marching orders from our genes. While most women are picky about men’s height, women across cultures prioritize finding a partner with money and mojo. In other words, a big compromise for you probably isn’t having sex with a fat guy, but sticking with a guy who quits his high-powered job to become a Hare Krishna and sell flowers at the airport. Yeah, sure, “real women have curves,” but these days, far too many real women’s curves also have folds. The sad thing is, if you’re like so many Fatty Pattys desperately trying to lose weight, you’ve probably been approaching it all wrong— thanks to the advice of your doctor, Dr. Oz, much of the medical establishment, and numerous supposed scientists at prestigious universities. It’s actually obscene how many “authorities” lazily and intransigently promote hearsay-based dietary medicine; for example, claiming saturated fat consumption causes heart disease when the evidence for that simply doesn’t exist. For actual evidence-based science on losing weight, sans hunger and suffering, turn to Dr. Michael Eades’ blog at proteinpower.com and to investigative science journalist Gary Taubes’ exhaustively researched book Good Calories, Bad Calories. Taubes shows that it’s carbohydrates—sugar, flour, and easily digested starches like potatoes—that drive the excess insulin secretion that puts on fat. Per Taubes’ title, it seems a calorie

is not a calorie, and the fewer carbs you eat, the slinkier you will be. If this sounds like the Atkins Diet, that’s because it basically is. As Taubes told me, “Doctors have been saying Atkins is a quack for so long, they never bothered to check whether he actually got the science right. Unfortunately, he did and they didn’t.” I’ll let your friends go on about how your boyfriend’s a horrible person, and how love should transcend all. The reality is, it often doesn’t. Besides, you didn’t get cancer; you got a trough of Häagen-Dazs, stuck your snout in, and didn’t look up for two years straight. Now, maybe your boyfriend’s affection strike is utterly unconnected to your weight, but chances are, he’s angry and resentful that he’s got a girlfriend whose panties are beginning to resemble a parasail. So, why isn’t he putting his arms through the leg slots and sailing off a tall building to safety? Maybe he still loves you; maybe he’s too lazy to leave. Or, maybe he’s trying to drive you away because he feels bad about breaking up over your looks—or even suggesting you step down as International Hausfrau of Pancakes: “Hey, Buffet Queen, either lose your 40 pounds or wave goodbye to my 175.” Since gaining 40 pounds isn’t “Got a little absent-minded while holding a bag of Doritos,” it seems it wasn’t an empty stomach you were trying to fill. Clearly, you not only need to lose weight but to deal with why you packed it on. Whether your boyfriend will come around and whether you’ll forgive him is anyone’s guess. Whether you’re willing to put up with a boyfriend who won’t put out—not even a hug, without being asked—is the looming question at present. Whatever you decide, it helps to accept that, as a woman, you need to do the very best you can with what you have. Sure, inner beauty counts for a lot, but it isn’t slimming. And while the average guy doesn’t want Kate Moss, he isn’t into Kate Moose, either.

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ROB BREZSNY

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 ASTROLOGY

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believe we’re living in the worst of times, although I know many people who do. While there are indeed reasons to despair, our current state of affairs is actually in many ways quite glorious. And our struggles are puny compared to those of the generation that lived through the two World Wars and the Great Depression. Having said that, I think it’s fine to believe that civilization is in a terrible mess if it motivates you to shed all your trivial distractions and inessential wishes so as to dedicate yourself to living an exciting, generous life that’s rich with love and meaning. Now is a prime time for you, Aries, to dedicate yourself to such a path.

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IVjgjh (April 20–May 20): Throughout 2010, you’re most likely to be consistently in the right place at the right time if you cultivate an amused skepticism toward what’s in vogue. In fact, I suspect that only one trend will be of any use to you at all. You heard me correctly, Taurus: Of all the fashionable obsessions that may tempt you, just one will be in sweet alignment with your authentic needs. And guess what? Right now happens to be the perfect moment to get hooked up with it. <Zb^c^ (May 21–June 20): When I was lead vocalist in the band Tao Chemical, I sang a tune whose chorus went as follows: “I want the truth/ the whole truth/ nothing but the truth/ I want the truth/ Don’t beat around the bush.” Shortly after we started performing the song, my girlfriend broke up with me. And she felt free—given what I proclaimed in those lyrics—to share with me every excruciating detail about her new relationship. It was painful, and I felt tempted to forswear the song and never utter those brave words again. But I was ultimately glad I didn’t weaken. To this day, I prefer knowing the full facts. Now I’m recommending to you, Gemini, that you pledge yourself to the same intention in the coming weeks. It should be much easier for you than it initially was for me. Most of the truths rushing in will be interesting and enlivening, with just a little angst mixed in. 8VcXZg ( June 21–July 22): “Jane Austen was the spinster daughter of a clergyman who led an uneventful life,” wrote Geoffrey Wheatcroft in The Guardian. “She just happened to write half a dozen flawless masterpieces, which came perfectly formed, not from experience but from imagination.” Most of us don’t have anything close to the inconceivably potent imagination that Austen possessed. But I believe 2010 will be a year when you can access at least a portion of that wondrous capacity. You’ll be able to fantasize about vast possibilities in exquisite detail. You will have great skill at smashing your way free of limiting expectations through the power of your expansive vision. And the coming weeks will be a time when it should all kick into high gear. AZd ( July 23–Aug. 22): Of all the symbols in the

world, the swastika is the most horrendous. As the logo for Hitler’s Nazi movement, it will forever smack of evil. But it didn’t used to be that way. In many cultures throughout history, from the Greeks to the Hindus to the Native Americans, the swastika was a representation of the sun’s path across the sky, and was regarded as highly auspicious, even a good luck charm. Can you think of a more modest equivalent of this phenomenon in your own life, Leo? A formerly wonderful thing that got spoiled somewhere along the way? The coming weeks will be a good time to determine whether you could redeem and rehabilitate it.

K^g\d (Aug. 23–Sept. 22): I need a break from watching you work your psyche to the bone. At least for now, I’m not willing to indulge you in your inclination to do your duty so exhaustively that you suffer. And as much as I admire your drive to get things perfect, I cannot in good conscience encourage you to do that, either. It is therefore with a sense of relief that I counsel you to take at least a week off from the behavior I described. Instead, try playful, messy experiments that are in service to your own needs. Be a freewheeling explorer, a wandering improviser. A^WgV (Sept. 23–Oct. 22): “Whatever gets in the way of the work,” wrote poet Jason Shinder, “is the work.” His counsel will serve as a good reminder for you if you meet with obstacles in the coming days. If you ever catch yourself thinking, “Damn! I’d be making such good progress if it weren’t for these inconvenient complications,” consider the

possibility that the inconvenient complications aren’t distractions, but rather crucial clues; they’re not pains in the assets, but medicinal prods that point the way to the real opportunities.

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HXdge^d (Oct. 23–Nov. 21): Have you ever watched

the TV show The Office? If so, you may remember when Darryl from the warehouse was going out with customer service rep Kelly. “You need to access your uncrazy side,” he told her at a turning point in their relationship. “Otherwise, maybe this thing has run its course.” I’d like to invite you to do the same, Scorpio: Tap into, draw up to the surface, and abundantly express your uncrazy side. I predict that you will have a whole lot of fun if you do, thereby proving that you don’t need to be marinating in chaos and torment in order to experience high adventure.

HV\^iiVg^jh (Nov. 22–Dec. 21): The game you’ve

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been enmeshed in has reached a sticking point, or soon will. I recommend that you call for a suspension of action. If that’s not possible, hide from the other players for a while, or jokingly tell them you have to excuse yourself because it’s time for your regular bout of cleansing escapism. Then, during the break, scour your brain free of clutter so you can gain a more dispassionate view of your own strategy. I also suggest that you seek the advice of a smart and impartial observer. If all goes well, you’ll be able to return to the fray refreshed within ten days.

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ethical can be taxing and time-consuming. It involves high levels of ongoing self-examination, which many people are too selfish and lazy to bother with. On the upside, pursuing a path with integrity ultimately reduces one’s suffering. It also attracts the kind of assistance that is most likely to aid and abet one’s quest for liberation. As a bonus, it makes it unlikely that one will be a cockroach in one’s next incarnation. I’m bringing this up, Capricorn, because I’m sensing that you’re about to be tempted to be less than your best self. Please don’t succumb.

6fjVg^jh ( Jan. 20–Feb. 18): “The only function

of economic forecasting is to make astrology look respectable,” said renowned economist John Kenneth Galbraith. If that’s true, I’m doubling the damage to my dignity by using astrological analysis to make an economic forecast in this horoscope. But that’s OK. My job is to report the raw truth as I see it, not worry about my reputation or social status. And the raw truth as I see it is that you are more likely than all the other signs of the zodiac to prosper in 2010, even if the economy as a whole continues to limp along. The next four weeks will be an ideal time to launch a master plan to take advantage of this potential.

E^hXZh (Feb. 19–March 20): Historians trace the

origin of Poland as a nation to the year 966. It mostly thrived for hundreds of years, but was extinguished in 1795, when three imperialistic invaders—Russia, Prussia, and Austria—claimed different parts of it as their own. Throughout the 19th century, when there was no Poland, the Poles fought to restore self-rule. Their dream came true on November 11, 1918, when Poland once again became an independent nation. I regard the phase you’re now in, Pisces, as having certain similarities to the state of the Polish people in October 1918. Congratulations in advance for the imminent return of your sovereignty.

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[72]

CLASSIFIEDS

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

metro CLASSIFIEDS

CLASSIFIED INDEX 80 83 83 83

PLACING AN AD 84 84 83 85

Single Services Employment Family Services Music

Legal & Public Notices Automotive Home Improvement Real Estate

Call the Classified Department at 408.298.8000 Monday through Friday, 8.30am to 5.30pm.

√

Fax your ad to the Classified Department at 408.271.3520.

@

dmiller@metronews.com Please include your Visa, MC, Discover or American Express number and expiration date for payment.

±

Mail to Metro Classifieds, 550 South First Street, San Jose, CA 95113.

≈

DEADLINES: For copy, payment, space reservation or cancellation: Display ads: Thursday 3pm Line ads: Friday 3pm

.

Engineering

g Employment Jobs

Managers & Trainees Wanted (No Layoffs Here) Need 6 people F/T and 10 people P/T to help me with my business. Full training- Start Now. Call Jerry. 408/750-7250

$$$HELP WANTED$$$ Extra Income! Assembling CD cases from Home! No Experience Necessary! Call our Live Operators Now! 1-800-405-7619 EXT 2450 www.easywork-greatpay.com

IAC Search & Media, Inc. currently has openings in Campbell, CA for Software Engineer. Develop & implement a large-scale data processing system in a distributed environment involving implementation of advanced computer algorithms for Internet search & document analysis using data mining technology, data analysis to improve relevance of search results, & scale-up computer algorithms to very large data sets & large clusters of machines. Mail resume to: 555 12th St, Ste 500, Oakland, CA 94607 Attn: Katie McCarty indicating job ref# 1607.184. EOE.

Engineer

Engineers at Milpitas, CA: Lorentz Solution, Inc. has for: Applications Engineering Manager openings Engineer (job#0506): apply Coordinate, direct & analyze advanced electromagnetics & technical engg designs. SANTA circuit knowledge to provide CLARA, CA. Mail Resumecustomer support; R & D Camtek USA, Inc., 2000 Wyatt Engineer (job#0501): develop Dr, Ste 3, Santa Clara, CA 95054 electronic design automation

tools used for high-frequency integrated circuit design. Email resume to jobs@lorentzsolution.com refer to job# when apply.

Door To Door Meat Men Wanted 6 days/week. Clean DMV. Must be able to drive stick. Come sell the best product in the country! Slammin’ commission. $400 cash a day! Check out our products at www.eprimecuts.com Call M-F. Sam, 408-590-1730.

Bartender / Cocktail Servers Full Time or 6 AM Part Time shift available. Alex’s 49er Inn, San Carlos & Bascom. Apply mornings only.

Activists Wanted through out Bay Area!! Help qualify California Initiatives. $12-$25 Hourly. Flexible hours. Please call 408-679-8462

g Career Development

Government Jobs Earn $12-$48/hr, Full Medical Benefits/Paid Training. Clerical, Administrative, Health Care, Law Enforcement, Construction, Park Service, more! Call 7 days. 1-800-858-0701 x2005 (AAN CAN)

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Computer Services

Adoptions

Consultants

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Call 24/7 Abby’s One True Gift Adoptions. 866/413-6293 Health Services

Attention Readers

Some ads in this section may require an initial investment or fee. Metro Newspapers encourages you to thoroughly investigate any advertiser’s claims before sending payment.

Cinnabar Health Collective Now Open! Medical Cannabis Just West of Downtown San Jose. 910 Cinnabar Street San Jose, CA 95126. 408-295-0420

gg Classes & Instruction

Classes & Instruction

THRIVE! Weekend retreat w/sweat lodge ceremony. March 5th7th. Clearing, forgiveness, healing, nurturing. 831-9155182 www.AmosLovell.com

Eskrima/Serrada in Redwood City!

Self Help

Computer Repairs for Desktops, laptops, home networks, virus, slow/dead systems, data recovery. Microsoft Certified. Call for free quote!!! Free pickup and delivery. 408-734-3123.

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Music

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Instruction

Legal & Public Notices

Voice Lessons Expand range, flexibility, confidence. Instruction also available for songwriting and guitar. Reasonable rates. Instructor: award-winning vocalist/songwriter, Deborah Levoy. www.deborahlevoy.com 408/275-0802.

g Rehearsal/Recording

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Home Services

FICTITIOUS BUSINESS NAME STATEMENT #533695 The following person(s) is (are) doing business as: Peace Of Mind Insurance Services, Reid-Hillview Airport, 2635 Cunningham Ave., #D, San Jose, CA, 95148. This business is conducted by a limited liability company. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Albert Manalo CEO #201002910185 This statement was filed with the County Clerk of Santa Clara County on 2/2/2010. (pub Metro 2/17, 2/24, 3/03, 3/10/2010)

FICTITIOUS BUSINESS NAME STATEMENT #532921

The following person(s) is (are) doing business as: Allied Healthcare Clinic, 2724 Aborn Road, James Petros, Roofing MD, 334 Santana Row, #223, San Jose, CA, 95128. Miller’s Roofing This business is conducted Specializing in all types of by a individual. roofs. New, re-roofing & repairs. Licensed, bonded & in- Registrant has not yet begun sured #885018. Call for your transacting business under free estimate; 408/356-6211; the fictitious business name or names listed herein on .. cell 408/455-2075

M E T R O S I L I C O N VA L L E Y FEBRUARY 17-23, 2010 CLASSIFIEDS

real estate

Legal FICTITIOUS BUSINESS NAME STATEMENT #534079 The following person(s) is (are) doing business as: The League Music Group, 4591 Camden Ave., San Jose, CA, 95124, Allan C. Iida, 4012 W. Campbell Ave., Campbell, CA, 95008, Thomas E Wheeler, San Jose, CA, 95129, Damon T. Santo. This business is conducted by a general partnership. Registrant began transacting business under the fictitious business name or names listed herein on February 10, 2010. Refile of previous file #528528 with Due to publication not met on previous filing. /s/Allan Iida This statement was filed with the County Clerk of Santa Clara County on 2/10/10. (pub Metro 2/17, 2/24, 3/03, 3/10/10)

FICTITIOUS BUSINESS NAME STATEMENT #533162 The following person(s) is (are) doing business as: G&R Cash Register Co., 1709 A

Little Orchard St., San Jose, CA, 95125, Gene Bauer. This business is conducted by a individual. Registrant began transacting business under the fictitious business name or names listed herein on Sept, 1976. Refile of previous file #487414 with changes. /s/Eugene Bauer This statement was filed with the County Clerk of Santa Clara County on 1/19/2010. (pub Metro 2/17, 2/24, 3/03, 3/10/2010)

SUMMONS (CITACION JUDICIAL) NOTICE TO DEFENDANT: (Aviso a Acusado)] ALFONSO GALAVEZ YOU ARE BEING SUED BY PLANTIFF: (A Ud. le esta demandando) FREIDELEEN LOU CASE NO. 109CV153457 You have 30 CALENDAR DAYS after this summons is served on you to file a typewritten response at this court. A letter or phone call will not protect you; your typewritten response must be in proper legal form if you want the court to hear your case. If you do not file your response on time, you may lose the case, and your wages, money and property

may be taken without further warning from the court. There are other legal requirements. You may want to call an attorney right away. If you do not know an attorney, you may call an attorney referral service or a legal aid office (listed in the phone book). Despues de que le entreguen esta citacion judicial usted tiene un plazo de 30 DIAS CALENDARIOS para presentar una respuesta escrita a maquina en esta corte. Una carta o una llamada telefonica no le ofrecera proteccion; su respuesta escrita a maquina tiene que cumplir con las formalidades legales apropiadas si usted quiere que la corte escuche su caso. Si usted no presenta su respuesta a tiempo, puede perder el caso, y le pueden tras cosas de su propiedad sin aviso adicional por parte de la corte. Existen otros requistos legales. Puede que usted quiera llamar a un abogado inmediatamente. Si no conoce a un abogado, puede llamar a un servicio de referencia de abogados o a una oficina de ayuda legal (vea el directorio telefonico). The name and address of the court is: (El nombre y direccion de la corte es) Superior Court of California County of Santa Clara 191 North First Street San Jose, CA 95113

The name, address and telephone number of plaintiff’s attorney, or plaintiff without an attorney is: (El nombre, la direccion y el numero de telefono del abogado del demandante, o del demandante que no tiene abogado, es) MICHAEL P. BURNS, ESQ., 499 VAN BUREN STREET,P.O. BOX 3350, MONTEREY, CA, 939420-3350 831-373-4131 Date: SEPTEMEBER 25/2009 /DAVID YAMASAKI/County Clerk (Actuario) /J.CAO-NGUYEN/, Deputy (Delegado) (Pub 2/10, 2/17, 2/24, 3/3/10)

FICTITIOUS BUSINESS NAME STATEMENT #533248 The following person(s) is (are) doing business as: The Green Samaritans. This business is conducted by a Corporation. The state of Corporation: California. Registrant has not yet begun transacting business under the fictitious business name or names listed herein on. /s/Dennis Thompson President #3238327 This statement was filed with the County Clerk of Santa Clara County on 1/20/2010. (pub Metro 1/27, 2/03, 2/10, 2/17/2010)

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Deborah J. Donner, Donner Land and Mortgage Co., Inc., Broker at 408/395-5754 or www.donnerland.com

Los Gatos Mountains Highland Way. 5 acres. Double wide with wrap around deck. NICE. Spring and creek. Sunny. Private road. Off-grid. Possible owner financing. $289,000 Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

Boulder Creek 10 acres. Rough and rugged and a beautiful spot right on top! Long private bumpy road. Private road association. Good owner financing. $215,000. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

Boulder Creek 3 acres. Harmon Gulch. Creek. Private road. Quiet. Sunny possible site. Owner financing. Shown by appointment only. Contact Deborah J. Donner, Donner Land and Mortgage Co., Inc. 408/395-5754 or www.donnerland.com

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places to live REAL ESTATE

FEBRUARY 17-23, 2010 M E T R O S I L I C O N VA L L E Y

brick of the original warehouse in many parts of the property, including the gym, giving the sense of a true warehouse workout in a time when things were so much simpler and healthier. The Mezzanine Lounge is located in a gallery overlooking the Boiler Room (which once really housed the cannery’s boilers). It’s a place for residents to get together before, after, or in spite of the workouts. For people looking for a more quiet space to work on their aerobics or yoga, there’s a separate Fitness Studio, right next to the Boiler Room. It has the same brick walls and hardwood floors that provide a warm, comfortable setting to get the heart pumping and the blood flowing.

Young Meet Old In Building B BY DANNY WOOL

F

or a home to have real character, it helps to have real history. For young professionals looking to make a start in downtown San Jose,

Plant 51 offers both. Built as a factory way back in 1912, it’s become a prime piece of real estate in downtown San Jose—home to some of the city’s new young urbanites looking to live in the center of things. The facts speak for themselves: Despite the real estate crash, despite the housing bust,

young couples and singles are moving in to the vast assortment of flats and lofts. Building A is almost full, and Building B is now open.

Location is important, and at Building B, residents are just a few steps away from the HP Pavilion and some of the best spots to eat out in downtown San Jose—a personal favorite is Schurra’s Candy Factory, just two short blocks away. (After all, who said that chocolate isn’t a meal?) Building B is also perfectly situated for anyone who works in downtown San Jose. Residents won’t need a car when they can walk or bike to work in just a few minutes, or step right out the door into Diridon Station. Plant 51’s Building B is now offering one- and two-bedroom flats starting in the mid$300,000s, some of them

overlooking a park, as well as lofts with two and three levels, ranging in price from $365,000 to $620,000. For the more adventurous homebodies, the three-level lofts include an enclosed patio that preserves the signature Plant 51 design. All the homes at Plant 51 are designed with outdoor living in mind. They surround a landscaped courtyard, with grass for sitting, terraces for sunning, tables for dining, and even a 15-foot barbecue pit for putting the food on the picnic table. The pathways are surrounded by bamboo, organic gardens and water to create the atmosphere of a friendly rural garden in the heart of the city. Healthy bodies mean happy people. That’s a motto at Plant 51, which is why so much space and effort went into planning the local fitness centers. The most important of these is the Boiler Room, a converted two-story warehouse that now serves as a spacious gym with state-of-the art cardio equipment. The building preserves the old

One more cool thing: As a longtime city dweller, I’ve always had the problem of what to do with my bike. You can’t really keep it in the living room, the bedroom is always too crowded, and then there’s the kitchen . . . Exactly, the kitchen! Plant 51 has come up with the idea of a separate Bicycle Kitchen, on a path leading directly to Bush Street. So why a Bike Kitchen and not a Bike Garage? Well, for one thing, it’s more than just a garage. It’s a place for people who like to tinker and keep their bikes in tiptop shape. It’s more than just a place to park. There’s a dedicated repair area with all the tools you could possible need to keep your tires pumped, your chains greased, and your pedals aligned. You’ll probably need it too, considering that the Guadalupe River Trail is just minutes away, and there’s no healthier way to pick up all the fresh fruits and vegetables you want than a quick ride to the nearby Farmer’s Market. Plant 51 really is an amazing place. It has all the charm of a century-old brick building, all the atmosphere of country living, and all the amenities of living downtown in a bustling 21st-century city. It’s truly young meets old, and it’s a good mix.

M E T R O S I L I C O N VA L L E Y

FEBRUARY 17-23, 2010

REAL ESTATE

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