The Girl On The Train

The conflict at the heart of French drama “The Girl On The Train” is the plucked-from-the-headlines, real-life story of a gentile girl who claims to be the victim of a violent, anti-Semitic attack on the Parisian Metro. Yet the movie is about a lot more — and a lot less.

For one, it provides no answers whatsoever on lead character Jeanne’s motivation for inventing the crime. The audience is only given her sheepish admission of “I don’t know … I wanted to be loved, and the opposite happens.”

Instead, director André Téchiné takes us inside the summer of a French teenage girl, complete with the angst of being unable to find a job to pay for her Italian vacation (oh, such woe) and the requisite boy drama. In fact, throughout the entire movie, the only undercurrent of threat emanates from her relationship — the made-up crime is entirely out of left field, with no foreshadowing for its development.

Jeanne (Émilie Dequenne) lives with her mother (Catherine Deneuve), and seems to have few interests besides her headphones and roller-blades. That is, until she meets the inscrutable and intense wrestler Franck (Nicolas Duvauchelle). The whirlwind courtship leads the couple to become caretakers of a warehouse full of questionable wares for the summer — the problem of no money for an Italian vacation solved. After a violent incident, however, Franck and Jeanne’s relationship implodes. Even though up to that point, Franck’s deadpan delivery, intense stares and questionable background make his motives mysterious at best and threatening at worst, it turns out that he had gotten involved in the shady dealings for her sake.

Rather selflessly, he just wanted to give Jeanne a summer vacation, and after the incident, the burden of consequences falls entirely on him, while Jeanne comes out unscathed. This is what makes her invention of the hate crime that follows next all the more bizarre — she wastes no time in grieving or processing what happened with Franck.

Instead, her outlandish reaction to the death of her relationship and her ruined summer, is to fabricate a story emulating the anti-Semitic attack stories she had seen covered on the news. Her story, however, is full of holes — therein lies the race relations commentary of the movie. The media are quick to jump on it — the president even calls Jeanne to offer condolences because this is such a “hot” issue. The matter is all the more convoluted because Jeanne is not Jewish and claims to be mistaken as such because she has the business card of a Jewish lawyer in her bag.

Her story unravels within a matter of days because it is that tenuous and outlandish. The interesting part, however, is that neither her mother nor any of the other characters in the movie actually buy it from the very start. Jeanne names “dark-skinned” inner city youths as her attackers, making this all the more perverse. By playing the victim, she victimizes a minority group.

Dequenne plays Jeanne’s role with an endearing youthful naiveté and Deneuve’s performance as an impossibly patient, bemused mother is also superb. The cinematography is also excellent — Jeanne’s rollerblading is a nice allegory for her floating through life. Had this been a summer vacation story, it might have been more successful. But by not really engaging the story of Jeanne’s lie, it leaves the viewer wanting.

Review Of An Education:

“An Education” is a coming-of-age story set in 1960s London. The screenplay, written by Nick Hornby of “High Fidelity” and “About A Boy” fame, features his trademark clever dialogue and unconventional characters, aiming to inject levity into what could otherwise be the age-old school versus fun movie dilemma.
The main character, Jenny — played with a disarming charm by Carey Mulligan — is 16-years-old. She is intelligent, attractive and witty — think a ‘60s Rory from “Gilmore Girls.” She plays the cello, loves all things French and aspires to walk the hallowed halls of Oxford. Her parents (Alfred Molina and Cara Seymour) are not your typical overachieving parents — in fact, Molina’s performance especially shines in the film.
While the entire family is bent on doing everything to get Jenny into her dream school, they are not the career-obsessed tormentors a la “Dead Poets Society.” Their droll humor and cheeky exchanges with their daughter make for some of the most entertaining scenes in the movie.
In one particularly amusing scene, Jenny’s father explains to her that Oxford wants “joiner-inners” and gives a hilarious analysis of one of her after-school activities and what the purpose of a hobby is in terms of college applications.
The banter between Jenny and her parents shows them to be, well — cool, which is yet another novelty in the coming-of-age film genre. It is precisely this coolness that introduces the conflict of why her parents, just like Jenny, fall for the ruses of a charming older man, twice Jenny’s age, David, played by Peter Sarsgaard.
Sarsgaard does an incredible job, portraying his character as a mixture of a disturbing borderline sexual predator and charming but thoroughly confused rake.
“An Education” raises a lot of class issues; David is able to charm Jenny only because he is able to take her on whirlwind trips to Paris, fancy restaurants and chic jazz clubs. Middle class Jenny bemoans that she has never had any fun and writes off her pre-David life as boring.
Yet there are plenty of warning signs that David is a conman, albeit a very charming one. This begs the question of why Jenny chooses to ignore what is right in front of her; after all, she is too clever and wise for such things. It is precisely this plot element that seems to be a stretch, yet our belief in it is pivotal. To loosely dismiss it all as “young love” and the folly of youth is almost too easy. Maybe it is precisely the glamour and wealth that makes Jenny and her parents go along with David’s elaborate web of lies.
One of the more poignant moments in the movie comes when Jenny demands to know why her dad, who is the old, wise and ever protective father, did not foresee the fallout. As she says, “Silly schoolgirls are always getting seduced by glamorous old men,” but that should not have been the case with her parents.
Therein lies one of the greater strengths of this movie — portraying the few options open to women in the 1960s. It seems that Jenny’s life paths appear to be limited to old-maidish schoolmarm or wife of a well-to-do man. In one exchange with her parents, Jenny sarcastically points out that apparently, education is merely an “expensive alternative to a dinner dance” and an end only in its enabling of one to become an educated housewife.
Ultimately, “An Education” asks which is more valuable: the school of life or formal education. The two are not evenly matched, however — David and his coterie are clearly not of ingénue Jenny’s ilk. As he says, “We are not clever like you.” They are, however, able to create their ridiculously fun and adventurous life precisely because of their questionably attained means, thus making the fun versus school dilemma not all that even.
Jenny’s English teacher asks her, “You can do anything, Jenny, you’re clever and pretty. Is your boyfriend interested in the clever Jenny?” The resounding “no” makes the end of the movie fairly predictable. Nevertheless, the film has enough idiosyncratic and enjoyable elements to make it worth seeing if one can suspend disbelief in some of the more far-fetched plot developments.

Wax Tailor Review + Picture

French turntablist Wax Tailor’s tour in support of his recently released third album, “In The Mood For Life,” made its stop at DC9 on Thursday, Oct. 8. Wax Tailor’s name is very apropos: his unique blend of trip-hop, hip-hop, downtempo, clever movie samples, jazz and soul has garnered him many accolades, with his 1995 album “Tales Of The Forgotten Melodies” becoming one of the best-selling electronic releases of the year.

Wax Tailor’s new album perfectly showcases how natural and symbiotic the blend between hip-hop and downtempo can be. Since the release of DJ Shadow’s seminal album “Endtroducing,” many musicians such as DJ Krush, RJD2 (whom Wax Tailor previously toured with), DJ Vadim and others have shown that turntablism by its very definition is a genre-defying art form.

Wax Tailor has always had a consummate ability to build sonic blends — an ability that comes from having feet firmly planted in both the DJ-centric hip-hop culture and the beat-and-atmospherics world of trip-hop.

Astronautalis opened the show with an interesting shoegazer, rock-talking, blues-punk, hip-hop-Beck-esque hodgepodge. The set-up of electric cello and flutes on the stage signaled Wax Tailor’s natural musical evolution on this tour.

“I would say this album is a lot more organic; I have been working with a lot of orchestral stuff lately,” Wax Tailor explained to the audience.

A constant element throughout the entire performance was Wax Tailor’s live turntablism — he could have very easily relied on laptop wizardry but he worked the wax with the seasoned knowledge of a pro. Yet, he did not take center stage or allow the scratching to overtake the performance. In a subtle way, he used the turntables and vocal samples to work with the other musicians. Songs flowed together seamlessly creating a sonic landscape, and the entire set felt thoroughly uncontrived and flowed together perfectly, incorporating both the free-style format of hip-hop and the improvisational component of live music.

The set list consisted of material mostly from his new album, and with 19 tracks on the new release, there was plenty to mine from. Chanteuse Charlotte Savary’s performance was especially spectacular — in the pantheon of female voices in downtempo music, from Beth Gibbons with Portishead to Martina Topley Bird with Tricky and Emiliana Torrini and Lulu with Thievery Corporation, she more than held her own. Her lilting, beautiful voice lent itself perfectly to the atmospheric instrumentals. Her first song “Dragon Chasers” is sure to be one of the hits from “In The Mood For Life” with its melancholy vocal loop chorus and languid flow.

Rapper Mattic followed with a crowd-stirring performance of “Until Heaven Stops The Rain” and free styled effortlessly with the band and the turntables. Cellist Matthieu Detton and flutist Ludivine Issambourg’s performance was absolutely phenomenal — very unlike a typical set-up where these instruments support and weave in and out; they were an integral component of all the songs.

The flutist improvised and took center stage on many of the tracks, with this call-and-response pattern lending itself perfectly to the improvisation style of both hip-hop and turntablism. On “Fireflies,” when both Charlotte and Mattic took the stage, the seamless way in which all five musicians worked with and off each other showcased the sheer musical breadth and genre blending that is a hallmark of Wax Tailor’s work.

Toward the end of the show, Mattic offered a raucous take on “B Boys On Wax,” a truly appropriate homage to the MCing and turntablism culture that Wax Tailor clearly knows and contributes to. The band then performed two songs off “Tales Of The Forgotten Melodies” — “Que Sera” and the DJ Krush-esque “Out Dance.” The final song was the up-tempo new single “Say Yes.”

Wax Tailor has always shown a consummate ability to craft sonic landscapes, but what makes him unique is that, while he is an excellent turntablist, he never makes his work solely about that. While this new album incorporates more live instrumentation, it also doesn’t do so jarringly or take his style in an entirely new direction. “In The Mood For Life,” as its title suggests, is very much about a natural and subtle integration of the turntables and the instruments, the songs and the atmospherics, the slow and the fast, the melancholy and the upbeat.

“I am a phenomenon, never cheesy like Parmesan—believe me, you won’t catch me at Comic Con,” raps Ivan Ives on “Got It.” The Ives-directed video for it is a riotous, clever visual fest of pop culture references—think “The Office,” with various nerd lexicon figures like Stephen Hawking and Star Wars characters. The catchy song is Ivan’s take on the “this is who I am” song, in the vein of Eminem’s “My Name Is” and it showcases his skill. One thing becomes immediately obvious—Ivan Ives knows how to flow on a track. His staccato, nuanced delivery draws the listener into his music and shows just how hard he has worked at this—he is a prolific MC with many EP releases under his belt. To call him an “underground” rapper, while true, would not do justice to just how polished he sounds on his second full-length release, Iconoclast. Released on his own record label No Threshold Records, it boasts fifteen tracks, with none of those filler skits we all love to skip. Featuring guest appearances from renowned rappers such as Cappadonna from the Wu Tang Clan, 2Mex, Vast Aire, and O.C. from D.I.T.C., it is a breath of much-needed fresh air in the rap scene.
Musically, the beats, created by Ives’ longtime producer Fresh, aka The Hitman, are very innovative. They have an old-school feel, with soul song samples and superb scratching interspersed throughout. Nothing like the beepy, synthetic and often simplistic sound heard on so many other releases, they sound very organic and, well, jaunty. “Fresh (aka The Hitman) is a genius. His beats surpass a lot of other producers in the game right now. He has a throwback sound to his beats that other people try to replicate but don’t quite get there,” Ives says about his friend and collaborator.

Which brings us to the next point—Ivan Ives is originally Russian, now living in LA, yet his sound is very East Coast. “A lot of people actually hear my music and THINK I’m from the East. I did spend part of my childhood in Brooklyn after coming to the states from Russia, so I don’t know,” he explains. “The first album I ever got was Snoop Dogg – Doggystyle. At first, I was really into all the West Coast MCs (2Pac, Death Row cats, etc.), but afterwards I started listening to more East Coast rap: Biggie, Wu-Tang, all the D.I.T.C. cats. Big L is one of my favorite rappers of all time; I look up to him and aspire to be as good as he was one day.”
While Ives clearly has the lyrical chops to nerd it up on par with the other underground rappers, it is apparent that he does not have an interest in showing off by pontificating on politics or esoteric topics. Sure, his songs are peppered with various quirky references—on “Carpe Diem” he pokes fun of the stereotype that Russians are good at Tetris and chess and affirms his skill in both—and Ives clearly has a lot of cheeky cleverness to go around, don’t mistake him for a nerdcore rapper. “To quote myself on ‘Nice’ off of the LA Heat EP, ‘Some care more about lyrics, some more about flow, s*** man, I care more about both.’ There are a lot of underground emcees that have some interesting stuff to say, but unfortunately they can’t flow and so no one will care about it. If you don’t have your presentation down, it doesn’t matter what you’re trying to say. If you listen closely to my music, I have a lot to say about society and the struggle for survival, however, I embed my messages into more accessible formats and more catchy flows, because I want more people to enjoy my music and hear what I’m trying to say.” Ivan Ives clearly incorporates the element of good delivery, seen in mainstream hip hop, with the lyrical chops and brainier leanings of underground hip hop. “Most mainstream hip hop nowadays is trash. I remember back when mainstream hip hop was actually good (although that was mostly golden era hip hop stuff). I’m trying to bring back a fusion of the golden era sound with more modern influences, and that is possible, of course, because of The Hitman’s amazing skills behind the boards. But I hardly even listen to any underground rap that is coming out now, because unfortunately I think a lot of that is also shitty. It’s getting way too artsy. Too many kids that lack real-life experiences making up fantasy worlds filled with stories of fake struggling and fabricated tales of redemption.”
Ives’ Russian heritage also adds an innovative quality to the mix. He raps in Russian briefly on several of the tracks, showcasing his equal skill in both languages. “Victory” sounds like a Russian communist march, complete with the, “They’ll never defeat us,” Russian samples. So while Ivan Ives is not a “Russian rapper,” his interesting background certainly gives him rich lyrical fodder. As to whether he feels pigeon-holed by it, Ives responds
“I have fun with it. I’m obviously by no means an ‘ethnic’ artist…Honestly, I do feel that my background and my father’s struggle against the KGB with his art have influenced my music and the direction I am ultimately heading in, and it definitely does set me apart from other MCs.”

Iconoclast finds Ives exploring the trials and tribulations of an up-and-coming rapper. A lot of the tracks feature the hallmarks of hip hop—braggadocio and claims of one’s awesome skill. When he waxes on about his lyrical superiority, however, it’s always done in a smart, punny way and any “arrogance,” is tempered with humility. “I got wicked game, call me Chris Isaac” on “Lay Low” is one of the clever punch-lines often found on this album. On “Mad Game,” he raps
“I build a legacy founded on leprosy; an outcast outlasted everyone next to me. Bitter wrath for most rap critics, I rap for cynics and real heads still in it.” On “Life Is A Bitch,” he talks about the struggles of his career, “Working shitty jobs for cash; I can’t smile–we are out of laughs. With dreams as unattainable as mine the question usually asked is why. Why do I strive to be the best that ever was and make tracks for nerds and clever thugs,” and declares “I am not arrogant. I am damned.” “The Recipe,” another really standout track, is a riotous showcase of Ives’ love for hip hop, in the vein of “Got It.”

“Olivia Josephs” is one of two tracks that finds Ives addressing relationships—in other words, don’t look for him to be stereotypical rapper with songs “for the ladies.” It’s all business on this disc. On this track, he bids goodbye to Olivia Josephs, an amalgamation of his exes. He raps, “I hate your blond hair; I hate your plastic life. Tired of you and your friends playing ‘pass the knife.” The other track, “Revenge,” is the only real-deal linear narrative track on this album. Over a trippy, eerie non-beat of a beat, Ives narrates a grim story.

Iconoclast is the narrative of a workaholic. Love him or hate him, one Ivan Ives is one hard-working MC and this album reads like the diary of an underground rapper trying to make his name known. Devoid of the vapid cotton-candy stylings of bling bling rap, it is also refreshingly free of pontification and boring exercises in spouting off philosophy. Fifteen tracks of excellent beats and lyrics showcase his growth from a more abstract to a mass-appeal emcee. The tight verses and good hooks harken back to an older sound, thus making this record all the more enjoyable. With his forays into film—Ives has made some award-winning shorts and videos—and the growth of his No Threshold label, as well as various other collaborations, Ives clearly intends to keep his fans happy. His East Meets West tour hits the 9:30 Club on October 10th. Other acts on this bill are 2Mex and Vast Aire. You would be remiss to miss this great Russian hope, who is worth all the hype.