Documentary

Speak, memory

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(1) War demands chronicling as few human endeavors do, with representations spanning from cave drawings to cell phone photographs. German experimental filmmaker Hito Steyerl considers the volatility particular to the filmic war document in her elegant short November (2004), playing in Kino21’s series "How We Fight: Conscripts, Mercenaries, Terrorists, and Peacekeepers" (kicking off Sept. 25 and continuing through October, with the last program screening Nov. 23). Steyerl’s essay-film turns on her reexamination of some spunky "feminist martial arts" footage she shot of her friend Andrea Wolf in light of the woman’s later martyrdom as a Kurdish freedom fighter. Competing renditions of Wolf commingle, each containing elements of documentary and fiction, with the only real truth being Wolf’s sublimation as a "traveling image."

(2) The YouTube hell of the footage captured in Iraq and Afghanistan — as dramatized in Brian de Palma’s angry Redacted (2007) and the damaged fictions of Michael Haneke — was perhaps foreseen by Walter Benjamin in 1936: "The destructiveness of war furnishes proof that society has not been mature enough to incorporate technology as its organ." So it is that the crudeness of the digital loops shot by coalition forces and insurgents alike countervails the US military’s computerized advancements. "How We Fight" opens with a compilation of this undigested material: footage from both sides synthesizing an implacable wave of mutilation. Insofar as any war can be said to have a film aesthetic, Iraq’s is that of the surveillance shot — the natural complement of the conflict’s signature weapon, the IED. As if we were watching some perverted version of the Bazinian long take, we observe, in a real time blighted by dirty pixelation and distorting zooms, as a convoy approaches an explosion.

(3) In an expanding field of unprocessed moving images, the documentary increasingly sees its own role shift to that of an interpreter of visual information already at hand. How else to explain all the recent documentaries dedicated to contextualizing id-like streams of footage from the battlefield and newsroom? It remains to be seen which of these works will deliver as lasting an indictment as Winter Soldier (1971), a collectively directed project that counterposes soldiers’ colored 8mm footage from Vietnam with the mauve black-and-white of their testimonies. For "How We Fight," Kino21 screens the rarely seen Interviews with My Lai Veterans (1970), a short film that cuts to the same bone.

(4) The issue of how these films garner testimony is of paramount importance, as evidenced by Errol Morris’ problematic probe of Abu Ghraib’s "bad apples" in Standard Operating Procedure. Exemplary in this regard is Heddy Honigmann’s Crazy (1999). The Dutch filmmaker is a master interviewer who treats her subjects as autonomous beings — Honigmann isn’t afraid to prod, but she’s not after dramatic effect. In Crazy, she stitches together interviews with Dutch veterans of United Nations peacekeeping missions by asking them to share songs they associate with their deployments. The music, which ranges from Cambodian pop to Guns N’ Roses’ take on "Knockin’ on Heaven’s Door," opens the channels of memory in unexpected ways and midwifes the guarded soldiers toward reflection and emotion. The passages in which Honigmann holds close-ups of the veterans listening to their songs possess a plaintive mystery unavailable to Morris’s occupied camera.

(5) In the singular, combat films of all kinds often extol the false premises and ideals endemic to war. But taken as a collective enterprise, war documentaries pull back the curtain on the state-sponsored stagecraft and reveal the threads connecting disparate battles. We’re ever reminded that "only the dead have seen the end of war." But if we take Hito Steyerl’s spin through one particular labyrinth of war-scarred images at face value, even they may not be safe.

"HOW WE FIGHT PROGRAM ONE: IRAQI SHORT FILMS"

Thurs/25, 8 p.m., $6

Through Nov. 23

Artists’ Television Access

992 Valencia, SF

www.atasite.org, www.kino21.org

Mead notebook

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› johnny@sfbg.com

"Yeah, whatever, I’m just watching Oprah," Taylor Mead lolls over the phone line when I ask if he has time to talk. "Anyway, what do you want to know, because I’m so bored with being interviewed."

Actually, around a half-minute separates Mead’s initial "whatever" from his profession of boredom — 30 seconds that he laconically fills with more wit than other interview subjects might manage in 30 hours. "One day Oprah will be at a petting zoo, loving little animals, and the next she’ll have a banquet, serving 100 people veal," he says. "As a vegetarian, I object. I object to this new vice president, too. She hunts wolves from an airplane. Give me a break."

Such objections are a taste of what’s in store for anyone wise enough to see the 83-year-old Mead crack wise during a brief visit to San Francisco. "Do I dare call it Frisco?" asks the star of Ron Rice’s 1960 North Beach–set cinematic Beat classic The Flower Thief. Though Mead hasn’t been to SF in years, he knows the city today well enough now to liken it to "the richest suburb in the world," so he’s querying himself as much as me. "They called it Frisco when there were tough dockworkers there, when it was a tougher town. Now it’s just Frisky."

The Flower Thief kicks off "Taylor Mead: A Clown Underground," a three- evening Joel Shepard–curated affair at Yerba Buena Center for the Arts that moves on to the 1967-68 Andy Warhol mock western Lonesome Cowboys and concludes with William A. Kirkley’s 2005 documentary portrait Excavating Taylor Mead. The first and last films are bookend — sort of — visions of a self-described "National Treasure / If there were such a thing." Mead is a great American movie star and poet whose stardom is a byproduct of his poetry and vice versa. Just as 2000’s Pie in the Sky: The Brigid Berlin Story reveals that Mead’s rich-rebel-gone-Warhol-superstar peer Brigid Berlin is a master of monologue, Kirkley’s documentary — and more directly, Mead’s books — present a wilder-than-Wilde master of the aphorism.

Mead can also make a lengthy poem sing, as illustrated by a YouTube clip of a serenade to Jake Gyllenhaal, gleaned from one of his regular Monday night appearances at Bowery Poetry Club. If Gyllenhaal’s 2005 Brokeback Mountain character is the gay son of Montgomery Clift in 1948’s Red River and 1961’s The Misfits, then both Mead’s song to Gyllenhaal and Mead’s older poem "Autobiography" prove lonesome cowboys can be lassoed by a rodeo clown.

"For everything that is original, spontaneous, alive, and creative and beautiful, there is some old lady who will complain about it," writes Mead in 1986’s Son of Andy Warhol (Hanuman Books). In the 2005 collection A Simple Country Girl (YBK Publishers, $14.95) his wit and wisdom is even shorter and sharper. "Everything / Has a right to life / except mosquitoes / and religious people."

Airplane willing and anti-anxiety medication in hand, Taylor Mead is returning to the town where Jack Spicer once seethed as he sat on Jack Kerouac’s lap. Shower him with Dewar’s. He’ll be bringing a couple hundred pages of quips in his carry-on bag, but they might not be necessary.

As the man himself says, "I don’t need a script."

TAYLOR MEAD: A CLOWN UNDERGROUND

Thurs/18–Fri/19 and Sun/21, 7:30 p.m., $8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

—————————–

Autobiography

(after a poem by Ferlinghetti)

By Taylor Mead

I have blown

And been blown

I have never had a woman

I have been in great jails and terrible jails

The great jails were the tanks and the terrible jails were the model prisons.

I have seen my mother a few hours before she died.

I have seen my father pinching pennies and felt it.

I have heard and felt my father in his worship of

money worshipping money and the U.S.A. of money

madness, fuck it!

I have been beaten nearly to death before an

"enlightened" Greenwich Village crowd.

I have been beaten in my hospital bed by sadistic

doctors.

I have been arrested by a jealous policewoman and

I should have hit her and killed her.

I have played all the pianos that all the famous

pianists have played in Carnegie Hall in the basement

of Steinway Hall and I still play them

after making it with the elevator boys on a quiet

religious Sunday afternoon.

I have made goo goo eyes at Marlon Brando with no

luck

but not too much discouragement either.

I have made it with Montgomery Clift in Central Park

against a little pagoda

or at least he said it was Montgomery Clift and

it was Montgomery Clift too.

Elizabeth Taylor has really looked at me from under

a veil on Fifth Avenue and Susan Strasberg and

Judith Anderson all on Fifth Avenue and can’t

remember her name on Sixth Avenue now the

Avenue of the Americas and then too

And that year’s winner of the Antoinette Perry

award followed me from the St. Regis where he lived

and I’ve never been in for four blocks until

I regretfully lost him because I’m shy.

And my first day alone in New York almost this famous

cowboy star made goo goo eyes at me on the steps

of the New York Public Library, main branch

And I went into the Times Square Duffy Square

subterranean toilet with one of the movies’ Tarzans

and he showed me his big peter

and I showed him my small one

because it was cold and

I didn’t want to get it excited unless I was sure

something great was about to take place

And it didn’t.

Originally printed in Excerpts from the Anonymous Diary of a New York Youth (self-published, 1961) and Angels of the Lyre: A Gay Poetry Anthology (Gay Sunshine Press, 1975)

Waving the black flag

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PREVIEW First the bad news, straight from the wise-ass, too-literate, poetry-writing punk rocker who once muscled his way through Los Angeles hardcore byways and back: "I think McCain will win," Henry Rollins tells me over the phone in Los Angeles after humping a shipment of his new book, Fanatic! Vol. Three (21361), off the truck and into his offices.

"He’s just an awful person." Rollins pauses. "I’m one to talk, but I’m not as awful. I just think America will make the wrong choice again. After all, Democrats never miss an opportunity to miss an opportunity — and Republicans cheat."

Ah, Rollins — a heady gust of hardcore wit ‘n’ wisdom, the punk progenitor driving the original, alternate-universe straight-talk express. On the eve of a so-called change election, leave it to the ex–Black Flag frontman and IFC regular to take a talking tour titled "Recountdown" to gauge the state of the nation. Rollins, no doubt, will hold forth on subjects ranging from Sarah Palin ("Who needs five kids? What are you, working in the fields? Are you selling them for meat?") to his recent documentary-making and travels in Thailand, South Africa, New Orleans, Pakistan, and Burma (of the latter he says, "it was five wacky white guys with expensive cameras trying to pass themselves off as tourists").

So in a world that seems to witness even the most obscure underground combo bellying up to the reunion trough, can we ever expect the still-influential Black Flag to reassemble? The good news: Rollins amiably notes that he wouldn’t have much say in the matter since "Black Flag basically belongs to Greg Ginn. But as a hypothetical, I’d pass."

HENRY ROLLINS Fri/19, 8 p.m., $25. Zellerbach Auditorium, UC Berkeley Campus, Bancroft and Telegraph, Berk. (415) 421-8497, www.livenation.com

“Trouble the Water”

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REVIEW Anyone impressed by Cloverfield‘s camcorder frenzy needs to see the remarkable video diary Kimberly Roberts made in New Orleans’ Ninth Ward while Katrina wailed and the government balked. Trouble the Water directors Tia Lessin and Carl Deal initially came to the city in hopes of investigating the way in which National Guard support was waylaid by an America being stretched thin in Iraq. The film opens with the directors talking to a bureaucrat, but within moments Roberts and her husband Scott bum rush the side of the frame and never let go. The New York–based Fahrenheit 9/11 producers thankfully let Roberts’ eyewitness footage run for long segments, underscoring its The Hague–worthy indictment with periodic cutaways to the naysayers (George W. Bush, FEMA’s Michael Brown, and so on). When we return to her shot of a neighborhood drunk who died in the storm, it feels as significant a victory for the documentary process as the stabbing in Gimme Shelter (1970). The storm interrupts Roberts’ camerawork the first time; months later, back in the Ninth Ward, it’s the police telling her to stop rolling. Even when Trouble the Water moves into more conventional over-the-shoulder filmmaking, Kimberly and Scott Roberts remain enthralling subjects. It’s doubtful festival-goers saw anything as breathtaking as Kimberly Roberts’ autobiographical rap "Amazing" at this past snooze of a Sundance, where Trouble the Water claimed the Grand Jury Prize. Rappers, it turns out, make the best reporters.

TROUBLE THE WATER opens Fri/5 at the Sundance Kabuki.

Paper weight

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› johnny@sfbg.com

Call me wasteful, call me Luddite, call me nostalgic, call me obsolete. I’m not ashamed to admit it: I like paper. I like it a little too much. These days, when I look at paper, I have a pair of scissors in my mind if not my right hand — I want to take the complete form of detritus that a single sheet or a full book represents, and cut it into a new shape. Maybe it’s a visual extension of editing words for a living. Maybe it’s a basic reaction to the stacks of visual and text-based matter that I shuttle from one space to another in the city when I’m not staring into the Valhalla of the computer screen or — heaven forbid — reminding myself that I have a body.

This week, I’ve been carrying a couple of heavyweights from work to home and back again: Glamour of the Gods (Steidl, 272 pages, $65) and The Stamp of Fantasy: The Visual Inventiveness of Photographic Postcards (Steidl, 216 pages, $60). Both books are testaments to the specific charms of paper, with tactile qualities — a gloss and an undivided directness, for starters — that no expensive flat-screen monitor can match. They’re made to be ravished, not ravaged. They also tell — via numerous knockout illustrations — a story. That story is of paper’s important role in relation to art and photography (or photo-documentary) in the 19th and 20th centuries.

A few weekends ago I went to a paper expo in San Francisco, where I admit to being nonplussed by the dozens of vendors with box upon box of postcards that cost $25 or more apiece. The sheer surplus of matter, coupled with the collectors’ prices, was off-putting. The Stamp of Fantasy, however, instantly reminded me of the artistic value of the postcard, a form I first fell for in high school, when I’d thumb through decks of cards for a well-executed trick image of a person with a cat’s or baby’s head. Curated by Clément Chéroux from the collections of Peter Weiss and Gérard Levy, the book presents those types of pictures, along with other puns and surrealist touches: melting Eiffel Towers; Victorian women with roots for torsos; human faces blooming from trees, emerging from mountain- and moonscapes or blooming from the tail-ends of trails of pipe smoke. Less predictable visions — a mass of Chinese baby faces akin to one of Weegee’s Coney Island photos; children riding butterflies in a realm not far from Henry Darger’s imagination — have a wow or jolt factor. They also effectively preview Hannah Höch’s innovative postcard-based collage.

Hollywood movie-star stills — the oft-luminous portraits that icons like Joan Crawford would autograph and send to thousands of fans — are the subject of Glamour of the Gods. It draws from the peerless collection of the late biographer and gadfly John Kobal, who helped bring renown to artists such as Crawford’s favorite cameraman, George Hurrell, via the 1980 book The Art of the Great Hollywood Portrait Photographers. When I look at Greta Garbo’s reliably stunning close-up collaborations with the undersung and influential Ruth Harriet Louise, I think of Garbo’s remarkable skill at blocking paparazzi shots from any angle with her hands (demonstrated in Gary Lee Boas’ sweet 1999 book Starstruck) and ponder the old camp quip about the lie that tells the truth. Something has been lost in the journey from glossy paper to the infinite sea of candid digital imagery. Ramon Novarro and Clara Bow weren’t all about going to Starbucks for Frappuccinos. As someone once said, they had faces.

The filth and the fury

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Apologies to all Nathaniel Hawthorne and Herman Melville fans out there, but the American novel didn’t get good until it shook off the last vestiges of Puritanism and risked a certain shock factor. It wasn’t just the authors pushing potentially offensive social-realist (Stephen Crane, Theodore Dreiser, Upton Sinclair) or unflattering social-elite-portraiture boundaries (Edith Wharton, Henry James, etc.) who made the upstart nation’s lit suddenly comparable to the Old World’s new output. By the dawn of the 20th century, non-rabble-rousing Yank fiction (not to be confused with today’s street-corner favorite tabloid, Yank) had also matured stylistically. Still, it’s those "dirty books" that somehow still stick out in well-read readers’ back pages. American censorship battles in the 20th century were, until well into the sexual revolution, largely fought on literary terrain.

Barney Rosset, the subject of new documentary Obscene, should be canonized by First Amendment fans as the patron saint of key mid-20th-century obscenity cases. As founder of Evergreen Review and Grove Press, this "smut peddler" published everyone from Harold Pinter to Octavio Paz to Kathy Acker, as well as a whole lot of unapologetic porn (mostly the Victorian kind). No wonder Rosset was behind some of the central court struggles against censorious US standards for both literature and movies. He consorted with yippies and Black Panthers, produced close friend Samuel Beckett’s only film (1965’s Film), and was called a "tragic hero" by his own analyst (one of many). He is an interesting enough guy that one wishes codirectors Neil Ortenberg and Daniel O’Connor’s admiring portrait was longer — it gets the career highlights down but barely touches on what sounds like an equally colorful personal life.

Weaned on the radicalism of Depression-era East Coast experimental schools, Rosset was an Army combat cinematographer during World War II. He returned home to produce 1948’s virtually unknown Strange Victory — a movie about American racism so incendiary that only one New York City theater would consent to show it. Having been checked out by the FBI as a possible "Communist filth racketeer" while in grammar school, he was on familiar ground when he commenced the first of many legally challenged literary ventures in the late 1950s. Evergreen Press republished Allen Ginsberg’s suppressed epic poem Howl; Grove launched US printings of D.H. Lawrence’s Lady Chatterley’s Lover and Henry Miller’s Tropic of Cancer, both already decades-old yet still banned on our shores. Other causes célèbres included William S. Burroughs’ Naked Lunch, The Autobiography of Malcolm X (published just after his assassination), and Che Guevara’s diaries (which angered somebody enough to get Grove’s offices bombed).

As if this wasn’t drama enough, Rosset’s business and personal fortunes experienced considerably more disorder as the turbulent ’60s turned into the oversatiated ’70s. Importing a Marxist quasidocumentary art film from Sweden, 1967’s I Am Curious (Yellow), made cinema safe for sex after protracted court battles. It also made millions, which perversely hurt Grove in the end — forcing an expansion that proved disastrous, particularly when 1968 sequel I Am Curious (Blue) bombed. The CIA put Rosset under surveillance and women’s liberationists assailed his catalog as sexist, yet threatening calls and sniper fire at his home did not exactly discourage his alcohol and amphetamine abuse. He was even fired from Grove itself after a supposedly friendly takeover.

Too bad Obscene just skims over the less-public chapters in its subject’s life, like his four marriages. Now a dapper and delightful old man, Rosset has long since burned through the last of many fortunes made and lost. He’s broke but blithe about it, as if cocooned by admiration — the eccentric lineup of praise-singing interviewees here include Jim Carroll, John Waters, Amiri Baraka, Erica Jong, and Gore Vidal. Perhaps the best testaments to Rosset’s character, however, are priceless excerpts from a cable-TV interrogation in which he responds to actual smut peddler Al Goldstein’s exasperatingly crude questions ("How do you get sucked into marriage?" being the least of them) with charming, earnest self-examination.

OBSCENE: A PORTRAIT OF BARNEY ROSSET AND GROVE PRESS

Opens Fri/5

Nightly at 7, 8:45 p.m. (also Sat–Sun, 3, 5 p.m.), $5–$10

Roxie Theater

3117 16th St., SF

(415) 431-3611, www.roxie.com

Slow burn: Facts about Funerals broods like AMC re-envisioned as a roadhouse band

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l_aa4c4ce0e153e52aef727cdc1f865e53.jpg
Facts and fog: Pete Colclasure. Courtesy of Facts about Funerals’ MySpace site.

FACTS ABOUT FUNERALS
Love Songs & Funeral Homes
(Evangeline)

By Todd Lavoie

Just on the off-chance the band name didn’t point you in the direction of the emotional terrain Seattle sextet Facts About Funerals are aiming to mine, the title of their recently released disc should help you out: Love Songs & Funeral Homes. See where we’re going?

The title, in fact, was borrowed from the Daniel Johnston documentary The Devil & Daniel Johnston – asked what his songs were about, those words were the singer’s reply. Evocative and eyebrow-raising, to be sure, but do they apply to Facts About Funerals as well?

Yes and no – death does cast a considerable shadow over the proceedings, but it doesn’t completely consume the album, either. And as for the love songs – well, singer-songwriter Rob Sharp tends to speak more to the uneasy feelings associated with love (obsession, loss, regret, heartache) than the wide-eyed bliss of romance.

Cinemania

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Mock Up on Mu Craig Baldwin’s latest opus, on rocket science and Scientology in California, with the director in person.

Sept. 2. Pacific Film Archive

Obscene A new documentary about Evergreen Review and Grove Press publisher Barney Russet and his many battles on behalf of free speech and real art.

Sept. 5–11. Roxie Film Center

Lost Indulgence and In Love We Trust A pair of films by up-and-coming Chinese directors Zhang Yibai and Wang Xiaoshuai.

Sept. 6–20. San Francisco Museum of Modern Art, Wattis Theater, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

"History Stutters: Found Footage Films" Bruce Conner’s John F. Kennedy–assassination film Report (1965) and Ken Jacobs’ Malcolm X. assassination response Perfect Film (1984) is on the same bill; program also includes a movie with Ed Henderson.

Sept. 9. Pacific Film Archive

Leave Her to Heaven The 1947 Technicolor noir — and ultimate swimmer’s nightmare — returns with a demonstration of film restoration.

Sept. 12. Smith Rafael Film Center, 1118 Fourth St., San Rafael. (415) 454-1222, www.cafilm.org

"MilkBar International Live Film Festival" Three days of experimental cinema, including more than 20 local short works.

Sept. 12–14. Noodle Factory Performing Arts Center, 1255 26th St. #207, Oakl. (510) 289-5188, www.milkbar.org

"Unknown Pleasures: The Films of Jia Zhangke" At last, China’s vanguard contemporary filmmaker gets an extensive Bay Area retrospective.

Sept. 12–Oct. 17. Pacific Film Archive

"The People Behind the Screen" Local programmers contribute to "Bay Area Now": Jesse Hawthorne Ficks presents girl rock; Stephen Parr of Oddball Films shares a giddy taste of his mega-montage project Euphoria; and kino21 puts together performance cinema; Peaches Christ, Queer Women of Color Media Arts Project, and DocFest also have nights.

Sept. 13–Oct. 18. Yerba Buena Center for the Arts

Shatfest Thrillville’s tributes to the one and only William Shatner continue with his 1968 spaghetti western White Comanche.

Sept. 18. El Cerrito Speakeasy Theater, 10070 San Pablo, El Cerrito. (510) 814-2400, www.thrillville.net

"Taylor Mead: A Clown Underground" The legendary wit Mead visit for screenings that showcase his best starring roles (1960’s The Flower Thief and 1967–68’s Lonesome Cowboys).

Sept. 18–21. Yerba Buena Center for the Arts

Forbidden Lies The Roxie is distributing this look at con artist Norma Khouri, which gets a theatrical run after a successful trip through the festival circuit.

Sept. 19. Roxie Film Center

MadCat Women’s International Film Festival Ariella Ben-Dov’s fest turns 12 with eight archival greats (including one by Samara Halperin) and silent films with live rock scores.

Sept. 19 and 23. Various venues. (415) 436-9523, www.madcatfilmfestival.org

"Psychotic and Erotic: Rare Films by Tinto Brass" Ass-fixated erotica that includes talking animals and naked cannibals.

Sept. 24. Yerba Buena Center for the Arts

"How We Fight: Iraqi Short Films" Kino21 kicks off a series with Argentine director Mauro Andrizzi’s feature-length compilation of short videos shot by US or British soldiers, Iraqi militia members, and corporate workers.

Sept. 25. Artists’ Television Access

"James Dean Memorial Weekend" Come back to the five and dime, or failing that, the Castro, and be sure to wear your red windbreaker.

Sept. 26–28. Castro Theatre

Film in the Fog Gene Kelley is singing in the rain — and the Presidio fog.

Sept. 27. Main Post Theatre, 99 Moraga, SF. (415) 561-5500, www.sffs.org

The World’s Largest Shopping Mall The debut or preview of a film by Sam Green and Carrie Lozano is at the heart of a program devoted to psychogeography.

Sept. 27. Other Cinema

Deathbowl to Downtown Coan Nichols’ and Rick Charnoski’s look at the history of NYC street skateboard culture, narrated by Chloë Sevigny.

Sept. 29. Castro Theatre

"Bette Davis Centennial" She’ll tease you, she’ll unease you — all the better just to please you.

Sept.–Oct. Castro Theatre

Dead Channels You can never get enough weird horror and fantasy.

Oct. 2–5. Roxie Film Center

Mill Valley Film Festival The major fall Bay Area festival turns 31.

Oct. 2–12. Various venues. (415) 383-5256, www.mvff.org

Rosemary’s Baby and The Devils Double the demonic hysteria!

Oct. 3. Castro Theatre

"No Wave: The Cinema of Jean Eustache" The series includes 1965’s Santa Claus Has Blue Eyes, his 215-minute masterpiece The Mother and the Whore (1973), his hog-slaughtering documentary — shades of Georges Franju? — The Pig (1970), and a 1997 doc portrait of him.

Oct. 4–22. Pacific Film Archive

"Rediscovering the Fourth Generation" The post-Mao cinema that laid groundwork for directors such as Jia Zhangke gets a SF showcase.

Oct. 4–30. San Francisco Museum of Modern Art, Wattis Theater, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

Vertigo The greatest San Francisco movie ever — maybe greatest movie ever — gets the outdoor screening treatment from Film Night in the Park.

Oct. 4. Union Square, SF. (415) 453-4333, www.filmnight.org

"Spirit of ’68" and "Know Your Enemy" A pair of programs compiled by Jack Stevenson

Oct. 5. Oddball Films, 275 Capp, SF. (415) 558-8117, www.oddballfilm.com

Manhattan and Muppets Take Manhattan Mariel Hemingway, meet Miss Piggy.

Oct. 7–9. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994. www.redvicmoviehouse.com

"French Cinema Now" A new minifestival from the San Francisco Film Society.

Oct. 8–12. Various venues. (415) 561-5000, www.sffs.org

"Superstars Next Door: A Celebration of SF Amateur Sex Cinema from the ’60s" Stevenson looks at that time in SF when everyone would take off their clothes for a camera — with film in it.

Oct. 9–11. Yerba Buena Center for the Arts

"Midnites for Maniacs: Back to School … in the ’90s" Jesse Hawthorne Ficks serves up Buffy the Vampire Slayer (1991), Romeo and Juliet (1995), and Starship Troopers (1997).

Oct. 10. Castro Theatre

"Envisioning Russia: A Century of Filmmaking" The expansive 16-film program extends across eight decades.

Oct. 10–30. Pacific Film Archive

"Protest-sploitation" A lecture-demo by Christian Divine looking at six "youth" films made in 1970, along with a screening of that year’s The People Next Door.

Oct. 11. Other Cinema

RR James Benning’s train film finally reaches a Bay Area destination.

Oct. 14. Pacific Film Archive

Arab Film Festival The festival turns 12 this year.

Oct. 16–Nov. 4. Various venues. (415) 564-1100. www.aff.org

DocFest IndieFest’s doc extension turns seven this year with a slate of at least 60 films.

Oct. 17–Nov.6. Roxie Film Center and Shattuck Cinema, 2230 Shattuck, Berk. (415) 820-3907, www.sfindie.com

Leslie Thornton A three-program SF Cinematheque series devoted to the director behind Peggy and Fred in Hell (1985–present) and other experimental works, with Thornton in-person.

Oct. 19–26. Yerba Buena Center for the Arts

United Nations Association Film Festival Environmentalism is the focus of the festival’s 11th year.

Oct. 19–26. Various venues. (650) 724-5544, www.unaff.org

"I Love Beijing: The Films of Ning Ying" Ning and her acclaimed Beijing trilogy — which spans from the Peking Opera to dogs, cops, and taxi drivers — visit the Bay, capping things a screening of her 2005 "Chinese Sex and the City" feature Perpetual Motion.

Oct. 23–27. Pacific Film Archive

The Werewolf of Washington The president’s speechwriter is a lycanthrope in this Nixon-era flick.

Oct. 31. Pacific Film Archive

"The New Talkies: Bollywood Night" Kino21 presents six works of live narration to Bollywood film scenes.

Nov. 1. Artists’ Television Access

"Occult on Camera" Erik Davis charts out the Aleister Crowley–Kenneth Anger–Led Zeppelin triumvirate-of-evil — what does Jimmy Page’s appearance in the closing ceremony of the Olympics mean?

Nov. 1. Other Cinema

Louise Bourgeois: The Spider, the Mistress and the Tangerine The SF premiere of a new documentary devoted to the sculptor.

Nov. 2–3. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994, www.redvicmoviehouse.com

Ghosts Nick Broomfield’s excellent first non-documentary feature, about the abuse of Chinese immigrants in the United Kingdom.

Nov. 7–13. Roxie Film Center

San Francisco International Animation Festival The burgeoning fest and showcase turns three with a program that includes the Cannes favorite Waltz with Bashir.

Nov. 13–16. Various venues. (415) 561-5000, www.sffs.org

Luther Price New works by one of the more scathing and harrowing filmmakers on the planet, presented by SF Cinematheque.

Mid-November. Yerba Buena Center for the Arts

New Italian Cinema Will it include Matteo Garrone’s Cannes critic’s fave Gomorra?

Nov. 16–23. Various venues. (415) 561-5000, www.sffs.org

"Films by Martha Colburn" A night of kinetic works by the collage creator, presented in conjunction with a show at Berkeley Art Museum.

Dec. 2. Pacific Film Archive

Robot vs. the Aztec Mummy Thrillville stuffs your stocking with a gem from 1957.

Dec. 11. El Cerrito Speakeasy Theater, 10070 San Pablo, El Cerrito. (510) 814-2400, www.thrillville.net

James Hong A sneak peek at the local director’s expose on Japan’s rewriting of history, Lessons in the Blood.

Dec. 13. Other Cinema

"At Sea" Peter Hutton’s At Sea (2004-7), about the life and death of a colossal container ship, is the centerpiece of an oceanic SF Cinematheque program.

Dec. 14. Yerba Buena Center for the Arts

ARTISTS’ TELEVISION ACCESS/OTHER CINEMA

992 Valencia, SF

(415) 824-3890

www.othercinema.com

CASTRO THEATRE

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

PACIFIC FILM ARCHIVE

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

ROXIE FILM CENTER

3317 16th St., SF

(415) 863-1087

www.roxie.com

YERBA BUENA CENTER FOR THE ARTS

701 Mission, screening room, SF

(415) 978-2787

www.ybca.org

>>More Fall Arts Preview

“Riot on Sunset Strip” film series

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PREVIEW Break out your go-go boots for this four-day flashback to Los Angeles’ 1960s experience hosted by Dominic Priore, author of Riot on Sunset Strip: Rock ‘n’ Roll’s Last Stand in Hollywood and Smile: The Story of Brian Wilson’s Lost Masterpiece. It kicks off with the 1968 counterculture grab-bag You Are What You Eat, a freeform documentary encompassing both the LA and San Francisco hippie scenes, plus appearances by Frank Zappa and the Mothers of Invention, David Crosby, Tiny Tim, Paul Butterfield, the Hells Angels, the Greta Garbo Home for Wayward Boys and Girls Too (an actual place), and notorious (and soon to be killed) SF dealer Super Spade. Next up: Roger Corman’s ’67 chestnut The Trip, in which Peter Fonda takes a heavy ride through the windmills of his mind. That same year’s lesser-remembered Riot on Sunset Strip, produced by the inimitable Sam Katzman (1967’s Hot Rods to Hell, 1953’s Killer Ape), tells the shocking story of reckless youth Andy (Mimsy Farmer), looking for kicks you-know-where to escape her broken home. Bummers ensue, not helped by a surreptitious acid-dosing freakout and the fact that Andy’s dad is an LAPD chief! Two great garage bands, the Standells and the Chocolate Watchband, perform onscreen in this epic about those daring (as the advertising put it) "teenyboppers with their too-tight capris." Finally, Chris Hall’s 2006 Love Story documents the brief rise and long fall of Arthur Lee’s Love, the cult-adored psychedelic pop band.

"RIOT ON SUNSET STRIP" film series runs Thurs/28–Sun/31 at the Red Vic Movie House. See Rep Clock for showtimes.

“Trumbo”

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REVIEW "I have the feeling that if you give most people in the world the choice between enough food for their children and shelter and clothing in return for their freedom of speech, that they will go for the food, the shelter, and the necessities," said Dalton Trumbo, screenwriter of Spartacus (1960), Exodus (1960), Papillon (1973), and a number of other films, including Roman Holiday (1953) and The Brave One (1956), that either were written under an assumed name or (at the time) simply went uncredited. Trumbo and the rest of the "Hollywood 10" — screenwriters and directors who, when suspected of being communists, refused to cooperate with the House Un-American Activities Committee by invoking the First Amendment, not the Fifth, as justification. They were subsequently blacklisted by Hollywood studios. Trumbo director Peter Askin weaves insightful commentary from family, friends, film historians, and actors (Donald Sutherland, Dustin Hoffman, and Kirk Douglas make appearances) with vintage footage of the Academy Award–winning writer, giving us an eloquent portrait of a stubborn but nevertheless admirable man. Although the documentary is ostensibly about the impact the blacklisting had on the screenwriter’s life, excerpts from speeches, novels, and letters (read by the likes of Joan Allen, Paul Giamatti, Liam Neeson, David Strathairn, and Michael Douglas) are interspersed throughout the film, showing that Trumbo (who died in 1976 at age 70) had a way of making words dance — and that he was deeply invested in everything he wrote.

TRUMBO opens Fri/15 in Bay Area theaters.

Space is the race

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› a&eletters@sfbg.com

When conservatives wax nostalgic for a family-values America that liberals are hell bent on destroying forever, they’re basically talking about the 1950s — that last oasis of prosperity for guiltless acquisitiveness, formulaic gender roles, and general agreement not to discuss any round peg not fitting into a square hole. It was a simpler era: a time when poor people were kept safely out of majority sight, racial minorities were politely ignored, the existence of gay people was nothing more than a distasteful rumor, and divorce and so-called illegitimate childbirth were properly discouraged by shame.

As far as some Americans are concerned (particularly in retrospect), the ’50s were happy days. One reason, no doubt, was that the enemy — communism — was easy to identify. Two decades ago, when communism in most territories ended with a whimper, the Cold War era officially died with it. But David Hoffman’s documentary Sputnik Mania turns the Way Back Machine to that long moment when it was overwhelmingly, virulently alive.

Sputnik Mania charts those halycon times when the threat of a communist takeover — or a communist-triggered doomsday — seemed so great that our great democracy might not survive. Our country’s women were sure to be raped, and all of our children certain to be zombified by propaganda. As mass delusions go, the Cold War fears of the ’50s were so efficient that you might swear they’re still being recycled.

Hoffman chronicles the history-changing hysteria that ensued when the USSR seemingly came out from nowhere to place a surprising first in the early stages of the space race. The 1957 launch of the Sputnik marked the first time a rocket circled the Earth. Like the Apollo moon landing a decade later, this achievement was celebrated as a great advance for all mankind. Then came panic. Comparing the event to Pearl Harbor, Sen. Lyndon Johnson later wrote, "Another nation had achieved superiority over this great nation of ours. The thought shocked me." The ever-levelheaded Vatican pronounced that such technology was "a frightening toy in the hands of childlike men without morals." Speculations ranged from the sci-fi paranoiac to the biblically apocalyptic and raged like wildfire. If the Russkies could orbit around us, why wouldn’t they soon bomb us to smithereens? (Admittedly, the USSR didn’t allay fears when it test-exploded a hydrogen bomb.)

Sputnik Mania shows how politicos, religious leaders, concerned mothers, and perhaps even your Uncle Fred clambered for the United States to wake up and smell the need to (as one Congress member puts it) "save Western civilization from annihilation." Backyard bomb shelters were dug and prayer groups assembled. Initial Yankee efforts at catching up in the space race went down in flames. Even more embarrassingly, racist protests against school integration in Little Rock, Ark., handed the USSR an easy "Who are you to talk?" riposte to any US accusations regarding communism’s oppressive reality. (As opposed to its originating ideology: Karl Marx and Leon Trotsky would surely have ralphed at the very idea of Stalin as a flag-bearer. Also, for all its internal crimes, post-czarist Russia was and still is a weak superpower — its perceived threat undercut by an economic condition that scarcely sustains elites, never mind the proletariat.)

One fact underplayed in history but underlined by Sputnik Mania is that both Dwight Eisenhower and Nikita Khrushchev sought to moderate the fearful rush toward space militarization. Ike created NASA as a civilian body committed to peacefully advancing all mankind, rather than as a vehicle for escautf8g defense buildup. Nonetheless, over the long haul, paranoia has proven a potent propagandistic drug, either because America needs enemies or because the corporate military-industrial complex must be fed.

History’s details change. Its patterns? Never.

SPUTNIK MANIA

Thurs/14–Sun/17

Red Vic Movie House

1727 Haight, SF

(415) 668-3994

The Gysin file

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› johnny@sfbg.com

I associate the dreamachine with Christmas. The first and only time I’ve directly encountered a version of the device was a holiday five or six years ago. My friend Julien used a turntable to set up a homemade dreamachine in a corner room of his family’s cabin. I took a turn sitting with my eyes closed in front of its stroboscopic play of light and darkness. I didn’t have an epileptic fit; nor did I go into a hypnagogic state. It wasn’t a drugless high, but it was a mind’s eye stimulus. I’d try the dreamachine again.

"I don’t think [the dreamachine] really works unless you’ve smoked a pipe of hash," Kenneth Anger declares during FlicKeR, Nik Sheehan’s documentary about the device and its chief creator, the writer, painter, and mystic Brion Gysin. "I think it’s too dangerous if you’ve taken acid," he adds. You get the feeling Anger is speaking from experience, even if he doesn’t face a dreamachine in front of Sheehan’s camera. Such a meeting isn’t necessary, because FlicKeR‘s first 15 minutes serves up a Who’s Who of dreamachine enthusiasts in action: Marianne Faithfull, Sonic Youth’s Lee Ranaldo, and Genesis P. Orridge of Psychic TV are among those Sheehan captures sitting and staring — with eyes closed — before the contraption’s oscilutf8g light.

The dreamachine makes for potent visual imagery, but distilling or truly conveying its effect is a tougher task for a filmmaker, even if Sheehan’s camera briefly stares directly into one (and later, incorporates Tony Conrad’s 1965 film The Flicker, a potent projector-based dreamachine corollary). For Sheehan, the mechanism provides a kinetic introduction to or threshold into, a portrait of the late Gysin. Though Gysin — who invented the Cut-Up literary methods popularized by best friend William S. Burroughs — is a shadowy figure to hang a feature-length film portrait on, FlicKeR‘s hopping, skipping, and jumping approach to his life at least energizes his enigma.

In Victor Bockris’ 1981 interview collection With William S. Burroughs: A Report From the Bunker (Seaver), Burroughs — who also says, typically, "[Gysin] taught me everything I know about painting" — relates Gysin’s description of a milk bar just after a terrorist blast: "People were lying around with their legs cut off, spattered with maraschino cherries, passion fruit, ice cream, brains, pieces of mirror and blood." Without a living subject, Sheehan must turn to various vivid Gysin acquaintances — mirror man Ira Cohen and a spry John Giorno, for example — to bring across similar illustrations of anarchic spirit. In the process, offhand observations come to mind: Genesis P. Orridge has transformed herself into a sisterly peer of rad auntie Faithfull (who praises Gysin’s warmth in her autobiography, where she’s largely disdainful of all men), for one. It’s easy to lose sight of Gysin amid such colorful characters, but FlicKeR is steadfast in its belief that Gysin is influential; a variety of academics use Gysin as a gateway to discussions of everything from the changing nature of terrorism to iPods.

He may not be the center of 20th-century history, but Gysin’s influence on the present is undeniable. This is partly due to another wave of ’60s resurgence. FlicKeR kicks off "Stoned Apocalypse," a Joel Shepard–curated Yerba Buena Center for the Arts series that includes a program devoted to the legendary light shows that overtook late-’60s music concerts. While most people associate such light shows with rock music, the new collection, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde (University of California Press, 322 pages, $27.50), explores its links to avant-garde cinema and music in the Bay Area.

The dreamachine-like notion and practice of live cinema is building momentum in recent years, thanks to practitioners such as Bruce Fletcher, a new surge of interest in Conrad, and a 2007 San Francisco Cinematheque series that inspired an anthology of writing on the subject. Last year at the San Francisco Museum of Modern Art, Anthony McCall’s installation You and I, Horizontal filtered Conrad’s and Gysin’s ideas about pure light into a communal rather than individual experience so potent it was akin to near-death or first-moments-of-life. That which flickers still illuminates, and it may soon turn into a piercing beam of light.

FLICKER

Thurs/7, 7:30 p.m., $8

Yerba Buena Center for the Arts Screening Room

701 Mission, SF

(415) 978-2700

www.ybca.org

Optic nerve

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› johnny@sfbg.com

This is the second year that the Guardian has devoted an issue to local photographers. I’ll wait until it happens a third time before deeming the project an annual endeavor. It’s easy to believe in that possibility, because the range of photography in the Bay Area right now is exceptional. This great state of affairs is partly due to spaces and organizations such as SF Camerawork, RayKo Photo Center, and PhotoAlliance. It’s also due to more do-it-yourself street-level groups such as Hamburger Eyes and one of this issue’s 10 contributors, Cutter Photozine.

Last year’s photography issue focused on portraiture, but this year I’ve opted for a survey approach that allows for spontaneous connections. Jessica Rosen and Sean McFarland both utilize collage, but with vastly different results. Keba Konte’s collage aesthetic adds objects to imagery and links history to autobiography. Investigative work leads to political or societal exposure within Trevor Paglen’s and David Maisel’s photography. Adrianne Fernandez and Bayeté Ross-Smith focus on youth as they bring new twists to traditions such as the family album and the prom portrait. Dustin Aksland’s portraiture also includes teenagers, sometimes plopped onto or stopped within American landscapes, while Mimi Plumb likens rural landscapes to the backs of horses.

August may be when summer winds down and a portion of SF prepares to camp elsewhere, but it’s an important time for local photography. This issue coincides with PhotoAlliance’s and the San Francisco Arts Commission Gallery’s annual exhibition of local photographers. Two of the 10 artists on the following pages are part of that show. American photography also will be playing a major role at the San Francisco Museum of Modern Art next year, when that space presents an exhibition devoted to Robert Frank and his classic monograph The Americans (Steidl).

In honor of an old adage or clichéd truth, there aren’t a lot of words next to the pictures that follow. But the text does include Web site information. In most cases, these photographers’ sites function as another gallery of sorts, one that lacks the tactile nature and dimensions of an actual photograph but at least suggests the variety of a body of work to date. Scope them out, and scope out Pixel Vision, the Guardian‘s arts and culture blog, for interviews and other photography-related pieces this week. Last, before you look, some thanks are due to Glen Helfand, Chuck Mobley, and Mirissa Neff for their help in the selection process, and to Kat Renz for a last-minute idea.

Also in this issue:

>>Killer shots from the bowels of rock

>>Before stalkerazzi, there was Gary Lee Boas

>>Q&A with Heather Renee Russ of Cutter Photozine

>>Q&A with Jessica Rosen

>>Molly Decoudreaux looks beneath local nightlife
———-

NAME Adrianne Fernandez

TITLE Daddy Sends His Love

BACKGROUND In my "Alternative Album" project, the interplay of social and personal history is essential. It yields a complex tension between irony and nostalgia for the so-called family album.

SHOUT OUTS My influences include artists such as Larry Sultan and Elinor Carruci, who have worked with their prospective families to create intimate images that provide a compelling look into family dynamics.

SHOWS "Gender Agenda," through Sept. 14. The Gallery Project, Ann Arbor, Mich. www.thegalleryproject.com. Also "Not Your Mama’s World," Fri/8 through Sept. 9. Washington Gallery of Photography, Bethesda, Md. www.wsp-photo.com

WEB AlternativeAlbum@aol.com

———-

NAME Jessica Rosen

TITLE I Could See the Amazon from the 5th Floor of the Robert Fulton Projects
BACKGROUND This work is a large-scale photo collage installation made from cut-up, layered C-prints of my original photographs. It measures about 10 feet by 12 feet. Because this scale relates to human scale, it allows the viewer to experience the image as an environment rather than as an isolated image.

SHOUT OUTS My work stems from a fascination with people. Over the years my art practice has continually focused on portraiture. Although my newer collage works may seem quite fantastic, most are truly portraits in the traditional sense.

SHOW "Jessica Rosen," through Oct. 1. Open 24/7 (storefront window). Keys That Fit, 2312 Telegraph Ave, Oakl., http://www.xaul.com/KEYS/home.html

WEB www.jessicarosen.com

———-

NAME Cutter Photozine

TITLE Top to bottom, untitled photos by (1) Ethan Indorf; (2) Keith Aguiar; (3) Ace Morgan; (4) Darcy Sharpe

BACKGROUND Cutter is a San Francisco documentary photo magazine. Founded by Heather Renee Russ and Alison O’Connell, it has a DIY ethic and is eco-positive (it uses recycled paper and soy-based inks). Cole Blevins, Jesse Rose Roberts, Sara Seinberg, and Rachel Styer also worked to put out the first issue, which includes 20 photographers and spotlights Ace Morgan’s uncanny blend of rage, longing, joy, and punk rock.

SHOUT OUTS Cutter is dedicated to people telling their stories and documenting their existence. We seek to undo traditional voyeurism toward the "other" and place the power of sight in the focused home of the author.

SHOW The first issue can be purchased at local shops such as Needles & Pens. They’re currently accepting submissions for the second issue, due this fall. There will be a release party and photo show in late November.

WEB www.cutterphotozine.com

———-

NAME David Maisel

TITLE 1165 (from Library of Dust)

BACKGROUND The large-scale photographs of the "Library of Dust" series depict individual copper canisters, dating from 1913 to 1971, which contain unclaimed cremated remains of patients from Oregon’s state-run psychiatric hospital.

SHOUT OUTS Robert Smithson, NASA photographs, 19th-century exploratory landscape photographers (especially Timothy O’Sullivan), and the New Topographics photographers from the mid-1970s.

SHOW "David Maisel: Library of Dust," Sept. 4–Oct. 4. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Haines Gallery, 49 Geary (suite 540), SF. (415) 397-8114, www.hainesgallery.com. Library of Dust (Chronicle Books, 108 pages, $80) will be released in October.

WEB www.davidmaisel.com

———-

NAME Keba Konte

TITLE Detail from "888 Pieces of We"

BACKGROUND The eighth day of the eighth month of the eighth year is approaching, and in alignment with this auspicious moment I have created this exhibition of 888 photographs printed on wood, copper, and vintage books. I’ve had to select from thousands of images spanning 42 years in order to choose 888 that reflect my journey: there are protests and portraits, street moments and political movements; freaks, friends, and family members. As a documentary and portrait photographer, one observes the beautiful strangers. However, looking at this large body of work, another story comes into focus: my own.

SHOUT OUTS Roy DeCarava, Gordon Parks, Sebastião Salgado, Ruth Bernhard, Kimara Dixon.

SHOW "888 Pieces of We: A Photo Memoir," Fri/8 through Sept. 8. Oakland Art Gallery, 199 Kahn’s Alley, Oakl. (510) 637-0395, www.oaklandartgallery.org

WEB www.kebakonte.com

———-

NAME Sean McFarland

TITLES Untitled (park)

BACKGROUND I work from an archive of photographs I’ve made, along with images gathered from print and other media. Through collage, new pictures are formed. Recently my work has focused on weather, nighttime, and the ocean.

SHOUT OUTS For now, two books: National Audubon Society Field Guide to North American Weather, (Knopf, 1991), and Gerhard Richter’s Atlas (D.A.P., 2007). Also, students, friends, and just about any archive.

SHOWS "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org. Upcoming: "Johanna St. Clare, Paul Wackers, Sean McFarland, Dan Carlson," October. Thurs.–Sat., 1–5 p.m. Eleanor Harwood Gallery, 1295 Alabama, SF.

WEB www.sean-mcfarland.com

———-

NAME Dustin Aksland

TITLE Paso Robles, CA (2005)

BACKGROUND This was shot during a trip to Paso Robles. My friend and I pulled off the highway to take the back roads into town. As soon as we pulled off, we passed this man sleeping in his car. We went about a half-mile and I made my friend turn around. We pulled up in front of the car and I shot two frames out of the passenger window.

INSPIRATION "Useful pictures don’t start from ideas, they start from seeing." — Robert Adams.

SHOWS "States of Mind," September. TH Inside, Brussels, Belgium. "States of Mind," November. TH Inside, Copenhagen, Denmark.

WEB www.dustinaksland.com

———-

NAME Bayeté Ross-Smith

TITLE Here Come the Girls

BACKGROUND This is part of a series that documents high school students in Berkeley, east Oakland, San Francisco, and Richmond as they mark their ascension from childhood to adulthood through the celebratory rite of passage known as prom. Taking a cue from traditional prom photos, the portraits allow for seriousness and playful flamboyance, depicting a vast array of budding identities.

SHOUT OUTS Walter Iooss, the Magnum photographers, and James Van Der Zee.

SHOW "Pomp and Circumstance: First Time to Be Adults," Sept. 4–Oct. 11. Tues.–Fri., 10:30 a.m.–5:30 p.m.; Sat., 10:30 a.m.–5 p.m. Patricia Sweetow Gallery, 77 Geary (mezzanine), SF. (415) 788-5126, www.patriciasweetwogallery.com. Upcoming: "Off Color," Sept. 19–Nov. 1. RUSH Arts Gallery, New York.

WEB www.patriciasweetowgallery.com

———-

NAME Mimi Plumb

TITLE Harley

BACKGROUND These photos are part of an ongoing series that began about 10 years ago when I photographed a herd in the John Muir Wilderness of the Sierra Nevada. The horses in this new series live in Petaluma.

SHOUT OUTS Horses’ backs embody the landscape. They become the horizon and horizon line, at times transforming into the rolling hills of the California landscape where I grew up, before tract houses and strip malls became the norm.

SHOW "18 Months: Taking the Pulse of Bay Area Photography," through Sept. 17. Mon.–Fri., 8 a.m.–8 p.m. San Francisco Arts Commission Gallery at City Hall, 1 Dr. Carlton B. Goodlet Place, SF. (415) 554-6080, www.sfacgallery.org

WEB www.mimiplumb.com

———-

NAME Trevor Paglen

TITLE KEYHOLE 12-3 (IMPROVED CRYSTAL) Near Scorpio (USA 129), 2007

BACKGROUND This is a photo of reconnaissance satellite, taken from the roof of my house in Berkeley. It’s part of a series of photos of American spy satellites.

SHOUT OUTS I got interested in photography because I was working on projects that were nonfiction allegories, projects that played with notions of truth and what we can and can’t see. To me, photography is the medium that does that best. It captures reality and at the same time doesn’t. I like that tension. I also became interested in photography post-9/11 because photography became an aggressive gesture in a way that it wasn’t before — people could be arrested for photographing the Brooklyn Bridge. The act of taking photographs outside became an exercise in civil rights.

SHOWS "The Other Night Sky," through Sept. 14. Wed.–Sun., 11 a.m.–5 p.m. Berkeley Art Museum, 2626 Bancroft, Berk. (510) 642-0808, www.bampfa.berkeley.edu. Upcoming: Taipei Biennial, Sept. 13–Jan. 11, 2009; Istanbul Biennial, 2009; "2008 SECA Art Award Winners," Feb.–May, 2009, SFMOMA.

WEB www.paglen.com

Sonic Reducer Overage: Staycation nation with Projekt Revolution, Sam McPheeters, Balmorhea, more

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Busta Rhymes busts a move in “Dangerous” – and at Projekt Revolution at Shoreline this week.

As summer fades into a hazy, chilly miasma of Blood Marys, Krautrock beats, and high gas prices, the time has come to make the rounds at those lingering shed shows, avant-punk readings, burbling throwdowns.

AS2.jpg

A.Skillz
Sunset Promotions showcases the UK hip-hop-breakbeat turntablist, surfacing at Mighty for his first show in SF in four years. With Murphstar, AnTenNae, and Motion Potion. Fri/8, 10 p.m., $10-$15. Mighty, 119 Utah, SF. www.sunsetpromotions.net


“I’m my own worst enemy”: Linkin Park’s “Given Up.”

Projekt Revolution
A revolution in WTF! pairings begins here: Linkin Park, Chris Cornell, Bravery, Ashes Divide, Busta Rhymes, Hawthorne Heights, and Street Drum Corps. Hey maybe it’s time to check those damn assumptions; you’re breaking both your back – and mine. Sat/9, 2 p.m., $34-$77. Shoreline Amphitheatre, 1 Amphitheatre Parkway, Mountain View. www.ticketmaster.com


Born free: Born Against back in the day.

Sam McPheeters
Take another, literary look at the local underground. The hardcore legend of Born Against fame reads from his new magazine, alongside Sarah Cathers of 16 Bitch Pileup (who will render love horoscopes from rock lyrics), Erika Anderson of Gowns (who will perform an exorcism), Tara Tavi of Amps for Christ (who will play traditional Chinese music and screen a documentary on the subject), and George Chen of KIT and Club Sandwich (who will do stand-up comedy). And yep, there’s even more. Sun/10, 7 p.m., $6-$10, 21 Grand, 416 25th St., Oakl.

Balmorhea
Austin, Texas, ambient bohos dream in elegant, string- and banjo-shaded colors. With Lazarus and Tiny Vipers. Mon/11, 8:30 p.m., $12. Cafe du Nord, 2170 Market, SF. www.cafedunord.com

Testimonies

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› a&eletters@sfbg.com

Italy seldom figures much in Holocaust studies, as its Jewish population was relatively small (just under 50,000) and only about one-fifth failed to survive the war — even after far more anti-Semitic German occupiers and policies wrested power from Benito Mussolini in 1943.

But statistically limited evil is still evil. Italian (even papal) complicity in crimes against Jewry has weighed more heavily on the national conscience lately, if a recent spate of meditations on the subject in various media is any indication. This year’s San Francisco Jewish Film Festival, the 28th, includes a program of films devoted to the subject. Titled "Italian Jews During Fascism," it presents a mix of documentary, historical drama, and contemporary fiction.

As elsewhere, the history of Jews in Italy has run a gamut from bad to worse to tolerable and back again. Propelled by basic racism as well as that "Christ-killer" concept favored by early Biblical-text revisionists and Mel Gibson, sacred and secular powers-that-were targeted Italian Jews (among others) during the Crusades and the Inquisition, then literally walled up their Roman populace in a ghetto for 300 years. By the time the extreme ghettoization was abolished, in the mid-19th century, Italian Jews (at least outside Rome) were fairly well integrated into society. They certainly were by 1938, when Mussolini announced a slew of anti-Semitic laws after years of appearing indifferent to Hitler’s particular racial obsession. ("Il Duce" hadn’t been impressed with the Nazis until his own empire-building ambitions required an alliance.)

Italian Jews were abruptly barred from serving in the military, and from attending or working at schools and universities. Thousands lost their jobs due to knee-jerk reactions from employers anxious to toe the repressive party line. These hard times got much worse when the weakened nation ceded primary control to the Nazis, and "Il Duce" became a mere figurehead for the "Republic of Salo." Mussolini rubber-stamped the mass arrest of Jews, mostly in the occupied north. Nearly 7,000 were shipped off to concentration camps. The question of what ordinary Italians — let alone the Vatican — did to oppose this murderous sweep remains a blot on the country’s 20th-century history.

The Jewish Film Festival’s quartet of related features offer various perspectives on these events. Most direct is Mimmo Calopresti’s 2006 documentary Volevo Solo Vivere (I only wanted to live), a compilation of latter-day testimonies assembled from interviews recorded for Steven Spielberg’s Shoah Foundation. Focusing on survivors (mostly female) of Auschwitz who were between the ages of four and 30 at the time, it provides first-person stories that range from poignant to hair-raising. Meeting a life love on the train en route to the camp, enduring Mengele’s "medical experiments," being forced to walk one’s father to the gas chamber. These precise recollections are illustrated not just by brutally familiar footage of starved prisoners and piled corpses, but also by earlier photo-album glimpses of family life.

Dubbed "the Italian Schindler" when his deeds first won recognition, Giorgio Perlasca was a Paduan former soldier and disillusioned ex-Fascist working abroad to procure supplies for the Hungarian army in Axis-occupied 1944 Hungary. Posing as a Spanish diplomat, he bullied and bluffed his way into rescuing and hiding thousands of Budapest Jews despite a Nazi policy of deportation and extermination. This extraordinary tale is dramatized in Perlasca: An Italian Hero. With an Ennio Morricone score and Luca Zingaretti in the title role, Alberto Negrin’s 2001 made-for-TV film is compelling. Yet it’s also overworked, painting Perlasca as a one-dimensional superhero — albeit a balding and pudgy one. The result lands somewhere between the harshness of Schindler’s List (1993), the hysterical melodrama of Black Book (2006), and the maudlin treacle of Life Is Beautiful (1997).

A fascinating footnote, the 2007 hour-long documentary Tulip Time: The Rise and Fall of the Trio Lescano tells the story of three Dutch sisters who became enormously popular in Italy as harmonizing swing vocalists. Mussolini was a fan, though even that couldn’t save them from abrupt career termination and poverty once their Jewish background was discovered. The 2003 novelistic drama Facing Windows, which had a theatrical release, finds Turkish Italian director Ferzan Ozpetek departing somewhat from his usual gay themes. Giovanna Mezzogiorno stars as an unhappy working-class Roman woman whose husband brings home a disoriented older man (the late Massimo Girotti, a screen veteran since 1940) who turns out to have concentration camp numbers on his arm. *

SAN FRANCISCO JEWISH FILM FESTIVAL

The 28th San Francisco Jewish Film Festival runs July 24–Aug. 11 at the Castro Theatre, 429 Castro, SF; Roda Theatre, 2025 Addison, Berk.; CineArts @ Palo Alto Square, 3000 El Camino Real, bldg 6, Palo Alto; and the Smith Rafael Film Center, 1118 Fourth St., San Rafael. Tickets (most shows $12) and additional information are available at www.sfjff.org

Repulsion!

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"I like young women, as do most men, I think," Roman Polanski confesses in the opening sequence of Marina Zenovich’s fascinating new documentary, Roman Polanski: Wanted and Desired. Few artists could recite such a controversial preamble as convincingly as this infamous auteur, loved and reviled with equal fervor after a 45-year career. While it focuses on the Hollywood rape scandal that enveloped Polanski in the spring of 1977, and his subsequent flight from the law, Wanted and Desired doesn’t portray the oft-demonized director as a villain or a victim. Instead, it renders him as an inscrutable outsider and poète maudit.

Through an excellent assortment of press footage and interviews, including talks with alleged rape victim Samantha Geimer, Zenovich reviews if not reopens California vs. Roman Raymond Polanski. She does so with a meticulous eye toward correcting inconsistencies and misconceptions. Polanski was no stranger to tragedy and controversy. As a young boy, he survived the Holocaust on the streets of Krakow after most of his family was shipped to Auschwitz. After a successful career in London and Hollywood in the 1960s, he was again devastated when his pregnant wife, Sharon Tate, was murdered by Charles Manson’s "family." By the ’70s, Polanski had a licentious reputation, abetted by his dark, often Faustian films.

Enter 13-year-old Geimer, a California innocent pushed by her ambitious mother into a nude photography shoot with Polanski. The events of the night that followed would haunt the director and his young victim for decades.

Some critics will probably deride Wanted and Desired as pure hagiography, or worse yet, a legitimization of Polanski’s crimes and subsequent fugitive status. But Zenovich’s intentions circumnavigate any idol worship, as her refusal to err toward his guilt or exoneration makes clear. Rather, Wanted and Desired‘s stinging invective of Hollywood justice places much of the blame on a starstruck media and judiciary. As if fulfilling Polanski’s dystopic vision, the film leaves us repeating some prophetic words from Chinatown (1974): "I see you like publicity … well, you’re going to get it." Polanski, ever the outsider, remains at large.

ROMAN POLANSKI: WANTED AND DESIRED

Opens Fri/25

Roxie Film Center

“The Exiles” on Main Street

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TAKE ONE For a sharp perspective on Kent Mackenzie’s neglected 1961 classic The Exiles, push aside most contemporary reviews heralding the film’s rerelease. In the spring of 1962, Benjamin Jackson reviewed Mackenzie’s debut feature for Film Quarterly, and began by noting something no one today seems to think worth mentioning: only 28 years before The Exiles came out, the American Indians who starred in the movie weren’t even considered citizens by the US government.

That basic fact should be at the center of any appraisal of The Exiles, and yet, with the exception of Armond White in the New York Press, most 21st-century critics don’t contextualize the racist history and cultural prejudices the film confronts; forces that have since threatened to erase it. Almost 50 years and countless Sundance Film Festivals after Mackenzie’s look at Native American life in the city and off the rez, it’s still — unfortunately — a one-of-a-kind work. Just as Milestone Films’ successful release of Charles Burnett’s 1977 Killer of Sheep exposed American independent cinema’s lack of artistic imagination and societal insight, the return of The Exiles is partly inspired by the utter failure of American filmmakers to follow Mackenzie’s lead.

In Another Country (Vintage), first published one year before The Exiles‘ release, James Baldwin writes of a New York “so familiar and so public that it became, at last, the most despairingly private of cities,” adding: “One was continually being jostled, yet longed, at the same time, for a human touch; and if one was never — it was the general complaint — left alone in New York, one had, still, to fight very hard in order not to perish of loneliness.” The Exiles tracks a similar fight in Los Angeles, as waged by pregnant Yvonne (Yvonne Williams) while her husband Homer (Homer Nish) goes carousing through bars at Third and Main. Mackenzie follows both with a Weegee-like attention to detail that alights on everything from mechanical monkeys that blow bubbles to boisterous queens at a bar.

This major work of American cinema was created from film stock salvaged from a plane crash and short ends from I Love Lucy. Its potent original score of lip-biting rock ‘n’ roll is by the Revels, whose “Comanche” was exploited by Quentin Tarantino in Pulp Fiction. Its restoration is by Ross Lipman, who has also rescued Killer of Sheep and the work of Kenneth Anger. Further credit for The Exiles‘ revival belongs to Thom Andersen, whose 2003 survey Los Angeles Plays Itself first brought the film to the attention of a new generation. One year before Godard’s Vivre sa vie (1963), Mackenzie made an unsentimental movie about a woman who goes to the movies — in fact, The Exiles reaches its midway point just as Yvonne watches an intermission jingle that urges people to raid the concession stand. Both Yvonne’s night and this film’s are far from over. (Johnny Ray Huston)

TAKE TWO One reason we watch film noir is to look at the forgotten city. As American crime pictures got grittier, they stumbled from the plush nightclubs of Gilda (1946) to the sticky bars of Kiss Me Deadly (1955). First shot in 1958, Kent Mackenzie’s The Exiles is set in the same dilapidated Bunker Hill neighborhood valorized by John Fante and Charles Bukowski. Mackenzie’s ethnographic focus on a small group of urbanized American Indians would seem to place his film in a different league, but then many noir films open with statements not so different from his voice-over: “What follows is the authentic account of 12 hours in the lives of a group of Indians who have come to Los Angeles, California.”

Noir comparisons only go so far in elucidating The Exiles‘ enduring appeal. By focusing on a sloshed night-in-the-life of this group, Mackenzie locates urban malcontent rather than inventing it. After the first of many exquisite evening shots of a long-extinct LA funicular, we’re introduced to Yvonne: her moony face is inexpressive, and her voice-over amplifies her solitude in a bustling marketplace. She explains she’s pregnant and is glad to be having the baby away from the reservation, but worries about her husband Homer’s commitment. Homer’s boys’ club favors a Keroauc-ish jive-talk — with disenfranchisement for heritage, they adapt the “wherever I may roam” frontiersman-speak of the hipster.

Mackenzie wasn’t a native Angeleno, much less an American Indian, but his outsider perspective enlarges The Exiles. If the location details in Charles Burnett’s Killer of Sheep seem incidental, here they are part of a broader lyrical-documentary design. The fact that we can make out so many prices — mackerel for 21 cents a pound, gas for 27 cents a gallon — is symptomatic of the characters’ hand-to-mouth milieu and Mackenzie’s aesthetic calculus. The filmmaker’s anachronistic tendency to play the peripheries reaches fullest bloom when Homer burns with unnamed anomie, surrounded by the Café Ritz’s unsavory characters. The moody scene is a vivid if intense evocation of the kind of democratic mixing place Mike Davis eulogizes in his 1990 LA history, City of Quartz (Vintage).

If The Exiles anticipates both Jim Jarmusch (the outsider-as-hipster and jukebox soundtrack) and Gus Van Sant (the bender crawl and the combination of voice-over and neorealism), it’s more a sign of Mackenzie’s intuition than his priorities. The bitter irony of the title is that Mackenzie’s characters are exiles from both the past and the future. The director was well aware of City Hall’s redevelopment slate for Bunker Hill when he framed his long-take vistas. “Time is just time to me,” hep-cat Tommy (Tommy Reynolds) muses on voice-over. “I’m doing it outside, so I can do it inside.” Not so for Mackenzie, a true preservationist whose work has now been treated in kind. (Max Goldberg)

THE EXILES

Aug. 1–7

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 

Hunting the lord of war

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› gwschulz@sfbg.com

Accused illegal arms dealer Victor Bout’s long-awaited arrest by Thai police officers March 5 was an important victory against unchecked human rights abuses around the world, and a personal vindication for the San Francisco woman who helped bring Bout to international attention.

Bout arrived at the luxurious Sofitel Hotel in Bangkok believing he was to meet with two senior leaders of the Marxist guerrilla army known as the Revolutionary Armed Forces of Colombia, or FARC. The men, it turned out, were paid informants operating on behalf of US drug enforcement officials.

Through an associate, the 41-year-old Bout allegedly promised to sell the duo large quantities of weapons to continue FARC’s decades-old insurgency against the Colombian government. According to an April federal grand jury indictment filed in New York, the arms included surface-to-air missiles, AK-47s, C-4 explosives, land mines, and even people to help train FARC soldiers in using the weapons.

Among those most relieved — and surprised — at the arrest was a relentlessly determined human rights investigator who lives in San Francisco. Kathi Lynn Austin, 48, has been pursuing the notorious trafficker and war profiteer for more than a decade.

Bout, a former USSR Air Force officer, is widely reputed to be one of the world’s most active criminal arms dealers, perhaps best known for his spectral presence on the African continent. There, he cultivated professional relationships with its litany of brutal dictators and helped fuel some of the most appalling human rights tragedies of the last century.

Austin and other investigators, as well as journalists and law enforcement officials in several countries, say that Bout expertly structured a business empire of shell companies, dubiously licensed cargo planes, and endless arms accumulations from former Soviet stockpiles — all of which were intended to minimize evidence linking his name to illegal weapons dealing.

But the work Austin did to penetrate that shell and expose Bout was so notable and dramatic that Paramount Pictures announced in December 2007 that superstar Angelina Jolie would play her in a drama inspired by Bout’s infamous career.

It’s a stunning achievement for someone who 15 years ago struggled to convince even her colleagues in the human rights community that the end of the Cold War and the globalization of organized crime made nonstate actors like Bout as much of a threat to peace as the tyrannical governments they’d been naming and shaming for years.

"A human rights violation is considered a violation that is carried out by a state actor," Austin told the Guardian. "We were trying to change the whole field of human rights to philosophically say we should be going after these private perpetrators as well."

Austin has helped document Bout’s convoluted network since about 1994, first as a consultant for Human Rights Watch and later as arms and conflict director for the Washington, DC–based Fund for Peace, for which she maintained a San Francisco office, before eventually working for the United Nations.

After returning to San Francisco in June from an 18-month UN mission in East Timor, Austin agreed to talk about her investigations of Bout over several hours of interviews near the North Beach apartment where she’s been holed up writing material for the Paramount script.

Seeing Austin in a crowded coffee shop with clear features and wide, earnest eyes, it’s not easy to imagine her charging through the world’s hellholes: Rwanda, Sierra Leone, Liberia, the Democratic Republic of the Congo, Angola, and other African conflict zones where the UN has imposed longstanding but ineffective arms embargos.

The work of Austin and others repeatedly helped show that death and destruction could continue indefinitely for the right price paid to savvy arms brokers like Bout, while the United States failed to regard the plight of civilian populations across Africa as vital to its interests.

As the world would learn in 2004, even the US military relied on Bout’s planes to conveniently bring its partially privatized war machine down on Iraq, making this story about more than just Bout and his pursuers.

Following Bout’s arrest in Thailand, federal prosecutors here charged him with conspiring to kill US nationals and attempting to illegally acquire anti-aircraft missiles.

In 1997 the United States designated FARC a terrorist group for kidnapping and murdering American citizens in Colombia. US officials also consider Colombia the globe’s largest supplier of cocaine, a trade that’s kept the leftist rebels afloat.

Bout allegedly told DEA informants that an ongoing, violent campaign by the FARC to counter America’s cocaine fumigation efforts in Colombia was his fight, too, and that he could supply the guerrillas with everything they needed.

Days after this story goes to press, however, he’s due for a court hearing in Bangkok, where a judge will decide whether to extradite him to the United States. That means Bout could face a criminal trial on American soil. To Austin, that’s long overdue. She had lost hope that her country would subdue a top-tier enabler of gross human rights violations. A secret sting operation led by American narcotics agents was the last thing Austin believed would lead to Bout’s capture — and for good reason.

She first became aware of his name in 1994, shortly after witnessing one of the brightest moments in contemporary African history. On April 24 of that year, Austin stood near the polling station as Nelson Mandela, a political prisoner of 27 years, marked his ballot in South Africa’s first fully democratic election. She’d been invited to attend after working as a researcher in the Natal province documenting political violence and the apartheid government’s desperate attempts to preserve decades of white control through upheaval and destabilization. No one was sure Mandela would reach the ballot box.

"We got up at three, four in the morning to load a bus," Austin recalls. "Nobody told us exactly where it was. We had to go under cover of darkness. When we got there, he voted just after the sun came up."

The inauguration party weeks later spilled out everywhere in Johannesburg. Austin mingled with foreign journalists and drank champagne. But one of the greatest parties of the century turned glum as vague reports mounted describing trouble in a nearby country, one smaller than Maryland and at the time unknown to most Americans: Rwanda.

"Nothing was really clear. It was all very ambiguous," Austin remembers. "We just kept hearing these reports that 10 Belgian peacekeepers had been killed and the UN was pulling out and people were dying on a massive scale."

The Rwandan genocide would become one of the greatest human atrocities since the Holocaust as extremists from the ethnic Hutu majority massacred at least 800,000 minority Tutsis and Hutu moderates with gruesome efficiency while the world stood by.

As details emerged, Austin raised money in the United States and worked to get to the beleaguered African nation as soon as possible. Meanwhile, a Tutsi-led military offensive defeated the Hutu Power government in the capital city of Kigali by July 1994 and supposedly ended the genocide. But as Austin and others would learn, the violence was far from over.

Hundreds of thousands of refugees streamed toward the eastern border of neighboring Zaire, among them the perpetrators of the genocide. Hidden inside refugee camps, Hutu militias renewed their strength and began amassing weapon caches with the quiet support of Zairian dictator Mobutu Sese Seko.

Austin fearlessly penetrated the militia encampments, persuading exiled Hutu military leaders to disclose how they had obtained antitank grenades and high-caliber ammunition. The list included Col. Théoneste Bagosora, considered to be a chief architect of the genocide. Her trick? Austin told them she was a researcher for the neutral-sounding Institute of Policy Studies — which was technically true — and simply needed to hear their side of the story.

"It was a really treacherous place to be," Austin said. "At the time I appeared young, nonthreatening. I didn’t often say I was with Human Rights Watch…. In any kind of organization, people are motivated by many different things. You find those sources that for some reason or another want to help out or are so ego-driven they don’t think that any information they give to you is going to be used somehow against them."

She also interviewed members of flight crews who gave her information on cargo companies hired by the Mobutu government to secretly supply its Hutu allies with weapons by falsifying official flight plans and end-user certificates, key legal requisites designed to curtail transnational arms shipments.

According to her later Human Rights Watch report, "The militias in these camps have taken control of food distribution, engage in theft, prevent the repatriation of refugees through attacks and intimidation, carry out vigilante killings and mutilations of persons suspected of crimes or of disloyalty … and actively launch cross-border raids."

What didn’t make sense was how the suspected ringleaders of the genocide could obtain weapons despite the return of peacekeepers to the area and an arms embargo on Rwanda imposed by the UN.

CIA investigators later discovered that planes belonging to Bout were involved in supplying the outlaw Hutus, according to Douglas Farah and Stephen Braun’s definitive book on Bout, Merchant of Death: Money, Guns, Planes, and the Man Who Makes War Possible (Wiley, 2007).

Austin also came to that conclusion by the end of an eight-month fact-finding trip to the region carried out in 1994 and 1995. Her findings for Human Rights Watch helped propel her to international notoriety as more NGOs focused on illegal arms flows coming from private brokers.

"The Rwandan genocide was really the watershed, for me and for Bout," Austin said. "In the early years, he’s building his empire and I’m beginning to narrow what I want to investigate. I was becoming more and more convinced that in all the wars I was looking at, it was logistics. It was all about who could bring in the guns, the fuel — keep the war going."

Back then, Bout was still a bit player among many weapons suppliers working on the continent, according to Austin. But he soon did something that would significantly boost his career and help make him what another Bout pursuer once described as "the McDonald’s of arms trafficking." He switched sides and helped the new post-genocide Rwandan leadership topple the neighboring Zairian presidency of Mobutu, Bout’s own longtime client.

Zaire is known today as the Democratic Republic of the Congo. Bout would make yet more money years later aiding another warlord who attempted a violent coup inside the country, Jean-Pierre Bemba. The International Criminal Court last month charged Bemba with mass brutality and rape committed against civilians between 2002 and 2003.

"He [Bout] has no loyalty," a Bout associate told Merchant of Death authors in 2006. "His loyalty is to his balls, his sweet ass, and maybe his wallet."

Probably Bout’s most cynical move occurred in Afghanistan. At the start of his career, in the early 1990s, he allegedly maintained an intimate business relationship with commanders of the Northern Alliance, the tribal army that fought Taliban extremists for years until gaining power in Afghanistan with US help following the Sept. 11 terrorist attacks.

US officials began openly acknowledging in 2005 that Bout earned as much as $50 million also furnishing the Taliban with military equipment during its reign over the country.

Austin’s upbringing is the antithesis of what one might expect from an international human rights investigator. The oldest of five kids, she played guitar in a country-and-western band with the rest of her siblings, embarking on tours throughout the South from their home in Richmond, Va.

"We would play for people who had no money," she said. "We’d camp out for three days just to give them some music."

In the ’60s , the family of Baptists played at small African American churches during the climax of Southern segregation and against the backdrop of racist terror. They defied the neighbors and invited black friends over for dinner or socialized with them publicly. The Austins were largely apolitical, but Kathi says her parents insisted on human decency and encouraged a basic sense of justice and rebellion.

Her exposure to the destitution of many formerly enslaved black families in the South translated seamlessly in her own mind to Africa, a continent that fascinated her. But her understanding of the continent was limited.

"I just wanted to go save Africa one day. It was what I said I wanted to do with my life when I was really young…. I had this kind of missionary zeal, this very naïve, humane impulse."

Few people in her family considered going to college, but Austin hungered for academic achievement, securing a scholarship to the University of Virginia in the late ’70s.

Civil rights turmoil at the school politicized her and transformed her deeply. A model Organization for African Unity held for college students each year at Howard University in Washington, DC had the greatest impact. She attended it devotedly for several years. After competitive debates, politicians, professors, and other experts would speak to the students about Africa’s colonialist history and the anti-Apartheid movement.

"I really began to understand a lot of the underpinnings of what was going on with the African liberation movement in South Africa," she said. "I became engrossed in it and learned a lot intellectually and got a good sense of what I thought."

Austin began to zero in on the Ronald Reagan administration’s agenda of undermining Soviet communist influence in the region. The United States covertly backed the UNITA rebels in Angola against a communist-led liberation movement there, and continued to support the white-dominated and separatist apartheid regime of South Africa.

She wanted to investigate the unsavory relationships Reagan’s White House had developed on the African continent in its crusade to defeat communism during the Cold War. But Austin was aware of only two think tanks in the capital that examined such issues and had a reputation for attracting left-leaning luminaries. One was the nonprofit National Security Archive, a repository of declassified intelligence and foreign policy documents obtained largely through Freedom of Information Act requests.

Headquartered at George Washington University, lawmakers concerned about US covert activities abroad and some of the nation’s best-known journalists, including New Yorker writer Seymour Hersh, palled around at the independent, nongovernmental research library after it was founded in 1985 by a group of muckracking reporters and scholars.

Austin’s internship there in 1988 created a new realm of possibility — solo investigations — and sparked an interest in following the intricate paper trails that accompanied her growing knowledge of Africa’s geopolitical landscape, frequent outbreaks of low-intensity conflicts, and evasive weapons procurers.

But she still had never been to Africa. "That was my big ambition," she said. "If there’s anything about me it’s that I’ve got to see for myself."

As her ties to Washington expanded, she joined a World Bank urban rehabilitation team, writing political and economic background reports on Angola in 1989, believing she could make a difference inside the ill-reputed lender to developing countries.

She didn’t, but it was enough to give her first contact. After that trip to Angola, Austin used her savings to stay behind, joining a UN mission overseeing the withdrawal of Cuban troops above the 19th parallel, who were there as a result of Angola’s years-long civil war. She later went to Mozambique on a MacArthur Foundation grant and interviewed private mercenaries operating there for a report called "Invisible Crimes" that included a simple investigative formula she would employ for years to come: What’s wrong? And who’s doing it?

"Through the years, you realize just what kind of danger she’s in," her sister, Cindi Adkins, said from Virginia. "We would go days, weeks, months without hearing from her. My mom would say, ‘We have to call the Red Cross and see if we can find out that she’s okay.’<0x2009>"

Wanting to escape Washington culture, she moved to North Beach in 1997 after becoming entranced by San Francisco’s slower pace. Between missions, she’d spend full days at Caffe Sapore on Lombard Street writing a book about arms trafficking she’s still working on today.

Stanford University’s Center for African Studies invited her to become a visiting scholar for a year, researching arms proliferation and lecturing students, while the Goldman School of Public Policy at the University of California, Berkeley, did the same thing shortly afterward.

But the San Francisco–based Ploughshares Fund became one of Austin’s biggest supporters, helping her finance the creation of a local arms and conflict office for the Fund for Peace, an antiwar think tank in Washington.

"At that time, one of the areas we did a lot of funding in was the control of small arms and light weapons," said Deborah Bain, Ploughshares’ communications director. "Kathi was someone who did a lot of very courageous work tracking arms flows around the world. We were very impressed with the work she was doing and the kinds of results she was getting."

By then the UN had grown to understand the need for knowledgeable people on the ground who could travel across various war-torn African countries and gather evidence on who was vioutf8g arms embargos and how they were doing it. In the coming years, Austin served as a consultant and official expert on panels that investigated sanctions violations in Liberia, the Congo, Uganda, Burundi, Sudan, and Sierra Leone with teams of other human rights investigators who’d long followed Bout’s operations.

Her ex-boyfriend, Todd Ewing, a foreign economic development specialist and Bay Area native who began dating her in East Africa during the ’90s, described Austin as intense and ambitious. While his own blonde hair and six-foot frame made him conspicuous in the region, he said Austin’s "big brown eyes" and polite manner enabled her to slyly convince gritty characters to talk.

"Her MO at that time would be to just disappear for months [on fact-finding trips]," Ewing said. "I always liked to describe her as a sort of spy for the good guys."

Observers say that history handed the equally ambitious Victor Bout a perfect storm in 1991 at just 24 — an age when many Americans are looking for their first post-collegiate job.

The Soviet empire dissolved that year, ending the Cold War between Russia and the United States. Economic globalization expanded and gave every creative entrepreneur with good connections, criminal or legit, a chance to make a fortune. Aging Cold Warriors in the Beltway during the Bill Clinton era and later in George W. Bush’s cabinet maintained a stark binary ideological view of the world and failed to take seriously the growing threat posed by transnational criminals who had exchanged ideology for profit.

After the Berlin wall fell, corrupt Russian oligarchs infamously plundered the country’s assets as they were privatized following years of state control. Some robbed Russia’s rich oil reserves. Bout sought its military installations and airfields containing rows of cheaply available and unused commercial planes, all essentially abandoned by the central government.

Profiles of Bout put him in Angola — and possibly Mozambique — working as a translator for Russian peacekeepers when the Soviet Union broke up. US officials say Victor Anatolijevitch Bout was born in Dushanbe, Tajikistan, a deeply impoverished former Soviet state, and speaks several languages.

Bout told the New York Times in a rare 2003 interview that he purchased three Antonov aircraft for next to nothing in 1992 and used them to exploit a gap in the transit market, at first ferrying innocuous cargo like flowers from South Africa to the Middle East.

But the mogul quickly fostered connections to old Eastern bloc manufacturing and storage facilities in places like the Ukraine and Bulgaria, which were filled with AK-47s — ubiquitous in the developing world — ammunition, tanks, helicopters, and other military equipment.

Over time, investigators say he erected a complex web of cargo and airline companies designed to throw off suspicion. If one firm faced too much attention from aviation authorities, another was created to hold the assets. Otherwise, bribery, fraud, and forged documents were used, according to a report on Bout created by the US Treasury Department. In many African countries, aviation regulations are weak and international law is rarely enforced.

"Unless confronted with documentary evidence to the contrary, Bout’s associates consistently deny any involvement with Bout himself or playing any role in arms trafficking," the treasury report from 2005 reads.

US officials believed by then that he controlled the largest private fleet of Soviet-era aircraft in the world and employed hundreds of people, overseen partly from a nerve center in the United Arab Emirates, at the time a fast-growing and highly unregulated intercontinental transportation hub east of Saudi Arabia.

The Treasury report and other investigations say Bout became a confidante of the Liberian dictator Charles Taylor, supplying him with gunships and missile launchers. Taylor is currently on trial in the Hague for directing horrifying atrocities in neighboring Sierra Leone, ranging from widespread and extreme sexual violence to drugging and forcing children into combat.

When treasury officials here finally moved to seize Bout’s assets and bar Americans from doing business with him in 2004, they concluded that he had received diamonds extracted from Sierra Leone in exchange for supplying arms to Taylor.

That year saw one of Austin’s boldest attempts to confront the trafficking of illicit goods, on an airport tarmac in the Democratic Republic of the Congo, at that time under its own arms embargo. A UN team Austin worked with uncovered piles of questionable registration records during a surprise inspection of two dozen planes, some of which fit Bout’s profile, as their Russian crews stood by, annoyed.

"I only told one or two high-ranking UN officials to get their permission, so we could be sure it didn’t get leaked out," Austin said. "None of the people involved in the actual inspection knew about it until that morning…. I’m still surprised it was so effective. I’m not sure it would work again."

International aviation rules require pilots to maintain several different types of documents, but the group found that 21 planes had invalid registration papers, two had false airworthiness certificates, and three had no insurance to speak of — telltale signs of smuggling. The group determined that weapons in the area were being exchanged for illegally mined columbite-tantalite, or coltan, a valuable mineral contained in some modern electronic devices such as cell phones.

The revelation led the UN Security Council to place Douglas Mpamo, a prominent alleged Bout manager in the region, on the DRC sanctions list, along with a pair of well-known Bout subsidiaries. With Austin’s help, another reputed top Bout lieutenant named Dimitri Popov made a similar security watch list in the United States.

Meanwhile lower-level bureaucrats in the US State and Treasury departments collected evidence on Bout for years, assisted by Austin, who occasionally met with them to relay information she had gathered on fact-finding missions. She testified to Congress about the proliferation of small arms, too, but after Sept. 11, the White House drifted away from a growing campaign to stop Bout.

"I don’t think the Bush administration should get any credit for the fact that Victor Bout was arrested," Austin said. "I think it has to do with the DEA being insulated from the policy influences of the administration. They kept the case so secret they were able to succeed. In the past, once it became an interagency issue or problem, bureaucratic inertia and turf wars entered in and always raised some obstacle to the actual pursuit of Bout."

Eventually, that bureaucratic inertia began to look like something far more shameful.

On April 26, 2005, several state and federal law enforcement agencies including the FBI, IRS, and Dallas Police Department, raided two homes and an office in Richardson, Texas, looking for evidence that Bout’s tentacles had reached the United States.

The properties belonged to a Syrian-born American citizen named Richard Chichakli, who had served in an aviation regiment of the US Army during the first Gulf War. After being discharged in 1993, Chichakli helped create a free trade zone in the United Arab Emirates.

That’s where Chichakli likely first met Bout. Chichakli later returned to the US and became licensed as an accountant and an expert in military contracting. Officials found records showing that the 49-year-old Chichakli had created American companies connected to Bout.

Also discovered during the raid were wire transfer statements showing hundreds of thousands of dollars at a time moving from Bout-connected companies in the UAE to Chichakli in Texas, and credit card invoices managed by Chichakli listing Bout’s lavish purchases at businesses serving the nouveau riche of Moscow.

The raids were the result of a July 2004 executive order signed by President Bush — who, facing pressure from the UN, authorized the raids and prohibited Americans from doing business with Bout due to his connections to Taylor in Liberia.

The White House’s action came years after Austin and other investigators compiled their own research on Bout’s role in arming African warlords. Thirty companies and four individuals were added to a blocking order as a result. Federal court records from the case include extensive references to UN reports on Bout, including some Austin worked on, like one citing witnesses who saw a Bout-connected plane transporting large volumes of arms and ammunition through a Congolese airport between February and May 2004. Something was finally being done, or so it seemed.

But Austin and her colleagues were furious to learn that the US Defense Department hired Bout’s vast air armada with taxpayer money nearly 200 times in 2004 alone to ferry supplies and construction materials into Baghdad after the start of the Iraq war.

Merchant of Death co-author Braun, a Los Angeles Times national correspondent, reported for the paper in December 2004 that two well-established Bout companies, Air Bas and Irbis, had contracted with the US Air Force and Army as well as private companies like FedEx and Kellogg Brown & Root, the much-maligned former Halliburton subsidiary. The State Department had circulated a list of Bout companies warning its officials not to use them, Braun wrote, but the Pentagon made no similar effort.

A fuel purchase agreement included in Chichakli’s court file shows that the Defense Department used Air Bas "for official government purposes" just nine days after Wisconsin Democratic Sen. Russ Feingold questioned top defense officials, including then–Deputy Secretary of Defense Paul Wolfowitz, about such contracts. But Wolfowitz didn’t acknowledge what he eventually characterized as the "inadvertent" use of Bout’s planes for Feingold until months later.

When Austin delved into the issue in 2005 with fellow Merchant of Death author Farah, a former West African bureau chief for the Washington Post, the pair obtained new information for an article in the New Republic showing that the US military also used Bout-controlled companies during a four-month period in 2005, long after the "inadvertent" contracting had first been publicized.

The discoveries were a major letdown for Austin. She’s discussing with some NGOs the possibility of suing the federal government for vioutf8g its own presidential executive order. But Austin knows that even if Bout lands in a US prison for life, there will be someone else to take his place. It’s already happening, she says. As dark as it sounds, Austin will never have to go without a job.

"I’ve seen so much of the same thing go on year after year," Austin said. "You just have to take it in stride and keep coming back punching and hitting. That’s just the nature of the beast, the nature of the work that I do. You just have to keep going."

Guilt to the hilt

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› kimberly@sfbg.com

SONIC REDUCER Watching the chopped and cropped black-and-white promo vid for Beck’s new album, Modern Guilt (DGC) — a study in cut-rate Super 8 ways to make static images of the reedy rocker and cohorts look exciting and fresh — I can’t help but think of Velvet Underground hanger-on/documenter Andy Warhol and his bricolage brethren and kindred experimentalist Bruce Conner, who sadly passed July 7. Memories of the toothpick-thin, turtlenecked Bay Area beat-gen grandpappy shaking and shimmying beside breakdance troupe Sisterz of the Underground on an impromptu dance floor at the Guardian‘s 2005 Goldies bash are burned forever in my olde retina, for sure — right alongside indelible images from Conner’s Ray Charles–driven Cosmic Ray (1962) and his Toni Basil-go-go-happy Breakaway (1966). Where’s the joy in contemputf8g Conner’s fierce life force — one that happily, darkly captured the pure products of America gone mad — finally breaking away and making a run for the ether? And likewise — in an era of diminished expectations, recession-inspired belt-tightening, and exploding oil prices — who cares to question why Beck has got the 21st-century blues but bad?

Readings of Modern Guilt‘s songs as covert Scientology tracts can wait: the overt critical prognosis is that Beck’s latest disc is terminally bummed. "Modern Guilt sounds like an obligation," writes Amy O’Brien of Vancouver Sun. "It sounds like Beck has disengaged from his music." Meanwhile, Greg Kot of Chicago Tribune theorizes that the songwriter and producer Danger Mouse’s collaboration "sounds like it was dashed off between appointments on Danger Mouse’s increasingly stocked calendar." All grouse about the overall darkness of Beck’s mood: there are ruminations on bones, abandonment, and corrosive rain on the gluey exotica-bop "Orphans" and on melting ice caps, hurricanes, and heat waves amid the blissfully brisk, purring pop "Gamma Ray." "Replica" takes on a drum ‘n’ bass face, bright chimes tolling with dread at the age of mechanical reproduction, whereas "Profanity Prayers" invokes a spanking Devo rhythm and inverts "Mr. Soul" motifs to encapsulate soulless urban drift. "You couldn’t help but stare like a creature with the laws of a brothel and the fireproof bones of a preacher with your lingo coined from the sacrament of a casino … ," Beck breathes. "You stare into space trying to discern what to say now and you wait at the light and watch for a sign that you’re breathing." We’ve heard such expressions of ennui before from Beck, but can the weariness of age — he made 38 on July 8, the date of Modern Guilt‘s release — lie at the heart of the album, behind the minimalist bass bumps of "Youthless"? Or is Beck simply saving such crowd-pleasers as last year’s Grammy-nominated digital-only single "Timebomb" — just check the homemade video tributes on YouTube — for some Gallic-inspired megarelease to come?

I doubt it. Modern Guilt is far from giddily upbeat. It’s no Midnite Vultures (DGC, 1999), the larkiest Beck has ever skewed, nor is it as self-consciously crafted as The Information (DGC, 2006). Instead it reads like the man who is in touch, as usual, with the moment — one that would make Philip K. Dick’s skin crawl. My favorite songs emerge when Beck plunges into a Mutations-ish darkness and Sea Change–like doom. Downed jet passengers drown amid viewer paranoia in the dreamy, Gainsbourgian "Chemtrails," which roils in a gorgeous funk, and the fatalistic "Volcano" turns out be one of the most beautiful, beautifully imperfect songs Beck’s ever written. Its trudging beats dissolve like a heavy heart into his weary "I’m tired of evil / And all that it feeds." He continues, "I’m tired of people who only want to be pleased / But I still want to please you / And I heard of that Japanese girl who jumped into the volcano / Was she trying to make it back / Back to the womb of the world," and the melody resolves, ever so briefly, before returning to its sorrowful grind. "I’ve been drinking all these tears so long / All I’ve got left is the taste of salt in my mouth. I don’t know where I’ve been / But know where I’m going / To that volcano." Beck’s protagonist doesn’t want to fall in — nirvana has not been achieved, nor has the promise of Beck and his generation been completely fulfilled — but those uncredited violins make the brief journey out, into silence, a guilty pleasure. *

BECK

Aug. 22, 5 p.m., $85–<\d>$225.50

Outside Lands Festival

Golden Gate Park, SF

www.sfoutsidelands.com

MINE EARS HAVE HEARD THE GLORY

THE REAL TUESDAY WELD


Really, for reals. Wed/16, 7 p.m., $12. Café Du Nord, 2170 Market, SF. www.cafedunord.com

JASON ANDERSON


The K artist and ex–Wolf Colonel joins the aerobics and sock-puppet fun of the Unlimited Enthusiasm Expo ’08. With Harry and the Potters; Math, the Band; and Uncle Monsterface. Fri/18, 9 p.m., $12, and Sat/19, 1 p.m., $14. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

COLDPLAY


Chris Martin et al. were recently jumped by Lil Wayne at the top of the US pops, where they were perched with Viva la Vida or Death and All His Friends (Capitol). Fri/18, 7:30 p.m., $49.50–<\d>$89.50. HP Pavilion, 525 W. Santa Clara, San Jose. www.ticketmaster.com

NOBUNNY


Bouncing with witchy hooks. With Gravy Train!!!!, the Floating Corpses, and Bridez. Sat/19, 9 p.m., $12. Bottom of the Hill, 1233 17th St., SF. www.bottomofthehill.com

CHRIS SCHLARB


The Sounds Are Active label head lets loose his Twilight and Ghost Stories (Asthmatic Kitty). Sat/19, 10 p.m., $7. Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com

A HAWK AND A HACKSAW


Feeling horn-y? The Albuquerque, N.M., band recently hacked out a score for a documentary about cultural critic Slavoj Zizek. Mon/21, 8 p.m., $13. Independent, 628 Divisadero, SF. www.theindependentsf.com

Nailing it

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Queens Nails Annex has long had its street-level glam talons on the pulse of the Mission District art scene — one that so often melds visual art, music, film and video, and performance — so it’s fitting that unexpected connections are emerging from its curatorial contribution to "BAN 5": "Estacion Odesia," a four-parter named for a metro stop that will present visual works by artists and musicians at QNA and their audio pieces at YBCA listening stations; produce a limited-edition box set of music and visual artifacts; and throw a music club with downloadable playlists, an opportunity to share tracks, and monthly meetings. One surprise at the QNA show has to be the video piece by Renee Green, the dean of graduate programs at the San Francisco Art Institute, which QNA cofounder Julio César Morales describes as an extremely media-ted portrait of Green’s brother Derrick, the vocalist-guitarist of Sepultura, painted with magazine stories and radio interviews without using any of the metal giants’ actual music. "It’s an interesting mix of documentary and her personal connection to her brother," Morales muses.

ESTACION ODESIA Sat/19–Nov. 16, YBCA, first floor galleries. Also July 25–Aug. 30, Queens Nails Annex, 3191 Mission, SF. (415) 648-4564, www.queensnailsannex.com. Music club happens Aug. 15, Sept. 15, and Oct. 17, 7 p.m.

Sports: The Giants’ quiet hex

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Eddie Grant, swinging from the heels in the pre-hex days

By A.J. Hayes

When compared to other noted sports hexes – notably, the Chicago’s “Billy Goat Jinx” and Boston’s now squelched “Curse of the Bambino” – the San Francisco-directed “Plague of the Plaque” falls short of the fences in terms of romantic heft.

The mysterious malediction is not centered around a larger-than-life superstar who was peddled to a rival club to help finance a Broadway play, nor does it have anything to do with a rogue farm animal that was ejected from Wrigley Field during the 1945 World Series for behaving and smelling like an, er, rogue farm animal.

No, the protagonist in this whammy was a gaunt infielder turned World War I hero named Eddie Grant, who only managed to hit his weight in 10 big league seasons because he was so darned skinny.

But if you’re inclined to believe in the sporting spirits, or you think “Field of Dreams” was a pseudo-documentary, you just might buy into the “Plague of the Plaque,” AKA “Eddie’s Affliction.”

Hunter, haunted

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› cheryl@sfbg.com

"When the legend becomes fact, print the legend," says the reporter in John Ford’s The Man Who Shot Liberty Valance (1962), a film about the importance of living up to one’s image, even when that image is predicated more on fiction than fact. It’s a burden either way, and the dilemma is echoed in Gonzo: The Life and Work of Dr. Hunter S. Thompson, a lively new documentary by Alex Gibney, who directed 2005’s Enron: The Smartest Guys in the Room and picked up an Oscar this year for Taxi to the Dark Side.

Gonzo focuses on Thompson’s most fruitful professional period — 1965 to 1975, a decade that saw the New Journalism proponent (who committed suicide in 2005) write Hell’s Angels, Fear and Loathing in Las Vegas, and Fear and Loathing on the Campaign Trail ’72. During that time, he also launched an ill-fated campaign for sheriff of Pitkin County, Colo., and shaped his public persona into that of a gun-toting, drug-crazed, booze-soaked, authority-bashing champion of outsiders, capable of churning out pages of brilliant and utterly unique prose, always written in first person and most often written while under the influence.

Speaking over the phone from New York City, Gibney reflected that he was drawn to his latest subject largely because of that persona. "He was a guy who didn’t play by the rules, and it seems like we need a guy like that around now, when the rules are being used against us by people in power," the director said. "Also, he seemed like a fun character to do, this larger-than-life character that — for at least for a brief period of time — became this outlaw that we all wanted to live by."

Gonzo taps quite a bit of home-movie footage, photos, and audiotapes to flesh out Thompson beyond his words (read by Johnny Depp, who bonded with the author while prepping for the 1998 Fear and Loathing movie). A diverse array of contemporary interviews (Rolling Stone‘s Jann Wenner, Hell’s Angel Sonny Barger, both of Thompson’s wives, Pat Buchanan, illustrator Ralph Steadman, George McGovern, and Jimmys Buffet and Carter) bears out the wide range of Thompson’s influence. According to Gibney, the only interview he would have liked to have gotten but didn’t was with Doonesbury cartoonist Garry Trudeau, who would only speak off the record.

"My first day on the job was to go out to [Thompson’s funeral] — the one Johnny Depp paid for — and hang out, try to get a bunch of people to talk, and then shoot the funeral itself. I shot the funeral, but nobody much wanted to talk to me," Gibney recalled. "But once I let everyone know I was doing this film and that it was really gonna focus on his work, that opened people up, and inevitably they started talking about Hunter the character as well."

The funeral, briefly shown in Gonzo, is a surprisingly tasteful spectacle involving taiko drums, a giant cannon, and glimpses of famous friends (John Kerry, Bill Murray). The film doesn’t spend much time on Thompson’s suicide, though in its first scene it speculates how the writer might have lost his trademark edge. In Gibney’s eyes, Thompson’s Dr. Gonzo alter ego was the reason for both his success and his ultimate downfall.

"Initially [his persona] just grew out of a natural journalistic instinct to supply your own perceptions, to put yourself in the story, to be the lens through which viewers would see whatever you were covering," Gibney said. "But over time it became [less of a] lens [and more of a] bubble in which he got trapped. So I think that was the trick. Sometimes this mythical character he created just kind of took over. As he remarks in the film, ‘Sometimes I don’t know who to be, whether to be Duke or Hunter.’<0x2009>"

Duality also manifested itself in Thompson’s private personality, which Gibney was surprised to discover as being "almost bipolar."

"Hunter’s mood swings kind of represented his ability to see the kind of schisms or splits in the American character," he said. "I knew he was always a very perceptive writer about the American character, but I think maybe he was so perceptive because he — more than a lot of people — is like America. Sort of the best and the worst. I didn’t really understand till I started the film just how many-sided he was."

Visually dynamic and entertaining for Thompson devotees as well as those who only know him from Depp’s portrayal in Fear and Loathing, Gonzo is nonetheless tinged with the melancholy that eventually tempered Thompson’s considerable lust for life. Blame health problems, professional frustrations, the re-election of George W. Bush, or more existential concerns — Thompson’s quest for the American Dream, documented in Fear and Loathing and elsewhere, was never really satisfied. Instead, Gibney speculated, "I think he ended up finding how elusive it is, and how much-desired it is — but how rare it is to ever find it. And that’s what he found in Vegas, I think: what a perfect vehicle for the death of the American dream, this place where you go hoping to fulfill that rags to riches dream, yet in some fundamental way knowing that the house always wins."

GONZO: THE LIFE AND WORK OF DR. HUNTER S. THOMPSON

Opens Fri/4 in Bay Area theaters

www.magpictures.com

Frameline: Project Runway’s Jay and the perils of PR

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By Jason Shamai

Part of what makes Project Runway so good is that it loves its clever queers. By no means is the show light on standard-issue drama, but one thing its producers and editors don’t abide is bullshit fabulousness comedy routines. They love their bitchy overcompensators (Christian) and their angelic peacekeepers (Danny V.) and their hyperbaric chambermaids (Austin Scarlett, and Malan Breton from Taiwan) and their everything-but-the-sodomy queens (Vincent Libretti), but they would not put up with a Carson Kressley. Or at least they wouldn’t give him much face time.

The producers and editors, of course, are the master tailors behind all the sartorial pageantry. Their jobs seem pretty similar to the trials imposed upon the designers:

Production team, your challenge was to take the painfully young, dumb, and talented Christian Siriano and craft his insecurities into a compelling dramatic arc. You perhaps overplayed your hand in the beginning by setting him up as Machiavelli’s pet rat, but the disarming late-arrival accents of warmth and anxiety brought the whole together boldly if not seamlessly.

And so on.

You sense they are really sweating the final product, resenting the challenges that are comparable to designing ice-skating outfits or fitting teenagers for prom dresses and reveling in the opportunity to make top-notch originals with quality materials.

If the judges aren’t voting solely on craft (and if you think they are, I have a Saturn Astra to sell you at bluefly.com), they don’t just handicap for drama queens—the dry editorialists are always given high consideration. When Chris March and Steven Rosengard were on the chopping block last season, my loins voted for Steven to stay but the rest of me knew Chris was the wiser choice. The show needed his class more than it needed Steven’s lips. It knew he was that season’s color bearer of wry, thoughtful faggotry. And in Season Two, Santino’s Tim Gunn impersonations were an inspired collaboration with the editors. His Red Lobster bit, generously featured as it was, instantly made the world a better place.

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Jay McCarroll and hot air balloons in Eleven Minutes

Jay McCarroll was just such an object of appreciation on Season One, and possibly the most worthy of the series. More power to him, then, that he’s got himself a proper documentary, which is showing this Wednesday as part of Frameline. Eleven Minutes, directed by Michael Selditch and Rob Tate, follows McCarroll as he prepares to show at New York’s Fashion Week—his first not under the auspices of Project Runway. In the film, McCarroll worries that any success he might have as a designer will always be thanks to an alloy of aptitude and personality. He’s well aware that the cameras continue to roll because he entertained us way back when on Bravo and he’s ambivalent about it at best.