Tzivi's Cinema Spotlight


After 35 years in Chicago, Jan Lisa Huttner (Tzivi) is now living in Brooklyn, completing research for her book on Fiddler on the Roof. Follow Jan's adventures on her Blog

Tzivi’s Spotlight

Tzivi reviews Noah

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"You know you're having a bad day when furious readers write to complain that 'it didn't really happen that way.'"

I had a great laugh when one of my colleagues posted this on Facebook last week!

But despite all the doubts (and precisely because of all the controversy), Darren Aronofsky's Biblical epic Noah was last week's box office champion, recovering most of its $125 million dollar production cost in its very first week on the big screen.

Should you go? In my home, we have a split decision. I say yes. My husband Rich says no. I completely understand why Rich (sitting in the seat next to me) kept shaking his head, but despite all its flaws (and there are many), I found Noah to be a very powerful on screen experience.

I have had my ups and downs with Darren Aronofsky's films over the years. I was one of the few people who genuinely liked The Fountain. I met with Aronofsky when he came to show it at our 2006 Chicago International Film Festival, so I have a first-hand feel for his spiritual side. But after the box office failure of The Fountain, his ambition drove him to seek commercial success and he found it with Black Swan (which was nominated for 5 Oscars in 2010).

Me, I hated Black Swan, but now that Aronofsky has used his clout to make Noah, I've decided to roll with the punches. Yes, some of the special effects are preposterous and for sure I could have done without Ray Winstone's rampages as Noah's archenemy "Tubal-Cain."

But at its core, Aronofsky's Noah is the journey of a man who is called to be a hero, rising to the occasion and then suffering in the aftermath. Seen this way-my way-Noah is in the tradition of some of cinema's greatest films such as 12 O'Clock High (1949), Lawrence of Arabia (1962), The Man Who Shot Liberty Valance (1962), and Schindler's List (1993).

Noah is playing this week at theatres all around Metro Chicago including the River East, the ShowPlace ICON, and the Navy Pier IMAX (in the city), and the Evanston Century 12/CineArts, the Muvico Rosemont, and the Regal Gardens at Old Orchard (in the suburbs). For a complete listing, click here for Fandango.

Read more about Noah on my Blog Second City Tzivi.

Photo: Russell Crowe as "Noah," with Jennifer Connelly as his wife "Na'ameh." Photo Credit: Niko Tavernise

Tzivi reviews Bethlehem

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"Sanfur" (Shadi Mar'i) is a Palestinian teen living on the West Bank. He comes from a prominent family and his older brother is a well-known terrorist. Unbeknownst to them, Sanfur is also supplying information to "Razi" (Tsahi Halevi), a Shabak officer in the Israeli Secret Service (aka Shin Bet).

After years of interactions, a deep bond has grown between Sanfur and Razi. As Razi tells his superior "Levy" (Yossi Eini): "I spend more time with this kid than I spend with my own family." But as Sanfur edges closer to manhood, he has to put on more of a show for his buddies, and Levy begins to question Razi's ability to control the situation.

The most charismatic character in Bethlehem is a Bedouin named "Badawi" (Haitham Omari). Short of both cash and connections, Badawi is filled to the brim with verbal bravado and sheer physical courage. This makes Badawi a magnet for the boys, and just as much of a problem for Palestinian politicians as he is for Shabak officers.

Bethlehem received 11 Ophir Award nominations from the Israel Film Academy in 2013, and it won in 6 categories including Best Picture, which immediately made it Israel's Oscar candidate for Best Foreign Language Film in 2014. But even though it succeeds well enough as a "police procedural," with lots of chase scenes and Hollywood-style action, I found Bethlehem woefully thin. Director Yuval Adler and his co-writer Ali Wakad seem to have put all their energy on the Palestinian side. They never convinced me that Razi had a life outside their screenplay, and all the other Israeli characters, including Levy and Razi's wife "Einat" (Michal Shtemler), were even more schematic.

Ironically, AMPAS (the Academy of Motion Picture Arts & Sciences) did not select Bethlehem as one of the five finalists for Best Foreign Language Film, but they did select Omar which is almost its mirror image. Both films are set in the West Bank, both films focus on the relationship between a Shabak officer and his teenage Palestinian informant, and both films even use some of the same actors in minor roles. (For example, Tarek Copti plays Sanfur's father in Bethlehem, and he plays the father of Omar's girlfriend in Omar).

Last year, two films,5 Broken Cameras and The Gatekeepers, faced off in the Best Documentary category. To me this indicates the power movies have over what many people in the world think they know about the Arab/Israeli conflict. So I urge you to see these films too so you can answer any questions which might come your way.

Click here to read my full review of Bethlehem, which will open locally on 3/7/14 at the Landmark Century in Lincoln Park and the Landmark Renaissance in Highland Park.

Click here to read my full review of Omar, which opened locally on 2/21/14 and is still playing at the Landmark Century in Lincoln Park and the Landmark Renaissance in Highland Park. 

Click here to read my reviews of 5 Broken Cameras and The Gatekeepers (two of last year's Oscar candidates in the Best Documentary category).

Click here for screening times and additional information on the Landmark Theatre website

Top Photo: Sahdi Mar'i as "Sanfur" and Tsahi Halevi as "Razi."
Photo Credit: Vered Adir courtesy of Adopt Films.


Tzivi reviews The Last of the Unjust

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Claude Lanzmann has culled another 218 minutes out of the extensive interviews he did for his monumental documentary Shoah. That means I have now spent over 24 hours in theatres watching Lanzmann documentaries about the Holocaust… But what does that mean for you?

If you have seen Shoah recently and you want to see more of the same, then the answer is obvious: you should definitely see The Last of the Unjust. But if your memories of Shoah are decades old at this point, I must say with some sadness that the Shoah I saw in 2011 was a far less powerful film than the Shoah I saw way back when at the Biograph.

The simple truth is that we all know a great deal more about the Holocaust now than we knew in the 1980s, and while Shoah certainly played a large role in forcing thousands of people all around the world to confront the facts of the Holocaust-in all their awesome enormity-most of us have moved on while it has stayed the same.

The Last of the Unjust fills in some of the chapters Lanzmann had edited out before, but the more you already know about Nisko and Theresienstadt, the less interesting The Last of the Unjust becomes.

The only thing really new in The Last of the Unjust is the opportunity to spend several hours in the company of Benjamin Murmelstein, a Rabbi living in Vienna in the 1930s who rose to prominence after the Anschluss, became the last President of the Jewish Council in Theresienstadt, and lived long enough to be the only "Jewish Elder" to survive World War II.

Murmelstein, comparing himself to Scheherazade, spins story after story, justifying his complicity with clichés, but Lanzmann seems to have lost his skepticism. I suggest you watch Michael Prazan's remarkable documentary The Trial of Adolf Eichmann instead.

Click here to read my full review of The Last of the Unjust, opening today at the Music Box Theater in Andersonville.

Click here for details on screening times and additional information on the Music Box website.

Photo Credit: Claude Lanzmann (left) interviews Benjamin Murmelstein in 1975. Photo courtesy of Cohen Media Group

Tzivi reviews Aftermath

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The plane lands at Warsaw’s Chopin Airport. Carrying nothing more than a small zippered bag filled with American cigarettes, a man disembarks and heads to the train station. The taxi driver guesses he has just arrived on the 11 a.m. flight from Chicago, but the man is surly and in no mood to chat. The train takes him to a bus. Hours pass. It is already dark when he finally arrives in the rural Polish village where he was born. 

Franek (Ireneusz Czop) has been living in the U.S. for 20 years, but when he walks into his family’s farmhouse, he says to his brother Jozek (Maciej Stuhr): “It looks exactly the same.”  

This is the set-up of a remarkable feature film called Aftermath which is now rolling out across the U.S. after its initial release in New York and Los Angeles in October. Aftermath achieved broad success—and created considerable controversy—in Poland. It won the Journalists Award from the Gdynia [Poland] Film Festival in 2012, and three Eagle awards from the Polish Film Academy in 2013. It also won the Yad Vashem Chairman’s Award at the Jerusalem Film Festival in 2013.  

One brother left Poland in 1981 (the year General Jaruzelski imposed martial law in order to forestall a Soviet invasion); the other stayed to care for their aging parents and maintain his claim to their property. This intentionally metaphorical structure is essential to Aftermath’s powerful impact. Going versus staying; embracing the potential of a new path versus holding on to what one already knows; exposing the past versus embracing mythology; all of these polarities are explored in this tale of two brothers. The “truth” is very complicated. New opportunities turn out to be just as double-edged as all the old facts you thought you already knew, and the past has a tight grip that cannot be easily shaken.  

Franek has come home for answers without having any idea of what the real questions are. And Jozek, who thinks he already knows the ground on which he stands, cannot avoid the inevitable when Franek digs deeper than he had thought to go.  

Since this is a review for the JUF News, it will be no surprise to my readers that the central mystery is simply this: what happened to the Jews? Franek and Jozek grew up in a Poland that had no Jews. Everyone in the village knows the Jews were deported by the Germans, and the Polish people—who were also victims of Nazi tyranny—could do nothing to save them. Everyone knows that, right? Well, not quite.  

Ireneusz Czop gives a riveting performance as Franek. After 20 years in Chicago, where he presumably saw dozens of films and hundreds of television shows, Franek knows “the hero” never stops until “his case” is solved. And so he is literally compelled to keep asking questions long after everyone—including Jozek—wants him to stop. The more people try to intimidate Franek, the more firm he becomes in his resolve. The screenplay by writer/director Władysław Pasikowski makes the implicit explicit: as difficult as the transition has been for him, Franek is an American now. He is a man used to exercising his rights and having a say.  

Jozek, by contrast, has grown up without rights, and Maciej Stuhr brilliantly embodies a man feeling his way—half-stumbling—into the new world of post-Soviet Poland. Jozek’s sense of right and wrong is emotional, and his faith is religious. He never appeals to the authorities because he doesn't trust them. Jozek does what he does without considering the consequences. Without Franek, Jozek would never probe. Dogged suffering is already second nature to him, and martyrdom is almost a relief.  

Pasikowski has numerous film credits, and was also the director of two seasons of the TV series The Cop, which, according to my press kit, was “hailed by critics as the ‘best Polish crime series ever.’” The decision to use these tropes was a wise one. Presenting Franek’s obsessive quest to find “the answer” in this way makes his behavior broadly relatable to people all around the world who have also come to see this figure—be he a public servant or a private investigator—as the champion of an open society.  

Paweł Edelman, the Director of Photography, does a superlative job, guiding the audience through scenes that are often low-lit and deliberately murky. The sound design team (Jan Freda, Bartek Putkiewicz, and Jan Schermer) also does an excellent job of ratcheting up the tension in the ominous darkness.  

Inevitably the Jews return at the end of the film. We are not actors in this drama, but what Franek learns is just as much our history as his, and Aftermathwill affect Jews in Chicago just as much as Poles in Warsaw.  


Aftermath opened on Friday at the Music Box Theatre on Southport. Click here for scheduling information.

Top Photo: Franek (Ireneusz Czop) relentlessly seeks “the truth.”

Bottom Photo: Inevitably, Franek and Jozek (Maciej Stuhr) find answers.  

Photo Credits: Menemsha Films

Tzivi reviews Marvin Hamlisch: WHDFL

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"Is it good for the Jews?" One quick look at this year's Golden Globe nominations reveals the obvious: 2013 has been "a bad year for the Jews" in movieland, not just in Hollywood but beyond.

Of the 10 candidates for Best Motion Picture, the only two with Jewish content are both about con men. In American Hustle, Christian Bale stars as "Irving Rosenfeld" (complete with a big pot belly, a bad comb-over, and an enormous Star of David on his extremely hairy chest). In The Wolf of Wall Street, Leonardo DiCaprio stars as "Jordan Belfort," a man as smooth as his Americanized name but even more amoral.

On the other hand, none of this year's five Best Foreign Language Film candidates has any Jewish content whatsoever, and there is no BFLF candidate from Israel (worldwide recognition that we had celebrated five times in the past decade).

But wait! Don't despair! Here comes Super-Mensch Marvin Hamlisch riding to the rescue just before the stroke of midnight!

Marvin Hamlisch died last year on Aug 6 at the age of 68. As far as I can tell (from reading obituaries), he really did die suddenly. This is not another case in which terminal illness was deliberately hidden from the public. But just like Nora Ephron's death the year before, the shock was enormous and the outpouring of grief was genuine.

The story in the new documentary Marvin Hamlisch: What He Did for Love begins with two Jewish refugees from Vienna-Max and Lilly-who gave birth to a musical prodigy on June 2, 1944 (four days before D Day). In 1951, six year old Marvin was a student at Julliard (!), and by the time he was 20, Marvin had made his way to Broadway, serving as a rehearsal pianist for Barbra Streisand and the cast of Funny Girl. The older he grew, the more he spread his wings, and by the time of his death Marvin Hamlisch had become one of history's only "EGOTs" (that is, the winner of an Emmy, a Grammy, and Oscar, and a Tony). He also won a Pulitzer Prize, two Golden Globes, and shelves full of additional honors and testimonials.

And through it all, he seems to have been a genuinely nice guy: a good and loving son who married one woman--Terre Blair--and stayed true to her until the end. (Even Paul Newman, a paragon in every way, suffered through an early divorce before meeting soul mate Joanne Woodward.)

I don't know where director Dori Berinstein was in her process when Hamlisch died, but the film she has crafted for the PBS series "American Masters" captures all that emotion and more. It is less a critical biography than a cinematic eulogy-a national memorial service in which we can all participate to ease the pain of a shared loss.

This is Berinstein's third Broadway documentary. The first was ShowBusiness: The Road to Broadway, which I reviewed for JUF when it played at our Music Box Theatre in June 2007. The second was Carol Channing: Larger Than Life, which received a "Gold Hugo" nomination in the documentary film category from our 2011 Chicago International Film Festival. When I asked her about the affinity between Jews and Broadway back in '07, Berinstein said:

"Theater makes you think and theater makes you feel. There's a long, very wonderful history of Jews being involved in this art form, and having used it to create change in the way people see the world. It's also just an inspiring, transporting art form, so what's not to love?"

And that is the story of Marvin Hamlisch in a nutshell. Born into a family that had no grandparents, he used music to "create change in the way people see the world," and we are all the better for it. And Berinstein, with her extraordinary insider access, makes it clear that Marvin Hamlisch lived a life well-lived.

Full Disclosure: I was a bit late catching up to A Chorus Line, so by the time I finally saw it in a "Broadway in Chicago" production in 1983, I had already heard the song "What I Did for Love" a zillion times. Silly me: I thought the girl was singing about some guy, so when I heard it in context, I was floored. I had just decided to forgo an academic career and transition into health care. I thought no one had ever felt my kind of pain before, but somehow, for all his great success, Hamlisch understood that sometimes the road has bumps, and his music helped get me through to the other side.

Bravo, Marvin Hamlisch. May your memory be for blessing.

Marvin Hamlisch: What He Did for Love will air on PBS beginning on Friday Dec 27 as part of the "American Masters" series. Click here to check local listings.


"Kiss today good bye and point me towards tomorrow…" Click here to listen to Natalie Cortez sing "What I Did for Love" on the 2006 Broadway Revival Cast Recording of A Chorus Line.

New Year's Bonus! You can also watch Idina Menzel sing "What I Did for Love," accompanied by Marvin Hamlisch himself, in the PBS special "A Broadway Celebration: In Performance at the White House" from July 19, 2010. (Start 41:34/Stop 45:09) The full broadcast includes signature numbers by more great stars including Audra McDonald, Nathan Lane, Tonya Pinkins and Elaine Stritch.

Sign in here to watch in High Def on the PBS website, or click here to watch the whole broadcast on YouTube.


Top Photo: One month after Marvin Hamlisch died, Barbra Streisand sang to him at a tribute concert in New York City. Photo Credit: Lucas Jackson/REUTERS/NewsCom (9/18/12). All Rights Reserved. 

Bottom Photo: Dori Berinstein (middle) with Alissa Norby and Robert Kisting at a private reception after the screening of Carol Channing: Larger Than Life at the Chicago International Film Festival. Photo Credit: Jan Lisa Huttner (10/15/11)

Tzivi reviews The Book Thief

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The setting is a picturesque village. The main characters are two angelic children with blond hair, ruddy cheeks, and open, innocent faces. The boy, Rudy, comes from a large, boisterous family. The girl, Liesel, has been adopted by an older couple whose children have grown up and moved on. Papa is warm and affectionate. Mama is cold and imperious, her tough hide barely concealing the heart of gold beating within.

Are we done with the stereotypes yet? Not quite. In the cellar, Papa and Mama hide a saintly Jew with coal black eyes and translucent skin named Max. Even though flags with swastikas snap smartly in the crisp wind, none of these people actually support the Nazis agenda. They are all simple people; good Germans, trapped in a nightmare of mutual suffering.

We can be sure of all this because the narrator of the story is "Death," a disembodied voice who tells us his role is to collect the souls of the recently deceased and transport them to the hereafter. If Death personified tells us all of these souls are pure, who are we to disagree?


Ten years ago, in 2003, when The Pianist won three Oscars (for Best Actor, Best Director, and Best Adapted Screenplay) and Nowhere in Africa received the Oscar for Best Foreign Language Film, I was filled with apprehension. Even though I knew many Jewish friends were deeply touched by these two films, I felt they were falling into a trap. The statistical truths I found so essential in Schindler's List (one of the few films to address the industrialization of mass murder that defines the essence of the Holocaust for me) were being undermined by stories that robbed the Holocaust of its Jewish particulars.

Since that time I have seen several films that I think fall into the "Holocaust Kitsch" genre including The Boy in the Stripped Pajamas, The Reader, Sara's Key, and now The Book Thief. Each time, I heard people around me crying, while my own heart remained stone cold.

But this decade has also seen films I consider profoundly moving such as Fugitive Pieces (from Canada), La Rafle (from France), Rosenstrasse (from Germany) Dear Mr. Waldman and My Australia (from Israel), and Aftermath and In Darkness (from Poland).

Looking at these two lists, I see now that the films that move me the least are the ones in English (usually British English) which smother their stories in impeccable production values, thereby sugar coating a horror we Americans still seem unable to face head on. Of course, with bigger budgets and lots of marketing hype, producers have more incentive to "universalize" a message that will sell to the greatest number of viewers. But still…

Do I think only Jews suffered during World War II? No, of course not. I am well aware that approximately forty million human beings died between 1939 and 1945, and each life was equally precious. Every person who died was someone's child and often someone's spouse, parent and/or sibling as well. Most people live their lives in a community of loved ones and friends who mourn when they are gone. And of course this includes "ordinary" Germans-the civilians who lived in cities like Dresden and villages like Molching (the fictional hamlet west of Munich in which The Book Thief is set) and were thereby subject to intense Allied bombing raids.

But millions of Jews who died during World War II died in a way that was unprecedented in human history and so far, thankfully, unique: they died as a result of scientifically-designed, industrialized mass murder. These people, like none before them, were not only robbed of their lives, but their names were replaced by numbers. If there is anything unique about the Shoah it is this: the lives of millions of men, women, and children were coldly reduced to "paperwork;" cargo to be transported, units to be processed, the raw material in a man-made death machine.

I have no patience with "Holocaust Films" that deny these fundamental facts of history.

SPOILER ALERT: At the end of The Book Thief only two people are still alive: angelic Liesel and saintly Max. Even though I sensed from the beginning that the film would end with this surge of emotional uplift, it still made my heart ache. How can I tell you any true things-wonderful acting, great cinematography, perfect soundtrack-about a film so fundamentally false?


Top Photo: Sophie Nélisse as "Liesel" borrows books from the home of a neighbor.
Bottom Photo: Liesel and "Rudy" (Nico Liersch) at play on Himmel Strasse (Heaven Street).

Photo Credits: Jules Heath/Twentieth Century Fox Film Corporation



Tzivi reviews CBGB

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Ages ago, when I was a Girl Scout, I used to love nature walks in the woods. Pick up a big rock and all the critters living underneath it would scurry around in the sudden sunlight. Some of the bugs and worms were gross, of course, but even so, I tried to respect their home and leave it intact so they could all return as soon as I was gone.

I am still fascinated by hidden worlds, but now I usually find them at the movies. Some very strange life forms, hiding under a Rock called "Punk," populate the world of Randall Miller's new film CBGB. And chief among them is a Jewish guy named Hillel Kristal who grew up on a chicken farm in New Jersey.

Like all BioPics, CBGB blends fact and fiction to tell a complex story within the narrative constraints and standard runtime of a feature film. BioPics are never "true," but the good ones always feel "truthy." I have no idea how much of CBGB is literally true, but it definitely feels truthy to me. I know men like Hillel Kristal, and I'll bet you do too.

When we first meet him, "Hilly" (played by versatile English actor Alan Rickman) is in a bad way. He's bankrupt, divorced, and living with his dog Jonathan on Manhattan's Lower East Side. It's the early 70s, when the Bowery was Manhattan's "Skid Row" ("shabby urban area with cheap taverns, dive bars, and dilapidated hotels frequented by lowlifes, alcoholics, and itinerants"). Who could imagine way back when that one day there would be a huge Whole Foods store on the Bowery?

Hilly lives there not because he has to but because the Bowery is his "comfort zone." Walking the streets day in, day out, Hilly and Jonathan become neighborhood regulars. No one bothers them, and no one expects anything from them. Hilly knows he can't get much lower; he can only go up.

Eventually Hilly finds what he's been looking for: a beat-up bar with the right interior dimensions. He goes to his mother for a "loan," and like most Jewish mothers, she agrees to fund yet another crazy venture. Hilly names his club CBGB (for "country, bluegrass, blues") and gets to work building his brand. Is all of this totally true? Probably not, but it sure is truthy. Hilly managed CBGB from 1973 until 2006, and that is a fact.

Early on, an aggressive manager brings his band into CBGB to audition. They don't play country, bluegrass, or blues, and they're not very good, but Hilly decides to give them a chance: "Maybe if they play, they'll get better." This was Hilly's "method" and it worked. If he heard "something," he said yes, and in the fullness of time, the CBGB audience exploded. As David Byrne said the night Talking Heads was inducted into the Rock 'n Roll Hall of Fame: "The bands came out because there was someplace to play."

The CBGB screenplay (co-written by Miller and screenwriter Jody Savin) braids together three narrative strands:

Life at CBGB

This strand depicts Hilly's relationships with his family and friends including his mother "Berta" (Estelle Harris) and his daughter "Lisa" (Ashley Greene), as well as his partner "Merv" (Donal Logue), his soundman "Taxi" (Richard de Klerk), and the hapless drug addict "Idaho" (Freddy Rodriguez).

Journalists who covered CBGB

This strand depicts the parallel activities of Punk magazine founder "John Holmstrom" (John Zuckerman) and his friends "Legs McNeil" (Peter Vack) and "Mary Harron" (Ahna O'Reilly) as they put a label on CBGB's goings-on and create their iconic imagery. Miller and Savin pay homage to Holmstrom by punctuating their film with cartoons that evoke his columns and album covers.

Bands who played at CBGB

This strand provides a mini-Who's Who of artists--many now quite famous--who got their start at CBGB. These performance scenes are all snippets, with actors playing the musicians actually heard on the soundtrack. Stand-ins include the following: Justin Bartha (playing Stiv Bators of The Dead Boys), Jared Carter (playing David Byrne of Talking Heads), Malin Akerman (playing Deborah Harry of Blondie), Taylor Hawkins (playing Iggy Pop), Joel David Moore (playing Joey Ramone), Kyle Gallner (playing Lou Reed), Mickey Sumner (playing Patti Smith), and Keene McRae (playing Sting when he was a member of The Police). This list alone gives those new to Punk a sense of CBGB's importance in Rock history.

But the Prospero at the eye of this cinematic Tempest is always Hilly Kristal, and although it is never mentioned in the film, there is something implicit that helps explains Hilly's approach to life. Perhaps he was never aware of it consciously, but we know from the novels of Philip Roth, the early films of Woody Allen and Barry Levinson, and many other contemporary sources that Jewish-American boys coming of age in the shadow of the Holocaust absorbed its horror as an inescapable fact of life.

When he embraces Jonathan (a dog no one else could love) and when he protects Idaho (a man others have already thrown on the garbage heap), we can feel Hilly's defiance. Even if he never used these words himself, we hear Hilly's interior scream: "Who are you to decide who will live and who will die?" And watching Hilly sleep on a mattress in a Bowery flophouse? We know--or should know--that it is Heaven itself compared to Auschwitz.

As the credits roll at the end of CBGB, Miller and Savin include actual footage from the night Talking Heads was inducted into the Rock 'n Roll Hall of Fame. The man Tina Weymouth and David Byrne both thank, the man who stands there-accepting the fervent applause of the audience without saying a single word-that man, Hilly Kristal, was a mensch. And watching them made this grown girl cry.

CBGC will be playing in special screenings next week all around Metro Chicago. For more information, follow link this & click on ILLINOIS:

Photo Credits: Beau Giannakopoulos/XLrator Media