Real to reel

Local observations from a movie, music buff

By Dan Ochwat

The Art of Violence

Martin Scorsese’s film “The Departed” is a classic among its genre — the testosterone genre. The caterpillar eye-browed one’s return to the streets is the most fun I will have in a movie theater all year. Posters of this film will adorn college dorm room walls, perhaps like another testosterone great, “Reservoir Dogs,” adorned my generation’s dorm room walls.

The key to all testosterone films is violence, and I want to talk about the art of violence in movies as seen in one weekend from two great films: Scorsese’s “Departed” and a movie opening later this month titled, “A Guide to Recognizing Your Saints.”

“The Departed” is a beautifully executed, harsh, Shakespearian gangster flick, like the ones Scorsese made famous. The violence is so controlled, stylistic and tied to the story that you almost shriek with excitement, or laugh, when it happens. Like “Goodfellas” or “Mean Streets” or “Pulp Fiction,” it’s masterwork.

In many action films you see the same old explosions tied to the same old boring espionage storyline. In horror films, the same gut-wrenching gore for the sake of gut-wrenching gore. Think of “Final Destination” and other films filled with dumbed-down violence. Those are the films that get parental agencies on the film industry’s back.

Scorsese puts true entertainment and cinematic life into violence in movies. His use of music, editing and camerawork all give it this operatic feel. “The Departed,” thanks to a great script by William Monahan, peppers in a lot of raw jokes and gruff language, too, which complements the violence with a tone of comic realism. Somehow, Scorsese makes it all work. He really has mastered the art of violence.

Now, certainly, my enthusiasm for this film could be a case of expectations far exceeded, because I had low ones, very low. Let’s face it, Scorsese hasn’t been blowing our back hair lately. “Gangs of New York” is a travesty, and “The Aviator,” which I admire, is good for one viewing.

Then, there’s Boston. I’ve had my fill of films shot in beantown and seeing Matt Damon revisit Will Hunting in the ads reeked of another Scorsese let down.

But from the opening scenes of a shadowed Jack Nicholson as mob boss Frank Costello, flexing his power in the corner stores and neighborhood rackets, I loved this movie. Scorsese is cool again. His best films are the essence of cool: the rythym, the look, the testosterone and — most importantly — the violence. It’s all fun here.

The violence in “The Departed” carries no emotional weight whatsoever. I’m not saying that’s good or bad, but it brings me to “A Guide to Recognizing Your Saints.” Here’s a film where the violence carries an emotional wallop. I saw the movie at the Chicago International Film Festival, the same weekend I saw “The Departed.” (If you didn’t take advantage of the festival, there are plenty of listings available in Mundelein or Grayslake or whatever your suburb of choice.)

The debut film from Dito Montiel, based on his book about his life, isn’t anything we haven’t seen before. And likewise, “The Departed” isn’t groundbreaking either. It’s even a remake of an Asian film “Infernal Affairs,” which played the film festival a few years ago. “A Guide” is another New York burrough tale, a group of hoodlum friends who look as if they haven’t showered in days, sweating in the New York heat, wreaking havoc in the neighborhood.

Montiel, however, spices the film with some true moments and some experimental directing (I think he’s been watching Spike Lee films) that prevent this film from being another “Bronx Tale.”

At times, it feels like a personal experience, and other times it feels like the retread it is. But it’s the personal feel Montiel gives the movie that excels the violence. When adventures go bad, you’re already so affected by the characters that this violence can hit you deep.

After the first baseball bat bashing, I immediately thought back to “The Departed.” It’s amazing, when in the right hands, how violence can be entertainment in one film and personal in another. Essentially, after watching these films, I was glad to learn that I’m not desensitized to violence in films. I’m just desensitized to shitty films.

Fat Pig

Neil Labute writes twisted fables — ones where your friends give the worst advice, and by plays end, leave the characters’ feelings ripped apart and strewn across the stage like roadkill. It’s no wonder I love this man.

The playwright turned filmmaker was put on the map with his film and local play “In the Company of Men” (one of my favorite movies of all time), so if a Labute play comes to town, I see it. The latest is “Fat Pig,” playing at the Profiles Theatre, 4147 N. Broadway, through Oct. 29. It’s a must see.

The extremely intimate play, both in venue and content, follows a hot shot exec falling for an overweight woman and the societal strain that comes with that relationship. In typical Labute fashion, “Fat Pig” is filled with dark humor, and ultimately intense sadness. Darrell Cox, who I’ve seen a couple times, is one of the best actors in Chicago, and Deborah Hearst, who plays the “Fat Pig,” you can imagine, empties herself on stage.

The best theatre in Chicago is sometimes at the smallest places doing the riskiest stuff. Support this.

Music Calendar

Can’t get tickets to see Streisand at the United Center? Here are some other shows to heal your pain. Heartache singer Jose Gonzalez comes to the Lakeshore Theatre 10/15. Brit hotness Lily Allen plays Double Door 10/16, the same day Bonnie Prince Billy plays Portage Park Theater.

On 10/20, an excellent double bill at the Empty Bottle with Silversun Pickups and Viva Voce. The next night see Chicago’s Califone return to the music scene, celibrating their new slick album at the Empty Bottle. Also on 10/21, Cold War Kids rock The Hideout. Who knew she even sang anymore, but Edie Brickell & the New Bohemians will be at Martyrs. My sister will be so happy.

Legends in the making, The Hold Steady party at the Metro 10/26. Insanely pleasurable circus music act Islands play Metro 10/27 with Jamie Liddell. Americana bands Margot & The Nuclear So And Sos and The Elected play the Abbey Pub 10/29. On Halloween, rockers Aberdeen City play Double Door.

Touring in support of their solid, rock album “Powder Burns,” The Twilight Singers play two nights at the Double Door 11/1 and 11/2. Go for the song “Bonnie Brae.” Moody popsters 120 days play Subterranean 11/4. Popular dance punk group The Rapture go crazy at The Metro 11/10, and Soulful rockers Centro-Matic play Double Door that night as well. Buzz band The Annuals play Empty Bottle 11/10 with layered pop artist Evangelicals.

On 11/11, Colin Meloy and the wonderful Decemberists play the Riviera. Fiona Apple-like crooner My Brightest Diamond plays Schubas that night as well.

Keep sending me your music or anything else on your mind at danochwat@hotmail.com. I’ve also joined the MySpace army, so give The Real Chicago some love at http://www1.myspace.com/danochwat

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