Real to reel

Local observations from a movie, music buff

Black Muthaf--king Snake Moan

Samuel L. Jackson as a bluesman rocks; Chicago-based blues-ish band The Dirty Rooks rock out

By Dan Ochwat

Believe me when I say that the movie where that chick in panties is chained to a radiator is actually a sweet and saccharine, feel-good movie.

Of course, that panty-clad woman is Christina Ricci, and of course, the owner of that radiator is Samuel L. Jackson, and of course, this “that-cannot-be-real” movie is “Black Snake Moan.” But in all seriousness, the film achieves so much more than its shock, pulp premise. It’s the best film I’ve seen in this early new year.

“Black Snake Moan” comes from the mind of Craig Brewer, who gave us the great “Hustle & Flow,” another much talked about movie rooted in music and a pulpy storyline. That flick followed a Memphis pimp driven to blow up hip hop. Here, “Black Snake Moan” begs for a bit more open-mindedness. Ricci plays Rae, a walking orgasm who is left beaten and pulverized on Samuel L. Jackson’s gravel doorstep. Jackson’s character, Lazarus, farms a local vegetable stand, longs for a cheating wife and lives in his past as a legendary bluesman. He also holds the Bible close to his chest, and when Rae lands in his path, it’s a sign for him to clean up this stray slut. What’s the logical choice? Chain her to the radiator — and so begins a somewhat hokey father-daughter relationship, but also an overall tight piece of fiction.

If at first blush, you still ain’t buying the story, go for the acting. Ricci nails that poor, trashy character. Intense, ferocious, sexy even, she most importantly imparts a realism within the sensationalism of her character. And it has to be addressed — the girl looks good. You know how “Seinfeld” had that episode about bad naked, sanding your floor bad naked? Well she writhes and bends and shakes and coughs — and never does she have bad naked. She’s toned up from her days of “200 Cigarettes.”

Jackson tops Ricci — his best performance since “Pulp Fiction.” When on stage singing his blues, you get his “muthaf--king!” moments, but the better Jackson here wallows in exasperation, confusion and a passion to right this damaged girl in his hands. He sports a great old-man fro and funky moles — flat out oozes backwoods Tennessee.

But for me, see the film for Brewer. He brings to screen a specific time and place, a modern Memphis for “Hustle & Flow,” and, here, an afterthought part of Tennessee. “Black Snake Moan” thrives in scenes in its dank, nowhere bars. It also thrives in scenes in its town square, where an adorable pharmacist played by S. Epatha Merkerson, works at a local store. You see real people — feel like you’re in a real place.

Brewer has an original voice, something many filmmakers never master. He shows us a new part of America in an honest way, coupled with wild, indelible fiction. He hands us authentic slice of life, but we know this is a movie and a fun one right down to some over-stylistic montages. Layer on the gritty Southern look of the film and the excellent acting, and it rings true. It really does.

And best of all, it ends just how you want it to. This is a movie, despite being about nymphomania, race, redemption, the blues, shitty friends and whatever else it piles on, has you begging for a sweet ending because, at its core, it’s a sweet tale. The ending delivers a nice, subtle smile because it’s a movie, and it can. Obviously, in real life, kidnapping isn’t going to lead to friendship.

The Dirty Rooks
It must be a bluesy month. Shortly after witnessing the pulp and dirty south tunes of Samuel L. Jackson’s “Black Snake Moan,” a local start-up band, The Dirty Rooks, sent me their self-made and self-titled blues-tinged disc. The band is playing a record-release show April 21 at The Abbey Pub, where you will be able to buy the CD. They’re also jamming March 31 at Underground Lounge, April 1 at The Orphanage and April 12 at the Elbo Room.

Listening to the album, it immediately spins off aromas of cigarette smoke and bad plumbing from some low-lit Southside bar. It has a pure, classic rock sound with some blues influence. To me, the band has a heavy Black Crowes sound, which, frankly, isn’t something you really hear much from young guys in Chicago. Actually, looking at the trendy packaging, you’d never really know you were about to throw on a classic rock album, but maybe a more indie, hipster record.

The album sort of splits up into heavier rock songs and slow-rolling, bluesy ballads. And despite my glowing review of “Black Snake Moan,” I’m not a big fan of blues music, so the harder rock songs are my true standouts. “Strawman” is the real deal, exemplifying some of the better songwriting on the album and a kick-ass guitar change at about 1:45 into the song. It even has a cool title, “Strawman.” The other notable guitar-laden movers are “All That You Are” and “Big Sound,” a-mile-a-minute, pounding song. The best slower song is one called “Precious Time” — it’s the band’s “Simple Man.”

My one quirk with The Dirty Rooks is that the lead singer really loves the sound of his own voice sometimes. The constant inflections and whines put me off, particularly in the slower songs, where he’s pretty much alone. But I understand it’s good for the blues, and fans of the Black Crowes will dig it. Me, just blast me with the guitars.

Check out “Strawman” and The Dirty Rooks at http://www.myspace.com/dirtyrooks.

Other Shows
Supporting their wicked new album, Marnie Stern plays Ronny’s 3/19. As mentioned last issue, a great double bill from two of the better new albums recently released, Menomena and Field Music play Empty Bottle on 3/20. Carnivalesque Man Man hits Abbey Pub 3/23, the same day as folk singer Maria Taylor plays The Beat Kitchen, Bloc Party plays the Congress Theatre and Dr. Dog and Bobby Bare Jr. are at Schubas.

Birdmonster plays Subterranean 3/24, and local band The Arrivals are at The Note on 3/25. Another killer day of shows is 3/28, when Mew and Oh No! Oh My! are at Double Door, Explosions in the Sky soothe Metro and Neko Case plays the Park West. She also plays 3/29 and 3/30. Soon releasing a new album, The Ponys play the Logan Square Auditorium 3/31. Buzz band Deerhunter is at The Empty Bottle 4/4, and the son of Anthony Perkins, Elvis Perkins, croons Schubas 4/6. Radiohead-like The Race come to Schubas 4/8. Magnolia Electric Co. visits Lakeshore Theater 4/10, while Sun Volt plays the Vic Theater. Brit lady rockers The Gossip head to The Abbey Pub 4/12. College-rock fave John Vanderslice sings 4/13 at Lakeshore Theater, while legends Low go Metro. Blonde Redhead play Metro the following night.

Buzz band and funny band The Klaxons are at Schubas 4/16. Playing two shows, 4/18 and 4/19, are The Decemberists with My Brightest Diamond at the Riviera. The following night, an awesome double bill with whistler Andrew Bird and Apostle of Hustle at the Riv. A must for fans of Art Brut, he plays 4/20 at the small Subterranean, and on the same night, The Kaiser Chiefs play The Vic Theater with The Walkmen.

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://www.myspace.com/danochwat

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