Now Showing: The Beat Goes On

 

The Beat Goes On

Genre: Drama/Musical

Director: Ryan Coogler

Writer: Chad Taylor

Cast: Will Smith, Robert Downey Jr., Zendaya, Paul Mescal, Rihanna, Renee Elise Goldsberry, Paul Giamatti, Donald Glover, Questlove, William Fichtner

Plot:

American Bandstand | Philadelphia, PA | August 16, 1963

When You’re Young and in Love - Renee Elise Goldsberry & Rihanna (https://www.youtube.com/watch?v=eEZZT5-Ie0M)

The Green Lights, of the most successful groups to come out of the doo-wop genre, are set to headline tonight’s show. The group’s leader, Bill Swift (Will Smith), is undoubtedly the biggest star of the group and set to become a solo star. His voice, at once ethereal and tortured, is considered once in a generation. As Bill goes through his vocal warm-ups, he can’t help but get caught up in the act going on before him: Martha & the Dynamics. His eyes are fixated on Martha Greene (Renee Elise Goldsberry), their lead singer, as they sing their hit “When You’re Young and In Love”. Martha’s sister Sloane (Rihanna) is a back-up singer in the group.

After the Dynamics perform, Bill waits for Martha to say something to him but she passes by, them both seemingly knowing what’s going on. He follows after her and begins flirting with her but she asks if he’s going to miss the Green Lights performance. He says not to worry, they’ll wait for him. He asks how she is liking Philly and says he’s from here so can give her any tips around the city. He begins to ask details about the Dynamics’ current small record deal and she says they are in their current deal is just ending actually. He pitches her to join the label he is on in Detroit, where they can find major success. And she says she can’t make this decision unilaterally. He says that is fine and to talk it over with her bandmates. She then asks if this pitch is more about the Dynamics or… He finishes her sentence and says that she can move to Detroit and he can ask her on a date. They both smile and he nods, saying that was his intent.

A Bandstand P.A. comes looking for Bill and says he’s needed onstage immediately. Bill asks Martha for an answer and she says she’ll think it over and talk with her girls. He tells her to listen for the reaction he is about to get from the audience and says that could be in her near future. After the show, Bill pulls aside his manager Alton Wasserman (Paul Giamatti) and lets him know that he might have just met the next big music star.

Monterey Pop Festival | Monterey, CA | June 17, 1967

I Only Have Eyes for You - Will Smith (https://www.youtube.com/watch?v=1_urvud-Oi0)

In the last five years, he has become more and more involved with his record label and fostering new acts. The most successful of these is undoubtedly Martha & the Dynamics and now Martha Swift on her own. Bill’s courtship was successful and he has now been married to Martha for two years. At the festival, Bill is set to perform given that he is one of music’s biggest stars of the last decade. There is a certain buzz in the air and Bill can feel it. Martha is nervous but Bill doesn’t understand why.

Bill is writing something when he receives a surprise visit from his mentor in the music industry, “Lucky” Len Phillips (Robert Downey Jr.), a popular crooner of the 1940s and 1950s. Bill can smell alcohol on Len’s breath, which is par for the course. Len says that he was initially on the fence about Bill’s invite given that he doesn’t agree with the hippie lifestyle. But he does admit that most of the concertgoers are easy on the eyes. Bill does not respond to this, knowing that Martha is listening - indicating that he is now firmly settled down. Len is disappointed by this as it probably means no more trips to Vegas.

Bill performs a set of his signature songs, including the Green Lights’ biggest hit “I Only Have Eyes for You”. On stage, he experiences something a new sensation. The crowd seems completely bored, with some walking out. There are even a few jeers from the audience. This shakes Bill to his core. He returns backstage despondent. He vents out to Len and Martha, saying that he’s out of step with where music is heading and he’s nothing if he can’t even play the hits. Len is sympathetic given that he’s also seen his genre of music fall out of favor. Martha gives him a long hug and he apologizes, saying that he should have taken her nervousness more seriously. She says she’s sorry about the crowd reaction but that’s not what she was nervous about. She smiles softly and asks if he wants good news. He nods and she tells him that she is pregnant. Bill begins to cry as he hugs Martha.

Soul Train | Hollywood, CA | July 23, 1971

If I’m in Luck I Might Just Get Picked Up - Rihanna (https://www.youtube.com/watch?v=W8b4hPEN05I)

After the Monterey Pop debacle, Bill is now spending his full time as a record producer. He’s produced a string of hit records but his top artist is currently on hiatus as Martha is pregnant with their third child after having two daughters. Bill is in Hollywood to watch his newest signing perform and someone he knows well: Sloane Greene (Rihanna), Martha’s younger sister and former back-up singer. Sloane’s talent is a different monster from Martha’s and Bill’s. It is grittier, funkier and has more sexually aggressive than anything that would’ve come out of Motown. But Bill doesn’t mind. Even if he can’t make music for the new generation then he might as well profit from it in some way. Sloane performs a new track that Bill is fixated on, knowing how good of television it makes.

Afterwards, he congratulates her on the performance and says that advance sales of her record are about to be off the charts. She jokingly asks if it will outsell any of Martha’s records. There is an unspoken tension in the air and he tells her that she looked stunning out there. She thanks him but then reminds him that she has a boyfriend. And he has a wife, of course. He nods, agreeing, but then puts his hands on her hips. She initially pulls away but he goes in for a kiss.

Martha, meanwhile, is at home with their two daughters and tries to call to let them know that they all watched aunt Sloane perform. The phone keeps ringing.

The Tonight Show with Johnny Carson | Burbank, CA| January 2, 1977

Portrait of My Love - Robert Downey Jr. (https://www.youtube.com/watch?v=yNqLZ0KlUpQ)

A production assistant is warming up the live studio audience for The Tonight Show. He mentions they have a big night, with a special performance from legendary Len Phillips. But then he also says they have a special guest backstage and motions for Bill to come out. Bill would rather not but the crowd starts chanting his name and he comes out to wave them. The P.A. asks if he wants to perform a little song for the crowd but he declines. The crowd then begins to cheer him on but Bill has not performed in public in 10 years and doesn’t plan to again anytime soon.

He shuffles back to the green room where he’s immediately met with a strong whiff of alcohol. He finds it repugnant but also sad. Len, with a pair of sunglasses on, is seemingly napping in his chair until he hears Bill’s footsteps and asks why he didn’t give the crowd a little something out there. Bill says that Len knows why, and plus he’s not getting paid to be here tonight. He’s here for a friend. He moves Len’s drink away from him. Len says that if he had Bill’s talent then he wouldn’t be bottling it up forever just because a few hippies weren’t hip with it. Bill, now seemingly annoyed, says that if he had Len’s talents that he wouldn’t sacrifice it for a friendship with Jack Daniels. He immediately apologizes for the insult but Len removes his sunglasses and chuckles. Len takes Bill’s hand and says he thinks this will be his last performance. Bill asks if anyone else knows this and Len says Bill’s the first person he’s told. They hold hands in silence before a knock on the door to tell Len it’s showtime.

Host Johnny Carson introduces Len and they begin chatting as Bill watches with mixed emotions backstage. His foot is tapping rapidly. There’s another knock on the green room door, this one more unexpected. It is Martha. He is surprised to see his wife and gives her a hug. She remains stiff and unbothered at his gesture, letting him know something is up. She says that she has always known that Bill is a pleasure-seeker. She knew that day in Philly that she met him. And she knew it was something she would just have to accept for someone that she loves. He listens nervously. She says that Sloane confessed to her about their one-night-stand. His heart sinks. She says that hooking up with her sister is the point of no return. She is divorcing him and taking the kids with her. He pleads with her not to do this but she says that she is ready to make her own decisions. On stage, Len emotionally sings his big hit ‘Portrait of My Love’ while Bill watches Martha leave and the sound of his good friend’s last performance echoes through the halls.

Agora Ballroom | Columbus, OH | November 11, 1980

Ain’t Even Done with the Night - Paul Mescal (https://www.youtube.com/watch?v=FKk8w0GJYdk)

Bill watches his cold breath fog up the phonebooth as he waits for someone to pick up. Alton Wasserman answers and Bill lets Alton know that he has landed in Ohio. Alton thanks Bill for doing him this favor. After the divorce and Len’s death in 1979, Bill’s last fews years have been tumultuous to say the least. His producing work has dried up as music tastes have continued to change and he’s been without his biggest star. Alton, being an old pal, offered Bill a job to scout potential artists to sign to a record contract. After hanging up with Alton, he calls Martha to catch up on the kids. She tells him that Gen, their oldest daughter, is enjoying her first year in high school but has a curious (and yet unsurprising) ambition: she wants to become a musician. Bill and Martha both immediately agree they do not want their daughter to follow down that path.

At the venue, Bill sticks out like a sore thumb as he leans against a back wall to watch Chris Kale (Gavin Leatherwood) perform in front of a crowd of screaming fans. Bill can’t help but smile at the combination of raw machismo and Midwestern roots, even if it’s not necessarily for him.

After the show, he tries to talk with Chris. While he’s initially rejected by security, one of the older roadies recognizes Bill and lets him in. Bill introduces himself and Chris’s eyes light up, saying he is a big fan Bill’s work and Sloane Swift in particular. Bill is surprised to hear this and it is obviously a bit bittersweet. He makes the pitch to Chris about signing with Alton’s label, which could lead him to super-stardom. To Bill’s surprise, Chris turns him down. He says that he likes it here and doesn’t think that Hollywood is a good fit for him. Bill sees Chris’s family on the other side of the room, including his younger sisters, and can feel the pit of his stomach. He thinks about his own daughters and how the music industry both gave him that joy and took it away. Knowing he’s here on behalf of a friend, he continues with his pitch anyways and encourages Chris to give it a shot. If it doesn’t work out, he can always move back here. Chris can hear the sincerity in Bill’s voice and nods, shaking his hand.

Live Aid | Philadelphia, PA | July 13, 1985

Give Me One Reason - Paul Mescal & Zendaya (https://www.youtube.com/watch?v=tz1AXu0gBUQ)

Under the tutelage of Bill Swift, Chris Kale is now one of the biggest rock stars in the world. He is coming off of a record-breaking second album and selling out shows worldwide. Tonight, he shares the bill with one of the most star-studded concert line-ups of all time. With five years now passed, Chris’s personality has matured but also changed a bit from his wholesome Midwestern roots. This is something that Bill is trying to keep in check given that he feels responsible for bringing Chris to this level of fame. He is in attendance as he used his connections to help organize the fundraising effort. Chris seems unusually nervous around his mentor and Bill asks why. Chris asks what Bill would think if he debuted a new song tonight. Bill says that the people love the hits…but…he also knows that the hits don’t always land either. So he encourages Chris to do it. As long as it’s good, that is, he says with a nudge.

Chris traverses the halls of the halls of JFK Stadium to another locker room, where it becomes clear why he was nervous. Practicing guitar on the couch is Gen (Zendaya), the eldest daughter of Bill and Martha. After getting to know Chris through the occasional visits with her dad, she asked him to train her musically—knowing neither of her parents want that life for her. Over the last few months, Chris has been tutoring Gen and they’ve now written a song together. Well she wrote the lyrics, he wrote the music. She is the one now visibly nervous, seemingly set to make her live performance debut in front of 90,000 people (and millions more watching around the world). Chris asks how she thinks the song is. She says she thinks it’s good. He says then the crowd will think it’s good too. She tries kissing him in that moment but he pulls away, saying he can’t. He apologizes and walks out.

They go out on stage and perform a blues-rock duet. Gen is a little shaky at first, from the stage fright and how things went down in the green room. However, she hits a groove and the song goes over great. That is everywhere but backstage, where Bill is watching on furiously. He confronts Chris afterwards and ask what kind of stunt he was trying to pull out there. Chris says that Gen is the one who came to him and he was just doing her a favor. She clearly has talent so he was just helping her like Bill helped him. Bill turns his attention to his daughter and says that he is most upset with her. How could she go behind her parents’ back like that and betray their trust? Gen pushes back, asking what authority he has telling her what to do when he only sees her and her siblings once every few months. He says that if she wants to make her own decisions then she can go out and do it on her own, the hard way. She says that she will and storms out.

Def Jam Records | New York City, NY | February 22, 1988

Can I Kick It? - Donald Glover & Questlove (https://www.youtube.com/watch?v=D-uV8TGjaGU)

While she has not yet signed a major record deal, Gen is one of the budding young stars in the music industry. She is being courted by several major labels, including Def Jam in New York. She is there to meet with her aunt Sloane, who has retired from music and is now an executive at Def Jam. They talk a bit about Martha and laugh about her recent turn as a kitchenware spokesperson. Sloane then asks how Gen’s dad is doing and Gen says she hasn’t talked to him in three years. Sloane gives Gen a look, as if to say that’s probably the right call. When Sloane begins pitching Gen on joining Def Jam, Gen admits that she only took this meeting out of courtesy to her aunt. Gen says that she isn’t sure how to define herself musically but she isn’t sure hip-hop would be the right move for her. Sloane understands the hesitation. She felt similarly when moving out of the tried-and-true girl group bops that started her career. She requests Gen to come walk with her for a tour through the studio.

As they walk through, Gen seems impressed but never more so than we they encounter the rap group House Money, consisting of Omari Moussa (Donald Glover) and Mack da Knife (Questlove). She stops in her tracks, immediately vibing with their beats. Upon spotting Gen out in the hallway, Omari begins shouting her out and courting her through song. She is eventually convinced to join them in the booth, freestyling a verse. Afterwards, Gen admits that was pretty fun and they did have undeniable musical chemistry. Omari flirts a bit and asks if she is signing with Def Jam. She says she isn’t sure yet. She asks Sloane if she can make a phone call.

She calls Chris, her musical mentor, for advice on what to do. He is a little different than the last time we saw him; a little more hard-edged, a little more strung out. He is against the idea of her taking this musical direction as they have no idea if it will be viable going forward. Gen, as always, is stubborn-headed and says that she thinks it has a future. Before they hang up, Chris tells Gen that her dad has been trying to get ahold of her. She they say goodbye and Gen tells Sloane that she’s signing with Def Jam.

MTV Unplugged | Chicago, IL | November 8, 1991

My Song - Will Smith (https://www.youtube.com/watch?v=aBhBG5lqpzM)

Famed music journalist Michael Henderson (William Fichtner) makes small talk with Alton Wasserman as Bill walks in, clearly late. He is thinner than the last time we saw him, his hair now with some gray in it. As their interview starts, Michael asks why Bill has decided to return to performing after so many years. Bill reiterates that this is a one-time thing. And he doesn’t know exactly why but the time and format just felt right. He recalls the night his friend Len Phillips did one final performance. He sits in silence for a few moments, simply smiling. He then says that there actually is a reason he chose now. He leans closer and tells Michael that he’s going to want to write this down.

Martha smokes outside of the venue, on the lookout for someone. A luxury car arrives and Gen steps out. Gen is now full-time collaborating with House Money, finding massive success. They hug and Gen tells her mom that she wouldn’t miss a Martha Swift performance for the world. Martha says she knows Gen is going to be mad at her but Martha is not the one performing tonight. Gen immediately knows what she means and says that she doesn’t want to be here. She says that he cheated on her mom with her aunt, basically lost contact with his children, and then had the gall to tell her how to live her life. Why should she care about him playing a few songs? Martha holds her hand and begs. Gen realizes she can’t say no.

Bill comes out on stage and plays some of his old hits, telling some stories in between. Before his last performance of the night, he recalls his experience at the Monterey Pop Festival. He says that most people know about the near-disastrous performance. But that same day he started writing a song that he could never quite shake. He wrote it for the Civil Rights movement, which he didn’t know how to contribute to. He wrote it for the loves of his life, including those that he didn’t know he had yet. He starts getting choked up and then reveals that recently he tested positive for HIV before playing ‘My Song’ with tears in his eyes.

When he gets backstage, Gen is the first one waiting for him, herself in tears. They share a long hug, eventually being joined by Martha.

Bill Swift Tribute Concert | Detroit, MI | 1993

Zealots - Zendaya, Donald Glover, & Questlove (https://www.youtube.com/watch?v=F0wUF-ngNPo)

Gen is backstage humming to herself. She is joined by Omari and Mack, who are writing some raps. She stops humming when she sees Chris standing in the doorway. He is clearly in rough shape, having not had a hit in years. The two of them hug and she says that it’s nice to see him. He says he is glad that Alton invited him here to perform. She asks how he’s doing and he admits not great. He says that he’s thinking about moving back to Ohio and leaving the spotlight completely. She holds his hand and says that would be good for him. He asks if she ever wants to escape the spotlight herself. After a pause, she admits that this is the only thing she’s ever known. They hug again as he goes out to play a song.

Gen Swift & House Money perform a new song that samples The Green Lights’ hit I Only Have Eyes for You as the credits roll.

Interview: Chad Taylor

 

For this edition of Interview, Last Resort Films president Phil Dolan sits down with the great Chad Taylor (Sam, Miracles) to discuss his creative drive and his latest film, The Beat Goes On....

PD: The Beat Goes On is a very ambitious musical film in just about every possible way. What were some of your inspirations when writing it?

CT: So this started with the ambition of wanting to do an original musical at LRF. I first encountered Ralph Bakshi's American Pop a few years back and liked the idea of decades-spanning musical telling the story of both a single family and American culture as a whole. The problem then became finding the right structure to tell that story in a standard live-action timeframe. Honestly, LRTV's "Rolling Stone" also was an influence here as I liked the way that is wove a fictional protagonist through real events. I've probably mentioned before that Walk Hard is a favorite comedy of mine and, beneath its parodic surface, that film's best trait is how it mimics the musical changes and visual styles of the times that is covering. So that presented a challenge for me to find what would be the best songs to show a similar evolution and the most recognizable locations to set each segment in.

PD: Will Smith has obviously become a controversial figure over the last couple of years. Did you have any reservations when casting him in the lead role?

CT: I like movie stars and the associated connotations they bring on-screen to every role. Will is one of the most recognizable stars of the last thirty years and I'd wanted to work with him a while but it'd been a while since he had a big hit. And it's also been a while since he'd appeared for LRF so his bankability wasn't what it once was. And of course the Oscars moment threw another tarnished his brand in a big way. But I didn't think that necessarily meant he should be turned away from films for ever, even if some people might not feel comfortable seeing a movie of his. And to be honest, I ended up tailoring the role of Bill Swift to Will specifically because it was one that was both charming but also deeply flawed. Which seemed like just the role that Will could use in a moment like this. 

PD: You added a few more Golden Reel Awards to your trophy case in Season 27. How do you maintain your creative drive after all these seasons?

CT: That's a question I often ponder myself. I think the one key to sparking ideas has always been my own evolving vocabulary of film and film history. I can look back on my filmography and see what film movements, filmmakers, genres, etc. were on my mind at that time. I imagine that a lot of other LRF writers could say something similar. I've reached a stage in my film-viewing life that I'm not able to see nearly as many movies as I could five years ago. So I don't know if I'll ever be able to match that level of drive ever again. I've definitely been slowing down a bit of late, but I'm also nearing my 100th film written for LRF. I actually think I'll be hitting that this season. So this time was due eventually. But I still get just as excited when I spark a new idea as in that first year. Just had one an hour ago in fact! 

PD: You have a few very different films coming out throughout the rest of this season. What can you tell us about those projects?

CT: Whoo boy, yeah these are all over the place. I think all four, including The Beat Goes On, were projects that I found to be a fun experience writing. APJ and I had casually thrown out Duke Nukem as a potential video game adaptation down the line and luckily we both had the exact thing in mind for what the tone should be. That's also a role that needs a very specific kind of actor and I think we found the perfect one in John Cena. Nick Fury felt like writing without any constraints, a limitless sandbox. If it fails, it's a one-off prequel that can kind of live on its own so I felt like I could just try some things and make some swings. It had a bit of a troubled production as you know, some of which traced back to the making of Iron Man. I think people are going to like it though! And the last is another original project that Jimmy Ellis and I had a great time crafting the world of. You're going to get some variety from me in Season 28, that's for sure.

Release: Who Do You Trust When the World is at War?

 

Who Do You Trust When the World is at War?

Genre: Drama

Director: Meirad Tako

Writer: Meirad Tako

Producer: Wes Anderson

Cast: Dafne Keen, Louis Partridge, Daniel Bruhl

Budget: $21,000,000

Domestic Box Office: $5,989,296

Foreign Box Office: $12,230,048

Total Profit: -$24,038,888

Reaction: As Meirad Tako's fifth directorial effort, it lands right in the middle with the third highest box office of the bunch. None have managed to turn a profit yet though.

"The characters are not  always very likable, the story meanders at times with a lack of urgency, and the setting felt a bit too on the nose at times. But all that said, I still found myself thoroughly engrossed by the world writer/director Meirad Tako created here." - Gordon Sheffield, London Times

"Is this Meirad’s best solo film? Quite possibly. Although I did not agree with every action and line throughout the film, I found it difficult to look away from the screen. I felt a sense of Malick in the filmmaker’s intent, whether it was purposeful or not, I felt it present. The trio of actors absolutely blew me away in this film, and I will be rooting for them come awards time. While predictable, it was a great film." - Terry Setev, The Bateau Gazette

"Exhibiting his development as a director, Meirad Tako once again offers a poignant yet harsh depiction of the persistent and inevitable aftermath of conflict. Despite the skillful direction, the narrative seems to takes its time to reach a point. Dafne Keen emerges as a bright star in this bleak narrative, demonstrating her capability to be the backbone of a film. Nevertheless, the involvement of Wes Anderson as a producer seems to clash with the movie's thematic undertones." - Ayan Goldman, The Commercial Appeal

Rated R for violence and thematic material

Top 10 Single Superhero Films That Deserve a Sequel

 

Sherman J. Pearson here with another Top 10. This round did not feature any superhero films, so it got me to thinking about which superhero films have yet to receive sequels that I would want to see....

Top 10 Single Superhero Films That Deserve a Sequel

10. Vixen: The Totems of Zambesi

9. Nomad

8. Martian Manhunter

7. Who Watches the Watchmen

6. Daredevil

5. Zatanna

4. The Hammer of Thor

3. Ghost Rider

2. Scarlet

1. Elektra

Now Showing: Who Do You Trust When the World is at War?

 

Who Do You Trust When the World is at War?

Genre: Drama

Director: Meirad Tako

Writer: Meirad Tako

Producer: Wes Anderson

Cast: Dafne Keen, Louis Partridge, Daniel Bruhl

Plot: "Today, on November 21, 2036 at 14:32, Germany declared its defeat in the Third World War. It is hereby declared that the Third World War has ended. This decision was made by Prime Minister Ulrich Heiss in the signing of the surrender document yesterday afternoon at 13:47. In the surrender document, Ulrich Heiss stated that--"

Helga Helmfried (Dafne Keen) frowned as she walked away from the television in the house she had just watched. The sound of the television was still there, but she didn't want to listen to it. She tightened her jacket and put her hands in the pockets. Occasionally, she blew on her hands to feel the warmth of her breath, even though the air that came out was cold smoke. Although Berlin was her hometown, she couldn't stand the cold wind in November.

Unconsciously, Helga's foot stumbled on a piece of broken concrete. Her balance was unsteady, and she almost fell to her left side, but she managed to hold onto a larger piece of concrete as support. Her eyes followed along Wilhelmstraße just to find debris that had not been cleared. The buildings on the Wilhelmstraße side looked collapsed, some were only left with their skeletons. Perhaps the debris that made Helga stumble came from one of these buildings. Helga continued to walk to the Spree River, which began to freeze.

She walked along the Karl-Liebknecht Bridge to the middle. She looked ahead and saw that the Berliner Dom was completely destroyed, no longer in any recognizable shape. On the Spree, a thin layer of ice began to form on the surface of the water. However, what was usually a clear river like a brand new doll's eye, now the river was gray. Helga took a deep breath, hoping to smell the scent of winter river in her nose. Instead of the typical winter scent, she got a mixture of gunpowder, blood, and corpses that emanated from the river. Her eyes sometimes caught floating body parts there, whose organs they belonged to were unknown. They hadn't been cleaned up due to the battle yesterday. Helga pulled up her scarf to cover her nose, trying to block the smell from the river and walked away from there.

The news of Germany's defeat in the Third World War deeply shook Helga. She didn't know how to react. Should she be sad because her country lost, or happy that the war ended after four years? She could have joined the refugee convoy and fled to a small country that wasn't involved in the war. She could have started a new life there, changed her name, and looked for a job. After all, Helga was old enough to work. But she gave up all those plans because her father, Karl Helmfried (Daniel Bruhl), was a high-ranking member of the Neo-Nazi party.

The Neo-Nazi party, a socio-national democratic party led by Karl Helmfried, was the most influential party in Germany. All political activities in Germany were organized by this party. It could be said that if Neo-Nazi disappeared, so would Germany as a nation and a state. Helga still remembered Herr Helmfried's words, one month before Germany was declared defeated.

"Daddy won't go far, won't leave Berlin," said Herr Helmfried as he packed up packaged food and drinks to be taken to the bunker. They were in the basement of the Helmfried residence.

"Where to?"

Herr Helmfried shook his head. "Can't tell you."

"Papa doesn't trust me? Papa thinks I'll leak everything to the Allied forces?" Helga tried to look into her father's eyes, but Herr Helmfried refused to meet her gaze. Helga looked very worried, tears welling up in her eyes, but she tried to hide it from him.

"Schatzi, listen," Herr Helmfried cupped Helga's chin, making their eyes meet.

"Allied spies could be anywhere. You don't know if the Berliner Dom is listening to our conversation or not. Better safe than sorry."

"Can I come along?" Helga asked, pushing Herr Helmfried's hand away from her chin.

Herr Helmfried just shook his head. He went back to arranging the food and drinks supplies to be taken to the bunker later. "Papa doesn't want you to die. You have to live."

"For what reason should I live if Mama and Papa are not beside me?"

Seeing her stubborn behavior, Herr Helmfried softened. He knew Helga was angry with the fact that her father now had to take refuge in the bunker until the end of the war to avoid being caught by the Allied forces. He knew his little girl was upset with the fact that she might not be able to be with him until the end of his life.

"Well, how about Papa promises to meet you after the war ends? We can live together again, in one house again."

Helga still had a sour face. She wasn't sure if that would happen. She wasn't sure if she would live until the end of the war. She might be caught by the Allies as the daughter of the leader of the most influential party in Germany.

Helga shook her head to respond. "I want Papa to promise to stay alive until we meet again on some unknown day."

"Agreed." Herr Helmfried extended his rough right pinky finger to Helga. Helga took that pinky finger, signifying the promise had been made.

Herr Helmfried then reached into his waist pouch. He pulled out his old pistol, a VP70, an old heirloom passed down from his grandfather that he still kept for safety. Herr Helmfried placed the pistol on the table, then emptied all of its bullets from his waist pouch. He slid the pistol over to Helga.

"For you. To keep you safe. If you're in trouble, just use this pistol. Don't let this pistol fall into someone else's hands, okay?"

"How will Papa keep himself safe?"

"Don't worry about Papa. What's important is that you're safe. Don't let anyone find out," said Herr Helmfried.

"Is there a way for me to contact Papa?"

Herr Helmfried opened a drawer containing two small box-shaped devices, no bigger than a matchbox. Each of them had only four buttons with different functions. The green button meant "alive," yellow meant "injured," red meant "in danger," and blue meant "dead." If one button on one device was pressed, the other device would capture the signal no matter how far away it was, and the corresponding button on the other device would light up.

"Papa won't bring his phone to the bunker, so this is the only way. Follow the signal if the machine lights up in red."

"Only if it lights up in red?"

"Only if it lights up in red."

Helga nodded, understanding. Her eyes weren't focused on the device, though. She was watching ants moving their nest.

"Gut."

Herr Helmfried gathered the things he had prepared earlier. With a sad and weary look in his eyes, Helga stared at the figure in front of her. She never thought she would be separated from her father, the person who had taken care of her since she was a child, the person who always gave her attention despite being busy with the party. Now, in this dire situation, Herr Helmfried had to go to a bunker somewhere and Helga wasn't allowed to go with him.

Helga hugged Herr Helmfried's back from behind before he left. Herr Helmfried returned the embrace, and tears fell on Helga's shoulder unconsciously. "Auf Wiedersehen."

Herr Helmfried just smiled hearing the weak farewell from his daughter. "Auf Wiedersehen."

Today marks one month since Herr Helmfried went to the bunker. And during that month, Helga has not heard anything from Herr Helmfried. She also didn't try to contact him. She was afraid of Herr Helmfried's whereabouts being revealed due to her carelessness. So as much as possible, she gave up her intention to contact Herr Helmfried.

"Helga!" shouted a young man whose voice Helga recognized, Hans (Louis Patridge). His full name was Hans Müller, a young man the same age as Helga who became a new member of the Neo-Nazi Party. The skinny boy had straight, neatly combed hair, and snow-white skin. Brown spots on his face added to his appeal.

Since Herr Helmfried hired Hans to work for the party, Helga had fallen in love with him. He said he was not from Berlin but from Düsseldorf. He deliberately moved to Berlin to be appointed as a member of the Neo-Nazi Party. What made Helga fall in love was their similarity. Helga loves astronomy and history very much. One day Hans caught her reading a world history book.

"The Covid-19 pandemic, huh? I was only two years old then," quipped Hans.

Helga immediately closed her book in surprise. She turned to Hans with her typical cold expression. "You shouldn't have barged into a room that wasn't locked. Weren't you taught manners in Düsseldorf?"

"I'm sorry for barging in. I heard from your father that you need a friend, and he directed me here. So, I came in."

Helga ignored him. She put the book back on the shelf and then sat back in her chair. "What do you want from me?"

Hans burst into laughter. "Oh my god, there's no need to act like that. I'm your friend here." Hans reached out his hand to Helga. "Hans Müller."

Helga greeted Hans' hand, but her face still looked sour. "Helga. You know my last name."

"You know, during the pandemic outbreak, we couldn't go anywhere. That's why I only went outside when I was four years old. I remember what it felt like to breathe fresh air for the first time," Hans explained. "How old were you at that time?"

"One year old. I don't like talking about the pandemic," Helga said firmly.

"Why is that?"

"Because my mother passed away because of that stupid virus."

Since then, Hans stopped discussing history and focused on talking about astronomy. Luckily, Hans and Helga had the same habit of climbing onto the roof at midnight just to see the stars. Slowly but surely, they tolerated each other's presence, especially Helga. Helga was impressed with his knowledge of celestial objects. And since then, Helga fell in love with Hans.

Helga turned to the sound's origin, seeing Hans running and waving his hands. Hans might not be able to see the wide smile on Helga's face as she watched him run like a little kid because her scarf still covered half of her face.

"How did you know it was me?" Helga asked after Hans arrived by her side.

"Your red scarf. Who else has a worn-out red scarf like that?"

Helga lowered her scarf from her nose. Instantly, the smell of the pungent river and gunpowder wafted into her nose. "Do you think this is worn-out?"

"Ja," Hans said, shrugging his shoulders.

"This scarf is made by Mama. You shouldn't insult Mama's work," said Helga.

Hans laughed. "Es tut mir Leid. But maybe you should replace your scarf?"

Helga shook her head. "There's no time for that. We're in the midst of a war. There's no time to think about what clothes to wear tomorrow. Just wearing clothes is already a blessing."

"You're right. Let's help the others. We're cleaning up Burgstraße. You can treat the injured there," said Hans, reaching out his hand.

Helga took his hand. They walked hand in hand towards Burgstraße. Compared to Wilhelmstraße, Burgstraße suffered more damage. The buildings were completely destroyed, debris was everywhere. Smoke billowed on the street as if it had just been bombed. But it was the dust from the street. Helga saw a group of women holding brooms to clear the debris that covered the road. Some of them were collecting items that they thought could be reused.

Trümmerfrauen or "rubble women," as they were commonly called. Because of the shortage of men in the city - many men became soldiers, the rest were prisoners of war - women had to step in to clean up the city. They cleared the rubble and searched for items in the debris that they could use to survive. Helga had read in a history book that the term Trümmerfrauen appeared during World War II.

"Helga! Come help us!" shouted one of them.

Without hesitation, Helga rolled up her jacket sleeves and took a broom. She cleared the way from the rubble by carrying it to the side of the road. On the other hand, Hans helped to move larger debris by lifting it. If it was too big, Hans would break the debris before moving it. Sometimes, Helga and Hans found something unexpected, like a crushed ear or even a piece of a hand or foot. The body parts they found were gathered in one place lined with cloth and then wrapped and buried. Some of them also found old iron army helmets. They were good enough to warm up canned soup in the cold of November.

Their work was done after sunset. That's when Helga and Hans were invited to have dinner together. At first, Helga and Hans refused, but the women insisted. Finally, after coaxing, Helga and Hans were given warmed-up canned bread and soup to eat together by the banks of the River Spree.

"The war is over," said Hans as he took a bite of his bread.

Helga just nodded quietly. She sipped the hot soup from the can, her lips reddened by the heat. "I don't know whether to feel sad or happy."

"Why are you happy?" Hans asked.

"Of course, I'm happy. The war is over. Who likes war in this world? No one, Hans."

"But Germany lost. You should be sad."

Helga didn't answer. She didn't want to debate her political leanings with anyone. It was a dangerous thing, especially since the situation was still not conducive. "Who are you to dictate what I should feel?"

Hans laughed. "You have the right to be happy, then."

They ate in silence while occasionally gazing at the River Spree. It no longer smelled as bad as it did earlier in the day, and their faces weren't as grim as they were before. The River Spree looked normal, as normal as it was four years ago.

"If there was no war, what would you do?" Hans asked casually. He finished his soup.

"I don't know. Maybe college. I want to study astronomy if possible. Or history. I'll attend a prestigious Gymnasium in Germany and continue my studies at a renowned university. I don't know where that will be. What about you?"

"Maybe I'll go back to Düsseldorf. See my parents there and apologize. I haven't contacted them since I moved to Berlin. They may not know if I'm still alive or not," Hans replied with a bitter laugh.

"Why didn't you contact them?"

"My parents didn't allow me to enter the world of politics, let alone become a member of a Neo-Nazi party. They were very angry when I told them I wanted to move to Berlin to join this party. I left them in anger. Now I regret not being able to say goodbye properly," Hans explained.

"Do you think they're dead?" Helga asked, her mouth full of bread.

"No. But the chances of them being dead are higher than the chances of them being alive."

"You're right."

"Will you still go to college? Say, if the situation is safe a year from now. Will you still attend a prestigious Gymnasium in Germany?"

Helga shook her head. "I don't know. Right now, all I think about is how to live until tomorrow. And the next day. And the next day. To be able to eat and wear warm clothes is already a blessing, going to college is not necessary."

"What about getting married?" he asked.

Helga looked surprised. The man next to her had just said something she couldn't believe. "We're only 17 and 18 years old. What do we know about getting married?"

Hans shrugged. "In the future, not now."

"Still."

"If I were the groom and you were the bride, how would it be?"

Helga furrowed her brow in confusion. She was slightly amused by Hans' statement. They were in love with each other, but more serious relationships like marriage weren't on Helga's list. Not yet.

"Yes or no?" Hans demanded.

"You know, I just realized one thing. When you speak German, there's a little bit of an American accent in there," Helga said, changing the subject.

Hans finally gave in, but he knew he wouldn't lose. "Everyone has learned English, Helga. In times like these, if you can't speak English, you'll be mocked."

Helga laughed. "But your accent is different. I know that."

"You're just pretending to know. Have you ever been to America?"

"Have you been to America yourself?"

"Not yet."

"Well then, it's a draw."

Helga leaned back, propping herself up with both arms. They both enjoyed the moonlight that illuminated the Spree River.

"You haven't answered my question yet," Hans pressed.

"Which one?"

"Ja oder nein?"

Annoyed, Helga rolled her eyes. She knew that the answer might not satisfy her today, but she would definitely want it in the future. "Ja."

At nine o'clock, or so Hans had said, Helga returned home. Her house had suffered minimal destruction. At least her bedroom and the access to the basement were still covered by the roof.

Before going to bed, Helga took something out of her pants pocket. It was her communication device. She always carried it with her in her pocket just to remind her of her father. However, since Herr Helmfried had given it to her, she had never used it.

Helga sat on her bed, gazing at the device. Should she send a signal that she was okay? Was this the right time for her to do so? Her father had the right to know about her condition, just as she had the right to know about his. However, Helga hesitated because she felt that this was not the right time for her to contact him. Germany might have already lost the war, but could Herr Helmfried, as the leader of the party, be free just like that?

With a deep breath, Helga finally took the risk of letting her father know that she was still alive. Helga pressed the green button with her trembling hand. Her heart was beating fast, and she could even hear the blood flowing from her ears. Her breath was caught in her throat due to fear. However, Helga had been waiting for five minutes, but there was still no reply. She waited for a longer time, maybe Herr Helmfried was busy. Maybe Herr Helmfried was not holding the device. Helga waited for ten, fifteen, twenty, twenty-five, thirty minutes, but still no reply. She decided to lie down and doze off, just in case the device lit up. Before closing her eyes, she reached into her jacket pocket. VP70 was still there. Safe.

Not even two hours after Helga closed her eyes, she was awakened by her communication device, which was now flashing red. Papa. Herr Helmfried is in danger. Helga immediately jumped out of bed, grabbed her scarf and shoes, and activated the signal tracking feature of the device. Without wasting any time, Helga left her house and followed the signal that led her to Herr Helmfried's underground bunker.

Heavy rain greeted her as she stepped outside her house. "Damn it," she cursed. Her hair was wet, her thick clothes were soaked and heavy from the water. Her view was now obscured by fog and rain. Helga decided to take off her jacket so as not to weigh her down. She continued running, following the signal.

The signal led her down Wilhelmstraße and to the Spree River. It took her east and then north, past the Berliner Dom and the Brandenburger Tor, until it stopped at Fritz-Schloß Park. The signal became more frantic. Helga was sure Herr Helmfried's underground bunker was located in this park, but where exactly?

Her eyes suddenly caught a glimpse of a reflection from a dimly lit street lamp. The light bounced off a small piece of broken glass hidden in the bushes. Curious, Helga approached the broken glass.

Upon closer inspection, the broken glass looked ordinary, but what was underneath it was not. When Helga stepped on the ground where the broken glass was, she almost slipped. Her shoe left imprints on all the gray metal objects buried in the ground. Helga immediately dug into the ground with her hands. Her hands and face were now covered in dirt, but she didn't give up. Her instinct told her that her father was in this bunker.

Sure enough, a gray iron door was displayed there. Helga pulled the lever, and the door opened easily, revealing a makeshift staircase made of earth. Water immediately entered the bunker, making the stairs slippery.

"Papa!" Helga shouted. "Where are you?"

A familiar hoarse and heavy voice suddenly sounded from afar. It was Herr Helmfried's voice. "Helga! Don't come here!"

Helga didn't care about the warning. She followed the direction of the voice to catch up with Herr Helmfried. Turning left and right, she walked through the tunnels to reach Herr Helmfried's bunker. The longer she walked, the more she realized that it wasn't just Herr Helmfried's voice she heard. There were other sounds, the groans and grunts of men. Helga followed the sounds, now convinced that her father was in danger.

Her steps stopped right in front of a large room with an open door. There were many people inside. Three of them were tied to chairs, each guarded by a soldier. Their navy blue uniforms indicated that they were Allied soldiers. Several people, maybe eight to ten of them, were lying on the ground. They moaned in pain.

"Helga!" Herr Helmfried yelled when he realized that his daughter was there.

Immediately, the soldier closest to her pointed his gun at her forehead. Helga reflexively pulled out the gun her father had given her and pointed it at the soldier too. How surprised Helga was when she recognized who the soldier was. His straight hair styled in a soldier's fashion, his skinny and sickly body, and the brown spots on his face.

"Hans. What are you doing here? Why—"

"Aww. Look who came to witness Papa's death," Hans said casually. His mouth half-smiling, twitching.

"Hans, what is going on? Release Papa."

"Oh, you're right. How foolish of me not to know what manners are. I'm sorry if I welcomed you with a gun. Let's sit down first. I want to show you something."

Helga refused to sit down. She remained focused on Hans, her hand still holding the gun. However, this only made Hans angry. He pushed Helga forcefully onto the table, tying her hands behind her back. Hans took the gun and gave it to one of his men.

"VP70, huh? Classic," said one of his subordinates.

"Listen, Helga. I apologize for treating you and your father so poorly. Your father just wanted to protect himself, didn't he? He wanted to stay alive, he wanted you to stay alive. But in war, there are winners and losers. And I was tasked with making sure you lost."

Tasked. The word made Helga shiver. There was a reason why Hans had been so kind to her. There was a reason why Hans had come to Berlin. There was a reason why Hans had gotten into politics and joined the new Neo-Nazi Party recently. There was a reason why there was an American accent in Hans' speech. Hans wasn't from Düsseldorf. Hans was from America.

"Are you an Allied soldier?"

"An Allied spy."

"Are you lying to me?"

Hans snorted. "You might be smart academically, Helga. But you're easy to fool. An easy target for information gathering. Especially after you trusted me."

"But how could you?"

Hans pulled out a small object, as small as a fly, from his pocket. The object was round like a ball, with a small lens on the front. A spy drone. How could Helga not notice that?

"Do you remember when I first met you in the reading room? I programmed this drone to follow you everywhere. So I could know what you were doing and saying. I knew about your conversation with your father about this bunker. But your father is smart, he didn't tell us where the bunker was located. Then you turned on that communication device. Our drone instantly picked up the same signal and led us here. I should thank you for that, Helga."

"Release Papa," Helga pleaded.

Hans shook his head. "Do you think I can easily release the prisoner I've been searching for? How naive."

"I'll do anything, but release Papa." Helga knew her words were not thought out, but it was better than watching her father suffer.

"Anything?"

"Yes."

"What if I want you dead too?" Hans embraced Helga from behind and placed his knife to her neck. Helga could feel the cold, sharp metal grazing her skin.

"Go ahead. Even if you make me your slave, I don't care as long as you release Papa first."

"Helga," Herr Helmfried called out. But Helga ignored him.

Hans released his embrace. "Alright, if that's what you want."

"Release Papa first!" Helga cried.

"Fine, fine! Release Herr Helmfried." The soldier guarding Herr Helmfried untied his restraints. Herr Helmfried immediately rushed to embrace his beloved daughter.

Hans retrieved a rope from his pocket, grabbed Helga's legs, and tied them to the table. His hands roamed over her legs, then up to her waist and face. He roughly grabbed her face and kissed her cheek without feeling anything. A red mark appeared there. "Consider it as a return of my love for you. Because I never had any feelings for you."

"You bastard, Hans," Helga spat.

Hans snickered happily. He reached into his pocket again and pulled out two grenade bombs. "The problem is not about who is released."

Hans pulled the pin on the bombs, activating them. Both bombs would explode in five seconds from now.

Helga's eyes widened in panic. She shook her legs and arms to try and break free from the table restraints. Herr Helmfried tried to untie her, but the rope was tied too tight. "Throw away the bombs," Helga ordered.

Helga knew she had made a mistake when Hans threw both bombs into the bunker and closed the door. "Instead, it's about who can get out of the bunker to survive," Hans added.

Helga screamed from inside the bunker, calling out to Hans. But the sound of the grenade explosion drowned out her screams.

Blackness. Helga did not remember anything else except for blackness.

In Development

 

The Beat Goes On: The soon-to-be-released jukebox musical The Beat Goes On has officially announced the final additions to its cast. Renee Elise Goldsberry ("Girls5eva", Waves) will play the wife of Will Smith's character, Donald Glover (Batman Beyond, The Void) will play a New York-based rapper with musician/rapper/record-producer Questlove as his rap partner. William Fichtner (X-Men, OZ) will play the final role of a famed music journalist. Ryan Coogler directed from a script by Chad Taylor.

Red Wolf: Wanderer: Hot off her GRA award-winning performance in Territory last season, Grace Dove (Territory, Pocahontas) is set to reprise her role as Red Wolf's love interest in the sequel. Irene Bedard (Red Wolf, "Alaska Daily") and Mo Brings Plenty (Red Wolf, "Yellowstone") are also set to return as the title character's mother and uncle, respectively. Sterlin Harjo is also back to direct the Marvel Universe sequel from a script by Dwight Gallo and Jimmy Ellis.

The Incredible Shrinking Man: Ryan Kiera Armstrong (Idlewild Ranch, Letters), Judy Greer (Sleeping Beauties, Aporia) and Cary Elwes (The Maid, Wolfenstein) have joined Andrew Garfield and Mary Elizabeth Winstead in the new adaptation of The Incredible Shrinking Man. Armstrong will play the daughter of their characters, while Greer and Elwes will play doctors trying to make sense of Garfield's shrinking condition. Jason Reitman directs from a script by Billy Cruder, based on the novel by Richard Matheson.

Watch Dogs: The studio appears to sparing no expense with its latest video game adaptation as well-known talents Daisy Ridley (Tail, Alien: Isolation), John Cho (Spider-Man, The Great Beyond) and Lea Seydoux (The Driftwood Populace, Task Force X: Chaos and Madness) have been added to Gerald Butler-led Watch Dogs in supporting roles. Ridley will play a hacker, Cho will play a mob fixer, and Seydoux will play Butler's sister. Neill Blomkamp is directing the film from a script by Joshua Collins.

The Spectre: It was announced at the Season 28 LRF Comic-Con that Nicolas Cage (Tomato Can, Carpenter) would star in a film adaptation of the supernatural DC Comics character, The Spectre. In the film, Cage will play detective Jim Corrigan who is given otherworldly powers to avenge his death at the hands of dangerous criminals. Also joining the film will be Michael Berryman (Swamp Thing 2, The Mad Hatter), reprising his role as the Phantom Stranger from last season's Swamp Thing 2. Michael Sarnoski (Pig) is set to direct as his LRF debut. John Malone  (Namor the Sub-Mariner: Imperius Rex, Carte Blanche) penned the film.

The Actors: Gillian Jacobs (Alex + Ada, The Invincible Iron Man) and James McAvoy (Mass Effect: First Contact, Stray Dogs) are set to star in the latest film from writer/director Alex Conn (Once Upon a Time in Greenwich Village, Free the Chicago Seven!). In the film Jacobs will play an actress who has yet to find success. Her life changes when she encounters her former high school classmate (McAvoy) who has become a star on Broadway.

Release: The Hunchback of Notre Dame

 

The Hunchback of Notre Dame

Genre: Historical/Musical/Drama

Director: Sam Taylor-Johnson

Writer: Walter McKnight

Based on the animated film and the novel by Victor Hugo

Cast: Taron Egerton, Hailee Steinfeld, Aaron Taylor-Johnson, Christopher Walken, Robert Sheehan, Bernard Hill, Charlie Murphy, Santiago Cabrera, Peter Serafinowicz, Matt Berry

Budget: $100,000,000

Domestic Box Office: $117,394,002

Foreign Box Office: $230,029,558

Total Profit: $82,584,656

Reaction: Writer Walter McKnight seems to have figured out a formula with his animated film adaptations. He's written three now and they are his three highest grossing films in his career.

"Another example of how to do a live action remake of an animated classic. Though I did enjoy this adaptation of The Hunchback of Notre Dame, it rarely reached a level that made me want to rantingly praise it. I found the music fun and Walken as the villain was a huge plus but most of it didn't hit as hard as I would have hoped." - Ayan Goldman, The Commercial Appeal

"The casting is what really tied this one together. I didn't envy the filmmakers trying to find the right man for Quasimodo, as they would need to work hard to bring life and energy to the role under extensive makeup and prosthetic effects, but Taron Egerton managed to absolutely nail it. For a musical I could have used a little more music, but that's a minor quibble." - Dave Manning, Ridgefield Press

"This darker, more grittier take on the Hunchback of Notre Dame does a lot of things right, removing the gargoyles, giving Clopin more of a role and further fleshes out its characters. Ironically, though, it’s in the lead where I have reservations. Egerton is not someone that first comes to mind for this role, but he makes the most of what he’s given alongside Hailee Steinfield, Aaron-Taylor Johnson and Christopher Walken. On the whole, it’s what a Disney remake could, and really should more often be." - Mitchell Parker, New York Times

PG-13 for violence and thematic material