Tag Archives: Alabama Theatre

Light in August

Friday, August 24

One of William Faulkner’s best novels is Light in August (1932). There is much speculation about the meaning of the title – a reference to a house fire, a reference to the pregnancy and impending delivery (getting “light” again) of the character Lena Grove. I prefer Faulkner’s explanation:

. . .in August in Mississippi there’s a few days somewhere about the middle of the month when suddenly there’s a foretaste of fall, it’s cool, there’s a lambence, a soft, a luminous quality to the light, as though it came not from just today but from back in the old classic times… It lasts just for a day or two, then it’s gone. . .

I thought of Faulkner’s lambent light in Birmingham recently as I walked from the Redmont Hotel to opening night of the Sidewalk Film Festival at the Alabama Theatre. There was a cooling breeze and the late-summer sun was low in the western sky, casting a golden light on tall buildings and church steeples as I passed.

That was a quiet moment before I turned onto 3rd Avenue N., sighted the Alabama Theatre marquee, and saw the line of a sell-out crowd for opening night of the 20th annual Sidewalk Film Festival (www.sidewalkfest.com).

The opening night movie, White Tide: The Legend of Culebra, documents a bumbling real-life caper involving Floridian Rodney Hyden’s search for a legendary stash of cocaine buried in the Caribbean. Director Theo Love presents Hyden and other principals of the story to create reenactments and interviews.

The filmmakers, along with Hyden and his wife, Jamie, were brought to the stage for the post-screening Q and A. Afterwards, the Alabama Theatre hosted the opening night party featuring a treasure hunt. The party was tempting, crowded, and noisy. I made my way from the upper balcony to the lobby and out the door as I headed back to my hotel.

The Sidewalk Moving Picture Festival began in 1999. My first was the 2003 edition; I was instantly hooked. Eventually I was on screening committees for the SideWrite screenwriting competition and this year, for the second time, I was honored to be selected as a Juror for the SideWrite screenplay competitions.

Sidewalk and its partner, SHOUT! festival of LGBTQ-themed films, present a couple of hundred titles screened in ten venues over three days with preliminary screenings and year-long events leading up to Sidewalk’s Friday night opening in late August.


Lyric Theatre

Saturday, August 25

Total immersion in movies begins on Saturday. Michelin Stars: Tales from the Kitchen, directed by Rasmus Dinesen (www.michelinmovie.com), feeds into my interest in food culture. It investigates how Michelin star ratings are determined and how chefs attain them. The movie was slow-paced, not as accessible as some of the memorable food-centric movies I’ve seen in previous years; I’m particularly thinking of the Ella Brennan documentary, Commanding the Table (www.ellabrennanmovie.com), and The Search for General Tso (www.thesearchforgeneraltso.com).

Feature length documentaries are my primary draw at this festival. I like the opportunity to see stories I might not otherwise see and to see them in an actual theatre with an audience. Three Identical Strangers (www.threeidenticalstrangers.com), by director Tim Wardle, documents the story of identical triplets who were separated as babies and raised in different households. A serendipitous movie about three carefree young men who find each other grows darker as the three learn the circumstances of their birth and separation.

A director friend came to Sidewalk several years ago to screen one of his films. He commented that the name of the festival makes sense since you are constantly pounding the sidewalk to get to the next screening. Steven’s comment came to mind as I rushed to First Church Birmingham’s screening of The Gospel of Eureka (www.thegospelofeureka.com), directed by Donal Mosher and Michael Palmieri. The Gospel … examines the coexistence of one of America’s longest-running outdoor Passion plays with the LGBTQ community of Eureka Springs, Arkansas – all under the stony gaze and outstretched arms of the Christ of the Ozarks statue.


In the early years of Sidewalk, one of the growing pains was the dearth of places to eat near the theatres. Lyric Hot Dogs in the old abandoned Lyric Theatre building was a godsend in those years and was always packed with festival patrons. Food trucks were often brought in to take up part of the parking lot along 19th Street.  Unfortunately, Lyric Hot Dogs was a casualty of the Lyric Theatre renovation – pushed out in the name of restoration. That loss is still felt.

In the meantime, with the resurgence of downtown, a host of dining opportunities have opened in the area. One of the best options for variety is the food hall at the Pizitz, a legendary Birmingham department store whose flagship location has been converted into a multi-use facility with retail, offices, and apartments (www.thepizitz.com). There are over a dozen dining options at the Pizitz, all centered around The Louis bar on the ground floor.  Even more exciting for me is that the Pizitz will soon be home to two 100-seat movie theatres, the Sidewalk Cinema, providing a year-round showcase for independent films.

Thomas Jefferson Tower, Birmingham

After three documentaries in quick succession, I was ready for a break and made my way to the newly renovated Thomas Jefferson Tower for a late lunch at Roots and Revelry (www.roots-revelry.com). The Thomas Jefferson is a 19-story hotel, opened in 1929 (www.tjtower.com). It was abandoned for years and has been restored for residential living and retail. A most notable piece of trivia about the TJ Tower is that it still has its zeppelin mooring mast rising from the roof. In 1929, the prospect of mooring airships on the roof of a high-rise hotel was a realistic and practical one. This was, after all, eight years before the Hindenburg disaster.


After a relaxing meal, I returned to my day of documentaries. Next up was Stephen Kijak’s If I Leave Here Tomorrow: A Film about Lynyrd Skynyrd. I was never a huge fan of Skynyrd although “Sweet Home Alabama” is ubiquitous in Alabama and many a late night was reenergized by “Free Bird.” I saw the band for the first time at the Georgia Jam, a stadium show in Atlanta, in 1974. They were one of several bands in a day-long event that ended with the Allman Brothers Band. Kijak’s documentary covers all of the high and low points of the band’s existence and brought back a lot of memories of the 1970s and my college years. I saw Skynyrd a couple more times before the 1977 plane crash.

My day concluded with Western Hills – Sarah Marie Orr’s “making of” documentary about Birmingham musician Dan Sartain and the process of recording his album, Western Hills. I was drawn by the movie’s title, inspired by a mall in the western section of the Birmingham metro. Western Hills Mall has fallen on hard times and has been the site of gang violence, but it was a prime shopping destination for my mother and grandmother when I was a kid.

Dan Sartain, star of “Western Hills”

Sartain, an erstwhile Piggly Wiggly butcher, previously released an album called Century Plaza, whose title is inspired by another defunct Birmingham mall. Western Hills is not about its eponymous mall, but is about the making of an album featuring Sartain’s remakes of “western” music. Orr’s documentary is the epitome of low-budget indie – quirky, personal, and odd. As the credits rolled, Sartain hit the stage with his guitar to perform a couple of songs from the album. I went to sleep that night with the “Theme from ‘Rawhide'” ringing in my ears.


Sunday, August 26

Skizz Cyzyk’s documentary, Icepick to the Moon (www.fredlanedoc.com), encompasses events I witnessed, some of which had their genesis in my own back yard. Checking out of the Redmont, I headed over to the Birmingham Museum of Art for the screening.

Raudelunas (www.raudelunas.com) was a 1970s artists’ collective in Tuscaloosa during my college years. It was highly influenced by Dada, Surrealism, and Alfred Jarry’s concept of “Pataphysics,” which is metaphysics on acid (but trippier). The talented Raudelunas artists came from all fields, especially music and visual arts. Two Raudelunas principals, LaDonna Smith and Davey Williams, founded TransMuseq, an improvisational music ensemble and record label, and are known internationally for their experimental music (www.transmuseq.com).

I knew many of the Raudelunas principals and its breakout act, Rev. Fred Lane – who performed in a tuxedo jacket and boxer shorts with his face liberally covered in bandages, lived in an upstairs apartment directly behind my four-plex in Tuscaloosa’s student ghetto. Rev. Fred Lane was the stage persona of artist T.R. Reed, who is now known for his elaborate and fantastical whirligig sculptures (www.whirligigman.com).

Arriving at the museum, I realized that there were people waiting in the lobby that I knew in the Tuscaloosa years but I decided I wanted to stay anonymous. I probably should apologize to anyone who might have recognized me. I wasn’t snubbing them; I just wanted to play the role of moviegoer.

Icepick to the Moon is a wickedly wacky evocation of a certain time of creative fomentation in Tuscaloosa. The documentary footage of events like the Raudelunas Marching Vegetable Band in the University’s homecoming parade – which I remember well – captures a sense of the creative lunacy that lurked around the University when I was an impressionable undergraduate. I attended a number of Raudelunas and Trans events at the time but was too naïve to appreciate the full impact of what was happening at their “Happenings.” Over time, I have begun to more fully appreciate what I was seeing. Rev. Fred Lane’s “(Having lunch with a) White Woman” was, and is, one of my favorite lyrics ever (right up there with David Johansen’s “Frenchette” from the same era).

Mapplethorpe, directed by Ondi Timoner, is a narrative feature about artist Robert Mapplethorpe starring Matt Smith. The film is sketchy and fragmented and doesn’t feel completely true to its complex title character. Mapplethorpe’s relationships with Patti Smith and Sam Wagstaff feel oversimplified and at odds with what is known about both of those relationships from other sources (especially Patti Smith’s excellent memoir, Just Kids). Mapplethorpe’s mercurial nature comes across as one-note through much of the film. But, as Birmingham Museum of Art director Graham Boettcher said in his introduction, it was nice to revisit the 60s, 70s, and 80s in the film.


On a Sunday morning at Sidewalk in 2009, I saw a movie that I still regard as one of my most transcendent experiences at the Festival. 45365, Bill Ross IV and Turner Ross’s meditation on a small Ohio town, is a moving piece of non-linear visual art in which all the elements come together to achieve a cinematic stunner. I still recommend it frequently to anyone who hasn’t seen it (www.45365movie.com).

When preparing for Sidewalk 2018, I had high hopes for my final screening of the weekend. I hoped that Hale County This Morning, This Evening (www.halecountyfilm.com), by director RaMell Ross (no relation, as far as I know, to the Ross Brothers), might live up to my memories of 45365. RaMell Ross’s documentary, set in Alabama’s Black Belt region, won a Special Jury Award at this year’s Sundance and has received well-deserved critical acclaim.

Hale County, Alabama, is a small rural county in an impoverished region of Alabama. Despite an out of the way location, the place, which flourished in the cotton economy and floundered in the 20th century, has lured writers, artists, and visionaries over the decades. Walker Evans and James Agee were based there while working on the book that became Let Us Now Praise Famous Men. Artist William Christenberry’s life’s work focused on Hale County. Architect Samuel Mockbee chose it to be the home base for Auburn University’s innovative Rural Studio.

In many ways, RaMell Ross takes the buildings and landscapes that Christenberry photographed and immortalized and shows us some of the people who inhabit them today.

The movie focuses on two young men – Daniel and Quincy – and spans half a decade. Daniel goes to college as an aspiring basketball player; Quincy has a family and works in a catfish processing plant. The strengths of the movie, however, are in its acute reflections on place. A toddler runs back and forth through a room to exhaustion, never giving up on a quest known only to the toddler. A ball is dribbled and the camera focuses on the drops of sweat collecting on the gym floor. Car headlights are paused on a highway for deer that casually cross. We are at the conclusion of a baby’s funeral. A long sequence past cotton fields along a road is one of the movie’s most lyrical and memorable sequences.

A long shot takes us down a parade route on Greensboro’s Main Street. At one moment, later, the camera veers off Main Street and stops at an antebellum house. Archival black and white footage of pioneering early twentieth century entertainer Bert Williams, a black man who performed in black face, peers through bushes at the contemporary scene in one of the movie’s signature tropes.

Ross interrupts his movie’s flow with rhetorical text statements that add to the mystery. He asks us to look, to listen, and to decide what to take away. Hale County This Morning, This Evening is a good movie, a compelling movie that never fully soars.

I don’t know. I want to see it again.

As I reflect on my Sidewalk #20, I realize that cinema – like politics – is local. Out of dozens of titles to choose from, I chose to see movies, sometimes inadvertently, that had some personal reference and connection. I guess I still seek definitions – for self, for experience, for art – in a dark theatre, watching a movie, on a late summer day. 

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Meandering at the Sidewalk

IMG_1910 The Sidewalk Film Festival in Birmingham (www.sidewalkfest.com) has become one of my annual milestones. Held in downtown on the last full weekend of August, Sidewalk’s 2015 edition had over 250 screenings on nine screens in six locations within sweaty walking distance during roughly a 52-hour period. There are also workshops and panels, outdoor concerts, and nightly after-parties.

What I like most about this particular event is its intense brevity. Basically the screenings start with an opening night event on Friday at the Alabama Theatre and everything ends with an awards show, back at the Alabama, late on Sunday (www.alabamatheatre.com). This leads to exhaustion but it also provides an opportunity for lovers of indie movie-making to experience total immersion in a short span of time at venues that are in reasonably close proximity. There’s no way to see everything one wants to see and participants know that going in. As the name suggests, it keeps the downtown sidewalks busy. And it brings movies and movie-makers to Birmingham that would likely not play the city otherwise.

2015 marks the 17th Sidewalk. The event began as the Sidewalk Moving Picture Festival (a name I prefer since it is more reflective of 21st century media) but common usage won out and it is now officially the Sidewalk Film Festival. Sidewalk is produced by the Alabama Moving Image Association and has steadily grown in size and influence since its 1999 debut. Much is still made of Sidewalk’s designation a few years ago by Time magazine as one of the “Top 10 Film Festivals for the Rest of Us.” Birmingham’s SHOUT LGBTQ Film Festival, another AMIA production (www.bhamshout.com), joined the Sidewalk line-up in 2006 and shares dates and venues annually.

While Sidewalk is international in scope and programming, it makes an earnest effort to screen local product and give Alabama artists a showcase. Scattered throughout the event are screenings of Alabama-centric features and documentaries as well as programs of Alabama narrative and documentary shorts. The Sidewrite screenplay competitions include a separate category for scripts by Alabama writers. The festival has been a proven catalyst for the emergence of a much more vital and energetic film community in Birmingham and throughout the state.

One of my must-see screenings this year was Norton Dill’s documentary, Q: Alabama’s Barbecue Legends, a production of the Alabama Tourism Department in honor of 2015 as “The Year of Alabama Barbecue.” Q is an enjoyable survey of the scope of barbecue in the state with the usual suspects featured as well as a few lesser-known joints. The diversity of attitudes and opinions captures the complexity and variety of barbecue in Alabama. It’s a good documentary although I had hoped for it to soar.

IMG_1917Even though I am a film buff, one of the particular pleasures of Sidewalk for me is the opportunity to just wander around downtown Birmingham and soak up atmosphere. The historic 4th Avenue Business District hosts a jazz festival on the same weekend as Sidewalk and it’s always fun to hang out on 4th Avenue and listen to the music between screenings. The 4th Avenue District is home to a favorite quirky Birmingham attraction, the Eddie Kendrick Memorial Park, dedicated to Eddie Kendricks, lead singer of The Temptations (Eddie Kendrick apparently added the “s” to his last name when he joined the group). IMG_1911

The Alabama Theatre, a 1920s movie palace and the centerpiece venue of Sidewalk, is part of Birmingham’s “Theatre District.” This might seem to be an odd designation since the Alabama is the only historic theatre still in operation on that part of 3rd Avenue North. However, there was a time – and I am old enough to remember the latter part of it – when the Alabama was in the center of a group of at least fourteen movie and live theatre venues stretching from 17th to 21st Streets around the 3rd Avenue core. Before suburban megaplexes, downtown Birmingham around 3rd Avenue North was where one went to see movies. I well remember as a child and even into my college years when the neon movie marquees along 3rd Avenue were bright, plentiful, and enticing. IMG_1923

Today, there is the Alabama. The McWane Science Center next door has a state-of-the-art IMAX theatre and Red Mountain Theatre Company has a cabaret performance space in the basement of the old Kress Building. The Carver Theatre around the block in the 4th Avenue District does double duty as a performance and screening space and the home of the Alabama Jazz Hall of Fame (www.jazzhall.com).

Still, Birmingham’s Theatre District is lackluster when compared to its former neon-lit grandeur. A hopeful sign in downtown this year was on the old Lyric Theatre, caddy-corner across 3rd Avenue from the Alabama. Its marquee proclaimed

WELCOME SIDEWALK

NEXT YEAR WE’LL BE HERE

The Lyric was a 1000-seat performance venue built in 1914 for live vaudeville shows. The Marx Brothers, Mae West, and Milton Berle are listed among its marquee attractions. As movies and the Alabama began to dominate, the Lyric became a second-run movie theatre and by the 1970s it was a seedy adult movie house. People still talk about Deep Throat’s run at the Lyric; by that time the Lyric was known as the Roxy. The Lyric made a memorable cameo in the climactic scene of Bob Rafelson’s 1976 Birmingham film Stay Hungry in which a bunch of bodybuilders poses on the Lyric’s fire escape. After the Lyric closed in the 70s, it went through a sad decline; after the restoration of the Alabama, attention returned once again to the Lyric. Its renovation is well underway and it is slated to once again become a venue for live performance (www.lightupthelyric.com).

After years of photographing the Lyric, it will be nice to relax and enjoy a Sidewalk movie there in 2016. IMG_1913