Deceptive Practice: The Mysteries and Mentors of Ricky Jay Molly Bernstein and Alan Edelstein 2012 USA | 88 minutes

Ricky Jay is a master magician. Like most magicians, he does not like to share his secrets. His grandfather raised him in the magic tradition, and introduced him to some mentors who are the real subject of the movie. Jay had no use for his parents. His friends became his family, but his teachers, the master sleight of hand artists like Dai Vernon, Charlie Miller, and others with names that end like Houdini's--Slydini and Cardini, and the great comic Flosso who made Ed Sullivan laugh-- raised him not just as a performing artist but as a human being.

Jay says, "The real key to learning is almost like the sensei master relationship in the martial arts. The way you want to learn is by someone that you respect showing you something." The mentors shown in the movie are his senseis. Ricky Jay spent untold number of hours with them, watching, refining, developing his art, until they trusted each other enough to show each other an "effect."

There is enormous risk in what he does. Exposure would be fatal. The code of conduct among magicians is iron clad. You do not reveal anything. And at his grandfather's funeral, the wand was broken in the same ritual that takes place every year at Houdini's grave on October 31, to show that with the magician's death, the wand has lost its magic.

Visually, interviews with Jay take place in front of mirrors, seated at bars. Suzie Mackenzie of the Guardian relates an effect that was done just for her, an intimate demonstration of Jay's tending to the details of what makes magic so amazing. We forget ourselves for just a moment, and think that logic has been suspended.

Some people might be frustrated by the amount of magic actually demonstrated. The few scenes that do show Jay performing are quite wonderful, especially when he was on the Dinah Shore show with Steve Martin, and when he was very young and had long hair streaming down his back. There are many scenes of Jay shuffling cards almost as an act of meditation. He does this extraordinarily beautifully if you can call shuffling an act of beauty. He and the cards are one. But the movie is not a recording of one of Ricky Jay's shows. That would be another movie, and one I would love to see. Bernstein and Edelstein's movie is about how a master magician became great, through working with others who he considered greater than he was until he could meet them as peers and share their trade in friendship.



I highly recommend this movie to anyone lucky enough to have access to it.
Here is the link to the movie:
Ricky Jay

Here is the link to Film Forum
http://www.filmforum.com/movies/more/deceptive_practice_the_mysteri

From Up On Poppy Hill

I think that the world would be vastly improved with Hayao Miyazaki as its landscape architect.  Imagine your street, now a slab of concrete sidewalks, lined with trees and flowering shrubs.  There,  don't you feel better?  From Up On Poppy Hill is directed by Goro Miyazaki, Hayao's son, but the influence of the father is in every frame. Hayao's screenplay provides the story, and the lavishly painted backgrounds provide the beauty we have come to expect from a Miyazaki production.

Poppy Hill is a neighborhood in Yokohama where a girl named Umi lives in 1963.  She has taken on the responsibility of cooking for the boarding house owned by her grandmother.  Umi's mother is in America studying for what I am not certain.  Her brother and sister live in the boarding house along with a handful of sympathetic residents. Her father was killed in the Korean war when he was a captain on a supply boat. Umi's ministrations in the kitchen show her to be a competent cook, and conscientious worker.
However, she is still in school, attending classes every day.  Next to the school house is a clubhouse attended by boys interested in archeology, philosophy, chemistry, literature, and other things.  Their home base is a beloved wreck of a place, stuffed to the gills with years of accretions.  It makes Citizen Kane's basement look like a tidy pantry. It is part of the ethos of the movie to honor the past not just for nostalgia, but as a traditional Japanese value.

The Tokyo Olympics are to take place in 1964, and all of Japan is busy cleaning up, putting on its best face, trying to impress the world with its modernity and efficiency.  Taking down an old building would be part of this cleanup.  Umi joins forces with the boys in the clubhouse, and with her expert and conscientious cleanup efforts, they take their cause to the man who would be razing the building.
I loved the use of the song, "Sukiyaki," a song I remember well from my youth, shot through with longing and tenderness and the inevitability of a love affair cut off too soon.