www.margaretcho.com
“Notorious C.H.O.” Directed by Lorene
Machado Starring Margaret Cho
Margaret Cho does it again with her latest performance film. A follow-up to her hit, “I’m the One that I Want,” Cho’s newest film represents a return to pure stand-up even while she infuses it with political and social messages that allow it to rise above the normal doldrums of comic schtick.
Filmed in Seattle, Cho’s film begins with a hilarious crack on how she’s helping out the firefighters at Ground Zero. In characteristic Cho fashion, her joke is raunchy and sets the tone for the entire film, which is basically a comedy of sexual errors.
As a person who has become a symbol for many segments of society (overweight people, Asians, gays and lesbians, and women), Cho makes sure she has something for everyone. She does straight jokes and gay jokes and lesbian jokes. When she does the straight jokes, she even acknowledges the fact that her gay audience is annoyed and can’t wait for it to end. She does impressions of bimbos, a shy video store clerk and uncouth straight men, all with dead-on exactitude.
Usually, the funniest of Cho’s jokes and impressions is her mother, who is still hung up on the “gayness” around her. In this movie, Cho uses the impression of her mother to tell a story about Cho’s father’s gay experience. A pre-concert interview with Cho’s parents adds depth to the film’s documentary feel and shows how realistic Cho’s impressions are.
Cho remains funny as ever and maintains her cult following with jokes that will no doubt be echoed by her loyal fans. In fact, the film begins with fans doing imitations of her imitations of her mother and reciting lines from her previous stand-up moments, such as the “Ass Master” routine. Cho delivers the goods.
Yet, Cho also retains the monologue quality of her previous film, which seemed to be therapeutic and personal rather than just a bunch of fart jokes. Near the film’s conclusion, Cho makes a series of political and social statements that are both strong and affirming to her audience, who, she admits, is made up of people who need a place to belong. The ending’s seriousness puts a surprising cap on the entire show, making one realize that her jokes are ultimately about accepting who you are and being happy with it. After seeing her on stage, perhaps the other social rejects will have the courage to accept themselves as she has done.
-Howard Ho
“Sex and Lucia” Directed by Julio Medem Starring Tristan Ulloa and Paz Vega
If you loved “Y Tu Mama Tambien,” you’ll love “Sex and Lucia.” It is just as provocatively sexy, honest and emotional. While not political, “Sex and Lucia” creates a wonderful tale of interlocking characters told in a non-linear style of flashbacks akin to Christopher Nolan’s “Memento.”
Yet, this film connects more to the films that came even before “Y Tu Mama Tambien” and “Memento.” Its beauty and power echoes Fellini’s style and other classic European films. Shot in a bright, over-saturated exposure, the light of the film is blinding, looking a little like a Spielberg film but with more emotional complexity and subtlety.
In the film, an accident has destroyed a love relationship between a writer and his sexy girlfriend. Slowly, their pasts are revealed and we see the characters come to grips with their regrets and reconcile.
In a word, “Sex and Lucia” is anti-Hollywood, delivering highly personal stories with a no-holds-barred approach to filmmaking.
Each shot is exquisite, using a variety of camera angles, movements and points of view that make Hollywood filmmaking look like the formulaic trash that it often is. Certain shots, such as clouds moving over the moon or a girl swimming toward her mermaid mother, will haunt you long after this movie is over.
There are only two caveats to the film. The first is the pace; the film crawls until about half-way through, when the pieces of the puzzle start to come together. The other is the overt sexuality, which may bother some of the squeamish who don’t want to see so much nudity and sex within such a short time span.
But these missteps do not harm the overall emotion of the film, which should leave the more sensitive viewers in tears. The sexual freedom and honesty of this film only adds to the film’s ultimate message, which is love’s ability to overcome a murky past.
-Howard Ho