Spielberg's The Terminal

[mgraham333]

By Roger Friedman:

You can't really tell from the posters or ads what the new Steven Spielberg movie "The Terminal" is supposed to be. Is it a comedy or a drama? Is it existential, philosophical or satirical? On Friday, I said the movie scored high with test audiences, and that a circled 85.7 indicated a B-plus grade. But DreamWorks' Diana Loomis pointed out to me that "The Terminal" actually scored a 90, which was also circled. "That's an A, the way you grade," she said cheerfully.

Well, last night I managed to wedge myself into a very small, private screening of "The Terminal" that was held for producers of TV talk shows who are going to be interviewing the cast this week. (The big screening is set for Thursday, and a premiere is being held in Los Angeles prior to the June 18 opening.) Conan O'Brien was there in the back row wearing a baseball cap. The lovely Sue Solomon attended from "The View." I guess we were all the people who didn't get invites to The Tony Awards!

So, what is "The Terminal?" In a nutshell, it's a Christmas movie delivered to us in June. It's very essentially Spielberg, and in the end it carries the message of his most beloved movies: it's about trying to get home.

Tom Hanks, bouncing back nicely from his bizarre turn in "The Ladykillers," is really terrific as Viktor Navorski, a refugee from a Russian satellite country who winds up without a passport when his government is overthrown during the course of his flight. Victor arrives at a JFK-like airport in New York and is unable to clear customs. He is stateless, and stuck in a diplomatic Twilight Zone. Unlike the man whose story "The Terminal" is loosely based on, however, Viktor is apolitical. He has simply come from Eastern Europe to New York on a personal mission. He plans on returning to his homeland when the mission is completed.

When the point of all this is finally revealed at the three-quarter mark you will either be moved or confused. I have to tell you, I thought it was poignant and worked. In fact, it was kind of genius. I won't tell you the whole thing, but it all has to do with the famous 1958 photograph, "A Great Day in Harlem," and jazz great Benny Golson.

Much of the film revolves around Hanks, whose character speaks a Russian dialect and very little English. The performance is certainly Oscar-worthy and among his best work. (It's a lot better than the dreadful "Cast Away," although Hanks' character here does share some of the same characteristics, at least in the beginning when he's stranded in the airport. A tin can of Planters Peanuts plays the role of Wilson the Soccer Ball in this movie, except this time there's a point.)

It helps, too, that Hanks doesn't showboat around in "The Terminal," but adds himself to the cast of wonderful character actors including Stanley Tucci, Chi McBride, Diego Luna, Zoe Saldana and the remarkable Indian actor Kumar Pallana.

Unlike some actors, Hanks, who's getting near 50, has allowed himself to age naturally. His face is a little puffy and there is a distinct piece of luggage under one eye. He is not what kids would call buff; in fact, he is now officially lumpy. All of this physicality adds to his character. His Viktor is extremely likeable and human, which is extremely important in order for Spielberg to sell this idea.

There's a lot to say about "The Terminal," all of it good. For one thing, the set, which looks like a very real airline terminal, was built in an airport hanger. For frequent fliers there are plenty of good inside jokes, too, and recognizable bizarre nuances. (Romantic rendezvous are made at the Sbarro. Existence in the airport is almost more surreal than in the chalk-marked town of "Dogville" in Lars von Trier's movie.)

My favorite scene, though, will always be a candlelight dinner set up in the terminal for Tom's character by airport workers with Catherine Zeta-Jones. (She plays the same stewardess-having-an-affair-with-a-married-pilot that Jackie Bisset played in "Airport" some three decades ago.) Two things about the dinner: First, they are presented with two choices for their main course — the chicken or the pasta — as if airplane dining is normal. Second, Spielberg tries his hand at a secondary visual joke for the first time I can think of, with the brilliant Pallana showing off his circus skills as the evening's entertainment. It's the kind of non sequitur Woody Allen invented, Mel Brooks expanded on and the Zucker brothers perfected. It's kind of nice to see Spielberg take a crack at it, and succeed.

Source: Fox411

Edited June 7, 2004 by mgraham333

[Guest Chaney]

WARNING: MOVIE SPOILERS AHEAD

A Saxophone Hero's Big Break

By BEN RATLIFF

Published: June 13, 2004

BENNY GOLSON became one of the better young saxophone players in jazz during the late 1950's, particularly as a member of Art Blakey's Jazz Messengers, the long-running band that crystallized the sound of hard-bop. That was no small accomplishment: it was also the blossoming time of John Coltrane, Sonny Rollins and Wayne Shorter. Later in life, Mr. Golson became better known as a composer of small-band jazz standards, including "I Remember Clifford," "Stablemates," "Killer Joe" and "Whisper Not." But next week, Mr. Golson, 75, will become exponentially more recognizable, playing himself in a new film by Steven Spielberg, "The Terminal," which stars Tom Hanks.

In it, Mr. Hanks plays Viktor Navorski, a citizen of a fictional Eastern European country who is stranded at Kennedy Airport because of a coup at home. (Readers who don't want to know how the movie ends should stop reading here). Eventually the reason for his journey is made clear: he wants to collect the autographs of all the jazz musicians in "Great Day in Harlem," the famous photograph Art Kane took for Esquire magazine in 1958. It showed dozens of prominent players, including Mr. Golson at age 29, assembled in front of a Harlem brownstone.

Recently, when all he had seen of the film was the sequence in which he appears, Mr. Golson talked with Ben Ratliff.

BEN RATLIFF There are several other notable jazz musicians from that photograph who are still alive: Sonny Rollins, Hank Jones, Marian McPartland, Horace Silver. Why did Spielberg choose you?

GOLSON Well, I found out later. When it was all done, I sent Spielberg a special manuscript, a serigraph, of my song "I Remember Clifford." And I got a reply: "Thank you so much for the serigraph. `I Remember Clifford' has always been my favorite of your body of works." I'm not as famous as Sonny Rollins. But apparently he knows and likes my music.

RATLIFF Who contacted you?

GOLSON I live in both New York and L.A., and Spielberg himself called my office in L.A. I asked him who would I be playing, and he said, "Yourself." I went up to Montreal to shoot it. Spielberg made a nightclub set for me. He had asked me, "What kind of piano would you like?" I said, "Steinway," and it was there.

RATLIFF The film contains a mixed message about jazz. In one sense, it's saying that jazz has settled deeply enough into international culture that you're loved and appreciated from thousands of miles away. But when it shows you performing in New York, you're persevering with dignity at a Ramada Inn lounge, sort of hidden away. The truth is, a list of your accomplishments makes it clear that you're more important than this. You've possibly written more standards than any other living jazz composer. Jazz at Lincoln Center put on a big retrospective of your work three years ago. What do you think about your portrayal in the film?

GOLSON I'll surprise you: I don't think of it. All I do is pursue the music. Nothing else concerns me. My backward glances are few. My sights are always on what's coming tomorrow. I'm a dreamer, and hopefully my dreams are imperial ones. I can't even be influenced by critics. Sometimes we're not always sure where we're going. That, too, is part of the adventure, exploring things.

RATLIFF So it doesn't bother you that lots of people will confuse the version of you in the film with the real-life you.

GOLSON I guess I wouldn't want anybody to think I was a poseur. But I'm not even overly concerned about that. I can't say that the way I'm portrayed is of no consequence, but it's of lesser consequence than the music itself.

RATLIFF Have you ever played in a Ramada Inn?

GOLSON Never. Which is not to say that I never will. It just hasn't happened. All of this, with the movie, is just part of the adventure. Some of it's like a mouthful of cotton candy — there's not much there. But I'll take it, because the music is my life. I'd much rather do this than drive a truck, which is what I did before I moved to New York.

RATLIFF Have you had many experiences with strangers who come a long distance to get your autograph?

GOLSON Yes. Especially in Japan. Over there they can tell you who played third alto with Benny Goodman in 1939.

RATLIFF People have this increasing fascination with the "Great Day in Harlem" picture.

GOLSON And we had no idea at the time that it would be so important. I was a new boy in town then. Nat Hentoff called me and asked me to be there, and when I arrived, there were only four people I knew: Art Farmer, Johnny Griffin, Sonny Rollins and Dizzy Gillespie, because I was playing with Dizzy's band. I hadn't yet met Art Blakey, who stands in front of me, even though I was soon going to play in his band.

RATLIFF Have you been able to parlay this movie into anything for your own career?

GOLSON Yes. My attorney said, "Let's approach some record companies and see if we can get a deal." I had no deal at the time — it had been about two years. Concord Records said yes, and they gave me a tremendous budget. Since the film is called "The Terminal," I decided to get a little more specific: my album for Concord is called "Terminal 1." I recorded a piece on it, with that title, about the movie. The piece sort of describes what's happening in the terminal; the drums imitate the sounds of people coming and going.

RATLIFF You've seen so much of jazz firsthand. Have you written your autobiography?

GOLSON I finished my memoirs about a year ago. I don't know who's going to buy it — it's over 1,000 pages. I've got inside stuff on everyone you can think of. On John Coltrane, Miles, Dizzy Gillespie. But I said, "Wait a minute, Joe. I've got to put the Spielberg thing in there."

[Guest ariceffron]

WHAT THE F????!??!?!??!?!?? THE TERMINAL IS STARING TOM HANKS, CATHRENE ZETA JONES, AND *****BENNY GOLSON*******!??!?!??!?!?!?!??!? I SURE DIDNT HEAR THAT ONE ON ENTERTAINMENT TONIGHT. THAT RULES MORE THAN ANYTHING. I GOTTA SEE THAT

[couw]

you just peed your pants.

film at eleven.

[sidewinder]

Benny G was on BBC1 last night being interviewed as part of the Coltrane programme. He had some interesting snippets about Coltrane's appetite for big eats ('brain and eggs' I seem to recall.. ) and growing up in Philly. Great to see Benny get this level of exposure...

[Guest Chaney]

Great indeed, sidewinder.

This may be morbid but I'm a bit afraid for Golson as I'm recalling when Dexter Gordon starred in 'Round Midnight and received some late-career general acclaim and recognition. And what happens shortly thereafter? He dies!

Here's wishing Benny much success and good health!

[brownie]

Looks like Spielberg financed part of the costs of the film production by having commercial firms footing a number of bills. Many scenes from 'The Terminal' where shot in a Burger King set that was constructed for the film. Burger King paid for having their name fully displayed.

Same went for the various shops (some 40 outlets) that are shown in the film: Godiva chocolates, Au Bon Pain bakery, Krispy Kreme Doughnuts, Baskin & Robbins icecreams.

The film will be released here in September. Not sure I want to watch a giant advertisement movie but will probably catch this just to get a chance at seeing Benny Golson. Hope he did not have to pay for his participation!

[Dan Gould]

Well, all I can say is:

The Terminal just became a far more interesting film worth my attention

And

There's hope yet for Concord Records, if they signed Benny!

[BruceH]

will probably catch this just to get a chance at seeing Benny Golson.

Same for me. Just imagine the hundreds, perhaps THOUSANDS of jazz fans who will flock to this film for just that reason!

[Chrome]

GOLSON I finished my memoirs about a year ago. I don't know who's going to buy it — it's over 1,000 pages. I've got inside stuff on everyone you can think of. On John Coltrane, Miles, Dizzy Gillespie.

Please please please please please, etc.

[brownie]

Up.

The man who inspired the Spielberg film is alive and well (sort of!) at Paris-Charles de Gaulle airport where he has been stranded for the past 16 years!

AP is running a story on him today.

Spielberg's film may be ticket to new life for man who inspired it - after 16 years trapped at airport

By ELAINE GANLEY

Associated Press Writer

ROISSY, France (AP) - He has no address but his mail arrives just the same. The pharmacy takes his phone calls and the cluster of fast food restaurants assures a steady flow of food, handouts included.

Mehran Karimi Nasseri, for years a stateless person, inhabits a Kafkaesque world. A perpetual passenger stuck in transit, he has lived in Terminal 1 of Paris' Charles de Gaulle Airport for the past 16 years.

But change is afoot. His quirky story inspired Steven Spielberg's movie "The Terminal" starring Tom Hanks. It put money in Mehran's pocket and could be the ticket to a new life - if he chooses.

"Here, it's not life. It's just staying like a passenger and waiting for departure," said Mehran, who goes by the name Alfred Mehran.

"To be here is just like being in transit."

Gaunt and mustachioed, Mehran, 59, of British and Iranian parents, has ceded the rights to his story to Spielberg, according to the office of Mehran's lawyer, Christian Bourguet.

The price of the deal was confidential, the lawyer's office said.

Mehran claimed the deal with Spielberg's DreamWorks SKG was worth $450,000 and said it covers eventual books, television shows and movies over a 10-year period. Despite several calls to DreamWorks, the information could not immediately be confirmed.

"They have access to my life story," said Mehran.

Mehran's twisted personal history - which differs vastly from the Spielberg movie - is stranger than fiction.

The victim of an illicit love affair, Iranian politics, bureaucratic bungling and plain bad luck, Mehran becomes confused by his own confusing history. He has taken to saying that he hails from Florida and never had parents at all.

Life is clearly simpler on the curved red bench that has become Mehran's headquarters in Terminal 1's underground boutique level. Here, he is surrounded by cartons, packages and plastic bags of all shapes and sizes. Used paper cups are scattered about. Despite the makeshift lifestyle, he manages to maintain a slightly aristocratic air.

Mehran prefers speaking English and says he reads and writes profusely.

"I sleep here, I eat here, I read and study here," Mehran said.

He has no real friends, he says, but everyone at the airport seems to know him.

"He's at home here," said Michel Timotjevic, duty officer for South African Airways. "He's agreeable. He doesn't bother anyone."

Born in Soleiman, Iran, to an Iranian father and a British nurse, Mehran ended up adrift. Accounts of his life vary, but Mehran is known to have attended a British university in 1974. He was eventually imprisoned in Iran for demonstrating against now-deposed Shah Mohammed Reza Pahlavi, then expelled without a passport.

He went to Europe, applying for political asylum in several countries. In 1981, the U.N. High Commission for Refugees in Belgium gave him refugee credentials, but his briefcase containing the precious papers was stolen in a Paris train station.

French police later arrested him. He did at least one stint in a French jail. In August 1988, he turned up at the airport hoping to fly to Britain - without a passport. With no country to which he could be deported, he has been at the airport ever since.

This isn't the first chance Mehran has had to escape his Terminal 1 bunker. In 1999, the UNHCR in Belgium granted him refugee status again. He hedged, saying that he was waiting for a passport.

Today, Mehran reiterates his need for a passport, and says he wants to go to the United States or Canada.

"The money ... is not the point," he said, referring to his deal with DreamWorks.

Besides, he added, "Tom Hanks stayed one year in the airport, but I stayed 16 years. Amazing."

In the movie, Hanks plays an Eastern European traveler trapped in an American airport because of red tape.

Some doubt Mehran will ever go.

"He has made a place for himself here," said Karima Dubois, who works at the nearby pharmacy that takes his phone calls. "His world is here."

[bertrand]

Holy crap! I thought this wasa resolved years ago.

Bertrand.

[brownie]

Looks like the Terminal man has found a new life at the airport. Technically all he has to do to leave the terminal and go (almost) anywhere he wants, is to sign papers that would clear his situation. But he is not keen on doing this. A newsperson who interviewed him at length implies that the man is not really clear in his head!

What he says about his life would be good enough material for Spielberg's DreamWorks for a couple more movie projects and it looks like DreamWorks is ready to help him travel to Hollywood. But will the Terminal man accept this in the end?

[Dan Gould]

Holy crap! I thought this wasa resolved years ago.

Bertrand.

As Brownie says above, I don't think this guy wants it to be resolved.

Definitely a screw or two or three loose, if you ask me!

[Brad]

BTW, Benny's Terminal 1 is very, very good, especially his renditions of Killer Joe and Blues March. His playing is at top peak. Plus with Mike Ledonne on piano, how can you go wrong?

[BruceH]

BTW, Benny's Terminal 1 is very, very good, especially his renditions of Killer Joe and Blues March. His playing is at top peak. Plus with Mike Ledonne on piano, how can you go wrong?

And such a great name for an album, too!

...Well, uh...

Nevermind.