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