I’m lounging in the uber cool Undertown Cafe underneath Taylor Street in Port Townsend, Washington. I’m having an in-depth discussion on the effects of beauty on the soul with filmmaker Devi Snively. She calls herself a directrix and wields a ghastly boutique of award-winning films. She is her own brand. Deviant Films is her trade mark and her eye for the macabre is her certain je ne sais quoi.
After a few sips of Sangiovese (The Blood of Jove) and a dozen or so oysters, we both conclude that it is the unexpected splendor of another’s creative expression that utterly stirs our hearts. Not only were we intellectually aroused, but we often found ourselves induced to tears. Whether it was a fine painting, an exquisite piece of jewelry, or an independent film, it could make us weep unwillingly if it reflected an innate sense of perfection.
What has brought this stellar filmmaker and I together to discuss such affairs was another astonishing beauty. It’s called the Port Townsend Film Festival. This annual event is located in the center of a breath-taking 19th-century Victorian Seaport. With thousands in attendance and over 70 films and events to choose from, PTFF is one of the finest film festivals I’ve ever attended. And yes, throughout its weekend run, it induced tons of salty tears.
Let’s begin with the arrival of the directors, producers, and talent. A parade of vibrant vintage and classic cars (courtesy of Raker’s Car Club) one right after another, with a tuxedo clad M.C. Joey Pipia, barking witty commentary to an enthusiastic mob ensued. Photographers tirelessly snapped away while car doors opened to reveal the filmmakers and their entourages waving, curtseying, and bowing to the crowds. All of this pageantry was staged in front of the Haller fountain (Originally created for the 1893 Chicago Exhibition) at the base of the Taylor street stairs. It was a grand moment right out of an old Movietone newsreel. What a super cool idea!
When festival guest of honor, writer and actor Buck Henry (The Graduate, Saturday Night Live), arrived, hopping from a bright red 50′s roadster to booming applause, well, I thought that was the highlight of the evening. I was wrong. A hilarious repartee between Executive Director Janette Force and Buck Henry kept everyone amused. Then, the cutting of a celluloid ribbon with Board of Directors President Jane Champion as Buck announced, “The 12th annual Port Townsend Film Festival is officially open!” Hoots and hollers filled the northern air while special ticket holders and filmmakers where offered a dinner (once served by Elizabeth Taylor. Buck claiming it was the actual meal eaten several decades ago big laugh) and this festival was off and running.
I would have loved to experience the gala, talk to the talent, do my job, but a young woman stopped me at the gate (in spite of my laminated All Access Pass and official Press Credentials waving in her face) and stridently said, “You’re not allowed.” Now this wouldn’t have bothered me really, if several press folks didn’t breeze on in seconds before me. Later, that same band of media gate-crashers waved at me with their plates full of food, as if to say, better luck next time, sucker. No worries though, because a very astute Garrett Bennette (director, Shuffle) pillaged a glass of merlot. He handed it to me on the sidelines as we discussed his suspense thriller with his producer, Quinn Rudee. Their short film would later appear in the Reviewer’s Choice at the Rosebud Cinema later that evening.
Luckily, I met with the gracious Janette Force prior to the festival opening. On the second floor of an ominous Victorian greystone is the refurbished headquarters of the Port Townsend Film Institute. Creaking up the huge staircase was a scene right out of any good thriller. When I arrived at my destination, I waited to catch my breath before walking into the “œden of busy women”. The office was lively with activity, everyone at their computers preparing for the grand opening only weeks away. Yet, in spite of their hectic agendas, they would stop whatever they were doing to talk about “the movies”. These where die-hard cinefiles, after all, and it was sheer bliss being around all their genuine enthusiasm. Short bursts of critique concerning recent box office fare The Help and The Debt swirled around the office for a while. Then, as quickly as the conversation began, it was over as the gentle tapping of computer keys replaced the engaging banter.
After I commented on the excellence of this year’s program, Janette was quick to credit Festival Programmer Jane Julian. Evidently, she scoured the entire country, watching hundreds of films to offer a line-up suited to the Port Townsend frame of mind (pun intended). From what I could gather, Jane reached her goal and then some. All the narratives and documentaries were double features, with a short film to compliment the headliner. Films such as Hello Lonesome (PTFF winner for best Narrative feature) was coupled with the comedy short Walter (starring veteran actor Paul Dooley, the voice of Sarge, Cars I & II). Both films were humorous takes on spouses dealing with the tragic loss of their significant other. Then there were larger themes that transcended these venues to include the entire festival, and so on and so on – impressive programming and a helluva lot of people hours to produce.
I also received a hefty helping of DVD screeners. It should be noted that one of the amazing perks of joining the Port Townsend Film Institute, which presents the festival, is that you receive screening rights to all their films past and present. Amazing. I was lucky, too, in that I was able to watch a lot of this year’s fest even though I only had four seats. Believe you me, I used those passes wisely.
All five theatres (all within walking distance) were screening simultaneously. Not to mention the outdoor theatre created on Taylor Street complete with projection both, big screen, and bails of straw for comfortable open-air seating. The film that evening was the classic National Velvet starring Elizabeth Taylor and Mickey Rooney. It was wonderful watching movie buffs and a whole new generation of movie-goers sitting under the stars, all enjoying this 1944 Technicolor drama.
The following night it was Back to the Future with Michael J. Fox and Christopher Lloyd, directed by Robert Zemeckis of Forrest Gump fame. This screening was standing room only and bursting with zippy kids, colorful artists, and cute puppy dogs galore. It was a carnival of social hustle n’ bustle dipped in salty popcorn heaven; I loved every laughing, cheering, and applauding second of it.
The final night was really for the grown-ups with the PTFF’s screening of the romantic comedy drama Moon Struck. Cher slapping Nicolas Cage shouting, “Get over it!” seconds after he confessed he was in love with her, still encouraged thunderous laughter echoing into the cool, brisk Washington air. I can’t explain the splendor of watching one of your favorite films this way. Bravo!
In part II of my Festival roundup, I’ll include more highlights, my favorite film picks, along with a few interviews with filmmakers to keep an eye-on.
