@NYFF53 Closing Film: Traveling 'Miles Ahead' and Taking Wild Detours With Don Cheadle

Miles kin: Vincent Wilburn, Jr. (nephew), Cheryl Davis and Erin Davis (children) after the press and industry screening of "Miles Ahead." Photos by Yours Truly.

DON Cheadle and Aaron Sorkin are on the same page in their approach to the biopic.

Both are on the record, emphatically stating their lack of interest in a "cradle-to-grave” treatment.

An approach in the case of "Miles Ahead" that will surely raise hackles among those expecting the expected and grousing about what has been left out. In a work that was never meant to be exhaustive, incidentally.

“It would be done better as a documentary," DC said about that traditional approach to "Miles Ahead" during the press conference after the press and industry screening of the film, which was attended by several MD family members.

The Miles Davis biography, the closing film of the 53rd New York Film Festival, has its world premiere this evening. Not only does DH star as MD, he also directed the film and co-wrote the script.

AS gets a writer's credit on a film about another controversial, visionary cat: the eponymous “Steve Jobs,” the NYFF53 centerpiece ( http://www.bit.ly/1VLtrjv).

The ending of "Miles Ahead" features a modern-day Herbie Hancock and Wayne Shorter, both MD collaborators. In fact, HH arranged the music for "Miles Ahead."

Implied at the end is a perpetuity that pays homage to MD's musical philosophy. It will surely set tongues a-wagging. Note the words on the back of his vest.

Both writers have delivered bios that are anything but linear. In “Miles Ahead, DC uses as a jumping-off point, MD's seclusion in his apartment once upon a time in the 70s, supposedly finishing his next album, the first in a long spell.

He is also agitating to get paid by Columbia Records while being dogged by “Rolling Stone” magazine reporter Dave Brill (Ewan McGregor), a composite character, according to DC.

Do pay attention, because the action in "Miles Ahead" does not take place sequentially. Recall that it is non-linear. A troubled man is looking back on his life, recalling triumphs and regrets.

At any given point, Miles' reminiscences may go back a few weeks, then a couple of decades, then forward a decade.

Now, forward two decades, back one, forward one, back one, back one, forward one and back two and so on.

Producer Pamela Hirsch, Vincent Wilburn, Jr. (nephew), producer Lenore Zerman and Erin Davis (son) after the press and industry screening of 'Miles Ahead."

It's as if someone is on an acid high. Credit to John Axelrad for such scythe-like editing, particularly of the boxing match scene.

Superimposed over the melee is an image of DC as MD playing his horn in a happier time. A beautiful piece of chaos in motion.

Much has been made of the fact that DC looks nothing like MD, except for coloring. Many have wondered how he would pull it off.

Well, DC – a quiet unassuming artist, has nailed MD – a tortured, talented, temperamental artist – with little makeup, a spot-on rasp and massive acting chops. Five or 10 minutes into “Miles Ahead,” DC becomes MD and it's on.

This is what good actors do. They inhabit a character and through some sleight of body only known to them, become the character right before our very eyes.

The result is a wild, sometimes wacky, fantastical thrill ride with a pulsing soundtrack.

Visit http://www.filmlinc.com to learn more about the 53rd New York Film Festival, including showtimes and venues.

NYFF53 Opening Day: Papal Visit Delays ‘The Walk’ But Not ‘The Truth Box’ and Other Tales

Don Cheadle as Miles Davis in "Miles Ahead." Photo from "Miles Ahead" Facebook page.

NO mincing words. You are a liar. Now, tell the truth.

That is what participants will be asked to do when they step into “The Truth Box,” a travelling, truth-telling booth that is part of a larger project called “The (Dis)Honesty Project.”

The Truth Box is one of the hottest tickets today, the first day of the 53rd New York Film Festival, which features other installations in its Convergence category, as well as some classic films. All are free today, "Free Friday. The last day of NYFF53 is 11 Oct.

In The Truth Box, participants are invited (challenged?) to simply be honest about a previous lie. Collaborators behavioral scientist Dan Ariely and director Yael Melamede began The Truth Box and other parts of “The (Dis)Honesty Project” as an exploration of the negative societal impacts of dishonesty.

It is somehow fitting that such an installation opens during the visit of Pope Francis. The papal visit is also responsible for the delay in presenting the festival’s opening film. No doubt, the Holy Father would like to hear from any number of people from the confines of a truth box.

This opening day is one of the few in NYFF history that the opening film will not be shown. The world premiere of Robert Zemeckis’ “The Walk” begins at 6 p.m. on Saturday (26 Sept.).

“The Walk” recounts the run-up to and that actual death-defying, high-wire feat of Philippe Petit's (Joseph Gordon-Levitt) between the Twin Towers of the World Trade Center some 40 years ago. It is shown in 3D and is said to have the ability to cause nausea in some viewers.

Henry Fonda and Claudette Colbert in "Drums Along the Mohawk." Archive photo.

The NYFF53 closer is a film about another New York-based, real-life episode that unfolded in the 70s. In "Miles Ahead," which has its world premiere on 10 Oct., Don Cheadle wears three hats as director, actor (titular character) and writer to capture an angst-ridden period in the life of trumpeter Miles Davis.

Elsewhere under Convergence, where stories are told across platforms and are largely interactive, is “Temping” from Michael Rau. It seems to present a portrait of machines replacing man (or woman, in this case). Actuary Sarah Jane is on vacation and “performing” her duties are a PC, laser printer and other office equipment.

Also playing on NYFF53 opening day is a series of classic films, including “Wild River,” “Drums Along the Mohawk” and “All that Jazz.”

Visit http://www.filmlinc.com to learn more about the 53rd New York Film Festival, including showtimes and venues.

'Shameless': So It Is for a Lotta (White) Folks

Jimmy aka Steve (Justin Chatwin) and Fiona (Emmy Rossum) have a complicated relationship in "Shameless." Photo courtesy of Showtime.

YOURS Truly was in high heaven one week ago, thinking Sunday would be a banner night. You see, it would bring with it the Season 3 premiere of two of my favorite shows: “Downton Abbey” on PBS’ "Masterpiece Theatre” and “Shameless” on Showtime.

I found out soon enough that I was wrong and contented myself making a few comments about the Crawleys of “Downton Abbey” (Episode 2 airs tonight at 9 http://www.bit.ly/XcStLG) and the splendor in which they lived. Both the Crawleys and the Gallaghers of “Shameless” are straight out of Dickens – “A Tale of Two Cities” of sorts.

Where “Downton Abbey” is a sight for sore eyes, “Shameless” is just a sight! The Gallaghers is a poor family that lives in chaos and squalor near an elevated train track line in Chicago. These people will do just about anything for money. They have no shame. None.

The overarching question in “Shameless” is whether Frank Gallagher (William H. Macy in a brilliantly over-the-top role) can straighten up and fly right in an attempt to save his massively at-risk family. Essentially, take some damn responsibility for the first time in his sorry life. The answer is not likely – at least not without rigorous, relentless intervention.

Last anyone heard, Frank was trying to spring his ex-wife Monica (Chloe Webb) out of a psychiatric facility. All of his trouble somehow turns him up in Mexico without I.D. as viewers will see in the season premiere tonight. This seems to be a pattern with Frank. In season 1, he wound up in Toronto similarly paperless.

The Bundys of "Married With Children." Archive photo.

Meanwhile, it continues to be up to Frank’s oldest, Fiona (Emmy Rossum), to hold the family together, including a two-year-old mulatto or black brother, Liam (Brennan Kane Johnson and Blake Alexander Johnson) – the offspring of estranged mother Monica and Frank no less.

“Shameless” has not elevated low-class living to an artform, but it sure makes poverty look almost palatable and kinda cool. Here, it is stylized and romanticized. The Gallagher clan is white trash – ghetto; just as ill-mannered, immoral poor black folk are ghetto or black trash. The same applies to all other ethnic groups when one gets right down to it.

This is a show that puts a spotlight on a segment of America that is barely visible in popular entertainment: poor, white folk – and there are plenty of them. It is rare indeed that white Americans are depicted thusly on American TV aside from those “Judge” shows. And “Shameless” does come with an asterisk. Frankly, it is refreshing.

The Gallagher living room is often in need of a little tidying up. Photo courtesy of Showtime.

Of course, no one is suggesting that all or most poor whites are up to the kind of shenanigans that the Gallaghers are, but this stuff is not all made up, albeit it is satirized. As close as commercial TV could seemingly get was Fox’s “Married With Children” back in the day when that network was truly cutting edge. Interestingly enough, the Bundys lived in suburban Chicago, though clearly not an Evanston or Wilmette.

It should be noted for those not in the know or those who’ve forgotten that “Shameless” is a remake of the British series of the same name. This is the asterisk. The original is set in fictional Chatsworth Estate in suburban Manchester and surrounding areas.

“Shameless” is an import from the UK where poor whites are very visible in popular entertainment. For those who don’t know the lingo, in “English” estate means projects. Many whites in the United States know that they don’t live nearly as large as they are depicted on TV and in films, just as many blacks know they don’t live nearly as low on the hog as depicted in the same mediums.

The Gallagher clan of Chicago. Photo courtesy of Showtime.

In the U.S. version of “Shameless,” the Gallaghers reside in the poor/working class South Side neighborhood of Canaryville near train tracks – get it, tracks? For the U.S. audience, “Shameless” represents a bit of social engineering. It allows nonwhites living in this country – namely those who live in places like New York City who are newer to this country and associate being white with economic prosperity – to see that there are whites who struggle like those of any other U.S. ethnic group, who may have a few too many moral lapses.

It’s also cool that “Shameless” does it with such zest, making “crappily ever after” look downright virtuous.

Visit http://www.sho.com/sho/shameless/home to learn more about “Shameless.”

Even More Shameless Behavior in ‘House of Lies’

The cast of "House of Lies." Photo courtesy of Showtime.

DIRECTLY following the conclusion of “Shameless,” comes more shameless behavior in “House of Lies.” It is a perfect bookend.

Don Cheadle plays Marty Kaan (surname is pronounced con), head of a management consultant team that uses every con in the grifter guide to make corporate deals and break CEOs. Last season, I was eager to add this new show to my viewing schedule solely because DC is tied to this project. He is also executive producer.

What first struck me is how much it reminded me of the BBC series “Hustle” about a ring of con artists. Then I noticed how far it fell short of “Hustle.” Where the latter is smooth and suave, the former is coarse and vulgar.

This material is so far beneath DC. How disappointing, for DC is such a fine human being and actor. Clearly, not everyone shares my humble and steadfast view. Last year, DC was nominated for both an Emmy and Golden Globe for his performance.

Perhaps a season makes all the difference, and maybe I’ll take a gander or watch it later on Showtime OnDemand. Tonight, MK&Co. do their usual, as suggested by the season premiere guide: “mischief, mayhem, and mergers.” (See video above.)

Visit http://www.sho.com/sho/house-of-lies/home to learn more about “House of Lies.”