DID YOU READ

Tim Grierson on “Hannah and Her Sisters,” the Best Thanksgiving Movie

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With Thanksgiving just around the corner, I was thinking about movies set around the holiday. Movies as different as the comedy “Planes, Trains & Automobiles” and the dark suburban drama “The Ice Storm” come to mind, but for me “Hannah and Her Sisters” is the best of the bunch — even though Thanksgiving doesn’t seem to have much to do with the film.

This Oscar-winning 1986 film from writer-director Woody Allen takes place over the span of two years and three Thanksgivings. The movie opens on the first of those Thanksgivings, as Elliot (Michael Caine), who is married to the talented and beloved Hannah (Mia Farrow), is nursing a desperate, unrequited crush for her younger sister Lee (Barbara Hershey). There’s also a third sister, the baby of the family, Holly (Dianne Wiest), who can’t seem to ever pull her life together. Though maybe more cultured and successful than most, they feel like a pretty typical brood with all the love and madness and quiet regrets that are part of every family.

If for some reason you haven’t seen this wonderful comedy-drama, I’d rather not spoil anything else in the plot, but suffice it to say that Elliot decides to act on his feelings for Lee, while Hannah’s ex-husband, TV producer Mickey (Allen), is going through an existential crisis as he ponders mortality and the meaning of life — in a very funny way, of course. These seemingly disconnected plot strands come together over the next two years’ Thanksgiving meals.

As you can see, Thanksgiving serves mostly as a framing device in “Hannah and Her Sisters;” it’s not integral to the plot like it is in “Planes, Trains & Automobiles.” But as I’ve re-watched “Hannah” over the years, I’ve begun to appreciate the film as more than just a touching, hilarious look at a group of well-drawn characters but also as a reflection of the emotions that are stirred up by the holiday — specifically, the complexities of family and the very notion of what it means to be thankful.

Allen’s films have often examined the inner workings of families — “Interiors,” “Radio Days,” “Cassandra’s Dream” — but “Hannah and Her Sisters” does so with a compassion that allows us to see these people for all their faults but love them regardless. Though her name appears in the title, Hannah is less the central character in this story than she is the guiding light for everyone else in her family. Her parents adore her, her younger sisters envy her success as an actress and a mother, and her husband — although he’s contemplating having an affair — is in such awe of her that he feels that she doesn’t need him. But being the golden child of her family doesn’t make life easier for Hannah, who has to be the resilient glue that holds everything else around her together. Thanksgiving is one time every year that families meet up, which is tough for people who have difficult relationships with their siblings or parents. So it’s understandable why Allen might have chosen this particular holiday as a motif: It’s during the film’s three Thanksgivings when major revelations occur and new understandings about the characters develop.

Then there’s the film’s grappling with the idea of what Thanksgiving means. Beyond the turkey, stuffing and football games, the holiday is supposed to mark a time for all of us to be appreciative of the good things we have in our lives. (If you don’t like hanging out with your family, perhaps the one thing you’re appreciative of at that moment is that you’ll be away from them soon enough.) While “Hannah and Her Sisters” is about a lot of things — art, love, faith, death, the Marx brothers — gratitude wouldn’t seem to be a major theme. But from the right perspective, it absolutely is.

In different ways, all the characters are looking for happiness. Lee feels stymied in her relationship with her domineering older boyfriend (Max von Sydow), Elliot longs to be with Lee, Mickey wants answers to the mysteries of existence, Holly wants to stop floundering from one failed pursuit to another, and Hannah can’t figure out why her husband suddenly seems so distant. Allen’s movies tend toward melancholy endings that aren’t always happy — he’d rather be true to his complicated characters than force tidy resolutions on them — but “Hannah and Her Sisters” (despite its often clear-eyed view of human foibles) was a rare instance when he gave his characters a reprieve, allowing them contentment as the credits roll.

Perhaps not surprisingly, Allen has lamented that decision ever since. “I copped out a little on the film,” he once said, “I backed out a little at the end.” He added, “I tied it together at the end a little bit too neatly. [My character] should have been a little less happy at the end than I was.” Maybe, but the film’s happy endings aren’t exactly gumdrops and unicorns — they come from the characters, at one lucky moment in time, finally beginning to understand what they have in their lives that’s worthwhile. Often, Allen’s movies are about characters striving for things out of their reach that they think will give them fulfillment. In “Hannah and Her Sisters,” at that final Thanksgiving, they recognize that life is never perfect but that sometimes we can cobble together enough happiness to keep going. Whenever I watch the ending, I’m always overcome with a sense of gratitude — not just for the experience of watching a great movie but also for the realization that there are reasons to be thankful all around us, if only we’ll stop and appreciate them. And, really, isn’t that really what this holiday’s supposed to be about?

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.