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Director Jeremy Workman.

Jeremy Workman, the filmmaker responsible for the Grand Prize Winner for Best Documentary at SXSW in 2021 with “Lily Topples the World” (now streaming on MAX) returns to SXSW 2024  with “Secret Mall Apartment.”  His 2018 documentary “The World Before Your Feet” about Matt Green’s nomadic journey through New York City was interesting and eccentric. This third film, executive produced by Jesse Eisenberg, lives up to the last two, both of which were interesting and well-done.

How Jeremy lands on such unique projects would be an interesting question. How did he learn about the 8 Rhode Island young people—all artists—who found a forgotten 750 square foot space within a 3 and ½ million square foot mall? How did the young friends manage to turn it into a dusty living space/clubhouse that they occupied undetected for four years?

In the press notes, Workman notes that he learned of the project in Athens, Greece, while talking to an interesting fellow who turned out to be the Secret Mall Apartment Mastermind Michael Townsend. Until now, only Michael Townsend’s name had been attached to the secret mall apartment, but now the other participants emerge. They are an interesting, extremely well-educated, intelligent group that we can only hope represent the youth of 2003, now grown to middle age.

BACKGROUND

Providence Place Mall.

The news that Providence, Rhode Island was going to build a mega-mall was not well-received by many of the locals. The feeling was that the mall had been built for rich people and the money it cost could have been used to help improve and restore the less-well-off sections of the city.  There were well-publicized fights to “save Eagle Square” and headlines like “Artists Fight to Hold the Fort,” meaning Fort Thunder, where artists and young people had settled.

Most of those artists and many others found themselves losing their space when gentrification and the mall project purchased their neighborhoods cheaply. The mall was not even designed with any entrances to the East, where minorities and others lived. The August, 1999 opening was not celebrated with joy, but with much resentment from many of the city’s residents.

Providence Place Mall.

Of the 8 artists who joined Michael Townsend in infiltrating the mall and creating their own club house space, none had their names revealed at the time of the discovery of the underground project in 2007. The mall opened in August of 1999.  Adrianne Valdez Young, Michael’s wife at the time, says that she first suggested trying to turn the odd space into a sort of silent protest against what had happened to them and many other citizens of Providence in the wake of  big developers. But it was definitely Michael Townsend who was the creative spark and visionary that held the troupe together and directed its progress.

When the group was finally discovered, in 2007, four years after they first began making the secret mall apartment, only Michael received any jail time. He spent one night in jail, was given 6 months probation, and  told to pay court costs and restitution fees. Michael brought about his own downfall when he took a friend to the secret room during daylight hours, a strict no-no.

MALL MISCREANTS

The Mall Rats, Michael Townsend, ringleader, on far right.The other members of the troupe who helped smuggle 4,000 to 5,000 pounds of cinder block into the location in order to build a wall and carried furniture up a steep staircase to render it habitable followed Michael. They were Colin Bliss, James J.A. Mercer, Andrew Oesch, Greta Scheing, Jay Zehngebot and Emily Ustach. (And, of course, Andrea and Michael).

They called the 750 square feet forgotten area “the nowhere space” and described it as “totally Tomb Raider.” In order to get electricity, they used an extension cord that had to be dropped to the first floor. The space was incredibly dark, cold in the winter and hot in the summer, with dusty concrete walls that the team put up themselves. They filmed themselves undertaking this difficult and illegal  project with a low-resolution Pentax camera small enough to fit in an Altoids tin can.

Why? How?

                                                                                               RINGLEADER

The secret mall apartment.

The why can be answered by looking closely at ring-leader Michael Townsend. The child of a military family who moved to 8 different places before the age of 7 (starting with Vista, California 1971-1975) Michael is “all about involving people in a collaborative process of art.” Michael is the kind of young man that you hope your son will grow up to be—although perhaps with a better-paying day job. His philosophy? “You have an opportunity to use the skills that you have to do something good.” The projects for good that Michael  instigated included working for 15 years for Special Care, a facility with 14 autism cases and many cerebral palsy victims. Michael’s special kind of art could be used therapeutically.

MICHAEL’S ART

What special kind of art? Something called “tape art,” which uses colored tape to create pictures on walls of the children’s hospital rooms. Michael also organized the Secret Mall Apartment team to go to Oklahoma City to create an Optimism Mural on the anniversary of the Oklahoma City bombing. He and his fellow artists also conducted a 5-year project to memorialize the first responders and police and firefighters who died on 9/11. An early project that he constructed beneath a city bridge involved mannequins suspended by wire(s), most of the dummies reclining on couch-like furniture. The installation was so well-hidden that one admirer shared that she spent a long time trying to find her way to it through various underground tunnels and sewers, without success. In other words, nearly all of Michael’s art work is transient and impermanent.

Michael Townsend from Secret Mall Apartment.

Michael’s brother, Brady, shared that Michael was always a creative soul who wanted to make art, teach art, have a positive effect on other people through art. To Michael, life is art and art is life. Said Michael, “For me, there’s no line between life and art.” When a friend is asked to describe Michael, she said, “He is a creative mind trying to express itself in every possible way.”

The interviewer responded, “Isn’t that art?” An astute observation.

Another thing that comes through loud and clear regarding Michael is that he has an amazing sense of humor. A very articulate young person, he is shown addressing the Providence city council about their plans to build the mall at the very outset. Later, when the mall clubhouse exists, he remarks  that a “gigantic achievement” would be if they could find a way to get mail inside the mall. Then the unnecessary junk mail sent to him FROM the mall could be sent TO the mall. This is manageable, because there is a mail drop service within the huge structure.

HOW DID THEY DO IT?

Secret Mall Apartment, SXSW, 2024.

The contortions and lengths to which the team went to (a) fix up the space and (b) avoid detection while fixing and utilizing the space are interesting and amusing. One way to gain access to their haven was through a first-floor bathroom and a small tunnel. Transporting the 72 cinder blocks into the space is documented. A “private entrance” was used but the team had to shimmy under a wire fence, and used milk bottles to ostensibly keep from being cut up by the wire on the bottom of the fence. When they were once accosted by mall guards (due to alarms going off (“a psychological deterrent, but apparently nothing else”) they said their excuses prevailed because “we were surrounded by the shield of white privilege.” Watching the male members of the troupe carry various pieces of furniture up the steep stairs in order to have a couch, a table and chairs, a breakfront, and even a waffle-maker was funny, but also astounding.

Entering the Secret Mall Apartment via the 1st floor bathroom

Secret Mall Apartment at SXSW 2024.

Secret Mall Apartment, 2024 SXS

Michael feels no sense of “stealing” anything from the mall, because, as he says, within “the belly of the beast” the troupe were like “a barnacle on a whale,” not hurting it in any way. The owners of the mall might feel differently and consider that debatable. They banned Michael from the mall in perpetuity.

The real kicker to this four-year-long weird saga of protest and refuge that the space represented is that the mall, like many others in the country following the pandemic, nearly defaulted on its payments in 2022. As a result of their financial difficulties, the owners of the mall are considering retooling the gargantuan monster mall into residential spaces.

What an ironic ending to a terrific film! Try it; you’ll like it.

“Maestro,” written by, starring, and directed by Bradley Cooper, is a worthy second attempt at directing (2018’s “A Star Is Born” was his debut). It will earn many Oscar nominations, but it does not seem to be capturing the imagination of the general public.  The music and the performances are spot on, but it’s not the “feel good” movie of 2023.

For me, that movie was “Dream Sequential.” “Maestro” won’t be acing that Nicolas Cage effort out on my “best of 2023” list. “Maestro” is a typical bio-pic structurally. This attempt to cram a remarkable life into a movie that runs less than 3 hours is impressive and one of the best efforts of 2023. It just isn’t “must see” viewing for most, and it isn’t doing that well so far on Netflix, according to Netflix’s own data.

Thematically, “Maestro” reminds of the 2004 film “De-Lovely” with Kevin Kline and Ashley Judd.  That 2004 film, directed by Irwin Winkler and written by Jay Cocks, had Kevin Kline playing Cole Porter and Ashley Judd playing Linda, his wife. Linda also had to learn to cope with Cole Porter’s bi-sexuality and infidelity within their marriage. Kevin Kline sat behind the piano playing a bit more in that one. But the message about open-minded women trying valiantly to accept the bisexuality of their husbands was similar. This one is far more accomplished because of the 6 years of effort trying to get everything “right” (and, of course, the $80 million-dollar Netflix budget.)

As far as “getting it right,” “Maestro accomplishes that, but falls short of enchanting us. It doesn’t draw us into what we hope will be an absorbing drama. It “works” musically. The performances and make-up and cinematography (Matthew Libatique) and editing (Michelle Tesoro)  are all top-notch, but it just didn’t fly, Orville.

BEST ACTRESS NOMINEE

Bradley Cooper and Carey Mulligan as Mr, and Mrs. Leonard Bernstein.

For me, the stand-out—and front-runner for Best Actress award come Oscar time—is Carey Mulligan. She lost out when nominated for Emerald Fennell’s 2020 film “Promising Young Woman” but she has amassed a body of work that merits nomination and a win, going all the way back to “An Education” (2009) and “Never Let Me Go” (2010). She anchors this movie, which is really the story of Leonard Bernstein’s bisexuality and genius as a composer and musician, and their romance and marriage. (I met Carey Mulligan at the Chicago International Film Festival when she appeared with Paul Dano’s directorial debut “Wildlife” in 2018).

In the scene where Mulligan and Cooper quarrel while the Thanksgiving Parade drifts by their window (not authentic, by the way), Felicia warns Bernstein that he may wind up a “lonely old Queen.” Mulligan portrays Bernstein’s wife Felicia Montelegre, a Chilean actress, who said, before they married after four years of romance,  “I know exactly who you are. Let’s give it a whirl.”

It is clear that Felicia is aware of Bernstein’s sexual proclivities. In a private letter written after their marriage, Felicia acknowledged her husband’s sexual orientation. She wrote to him: “You are a homosexual and may never change – you don’t admit to the possibility of a double life, but if your peace of mind, your health, your whole nervous system depend on a certain sexual pattern what can you do?”  In the script (written by Cooper in collaboration with Josh Singer) Felicia rationalizes, “If it is going to give him pleasure and stop him from suffering and it’s in my power to do it, then what-the-hell.”

But the price of sharing her husband’s affections with other male lovers has a high cost. During their big argument Felicia cites a Chilean parable that says one should not stand under a bird that is about to shit. Adds Felicia, “And I’ve just been living under that bird for so long.” She adds, “Your truth is a fucking lie.” In another scene, a friend of Bernstein’s comments to Bernstein on Felicia’s depressed state, saying, “Something in her seems crushed.” He remarks on her “keen sense of futility.”

For me, this film was more a tribute to the open-minded woman who allowed Leonard Bernstein to create and provided him with three children and a stable home life and a sense of sartorial style that was one of his enduring trademarks. Their true affection for one another is undeniable. But in the 1950s when Bernstein produced some of his most impressive work, a “beard” was necessary so that the world saw a happily married man, not a gay musician who was cheating on his long-suffering wife.

When Felicia is diagnosed with breast cancer that has metastasized, Bernstein returns from a period in 1976 when he lived in northern California with music scholar Thomas Cothran. This rupture in their marriage is somewhat soft-pedaled in the bio-pic. We see “Tommy” and realize that Felicia does not appreciate his presence in their lives (she gives a great side-eye during one concert where Leonard and Tommy are holding hands, while she sits next to her husband on his right.) When she is diagnosed with cancer, however, Bernstein nurses Felicia through her final illness. She died on June 16, 1978.

Leonard Bernstein lived until October 14, 1990, dying at age 72.  Leonard Bernstein is quoted this way in the script about life’s challenges, “As death approaches, an artist must be allowed to create with absolute freedom…I must live the rest of my life, no matter how long or short it may be, exactly the way that I want.” That sounds fairly selfish in the context of a marriage. The opening quote, appearing in black-and-white at the beginning of the film, ties in with these statements: “A work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers.”

The “contradictory answers” for Bernstein in life are clearly delineated for us in Bradley Cooper’s script and performance. At one point Bernstein says, “I really believe that man is this trapped animal. A victim of his own greeds and follies. Either one believes in the divine element in this, or one doesn’t. …I have to believe in the remote corner of my soul that there is a way out.”

INTERESTING THINGS ABOUT THE FILM

The film opens in black-and-white. The various periods in Bernstein’s life are, in a sense, limned by the different methods of shooting. The film goes full color about 49 minutes into the 2 hour and 9 minute film. Daughter Jamie Bernstein (well-played by Ethan Hawke/Uma Thurman’s daughter Maya) was struck by how much Cooper resembled her father. Jamie noted how the actor-director utilized her memoir, 2018’s Famous Father Girl: A Memoir of Growing Up Bernstein, praising Cooper for seeking the same perfection in his work that her famous father constantly sought. The family members also defended Cooper when the prosthetic nose he wore to appear more Jewish was criticized.

MAKE-UP ARTIST

Cooper’s resemblance to the real Leonard Bernstein is pronounced, thanks to the expert make-up work of Kazu Hiro. We can predict that he will be Oscar nominated this spring. He previously won Academy Awards for turning Gary Oldman into Winston Churchill for “The Darkest Hour” and Charlize Theron into Megyn Kelly for “Bombshell.”

SOUND

The music, of course, is “all Bernstein  (nearly) all the time.” One scene that is not Bernstein’s music is a tour de force for Cooper as an actor. That is a six-plus minute recreation of Bernstein leading the London Symphony Orchestra in Mahler’s “Resurrection” Symphony No. 2 at Ely Cathedral in 1973.

Yannick Nézet-Séguin was Cooper’s conducting consultant; his work obviously paid off.

One other thing that I noticed was how nasal Bernstein’s voice sounded when Cooper uttered certain lines in the script.

CONCLUSION

Leonard Bernstein was one of the most talented and influential musicians in American history, and one of the most prodigious. He won 7 Emmy Awards, 2 Tony Awards, 16 Grammy Awards (including a Lifetime Achievement Award) and was  one of the Kennedy Center Honorees in 1981.

This bio-pic, produced by Steven Spielberg and Martin Scorsese, premiered at the Venice International Film Festival and was the Spotlight Gala at the 61^st New York Film Festival. It is an ambitious chronicling of the man who directed the New York Philharmonic from 1961 to 1969 and the dedicated  musician who spent over 50 years teaching and mentoring young musical talent at Tanglewood. Best Picture of the Year? Not this year. But “Maestro” is a tremendous achievement in its own right.