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24KNIGHTATTHEMOVIESElaine Stritch:Shoot Me; GrandPiano; film noteIt’s rather appropriate that Chiemi Karasawa’sglorious documentary Elaine Stritch: ShootMe begins with the legendary “Stritchie”performing a portion of Sondheim’s “I’m StillHere” on the soundtrack. The legendary song—with its acerbic, world-weary tone (written forFollies in 1971) and inspired by the long careerof Joan Crawford—is the perfect match forStritch’s inestimable talents. Famously contrarian,profane, foghorn-loud and gloriously funnyin her brutally frank assessments that take noprisoners (including herself), the diva, now 89,is nothing less than the walking, talking embodimentof Sondheim’s theatrical classic.Good times and bum times—she, indeed, hasseen ‘em all. Throughout Karasawa’s movie welook back with her (via archival photos andvintage footage) as she contemplates a lifelongperformer’s version of retirement (fewergigs and a move out of town), rehearses forthose shows with her patient (really patient)musical director Rob Bowman, tapes an episodeof 30 Rock, and examines, without a traceof sentimentality, her own mortality. “Gettin’old ain’t for sissies,” she quotes Bette Davisas she deals with diabetes, memory issues andvarious other senior-related infirmities that increasinglywork against her body and test herresolve.However, nothing keeps Stritch down forlong or from keeping her professional commitments.(Only Mother Nature—in the formof a hurricane—seems to have the power todo that.) The candid observations from thissometime holy terror about her lifelong battlewith the bottle, stage nerves (though she isMEDIASPONSORSByRichardKnight Jr.2014 SpringSEASONChampagne Showcase:A TOAST TO JAZZ ROYALTYHear The Duke! The Count!The King! 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Experiencethe immortal musicians in theprestigious pantheon of jazzroyalty Works by Ellington,Basie, Goodman, and Davis.Let the good times roll!BUY YOUR TICKETS NOW!Go to LakesidePride.orgRESIDENTPARTNERLAKESIDEPRIDE MUSICENSEMBLESCenter onHalsted3656 N Halsted StChicagoSat | March 86:30 Reception7:30 ConcertAdvance Tickets:$25Day-of Tickets:$35$12 seniors/studentsMar. 5, 2014never less than commanding once the lightscome up) and the occasional vulnerability areaugmented by tributes from a host of familiarfaces, including Tina Fey, Alec Baldwin, JamesGaldofini, Paul Iacono and Nathan Lane.As this feisty old broad of Broadway withthe showgirl legs that won’t quit goes aboutthe business of opening a cabaret revue of allSondheim songs with the challenge inherentin his brain-teaser lyrics (which she often forgets)at the Cafe Carlyle to a roomful of adoringacolytes; takes a peek at a rehearsal spacebeing dedicated in her honor (hence the reviewof all the old photos and clippings, gatheredtogether by her assistant); and strolls aroundManhattan, accepting (as her due) the nonstopgreetings from fans, Stritch is in her element.She also knows that for her—after decadesof career triumphs mixed with plenty of setbacks—theparty’s over and the time has cometo “go home” to Michigan more than 50 yearsafter arriving in her adopted New York City. Youcan bet she doesn’t go quietly.Through richly revealing anecdotes and manyof the artfully constructed songs she made herown (“The Ladies Who Lunch” from Companythe most famous), Stritch provided a tellingoverview of her remarkable career and sometimestempestuous offstage life in her fantastic2001 Tony-winning one-woman show ElaineStritch: At Liberty. Karasawa’s sensationallyentertaining movie—which, at times, seemsa kindred spirit to Ricki Stern and Anne Sundberg’swarts-and-all Joan Rivers documentary—updatesStritch’s story, and the ensuingyears can’t help but add a layer of poignancy.The film, which debuted here last fall at theChicago International Film Festival (at a memorablescreening that Stritch attended), is intheaters this Friday and available now On Demand.http://elainestritchshootme.com/Also On Demand—for a few more days at anyrate—is a nifty little thriller in the Hitchcockor DePalma mode from Spanish director EugenioMira called Grand Piano. Elijah Wood starsas Tom Selznick, a classical superstar whoseconcert pianist career was cut short by a badcase of stage fright. Now, thanks to the supportof his movie star wife Emma (played byKerry Bishe), he’s attempting a comeback via aperformance in Chicago (one presumes at SymphonyCenter—though the façade of the CivicOpera House takes its place).Tom is set to play the specially made grandpiano (a Boesendorfer) of his former mentor, amusical genius who has just died in what arehinted at were mysterious circumstances. AsTom takes to the stage and begins to play, flippingopen a page in his piano score, he discoversa note that tells him if he hits one wrongnote he will be assassinated—and so will hiswife, who is sitting prominently in a box seatjust above the stage.As the orchestra thunders away, Tom’s fingerseffortlessly skitter up and down the keyboard,while he just as frantically tries to figure out ifthis is a joke and how to make it stop. During abreak in the music, he follows instructions andraces offstage, finds an earpiece and gets backto the keyboard just in time to continue. (Theaudience, naturally, think he’s wrestling with areturn of the stage fright.)Now he has the malevolent voice of hiswould-be assassin Clem (John Cusack, in highdungeon archvillain mode) issuing ever-moreterse “or else” instructions to accompany histempo crazed playing. As the concert draws toa close, Mira, working from a script by DamienChazelle, ratchets up the tension as Tom becomesincreasingly desperate, trying to figureout the assassin’s real agenda—which involvesthe one-of-a-kind piano that is outfitted withextra keys.The plot of Grand Piano is admittedly overthe-top,but Mira’s swooping camera, endlessdolly shots and other visual tricks keep it aloft(at times we even see the inner workings ofthe piano). There’s also the committed performanceof Wood, whose edginess never letsup. (His hysteria is nearly palpable and thereare moments he convinces you he’s playingthe tricky classical pieces.) Naturally, VictorReyes’ piano-based score—which has equalparts menace and florid flourishes—needs tobe singled out as well (as it reminds one, ina good way ,of Bernard Herrmann’s “ConcertoMacabre” from Hangover Square).Grand Piano is grand fun—stylish, highly entertaininghokum in the old-fashioned way ofother “sophisticated” concert pianist thrillerslike the high-faultin’ 1946 Bette Davis-ClaudeRains-Paul Henreid programmer Deception, theaforementioned masterful Victorian set classicHangover Square (with gay actor Laird Cregar’sfinal performance in the lead as the mad pianist)and a little-known but terrifying episodeof Boris Karloff’s 1961 TV program Thrillercalled “Terror in Teakwood.” http://www.magnetreleasing.com/grandpiano/Film note:—Cinema Q IV, the fourth annual LGBTthemedmovie series, kicks off tonight withRodney Evans’ 2004 film Brother to Brother,WINDY CITY TIMESElijah Wood (left) and John Cusack in Grand Piano. Photo courtesy of Magnet ReleasingVery gayOscars has‘Dallas’ wins,Ellen as hostThe 86th Academy Awards, which airedMarch 2 on ABC, could have been the mostLGBT-oriented Oscars ever.—Start with the show’s producers, CraigZadan and Neil Maron—who are both openlygay. (They also produced last year’s Oscars.)They have also been behind productionssuch as TV’s Smash and the movie Hairspray,among many others.—The host was Ellen DeGeneres, who hadpreviously done the same thing in 2007. Criticsgenerally liked what she did this year aswell, although one of The Wrap’s headlinesread “Ellen DeGeneres’ Oscars Monologue HumiliatesJennifer Lawrence, Liza Minnelli” afterDeGeneres brought forth Lawrence’s 2013stumble and called Minnelli “sir.”—Lorna Luft and Liza Minnelli—thedaughters of Judy Garland—were acknowledgedduring a tribute to the 75th anniversaryof The Wizard of Oz that had Pink singing“Somewhere Over the Rainbow.” Also,gay icon Bette Midler sang her classic “WindBeneath My Wings” during the “In Memoriam”segment. Another gay favorite, IdinaMenzel, sang the Oscar-winning “Let It Go,”the theme song from the animated featureFrozen—although actor John Travolta mangledher name while introducing her.—Scott Rudin, who’s openly gay, producedCaptain Phillips, which was up for Best Film.(It lost to 12 Years a Slave.) He also producedthe folk-music movie Inside Llewynwhich gave Anthony Mackie his breakthroughperformance. The series continues eachWednesday in March at 6:30 p.m. at the ChicagoCultural Center in the Claudia Cassidy Theater,78 E. Washington St.Emily Blunt’s debut starring role in the lesbianromance My Summer of Love plays March12; the sexy, sports-themed German teen coming-of-agedramedy Summer Storm (sponsoredby the Goethe-Institut) shows March 19; andKevin Kline and Ashley Judd star in the musicalbiopic De-Lovely, about gay composer ColePorter, on March 26.The Queer Film Society (of which I’m president),the Legacy Project, Reeling Film Festivaland Affinity Community Services are presentingthe series in partnership with the Chicago Departmentof Cultural Affairs and Special Events.Windy City Times, ChicagoPride and the Readerare media sponsors. The four movies in thisyear’s Cinema QIV line-up are celebrating their10th anniversary. The screenings are free. www.queerfilmsociety.orgDavis; it was highly acclaimed, and it wasnominated for Best Cinematography and BestSound Mixing. (It lost to Gravity in both categories.)—Local gay director Edgar Barens was thefavorite to win an Oscar for his documentaryPrison Terminal: The Last Days of PrivateJack Hall. However, The Lady in Number 6:Music Saved My Life won that category, accordingto the official Oscars website.—Then there were the winners. MatthewMcConaughey won Best Actor for his role asreal-life AIDS patient Ron Woodroof, whosmuggled unapproved pharmaceutical drugsinto Texas. Jared Leto won Best SupportingActor for playing HIV-positive transgenderwoman Rayon. Only Leto acknowledgedHIV/AIDS while accepting his award (“thisis for the 36 million people who have lostthe battle to AIDS”), and he also mentionedthose who struggle for who they love (notspecifically saying LGBT). The film’s RobinMathews, who won for makeup and hairstylingwith Adruitha Lee, also mentioned AIDS.(Mathews said she was given a budget ofjust $250, according to NOLA.com. Duringher speech, she said, “For all the victims ofAIDS, we are honored and blessed to bringyour story to the forefront of the youngergeneration that doesn’t understand AIDS.”)Overall, it was a huge night for Gravity asit won seven trophies, including one for BestDirector (Alfonso Cuaron). As mentioned, 12Years a Slave won for Best Picture; however,it also won for Best Supporting Actress (LupitaNyong’o) and Best Adapted Screenplay(John Ridley). Cate Blanchett, as expected,won Best Actress for her role in the WoodyAllen-directed Blue Jasmine. AmericanHustle had 10 nominations but received noawards.