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The Day Will Come (2016)

Elmer (Harald Kaiser Hermann) and his older brother Erik (Albert Rudbeck Lindhardt)
Elmer (Harald Kaiser Hermann) and his older brother Erik (Albert Rudbeck Lindhardt)

The fact that a film is based on real events does not necessarily change one’s perception of it, unless the story is told in such a poignant way that it becomes impossible to remain indifferent. Such is the case with the 2016 Danish drama The Day Will Come (original title: Der kommer en dag) written by Søren Sveistrup and directed by Jesper W. Nielsen.

Der kommer en dag (2016)
Der kommer en dag (2016)

It tells the tale of two young brothers, Elmer and Erik, and their experience at a reformatory orphanage in Denmark in the 1960s.  Elmer (Harald Kaiser Hermann) has deformed feet, but is able to move around thanks to a metallic cast he wears all the time. Despite his condition, Elmer loves Space and dreams of becoming an astronaut when he grows up.

Elmer (Harald Kaiser Hermann)
Elmer (Harald Kaiser Hermann)

His older brother Erik (Albert Rudbeck Lindhardt) is mostly interested in what all teenage boys are interested in at that age. The boys are raised up by a single hard-working mother who, while trying to make ends meet, sometimes loses control over her sons who are typical of the maxim “boys will be boys”, getting into all sorts of mischief.

When a the boys’ mother falls ill, the authorities oblige her by sending her sons to a reformatory orphanage, which should both take care of them and make sure that their “unacceptable social behavior” is corrected.

The boys are forced to work in the fields as part of their “education”
The boys are forced to work in the fields as part of their “education”

Being a Scandinavian film, one could expect no less from The Day Will Come but a stark, ultra-realistic approach to storytelling, one that does not spare its viewers in portraying violence and horrors, exploring the vulnerabilities of the young protagonists and the sadistic cruelty or bland indifference of many of the adult characters.

The Day Will Come – Trailer 

A beautifully arranged musical score greatly enriches and enhances the film’s scenes, highlighting their emotional intensity (especially the scenes of emotional suffering which cannot be conveyed by visual means alone). At the same time, it also provides a sense of time and place (one of the most exciting scenes of the film is set to the famous 60’s tune by The TrashmenSurfin Bird).

Lars Mikkelsen is truly chilling in his role as the headmaster
Lars Mikkelsen is truly chilling in his role as the headmaster

The excellence of this film would have not have been impossible if not for the adept casting of the film – both the child actors (whose expressions, especially the eyes on which the camera focuses frequently and which reveal much about their inner worlds), and the adult actors, whose repulsive actions and authoritarian take on a life, will shock and disgust the viewer. The expressions, words and behavior of the adult cast displays a completely different emotional state than those of the kids, but in an equally competent manner. Don’t be surprised if you find yourself hating a character (such as the school director), because of his actions and beliefs. It would be surprising if you don’t.

It took me some time to determine the identity of the narrator, since the events and characters are often introduced by a person who is relating his own experience to those of the brothers, while addressing the film’s audience. This little enigma provides a challenge that enriches the storytelling in an intriguing way.

Elmer (Harald Kaiser Hermann) and his older brother Erik (Albert Rudbeck Lindhardt)
Elmer (Harald Kaiser Hermann) and his older brother Erik (Albert Rudbeck Lindhardt)

Although the story told in The Day Will Come is unique on its own, I was reminded of several equally heart wrenching films from other regions of the world – such as Aisling Walsh‘s 2003 Irish Drama Song for a Raggy Boy, the Canadian 1992 television miniseries The Boys of St. Vincent, the 1996 American legal crime drama Sleepers, The Hungarian Torzok (also known as Abandoned), the Russian Lessons at the End of Spring … and many others.

All of those films are based on real life events and people, and take their toll on the viewer’s emotions, familiarize the audience with their young protagonists, make them care deeply about them and portray the loss of their innocence in distressing, upsetting and moving ways. Each and every one of the films mentioned above is a masterpiece of the Coming-of-Age cinema and focuses on the struggle for human dignity against a dehumanizing force, system, institution, or attitude.

The Day Will Come is no exception, a serious well–shot film that won’t entertain you, but will deliver an emotional cinematic experience you are unlikely to easily forget.

http://www.imdb.com/title/tt4659056/combined

You can find the movie on NetFlix ( subject to regional availibility )

Elmer (Harald Kaiser Hermann) and his older brother Erik (Albert Rudbeck Lindhardt)
The Day Will Come (2016)
Conclusion
ultra-realistic
beautifully arranged musical score
adept casting
Familiar story
4.8
Our rating
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Grand Hotel (2016)

You don’t get a second chance with the important things ….

Or do you?

To find out the non-definitive answer to this question, you will have to watch Arild Fröhlich’s 2016 film Grand Hotel, coming straight from Norway. Not a Coming-of-Age movie per se, it does feature many rite-of-passage nuances, life truths, and valuable observations affecting the life of its lead protagonists.

Håkon Bøhmer and Atle Antonsen in Grand Hotel
Håkon Bøhmer and Atle Antonsen in Grand Hotel

They happen to be Axel Farstad (Atle Antonsen), a self-assured, snobby, and arrogant best-selling author who has a serious life-threatening issue with alcohol and the charming ten-year-old Noah (Håkon Bøhmer) whose Tourette’s Syndrome (repetitive, stereotyped, involuntary movements and vocalizations called tics) and ADHD make a perfect target for the school bullies.

The first encounter between Alex and Noah (one of the funniest scenes in the film, which also reveals a lot about their characters from the get-go) takes place in the lobby of the city’s Grand Hotel. Noah’s mother (Vera Vitali) works as a receptionist in the hotel while Alex is checking in. Alex is trying to return to his former glory as a prosperous author …in the days before alcohol took control.

Håkon Bøhmer in Grand Hotel
Håkon Bøhmer’s expressions make his character

Alex is often grumpy and fond of saying what’s on his mind straightforwardly, even when speaking to a youngster:

You aren’t cute just because you are a kid.

Some circumstances and turns of events make Alex responsible for Noah – and it is their interaction that provides the most significant coming-of-age nuances in the film. Of course, the story of an intergenerational friendship between a grumpy man and a young inquisitive kid has often been addressed in the Coming-of-Age cinema (Clint Eastwood’s 1982 film Honkytonk Man or more recently Theodore Melfi’s 2014 film St. Vincent, starring Bill Murray and Jaeden Lieberher, are just two examples). But the Norwegian Grand Hotel offers a unique twist, thanks to the strong social subplots and the variety of themes it addresses:  single moms and their peculiarities, the importance of being oneself, how to be a jerk, how to be a friend, alcoholism, and, last but not least, second chances or the lack of them.

Most of the film’s characterization is done through dialogue, while the conflicts are predominately internal, with the characters struggling for dignity against the human weaknesses present in their own personalities. Both Atle Antonsen and the young Håkon Bøhmer are extremely convincing in their roles of troubled adult and troubled kid, and one is able to observe how their interactions alter their personalities.

The film’s central message is believing in oneself and others, giving people a chance, and receiving them yourself. It offers a lot of room for interpretation, but depending on one’s preferences, it can also be enjoyed on a superficial level.

As an added extra, by the end of the film, you will likely know one swear word in Norwegian, which could be an advantage depending on one’s viewpoint. And, if you get into trouble, you can always blame it on the Tourette’s Syndrome.

Nothing disappointed me in how the story was told, not even the ending. Overall, Grand Hotel exceeded all of my expectations (which are often high, especially in the Scandinavian cinema). This is a pleasant cinematic experience well worth one’s time. Grand Hotel is a must-see.

http://www.imdb.com/title/tt5195390/combined

Grand Hotel (2016)
Conclusion
A pleasant cinematic experience well worth one's time, Grand Hotel is a must see.
5
Our rating
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Canada’s René Simard: The Early Years

René Claude Simard was born in 1961 in Chicoutimi, Quebec, one of seven children. He started singing in a church choir where his father taught all his kids to sing. Later René sang some tunes with his younger sister Nathalie.

he sold more records by age 14 in Canada than Elton John, Anne Murray, Gordon Lightfoot or The Rolling Stones

But the first thing you should know about René, who is now 56 (2017), is that he sold more records by age 14 in Canada than Elton John, Anne Murray, Gordon Lightfoot or The Rolling Stones! And this is back in the vinyl age, the time people really went to a music store to buy a record.

Rene Simard
Rene Simard

Even after his boyhood voice had changed, René remained popular with a charming, rich, and mature voice which reminds me somewhat of Andy Williams. In the Canadian province of Quebec, René sold more albums than Elvis Presley or The Beatles.

René was discovered and managed by Guy Cloutier (now 77). His first album was produced by René Angelil, the same man who later managed and eventually married Celine Dion.

René Simard – L’oiseau

In Quebec ‘le p’tit Simard’ first appeared to viewers in a 1971 Laura Secord pudding commercial. There is a documentary film called Un enfant comme les autres about him from 1972. At age nine, René sang on a talent search show called Les Decouvertes de Jen Roger on CFTM TV in Montreal.

René started by singing traditional and church songs, later many ballads and pop songs. His first album sold nearly 200,000 times, produced by Cloutier’s label Nobel.

But his international breakthrough came in 1974, at the Tokyo Music Festival representing Canada. He won the Grand Prix, which was awarded by Frank Sinatra, and started down the road to becoming a Japanese idol singer. René actually learned the Japanese lyrics to many of these songs (Respect).

René Simard sings Sayonara 1974

Listen to Sayonara (1974), Haiko no Hato, Chilisana Inochi and Midori ro No yana, which René presented in concert with stunning clear stylish notes. Also at this time (1974), two films appeared: René Simard au Japon and J’ai mon voyage. In 1975 René sang Mizo iru (Blue Angel) and his young Nippon fans loved it.

Rene Simard Chiisana Inochi/Boku No Kuni E Oide
Rene Simard Chiisana Inochi/Boku No Kuni E Oide

Having conquered Quebec and Japan, young Simard set out to impress the American audience. — a big task because teen singers like Michael JacksonDonny Osmond and David Cassidy were already popular at that time. René was learning English and soon had a use for it, making TV guest appearances on shows headlined by international stars: Bing CrosbyBob HopeLiza Minnelli, Andy Williams and Liberace all had him on, just to name a few. Later there were two nationwide “lives” from Disneyworld, in Florida and California. He also appeared on the Jerry Lewis MDS Telethon from Las Vegas.

René Simard – Ma mère est un ange

http://youtu.be/xd-inzxQxLc

During these years, he sang some of the most stunning ballads, in my opinion — songs that have an almost mystic quality, songs that ring out to eternity like a fabulous boy chime under a crystal dome. They were songs like Ma Mere est un Ange, Les Dimanches Apres Midi (1974), Maman,Laisse-moi sortir ce soir (1975), Bebe Bleu (1975) and Non…pleure pas (1974).

In 1976, René Simard sang the Olympic theme song Bienvenue at Montreal.

There was no internet then, instead a whole gaggle of bright teeny bop magazines like Teen Beat, Tiger Beat, Sixteen and Super Teen spread news for fans. Today there are many more good quality recordings preserved on various media sites.

 

It’s interesting to compare voices, because René also sang some of Heintje‘s songs, converted to French — high notes sailing out clearly and controlled, without falsetto, both singers sounding exceptional. To me, the difference is that Heintje’s voice is stronger, more complete; René’s slightly thinner. But both singers outstanding talents in different languages.

Pourquoi La Guerre (Deine Tränen sind auch Meine) 1973 all

Le vieux Bateau (Kleine Kinder,Kleine Sorgen)

L’orphelin (Ich sing ein Lied für dich)

René Simard – Non…pleure pas

René’s first huge song was L’oiseau, a sugar sweet ballad that displays his ability to hit and hold high notes, almost without effort. But I prefer Non…pleure pas (1974) with which he won Best Song at the Tokyo Music Festival. This enchanting ballad reveals the full range of his voice in a “solo chanson” style. A different style showing René’s jazzy, night-club voice is heard in Maman, laisse-moi sortir ce soir, which i really enjoyed. Of course, he was not singing at any night clubs back then.

To get some idea of what a clever young entertainer René was, watch a lampoon duet René Simard and Denise Filiatrault on Youtube, with some comic dialogue and cameos.

http://youtu.be/8Kmdt345Kds

Simard was maturing and, in 1977, he returned to do a Quebec tour of 25 towns. Shortly afterwards he hosted The Rene Simard Show on CBC Vancouver, produced by Alan Thicke, which ran for two years.

Later Years

Since this is not a life biography but a review of his early music, I will touch only briefly on René’s later years.

In the 1980’s, his image changed to that of “a seductive young man”. He married in 1987 and later had two children, both born “deaf”, a dysfunction which was later corrected with implants.

In 1988, he promoted songs in French on a CBC TV show Laser 33-45. In 1984, he won a Felix Award for Comment ca va, and other awards followed.

the brilliance of this treble,or boy soprano,leaves a lasting impression.

But for this article, the brilliance of this treble, or boy soprano, leaves a lasting impression. He ranks among the best, and would be a huge sensation in today’s social media age. It’s very curious to me that many Canadians and others have never heard him.

In 2014, René Simard was named a member of The Order of Canada.

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Kisses (2017)

Sean U’Ren‘s 2017 film Kisses is a shocking and impactful attempt to embed Coming-of-Age experiences in a horror film narrative. Surprising twists and smart visual metaphors of growing up and adolescent sexuality make the film intriguing and worth watching despite its duration of fewer than four minutes.

Kisses is well-acted and directed while the music score highlights the tension. Some scenes may disturb the viewer, but it’s nothing outside of what one expects to see in a horror-themed flick.

https://vimeo.com/401444444

[imdb]https://www.imdb.com/title/tt6130832/reference[/imdb]

Kisses (2017)
In short
A shocking and impactful film that attempts to embed Coming-of-Age experiences in a horror film narrative.
3.8
Our rating
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Heartstone (2016)

Guðmundur Arnar Guðmundsson‘s 2016 film Heartstone for me was one of my most anticipated films – reading about it, watching other films by the director, and watching the trailer over and over were just some of the activities that warmed me up to the cinematic experience of actually watching it.

Now that I have seen it, admittedly, its story turned out to be different from what the trailer led me to believe it would be about. Yet, my extremely high expectations about the quality of the production and the storytelling were met and exceeded.

A Coming-of-Age film set in a remote fishing village in Iceland, Heartstone is about the close friendship between two adolescent boys: Thor (Baldur Einarsson) and Kristian (Blær Hinriksson) and the challenges they face as they struggle to comprehend their feelings towards girls and each other.

Thor (Baldur Einarsson)
Thor (Baldur Einarsson)

Cinematographically, the film is a true masterpiece, utilizing a predominately subjective cinematic point of view, with extreme close-up shots that stress intimacy between the characters (in some scenes, the dampness on the protagonist’s forehead caused a palpable warm feeling and uneasiness in me). Other scenes are barely lit, as the filmmakers rely on sound and the viewer’s imagination to fill in the details.

Friendship Thor (Baldur Einarsson) and Kristian (Blær Hinriksson)
Friendship: Thor (Baldur Einarsson) and Kristian (Blær Hinriksson)

Iceland’s natural beauty has not been forgotten and is well captured in the stunning panoramic shots that enhance the overall impact of the picture.   Undoubtedly the notion that the film speaks the language of the senses is well validated in Heartstone.

While reviewing another film, produced and directed by Guðmundur Arnar Guðmundsson, (namely the short film Ártún) I made a note of how Scandinavian Coming-of-Age films and, in particular those originating in Iceland, portray the rites-of-passage of their young protagonists in a daring, true-to-life manner and Heartstone is no exception.

Heartstone Trailer

The portrayal of youthful sexuality, from self-exploration to jokes and tenderness (again, the comparisons with Barnens ö and World Wide Woven Bodies come to mind), may cause unease in the most conservative viewers of the film. Yet it’s shot in a non-exploitive, poignant and intimate manner that demonstrates that, as in “real” life, sexuality is not all that peoples’ lives revolve around, but that it’s an integral part of one’s identity and provides an invaluable insight into the characters’ personalities. In all fairness, Heartstone’s main theme is the friendship between Thor and Kristian, but there are a variety of subplots and happenings that add nuances to it (sexuality being one of them).

Scene from Heartstone

The two young leads are phenomenal in their roles, and they contribute significantly to the portrayal of boyhood and Coming-of-Age per se. The characters of Thor and Kristian are, at times, confused, strong, weak, smart, silly, mischievous, rough or tender …and Baldur Einarsson and Blær Hinriksson have somehow managed to portray that vast spectrum of emotions in a very effective way, ensuring that one can associate with them and care about their fate. Many of their experiences are universal and, when watching the film, one’s mind is guaranteed to evoke long-forgotten yet precious sentiments about past loves and friendships.

Visually beautiful and well-acted, Heartstone is a poignant film that earns my highest recommendation.

http://www.imdb.com/title/tt4613254/combined

The two young actors who played the leads jointly won the Blue Angel award for Best Male Performance at the 2017 Art Film Festival and the film itself won several different awards for Best Feature Film that year.

Heartstone (2016)
Summary
Visually beautiful and well-acted, Heartstone is a poignant film that earns the highest recommendation.
4.8
Our Rating
Available at :
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The Color of Milk (2004)

Ikke naken
Ikke naken

It’s not often that I get to enjoy a well-made Coming-of-Age story whose main protagonist is female. While such films do exist, discovering them is a real challenge. I often point out that associating with the feelings and experiences of female characters is not as easy for me as recalling them from my boyhood days. Yet I seem to forget that girls are constantly interacting with the world around them – teachers, relatives…and, yes, boys.

Boys…they are peculiar creatures. Yet not paying attention to them is a challenge all its own, as the 12-year-old Selma (Julia Krohn) and her friends Ingun (Marie Kinge) and Elin (Maria Elisabeth A. Hansen) discover. The three young Norwegian girls deal with peer pressure and expectations of “normality” in the 2004 film The Color of Milk(The Color of Milk (aka  Neither Naked nor Dressed, Selma and Andy, original title Ikke naken),  written and directed by Torun Lian (who has a serious reputation in Norway as an author of youth-oriented stories).

Selma (Julia Krohn)
Selma (Julia Krohn)

The Color of Milk is a typical character-based Coming-of-Age drama with romance nuances. In it, we experience the world through the eyes and mind of its young protagonist – in this case, a highly intelligent 12-year-old girl – who refuses to obey forced gender roles and expectations and struggles to make her own path in life. She does this, whenever possible, while avoiding boys and their “disgusting” manners and behavior toward young girls like her.

Unfortunately, Selma’s best friends give in to expectations, temptation, curiosity, or some weird mixture of all of those. This leaves her alone in her quest to make intelligent choices, instead of relying on instincts that the human race has inherited from reptiles (that’s Selma’s theory, not mine).

To complicate things further, Selma notices some weird feelings of her own, feelings that fail to fit her scientifically proven life analysis. She finds she has these feelings, especially regarding a visiting university student from Sweden, and with Andy (Bernhard Naglestad), a young boy who has shown interest in her and even in her scientific analysis of life and death.

Andy (Bernhard Naglestad)
Andy (Bernhard Naglestad)

Admittedly, the plot does not shine with originality, but the young actors are incredibly talented and natural in front of the camera,  which by itself guarantees that both girl and boy viewers (even the grown-up ones) will be able to associate with them and their experiences. I could not help but remember how I once ditched my friends on a soccer field to be with the girl I had a crush on. I’m not sure that’s something to boast about , but … that memory was clearly invoked by this film’s narrative.

http://www.youtube.com/watch?v=b3-S5A0Yg18

The loving gaze and facial expressions of the young Bernhard Naglestad as Andy in the scenes he shares with Selma are so acute that I feel that the boy might have had a crush on Julia Krohn who portrays Selma. Whether this is true or not, (and we may never find out) the fact that one wonders about it is telling on its own.

Norwegian filmmaking style in portraying youth stories is present in The Color of Milk: brightly lit scenes, an abundance of close-ups, vivid colors, and an intriguing way of portraying childhood in a manner that is simply pretty to look at. The perception of the romance in some scenes is boosted by quiet piano music, which characterizes the film’s musical score.

While the film is not the kind that would affect you strongly emotionally, or one that is memorable on its own, watching it is a pleasant nostalgia-infused experience that would perfectly fit a lazy Sunday afternoon of viewing.

http://www.imdb.com/title/tt0425125/combined

The Color of Milk (2004)
Summary
Three young Norwegian girls deal with peer pressure and expectations of "normality", in The Color of Milk, a typical character based Coming-of-Age drama with romance nuances.
4
Our Rating
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The Big Dam (2015)

A co-production of Switzerland and the United States, the 2015 short film The Big Dam (Original title: Le barrage) has won many awards at international festivals. It tells the story of a father-son outing to Europe’s biggest dam, a trip that ends up putting their relationship to the test.

The central theme of The Big Dam (2015) is family dynamics and how events in the past shape one’s present.  In order to better understand the character’s backgrounds, the film relies on dialogue, in which what is being said is as important as how it is being said.

That’s how one starts to notice the internal conflict in the mind of the father, who wants to spend some quality time with his son, yet can’t completely relinquish the past. The Coming-of-Age experiences of the young protagonist are intertwined with the anger that is harbored deeply inside the mind of his father.

Father ( Pascal Gravat ) and Son ( Alessio Balossi) in The Big Dam (2015)
Father (Pascal Gravat) and Son (Alessio Balossi) in The Big Dam

To emphasize the present emotional state of the characters, some scenes are shot with an intentionally shaky camera. Initially, I was not fond of the way the film ended but, after giving it some thought, I realized that the ending is essentially complex in its simplicity – accurately portraying the inner turmoil and drama in the minds of the film’s protagonists.

Recommended.

 

Father ( Pascal Gravat ) and Son ( Alessio Balossi) in The Big Dam (2015)
The Big Dam (2015)
Summary
A young boy is forced to grow up when a weekend getaway with his father puts their relationship to a test.
3.5
Our Rating
More about the film
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Boogaloo and Graham (2014)

Have you ever owned a pet chicken?

Whatever the answer, you would likely want to get one as soon as you watch the charming Irish short film Boogaloo and Graham.  Directed by Michael Lennox, it’s the story of  two adolescent brothers, Jamesy (Riley Hamilton) and Malachy (Aaron Lynch), and of Boogaloo and Graham, their adorable pet chickens. (Everyone’s got a dog, but a chicken…. now that’s something else).

A Coming-of-Age experience, remembered and narrated by the grown-up boys themselves, the film offers a nostalgic peek into their childhoods, complete with a 70s music score and a lot of humorous dialogue and events. True, the accents are sometimes hard to grasp, but they also boost the overall heartwarming feel of the story.

Boogaloo and Graham proves that if one juxtapositions the innocence of youth and the harsh realities of adulthood, then adds some delightful young actors and even a surprising plot twist, the result will be a “feel good” Irish movie that is sure to put a smile on your face.

It doesn’t come as surprise that Boogaloo and Graham was nominated for an Oscar in 2015 and won the BAFTA award for Best British Short Film in the same year.

Highly recommended!

http://www.imdb.com/title/tt3612232/combined

Boogaloo and Graham (2014)
In short
A Coming-of-Age narrative, Boogaloo and Graham is a "feel good" Irish movie that is sure to put a smile on your face.
5
OUR RATING
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The Tyler Project: Introducing Tyler Lorette

It’s a project, featuring young Canadian singer Tyler Lorette, that has just started; with three well-produced songs that reveal his charmingly clear voice and asserts his musical ability. These first polished presentations are very appealing, indeed, and perfectly mixed as well as visually interesting.

Let’s zoom in on this boy from Ontario

The first tune I heard, thanks to Georgi’s (this site’s administator) link, was I Feel It Coming-I Can’t Feel My Face (cover) which is produced, mixed and mastered by Adam Newcomb and opens with thrumming tones followed by Tyler’s voice — strong and clear.

http://youtu.be/GF3QF7F9X6Q

The song moves along moderately, with no surprising trills, first verse, but solid notes. Visually we can focus on the singer, (videography by Cole Hardy), which worked well for me since I had never seen Tyler before.

The chorus, which is partly double-tracked, picks up the pace and volume, in a song about anticipated love. About this time Tyler plays to the camera more, as a pounding drum beat and some back up chorus, carry the song along. I understand that repetition is being used as a device here, but it becomes a bit much at the end.

The second audio track works good here…

i can’t feel my face..
but i love you..

…driving on to the end, with a muted instrumental track.

The simple “at home” type video worked well for me, focusing on the singer who looks quite composed with the e-Guitar.

Tyler’s voice is pure and magically puerile

My second discovery was One Dance (cover Drake) from eight months back, which I found charming. It’s noticeable that, even in this short time, Tyler’s voice has deepened slightly. This song has a dreamy, enchanting tone, a mellow repeat. Its about “leaving” and the visual once again shows Tyler playing his guitar (though I’m not sure if that’s the actual sound out of the studio).

http://youtu.be/bAx67ss1P0c

Maybe I should ask his Vocal Coach/Project Manager/Executive Producer Roberta Michele Quilico or the Bird Loft School of Voice in Oshawa.

Tyler’s voice is pure and magically puerile here, quite high pitched, not yet concerned with adding embellishments to the tune. The RAP insert works with its play on various similar words. In all, this performance is simple, but dramatic, because it’s delivered with style.

A charming and natural young performer

No doubt the tender quality of Tyler’s voice makes his cover of Niall Horan/James Arthur (This Town/Say You Won’t Let Go) so special. The mix of voice with guitar is near perfect here. The voice is soft, but not melodramatic, producing a charming and natural cover. His notes are clear and confident-the sentiment is believable, and the lyric enunciation just faultless.

Tyler Lorette- This Town/Say You Won’t Let Go Mashup Cover

http://youtu.be/wS_f5zZq05c

I am, in short, thrilled to introduce this new talent from Canada to TheSkyKid.com’s readership. It appears to me he has made a great start with these videos, and I’m certain more creative ones will follow.  My wish is for some originals from him soon.

Best Wishes to all associated with “Project Tyler”.

RjMendera for TheSkyKid.com

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Fog in August (2016)

Fog in August (2016)Based on a real story, the 2016 film by Kai Wessel, Fog in August, is a powerful Coming-of-Age drama exposing one of the horrible crimes of the Nazi regime and its inhumanity, as told through the eyes of a young boy.

Ivo Pietzcker plays the role of 13-year-old gypsy boy Ernst Lossa, whose mother has passed away, and his father cannot take care of him because of a lack of a permanent residence. After a succession of youth reformatory schools where his rebellious spirit has gotten him into trouble, he is placed in a mental hospital.

At first, Ernst is terrified of the unfamiliar setting and the odd behavior of the patients, but gradually he gets used to the new environment. The doctors seem genuinely concerned about their youthful charges, and Ernst even begins to make friends.

Ernst Lossa ( Ivo Pietzcker) and Dr. Werner Veithausen (Sebastian Koch)
Ernst Lossa ( Ivo Pietzcker) and Dr. Werner Veithausen (Sebastian Koch)

But not everything is what it seems. Unknown to its patients or the society as a whole, the hospital partakes in the Euthanasia program of the Nazi regime, aimed at people with mental or physical disabilities. A keen observer, Ernst soon notices irregularities and recognizes good and evil in people. But will his good health and strong character suffice in the struggle against a sick ideology …and can a little boy stand up against horrible injustice?

Despite the hardships and inhumanities, good hearts find each other. Ivo Pietzcker and Jule Hermann
Despite the hardships and inhumanities, good hearts find each other. Ivo Pietzcker and Jule Hermann

The film’s biggest flaw is the relatively slow pace at which the action develops. While this allows the viewer to get to know the characters and their environment, sharper editing techniques would have enhanced the story’s ability to engage.  There are emotive scenes, even some guaranteed to draw tears in anyone’s eyes (happened to me, while other scenes filled me with anger). Yet, the viewer is kept at a distance, never fully identifying with the characters.

Ivo Pietzcker fully embodying his character
Ivo Pietzcker fully embodying his character

The slow-paced story development results in a rather predictable finale, which lessens its potential effect on the audience. And, while some may think of this as a blessing considering the subject matter, I was disappointed that the finale was not as strong as that of the similarly themed film The Boy in the Striped Pajamas.

The story is told predominately from the viewpoint of its young protagonist and one can’t help but appreciate his willpower and character. Having seen the 2014 film Jack, in which Ivo Pietzcker had his film debut, I had high expectations for his performance in this film. Those expectations were met and exceeded. His expressive face projected a range of emotions. One can follow the trials and tribulations of his young character as he becomes increasingly aware of the reality of the mental institution. (I am not so sure of his resemblance to a gypsy, however).

While Coming-of-Age nuances are present, the focus lies more on the moral implications of the story than the delineation of a single character.  Heart-wrenching, shocking and educational are just some adjectives that can be used to describe Fog in August.  It portrays an important piece of history and deserves to be seen if only to ensure that such history never repeats itself.

http://www.imdb.com/title/tt4250566/combined

Fog in August (2016)
Summary
A powerful Coming-of-Age drama exposing one of the horrible crimes of the Nazi regime and its inhumanity as told through the eyes of a young boy.
Watch it for
Original story
Heart wrenching narrative
Talanted young cast
Skip it if you don`t like
Slow development
Excessive story time
Predictable ending
3.7
OUR RATING
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Gips (2015)

Summer is fast approaching and few things are as refreshing as a little short film with an adorable Coming-of-Age story. Luckily director Jeroen Houben offers just the right one with his 2015 Gips(Plaster – International English title) .

The premise of the story is slightly tragic as it’s concerned with one of the terrible disasters that could happen to any young person’s summer vacation – a broken arm and a cast guaranteed to get in the way of all the fun. And that’s exactly what 12-year-old Pelle (Rohan Timmermans) has to deal with in Gips.

Despite the desolate situation in which they have placed their young protagonist, the filmmakers have opted for a witty and entertaining way to tell his story. They are aided by some excellent camera work that allows us to see the world through Pelle’s eyes and a melodic musical score infused with summer laziness. And thanks to the great acting and adorable appearance of Rohan Timmermans, it’s impossible not to sympathize with his character.

Rohan Timmermans as Pelle in Gips 2015
Rohan Timmermans as Pelle in Gips 2015

A surprising twist at end will bring a smile to the viewer’s face and I guarantee you will feel refreshed. A bitter-sweet Coming-of-Age cocktail of youthful experiences –  give the 2015 Dutch short film a go.

http://www.imdb.com/title/tt4681026/combined

Gips (2015)
Summary
Gips is a bitter-sweet Coming-of-Age cocktail of youthful experiences. Recommended!
Watch it for
Witty storytelling
Bittersweet story
Melodic musical score
Adorable young actor
5
OUR RATING
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Artun (2014)

Ártún (2014) is the fourth Coming-of-Age film from Iceland I’ve reviewed on the site, and, like most Scandinavian films, it portrays the rites-of-passage of its young protagonist in a daring, true-to-life manner.

The journey to self-discovery often includes exploration of one’s own body (seen in films such as Barnens ö and World Wide Woven Bodies), combined with a growing interest in body image and looks. Guðmundur Arnar Guðmundsson, who wrote and directed the film, made sure to include a scene in which the young Arnar (Flóki Haraldsson) inspects his naked body for any changes hinting at the entrance into manhood.

Flóki Haraldsson as Arnar in Ártún (2014)
Flóki Haraldsson as Arnar in Ártún (2014)

He has never kissed a girl (although no self-respecting boy will ever admit that, especially in front of same-age peers), and his budding sexuality and natural curiosity make him join his boastful (though equally inexperienced friends) on a trip to Reykjavík, where the girls are said to be open-minded and wild.

The naturalness of the story makes it easy for the viewer to associate with Armar’s experiences and their own. As a small-town boy myself, I felt genuinely moved by the story, recalling two girls from the capital that spent their summer vacation in the house across the street – and how completely naïve and innocent I must have appeared to them back then.

Scene from the film
Scene from the film

Aside from its storyline, Guðmundsson’s film impresses with a musical score comprised of energetic Icelandic rock songs, which charge its scenes. The music also serves as a time indicator, placing the film in recent days, unlike many other filmmakers who prefer to set their Coming-of-Age stories in the 60s or 80s.

Flóki Haraldsson (who I have previously seen in the beautifully shot and haunting short-film from 2012, Strýta) manages to portray the confusion and nervousness of his character in a stunning manner, and it doesn’t come as a surprise that filmmakers often rely on his facial expressions to move the story forward.

Devoid of pretence, the nostalgia infusing and fun Ártún is a pleasant short film that fans of the Coming-of-Age genre are guaranteed to appreciate.

http://www.imdb.com/title/tt2780806/combined

Artun (2014)
Summary
The Icelandic short film Ártún (2014) portrays the rites-of-passage of its young protagonist in a daring, true-to-life manner.
Watch it for
upbeat musical score
Flóki Haraldsson`s acting
true-to-life storytelling
Skip if you don`t like
Open-endings
4.5
OUR RATING
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