The Facts:
Synopsis: A young boy, determined to solve the riddle of death, approaches his dying granddad for answers.
Stars: Shaun Callaghan, Ron Litman, Jack Wielar
Director: Alex Helmer
Rated: NR
Running Length: 23 mins
TMMM Score: (6/10)
Review: In recent years, the Live Action Short Film category at the Academy Awards has become one of my favorites to follow because it’s a good indicator of who we should be keeping our eyes on in the future. These tiny treasures may be brief in runtime, but they can go a long way in demonstrating significant talent behind the camera for directors wanting to take on feature-length projects. For me, it’s often not so much about the acting, production values, or nitpicky technical details that a shoestring budget can hinder but where the filmmaker chooses to direct our attention that matters.
Recently, a short film came across my inbox that may not be headed (or even eligible) for the Oscars this year but aligns with the type of new work filmmaking that catches my attention. A Cognac at the Indy 500 is the first film by writer/director Alex Helmer, and it will not be his last. With a visual style that often negates shortcomings in other categories, Helmer demonstrates an understanding of mood and tone to create a 20-minute calling card that can be used as an elegant cachet for future projects.
Young Buddy (Shaun Callaghan) has come to the resplendent home of his dying grandfather (Ron Litman) seeking answers to questions he doesn’t know how to ask. In the final stages of lung cancer, the grandfather is tightly wound, ill-tempered, and has long since passed the point of possessing any patience with humanity, let alone his cautious grandson. While they speak of mundane topics (religion, family disputes, etc.), Buddy eventually works up the courage to pose a question about death that we all wonder about but rarely get to ask so directly.
Watching this film so closely after seeing All of Us Strangers (where a man speaks to his dead parents decades after they have passed and poses questions on a similar scale), it was intriguing to draw parallels between the knowledge before and after death. If nothing, Helmer had excellent timing when his film was released because both screenplays raised points to ponder that linger in the mind for an extended period. I found myself wondering if this was the opening, middle, or end of a longer screenplay Helmer was considering and how it might work into a feature-length narrative with a more significant arc for the young man who has bravely come to the bedside of a dying man with a complex request for information.
I find it hard to be overly critical of performances in these shorts because I know firsthand what the production schedules of these passion projects are like. Filmed on location (in Washington D.C.’s Woodrow Wilson house), it seems like Helmer and his crew had limited time to shoot, let alone work through some iffy line readings and one highly questionable accent choice. However, the overall effect of the piece came through on a visual level, and that’s a credit to Helmer and director of photography Spencer Bruttig. Several shots in A Cognac at the Indy 500 demonstrate a highly impressive, well-considered skill level.
Available through the TLOC Productions YouTube channel for a limited time, I encourage a viewing of this, especially because it lays the groundwork for exciting things to come from Helmer as well as Bruttig. Cheers to all involved!
Leave a Reply