Atlanta, Georgia 08FEB2012
On a darkened stage, with only one red film lighting; Crispin enters. He introduces readings from books transformed from their original words to share a twist only Crispin Hellion Glover can deliver. With a vibrant enthusiasm, he expounds words to the audience. An audience is filled with a quiet calm. Occasionally openly sharing an occasional laugh, then ripping applause. A one man, one of a kind stage show that concludes with a film. On night two, “What is it”, and night one presents “It is Fine? Everything is Fine.” (The “What is It” Trilogy) Both films bring actors to screen that use their handicaps to deliver poignant story lines, and share human taboos; not real, imagined by culture(s), shared by many.
“It is Fine! Everything is Fine” shares in these senses of the taboo. Stephen, a victim to cerebral palsy writes a screenplay to unearth his hidden inner struggles with not his disease, but the way society portrays people with mutant genes. His character understands women may say “love”; however, this may only represent a “need”, not an emotional attachment, as seen with the scene “marriage proposal”. The result is an emotional turmoil leading to a modern day remake of shock police drama of the 1970s. Many cultural taboos bridge scenes together. These most often include sexual thoughts, and sexual acts. As this is an unrated film; culture shock ensues among many audience members when the culmination of the action concludes with “X” version of the gratification attained by the screenwriter/actor, Stephen.
Volcanic Eruptions is an independent film company still in its infancy. Crispin uses his personal funds to set these films in motion, and shares with the audience his ‘baby steps’ to include finances required, and skills to budget such film. These comments occur in the most appealing segment, “Q&A”.
During questions, and answers Crispin not only gives us the back story to Stephens’ life as a survivor of severe cerebral palsy, his horrors in a nursing home, but also how he overcomes this as an advocate for handicapped persons. To only sadly reveal the loss of Stephen to his disease following complications of pneumonia at age 65; two months post final cut. Cultural taboos aside, a look at the political turmoil we see today is represented; poor healthcare systems leading to the placing of a functioning male in his twenties into a cold, dismal nursing home. As an advocate, Stephen overcame this by forcing laws to allow his return to a private life giving him the ability to write this screenplay.
Crispin provides a brilliant insight into his path to acting as he recants the road to filmmaking. He brilliantly oversteps the legalities of Back to the Future (II, III), by providing a strong humanistic side, entangled with honest candor as to why it is necessary for actors to pursue such avenues [saving other actors the same fate]. As audience members ask questions, Crispin answers in lengthy but enlightening responses that share the answer with emphasis on the how, the why, and the techniques that only a director can offer. Crispin has flair with conversing; the audience shares their enthusiasm for his work during, and after this show.
As the evening comes to a close, a book signing is set up in a darkened, theatre. This particular theatre brings about a chill of unease in the dark. The audience is able to spend as much time as they wish with Crispin to discuss their questions, his works, and their love of his technique, his character acting, and even his role as McFly. He was also gracious enough to discuss this authors’ questions, and allow a photo.
Should you see this? If over 18, highly worth the quite remarkable stage presence, and a great way to step into a new culture shock!!!
Anthropology students this is a must see!!!!
Comments