Film

The Man Who Sued God (2001)

Nikki Tranter

PULL.


The Man Who Sued God

Director: Mark Joffe
Cast: Billy Connolly, Judy Davis, Colin Friels, Wendy Hughes, John Howard
MPAA rating: M15+ (Australia)
Studio: Australian Film Financing Commission
First date: New South Wales Film and Television Office, Showtime Australia, 2001
US Release Date: 2002-01-17

The Man Who Sued God is being advertised to the Australian public as a comedy. This seems easy enough to believe, since the film stars Billy Connolly, one of the world's funniest men. However, The Man Who Sued God, despite good intentions, the film, quite simply, is boringly predictable, poorly written and amateurishly directed. Connolly's appearance overshadows the film's serious subject matter: a man who puts the Lord on trial and subsequently challenges the authority and rituals of the Church and its many factions.

Connolly plays Steve Myers, a former lawyer turned full-time fisherman whose boat is destroyed by lightning. His insurers are refusing to pay for the damage citing the loss as an Act of God. Steve's ex-wife Jules's (Wendy Hughes) new husband (Blair Venn) had been guarantor on the boat and as a result of the loss, is out over $150,000 and stands to lose his caravan park. Steve decides that if an Act of God destroyed his boat, then God should be held responsible. He soon finds himself headlining the "trial of the century," battling both his insurance company and a variety of Holy representatives (a priest, a cardinal, a rabbi) in court. Put simply, Steve needs to convince the court that God either does not exist, or if He does, that he (or the combined Church heads, as his representatives) should pay up, as He would be responsible for these "acts" which have cost not only Steve, but also many others, their hard-earned savings.

While the idea is an intriguing one, writer John Clarke and director Mark Joffe rely far too much on boring external situations, including a romance between Steve and his hired help, journalist Anna (Judy Davis), and her ridiculously convoluted reasons for assisting Steve with his case. The fast-paced dialogue evident in the courtroom grinds to a halt anywhere outside of it, used only to develop stereotypical characters in obvious situations. These include the possibility of Jules picking up and moving with her husband and Steve's daughter to Perth (why do down-on-their-luck Aussie always have to move either to Perth or the Gold Coast to make a fresh start?), and the tension between Steve and his lawyer brother, David (Colin Friels, with a dead-on Scottish accent).

Clarke and Joffe also make sure the audience is on Steve's side from the outset. They have structured their story to portray the insurance company bigwigs as greedy shysters (led by one Mr Piggott [John Howard]), and a bunch of buffoonish clergymen as the opposition, leaving little room to wonder as to who is right and who is wrong. What's worse, this leaves the "does He or doesn't He exist?" debate more one-sided than it could have been. The idea of a man suing the Church and his insurance company simultaneously -- one may say God and the Devil -- is in itself fascinating, and needn't have been set against such a foolish background.

Adding to the silliness is Clarke and Joffe's reliance on an annoyingly tedious formal structure (using montage after montage to move their story along) and a deafening mood-directing soundtrack that rarely lets up (during funny scenes, the soundtrack is jovial and upbeat, but when things look grim, we hear either choirs dramatically singing or just that ping-ping-pong of a sullen piano).

Equally unsubtle is the visual comparison between a church's interior, with a crucifix overseeing all, and the courtroom, with a bearded judge seated up front doing the same. Stained-glass windows featuring the words "faith," "hope," and "charity" introduce each new act, and we are repeatedly shown the overwhelming wealth of the different churches (Steve is at one point seen marveling at the architecture inside a synagogue), for no other reason than to make sure we stay on Steve's side through to the end.

And yet this premise also allows the aspect that makes the film different (and maybe a little daring): when all is said and done, the Church and its "employees" (including the always wondrous Vincent Ball as the Cardinal) are hardly ever shown in a good light. They are often seen, in fact, to be just as devious as the lawyers and Steve's insurance company.

Still, Steve eventually comes to the realisation that God had nothing to do with what happened to his boat. And so, he reinforces to the crowded courtroom that faith is what one makes of it, individually and without unnecessary persuasion. His conclusion follows dopey attempts by his opposition to argue with him, making them look like rookies with no idea how to argue such a large case, which could see a legal precedent set, one that might, say, allow God into the legal system.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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