Archives for posts with tag: school

Ghost Tour

Ghost Tour (2015) ***

Writer-director Erik Bloomquist, whose two-reeler The Cobblestone Corridor icareviews covered earlier this year, returns with the eight-minute short Ghost Tour. Set in 1973, the story concerns milquetoast tour guide Richard Sawyer (William Bloomfield) and his final night of duties at the reputedly haunted and soon-to-be-closed museum at the Clemens School for Boys, where decades ago thirty students and teachers mysteriously perished. Sawyer, who only believes himself to be “haunted by memories, not by ghosts”, encounters evidence to the contrary on this particular evening, when three of his guests refuse to leave the premises after the tour. Tied into this event and the subsequent revelation is Richard’s brother William (William Youmans), the curator of the museum.

At only eight minutes, Ghost Tour is in a hurry to get through a lot of exposition, which rather cramps the viewing experience, forcing the audience to try to establish sympathy and interest in a character with whom next to no time has been spent, so that Ghost Tour would benefit from feature-expansion to allow for the deliberateness of pace becoming such material. This viewer was also left desiring something more in the way of a motivation for the heinous crime the docent discovers. With some elaboration, perhaps double the length, one might imagine this yarn serving as one of the segments in an old Amicus portmanteau film. Ghost Tour‘s look is nice and stately, Bloomquist having found an ideal location in the Mark Twain House and Museum in Hartford, Connecticut. More an indication of potentials than a finished whole, the short is nonetheless a lesson in editorial concision. Three stars.

Rainer Chlodwig von Kook

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Erik Bloomquist writes, directs, and stars in The Cobblestone Corridor as Allan Archer, hardworking editor of the elite Alfred Pierce Preparatory School’s newspaper, The Pierce Gazette. Archer is straight-laced and by-the-book – a young man who still believes in authority and the dignity of institutions – the sort of person one might expect to carry a picture of William F. Buckley in his wallet. He is also an amateur detective and has his inquisitiveness piqued when he learns that the circumstances of a teacher’s recent dismissal are more than a little fishy. Adding interest to the story is Lizzie Merriweather (Madeleine Dauer), whose simultaneous attraction and opposition of journalistic philosophy adds another layer of tension to the narrative.

The Cobblestone Corridor is a low-key comedy hybridizing genres from teen fare to mystery, and Mike Magilnick’s cinematography does a good job of compromising between tones, referencing noir while keeping things light enough for a chuckle. The film succeeds largely due to a cast of interesting faces, which include Bloomquist’s as well as that of Nicholas Tucci, whom viewers may remember from the outstanding slasher homage You’re Next (2011). An assortment of young women in school uniforms adds to the visuals. Finally, while something of a morsel at 25 minutes, there is a measure of substance to be detected down these halls.

4 out of 5 stars. Ideological Content Analysis indicates that The Cobblestone Corridor is:

5. Anti-drug. Archer is contemptuous toward stoners.

4. Green-ambivalent. When classmate Claire (Alex Sarrigeorgiou) says paper publishing “just wastes trees”, her professor (Tucci) replies that this is “an interesting environmental argument”; Archer, however, dismisses Claire’s opinions as “shortsighted and ignorant”.

3. Feminism-ambivalent. Archer reviles “sluts” and puts a stop to an all-girl fight club. Lizzie’s contribution to his development as a journalist suggests, however, that women can contribute as professionals, giving the lie to a threatening note she receives informing her “little girls don’t belong in the big leagues.”

2. Tobacco-ambivalent. Archer cock-blocks a quintessential film noir ritual when he stops Lizzie from smoking a cigarette in his office. She later discovers that he has lied about not being a smoker, however.

1. Media-ambivalent. The Cobblestone Corridor’s best scene – crisply written and delivered by Mr. Bloomquist – concerns the question of the continuing relevance of the print medium. Journalism instructor Mr. Brown (Tucci) asks his class, “Are newspapers still important in today’s society, or are they well on their way to fading into historical oblivion?” Claire assails print as irrelevant in the age of the instantaneous dissemination of information; but Archer, who hates “supermarket tabloid drivel” and does what he can to uphold traditional journalistic standards, holds forth as follows:

People who write for newspapers understand that a story is more than just a clickbait by-line. These message boards that Claire talks about aren’t avenues for intellectual discourse, they’re a mosh pit of pseudo-scholars trying to outsmart each other. It’s not about the news, it’s not about the facts, it’s about being the loudest [. . .] and if one day the servers crash and everything goes to Hell we’ll still have a thoughtful piece of analysis we can touch and feel. That sure as Hell beats a tweet by some self-important high school drop-out hiding behind a screen name.

At stake in this scene and for the remainder of the film is the credibility of “conspiracy theories” and the post-9/11 alternative media, the latter being personified by blogger Lizzie. Archer naively believes that the major newspapers’ reporters are as thoughtful and idealistic as he is, is impressed by the Fourth Estate’s centuries of superficial prestige, and disparages the internet. He suggests, furthermore, that the anonymity of the blogosphere is an invalidation of its credibility, failing to consider the fact that alternative journalism is not, in most cases, a living, and that these writers might be putting their employment in jeopardy by signing their real names under their controversial interpretations of events.

However, after Lizzie’s insights prove to have been valuable in solving the mystery of the dismissed teacher, Archer is moved to establish an online edition of The Pierce Gazette, the idea being that online and print news media can coexist and mutually strengthen each other, and that independent researchers’ contributions can make a difference. This, Archer effuses with idealism, heralds the “beginning of a renaissance for The Pierce Gazette” – a revolution by technology and turnover in personnel. Bloomquist, though, by setting his story in the innocuous world of a non-profit student newspaper, has avoided the fundamental corruption of commercial “news” by controlling financial interests. Archer, once he ventures into the Orwellian sphere of professional journalism, will find his masters reluctant to publish material that strays off-script.

[For full disclosure of this writer’s diet of news and infotainment, he will admit to getting the vast majority of it online – from sites ranging from fluff like Yahoo! to deeper-digging content like Global Research – but also subscribing to a fortnightly print newspaper, Willis Carto’s populist American Free Press.]

Rainer Chlodwig von Kook

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