Monthly Archives: February 2019

The Last Race Ain’t Over Yet

Directed by Michael Dweck, The Last Race is a documentary about Long Island’s last stock car race track, and its 87-year-old owners struggle to maintain the racing tradition. The last race track out of the original forty the owners face a real estate development boom. The track located prime property is worth at least 10 million.

The documentary is slow with not a lot happening unless you are a NASCAR fan. There is a fire that seems underplayed. I am not a race car fan of any kind, so I couldn’t relate to what happens in the movie. The end of the race where the camera is on the winner is memorable. A surge of understanding comes to light as I see the winner’s invigoration.

The movie is filled with vignettes and sound in a unique as a narrative form to draw the viewer into the world of essential racing culture and begrudgingly explores an about the blue-collar American identity. The movie is without suits and ties. We are talking jeans and t-shirts smeared with grease.

I learned about stock car racing. Long Island is the birthplace of American stock car racing. At its peak, there were over forty racetracks on Long Island, but today, only one remains. Riverhead Raceway is a quarter-mile track somehow managed to stay with the transformation of Long Island. The track, built in 1949, is where it settled on the edge of a small country road surrounded on every side by miles of farmland. Years later, the country road expanded into a highway and eventually the steady flow of traffic from the rest of the island made it a prime location for an outlet mall, and as the outlet mall grew, big retail followed.

Today, Riverhead Raceway is the only piece of land on the commercial strip of Old Country Road not developed. The land value is well over ten million dollars.

Money generates through ticket sales on summer weekends. It is barely enough to keep the lights on. The fact that the Riverhead Raceway remains open defies the laws of capitalism, and the only thing standing in the way of the bulldozers are 87-year-old Barbara and Jim Cromarty. Barbara and Jim bought the track in 1977, and they continue to run it even as multi-million dollar offers roll in, tempting them toward a well-deserved retirement. Barbara and Jim fight to keep it open because they understand that Riverhead carries the burden of being the last stock car racing on Long Island. When Riverhead is gone, it’s all over.

In the early days, Riverhead Raceway grew within a community that valued the desire to go fast. It started with old wrecks racing around a dirt oval in an empty field.

After spectators started turning up for the races, someone decided to lay down asphalt. The stands followed, and eventually, the Cromartys started charging admission and selling hot dogs and tee shirts.

As I watched the documentary, I get a sense that it more than racing. It’s a “lodge” of brethren blue-collar workers. They build racing machines and live for speed and the craziness associated with the chaos of the race and the drama of the pits. They are competitors and adrenaline enthusiasts. Like any competition, people have a reason to live and celebrate the victories or simple the stories of yesteryear of racing on Long Island.

Dweck said the racetrack buyout sure to happen, but it never happened in the movie. The last race is yet to be. The new owners run the same operation and continue the races each summer.

Dweck foresees the closing of Riverhead despite the new owners, “Riverhead Raceway is the last track on the Island. It’s only a matter of time before the bulldozers move in and Riverhead goes the way of other tracks before it, replaced by a shopping mall, or some other piece of disposable architecture. That’s what people want, and that’s okay.  But when it goes, something will be lost.”

Dweck bulldozing point of view comes from his shared interest in stock car racing as a young boy. He grew up to witness the shutting down and bulldozing of his favorite childhood pastime – Freeport Stadium on Long Island. The last gasp of his youth turning into a shopping mall or boxed store.

His first feature-length film, Dweck craft for telling a story falls flat but in a good way. The Riverhead is still hosting stock car races, and stock car race fans will appreciate the nostalgia of competitive racing with a homespun feeling.

The attitude and look of the winner of the last race sponsored by the Cromartys are worth watching. Hitherto, I understand the glory, nostalgia, or hype of being a race car winner.

Shoplifters – Cannes Palme d’Or Winner & Oscar-Nominee

Directed by Hirokazu Kore-eda, Japanese movie Shoplifters is the 2018 Cannes Palme d’Or Winner and 2019 Academy Award nominee for Foreign Language Film.  The movie follows an oddball band of outsiders on the margins of Tokyo. They demonstrate a fierce loyalty with a penchant for petty theft and playful ways of making money dishonestly.

The fun and games end with the young son getting arrested. Secrets come to the surface and expose what little stability they did hold below-the-radar existence. They feel strong belief is not the blood that defines a family, but love defines the family. The premise is questioned and discussed throughout the movie

Kore-eda’s credits include Like Father, Like Son and Nobody Knows. Shoplifters movie is similar to these movies as an emotional exploration of the perseverance and tenacity of society’s outcasts and the love that sustains them. It is obvious why the movie won the Palme. The simplicity of the tender storytelling of inviting me to be a part of the imperfect people, showing what an oddball meaning to the family. Perhaps, redefining what a family is by showing a group of misfits similar sharing and behaving similarly to a family connected by blood.

“Shoplifters might be similar to Nobody Knows in the sense that this film also explores closely the sort of ‘punished’ families we regularly see in news reports. It wasn’t my intention simply to describe a poor family or the lower levels of the social strata. I rather think that the family in the film ended up gathering in that house not to collapse there. I wanted to shine a light on such a family from a different angle,” adds Kore-eda.

Like a voyeur, Shoplifters draws me into their daily lives through various circumstances developed and bonded together as a way to survive. Centered in the family’s cohesiveness is achieving their livelihood through petty theft and grifting. The children of the group are played beautifully and endearing by Jyo Kairi and Miyu Sasaki. I ponder the director’s uncanny ability to facilitate the actors as a cohesive metaphor to the brilliance of life itself.

“I started to think about which elements were unfolded and would be examined deeply after the casting was settled. As a result, this film is packed with the various elements I have been thinking about and exploring these last 10 years. It is the story of what family means, a story about a man trying to be a father, and furthermore, a coming-of-age story of a boy,” explains Kore-eda

The movie is worth watching, but it is in Japanese with English subtitles.