Press
So let’s be honest, not a whole lot of press. But the press we’ve gotten…beautiful. Thank you very much, Columbia Tribune, for your coverage, and Scott May, for your review!
A REAL CLASS ACT
Scott A. May
It’s always exciting to learn about emerging local talent in the filmmaking scene, and from humble beginnings sometimes comes greatness.
From Brian Maurer, MU graduate and founder of Mathmission Films, comes “LIT,” the story of two old friends coming to grips with life changes and misplaced ideals. Set in the private world of academia, filmed on location on campus and at various Columbia venues, this is the first full-length feature for Maurer, who has produced more than a dozen short films since moving to Columbia in 2002.
Sample titles from Maurer’s short-subject résumé include the award-winning “Revelations,” “Shooting Homemade H,” “Tale of Five” and the “The Crappening,” a satirical spoof of M. Night Shyamalan’s dreadful eco-thriller, “The Happening.”
Like many amateur auteurs, Maurer wears many caps: director, writer, editor, cinematographer and executive producer. But even small films don’t get made by themselves — although you’d never know it by the crew listing — so Maurer surrounds himself with talent such as assistant directors Nathan Pierson and Kelly Kohlmeier, casting director Gloria Dossett and script editor Kathleen Maurer.
When he’s not making movies, Maurer is a full-time employee at MU, a frequent contributor to various online writing forums and an avid bowler. This latter passion even sneaks its way into “LIT.”
Michael Wilson plays Samuel Kete, a tenured professor of English literature at a major university. Before the start of a new semester, Kete openly disparages a fellow teacher at a school board meeting. Kete’s outspokenness invites the disciplinary measures of mentor and department head, Albert Jear (Jim Boomershine).
Jear’s punishment strikes a blow to Kete’s ego: He must teach a semester of introductory literature to a class of undergrads. Even worse, the class convenes at night, which would seriously dampen Kete’s social life — if he had one.
Kete confides his displeasure in best friend and old college roommate Carrey Wasse (Daniel Jordan), whose emotional plate is already full, thanks to a crumbling marriage and a demanding mistress. The two 50-something men take turns hashing things out over burgers and bowling, two rituals left over from their college days.
Kete approaches his night class — which appears to be the only one he teaches — with sarcastic gusto, belittling their ideas and preconceptions. His confrontational style leaves the students dazed and confused, such as when he tosses out the assigned syllabus and replaces it with an assortment of children’s books. Shakespeare, he claims, was a hack compared to the subtle complexity of Dr. Seuss.
Behind the scenes, we learn a little about Kete’s brooding nature. His choice of course study, for example, coincides with a book he’s working on, based on research begun by his late wife. As we see in brief flashbacks, he wasn’t always so sullen, but actually lighthearted and in love. All of that changed after the accident.
The film’s production values are surprisingly good, given its shoestring budget. That said, there are some technical issues that are difficult to ignore. My biggest complaint is the director’s static camera. With few exceptions, most scenes are composed of one or two motionless camera angles, flavored with little or no editing. I was also disappointed by the questionable shot framing and uninspired scene composition.
The acting is better than expected, particularly Wilson in the lead role. There’s some stiffness, to be sure, coupled with many moments of awkward dialogue. Maurer’s script, although not exactly “Dead Poets Society” or “The Visitor,” is potentially interesting had the drama been fleshed out more intimately. Overall, the tone of the film seems to hold the audience at arm’s length, never letting us fully inside the characters or their stories.
Maurer’s first foray into feature filmmaking shows promise. Although he could use help with visual and narrative creativity — which will come with experience and the right collaborations — “LIT” shows ambition and is unexpectedly smooth for a local production.