This So-Called Disaster: Sam Shepard Directs the Late Henry Moss (2003)

Director:

Michael Almereyda

Genre:

Documentary

Plot:

Director Michael Almereyda's documentary on the weeks just prior to Sam Shepard's stage production of his play "The Late Henry Moss."

Plot Keywords:

Character Name In Title

Cast

  (Credited cast)

Sean Penn	...	Himself / Ray
Nick Nolte	...	Himself
Cheech Marin	...	Caesar
Sheila Tousey	...	Choncita
T-Bone Burnett	...	Himself
Sam Shepard	...	Himself
rest of cast listed alphabetically:
James Gammon	...	Himself
Woody Harrelson	...	Himself / taxi
Ann Militello	...	Herself

Also Known As:

The Late Henry Moss (USA) (working title)
This So-Called Disaster (USA) (short title)

MPAA:

Rated R for some language.

Runtime:

USA:89 min | Argentina:90 min (Buenos Aires Festival Internacional de Cine Independiente)

Country:

USA

Language:

English

Color:

Color

Certification:

Argentina:Unrated | USA:R

Filming Locations:

San Francisco, California, USA

Company:

IFC Productions

Looking for Maleness

"This So-Called Disaster" (the on-screen credits had an additional, secondary title that I can't find documented on line) is a fascinating look at the rehearsal process, particularly between actors and a director.

It would make a terrific double feature with Al Pacino's "Looking for Richard" because here we have the additional angle that the playwright is very much alive -- Sam Shepherd-- and he actively cuts lines based on what the actors can embody without words.

He trusts these actors because they include Sean Penn, Nick Nolte, Woody Harrelson, and James Gammon, who has channeled Shepherd's alcoholic father in other plays before finally expiating his Eugene O'Neill-like obsession in this play, "The Late Henry Moss," as produced in 2000 at San Francisco's Magic Theater.

The fly-on-the-wall camera work is supplemented by Shepherd's first-time willingness to discuss the autobiographical elements of his work, with details on his family, including photographs and film, and some informal discussion by and formal interviews with the actors. (We also see him not providing the same information to a very nervous AP reporter.)

Documentarian Michael Almereyda has captured an important element in Shepherd's and these particular actors work: their roaring masculinity and how they have and are continuing to struggle with the themes of the play in their art and in their lives, how to be sons, brothers, and fathers.

Working on this play is forcing all these sexy, combative guys to come to grips with mortality and family, even though the play itself doesn't seem particularly effective at expiating that for the audience. For example, we get a languid yet intense Penn protesting that the heavy rehearsal schedule has to allow time out for him to take his kids trick-or-treating, as clearly this play has heightened all of their consciousness about parental responsibilities. I now would certainly like to see Russell Crowe take on a Shepherd play.

T-Bone Burnett is also interviewed about the background music he put together for the production.