Tugs

Tugs (PG-13; 124 mins.)

This compelling documentary follows the crews of two rival tugboats throughout an entire "tugging season" (beginning in mid-February and continuing through Guy Fawkes Day in November) as each ship strives to tug more ships than the other. The opening credits feature a dazzling split-screen, musically-driven sequence reminiscent of A Hard Day's Night, right down to the McCartney-esque phony mustache worn by one of the captains to evade a harbor master to whom he owes some paperwork.



Right from the start, we learn that we are dealing with two very different captains with different styles and ways of getting things done. Capt. Cunk of the Mako is a cold, serious man who loves staring at the horizon. By contrast, Capt. Besame of the H.M.S. Theodore Q. Tugboat is a vibrant, loving man who enjoys doting on his crew and spoiling his favorites with hard candies, and who takes great pride in announcing that his "cabin door is always open if anyone wants to chat about anything." In one memorable scene, Capt. Besame orders his men to abandon ship due to an engine fire. After the men jump overboard, Besame informs them through tears of laughter that the ship is not on fire, but that he thought they needed a "swim break."

When the crew of the Mako loses a bet to the crew of the TQT, the Mako is forced to take on a female crew member. The remainder of the film follows the crew's attempt to adapt to the woman, and accept her on her own terms. Also, one of the captains dies in a hailstorm, but it's not really relevant to the story arc.



All in all, Tugs is a fascinating look at the tug boat industry, but it is not without its faults. First, everyone in the film is apparently nicknamed "Tug," "Tugs," "Tuggy," or "Tugger," which makes things very confusing. Second, the constant double entenderes and punning on the word "tug" in reference to masturbation get old very quickly. Still, the film has much to love, not least of which is Director Liam Geese's choice to forego the tired "animal as a plot element" gimmick that has tarnished many otherwise laudable movies of late (think the rabbit in Mr. Persistence).

Mild but humorous sexist remarks; threatening remarks.

Tumbo Mtoto Mwanamke ("The Tummy Teller")

Tumbo Mtoto Mwanamke ("The Tummy Teller") (Not Rated; 93 min., English subtitles)

Originally released to Europe as the awkwardly translated "The Paunch Feeler," this Bram Van Paesschen vehicle is a quasi-documentary that tells the story of Idihi, an East African woman who has the delightful responsibility of traveling from village to village and telling pregnant women the gender of their soon-to-be-born children. The film artfully depicts Idihi's elegant dance around the women, pressing against their bellies and singing songs that describe how the baby is reacting. Baby girls, she posits, linger close to the spine in fear while boys fight off any prodding to protect their mother. At the same time, plague is drifting through East Africa and her home village, claiming children and old alike, breaking spirits and families in its wake. After a few days of weakness, Idihi realizes that she is not "suffering the plague." Rather, she is "suffering a child." As her belly grows, she becomes frustrated that she cannot tell the sex of her own baby and the implications for her business. She resolves to prepare for either gender, weaving clothes for a girl and a boy on her loom at home, etc. Van Paesschen's story and direction are convincing until the cloyingly sentimental ending (Spoiler Alert: She has twin boy and girl), which cancels all the tension built throughout the movie. In effect, Idihi's character and story have gone nowhere--save for the fact that she has two kids, a new respect for her gift, and has revived the spirit of life in her dying village. Still, the cinematography of the East African landscape is worth the price of admission. Limited release.

Graphic birthing scenes.