
Dancing with one of the last christmas gifts.
blogging along the path of life, leaving nothing else behind
12 Angry men [1957]
If you have read this blog on a regular basis, you will know that I abhor it when people pigeonhole other people on the basis of their education, nationality, their sex, age, race, sexual orientation, whatever. Labels don't clear anything up. They tie up those that you apply them to. And they give you false security when you start generalizing about that group. About how they will react. What they think. How capable they are. Whether you will agree with them. Or find them interesting. The apparently inate human urge to categorize our fellow man, to cheat our way towards getting to actually knowing that person by attaching a predefined set of attributes to him or her, just may be one of the most devisive afflictions that this race is born with. Still, its prevalence is not just based in the ease of mind that comes with being able to hang these neat labels on every human being that crosses our paths. The difficult truth is that some of these labels have just a touch of truth to them. Just a tad. Enough to make us feel good to use all of them, and to base on them our whole, already fragile value system regarding other people. And before you know it, some potentially sane person gets up, walks over to a perfect stranger, an African-American, and tries to pay that person a complement by saying "These are promising looking children you've got there. Odds are that one of them will become a professional athlete. Congratulations!". By the way, I am not just taking this as a theoretical example. This actually happened to a friend of mine. Last week. In a restaurant, in the next town over from here. But of all the half-rights, those grains of truths, the whole 'men are angry, women are gentle' is probably the most prevalent. The notion that the World's two ruling forces are testosterone and estrogen. That men's drive is rage and women's is love. Men want to conquer, women want to comfort. I could go on all night. These half-wrongs permeate all our culture, to the point that there does not seem to be a sphere of human discourse that is free of them. This film certainly is not. Hell, it actually tackles it, head on. Through the years, Henry Fonda keeps getting the big credit for his lead in this SIdney Lumet's first bout on the big screen. And sure, he is good. Quite good. But this is a film from another era. Another world. A world completely ruled by men. Men who in general were just as inept then as they are today at doing things like conveying their feelings, especially to those that are close to them. Including love. And it is Lee J. Cobb who steals this show. His portrayal of an enraged, bitter man, whose son has abandoned him after receiving heavy-handed upbringing, really got to me. I felt I knew this man. I understood him. Not because I know men like him. Or because I empathised with him. But it still struck a nerve, somehow. The moment he briefly talks about his son, early on in the movie, I could feel that was going to be what it all came down to. And it did. Masterfully. Brilliantly. If I were to generalize about one hald of mankind, I would say that there is a locomotive quality to men, as a gender. They are one-track minded, loud, blow a lot of steam, slow out of the gate, high-maintainence, unflinching if you cross them, and take forever to stop once they are on a roll. Toot-tooooot.
Network [1976]
One of the best movies. Ever. This is the movie Robert Murdoch was watching when he got the idea for the Fox "News" Network. This is just so incredibly well written. Which is enough for me. I mean, the acting is good. Really good, actually. But the movie is just a solid delivery of text. Wonderful, spine-chillingly fabulous text. But that is it. There is minimal action or physical movement of any kind. Basically because there is no room for it. Hell, it is a Sidney Lumet film. I mean, 12 Angry Men took place almost entirely in one room. Plus it isn't needed. The lines are king. One result of that is the timelessness of the film. Look past the 70's hair-dos and bell-bottoms, obsolete technology etc. and you have a movie that could have opened yesterday. And it would have been received as a timely wake-up call. A fresh critique of TV's kiss of death to society. Or as one character puts it in the film: "You are television incarnate, Diana, indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality. War, murder, death are all the same to you as bottles of beer. The daily business of life is a corrupt comedy. You even shatter the sensations of time and space into split-seconds and instant replays. You are madness, Diana, virulent madness, and everything you touch dies with you." But there is another pillar holding up the movie. Another aspect of society getting a whooping. The conglomerate. The corporation. The Network. Actually, the movie is more about how big business corrupts television than about how television corrupts people and their society. Kind of like Syriana, which I really look forward to seeing. I'll end with a quote from the Network's chairman of the board. This says it all: "There is no America. There is no democracy. There is only IBM and ITT and AT&T and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. What do you think the Russians talk about in their councils of state? Karl Marx? They get out their linear programming charts, statistical decision theories, minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale."
The Merchant of Venice [2004]
I have always been weary of this play. Shakespeare is truly versatile, granted, and speaks with a commanding and often urging voice. But when I read this one, probably back in high school, I could not get past the anti-semitism of it. Maybe I read it wrong, or over-simplified it, like people in high school are supposed to do. But it just tasted foul to me. I felt—and actually still feel—that Shylock was not just treated too harshly, but that he was treated that way because he was a jew. And that can't be tolerated. Enter this grand production, starring no less than both Al Pacino and Jeremy Irons. And grand it is. Pacino gives his trademark goosebump performance, expecially in the Hath not a Jews eyes? speech. I mean, he doesn't just nail it. He defines it. Man o man, what an overpour of talent. The big performance surprise though, for me, was Lynn Collins. She was the exact Portia that I remembered reading. Shakespeare has the odd strong and bright woman in his plays, but Portia is arguably the strongest, the wisest, the bravest, the most eloquent. She strides into the chamber where Shylock is debating his legal premise for demanding his pound of flesh—and summarily disarms him with his own logic. Breathtaking. She then goes on to crush him, ruin and humiliate him, which shows her single, but gigantic, character flaw. Not so breathtaking. Actually, that whole business is painted in such racist terms that you don't feel that it is she that is in moral lapse. Instead, you feel it is the whole play, and you just kind of slide backwards out of the whole thing at that moment. I will say though, that the movie actively tries to temper that anti-semitic streak of the play. And that is laudable. But it is not enough to cover all of the ugly, underlying contempt that Shakespeare, or just that whole time in which he lived, seems to have had for people of that particular religion. Maybe it's just my complete intolerance for racism in any form. Any notion that presents the view that we are not all just as equal, just as good, when we crawl into this world, naked and shivering, is a notion that I will not debate, but dismiss with my utmost contempt.
The Mosquito Coast
I am a sucker for Harrison Ford. I feel like he can do no wrong. Even after I slap myself, pour cold water over my head and look myself in the mirror. Even gobbledygook like Six Days Seven Nights or Hollywood Homicide has not managed to turn me away. Still, I always knew this one was rotten. And rotten it is. It basically tells the story of a pathological, egotistic, self-righteous, maniacal tyrrant of a know-it-all, who dominantly drags his wife and several young children through hell and back, almost killing them in the process. And when his last act of grandstanding gets him killed, does he then repent in his final hours? Oh, no. He curses the people who have loved him enough to sacrifice their being for him—his family. All in all a pathetic idea for a film about that most pathetic of stereotypes, which I can't wait until becomes extinct: The 'master of the house'. That male who assumes control of his wife and children as if they were his property, tools to serve his mission. That guy sickens me. Mostly because he is the embodiment of an emasculated bloke. A jerk who does not have the fortitude—the masculinity—to tempre his strength, to share control, power, life, with his partner, or to guide his children to fulfill their potential, instead of serving his needs. So this is the film that ended my blind allegiance to Harrison Ford. Which is ironic in a way, since his acting here is among his most passable, ever. Probably means that I liked his stunts more than his stagecraft. Pity. And I was so looking forward to Indiana Jones 4. Ah, who am I kidding. Of course I'll go and see that too. And love it.
Fight Club
You should never see a movie unless your expectations are low. Preferably really low. And you should wait until all the buzz has passed. Wait a few years. Then see the flick for what it really is. Sure, this one is a decent excercise in that whole dual personality shit. But actually, it is more than that. Granted, Brad Pitt couldn't act to save his pretty face, but then, he isn't in this one to act. No, he is portraying that exact two-dimensional cool alter-ego we all wish we have. Sometimes. That carefree handsome son-of-a-bitch, who doesn't need to be too bright, doesn't need to be responsible, isn't going to catch things that are falling. All of that. We need that alter-ego, even if it never emerges from within ourselves. We need it, because day-in, day-out, year-round, life demands that we conform. And behave. Set good examples. Play by the rules. Be content. Smile. Wake up when the clock rings. Go to sleep when appropriate. Say nice things. Be considerate. Only challenge perceptions in controlled dosages, and only live at a certain volume. Because if you inhale too deeply, if you stray outside the parameters, people will not understand you. They will be frightened. So you grasp control of your urges. And you rein them in. Keep them under control. Be comforting. And responsible. And safe. And smile. While you allow yourself only to rage within. That's what this movie is about. Maybe it is a male thing, like this movie maintains. Testosterone, and all that. Maybe. I have done my share of tasting my own blood. And it does make you feel alive, strange as that may sound. But I have never just let go. I do not have periods of recklessness in my past. Times when impulse just took over. Not long ones, anyway. There has always been an element of control. Somewhere. Maybe that has saved me from graver mistakes than I have made. From having regrets. Somebody once called me cold-hearted. I think she was referring to the image I was portraying. The thing is, if I had to choose, I would still choose being the responsible bonus pater with the steady job and the mortgage, over being the reckless, cool, and 'free' guy, who may woo and charm, but will never stick around. Preferably, I would want both. And I have tried. Both. Often. But they do not mix. So I choose to be who I am. And quietly let myself enjoy flicks like Fight Club.
Maybe just a general "Erratic & Inattentive!!" signal would work for a variety of situations. A blinking American flag light would be perfect. It would be immediately recognized internationally as a warning icon for out of control, unpredictable and self consumed behavior. Many of the right vehicles already have flags on them, albeit usually tattered to rag status. They just need prominent illumination.and more general comments like:
America's priorities are so retarded. It's like the SuperBowl uproar and general freaking out about seeing Janet's boob pop out, from the same parents who sit their kids in front of movies featuring the Governator shooting peoples' brains out. If you'd rather have your kids know what spattered brains look like than see a woman without a shirt on, you shouldn't be having children. How did you even figure out how to have them?But then it gets really thorough and graphical about the author's experience of a motorcycle accident, in San Fran:
Beyond being able to wash it, my hand and arm still wasn't able to do anything useful. It just hung around pitifully at my side while I watched it atrophy and wrinkle. I'd look at it and try to give it useful things it could do, watch it fail, and then sit it back in place as comfortably as possible and feed it more pain meds. It was like having grandparents move in.Sobering stuff.