Tag: Film

Audrey Hepburn, Gregory Peck and Roman Holiday: a Political Lesson? No, Really.

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It was a fairy tale about a princess on a journey. Doing her duty, kind of like Diana (but, since she was played by Audrey Hepburn, even classier,) she came to Rome, after Athens, London and Paris, to conclude her mission.

But she was young and beautiful and sick of receptions and parades. And so, in the middle of the night, she snuck out the embassy window and ventured across the Piazza di Spagna and into the Roman night.

If you know this movie at all, you remember with sweet nostalgia the way you felt the first time you saw it.  The princess asleep near the Trevi Fountain on the Roman equivalent of a park bench is awakened, like Sleeping Beauty, by reporter Joe Bradley, played by Gregory Peck. ( If the film has a flaw, it’s that we know some of what will happen once we see him there.  He’s a good guy and that’s who he plays.  He is Atticus Finch, after all.)
The film was released in 1953, right in the middle of the 1950’s.  Written by Dalton Trumbo, “Roman Holiday” was credited to a “front” named Ian McLellan Hunter, because Trumbo, blacklisted as a member of the Hollywood Ten, wasn’t permitted to write for movies any longer.  It’s one of the darkest chapters in Hollywood history, very much a part of the image of the decade and a sad facet of a beloved film that won three Oscars and introduced the world to Audrey Hepburn.
There’s something else though.  The people in this film behave well.  There are things that they want, desperately, but there are principals at stake, and they honor them.  When Peck meets Hepburn, he doesn’t recognize her but lets her crash at his apartment.  Once he figures out who she is, he knows this “runaway”  could be the story of his life.  Even so, after a brief, idyllic tour of the city, (SPOILER ALERT) she honors her responsibilities and returns to her royal duties, and of course, he never writes the story.  It was very much an artifact of the
“Greatest Generation” ideals, manifested with such courage during
WWII and very much the flip side of the jaundiced (and just as accurate) Mad Men view of the 50’s.  Duty and honor trump romance and ambition. 

Once again, I’m struck with admiration for the people of these times.  Yes the 50’s did terrible damage and made it difficult to be eccentric or rebellious or even creative.  But films like this one, or Now Voyager and similar films of the 40’s, sentimental as they may be, remind us of what else these people were.  They’d lived through the Depression and the war and they had an elevated sense of responsibility.  As we watch much of our government (and some of the rest of us) disintegrate into partisanship and self-interest, it makes a lot more sense than it did when we rose up against it all in the 1960’s.  Doesn’t it?

This Is NOT (exactly) about Barack Obama – the Last Time for a While – It’s About Slumdog Millionaire (Hint: Not the Greatest Movie Ever Made)

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Fair warning.  I'm about to be contrarian, so if you're fond of Slumdog Millionaire, stop reading now.  I've just come from the theater, disappointed and even angry.  Granted, I don't read reviews before I see films; they give away so much that they spoil the impact of brilliant scenes and great dialogue.  So it's my own fault that I didn't know about the torture scene and the one where the kid is blinded when molten lead is poured into his eyes.  Just what you need in a fairy tale, right?  I was with someone I'd leaned on to come, someone who is squeamish and subject to nightmares, and there we were, experiencing vivid and disturbing imagery in considerable detail.

I want some more
Beyond that, even though, as far as I can tell, there aren't many who agree with me, there's much that seriously detracts from the enjoyment of this film.  I'm going to risk my emotional and artistic credibility and describe some of it.

First, it's highly derivative, a mix of The Usual Suspects police station flashbacks and Oliver Twist. Especially Oliver Twist, complete with Fagin, street urchins in great numbers, mischief and loss.  Beyond that, much of its emotional power leaches from political correctness.  We always root for the underdog; that's fair, and anyone who knows me will tell you that I'm a sucker for a fairy tale.  But there was something manipulative about this story: an unimaginably poor, dark-skinned street urchin in one of the roughest cities in India, facing down the establishment.

Despite the rhapsodic descriptions of handheld camera work that brought the slums of Mumbai live into the theater, they did not feel real.  I know much of the film was shot in the city, and some of the scenes were OK.  But I've been in neighborhoods like these in other countries and no matter how colorful and alive, they are sadder and more dangerous than these.  Oh, and everyone had very good teeth.  Not possible.

So why, on the eve of the most momentous Inauguration in the history of this country, am I complaining about a movie a couple of months old that will probably win many awards?  I'm not sure.  Like everyone else, I'm full of wonder at what is coming on Tuesday.  It will dominate this space for some time.  Today though, as we await the climax of this real story of triumph and ideals, the not-so-credible tale that is this film was a poor substitute.

Doubt – More than a Movie — Also a Time Capsule


This film, Doubt, is exceptional. Smart, funny, moving, intricate and remarkably well-acted, it is, without exception, a remarkable accomplishment. I grew up in Pittsburgh and nuns like Meryl Streep’s Sister Aloysius Beauvier were a staple in my life, not in Catholic school, but every weekend, at speech tournaments at Greensburg Catholic or Central Catholic or other parochial schools that so often hosted the competitions. 

God help you if one of your judges was one of these sisters.  They were the toughest and the scariest.  Even in the cafeteria between Round 2 and Round 3, they wandered with the same “eyes in the backs of their heads” that Sister Aloysius demonstrates to her young protege.  The teams they coached were the amazing.  Practiced, smart, disciplined and resourceful, they did the sisters proud. 

As I watched Meryl Streep as the principal of a Catholic elementary school where accusation and suspicion take over, all the memories of those scary Saturday mornings at the front of a classroom, giving speeches on labor unions or disarmament or the dangers of the Soviet Union came tumbling back. The nerves were unavoidable; when the sisters were among your judges, you had to be prepared, organized, well-spoken and committed.  Or else.

Probably the familiarity of those nuns (weird for a nice Jewish girl to have access to, I suppose) and the memory of all the Sundays I went to Mass with friends after a sleep-over added to the film’s impact.  I know I had a very personal reaction.  But whether you grew up in Idaho, Arizona or the Bronx, the film is irresistible and won’t leave you alone just because it’s not on the screen any longer.  I’m not going to talk about the plot because that will diminish the pleasure of watching it unfold, but if you respect great writing, great acting and excellence in film-making, you don’t want to miss this one.

PAY NO ATTENTION TO THE WOMAN BEHIND THE CURTAIN: SARAH PALIN IS THIS ELECTION’S WIZARD OF OZ

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This is an argument for a change of focus.  As I began to write it all I could think about was the Wizard of Oz, the fake behind the curtain who had everyone believing he could save them all.  When he finally presented gifts to all but Dorothy, it sounded horrifyingly like the tactics of the current "wizard,"  nominee Palin, and her boss.  I am as angry and uneasy as anyone over the nomination of Sarah
Palin but I think it’s time to stop now. 

This morning I heard Paul
Begala say on MSNBC that every day McCain isn’t talking about the
economy, he wins.  That he can’t win ON the economy so if he keeps
distracting the voters and the press he will be better off – a premise
supported by the current poll numbers.  Begala also kept comparing
Palin to the "shiny object in the water" on a fishing line that makes a
fish take the bait.  I think he’s right.

The issues of this
election are, as we all know, so enormous and scary that it may be
easier to keep focusing on the governor, but that will not win the
election.  We need to help remind people of the real issues – the
devastating effects of the sub-prime crisis and it’s sequel, investment bank failure so evident in the past few
days, the state of the economy generally, our sinking competitiveness
in education and the  tragic decline of many of our schools, the
attempts by the Right to place (with hat tip to Auntie Mame)"braces on
our brains" and of course, Iraq, Afghanistan, healthcare, energy and
infrastructure. 

We’re in a mess.  It wasn’t caused by pigs or
lipstick or tanning beds or even community organizers — it was caused
by the people currently in office who want four more years and are
Orwell-ing us into giving it to them.  This community has enormous
impact and knows how to raise a ruckus (If you don’t think so, mosey on
over to the League of Maternal Justice!)  Let’s get some message
discipline here, leave Sarah to others and push the issues.  We’re
going to kick ourselves if we don’t.

A version of this post appears on Blogher.com.

PIGS, LIPSTICK, DICK CHENEY, SARAH PALIN AND THE MOVIES: “BOB ROBERTS”, “A FACE IN THE CROWD” AND WILLIE STARK

Of course by now we’ve all seen this.

I wrote much of what appears below without knowing just how to begin it – and those wacky Republicans solved my problem.  The response to this boilerplate Obama statement was to issue a vicious attack accusing him of sexism because of Palin’s convention speech “lipstick/hockey mom/pitbull” quote.  This despite the fact that the metaphor has often been used by Republicans including Dick Cheney – to say nothing of John McCain – look here:

The McCain campaign, not only in its choice of Sarah Palin but in how they use her, is leaning on very scary  tactics that are similar to the successful exploitation of voters illustrated by some of the most memorable characters in American political films.  Watch this trailer for Tim Robbins’ Bob Roberts; see if it isn’t more familiar than you wish:

Creepy, isn’t it?  A demagogue making his way to the top by lying about his opponent and manipulating the alienation of the American people for his own ends.  That could never happen in real life, right?

Much, much earlier in film history, the beloved Andy Griffith played one of the scariest public personalities ever in A Face in the Crowd — written by Budd Schulberg and directed by On the Waterfront‘s Elia Kazan.  He’s not a politician but watch the trailer and see if it doesn’t seem familiar.  You have to watch until the end to get the full impact.

 

It’s so depressing — and enraging — to watch this campaign peddling pseudo-folksiness to win over its public.  It’s time for that to stop working in our country.  Stakes are too high to permit us (or the press) to fall for the most  approachable (and least honest) over the most excellent.

Finally, remember Robert Penn Warren’s remarkable novel, clearly based on Louisiana’s Huey Long – All the King’s Men?  It portrays a politician on his path to becoming a dangerous demagogue.  Yeah, I know it’s melodramatic but does it feel at all familiar?

Clearly we should consider these archetypal characters as cautionary tales; instructive representations of our future if we allow this kind of campaigning to prevail.  Movies are our largest export (unless video games have taken over while I wasn’t looking)  and often reflect, if not our truths, at least our ghosts, shadows and neuroses.  It gave us The Body Snatchers in the 50’s, Easy Rider in the 60’s and Working Girl and Wall Street in the 80’s.  It’s easy to be seductive, to manipulate language and truth; easy to pretend to be one of the people in order to win them. The vicious, craven strategies of this campaign – and Sarah Palin herself – are  perfect examples; John McCain, whom I used to admire, has allowed, no encouraged, this shameful campaigning in his name and surrendered all the positions of principal that he once held.  If we don’t want (another) Bob Roberts (He does remind me of GWBush) or a cynical populist pretender or a MS Wilie Stark as our government, it’s up to use to exercise vigilance and fierce commitment to fight off these transparent manipulations and to ensure that it does not happen.

THE DARK KNIGHT, HARRY POTTER, LORD OF THE RINGS, DARK U.S. DAYS AND POLITICS

I used to see Christ symbols everywhere.  It drove my mother crazy; no matter what film or book, I’d find some kind of symbol in it.  And Christ symbols were fashionable then (Ingmar Bergman, Robert S. Heinlein.)  So I guess it’s no surprise that I found implanted meaning, this time political messages, in Harry Potter and the Order of the Phoenix  (the loss of Hogwarts students’ freedom and rights to Dolores Umbridge) and the Lord of the Rings  – listen to this:

"It’s
like in the great stories, Mr. Frodo. The ones that really mattered. Full of
darkness and danger they were, and sometimes you didn’t want to know the end
because how could the end be happy? How could the world go back to the way it
was when so much bad had happened? But in the end it’s only a passing thing.
The shadow even darkness must pass. A new day will come, and when the sun
shines it will shine out the clearer. Those are the stories that stayed with
you. That really meant something. Even if you were too small to understand why,
but I think, Mr. Frodo, I do understand. I know now. The folk in those stories
had lots of chances of turning back only they didn’t. They kept going because
they were holding on to something." "What are we holding onto
Sam?" "That theres some good in this world, Mr. Frodo, and it’s worth
fighting for"- The
Lord of The Ring– The Two Towers

Now The Dark Knight joins my array of political films.   Think about it.  Irrational evil — the Joker (the late Heath Ledger, as good as the reviews but somehow a bit Al Franken-esque)– drives Gotham City to such anxiety that its citizens are willing to surrender freedom and privacy and even to turn on their Bat-benefactor, to return order to their streets.  Sound familiar?  Throughout the film members of the community at large, as well as Bruce Wayne/Batman (Christian Bale), his beloved Rachel Dawes (Maggie Gyllenhaal,) DA Harvey Dent (Aaron Eckhart) and even the sainted Lucius Fox (Morgan Freeman) face — and often fail — deep ethical temptations (including abusing prisoners — sound familiar?) — and, surprisingly, those who face the most horrendous choice are criminals and civilians whose behavior is far more laudable than that of any of us (including me) who know what’s been done in our name in Iraq and have mourned but not acted to stop it.

[SEMI-SPOILER ALERT]  This gigantic challenge, issued from the Joker himself, is a formidable and hopeful moment in the film.  Many have written that the film is dark and without humor but I don’t think so.  This scene, in particular – and I don’t want to be too much of a spoiler — seemed to me to be there to remind us that there is always the potential for good.  Even so, the film is crammed with talk, as in Sam’s speech to Frodo, and especially from the wise Albert (Michael Caine) of the pain and sacrifice required in the battle against the troubles ahead.

Maybe it’s a reach, and I can hear your saying "Hey, it’s ONLY a movie!" but there you are.

THE STORY OF STUFF: DOES IT WORK?

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This film was screened in Berkeley in early December so I’m a little late (a lot late?) writing about it but it’s worth a conversation any time.  The Story of Stuff *is an extremely effective exposition on the consequences of overconsumption – and the origins of the habits that led us to our current environmental crisis.   It’s riveting.  And most of it makes horrifying sense; it’s the accumulation of so many common sense facts that has the power.

Somehow though, I wish for a bit more.  Much of the rhetoric, while the facts may be real, is intense.  I keep thinking that if the data were relayed in a way that gave us a second to breathe and absorb the most impressive**, and if the relationship between government and business were described a bit less simplistically (as almost a conspiracy,) the effect would be greater.  The problem is that all those businesses are where people work.  The first thing many will hear when we talk about villainous companies is the threat to their livelihood.  That doesn’t make the facts less true; it just means that we have to talk about the issue in ways that address these fears.  Otherwise, the film provides a great vehicle for the converted but not much firepower to reach those who may buy into the issue generally but not into the condemnation of what keeps their family alive.

I’m only dwelling on this because the film is such a great tool – and its flaws will reduce its impact.  Those passionate about the environment, especially now, when people seem so much more ready to listen, want to get everything into the conversation.  But I’m afraid, in this very good job, they’ve included elements that will prevent those least engaged from joining the battle. Take a look – what do you think?  Here’s the introductory chapter.  You can see the rest here or on You Tube in chapter elements.

*Funded by the Tides Foundation

**     For example, these:
*In the past three decades, one-third of the planet’s natural resource base have been consumed.            *In the United States, we have less than 4% of our original forests left.
*The U.S.has 5% of the world’s population but consumes 30% of the world’s resources4 and creates 30% of the world’s waste.
*The average US person now consumes twice as much as they did 50 years ago. 
*In the  US, we spend 3-4 times as many hours shopping as our counterparts in Europe do.
*Each person in the US makes 4.5 pounds of garbage a day – twice what we each made 30 years ago.

EVERYONE LOVES JUNO – AND THEY’RE RIGHT

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You’re probably sick of hype about Juno, a movie that deserves every ounce of praise heaped upon it now and in the future (and that will happen – and happen… and happen!)  One of our sons called to insist that we go, then, in San Francisco, the other walked in to lunch and said "Forget Atonement, you have to go see Juno.  It’s the best movie in so long!"  Inertia, and the chaos of the holidays, plus that fact that everyone we were with over the holidays except Rick and me had seen it, intervened.  Then, when we got home I ran into a sixteen year old friend with whom I share Harry Potter pleasures, and she urged us to go. 

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So last Saturday night I invited two friends of ours, close to 80 and major movie maniacs, to go with us.  They came, although nobody but me wanted to see it.  It was raining.  The online ticket thingy didn’t work and we had to wait in line in the rain.  THEN the line to get into the theater itself snaked all the way back past the concession stand.  I was in big trouble.  You of course can imagine the outcome: despite all the drama – everyone loved it.  I can now tell you with some authority that be you sixteen or thirty or sixty or eighty, male or female, cynic, cerebral, romantic, adolescent, child psychiatrist,  game designer, law professor or young parent, unless you have a heart of stone or no sense of humor, you will love this film!

There’s no reason to describe the story; it’s appeared everywhere.  But here’s the trailer.

Let me add only that calling Juno a movie about a girl who gets pregnant is like calling Atonement a war movie.  The characters and the script they inhabit*, the acting, the wonderful production decisions from opening credits to casting to sound track (so so great) to transitions, were spot-on.  So stop reading this and go see it!  And if you feel like it, let me know what you thought.

*written by Diablo Cody, who was a stripper/blogger who was recruited to write the film by someone who frequented her blog on the sex trade.