Sunday, November 11, 2007

Solaris: Logos vs Pathos in outer space


Recently viewed Andrei Trakovsky's (Andrei Rublev, Stalker) Solaris, based on the novel of the same name by Stanislaw Lem. In this film psychiatrist Kris Kelvin is heading to the planet Solaris and refuses to accept any emotional testimony about the mysterious planet before his journey. Kris leaves insisting that facts and logic are the only ways that man can hope to understand the alien world.
To bad the planet infiltrates the minds of all earthlings who come near and manifests those individuals' pasts into tangible objects. For logician Kris this results in the creation of an approximation of his dead, via suicide, wife, Hari. Who comes to being soon after he arrives at Solaris. Kris' logic and the reality of new-Hari's faux-existence fall to the wayside, and he falls prey to his emotions. Eventually he decides that understanding is not in knowledge but in myths, legends and the way we feel. So logos-0, Pathos-1.

Of course at this point Kris may have become mentally unhinged having learned to re-love his dead wife and having to experience her second suicide, so his opinions may lack ethos.

Sunday, November 4, 2007

1990 & 2001 via 1982



Who says distractions can't be educational!
Recently I viewed Richard Brook's (In Cold Blood, Looking for Mr. Goodbar) prescient comedy, Wrong is Right. This 1982 film staring Sean Connery looks like and feels like TV movie, but is a rather amusing black comedy about manipulation. In the course of the film a news reporter, Patrick Hale, discovers what appears to be a plot from an unspecified middle eastern organization to blow up New York City and as he is a TV celebrity he is granted an audience by all concerned parties, because "if it doesn't happen on TV, it means nothing."

The plot in brief: Patrick Hale discovers that an Arab Sheik may have been plotting to nuke New York and Israel before his untimely death, which may or may not have been a suicide. As he attempts to find the truth behind the situation he becomes a pawn for all parties involved and eventually winds up being the tool for the US to justify a war on the middle east - in which control of the oil supply is the real reason.

The manipulation of the media by the government, big business, and special interests is a popular area for satire, but what makes this film so intriguing is its presentation of the idea of the U.S. government declaring war on the middle east under the guise of national security but in reality is an attempt to get control of the oil supply. Which appears to have become a reality twice now.

Thursday, October 25, 2007

Clint Eastwood, The French Connection and Art.





Watching Flags of Our Fathers, I noticed that Clint Eastwood appears to have a taste for stories that examine the truth behind the myth. As Flags of Our Fathers spends its 2 plus hours detailing the story behind a photograph, Eastwood's earlier film The Unforgiven spends about 5 minutes revealing the reality behind the myth of living legend English Bob. After receiving a sever beating at the hands of Little Bill Daggett, Bob is further humiliated when Daggett proceeds to tell Bob's biographer the sordid facts behind Bob's alleged triumphs. Perhaps this would carry greater weight, if the film didn't end with Eastwoods character proving that he's every bit the legend that's surrounded him - killing all who've wronged him and setting back housing construction for sheriffs by one life.

The joys of viewing one bio-pic led me to another, The French Connection inspired by the real life drug bust made by Eddie Egan and Sonny "Cloudy" Grosso. Inspired in that Eddie Egan (now Popeye Doyle) didn't shoot a French assassin in the back and didn't chase the B train through Brooklyn with his car; amongst several other liberties. Reality being pushed to the side in order to get the crowd roaring, and to outdo the car chase scene in Bullitt. Cinema looking to pathos as the deciding factor in determining dollar grosses perhaps.

Pulitzer Prize winner Art Spiegelman, writer of Maus, mentioned in the Hirsch article, is one of the brains behind the popular bubble gum card series Garbage Pail Kids and Wacky Packages. I've attached a few examples

Sunday, October 14, 2007

Cinema sway




Saw The Darjeeling Limited and The Assassination of Jesse James by the Coward Robert Ford this weekend.



The Darjeeling Limited has become something of a hot topic. In it Owen Wilson plays a character, Francis, one of three brothers, who has attempted suicide. Another of his brothers Jack (Jason Schwartzman) is a writer who writes stories about his own life and tries to pass them off as fiction. The hot topic angle, is that Owen Wilson, one of three Wilson brothers, who has been accused of writing about his own life under the guise of fiction, has recently tried to kill himself.
On a warmer note, the film has three great songs by the Kinks in it and a very pleasant color scheme.
The Assassination of Jesse James by the Coward Robert Ford is a fictionalized account of, well the events leading up to and following the action described in the title. Based on the book of the same name by Ron Hansen.

What I found most interesting about this poetic film - that visually attempts to replicate the blur of old photographs now and then - is how close the assassination is portrayed as according to Robert Ford's own confession as written in a letter to Governor Thomas Crittenden.

A nice blurring of fiction and reality.

Spoiler.

Jesse James Wikipedia article
"On the morning of April 3, Jess and I went downtown, as usual, before breakfast, for the papers. We got to the house about eight o'clock and sat down in the front room. Jess was sitting with his back to me, reading the St. Louis Republican. I picked up the Times, and the first thing I saw in big headlines was the story about Dick Liddil's surrender. Just then Mrs. James came in and said breakfast was ready. Beside me was a chair with a shawl on it, and as quick as a flash I lifted it and shoved the paper under. Jess couldn't have seen me, but he got up, walked over to the chair, picked up the shawl and threw it on the bed, and taking the paper, went out to the kitchen. I felt that the jig was up, but I followed and sat down at the table opposite Jess.

Mrs. James poured out the coffee and then sat down at one end of the table. Jesse spread the paper on the table in front of him and began to look over the headlines. All at once Jess said: "Hello, here. The surrender of Dick Liddil." And he looked across at me with a glare in his eyes.

"Young man, I thought you told me you didn't know that Dick Liddil had surrendered," he said.

I told him I didn't know it.

"'Well," he said, "it's very strange. He surrendered three weeks ago and you was right there in the neighborhood. It looks fishy."

He continued to glare at me, and I got up and went into the front room. In a minute I heard Jess push his chair back and walk to the door. He came in smiling, and said pleasantly: "Well, Bob, it's all right, anyway."

Instantly his real purpose flashed upon my mind. I knew I had not fooled him. He was too sharp for that. He knew at that moment as well as I did that I was there to betray him. But he was not going to kill me in the presence of his wife and children. He walked over to the bed, and deliberately unbuckled his belt, with four revolvers in it, and threw it on the bed. It was the first time in my life I had seen him without that belt on, and I knew that he threw it off to further quiet any suspicions I might have. He seemed to want to busy himself with something to make an impression on my mind that he had forgotten the incident at the breakfast table, and said: "That picture is awful dusty." There wasn't a speck of dust that I could see on the picture, but he stood a chair beneath it and then got upon it and began to dust the picture on the wall.

As he stood there, unarmed, with his back to me, it came to me suddenly, 'Now or never is your chance. If you don't get him now he'll get you tonight.' Without further thought or a moment's delay I pulled my revolver and leveled it as I sat. He heard the hammer click as I cocked it with my thumb and started to turn as I pulled the trigger. The ball struck him just behind the ear and he fell like a log, dead."

Sunday, October 7, 2007

Racially Sensative Entertainment




Halloween is my time to indulge in vintage horror, be it Cat People (1943), Curse of the Cat People, The 7th Victim, Viy, I Walked with a Zombie, White Zombie or the million other titles my fingers are too tired to type. Yesterday I watched The Mask of Fu Manchu, a 1932 Boris Karloff/Myrna Loy MGM picture noted for its extreme pre-code sadism and Xenophobia. Apparently the film was considered so offensive that it was edited down 40 years after its release and only recently has been restored to its full offensive nature - which amounts to restoring a lot of Asia bashing.
These types of restorations - reinserting the racially insensitive - are becoming rather popular nowadays.
Is this a good thing? A way to address our past?
Some I've talked to have expressed that there is a need to have this material out there, but it must be presented in the proper context. If it's out there, can it ever be assured that it will be presented in its proper context?
What is its proper context?

Do films like All This And Rabbit Stew need to be returned to the public for mass consumption?

Since they've been returned already, is this sort of debate moot?

Sunday, September 30, 2007

Photo Fraud in Lebanon

From Aish HaTorah - a non-profit, apolitical network of Jewish educational centers- comes a piece about photo fraud in Lebanon.

PhotoFraud

Considering what is being said and who is saying it, I'm not sure this is an unbiased piece.

Hitchcock's Rope

Being a huge fan of mis-interpretation or re-interpretation, I am a fan of Hitchcock's Rope in which two fictional young men - inspired by the true Leopold and Loeb case - kill one of their aquantinces and hide his body in a truck. One things lead to another, and they're discovered by the very man who they thought would most agree with their motives, as they justified their actions with his philosophies.

Sadly, for them, this man (Rupert), does not agree with their logic and the following discussion ensues; which just goes to show it always pays to clarify second and third party intents.


Brandon: Rupert, remember the discussion we had before with Mr. Kently?
Rupert: Yes
Brandon: Remember we said, "the lives of inferior beings are unimportant"? Remember we said - we've always said, you and I - that moral concepts of good and evil and right and wrong ... don't hold for the intellecturally superior. Remember, Rupert?
Rupert: Yes, I remember.
Brandon: That's all we've done. That's all Phillip and I have done. He and I have lived what you and I have talked. I knew you'd understand because you have to, don't you see? You have to.
Rupert: Brandon - Brandon, till this very moment, this world and the people in it ... have always been dark and incomprehensible to me, and I've tried to clear my way with logic ... and superior intellect. And you've thrown my own words right back in my face, Brandon. You were right to. If nothing else, a man should stand by his words. But you've given my words a meaning that I never dreamed of! And you've tried to twist them ... into a cold, logical excuse for your ugly murder! Well, they never were that, Brandon, and you can't make them that. There must have been something deep inside you from the very start ... that let you do this thing, but there's always been something deep inside me that would never let me do it ... and would never let me be a part to it now.

Wednesday, September 26, 2007

The Onion riffs on symbiotic relationships

The Onion details the loveless symbiotic relationship between an anthropomorphic rhino and a tickbird; clarifying the meaning of symbiosis in the process.

rhino

Monday, September 24, 2007

WT(C/F)


Being that my classmates and I have some, presumed, shared experiences - language, location, academics, etc - I suspect that many will be moved by a certain composed image amongst the Baltimore Partnership's attempt to beautify Howard Street (and god knows where else) with a series of enlarged photographs of the city. Most provoked no response in this blogger, but this one, this one does.

Sunday, September 23, 2007

Midnight Mavericks and gathering items together for review

I've been gathering together a slew of documentaries and non-fiction writing for observation. Perhap's Barbet Schroeder's General Idi Amin Dada [A Self Portrait], Preston Sturges: The Rise and Fall of an American Dreamer, The Art of Film: Vintage Hitchcock and the various supplementary documentaries thrown on every other major film's DVD release will prove ample fodder for future comments, but for now, I will focus on a book I've been reading; Midnight Mavericks: Reports From the Underground by Gene Gregorits. Of the many celebrities interviews - including John Waters, Stuart Gordon, The Kills - I mentioned to the writer that I enjoyed his interview with director Abel Ferrara (Ms. 45, Bad Lieutenant, King of New York). He commented that he wished that his editor didn't cut down the original piece, so I found the original piece online and here is the link:

WARNING NOT POLITICALLY CORRECT.

Interview


I'm going to try and scan the article from the book as a comparison, but for an idea of the differences the book starts with an intro about Ferrara and then the following interview bit:

Gene Gregorits: What kind of jobs did you have, before you went to film school, and made your first film?

Abel Ferrara: I worked for my father, worked for my uncles. Driving garbage trucks... I don't know, typical shit. Worked in a factory. My uncles and my father owned scrap metal yards. That was their business. Driving trucks. Washing dishes in a fuckin' old age home, anything I could get. Any job at that age is good.

More interview follows

Already a good chunk is taken out and the casual banter between the author and the subject is removed almost entirely. A certain immediacy of the original text of the interview is, in my opinion, removed. It is now an editor framing the remaining text into an new relationship for whatever reasons - space, politics, conspiracy - that shapes the book reader's interpretation.

BTW Gene is a writer who lives in the local area (this being Baltimore as of Sept 2007) and everybody should buy a copy of his book:

Buy, BUY NOW!

But don't listen to me, listen to John Waters:

Listen to Johnny!


Coming soon posts on Studs Terkel, documentary films and bio-pics! Yum-o.

Tuesday, September 18, 2007

First Post

Hello, welcome to the first post.

Goodbye, thanks for looking.