Capitalism - Feudalism without the Kings
Tax the Rich
Movie Monday
This should be a month when we remember Richard Gere in Chicago (where he literally tap dances around the evidence in Roxie's diary in order to convince the jury she's really innocent) as we watch the USA tap dance around the facts trying to convince the rest of the world that the Palestinians don't deserve statehood.
Remember when I commented that Obama's seemingly even-handed speech re: Israel and Mideast peace was a good start but we had to watch for the follow-up? Well, folks, the follow-up never came or rather did come in the form of more Israeli illegal settlements. I guess Obama can add the Mideast peace process to his list of "Things I'd Rather Not Tackle During My Presidency." It must be a very long list by now; I hope he has enough paper.
But let's approach two indie films, one USA and one Australia, where we can see even here how the US is out of touch with the rest of the world. The first film is The Other Woman starring Natalie Portman; the second The Japanese Story with Toni Collette. Both deal with emotions and sadness, but there the similarity ends. For in the American made TOW, we get a Lifetime channel soap-movie. It deals with family problems - infidelity, loss of a child, the step-mom - but it seems to tell us only to listen to the the female characters - Portman as the step-mom; Lisa Kudrow as the first wife (who is given the only dialogue with an edge) and Debra Monk as Portman's mom. The men just appear to be acted on. In fact, the only male who makes a difference is Portman's pre-puberty step son (no way do I believe that kid was an adolescent as stated in the blurb) who proves the deus ex machina ending American directors seem to love.
Oh yes, I cried during TOW; not teared-up, I cried. It plays on the fear of all moms but that doesn't make it a good movie. Perhaps a happy ending is so ingrained in the American psyche, especially when dealing with our sacred cow, the American family, that even with indies, if you're making a typical family drama, you had better end it happy or at least with the hope of happy.
The Japanese Story doesn't go that route. While we're not dealing with mom and apple pie here, (Collette plays a pissed off geologist who is given the job of chauffeuring the scion of the Japanese family which owns her Australian employer around the outback.) this is still is human emotion story. And when the wallop comes about 2/3 in the film, I thought: OK, that was scary. How are they going to fix it? But, of course, they don't. No deus ex machina appears. A relationship which was advancing suddenly stops dead. Shit happens and we have to deal with it.
Of course, it doesn't hurt the movie that we're treated to breathtaking scenes of the Australian outback. Perhaps that scenery was the sucker-bait; we're lulled into the beauty and danger of the country (they almost die when their jeep gets stuck in the dirt) as these two people of different cultures grow to like each other. So, while we're expecting a troubled ending (the guy is married), it's not the troubled ending we get.
Maybe that's why I can sit through foreign films, subtitles and all; foreign realism is realism (Oh yes, I know that foreign films are not immune from the boredom odometer); while US realism is just hurdle on the way to a happy ending.
How did we culturally get there? That's a field for deep study, but I do know our movies spent the Great Depression (1930s) presenting a lot of sophisticated fluff when the world was on fire and today, as the US sinks into second world status, we're keen on producing over-the top CGI movies or adolescent boys' frat movies.
So take a look at The Japanese Story. It's a small movie and worth the look. Skip The Other Woman or wait until it comes to Lifetime.
Final question: I watched as much of The Green Hornet this weekend as I could before heaving. The question: How do these dogs get financing?
This should be a month when we remember Richard Gere in Chicago (where he literally tap dances around the evidence in Roxie's diary in order to convince the jury she's really innocent) as we watch the USA tap dance around the facts trying to convince the rest of the world that the Palestinians don't deserve statehood.
Remember when I commented that Obama's seemingly even-handed speech re: Israel and Mideast peace was a good start but we had to watch for the follow-up? Well, folks, the follow-up never came or rather did come in the form of more Israeli illegal settlements. I guess Obama can add the Mideast peace process to his list of "Things I'd Rather Not Tackle During My Presidency." It must be a very long list by now; I hope he has enough paper.
But let's approach two indie films, one USA and one Australia, where we can see even here how the US is out of touch with the rest of the world. The first film is The Other Woman starring Natalie Portman; the second The Japanese Story with Toni Collette. Both deal with emotions and sadness, but there the similarity ends. For in the American made TOW, we get a Lifetime channel soap-movie. It deals with family problems - infidelity, loss of a child, the step-mom - but it seems to tell us only to listen to the the female characters - Portman as the step-mom; Lisa Kudrow as the first wife (who is given the only dialogue with an edge) and Debra Monk as Portman's mom. The men just appear to be acted on. In fact, the only male who makes a difference is Portman's pre-puberty step son (no way do I believe that kid was an adolescent as stated in the blurb) who proves the deus ex machina ending American directors seem to love.
Oh yes, I cried during TOW; not teared-up, I cried. It plays on the fear of all moms but that doesn't make it a good movie. Perhaps a happy ending is so ingrained in the American psyche, especially when dealing with our sacred cow, the American family, that even with indies, if you're making a typical family drama, you had better end it happy or at least with the hope of happy.
The Japanese Story doesn't go that route. While we're not dealing with mom and apple pie here, (Collette plays a pissed off geologist who is given the job of chauffeuring the scion of the Japanese family which owns her Australian employer around the outback.) this is still is human emotion story. And when the wallop comes about 2/3 in the film, I thought: OK, that was scary. How are they going to fix it? But, of course, they don't. No deus ex machina appears. A relationship which was advancing suddenly stops dead. Shit happens and we have to deal with it.
Of course, it doesn't hurt the movie that we're treated to breathtaking scenes of the Australian outback. Perhaps that scenery was the sucker-bait; we're lulled into the beauty and danger of the country (they almost die when their jeep gets stuck in the dirt) as these two people of different cultures grow to like each other. So, while we're expecting a troubled ending (the guy is married), it's not the troubled ending we get.
Maybe that's why I can sit through foreign films, subtitles and all; foreign realism is realism (Oh yes, I know that foreign films are not immune from the boredom odometer); while US realism is just hurdle on the way to a happy ending.
How did we culturally get there? That's a field for deep study, but I do know our movies spent the Great Depression (1930s) presenting a lot of sophisticated fluff when the world was on fire and today, as the US sinks into second world status, we're keen on producing over-the top CGI movies or adolescent boys' frat movies.
So take a look at The Japanese Story. It's a small movie and worth the look. Skip The Other Woman or wait until it comes to Lifetime.
Final question: I watched as much of The Green Hornet this weekend as I could before heaving. The question: How do these dogs get financing?
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