What I’m Watching : SUPERMAN RETURNS (2006) Revisited after 10+ years!

Dracula Movie Poster

Recalling this is Frank Langella’s Birthday and how much I’m enamored of his performances (particularly his DRACULA I think is hypnotic and astounding), I went looking for films courtesy of streaming/VOD and I came across SUPERMAN RETURNS.

 

Superman Returns Movie Poster

Unlike the vocal few, I’ve always liked Bryan Singer’s SUPERMAN RETURNS. It is not perfect but its weaknesses are minor, and its strengths… deserving of praise.

Watching it today, over 10 years after its release, the film holds up. It is visually stunning to look at, gorgeously filmed and sumptuously framed, outright beautiful. Going for and achieving that feeling of awe, that particularly the first Richard Donner Superman was able to achieve, And it has that romanticized feel, and familial pacing, and doe-eyed optimism that both of the first two Donner Superman movies were able to achieve. But all of this lensed through Bryan Singers unique and ambitious take, his more otherworldly, take on the Man of Steel.

Where some people only saw ‘stalker’ Superman, those of us acquainted with reason, saw an obvious moral quandary tackled head-on. You want a being that can hear you when you call? The price and burden of this means he is always listening and always watching. So the film plays wonderfully with this idea of mensh unt Ubermensh. Of Man and Superman, and the burdens and trials of both.

The film does lose itself toward the end, but not enough to keep the journey from being rewarding, and memorable and fun.

This film falling in solid Bronze medal contention as one of the best Superman Movies of all time, beat out only by those two films that it is a natural sequel and follow-up to, Richard Donner’s SUPERMAN and SUPERMAN II.

MAN OF STEEL, as well as the other post Donner Christopher Reeves films are all left far in this films wake.

My grade after revisiting SUPERMAN RETURNS after 10+ years?

Well, Great Bryan Singer Direction, excellent visuals, stunning production design by Guy Hendrix Dyas, great performances by Brandon Routh and Kevin Spacey and Tristan Lake Leabu as Lois’s son.  Also the flying scenes (all of them but particularly, That flight with Lois, a definite homage to the iconic scene in the first film, and I think it’s great),the plane scene, the yacht saving scene,the Daily Planet globe scene, the eye scene, the car scene that is a homage to a classic comic book cover, the mensh unt ubermensh overtones, and just the sheer fun of it, all of that is a solid A.

If you watch those scenes and don’t feel a sense of awe, possibly you shouldn’t be watching a film called SUPERMAN or there may be something fundamentally broken in you. 🙂

Now in the minus column you have that the Lois Lane performance sometimes grates and the general denouement/climatic battle/wrapup didn’t quite work for me (through I appreciate it more on re-watching then when I initially saw it in the theaters), those are a C- at best.

So averaged together the film as a whole is still a solid B+.

[possible spoilers]Too bad Bryan Singer didn’t get to follow this up, as I would have liked him exploring the dynamics of a SUPERMAN with a family, and a kryptonian impervious to kryptonite, and just some of the other ingenious ideas touched on in this film.[spoilers done]

Revisit it yourself on Netflix or better yet get the Blu-ray with Directors Commentary. The film will stand the test of time against the cynics, romance always does. STRONGLY RECOMMENDED.

 

 

Superman: The Movie / Superman II: The Richard Donner Cut / Superman Returns [Blu-ray]

Superman Returns (Two-Disc Special Edition)

Drácula (Blu-Ray) (Import Movie) (European Format – Zone B2) (2013) Frank Langella; Laurence Olivier; Donald P

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THE CINEMA OF STATUES : The Films of Rainer Werner Fassbinder


“He was a personable looking man. First your eye said he’s not young anymore, he’s not a boy anymore. Then your eye said : he’s not old. There was something of youth hovering over and about him, and yet refusing to land in any one particular place… In short the impression was agelessness. Not young, not old, not callous, not mature – but ageless. Thirty Six looking fifty six, or fifty six looking thirty six, but which it was you could not say.”

FOR THE REST OF HER LIFE by Cornell Woolrich

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Have you ever watched a film, and mere moments into it been so captured by its construction, its strangeness, and its audacity that it earns a spot in your pantheon, your metaphoric showcase of worthy things? I’m guessing the answer for some of us is yes. I say some, because the strange, by its very nature, will not be the cup of tea of everyone.

MARTHA based on a Cornell Woolrich story “FOR THE REST OF HER LIFE” was my first introduction to the world of Rainer Werner Fassbinder, and what an introduction. I’ve been a huge devotee and fan of all things Cornell Woolrich since discovering his pulp fiction a few years ago. I own and have read a ton of Woolrich stories and novels. When I heard about this movie based (illegally it seems) on one of his stories, I had to try it.

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And MARTHA finally seen, I was blown away by the strange, nearly alien craft and audacity of that film, and that led me by fits and starts to today’s review of Fassbinder’s WORLD ON A WIRE.

I’ve watched movies all my life, I consider myself well informed when it comes to cinema. I’ve seen all the great genres, and most of the great directors. I can speak to you about German Expressionism, Film Noir, French New Wave, Italian Neo-realism, the Pan-African and Post-Colonialism movements. I can talk to you about blockbusters and straight to VOD masterpieces. And when you have seen as many films as I have, to get me through a movie these days… you have to either a/tell the familiar in a captivating way, or b/create something vibrant and unfamiliar.

Most movies and all Blockbusters are the former, they are variations on types of movies and a thematic structure that we have seen time and time again, since the dawn of cinema; what makes them successful is the ability to do the ‘rescuing the girl from the train track’ in a fresh and innovative way.

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Much rarer is the latter, films and filmmakers that fundamentally challenge and expand are definitions of the scope and pathways of cinema.

I’ve seen two of Rainer Werner Fassbinder’s films all the way through, and both of them have struck me that way. Now admittedly they are from phase 1 of the three loosely defined phases of his career. Phase 2 being his Melodramatic phase, Phase 3 being that melodrama morphed into his identity films, dealing with themes of national, sexual, and familial identities in collusion and in conflict. (for more on this and for an overview on the films of Fassbinder please see the excellent Film.com article by Daniel Walber here!)

Phase 1 is arguably his most experimental and innovative films, here you’ll find the genre infused stuff, tinged with film-noir, horror and scifi trappings, the genres that I enjoy. Pro-active genres. I find myself generally not the audience for his phase 2 or 3 films, I’m not a fan of melodrama or just statement films. But with most of these later films not yet tried, I’m open to being pleasantly surprised.

But Phase 1, his cinema of statues and stylization, static but wonderfully composed frames, filled with actors who are at times more statues than men, and when they are animated it is often in very jerky, stilted ways. His women, leading ladies, are variations on a theme, big eyed, statuesque but often emaciated to the point of boniness, strawberry blonds, odd beauty bordering on the antithesis of beauty, mannequins and masks, and a wonderful use of angles and reflections.

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In pieces the movies should not work, stilted, unnatural performances, what is generally considered signs of amateurish or bad acting. However in WORLD ON A WIRE (WELT AM DRAHT, 1973), that ugliness and unease, the uncomfortable pauses, the shots held too long, the awkward pacing, inappropriate and at times overbearing use of music, things we typically identify with bad films and bad filmmakers, in these two films of Fassbinder all these flaws are stylistic choices and become instead function, negating themselves and becoming calling cards of a fundamentally different definition of cinema.

WORLD ON A WIRE, which virtually nobody talks about, is this outrageous and ambitious and way long mini-series of a movie, equal parts science fiction, mystery, and avant-garde film, that has this incredibly intriguing and prophetic premise about a world in which they create not just an artificial intelligence, but an artificial world peopled with artificial intelligences.

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The intelligences are programed to be perfect representations of people, and have a based in time and motion relation to each other, and capable of sex and love and procreation. So an AI universe that is self propagating, and more predictive, as the world is designed to be on a 20 year curve, so the shopping habits and economic changes and housing changes and conflicts that occur in the artificial world today, will be predictive of what happens in our world in 20 years.

It’s a brilliant, mind blowing concept, that you’ll find in better science fiction stories, but not in movies; particularly not in movies of the period, the early 1970s. On top of which the AI universe is viewable and interact-able by means of downloading someone into one of the AI inhabitants of the AI world. What??? That is mind blowingly brilliant and audacious premise for a film, even today in 2016 in an age of avatars, much less for a film made nearly 50 years ago.

And all of that, is not even what the movie is mostly about: it’s a film-noir movie. With a scientist trying to get to the bottom of his coworker’s disappearance. And then there is all the Fassbinder weirdness going on this movie, that just adds yet another level to the movie.

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The doll like women who never seem to blink, random moments of strangeness, [a party scene, where people seem not to move, and the few who do, do the same movements over and over again. A scientist called into his bosses office for serious conversation which they have while not looking at each other and spinning in circles in their chair. a night club with mostly nude attractive Black Men and women dancing while the clothed patrons walk past feeling them up… it is just craziness that comes out of nowhere, but all of it leaves you gobsmaked and off-kilter and not knowing what is coming next.} And it’s not comedy, Fassbinder isn’t just taking the piss or going for laughs here, he is telling a straight story, but he is using a crooked path, fueled by dream logic, he wants the delivery not to be what you are expecting and in WORLD ON A WIRE he succeeds.

Fassbinder, very much the spiritual predecessor to later avant garde filmmakers such as David Lynch and Lars Von Trier, was a young maverick director who died way before his time at the age of 37, however in less than a score of years (before his untimely departure) he would make 44 films, 39 of those being feature films. It is a staggering body of work to have produced by the age of 37. How many of us will ever make one film, much less 44 of them. And to make such across the board unique films, love them or hate them, is a great testament to someone who obviously ate, drank and slept cinema.

600full-rainer-werner-fassbinder Image courtesy of film.com

I can see people not liking or dismissing Fassbinder’s 3+ hour Sci-Fi epic as just flawed. And it is flawed, like I said previously, Fassbinder likes the mistakes, the mistakes of time, mistakes of gender, mistakes of intention, mistakes of moment, and out of all these mistakes with WORLD ON A WIRE he makes, at least for me, something composed of the old, that feels endlessly new.

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Grade: B+. It is definitely not for everybody, but if you like directors who are creative with cinematography (not just 360 degree shots but 540 degree shots), adventuresome in storytelling, and loyal to their actors (Fassbinder works with the same actors repeatedly, including actors of color, such as El Hedi ben Salem, rarely done for the period, and still too little done today) then this is a film for you. Recommended.

The Fassbinder Collection Two – MARTHA

World on a Wire (The Criterion Collection) [Blu-ray]

Speak to Me of Death: The Selected Short Fiction of Cornell Woolrich, Volume 1 (Collected Short Fiction of Cornell Woolrich)

The Last Word on the Best, Most Underrated, and you might have missed Films of 2014!!!

Yes I know it is nearly the middle of 2015, but hey I’ve been busy.

And I wanted to do a comprehensive study of other peoples best and worst lists of 2014 to make sure this one wouldn’t repeat the obvious, and offer instead a unique summation.

Think you’ve seen everything of note 2014 had? Well think again. When doing research for this article I determined there was a ton of films in 2014 deserving of a watch; far more than 2015 is offering.

And thanks to streaming you can try before you buy a lot of these titles.

So without further ado:

 

THE MOST OVERRATED MOVIES of 2014

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  • BABADOOK
  • SNOWPIERCER
  • GODZILLA
  • FORCE MAJEURE
  • A FIELD IN ENGLAND

 

THE WORST FILMS of 2014

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  • ENEMY
  • NYMPHOMANIAC
  • THE HUNGER GAMES MOCKINGJAY PART !
  • ABCs OF DEATH 2 – Has a couple of good segments, but largely forgettable
  • VHS VIRAL
  • GODZILLA
  • A FIELD IN ENGLAND
  • ANNABELLE

OK TO VERY GOOD FILMS of 2014

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  • ROVER
  • VENUS IN FURS
  • LOCKE
  • RAID 2
  • SABOTAGE
  • 13 SINS
  • BORGMAN
  • HOUSE BOUND
  • I, FRANKENSTEIN
  • THE TOWN THAT DREADED SUNDOWN (2014) – This one due to phenomenal direction really borders on great, it’s just a weak conclusion that bogs it down
  • WITCHING & BITCHING

THE BEST FILMS of 2014 –These are the films worth owning in DVD or Blu-Ray

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  • UNDER THE SKIN
  • CAPTAIN AMERICA : THE WINTER SOLDIER
  • GUARDIANS OF THE GALAXY
  • EDGE OF TOMORROW
  • 3 DAYS TO KILL
  • A GIRL WALKS HOME ALONE AT NIGHT
  • METRO MANILA
  • BLUE RUIN

ENJOYABLE THEATRICAL EXPERIENCES of 2014

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  • X-MEN DAYS OF FUTURES PAST
  • CAPTAIN AMERICA : THE WINTER SOLDIER
  • GUARDIANS OF THE GALAXY
  • EDGE OF TOMORROW

AND WRAPPING THIS INSTALLMENT UP, MOVIES STILL ON MY LIST TO SEE

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  • MOOD INDIGO – started watching this, what craziness I saw… so far I like
  • GONE GIRL – Ben Affleck is a filmmaker I have yet to try. Nor am I in a particular rush to, but I’ll eventually get to this film as well as his THE TOWN.
  • INHERENT VICE
  • GRAND BUDAPEST HOTEL
  • NIGHTCRAWLER
  • BIRDMAN
  • THE LEGO MOVIE
  • THE IMITATION GAME
  • ONLY LOVERS LEFT ALIVE
  • LOVE IS STRANGE OUT
  • A WALK AMONG TOMBSTONES
  • NOAH
  • TOP FIVE
  • THE HOMESMAN
  • INTERSTELLAR
  • DEVIL’S DUE
  • AMERICAN HUSTLE
  • CAPITAL
  • OMAR
  • MISS VIOLENCE
  • STILL LIFE
  • GRIGRIS
  • NORTE THE END OF HISTORY
  • CHILD’S POSE
  • GOODBYE TO LANGUAGE 3D
  • WHIPLASH
  • NIGHT MOVES
  • BOYHOOD
  • FOXCATCHER
  • IDA
  • LUCY
  • THE MONUMENTS MEN
  • BEAUTY AND THE BEAST
  • A MOST VIOLENT YEAR
  • TWO DAYS ONE NIGHT
  • STRANGER ON THE LAKE
  • JORDOROWSKY’S DUNE
  • JOY OF MAN’S DESIRING (Que ta joie demure)
  • THE IMMIGRANT
  • DEAR WHITE PEOPLE
  • DAWN OF THE PLANET OF THE APES
  • SELMA
  • GOODBYE TO LANGUAGE
  • NO GOOD DEED
  • MANUSCRIPTS DON’T BURN
  • WINTER SLEEP
  • STRANGE LITTLE CAT
  • COLD IN JULY
  • THE GUEST
  • IT FOLLOWS
  • JOHN WICK
  • THE IMMIGRANT
  • DON’T GO BREAKING MY HEART
  • LUCY
  • NON-STOP
  • NEED FOR SPEED
  • COHERENCE
  • BIRD PEOPLE
  • PROXY
  • JOE
  • HERCULES
  • THE SIGNAL
  • THE BETTER ANGELS
  • OPEN WINDOWS
  • EXPENDABLES 3
  • CALVARY
  • HOW TO TRAIN YOUR DRAGON 2

 

Thanks To the following sites for bringing some of the above films to my attention. Hope you have found this list helpful, and feel free to shoot me an email or comment with any you think I may have missed. Enjoy! :

http://mountainx.com/movies/2014-at-the-movies-the-best-and-the-worst/
https://2020film.wordpress.com/2014/12/26/the-top-five-most-overrated-movies-of-2014/
http://filmint.nu/?p=14188

http://www.metacritic.com/feature/best-and-worst-films-of-2014?page=2

Way Too Indie’s Most Overrated And Underrated Films Of 2014

http://www.avclub.com/article/best-film-2014-ballots-212969

Currently Watching VOD / On-Demand: 1970s THE CONFORMIST courtesy of Netflix Streaming

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A 45 year old movie, it may be hard to put it’s acclaim into perspective, if you don’t give credence to its age.

In 1970 when this film came out, its visuals alone and sumptuous use of the camera… was unequaled, ground breaking even. This slightly surrealist and absurdist tale of mores in a time where lunacy was sanity, and sanity lunacy, directed by the great Bernardo Bertolucci, still has its dna in so much that has come to be European cinema and transcendent cinema.

Let’s put it this way, every film Danish director Lars Von Trier has tried in the 21st century (the bulk of his 17 film output), to my mind has been his inferior take on the themes of the CONFORMIST. Lars Von Trier movies of the 21st century being very much Bertolucci movies done by someone with none of Bertolucci’s talent or vision. The only exception to this being Lars Von Trier’s first movie, and in my opinion only really great movie 1984’s ELEMENT OF CRIME; which like THE CONFORMIST is a flawed but must see film.

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I don’t think THE CONFORMIST itself necessarily holds up, I don’t think it was ever a masterpiece, there’s is something to cold in it, to fully engage, too rambling, and unfocused, but there is much in the film, in its construction that was and remains… masterful.

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Definitely a film deserving of watching and I think owning in the highest quality possibly, to fully enjoy its visuals and camera-work. Grade: For fans of surrealism and beautiful cinematography, it is a must own. All others may be content with catching it on Netflix.

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TOP 5 DESERT ISLAND Directors! Part 1 of 3 Under Construction

UNDER CONSTRUCTION

This is an idea that the filmspotting podcast covered in their latest episode, and while they had intriguing choices it spurred me to a slightly different list and slightly different choices.

If you can only, for whatever reason, have the films of five directors to watch, on a desert island, for an uncertain amount of time, or for all time… what five directors do you choose? Fritz Lang? F.W. Murnau? Louis Feuillade? Alfred Hitchcock? David Lean? Orson Welles? Ousmane Sembene? Mary Harron?

They list very interesting choices, not as good as the names I list above (I’m joking), many of which I myself am a cheerleader for (Kurosawa, Howard Hawks), but it occurred to me that diversity, particularly when it came to Hollywood films, was a rare exception rather than a rule. And that concerned me because, if I am trapped on a deserted island with the filmography of only 5 directors, that I wanted the filmography of at least a couple of those directors to represent the ethnic width and breadth of the human condition. The beauty of a range of colors and women and cultures.

I being someone who even today gets bored with the lack of diversity of films, the idea of being stuck with films not representative of the larger world, and the rich tapestry of people in it, gave me pause. For all our berating of terms like political correctness (which when really defined is respect, so when people rail against political correctness what they are really arguing against is giving people respect) we have become a more intolerant and stratified society. And part of that I think has to do with our mass media. Our obsession with vilifying the other.

The (seemingly increasing) lack of diversity in recent films and television, being I think a dangerous sign of a tail wagging the dog society. Of a vocal minority calling for a return to ‘the good old days’ which, when finally viewed, never really were that good.

Hollywood has from its inception been a propaganda machine, where a few people’s fiction altered often negatively many people’s facts. And before discussing Desert Island directors, another discussion has to be had first… about the values of film. Not the value of film, but the values portrayed or reiterated or held dear, in perhaps too many films. We have to talk about exclusion and stereotyping in films beginnings, and in film’s present.

While willing to give a slight pass to pre-1960 films given their historic placement, I have less interest or sympathy for segregated and nearly Apartheid rich, post-1960 into 21st century, Hollywood films. Or worse the 21st century version of Step and Fetchit, black actors used to deliver White Messages. Be it MONSTERS BALL or TRAINING DAY it’s the eye-bulging, debasing, cartoonish extremes, that Black actors are saddled to wear, that hearkens to what is worst in cinema.

If the choice is between only debased caricatures… of people of color, ala Frank Darabont or David Ayer or practically no characters of color ala Woody Allen, I’ll take the latter evil. But ideally the filmmakers I want to support and revisit, are those who can represent characters of color with the same broad diversity we grant to the human race, the Michael Manns, the Carl Franklins, the Tony Scotts, the Gordon Parks.

This idea of us as hero and villain, Sexual and chaste, brilliant and imbecilic, honorable and flawed, important and funny, savior and victim. In the 21st century that diversity of roles is generally relegated to White actors. In the 21st century the number of Hollywood movies that portray characters of color with any of those positive aspects listed… are few and far between.

Even supposed mass market films like XMEN FIRST CLASS and SIN CITY reek of this ingrained stereotyping and caricature as truth, when it comes to the non-pale characters. And I could deal if this mentality and programming and white wish fulfillment was the occasional film, however in the last two decades it has become practically every film and tv show. The White hero has a woman of color pining for him, his backup girl typically. And the male actor of color, seldom a protagonist, and even less seldom does he get the girl, he is now relegated to comedy relief or side-kick; Rochester for the 21st century. Far have we drifted from the sexually virile Black stars of the 70s.

This creates a cinema of exclusion and to some extent, social engineering. Our facts are shaped by our fictions, arguably more than anything else, and a cinema of marginalization, legitimization and feminism of the male of color, bodes not well.

We are not DW Griffith we are not Cecil B. DeMills making entertainment for a virulently segregated, Jim Crow America. We have made some progress since then, and for filmmakers not to acknowledge that progress or that shifting audience, is to take a stance against that progress, and against that diverse viewing base.

We are not in the early days of the 20th century, we are in the early days of the 21st and while it is a filmmakers choice whether to be exclusionary or boring or homogeneous to a fault, you do so at the risk of failing to become a better filmmaker. You do so at the risk of making scared, redundant, and repetitive early 20th century films, here in the 21st century.

Well I’ve gone on about the pitfalls of cinema, here 15 years into the 21st century, now let’s discuss the strengths of film. The people I think are portraying an America and a world far more intune to the one I walk through, where heroes can be both Black and White.

In the Hollywood system the names are few, but welcome, and waiting… waiting for viewers, reviewers, actors, writer, producers, studios, and directors to recognize there is an inequity, a growing one, at the heart of our fictions, that much be addressed to make our cinema and ourselves… better.

Those filmmakers are (among others):

The late great Gordon Parks
The late great Tony Scott
The very much with us and Great Michael Mann
The very much with us and Great and underutilized Carl Franklin
Sergio Leonne
Ossie Davis

Very, very different directors, but what they were all able to do, sometimes for a single movie, sometimes for multiple movies, is something so rarely done in Hollywood today that it’s like there is an unofficial Hayes code prohibiting it…

…prohibiting having a movie with a character of color or Black character as both heroic protagonist and a male with a functioning libido, who doesn’t have to die or be sacrificed for the majority. 🙂

Outside of the great explosion of films in the 70s extending a bit into the 80s, and the subsequent eradication of locally controlled/independent theaters, The Heroic, virile Black hero has become a scare commodity on Theatrical screens.

Which is why when it gets done well… these days, such as in Peter Berg’s poorly named and badly marketed HANCOCK… the film becomes a wild success. Because there is a large population starved for empowering images of themselves. 2013 with its BUTLER and FRUITYVALE STATION and 12 YEARS A SLAVE, showcases Hollywood’s debasement attitude when it comes to theatrical releases. “Multiple characters of color? You better be a comedy, or telling us about getting your ass whupped.” 🙂 .

Hence 2013s abundance of films of victimization, while they should be valid stories that have their place, if you counter them with just as many films of triumph, or winning, or adventure, or thrilling action and heroism. However the Heroic Tale is a rare one, and that is the failing of the system we have to change. Without the heroic myth to contrast it, tales of victimization are just an assault, a tool, a club… to beat a population into shape.

— to be continued —

Director Spotlight : The Films of Kasi Lemmons

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With the perhaps unnecessarily color titled BLACK NATIVITY headed to theaters this November, I thought now was the perfect time to take a pictorial gander at the films of its director Kasi Lemmons; a director who unfortunately like too many directors, particularly directors of color, does not get a chance to work enough.

Her 1997 debut film EVE’S BAYOU remains a personal and perennial favorite, being equal parts coming of age story and southern gothic tinged horror and magical realism. In the nearly 20 years since that film’s debut she has managed to make 4 feature films and one short, which is good to have at least that much work from a unique and talented director, and is also a tragedy to only have had that much work from a talented and unique director.

I do think the economics of making a theatrically viable film in Hollywood has kept her from truly exploring the promise of her first film; as I would have loved to see a dozen movies from Kasi Lemmon’s in her unique and dangerous southern gothic magic realism vibe. In the directorial genes of Kasi Lemmons, you had the promise of a director with the unique output of a David Fincher or Nicolas Winding Refn.

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However the films we do get from her, even hampered by the constraints of producing more accessible and conventional movies, still are never completely… conventional. There are stylistic choices and decisions that in places, take your breath away. Particularly she has never shied away from strong Black protagonists, and Black male protagonists as heroes, leading men, rather than comedy relief or the sexless partner.

Kasi Lemmon’s cinematic viewpoint of Black Masculinity, even when that masculinity is dangerous or flawed, is never less than riveting and dignified and hopeful, and as such is a viewpoint that is virtually forbidden/extinct in Hollywood films. I doubt BLACK NATIVITY will be likewise blessed, but I will still support the film and go see it, in the hopes a respectable opening gets Lemmons back to making films, that transcend… convention.

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Eve’s Bayou

The Caveman’s Valentine

Talk to Me

The NSA, Programs of Terror and Crime and the rights of the Governed

I find it interesting how the attention is focused on the young man who to my mind, did his duty and put the interest of the American people’s right to know, above the interest of a few shadowy spooks right to play god.

The Government is the servant of the people, and when it forgets that, it forfeits its right… to blithely be obeyed.

It forfeits its right to unquestioningly… govern.

There are such things as illegal orders and illegal acts, and any soldier’s or representative’s ultimate duty is not to his government but his country, and the moral imperative to know and act when those two things diverge.

The defense of the NSA in their criminal enterprise boils down to “our actions have stopped potential crimes”.

To that I would answer… you can not preserve freedom by eradicating freedoms, and you can not preserve the law by breaking the law.

Full stop.

That road lies in dark places that we have been before.

The NSA attempts to justify it like all overreaching totalitarian regimes justify anything, that their ends justify their means. And that has never been remotely true, and is not in this case. The NSA’s claim to have stopped acts of terror, misses the truth, which is… they have traded their greater acts of terrorism for others’ smaller, potential acts of terrorism.

It’s like Nazi’s Germany’s answer to any petty and supposed crime of the individual was the magnitude greater crime of the state, such as concentration camps. That we are walking down that road with the American government today is obvious and clear, from Darpa designing ever more sophisticated machines to kill men (in the event enough of our military wakes up to the idiocy of murder and assassination as government policy, well of course we need unquestioning machines there to do it instead) to the barbaric state of our prisons… we use the threat of terror to support an increasingly terrorist American Government.

It is a hypocrisy that must be recognized… clearly recognized… and opposed… vigorously opposed.

The person’s name we should be broadcasting is not the young man, that the culpable press (in the payroll of the very interests getting rich treating the common citizen as criminal before crime) calls demeaningly “whistle-blower”, it’s the ones who run the NSA. The shadowy directors and heads of the NSA and CIA and FBI and all those acronyms that hide their big crimes under the lie of persecuting small ones.

They are like the lynchmob hanging and castrating boys for whistling at women, they use the lie of petty crimes, as a smokescreen to commit great ones.

We’ve cut so many social and humanitarian programs for supposed lack of funds, yet so much of your tax dollars go into a black hole, where abhorrent individuals do abhorrent things under the lie of doing it in the name of “National Security” or “for the people” when the truth is, they do it for the reasons it has historically been done, they are diseased animals in positions of power and no one has told them no.

No one has put them down.

“No.”

And “Get down.”

It’s a start.

Maybe instead of cutting programs to feed and clothe and inspire and employ our citizens, maybe we start closing down the acronyms. This country ran before them, I reckon we’ll run after them.

And maybe run a damn sight better.