Friday, January 22, 2010
In The Loop (Armando Iannucci, 2009)
After suffering through years of documentaries and fiction films that aimed to reveal the "truth" about the 2003 invasion of Iraq and its fallout, Iannucci finally made the one that dared to be the one with the facts "in a world of truth." Facts, of course, not as "smoking guns" (something, and the media obsession to which, that the film made a point of satirizing) to the "truth" behind the invasion, but rather the world that crafted the facts and thus the truths: the bureaucrats and political careerists who, mired in their own self delusion and and narcissism, lead the world to war. Unlike the political documentaries of 2004, or the series of dramas produced in 2005 and 2006, Iannucci doesn't pit pacifists against war-mongers, left versus right, Bush against everyone else. Instead, he portrays the political creatures that crafted and adopted the war as people who, although having moral ideas of their own, must balance everything else to their prospects as insiders in Washington. There is a sense of people who want to do what is right, but also people who feel the need to be in the thick of Washington games not only to do what is right, but out of their sheer need to believe that they are instrumental in bringing rectitude about. Unlike previous efforts that also focused on the politics of war, Iannucci gives us characters who have moral and emotional investment to doing what is right, no matter how venal their actions become, or how misguided and dogmatic their beliefs have become. Although Iannucci uses cinema verite style filtered through exploitative TV tactics, his story ultimately points out the contradiction of reality via television broadcasts, and reveals that his spastic characters, through severe overacting and over the top cursing, are ultimately just banal characters existing in a world where war is just business as usual. Beyond portrayals of torture, revelations of lies and deceptions, and seedy stories of who is responsible for what, the truth of war's everydayness and bureaucratic casualness is the most horrifying.
Tuesday, June 23, 2009
Theodora Goes Wild (Richard Boleslawski, 1936)
Friday, June 19, 2009
Ang Huling El Bimbo (dir. Auraeus Solito, 1996)
Solito's video for the Eraserheads' hugely popular "Ang Huling El Bimbo." Solito later directed the hugely popular Ang Pagdadalaga ni Maximo Oliveros. One could see Solito developing his interest in depicting the painful passage to adulthood in a specifically Filipino context. He is to some extent the Philippines' Wes Anderson. The biggest difference is that unlike Anderson's characters, who find adulthood through the recognition of responsibility, Solito's characters grow up by discovering their sexuality. Here, Solito matches the song by at first expressing sexuality through juvenile innuendos, and finally by expressing the painful crescendo through the weirdly horrific images--as seen through the eys of a child--of responsibility being forced through the enactment of one's sexual urges.
Sunday, June 14, 2009
The Lost Swordship (Chia Li, 1977)
Monday, June 8, 2009
El lugar sin limites (Arturo Ripstein, 1978)
Friday, January 2, 2009
Catching Up on My Music Videos
Monkey "Monkey Bee"
Chinese epic Zhang Yimou and King Hu would be jealous of. It's Chinese enough that the high-wire act is exhilarating without the deprecating tongue-cheekiness of the typical Western parody, Western enough that it would not surprise anyone if Wu Tang decided to crash the party.
Roisin Murphy "Movie Star"
Maybe I just watched it one too many times while utilizing the gym (it is way overplayed on MTV Arabia), but it is a good song. And who wouldn't want lobster rape and drag queens once in a while?
Tuesday, October 21, 2008
Pulp Fiction Series #1: Demon Caravan, John Eagle Expeditor: Valley of Vultures, The Destroyer: The Final Death
Action, romance, and adventure in the Sahara--belied by the era it was from, this book is total and complete French colonial romanticism. African slaves, violent Arabs, peaceful Berbers, and the civilized French caught right in the middle, it largely toes the French colonial bent, with the distant metropole always alluded to by reminiscing French Soldiers (that is, reminiscing for civilization) or barbarians admiring examples of what it is to be civil. However, as much as cluelessly colonial the story is, there are peeks of self-doubt: many a times, Surdez's French captain hero questions what civilization and conquest has brought to the savage beauty of North Africa. It almost pushes self-examination, but the answer is simple: the great ordering effect of Western law and civility.