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for me, SOFIA COPPOLA's acclaimed film LOST IN TRANSLATION (FOCUS FEATURES, 2003) is one of the few films that vividly evokes the displacement that occurs to one's psyche and sense of identity when being abroad. being a THIRD CULTURE KID growing up overseas i am acutely aware of that heightened sense of awareness, especially regarding mannerisms, patterns and thought processes given that happen when you are aware of your own foreignness to your immediate surroundings. it takes some getting used to and some people lose the plot along the way.
speaking of which, for me this film is much less about the plot as it is about that need for connection and sense of home when you are far from anything familiar. i've seen it play tricks on people, especially in PEACE CORPS were relationships happened out of seeming necessity, both partners connected by this unique experience with all the excitement and fear of their new predicament mirrored in a newfound affection. but once the situation normalized and became routine, these same people regretted these trysts as they were initiated during a moment of weakness and insecurity. in the film, the two main characters find each other despite outside considerations like marital status or age difference. being in TOKYO somehow alleviates them of their past identity. in my mind the film raises the question of the extent to which our individual identity is fluid and contextualized based on external cues. choices you would never make back home are presented anew in a foreign context. having been home for 2+ years now since living abroad for 8, i have the opposite problem. its beyond reverse culture shock at this point, my normal is being in an unfamiliar surrounding. maybe that is why i gravitate to this film. if you haven't seen it, definitely seek it out.
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with our country again on the brink of another needless war brought on by hubris and greed, i went back and rewatched ERROL MORRIS' masterful documentary THE FOG OF WAR (SONY PICTURES CLASSICS, 2003) in which he interviewed former secretary of defense (under both JFK and LBJ) and effective VIETNAM WAR architect, ROBERT S. MCNAMARA. MORRIS employs his combative style whereby he forgoes KEN BURNS-style narration and just directly confronts his subject from an off-camera vantage point. in effect he acts has surrogate of the audience, which is an engaging tactic. in this film it functions as a way of controlling the narrative and challenges the opinions of MCNAMARA, who had his own agenda.
nearing the end of his life, MCNAMARA used this interview as vehicle to both reflect on his controversial career in government and impart hard-fought wisdom on future decision-makers in WASHINGTON, specifically those tasked with matters of war and peace. so in a sense this film is heavy. he goes about drawing out 11 LESSONS from his participation in VIETNAM. they include:
that was a lot of material to just throw out there i am aware, but what interests me now about our current situation are the first two lessons, which basically can summarized as put yourself in the shoes of your enemy and attempt to understand the forces that drive their decisions, both geopolitically and domestically. this documentary came out in the aftermath of the disastrous 2003 decision to go to war with IRAQ, which itself was made without a clear understanding (and i would characterize it more directly as "blatant disregard") of the regional, cultural and historical context of which we were attempting to effect. funny enough, the SECRETARY OF DEFENCE involved with that decision, DONLAD RUMSFELD is the subject of another MORRIS documentary entitled THE KNOWN UNKNOWN (MOXIE FILMS, 2013). unlike MCNAMARA, RUMSFELD is the living embodiment of obfuscation and weaseling from responsibility. he is a lesser man.
what scares me now is that we have descended even further down the rabbit hole from RUMSFELD, who manipulated information but valued it. today we are entering a reality where the only reality that matters is that of DONALD TRUMP and his misguided sycophants and enablers. i am scared and for good reason. MCNAMARA encourages us to see past our confirmation biases and have as wide a net of perspectives involved when considering violent action on a state level. those perspectives include that of our enemy. at this current juncture in history, the only line that demarcates enemy from ally is who coddles the delusions of our commander in chief. shame on MIKE PENCE, MIKE POMPEO, STEPHEN MILLER, JARED KUSHNER, STEPHEN BANNON, IVANKA TRUMP, RUPERT MURDOCH, RUSH LIMBAUGH, SEAN HANNITY, LAURA INGRAHAM, MARK LEVIN, TUCKER CARLSON, MITCH MCCONNELL, KEVIN MCCARTHY and the entire REPUBLICAN contingent in both houses of CONGRESS. may history judge you harshly for enabling this clown to run roughshod over our constitution and sully our flag in the eyes of the world. shame on you. 
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its funny how with everyone wearing beanies these days it almost looks like a scene out of the classic animated film THE POINT! (MURAKAMI-WOLF PRODUCTIONS, 1971). its even more interesting given that the children's film deals with themes related to identity and conformity, main character OBLIO wearing his unique cone-shaped hat to hide the fact that he doesn't have a pointed head like all the others in the POINTED VILLAGE.
this film was the brainchild of criminally underrated songwriter HARRY NILSSON and director FRED WOLF (ALVIN & THE CHIPMUNKS, DUCKTALES, TEENAGE MUTANT NINJA TURTLES, PUFF THE MAGIC DRAGON), who both co-wrote the screenplay, and boasts an incredible list of voice actors that includes RINGO STARR, DUSTIN HOFFMAN, ALAN THICKE as well as various others that worked on everything from ROCKY & BULLWINKLE to THE BRADY BUNCH. im fascinated by films from the 1970s in general because it was the initial period when the creative albatross known as the production code was pretty much a thing of the past and with it the last remnants of the STUDIO SYSTEM. it also predated modern marketing (we can thank STEVEN SPIELBERG and GEORGE LUCAS for that - JAWS, STAR WARS, E.T.) so what you get is creatives taking on interesting projects without later shackles of focus groups, marketing strategies and the pressure of cross-platform media promotion. the stakes were lower but the products churned out were unique. now i originally saw this as a child and what hooked me then as well as now is the music. unlike DISNEY films, past and present, these songs are genuinely haunting and very much evoke the loneliness and desperation of OBLIO as he goes about his journey with his pet ARROW to find his point, because by law everyone must have a point. NILSSON had such a tender, lilting quality to his voice and the songs are just powerful. i remember them hitting me very hard as a child, with lines about teardrops falling into the ocean and being eaten by fishes that were eaten by other fishes, who in turn was swallowed by a whale who grew so old, he decomposed. blew my mind. lyrically its very out there and very much the result of a unique songwriter given full control at the height of his powers. i also love the message that you don't need a point to exist. such a deep movie that is far superior to the drivel thrown our way by DISNEY and the like. i cannot recommend this film any more passionately. its a favorite from my pre-elementary years and is compelling for both young and young-at-heart audiences. 
guilty as charged
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to me TOSHIYA FUJITA's LADY SNOWBLOOD (TOHO, 1973) is the ultimate revenge film. if you've seen KILL BILL, then you will be familiar with the plot because basically this is the source material for that whole franchise. the main character here seeks revenge upon three assassins who killed her father and brother and raped her mother.
the plot to tell you the truth is not what fascinates me about this film. in fact the whole "you raped/killed my (enter female family member)" is the laziest trope in film history, which is why it is used in every terrible STEVEN SEAGAL / JEAN CLAUDE VAN DAMME / SYLVESTER STALLONE film ever. what makes this film compelling is its choreography. in essence the delicate interplay between its camera positions and editing is what sets it apart. it is essentially a master class in effective utilizing obtuse camera angles and long and short cuts that leave the viewer anticipating the action of our heroine. i am not a big fan of actions films, but when the camera is utilized to showcase movement in a suspenseful, climactic sequence of thought-through maneuvers that embellish the intensity of a scene, then i am all in. case in point, any of the death scenes. long establishing shots are usually punctuated by quick extreme closeups of the heroine and swift cuts on action to her striking down her target. just brilliant. the other aspect of this film i appreciate is how it turns notions of JAPANESE FEMININITY on its head. being a delicate, passive, soft-spoken flower in the context of this film are the perfect guise to prey upon unsuspecting targets. it is almost as if these behavioral tropes of a traditionally chauvinistic normative culture that are meant to guard women from undue attention and risk here ironically presents men with the opposite. not sure if this film was meant to question the validity of these gender prescriptions but it makes the case nonetheless. it makes sense to me that this film in particular was of interest for QUENTIN TARANTINO, as he is known for watch a film multiple times just to observe and make note of sequencing and editing. i highly suggest watching this film as a companion piece to KILL BILL VOL. 1 as both utilize a similar aesthetic to how they present action and thrill us with catching us off guard with a well choreographed cut. they also both challenge the audience to reassess what makes an ideal assassin and how notions of femininity plays into that role. this is an interesting film that is definitely worth seeking out. 
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i remember back in the early 90s in SOUTHERN CALIFORNIA, probably around the time of early elementary school, repeatedly renting this FLIGHT OF THE NAVIGATOR (WALT DISNEY PICTURES, 1986) on VHS (showing my age here) and watching it nonstop.
its about a kid that while searching for his brother in the woods, returns home to find that it is 8 years later and he hasn't aged. while being put in a research lab for further testing by the government, he discovers a kinetic, telegraphic connection to a newly discovered, highly secret alien spaceship. being called towards it by a mysterious force he enters it and is told by the ship that he is its new captain. as a kid, i believe this film hit home partly because of its subplot of parental abandonment and familial disconnect (any young child's worst fear) as well as its then-wildly intense special effects which no doubt are indebted to STAR WARS and CLOSE ENCOUNTERS OF THE THIRD KIND. as an adult i know that such plot devices are part of their formula (seriously, can you think of any disney animated film where the nuclear family is not dismantled?), but this film definitely holds up. there are some amazing performances by the likes of PAUL REUBENS and SARAH JESSICA PARKER (her first film). i highly recommend this film despite the fact that the its wow-factor has diminished considerably. for me it takes me back to when i first experienced films and was caught up under their spell. must be the same for others because in recent years this film has been referenced by artists of my generation including CHILDISH GAMBINO. 
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for me, FEDERICO FELLINI's film JULIET OF THE SPIRITS (RIZZOLI FILM/FRANCORIZ PRODUCTION, 1965) is one of the best cinematic examinations of that feeling of being inadequate. i could be wrong, but each time i watch it i am only further confirmed in my belief that for all of this film's absolutely luscious use of color (the first FELLINI film to utilize such) and the sumptuous NINO ROTA score creating a dream-like otherworldly paradise filled with beautiful people and lavish garden parties, this film at its core is about loneliness and estrangement.
all of that carnival-like imagery and sound design is used to highlight how estranged the main character, played by FELLINI's frequent collaborator (and wife) GIULLIETTA MASINI, is from her philandering husband. it is a very unique device that is commonly utilized in MUSICALS whereby the set design, cinematography, dialogue and character behavior is meant to showcase the singular perspective of a character, not a representation of "reality." i am assuming in JULIET OF THE SPIRITS that all of the above is meant to convey the husband's charmed perspective of an idyllic, romantic idyll that his wife is only a minor character in. it is his fantasy and she comes across as a willing participant that doesn't quite fit. again, it feels like a film on its face about inadequacy. but MASINI's character comes off grounded, stable and the epitome of a loyal partner. the husband is anything but. perhaps this is all a metaphor for the real-life partnership of MASINI and FELLINI, as his mistress was his love of cinema and filmmaking. he role being a stabilizing force and collaborator in his artistic visions. if that is the case it is one of the most honest and deeply romantic films i know of. if anything it is the inadequacy of the director/husband to truly appreciate his wife that is on display here perhaps. this film is worth viewing for the visuals and soundtrack alone. full disclosure: this is my personal favorite FELLINI film but virtually any of his films are worth checking out, especially 8 1/2, AMACORD, LA DOLCE VITA, SATYRICON or LA STRADA. could not recommend his work any more passionately for anyone interested in film. 
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at the heart of RIDLEY SCOTT's transcendent DYSTOPIAN film BLADE RUNNER (THE LADD COMPANY, 1982) is the question of what defines our humanity? what actually makes us human? loosely based on PHILIP K. DICK's novel DO ANDROIDS DREAM OF ELECTRIC SHEEP? (DOUBLEDAY, 1968), this film follows a bounty hunter in a future dystopia where technology has advanced to the point that mass produced androids called replicants are used for their labor. equipped with a conscious and prefabricated memories, some of these subjects have circumvented their end dates, thus necessitating a bounty hunter (known here as a blade runner) to find and kill them.
i could go on about the revolutionary special effects and set pieces that define the look of this film, but it is my opinion that what really makes this film a touchstone for future generations are the concerns it brings up. in our modern day with modern genetics and CRISPR technology that allow us to modify the human genome to our will, it is important to consider what will be lost in the process. are we defined by our creator? are we pre-designated to serve a certain function or are we free actors allowed to explore our agency? what makes this film inspires is that there is an open question of whether HARRISON FORD's character (who is a blade runner) is himself a replicant. is the enforcer even in charge of his own will or is he too just serving the purpose of another higher entity. when i look to the future all i see is BLADE RUNNER. this film did not foresee the internet, but i nonetheless it did see a future where information is a tool of power and identity. and that is something i see today that reduce us all to consumers that can be defined with an algorithm based on our spending habits, social media posts and spending habits. we are already defined by our reciepts in this new economy but the downsides insofar have been pretty mild to benign in nature on a personal level. i think that'll change and our agency will be in question once techniques are used to influence our decision-making, whether economically or politically. we are only in the beginning stages. once it is in full bloom we will all be replicants in a sense. we will all be created by our environment into information consumers with a purpose we don't even envision. that to me is the legacy of BLADE RUNNER. an absolutely can't miss, must-watch film. 
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so i attended NORTHFIELD MOUNT HERMON. its a private boarding school in GILL, MASSACHUSETTS and when i attended it had two campuses and a student population nearing 2,000. in the years since its cut both the number of campuses and student population in half and is part of the exclusive EIGHT SCHOOLS ASSOCIATION, a self-contained IVY LEAGUE-like association of northeastern prep schools that includes CHOATE, PHILIPS EXETER, PHILIPS ANDOVER and the like.
i was there for two years and without doubt those two years changed me. academically it challenged me in a way nothing before or since has, including college and grad school. it also exposed me to the rotting core of white privilege and intergenerational power and wealth. i attended classes with the sons and daughters of film directors, national politicians, authors, lawyers, CEOs, drug kingpins (no joke) and foreign dictators. it was heady stuff and still is. whenever i see TRUMP speak it reminds me of half a dozen assholes i went to high school with who honestly didn't give a shit because they knew they were made for the rest of their lives. here's an example of that ridiculousness that this place was, and no doubt still is. i was in my freshman english class and a classmate got a call on his mobile phone and let the teacher know he had to take it. i distinctly remember him saying "i'm sorry, i have to take this. its my mom, in space." he literally walked outside looked up and spoke with his mother who was orbiting overhead above NEW ENGLAND apparently and was being patched in via HOUSTON. just crazy. but that was the norm. here is another less cheerful example. an upperclassman in my dorm sophomore year was caught selling opiates on campus, but wasn't expelled since his CEO father was giving a speech in a few days about making ethical judgements in business via a speech on the buddhist eight-fold path tenet of right occupation. you can't make this stuff up. and to make it sting of hypocrisy that much more, the fallout ended up being a few scholarship students from the inner-city being dismissed. when WES ANDERSON's film RUSHMORE (TOUCHSTONE PICTURES, 1998) came out midway through my freshman year it was a revelation because it didn't feel that far removed from my experience, minus the creepy love triangle. there was even a junior that got christened for his bad grades and participation in seemingly everything. by far the best thing about the film was the BILL MURRAY's epic chapel speech near the beginning of the film where he told the poor kids to "take dead aim on the rich boys, get them in the crosshairs and take them down." this was pre-COLUMBINE, but when that played in my dorm half the students would stare down each other. watching it now makes me shudder. my time at NORTHFIELD MOUNT HERMON wasn't ideal, i was bullied harshly with knowing supervisors that turned the other way and "let boys be boys," but at the same time it prepared me for the reality of the world. a world where the rich stay rich and fuck everyone else. no wonder i joined the PEACE CORPS. 
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i first watched CLINT EASTWOOD'S first WESTERN directorial effort HIGH PLAINS DRIFTER (MALPASO COMPANY, 1973) in a film class during undergrad at RUTGERS and i remember it garnering an immediate reaction on my classmates. if i recall correctly, it pissed off more than half the audience. it is a gloriously un-PC film.
the film deals with an unnamed stranger strolling into a frontier town and basically decimating it after encountering its loutish, corrupt inhabitants, only to walk away alone at the films end. in the script he is named GABRIEL and one can assume that he is meant to be God's wrath smiting down this sin-filled SODOM-like town and burning it to the ground, but this is never stated in the actual film. for me this film is an enigma because EASTWOOD's character is so vicious yet you root for him, he by definition is the moral center of the film despite his own deplorable actions. case in point: in the first 10 minutes of screen time this unnamed character murders 3 townsfolk in cold blood and rapes a prostitute and yet somehow you still root for him. its awful. you can't even call this character an anti-hero, he's just a terrible person inflicting pain on other despicable people. for me i'm conflicted and perplexed by this film, which is probably why i have rewatched it several times attempting to figure it out. is it a commentary on the VIETNAM WAR or PROTEST MOVEMENTS then taking place? is he saying that brute force justifies all actions? i really don't know. i just don't understand how a character can be that awful and still hold moral authority in a film. just on a technical narrative side, that is a neat trick. what such violence is attempting to convey to the viewer? i still don't know but am interested in finding out. 
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at some point TALKING HEADS frontman and notable NEW YORKER (via Rhode Island) DAVID BYRNE decided to make a film about TEXAS. sounds horrible but TRUE STORIES (WARNER BROS, 1986) is a classic film of its time.
this musical was referenced consistently throughout my childhood, especially BYRNE's obtuse narration of "who cannot say this isn't beautiful?" when speaking about the seeming infinite flat expanse that is the lone star state. literally every time we went to a new country growing up, my father used that line. "everything you see here is typically SOUTH AFRICAN, and who cannot say it isn't beautiful?" full disclosure: i've never been to TEXAS. its a streak i am hoping to keep. closest i got was the GEORGE BUSH INTERCONTINENTAL AIRPORT in HOUSTON and that was enough. unfortunately i feel like i was partly raised in the south given that for three years in NIGERIA i lived in a guarded company compound full of TEXANS and LOUISIANANS, but that is a story for another entry. what separates this film from just being an eccentric look at a southern state by an outsider is the soundtrack. what makes the music work is its earnestness and ability to illustrate different aspects of TEXAN culture, from its proud LATINX population to its crazed-apocalyptic evangelical doom-spouting sermonizers to its then-growing construction of new mega-malls brought on by new wealth from the tech and petroleum industries, this film really captures a moment in the AMERICAN psyche where capitalism seemed to potentially provide a means to self-actualization. or maybe it showcased the insular nature of a pre-internet AMERICAN landscape where basic needs were met for the first time in history and all that is left is the vacuity of media culture to provide meaning. i don't know. its a very interesting film that means something different each time i see it. sometimes i feel BYRNE is viciously satirizing and mocking MIDDLE AMERICAN VALUES while other times it seems he is empathetically presenting an endearing slice of AMERICAN life. it's probably all true. oh shit, see what i did their on accident. that's good stuff. i should mention that the songs are sung in the film by an impressive cast including JOHN GOODMAN, TITO LARRIVA (THE PLUGZ/TITO & TARANTULA/THE FLESH EATERS), POPS STAPLES (THE STAPLES SINGERS) and, my personal favorite, GENERAL HOSPITAL actor JOHN INGLE as a crazed televangelist preacher spewing crackpot conspiracy horse shit. most people are also suprised to learn that BRITISH INDIE/ALTERNATIVE legends RADIOHEAD derived their name from a song in this film. regardless, this film is amazing. you should see it whether you are a fan of DAVID BYRNE and/or TALKING HEADS or not. but really you should be a fan of them as well. |
nicholas
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