Thursday, June 21, 2007

Film News: Letters From Iwo To



Clint Eastwood's effect on the world obviously extends beyond that of film, for today Japan has changed the name of the famous WWII battlefield Iwo Jima to Iwo To. The two names apparently mean the same thing, but sound different in Japanese, and it had been on the islanders' agenda to change the name for some time. Eastwood's most recent releases Letters From Iwo Jima and Flags of Our Fathers put a spotlight on the island that gave the locals the publicity they needed to spur the change.

I find this interesting in terms of the reach of historical film. In this case, Eastwood's films have on the surface redefined a moment in U.S. and world history, and now inadvertently given light to a subject and caused subsequent change that might not have otherwise happened. The idealistic purpose of historical film as I see it is to create a portrait of revisionist history that incites change in collective thought. That's not to say there aren't scores of historical films that can be more accurately described as propaganda, as there certainly are. But putting those films aside, it is quite the spectacle to witness a piece of art that's directly engaged in a historical dialogue. It is the ultimate statement of modern historiography.

Wednesday, June 20, 2007

Celebrity Crisis of Ethics?


Much chatter has arisen lately regarding the extremely high-profile and seemingly ubiquitous adoptions of several Third World children by Hollywood celebrities. To the casual (and perhaps astute) observer, it would appear that Angelina Jolie's relatively positive press, which in some instances practically sanctifies her efforts to forge a multi-racial family, has been the impetus to spur on others such as Meg Ryan, Madonna, and even the likes of Jessica Simpson to consider looking to those countries once (and still) ravaged by colonialism as the new all-in-one stop-n-shop for women who either can't or won't have any more children biologically, but seek to be mothers nevertheless. I won't deign to speculate as to the many possible reasons why these celebrities have chosen to adopt these kids from these regions specifically. Indeed, the adoption of any child, regardless of his/her background, is an intensely personal journey, both for mother and child. Thus, I would like to give these women the benefit of the doubt and at the very least assume they have chosen to go these routes with nothing but the best of intentions.

What I take issue with, however, are the more problematic and extremely complicated ethical issues inherent in this new phenomenon of white, affluent, and famous women of the Western world traveling to the poorest nations on the planet in order to cherry pick their new sons and daughters.

Before I proceed any further, let me make abundantly clear: I am not questioning these women's motives, of which I am willing to believe are sincerely altruistic. Angelina Jolie has reiterated numerous times to the press that she is often incredulous at her own position of wealth and privilege. Her continued efforts to call attention to the relief needs of Third World peoples would seem to substantiate her apparent humility as genuine. And Madonna's recent trip back to Malawi (supposedly to work on the establishment of her charity organization) would suggest that she, too, is a truly concerned global citizen, resolved to use her powers of influence- and affluence- for the greater good. What is troubling to my mind, however, is what gets silenced amidst the dialogue, what gets completely bypassed or overlooked by those who would be satisfied to merely lavish these stars with praise without looking more critically at the culturally ethical issues at hand. Here is what I find disturbing: the project of arbitrarily picking out certain regions of the world from which to adopt your next child merely to "balance out the races" is inherently racist in its attitude, no matter how well-meaning the intention behind it is.

As a matter of course, it is temptingly easy to view Jolie's adoption of Third World children as a natural, if somewhat misguided, extension of her humanitarian work. No one is questioning her feelings of love or attachment towards these kids. Jolie's resolve to help those in need around the world has presumably played an important part in her decision to save global transients one child at a time. However, let's look at the facts: Maddox, Zahara, and Pax Thien (the most recent addition to the Jolie-Pitt clan) will all grow up to be some of the wealthiest and most privileged kids on the planet while millions of people-- both in the United States and around the world-- will continue to suffer from the blights of poverty, AIDS, cultural genocide, disenfranchisement, and government oppression. I don't doubt that Angelina and Brad will raise their tots to be sensitive to the issues which plague the various peoples of their native cultures. Yet, when the kids are all someday old enough to begin understanding their places in the world, the question of how their family came to be as well as the positioning of their respective homelands in their parents' worldviews will also become trickier to interpret.

Jolie has acted thus far as the main spokesperson for the clan, consequently explaining to the press her reasoning for picking out certain specific races to adopt:

"You know, now the questions are more when you have a mixed-race family, do you balance the races so there's another African person in the house for Z? So there's another Asian person in the house for Mad? Shiloh has Brad and I she can look at.... What's best for the children as they grow? ... We don't just want to have different children from different countries. That's not the point."

On the one hand I understand that Jolie and Pitt are looking out for the kids, that they want Maddox, Zahara, and Pax all to be well-balanced individuals. Yet something about the idea of adopting a person just to have a matching "set" in the family, so that one of your kids can have another person in the house to "look at" who looks "the same," strikes me as both distasteful and astoundingly superficial. Furthermore, it clearly reveals that neither Brad nor Angelina have even the slightest idea what racism is truly all about. Have Brad and Angelina not even stopped to consider that there might be something dehumanizing about the concept of having reign over a virtual palette of colors of people to pick from? As if the poorest nations of the world comprise bushels of different types of apples from which to be picked? Or that human beings can and should be reduced to simple colors for another person's (or persons') viewing pleasure? Really, the implicit message here seems to be that different people's colors somehow correspond to their natural "essences," like flavors, or shoe brands, or the models or makes of cars.

Thus, simply because one is powerful and wealthy enough to be able to pick and choose from whatever countries one might feel like visiting (or whose laws one might be able to bypass), that gives them the right to do so? While I think it's great that Brad and Angelina's kids will now have boundless opportunities afforded to them, something about this attitude just doesn't sit quite right with me. No one has even mentioned the thousands of kids who currently reside within our own nation's borders-- children of color, mind you-- who are being shuffled about to and fro within our American foster care system, and are suffering significantly for it. What about these displaced children with "black and Asian (and hey, Latino!) faces," who have no voices of their own? What about their need for advocates? A chance for social and economic mobility? It seems to me what they (and their kindred spirits overseas) really DON'T need is another celebrity to adopt them, but rather a more systematic approach to the social ills that have landed them where they currently are.

Breaking News: Projectionist Fired for Writing a Bad Review


Apparently, a 29-year-old Film/Video/Journalism major at the University of Memphis named Jesse Morrison has been fired from his job as a projectionist at a Malco cinema (one within the Malco chain) for writing an early and unfavorable review of Fantastic Four: Rise of the Silver Surfer. The review itself had originally been written for the online entertainment website, Ain't It Cool News (though Morrison had also been employed as a movie critic for Malco's blog site as well as for a circular distributed at the theater).

Morrison maintains that Twentieth Century Fox, the distributor behind Fantastic Four, was behind Malco's decision to give him the axe. Fox (of course) vehemently denies this.

Upon reading this bit of news, I was immediately disturbed by the prospect of legal action being brought to bear upon writers like myself who find a great deal of satisfaction as well as purpose in discussing film as an art as well as entertainment. Indeed, within the world of journalism, the ability to get reviews out before anyone else comprises one's competitive edge.

Thus, what are we to make of this incident, perhaps the first time an on-line reviewer has ever lost his livelihood for voicing an early opinion online? What does this say about our civil liberties? Freedom of speech? And the need to draft new legislation to protect writers who depend upon the internet as a means to communicate their thoughts, ideas, and opinions to the public? I mean-- there's a whole slew of people out there blogging about all kinds of not-yet-released crap, never mind all the leaked-out footage and pirated films that are currently flying through cyberspace!

Tuesday, June 5, 2007

A Few Things Film...

Notes from the weekend of 05/18:
-Guy Maddin's Brand Upon The Brain! screened to a packed crowd at the Music Box in Chicago. Interlocutor Crispin Glover narrated intermittently while three Foley artists created the ambient film score. This was a live performance as much as a recorded screening. The cut of Maddin's picture crackled to life like memories from childhood, the kind that you dig up and re-run for your own indulgence, or perhaps shocked amusement. It was in fact black and white images like these that bring us through "Guy Maddin's" story, based on his life of yore. A father with odd scientific habits, and his mother with over-protective tendencies are punctuated by a score of crashed dishes, the turn of a hand crank, water bubbling in a pan, or (my favorite) the twist of fresh celery stalks to imitate the a dead man's limbs being straightened. At this point it was almost a full sensory experience with the sight of the picture, the sound of the ripping stalk, and the misty smell of celery water wafting through the air of the first few rows of seats.

From the weekend of 05/25:
-No actual film screenings (I am sad to report), for (I am glad to report) we congregated for Scarlett Cinema's own Beth Zdriluk's wedding in Toronto. Hats off to Beth and new hubby Nick!

From the weekend of 06/01:
-Hit a rough patch with dear Mr. Eastwood, whose film Space Cowboys from 2000 brought my love for Clint to a momentary halt. From the same guy who gave us recent gems like Flags of Our Fathers, Letters From Iwo Jima, and Million Dollar Baby, this was an intense letdown. Though this is why the randomness of Space Cowboys is not so random on this critic's Netflix queue, because as an Eastwood admirer I am obligated to know what he's done before--even if it is a story that boasts absurdities like shooting Tommy Lee Jones to the moon on a "six gun" nuclear satellite rig. No, I am not kidding, that actually happened and Eastwood framed it with such sincerity!

Anticipations for the weekend of 06/08:
-Jacques Rivette's leaner Out 1: Spectre (1972) is playing at the Gene Siskel Film Center in Chicago. It is a mere 255 minutes of his original (and much lengthier) 1971 piece, "the cinephile's holy grail" per Dennis Lim, Out 1, which clocks in at 746 minutes. Dang!