You might already know that I’m a rabid fan of sitcoms. That is the reason I keep an ongoing list of favorite sitcoms. Here are some of my thoughts about the genre:
It is always wonderful to have older characters be guest stars. Often these characters are played by immensely talented actors who at one time were famous. I just watched two episodes of the Middle which featured guest stars Norm MacDonald, Marsha Mason and Jerry Van Dyke. These actors had only small parts, but it was nice to see them again!
Many good shows have one bona fide asshole character. Often their negative energy can bring out the best in other characters. (Besides it’s always a plot art to humanize the asshole).
As good as three camera filmed-before-a-live-audience shows are, one camera shows have a lot of movement and energy and rapid scene changes which can make up for the silence. “Arrested Development had so many scene changes in a single episode that you were never bored.
I’m surprised at how many shows have gotten away with doing the same plot over and over again. Keeping Up Appearances, Three’s Company, Allo Allo, Get Smart, etc.
Most sitcoms fail because of bad ratings; it often has nothing to do with the scripts or talent.
I think 80% of the recipe for a successful sitcom is not great writing, but finding the perfect actor for the part. I was thinking of the Middle; all the characters and especially the kids seem born to play their parts.
Good to have a gimmick. It helps to have some narrative novelty even if it doesn’t always work. The Bernie Mac show had two brilliant things: 1)Bernie Mac breaking the fourth wall to rant about something and 2)onscreen text to comment on dialogue being spoken. Both provided endless amounts of hilarity.
Raunch and potty humor is beginning to be a problem on sitcoms. There are fewer restrictions about subject matter on contemporary TV, but lowbrow humor rarely pays in the long run.
One person online said that sitcoms by definition are not particularly memorable; it’s more the exception rather the rule. There is some truth in this. Plots tend to repeat themselves (even on the same sitcom), and jokes and character conflicts tend to recur throughout a show’s history. On the other hand, talented actors can inject something fresh into each iteration, and that is worth mentioning. Finally, the amnesiac quality of sitcoms may in fact be an advantage because it leads to rewatching. You may already know that George Constanza is going on a blind date set up by Elaine and Jerry, but it is still fun to watch the sequence again.
You might already know that my Personville Press publishes various fiction titles by Jack Matthews (1925-2013). A year before he died, I went to Ohio and interviewed him about various things. I shot some video footage as well as audio footage about his books and life as an author.
Here’s one audio slideshow I put together of excerpts where he talks about a Worker’s Writebook . I recently published a second edition of it and even included a 2019 afterward.
In the last 4 minutes, Jack Matthews reads a chapter from his ebook titled “The Pointedness of the Tale.”
0:00 CAN A BOOK EVER TEACH A PERSON TO WRITE WELL? 1:38 ARCHETYPAL THEMES IN LITERATURE 4:04 HABITS OF GOOD WRITERS 4:44 WHAT I READ AS A COLLEGE STUDENT 5:33 MATTHEWS READ A CHAPTER FROM “A WORKER’S WRITEBOOK,” “POINTEDNESS OF THE TALE”
I plan to produce several different slideshows/videos to accompany Jack Matthews ebooks. Some people are not into “video trailers,” but I generally enjoy hearing the author describe a book project in his own words. (I might produce a shorter version for Amazon, haven’t decided).
As my last post indicates, the ebook is now free on Smashwords: Here is that information again: A worker’s Writebook by Jack Matthews. Ebook. (More about the ebook).
Print Editions: Used copies are available, but with ebooks so cheap, why bother?
Summary: Critical look at movies with cats in them. The book is a real hoot to read — great insights and erudite movie snark.
Recommended if you like: Quirky film references, anything catty, Disney movies, horror movies.
CATS ON FILM gives a delightful and irreverent tour through world cinema from the standpoint of the cats who appear in it. This book grew out of a blog with the same name and does not take itself too seriously. The book introduces various cat archetypes: CATAGONIST, HEROPUSS, CAPANION, CATZILLA, PUSILLA, CATRIFICE, CATGUFFIN and many more. To be honest, I am not particularly a cat lover (they’re ok, but…), and I had hardly given a second thought about cats in film until picking up this book. Probably the only movie I could think of with a cat theme would be CAT PEOPLE, and this book doesn’t talk about it at all except parenthetically. What a shock it was to see discussions of so many movies with significant cat cameos. THIRD MAN, NYMPHOMANIAC (!), Kieslowski’s BLUE, the GODFATHER, the original POSTMAN ALWAYS RINGS TWICE, the original FLY, LA DOLCE VITA, STRAW DOGS, CLOCKWORK ORANGE (!) 1900, PROOF, TRUE GRIT, DAY FOR NIGHT, AWFUL TRUTH, GRAND BUDAPEST HOTEL, BREAKFAST AT TIFFANY’S (!), THE LEOPARD, and many, many more. My first reaction was, wow, there are cats in all these movies? Aside from HARRY AND TONTO, I had hardly noticed them!
This is a logical and well-organized work — you can find a list of film discussed at the logical Table of Contents at the beginning (though it would have been better to have hyperlinks). It can be fun to stumble upon the unexpected, and the book itself has glorious color photographs and helpful labels like “Major Cat Movie.” Clearly Ms. Billson writes with an encyclopedic knowledge of cinema (she has also published severalmovie guides and writes about movies regularly for the “Guardian”). I found new insights about movies I thought I already knew (or at least, I thought I did!) I now know about a lot of obscure films simply because of the odd fact that it has a cat in it.
Because Billson already is an accomplished novelist (specifically in horror, mystery, vampires and other things), the book has unexpected bonuses. For the movie ALIEN she does a brilliant interior monologue of the same story from the cat’s point of view. (You remembered that there was a cat in that movie, right? I didn’t!) For the movie INSIDE LLEWYN DAVIS, the book has a nice extended piece (The Moggyssey) teasing out the Homeric aspects to the plot. (By the way, I totally did not remember the movie having a cat in it!) For STUART LITTLE, she makes a tongue-in-cheek proposal to change the title of the movie to “Snowbell” (because the cat character is more interesting and complex). Billson writes:
Since Hollywood is largely run by dog people, cats are often relegated to secondary characters with bad attitudes, typified by animated propaganda such as LADY AND THE TRAMP, CINDERELLA, TOM AND JERRY or MERRY MELODIES shorts featuring Tweetie Pie and Sylvester, which try to brainwash children into thinking cats are evil or stupid, while dogs, rodents and birds are virtuous and should be given carte blanche to torment the felines.
These creative takes are fun, clever and interesting.
The book spends a lot of time on cats in genres like horror, James Bond and kid’s movies (which is to be expected). I particularly appreciated Billson’s speculation about the cats themselves as opposed to the role they are expected to play in the movie. She guesses when more than one cat is used for the same cat character in a movie (like THIRD MAN) and provides horrifying backstory about how cats were actually mistreated during the shooting of the film (as in ADVENTURES OF MILO AND OTIS).
This clever book is based on a conceit that cats are more than story props. It’s an intriguing (though now obvious) idea. Fake soliloquys notwithstanding, I don’t get the impression that the book is trying to anthropomorphize the cat characters; it is just suggesting an alternate and yes, a more compassionate way to read movies. The book is a celebration of cats for what they naturally are in mainstream movies; At the same time, there’s more than enough obscure Japanese, European, animation and old genre movies described here to make the ardent film buff happy.
When I was a teenager, I watched way too many mainstream movies specifically targeted to my age group. I generally hated these things. Thanks to a decent art-house theatre in my city, an intellectually adventurous high school girlfriend, a new Blockbuster video rental store and a brilliant film lover at my college, I had no problems finding Kurosawa’s “Ran,” Ingmar Bergman, French stuff (Breathless, Last Year at Marienbad, Les Comperes, etc) and satires like Dr. Strangelove. All great works — and the sort of thing that English majors go crazy about. For this list, I am listing movies which I wish I’d seen in college, but didn’t learn about until later. Most movies here aren’t that radical or artsy-fartsy, and yet most of them are beautiful and insightful and essentially about adults doing adult things. I have tried to stay away from R-rated movies and various escapist fare (and even well made-made escapism) in favor of underappreciated movies which non English majors could enjoy and benefit from watching. Feel free to add any recommendations of your own in the comment section.
Casablanca. Epic romantic movie that takes place in Morocco – a so-called neutral zone during World War Two. Everyone’s favorite movie.
Bicycle Thief. Italian Post-war humanistic drama about a father who needs to recover his stolen bike in order to accept a job (and feed his family).
Tokyo Story. Powerful and serene family drama about an elderly couple who visits their adult children who are too busy with their own lives. The director (Ozu) is very famous for his low tracking shots, and this movie was ranked as the #1 film of all time by world directors in a 2012 poll. Many things are amazing about this film; I always found amazing how it portrays the dramas of ordinary living as intrinsically interesting.
Best Years of Our Lives. This beautiful film captures the lives of WW2 soldiers returning to USA as heroes who find that adjusting to life as a civilian is challenging and difficult. This film is about ordinary heroism in adapting to changed circumstances in life.
AI (2001). Steven Spielberg is known for making children’s films full of wonder and adventure. This fairy tale for grownups tells the story of a robot kid who runs away from home and learns about the real world. Ignored upon release, this film’s reputation has only increased over time. It is very thought-provoking.
Sixth Sense. Philosophical mystery film about a young kid who “sees dead people” and a psychologist who tries to help him. Starring the same kid from AI!
Amadeus. This film which embellishes upon the life of Mozart captures the joy and heartbreak of the Viennese musical scene in the late 18th century. This movie is a feast for the eyes and ears.
Pather Panchali. This simple first film by Indian director Satyajit Ray tells the story of two poor kids who try to escape poverty. This famous low-budget movie won many awards and became the first of 3 films called the Apu Trilogy.
Rear Window. Alfred Hitchcock’s psychological masterpiece about an injured photographer who notices suspicious activity outside his apartment window. People watch it for the suspenseful story, but the sound design and sets are also beautiful.
Downfall. (dir. Oliver Hirschbiegel). Powerful movie that tries to film the unthinkable: the last days of Hitler in his bunker as witnessed by a young female secretary. Amazing performances which reveal the delusions and closed-mindedness of the German leaders throughout the war. My pick for the best film of the last decade.
Wages of Fear. Utterly harrowing movie about young men who are paid enormous money to transport explosives (and risk their lives) over the South American terrain.
Frances Ha (2012). Funny and poetic film about a woman in her twenties who lives in New York City while trying to pursue a dream career as dancer.
Encore (1953). British directors made short movies about the witty and sad short stories of W. Somerset Maugham. Three volumes of movies were made (and well-received), with this one being probably the best. Great characters and stories!
All Quiet on the Western Front (1930). Tragic film about German high schoolers who were recruited to fight in World War 1 with tragic consequences. This movie has been remade many times, but the original version is still the best.
Before Sunrise. Charming film about an American college student who spends a lovely day in Vienna with a French girl he meets on a train.
Travelers and Magicians. Wonderful (and little-known) movie in the country Bhutan about a man who wins a visa to move to USA and befriends a Buddhist monk while waiting for the bus out of his village. This Buddhist monk tells him all kinds of amazing stories, causing the man to reconsider his dreams.
Brooklyn. Wonderful story of a young Irish woman in the 1950s who moves to New York to earn a living and go to college. I like how it reveals the challenges and struggles of people traveling to new lands and having to start from scratch. This story (adapted from a novel by Colm Tóibín) is sad, funny, unlifting.
Two films about the business world. You might think they are boring, but they are actually really interesting stories — and raise a lot of questions about what constitutes business success. The Big Short tries to explain the 2008 global recession by focusing on several people who spotted the financial disaster before everyone else did. It is told in a fast-paced comic style and unlike anything you’ve seen before. The Founder is a fascinating biographical portrait about how Ray Croc started the MacDonalds restaurant franchise — the dealmaking, the struggles, the disputes.
Teen Movies
Ave. I recently saw this incredible Bulgarian movie directed by Konstantin Bojanov. It’s about two Bulgarian teenagers who hitchhike across Bulgaria together, have all sorts of crazy adventures and learn about why people lie (to others and themselves)
Breaking Away. Great 70s comedy about a biking fanatic (and recent high school grad) who decides to enter a biking competition where most of the contestants are college kids. They grow up fast!
American Graffiti. Star Wars director George Lucas made this great movie about what people do during the summer between high school and college. This movie made movie stars out of a dozen actors (and inspired a #1 TV show called “Happy Days”). I like this movie much more than his Star Wars movies.
Stranger Than Paradise. (Jiri Jarmusch) A teenage girl from Hungary arrives unannounced at the apartment of her American cousin (who she’s never met) and has to spend 10 days with him. She discovers how hard it is to persuade him to do anything fun. Hilarious! Also, hilariously relevant (most of adult years is figuring out how to deal with the daily boredom and how to get other people off their butts to enjoy themselves).
Other classics. Here are some very famous movies which are probably on everybody’s list. Interestingly, I saw most of these after graduating from college.
Wizard of Oz. The first time you watch this movie as an adult is eye-opening. You realize how much was percolating underneath this movie all along, how much its themes resonate in adulthood: finding the man behind the curtain, the emptiness of some objects vested with significance, the importance of the will in working towards goals.
Night of the Living Dead. This tightly constructed horror film is both cheaply made and extremely sophisticated. Watching it as an adult, you appreciate the social dimensions and historical context. The movie doesn’t acknowledge the fact that the hero is African-American, yet it takes place during a time of great social upheaval when this detail would have historical significance. This was probably the first time I realized that that horror movies can be a great mirror for a nation’s fears and insecurities.
The Graduate (with Dustin Hoffman). Besides being a silly sex romp, the running joke is that the “responsible adults” of the film are mean, selfish and short-sighted while the kids are the ones to see the hypocrisy. The remarkable thing about this movie is how everyone is trying (in their own self-serving way) to steer the two college kids on paths which are unsatisfying, messy and just plain wrong. By the end, the film puts the burden of figuring out how to proceed squarely on the shoulders of the young adults.
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To clarify: these aren’t necessarily my favorite movies of all time (although several titles are on both lists), but movies which I think would be best watched when in college. Perhaps later I will prepare a “Favorite Movies” listicle, but that is a far more ambitious task.
What movies do you wish that people could discover when they are 19 or 20?
I have been busy publishing the first ebook story collection by Jack Matthews, the first collection he has published in 23 years. Despite the somewhat small size, I consider this to be a major work — perhaps one of his best story collections. My company will be publishing his contemporary microfiction title, Abruptions this summer.
I have started to offer ebooks at Smashwords. Frankly I will be turning my focus more towards Smashwords; it has been on the cutting edge on ebooks; unfortunately it doesn’t get a tenth of Amazon’s traffic and it doesn’t have the Createspace infrastructure, but they are doing a lot of amazing things. Mark Coker seems to seem trends sooner than most; here’s his latest end-of-the-year prediction.
I plan to start posting a few small things on Teleread over the next few months. If you remember, I used to contribute lots of things between 2004-2009 or so, but then I had to put it aside. Now I’ll resume posting on a smaller scale. I still would like to start some kind of literary site which is something more than a blog. Every time I get ready to do this, I get sidetracked by real life events. Right now I’m of the mind that I should just publish SOMETHING and then over time add features and specific kinds of content so it accumulates more heft.
I’m a lot more experienced in deployments, so I’m reluctant to implement something unless I can do it right. I also want to create a method to test changes more easily; that’s the biggest problem with trying to add features to weblogs. Also, I want to create something which one person could run and maintain by himself because — guess what, collaboration is an extra not a vital feature for most literary sites.
Last night I created a static html page based on an annotated bibliography of Civil War fiction from the Soldier Boys ebook. (Take a look at it; it’s great!). I really just wanted to steal a simple template which uses responsive web design principles (and look good on various kinds of devices). But I realized a few things: responsive web design is hard! Even the simple templates are practically content frameworks because you have to incorporate NAV elements. Having designed ebooks for different readers and devices, I know all about css media queries and breakpoints and inspecting css; even though ebooks have NAV elements, my production method just spits them out via Docbook XSL.
Also, I know I could figure out breakpoints and screen dimensions, but I became aware of REMs which are kind of like ems, only they are not. Anyway, designing web pages only occasionally, I’m used to being behind a few years on standard practices, but I feel a lot more behind than normal. Maybe it has to do with the value I place on my time, but I’m quickly growing content with just inserting a store-bought or community-written template and hoping everything works. When inspecting these templates, I am more confident of my capability to ruin the css than to fix something….
That said, I grow weary of current web design, even unassuming ones for blogs. Everything is so focused on social media and signing up for newsletter and shaming the surfer for using an an-blocker. Third-party ad networks are draining your bandwidth and browser memory. Frequently Facebook and sites with videos cause my browser to choke — especially on Firefox. So much content is delivered in-process, so you constantly need to scroll down to fetch more items. The very thought of having to dig up some thing I posted on Facebook 4 months ago fills me with dread. I would spend a good 10 minutes just hitting the More button and waiting for Facebook to serve me another teaspoon of content. Suddenly every listicle must become a photo gallery — not for any functional reasons, but simply to increase the number of clicks you need to make and the time you need to wait.
Two exciting bit of news which I haven’t shared on FB or G+.
First, BBC announced that some listeners have found lost episodes of Alistaire Cooke’s Letter from America radio series. I’ve been listening to them religiously (I’m currently at about 1993, and I have noticed that the 1970s decade was missing a lot of weekly episodes!)
Second, I have become excited at some video essays which I have seen on youtube (usually about artistic or cultural topics). See Nerdwriter1’s playlists and Every Frame a Painting’s playlists. These are thoughtful, well-edited video essays; I’m tempted to try my hand at a few of these — although I honestly can’t imagine how much time is involved. By now, either video essayist can probably crank these things out daily, but novices might find it overwhelming and time-consuming. As good as those video essays are, writing essays is just a more efficient way to produce thoughtful ideas and a fast way to receive them. Sure, video essays can say things which videos cannot; at the same time, can you justify the extra expenditure of time?
Recently I was watching “Mud,” a well done movie about the South. It featured quirky characters, regional color, dangerous problems and loss of innocence. Good old-fashioned Americana. On an isolated island, two teenage boys stumble upon a stranger who turns out to be a fugitive. But the stranger is not really a bad guy, just someone wounded by romantic delusions. The details of this stranger’s alleged crime are muddled by the fact that the man the stranger killed probably deserved to die anyway and the bounty hunters now chasing the stranger down are probably bad guys too. Suddenly the boys realize that the issues aren’t so black and white.
All in all, a fine movie, and I enjoyed it.
But the ending really botched things. I don’t think I’m spoiling things too much to say that there’s a gun-induced bloodbath at the climax. Sigh. Everything was going so well up to that point. I expected the end to have some kind of showdown, but I didn’t expect it to be as extreme as the movie portrayed it. I don’t watch violent movies often (not even movies with the cartoon kind), but when I do, I find myself asking, “Would this movie or TV show have still worked with only 50% of the gunshots?” Actually, a single bullet is enough to make a tragedy. I once was robbed at gunpoint, and I remember thinking that this idiot who was holding me up had only to fire one bullet to change the nature of the crime.
In this movie, guns precipitate the conflict, aggravate the conflict and end the conflict (in a ridiculously violent way). Guns in movies leak bullets as promiscuously as tears.
I shoot people; therefore I am achieving justice. Justice is the end, and guns are the primary way to achieve this end (and so justice without the presence of guns must be flimsy and worthless). Guns fire up the audience’s emotions; guns coerce one person’s conception of justice; never mind that there is always the risk of blowback or friendly fire losses. Guns elevate subjective wishy-washy feelings to the exclusion of everything else; it doesn’t matter if the person standing before me is actually a threat. What matters is that I feel it’s a threat. Where I live, it’s reasonably certain that a police officer would arrive at my car within 5-10 minutes of a 911 phone call. Yet, for the gun-anxious Texan, that is simply inadequate. Many Texans believe themselves to be seconds away from annihilation. Quite apart from the policy question, I don’t see how Houstonians can live with that constant kind of stress. How on earth do paranoid gun-owning people have the mental composure to let themselves take the occasional nap?
I don’t deny that using guns has a certain romanticism to it, the romanticism of desiccated limbs, punctured internal organs and collapsed breaths. There is virtually no stigma associated with firing a gun because society has generally accepted that individuals who feel threatened will occasionally require the right to extinguish the life of another. Never mind that firing a gun at someone is usually a serious felony – the threat of unseen marauders is so real-seeming that some people cannot imagine life without it. Many of my friends have guns — not for any practical reason, but just the vague emotional sense that “I want it to be there when I really need it.”
In movie reality, the main adrenalin pusher seems to be guns and people who possess them and threaten you. You have the cops and robbers of course, but of course the true protagonist is the cache of guns. Guns remain the true heroes; humans are simply pawns of the inevitable storms of violence.
Nonlethal weapons like tasers might be an alternative – except it actually involves touching the perpetrator. That of course is absurd. Americans overwhelmingly prefer to shoot humans as they shoot photographs – far away enough to take in the spectacular view. Not only do Americans enjoy the thrill of being able to point at objects and fire, they also revel in the loud sounds of shots and agonized cries as body parts are ripped apart. If I were to suggest a nonlethal alternative, I would devise some kind of melodramatic vomit spray — accompanied by noisy pop pop pops of firecrackers (to notify and impress the neighbors).
The problem with gun ownership (in movies or life) is that it never really partakes of consequences. We never read of hospital costs or orphaned parents or the constant guilt that snuffing the life of another inevitably entails. We never speak of the psychological intimidation or the accidental casualties (be it suicide or simply the innocent result of kids playing around with guns they shouldn’t be handling).
The Hilarity of Law Enforcement
Today I watched a clever and hilarious movie “The Heat” which sticks to the “police buddy” formula, but with female buddies out to nab an evil drug lord. Predictable plot, punchy dialogue and stupid male cops getting in the way. Unsurprisingly there are gun battles and constant waving around of guns.
The first problem I have of course is plausibility. Do cops and FBI agents wave their guns around so often on a typical workday? Last I read, FBI spends most of their time investigating white collar crime, so they probably just spend most of their time looking at a computer screen and interviewing people. In one funny scene, the first female cop showing off to the second her private weapon cache which she stores in the refrigerator.
I guess I accept the premise that female cops would find showing off one’s gun arsenal to a partner to be a bonding experience. In movies, the primary determinant in who prevails in which side has the best cache of guns. But wait — as soon as you let your guard down, another man with a gun has snuck up behind you — defeating your short-lived tactical advantage.
Police in these movies are always grasping their guns — stumbling into confrontations which seem to be won or lost by which side has the biggest firepower. Nobody likes violence in movies; of course not. But dangerous criminals in movies always seem to be armed and making threats; it is inconceivable that a person with a gun could be shopping for groceries or waiting. Conversely movie expectations dictate that bad guys will all have guns and be willing to use one as cold-heartedly as possible.
When apprehending dangerous criminals, I suspect the hardest part will not be winning the gunfight but simply figuring out the perpetrator’s whereabouts and the optimal time to confront him. Police officers, I suspect, are trained very well on these things. A gun might be helpful in establishing authority initially, but it is not the key element. If the criminal is rational, he will give up when faced with an officer who has both initiative and backup. If the criminal is not-rational, then maybe the criminal would start firing (assuming that his gun is within arm’s reach). But then a real-life police officer probably selected a context for confrontation to minimize this possibility.
Movie criminals are more typically portrayed as loud and confrontational, rarely worrying about being caught and always ready to use their guns. Conveniently, in these movies, a villain’s henchman have a tendency to magically appear behind anyone who tries to arrest the villian. But real criminals probably worry a lot about being caught. They try hard to blend in with normal life. They go to the supermarket, buy gas, eat at a restaurant, go to the concert or sports game. These are public outings where there they can easily be surrounded and overcome. So there really isn’t a need for police officers to go creeping around empty warehouses with guns in hand. All the police officer needs to do is to wait for the criminal to pump his gas. ****
Portraying movie criminals unrealistically also means that you portray police unrealistically as well. Everyone is on hair-trigger alert; even the slightest sound causes movie police to grab their guns. For the viewer, the inevitable gun battle becomes a source of suspense and indeed, the climax of the movie; guns become the building blocks for great dramas filled with great men. And great man are those brave enough to use deadly force to stop the violent rampage of lawless people. In other words, because bad guys use guns to commit their crimes, good guys must use guns to commit their good deeds.
Who is the good guy?
When we watch movies laced with violence, we are left thanking goodness that real life is not so violent — never pausing to wonder whether the criminals in real life are really like that. One underlying theme in these violence-prone movies is that — heck, some days you just can’t avoid shooting up a few people. Drats that the criminals have to die — obviously! — but killings in movies are a shortcut for restoring the moral balance to the world — even if our gun-toting hero does it in the heat of the moment or without legal sanction. As long as this balance is restored in the movie, the viewer expects that the sympathetic protagonist will win some kind of reprieve. Sure, the good gun-toting protagonist may eventually have to face the wrath of the law, but a good person’s good motives will be an exonerating factor.
Over the years I’ve grown intolerant about narratives which attempt to legitimate the use of deadly force against people who you believe have wronged you. These cinematic narratives can seem to quench your emotional desire for justice, but then, in the realm of true crime, we are presented with more ambiguous events. The man in the movie theatre was threatening me….or maybe he was just throwing popcorn. The cops barge into a house and shoot dead a drug dealer who fires at them … or is the man an armed and respected veteran who kept the safety lock on? A man follows a teenager around believing him to be a criminal and fires at him at close range when the teen resists. Or is the teenager just picking up candy at the store and scared by a stalker? Sometimes it’s hard to tell in real life who is the bad guy and who is the good guy. In retrospect, the violent response against these “bad guys” never was so clear. Instead we have weeping mothers, astronomical medical bills, people in shock and lives ruined. I genuinely feel sorry for George Zimmerman for killing innocent teenager Trayvon Martin. In Zimmerman’s limited and almost paranoid vision of the world, teenagers who loiter pose a threat, so it’s best to have your gun ready. Although eventually acquitted because of Florida’s lax gun laws, Zimmerman has to pay a price of personal guilt for the rest of his life. Similarly, certain gun owners must feel the guilt of the deaths or suicides committed by family members who used the gun without permission. Police officers must live with the guilt of killing bystanders or even the perpetrator who nonetheless didn’t deserve to die but was the victim of an officer’s faulty calculation.
Some people may feel genuinely threatened by the world around them. Sometimes a specific individual may know of a potential threat by a specific person, and for the short term at least, it might make sense to keep a gun. But it does not follow that owning a gun makes that individual safer. Even law-abiding and otherwise rational gun owners have unrealistic expectations about whether gun ownership reduces crime and threats. They trust their crappy intuition, and that is the tragedy. Once you buy a gun, you have invested in a gun’s talismanic ability to ward off threats. Also, the act of buying or owning a gun is long-term. Few people buy a gun, keep it for a few years and then get rid of it. Like getting married and being Christian, owning a gun is a long term commitment. To actually reap the safety advantage, you always need to keep the gun within reach. You not only need to be on the lookout for crime-fighting situations, you always need to keep an eye out for your gun — must not lose it! Keeping that gun around exerts a steady burden on the psychic life of a person. Perhaps for actual crime victims, it is reassuring to have some weapon around while recovering from a recent trauma. But why not just take a pill instead?
Guns vs. Swimming Pools
A common refrain from enthuasiastic gun owners is that swimming pools kill more kids each year than guns do; But because it is ludicrous for someone to suggest abolishing swimming pools, it is also ludicrous to abolish guns.
I’m afraid it misses the point. Nobody is suggesting abolishing anything. Instead, I ask: are you protecting your kids better by owning a gun or by not owning a gun? While I’m at it, I might also wonder aloud whether a parent protects a child better by having a backyard swimming pool than by not having one?(See Note at bottom **)
Victims ages 15 to 19 made up 84% of the children brought to the hospital with gunshot wounds, and two-thirds of those injuries were attributed to assault. Among these older children, roughly 24% of the cases were considered unintentional. Suicide attempts accounted for 239 of 4,143 of those firearm-related hospitalizations.
Among younger children, accidental firearm injuries were most common. Of the 378 children under 10 brought to the hospital in connection with a firearm injury, roughly three-quarters were considered victims of an accidental or unintended shooting. Thirty-one children younger than 5 and 47 ages 5 to 9 were injured in gun-related assaults in 2009.
Among Latino youths, firearm-related injuries were three times higher than among white children, the data show. And African American girls were more than six times as likely as their white counterparts to be injured by gunfire.
Unfortunately this raw data doesn’t tell us much. Who is assaulting children and teens? Where are children being assaulted? My guess it that they are being assaulted on the way home from school or at social outings — certainly not at home, where a gun may safely be kept. Just as avoiding swimming pools is a way to avoid being drowned, teens have some ability to limit risk by staying away from dangerous places. But children are not going to stop swimming, and we can’t expect teens to avoid all social situations where they could be assaulted. But would gun ownership protect teens? If these assaults happen outside their residence, having a gun at home won’t matter. Should teenagers be allowed to keep guns? Many parents would say that teens can’t be relied upon to use guns effectively or responsibly. Teenagers are ruled by emotions and hormones; they blow things out of proportion and assert themselves too much. Also, they have more time than adults to loiter and socialize. Giving more guns to minors seems a recipe for certain disaster; is it desirable for a parent or a society to take steps to limit teenager’s access to guns? Does possession of a gun in the house make it easier for irresponsible teens to use them?
Some teenagers are assaulted. That is a sad part of growing up. Teens start out feeling invulnerable and then they realize how powerless they really are. This realization is powerful (and traumatic!) and yet essential for mental and emotional growth. What is the best way for teenagers to make this realization? Is it by giving them a gun to carry around or teaching them to avoid risky situations and people?
The Great Thing about Being a Chicken
The great thing about being a chicken is that people laugh at you and maybe pick on you — but rarely kill you — especially if you run away fast enough. Give a teenager a gun and then you provide him with a combination of security and power — better reason to stick around and fight. Fighting — that’s what the real tough guys do — and that’s how you resist bullies, but it’s also very risky. Taking the law into your own hands carries the risk that after later people will fail to understand or appreciate why you felt compelled to respond with deadly force.
To understand the value of guns, you need to understand the criminal mind. The criminal typically wants the transgression to be as quick and smooth a transaction as possible. Criminals mostly want to dominate the situation to get what they want and get the hell out of there. Some criminals have defective (and even sadistic) personalities, but for the most part shooting someone messes up the criminal transaction. The criminal doesn’t want his actions to make the evening news, and shooting someone virtually assures it. Criminals may forget these concerns in the heat of the moment, but the individual crime victim needs to weigh the potential risks of assuming the worst in the criminal vs. the risks of leaving the criminal no choice but to use deadly force. It sounds superficially appealing to say you want to “prepare for the worst,” but nobody can plan for everything. Sometimes, in fact, overpreparing fuels a counterproductive paranoia.
Watching the movie Boyz ‘n the Hood, I am reminded of how guns can be used in social situations for illicit purposes. These situations are about dominance — not merely committing a crime. The two gangs in Boyz n the Hood weren’t killing one another because they were robbing people. They were just trying to intimidate. How do you intimidate? With guns. The proposed response to gun threats — to bring your own gun — doesn’t address whether this strategy actually works. Will the presence of another gun lead to a friendly stalemate? Or will it aggravate tensions and cause one side to make a pre-emptive move? With Boyz in the Hood gang violence, whipping out a gun to respond to a threat doesn’t eliminate the threat; it merely continues the cycle of violence and intimidation. The central theme of the movie (“At what point do you walk away?”) depends primarily on the level of economic and social desperation. The protagonist can walk away because he has something to live for — a good home life, economic opportunity, a general optimism — while the unemployed brother Dough Boy lacks the social anchors to restrain his desire for retribution.
But Boyz n the Hood presents false choices here. If police are always ruthless and incompetent and if teenagers are unwilling to go to them, of course gun-equipped young people will take the law into their own hands. But even in the Compton ghettoes, it seems unlikely that angry teenagers would spurn police if they could identify the people who committed the blow-by shooting. Perhaps these witnesses have a legitimate fear of retribution or legitimately believe that the police are ineffectual. But all police departments have anonymous tip hotlines. It just doesn’t make sense to me that in gang-related violence, the victimized gang wouldn’t let the police do their thing if there is plenty of evidence to convict somebody.
Perhaps I am naive. Or perhaps movies are just dramatized revenge fantasies (for which police are just an unfortunate prop). All this is fine, but how does it influence the individual’s decision to own or use a gun? Movies evince a self-justifying mythology for buying and using a gun. Of course our mundane lives aren’t replete with armed threats (or pretty female sidekicks). Crime is less ostentatious; it may pounce on you when you least expect it — and then it’s gone before you knew what hit you. Most of the time it is completely invisible – siphoning money from your bank accounts, stealing your car when you’re asleep, grabbing your purse when you’re not looking. For those things guns are completely useless. People who buy guns entertain grand notions of being able to fight back, but after it becomes clear it is mostly useless for doing that, it begins to dawn on the gun owner that the only things guns are good for are threatening family members and blowing one’s own brains out.
FBI and CDC data on people who used a firearm to kill themselves or to kill a felon (Olga Khazan )
To Be Raped or Not to be Raped
I remain surprised at how many liberal-minded females in Texas nonetheless own guns. Often they are single and concerned about their personal safety. By that, I mean they worry about being raped. A rape scenario seems to be a clear case where a brandishing of a gun would seem to be a legitimate use of force. Sexual violence is terrifying to contemplate — with one of the worst parts being this feeling of helplessness while it takes place.
But let’s consider this topic for a moment — despite the unpleasantness.
Let’s make a list of rape scenarios involving strangers: being jumped on in a park, in a parking lot, in one’s own apartment, while walking home, being carjacked, in one’s dorm. Try to imagine how a gun might be used to avert these scenarios. [See end note] In many of these cases, the stranger has jumped you and caught you by surprise. Would you really have enough time and composure to gather a weapon to scare off the perpetrator off? Maybe if you were taking a long walk home and were gripping your gun tightly all the while, it might be effective (but so would mace). Suppose somebody were barging in on you, assuming you had 10-15 seconds to react, owning a gun might make a difference. But how many rape scenarios give you that much time?
But what if there were two perpetrators? That decreases even further the likelihood that your gun could ward off an attack. What if one perpetrator already had a gun? If you owned a gun too, that might even up the score, but how do we know that this will bring a stalemate and not an escalation of violence? I can think of scenarios where having a gun would actually avert a rape, but I can think of many more stranger scenarios where the gun is inaccessible or improperly used or just not an effective response. It’s true that when you hold a gun in your hand, for a few moments at least guns can make you feel invulnerable to any attacker. But it is not a permanent or lasting solution.
Up to now we have been talking about rapists who are strangers. But what about the familiar rapist — the angry spouse or ex, the frat boy? This constitutes about 2/3 of all rapes The situations where these might take place would be ones where one might normally not have a gun. For many of these situations having a gun is unlikely to help, and in fact, batterers have shown a tendency to own more guns than non-batterers. Finally, there are many risk avoidance strategies you can take that can be just as effective if not more. This doesn’t prevent every single scenario, and I’m not suggesting that guns are bad for every person in every scenario. But getting a gun just doesn’t seem to make anybody’s Top 10 list of risk mitigation strategies.
Better than Guns: Ordinary Prudent Measures
A secret: up until recently I have never locked my doors in my apartment when I am at home. I sometimes would forget my car doors too. It seemed silly or pointless. Since writing this essay, I have changed my mind. Many burglaries occur in late morning, and that typically is when I am home. I wouldn’t want anybody barging accidentally into my house and feeling compelled to dominate the confrontation. Many burglars knock on the door before they break into your house. A locked door won’t prevent all wrongdoing, but it poses an initial obstacle — and often that is enough.
When I was robbed at gunpoint a few years ago, I realized that I was living in a dangerous apartment complex and wouldn’t be able to move away soon. So I had to cope with the risk. I avoided taking out the trash late at night. I minimized driving at night, and I was much more aware of my surroundings on the nights I arrived home late. It’s true that I still had to walk my dog — and that was a risk, but often when you are walking on familiar territory you can anticipate risk and even see it ahead of you.
I’m not saying that I avoid strangers, but I avoid situations with strangers where I am isolated and don’t have the ability to extricate myself easily. All of these things sound so easy and obvious; why not just do it? These measures can’t work miracles, but they are relatively cheap and pain-free and don’t impose unnecessary risks. An individual could also resort to countermeasures ranging from cheap to very expensive: security systems, nonlethal weapons and noisemakers. If you are genuinely interested in reducing risk (instead of simply asserting power), you would probably find that defensive nonlethal countermeasures are cheaper, more effective and offer more peace of mind.
Should you own a gun? In some few cases, the answer to that question of wisdom is probably yes.
But most of the time, gun owners are frightening themselves irrationally. They have conjured in their own imaginations a much more terrifying environment than genuinely exists — and they are living a fantasy about the security their guns will bestow. And to the extent that they are right — to the extent that the American environment is indeed more dangerous than the Australian or Canadian or German or French environment — the dangers gun owners face are traceable to the prevalence of the very guns from which they so tragically mistakenly expect to gain safety.
What force on earth could convince Americans that down is up? The most powerful force of all: television.
TV news — and especially local TV news — is dominated by news of violent crime, the more spectacular and murderous the better. TV news creates a false picture of a country under attack by rampaging criminals, and especially nonwhite criminals. The people who watch the most TV news, Americans older than 50, also happen to be the group most likely to own a gun.
Only one-fifth of young Americans own a gun; one-third of over-50 Americans do. Republicans are twice as likely to own a gun as Democrats. Maybe not so coincidentally, Republicans are more likely to watch the scariest news channel of them all: Fox. Whites are twice as likely to own a gun as nonwhites…
Proponents of gun control are baffled that horrific massacres such as the one in Aurora, Colorado, do not lead to stricter gun control. They have their causation backward.
The more terrifyingly criminal the world looks, the more ineffective law enforcement seems, the more Americans demand the right to deadly weapons with which to defend themselves. It is local TV programming directors, not the National Rifle Association, who are tirelessly persuading Americans that they need to strap a gun to their legs before heading to the mall.
And what will change those attitudes is not more atrocity stories, but instead the reassuring truth: The United States is safe and getting safer, safer than ever before in its history.
The police can protect you, and will, and do. And a gun in the house is not a guarantee of personal security — it is instead a standing invitation to family tragedy. The cold dead hands from which they pry the gun are very unlikely to be the hands of a heroic minuteman defending home and hearth against intruders. They are much more likely to be the hands of a troubled adolescent or a clumsy child.
Amen to everything Frum says here, but I have to wonder if the condensed and visually-oriented format of local news is the only thing contributing to this overemphasis of grotesque crime. Also, TV and movie depictions of crimes and violence may be more fantasy than reality, but we have to ask ourselves why guns-and-violence seems to be such a successful and profitable Hollywood formula. Instead of ritualistic and cathartic bloodletting onscreen, what ever happened to movies depicting an ordinary American’s hopes and dreams?
I can’t point to any unique historical trend here — except that perhaps the general magnitude of Hollywood violence tends to track the trend towards greater budgets. Shoot-em-up videos have been popular from the very beginning; at the same time murder rates and rapes have trended downward as porn and violent movies proliferate. Sticking with onscreen violence for a moment, perhaps formula movies and shows just have more sex and violence than “ordinary” movies and shows. Maybe when we bemoan too much sex and violence on TV we are simply bemoaning the increase of cookie-cutter cultural products.
Social forces may be indirectly contributing to the problem. In America, people are less likely to know their neighbors, more likely to be single and less likely to have an extended network of friends and family nearby. Maybe it’s just that cities contain more people and hence more strangers, contributing to this unease. Cars may aggravate this situation, enabling cities to be more spread out, making an individual’s “neighborhood” encompass a wider swath of people than in previous times. Perhaps the visible and vocal presence of (potentially threatening) gun-owners contribute to this uneasy need to “keep up with the Joneses.” Or perhaps the advancing power and reach of mass media make it easier for ordinary people to hear about grisly crimes several time zones away. Decades ago, people bought guns to protect themselves from crazy people in the neighborhood, but now perhaps they do it to protect themselves from the crazy axe-murderer in Florida (who — let’s face it — could simply hop in a car, drive 70 mph and be on our doorsteps within 24 hours).
Perhaps the real enemy is not guns but the federal highway system.
**One critic pointed out the difference here. Kids usually spend much longer amounts of time at the swimming pool than they do handling guns. You can be sure that if kids spent as much time handling guns as they did swimming, the casualty numbers would be different.
*** Rereading my essay, I realize that I have forgotten a very common scenario: being inside your home in the middle of the night and using a gun to prevent someone from entering the front door. I admit that I had not appreciated the risk of opening the door late at night or even engaging with someone knocking on the door through a chain lock. In that scenario, you are aware of the risk and have reasonable control over admittance. You are also wide awake and aware of the stranger. It actually can be comforting to know that a gun (or at least the brandishing of one) can dissuade a known aggressor. This, I concede. But so can a locked door — which even if it doesn’t deter in all cases, can still prevent many surprise intrusions. But ultimately an aggressor can bring a gun and cancel your advantage somewhat (forcing you into the unenviable position of having to be the first to fire). Ultimately, there will always be periods where you put your guard down or make yourself vulnerable; perhaps a gun or a door lock will reduce these periods, and contribute to a sense of personal security. On the other hand, unless you leave the gun by the door, you will never feel truly safe. When are you most vulnerable? Probably when you are away from home or transitioning from work to home or home to shopping parking lot. Are you comfortable carrying the gun in these situations? How would you respond if you are carrying grocery bags from your car? What about putting the trash out? What about being in a strange parking lot at night? Perhaps access to guns might help in these situations, but my guess is that it is mostly useless. When I was robbed at gunpoint a few years ago, I was carrying groceries from my car in the parking lot. I was caught totally offguard by two punks. I was in a crime-prone neighborhood, My solution in that case was to avoid walking to and from car after 9:00 PM and to avoid taking out the trash after hours. When I needed to do so, I took a more careful inventory of my surroundings before moving.
**** After having pondered this sentence a good bit, I’ve decided that pumping one’s gas is not the most opportune time to confront a criminal (after all gasoline is potentially deadly, and cars are both useful for escape and running over people). After the criminal has left his car and started walking to the store, parking lots seem to be great places to arrest people; not many innocent bystanders, and lots of places for them to duck and hide. Indeed, the best scenario seems to be after the criminal has paid for his groceries and is pushing his cart towards his car. CCTV can identify and track suspects inside the supermarket; a police officer can wait at the checkout posing as a security guard, and outdoor police can provide support and backup.
Click any of the above links to browse through the dancers for various hours of 24 hours of Happy. I started this webpage in 2014, but stopped in 2017 in the face of life events and technical issues preventing me from doing so. July 16 2023 I figured out a solution to the technical issues. Instead of putting everything on a single page, I subdivided the 24 hours into 6 blocs of 4 hours each. That still leaves the hardest part — making screenshots that aren’t terrible — but I think I can populate the rest of the 4 minute blocks relatively quickly. This blog post has been shortened considerably and contains three things: 1)a long description about the music video project, 2)a long list of names of people involved in the project and 3)blog comments which have been very helpful. Also, thanks to Rob O.’s information about street addresses for the Happy project, I hope to trace the map of all 24 hours! ]
Here’s a running list of the Happy Dancers in the Pharrell Williams official 24 Hours of Happy video. At the very bottom of this web page is a list of everybody’s names, and I’m beginning to cross-index their dance times. I’m not going to try to rate these dance vids too harshly; the main purpose of this page is just to list the dances and identify the people. Asking people to do impromptu dances on a city street is hard enough. So everybody receives 1 star unless there’s something highly unusual about it (with 3 stars being the best).
Those chosen by audition had the advantage of getting the song in advance, allowing them to rehearse their moves. But on the day itself, everyone got just one take, including Pharrell. “That’s what accounts for the charm,” says Valdes. “Everyone knew they had one shot–this was their moment to go all out, and we love that.” “The video’s imperfections, the funny bloopers and mess-ups, are what give it character,” says Pharell, whose own performances alternated between what he calls “semi-choreographed” (see the bowling alley at 11:00 p.m.) and improvisation. “I’m not interested in perfection. It’s boring. Some of my favorite moments are accidental. There’s one where I’m underground. I was turning a corner just as a train was coming in our direction, and it stopped right on cue! It was weird. The universe gave us great moments that day.” … WAFLA chose to shoot in Los Angeles, … starting at sunrise in Downtown L.A., moving to LAX, Silver Lake, Echo Park and Hollywood, among other places, ultimately circling back to Downtown.
I was lucky enough to be a part of this as the location manager. It was a rough one. Not sure how Jon (Beattie) did it. We did 12-15 hour days. There was a crew of 15-20 people with us at all times. Sometimes when we where shooting, we would have to make a u-turn to head back the other way. So all of a sudden, this mob of people would have to stand behind the camera, and do a 180 in sync. It was madness. There would also be times when we had to make a quick decision on which way to go. We would scout ahead and find out that the street was blocked, so at the last second, we changed the route. We also had fun with the talent. We would find someone walking down the street, and invite them to be a part of the video. It turned out amazing.
The biggest obstacle was the fact that we were walking backwards through non-locked off streets and side walks. I ran into many a telephone pole and street sign, and on several occasions had to crawl under John to stay out of the picture. It was a lot of fun to work on, and I think the 4 minute edited version looks great.
My favorites so far are: Happy Hair! 3:32AM, Bollywood-style dancer Monica Moskatow 7:56AM, Elegant Blonde Girl in Street 9:56 AM (just magical!), Jiggly guy with a fan 11:28AM, Preteen Acrobatic Girl 12:28 PM, Asian Gene Kelley 1:28 PM, 2 Asian guys in tuxes in front of a Star Bucks 2:20pm, Girl in Polka Dotted Dress 7:16PM (unbelievably good!) Man on Stilts at 7:36 PM, Amazing & Speedy Guy at 10:44 PM (Amazing Choreography!), 2 Cute & Entertaining Girls at the Bowling Alley 11:08PM, Hula Hoop Girl 11:40 PM (but seriously I’m only getting started)
How to Help: If you know the name of any of the dancers, mention it in the comment section. (If you were one of the dancers who participated, drop me a line — I’d love to do a brief interview!). I’d also like to identify the buildings and neighborhoods if you know it. (I will probably look through Youtube comments for help, but give me time!) . April 2 Update: I’m currently gathering information about places where everything was shot. I hope to have a nice map showing landmarks and dance paths fairly soon. Stay tuned. I definitely appreciate everybody who identifies the dancer’s name. By the way, I’m behind on doing my screenshots and commentary, but the index of all the actors (at bottom) is updated every day.
Tangential Aside #1: You may already have heard about the fatal car accident of Courtney Ann Sanford, caused by the Facebook update she posted while driving, “The Happy Song makes me fell so happy.” What a tragedy! I do not condone texting while driving (and certainly don’t believe the song deserves any blame here), but this page needs to acknowledge that a song about being happy is just a song — ephemeral, distracting and even a bit escapist. All humans need a little bit of happy in their lives, but we also need to recognize that happiness — like life itself — is a fragile commodity. Ultimately this dance video (and this page) is precisely a celebration of this ephemerality — while we still have time. Tangential Aside #2: You knew it was going to happen: some repressive regime was going to ban the song “Happy” or arrest the people who made the dance clip. Seems like Iran couldn’t resist the opportunity to steal the thunder. (Read more) This seems to come straight out of a Kundera novel.
Dance Credits
List of 24 Hours of Happy Dancers
(Taken from the Credits; when I get time, I’ll try to add times to each dancer’s name)
I normally don’t watch TV dramas or procedurals. They are dull and predictable. I started making exceptions for supernatural sexy teen angst shows like Buffy the Vampire Slayer, but really the entire series is silly.
I have done some binge watching of TV shows — I once watched 20 episodes of Lost in 26 hours. That show is well-executed and produced, and I really don’t mind the supernatural aspects of the show even though the flashbacks are mostly dull. Recently I’ve started re-watching episodes of Lost — skipping through the flashbacks and taking notes on what worked well and how the show managed to be what it became. There’s a lot to hate about the story, but for certain scenes, I just think the writers must think TV watchers are idiots.
Take this example:
Season 3 opener features a group of scientists doing all kinds of suspicious research (medical and otherwise) on an island. They hear and see a jetliner heading for an inevitable crash on the island. Under these circumstances, how would the scientists react? Do they:
send out some of their people to the crash scene to offer assistance?
ignore the crash entirely and return to their normal business?
Send out some of their own people to pretend to be crash victims so they can spy and report back?
If you chose option 3, congratulations! You have the limited imagination of a TV writer.
Even if you assume that these researchers from the Dharma Initiative are semi-evil or hostile or reluctant to socialize, having them pretend to be crash victims is pretty much the dumbest thing you can do under the circumstances. Yet it’s necessary for the plot. It makes me realize that the show I’m watching is essentially silly and manipulative and that hours of Bergman and Sembene Ousmane are still waiting to be watched.
I sometimes enjoy escapism and shallow conflicts and characters. I just want it to make sense.
Can you imagine the same Lost show if 1)there were no guns, 2)all the main characters were uglier and older, 3)people weren’t always dying at someone else’s hand? and 4)people weren’t always trying to remove bullets with silverware or their hands? How strange that we watch such silly shows when our own lives are already packed with turmoil and frustrations. Don’t underestimate the dramatic or comic potential of our mundane lives.
It’s unfair to compare a book to a TV show, but being stranded on an island offers a lot of drama already. How do you find food and water? How do you handle health and hygiene? How do you not get depressed or bored? How do you use your creativity or ingenuity to fix things and come up with stopgap solutions? That is exciting stuff– and that’s why Robinson Crusoe was such a great read.
Contrast that with Lost where you have to throw in evil scientists, psychotic killers, imaginary predators, time travel and the fact that everyone is boinking everyone else as indiscriminately as a porn film.
Later, I will try to explain the things about Lost which actually work well. For now though, let’s marvel at how gullible most TV shows think we are.
The sci fi thriller Looper will be released on DVD on December 31, 2012, but apparently Netflix mailed it to me 2 days early. I wonder: has someone got hold of a time machine?
The main problem is that plots are too easy to manufacturer. They go like this:
Character A travels into the past and performs X.
Oh, no! The space-time continuum has been disrupted!
Character A must try to fix the disruption by performing Y (or Z, etc)
Oh, no! Performing Y has caused another disruption in the space-time continuum.
Repeat step 3 as needed.
Pardon me for stating the obvious, but the movie genre by itself has no inherent chronology. It’s just footage spliced and organized in an arbitrary fashion. I think actors have this sense as well. They say their lines out of order, and don’t think too hard about it. They just live for the moment.
To experience what it must be like to be a time traveler, all you need to do is to act inside a movie.
Postscript 2: Now that I’ve seen the movie, I wish I could go back in time to warn myself never to see the movie. Seriously, it wasn’t a bad movie; it actually was pretty interesting, but I’ve seen so many elements of this movie already. I regard the movie as mainly a love story between a man and his gun(s) where nothing can be allowed to come in its way — except an annoying child with powers greater than yours. Here’s a challenge: make a time travel movie without a GUN anywhere. Or better yet: make a movie where a person travels in time for no apparent reason other than to have fun and meet chicks (or watch a concert or two).
Postscript 3: It is decided: I will travel back in time and prevent myself from even writing this post.
Postscript 4. It is done. Any postscripts after this one will disappear after the time line has been fully restored.
Postscript 5: For reasons I cannot explain here, I need to undo my previous action.
Postscript 6: Any postscripts after this one are fake and can safely be ignored.
Here’s a fast list of the most remarkable movies I have seen this year. There is no particular order here, though I put my two or three faves at the top of the list. These movies come from several decades and I saw almost every film on Netflix Streaming.
Travelers and Magicians is a movie coming from Bhutan with beautiful landscapes, mythical plots and memorable characters. A young official yearns to leave his homeland for the U.S. and must confront what keeps him home. The director Khyentse Norbu is a Buddhist lama who once worked with Bertolucci and now uses the landscape of his homeland to illustrate the inner conflicts between spirituality and the modern industrialized life. Compare to Kobayashi’s classic film, Kwaidan.(Here’s an interview with the writer/director)
Monsters is a haunting and beautiful sci fi movie about space aliens who have landed in Mexico and the American government’s attempt to fight these aliens and prevent them from encroaching the U.S. Border. Both a thrilling monster movie and political allegory, the plot followed an unexpected path and maintained the ambiguous aura until the very end. I enjoyed this tremendously the first time, but watched it months later just to make sure the movie was as good as it seemed the first time. It was. (Now Streaming)
Encore (Movies inspired by Somerset Maugham). Also Quartet. Two films adapting Somerset Maugham short stories. These are lovely and delightful movies about short stories of Maugham. The film version of Gigolo and Gigolette (a husband and wife acrobatic team) is just amazing all the way to the end. (Now Streaming)
Downfall & Sophie Scholl: The Final Days. (2 separate movies) I never thought a film about the clueless administrative staff of Hitler could be so compelling. Ironically, by depicting Hitler as a lovable but temper-prone boss, the film conveys how easy and powerful groupthink can be. At the start, the real person upon whom the movie is based admits that at 22 she was naïve, but that other people her age (like political martyr Sophie Scholl) had already figured things out; why hadn’t she? Indeed, that’s a good reason to watch both movies back to back. Sophie Scholl is a true biopic about a young college student jailed and put to death for distributing anti-Nazi leaflets. In a way both movies are about youthful dedication – the good kind and the bad kind. (Honorable mention: Valkyrie, an unusually well-made film starring Tom Cruise about a futile assassination attempt).
Blue State is a charming indie road trip romantic comedy about a leftie blogger who foolhardily promises to move to Canada if Bush beats Kerry in 2004. When he discovers that others expect him to act on his promise, he takes a trip there with a female acquaintance and has misadventures along the way. Lots of funny lines — it’s not that political a movie — but it kept me guessing and it raised some unusual questions about loyalty to your values and to your country. I thoroughly enjoyed it. (Now Streaming)
Love Film. Szabo’s early film about love, communism and desire. I loved the film’s unpredictability and the way it jumped backwards and forwards in time (which was justified by the subject matter). The film had tragic and warm moments, and the arty style helped too.
Muriel’s Wedding is a 90s Australian comedy about a misfit young woman who will stop at nothing to give up her dreams. When considering plausibility, morality and social messages, this film is simply bananas. But thank goodness the character and the story is unafraid to try all kinds of crazy things to get what you want. (Now Streaming)
Bolivia. This gritty film by Adrián Caetano depicts the precarious existence of illegal immigrants: the poverty, vilification and scapegoating. Not an easy watch, but the movie stands up for the hordes whose tragedies remain hidden out of sight. (Now Streaming)
The Dead Zone (TV Series) I was vaguely aware of the original Stephen King novel and knew what I was getting into: supernatural whiffs, crime-fighting and political intrigue. TV shows about superpowers often fall flat because they manipulate the viewer too much. But Dead Zone made the story not about the superpower of omniscience but individual stories of people who need help. First two seasons were dynamite. By Season 3 or 4 I saw repetition and credibility-stretching plots, but in the last season it recaptured some of its original magic. This show was basically a detective show, and the revelation of the clairvoyance seemed to obey no rules other than to produce good TV. (This show might have been perfect if it only lasted for 2 seasons, but what I saw was still provocative and visually-interesting). Other TV series I watched and enjoyed over the year included: Wings (droll retread of Cheers by some of the same producers and writers), Farscape (mind-bending Australian sci fi TV series which had original plots, unusual characters and a tad too much violence) and IT Crowd (nutty sitcom about a dysfunctional IT department).
Last Train Home is a poignant documentary about Chinese families who travel home for the holidays. The problem is that many work at factories hundreds of kilometers away, and the mad rush to use the train system results in delay, aggravation and dismay. The movie focuses on one family in particular being torn apart by working away from home. (Now streaming)
My Year without Sex is a nutty feel-good family comedy about a woman who has a sudden & urgent medical condition and has to chill out while she recovers. It’s not a particularly deep movie – it merely depicts the mundane craziness of living – and how hard it can be to take a break from it. What I love about this film (and Muriel’s wedding) is that the narrative rhythm is so different from U.S. films. Lackadaisical, jarring, quickly changing from comic to dramatic and back again. (Now streaming)
Wish Upon a Star . 90s Disney teen comedy about two sisters who change bodies. (Great for age group 10 and up). It’s a cross between Clueless and the Parent Trap. Formulaic & feel good comedy which is a lot smarter than it appears to be at first glance. I enjoyed it a lot.
Ritchie Boys. Great mainstream documentary about German Jews who emigrated to America and then enlisted to perform top secret intelligence work for the Allies. Each person interviewed describes the work they did, plus that bittersweet feeling of returning to the homeland they formerly loved. (Now streaming)
Lady Killers. Silly British comedy about an ill-advised bank heist planned by bumbling robbers such as Alec Guinness and Peter Sellers. The thing is, the woman running the boarding house for one of the robbers is duped into thinking they are classical musicians. I was laughing the whole time.
Winter’s Bone is populated with Ozark misfits and tough people who protect their own and punish outsiders. The main character – a struggling girl taking care of her siblings because of her mother’s mental illness – is on a mission to find out what happened to her father who had disappeared. The people (and the story itself) live on the edge of society where different rules apply (if there are any!).
Hey Ram. Great self-consciously arty film about political engagement. Overdone, but the material and themes were utterly original. You really have to admire the cojones of an Indian who plots another assassination plot of Gandhi.
Something like Happiness. An extraordinary slice of life movie from Czech Republic about two friends who become involved in taking care of the woman’s mentally ill sister. Some might call this movie (and this setting) to be dreary, but I found the characters to be authentic and complex and interesting. This part of Europe has a certain ugliness (there were multiple shots of the power plant in the background, and I can’t tell how much many times I’ve seen the grimy inside walls of that apartment’s elevator). The main character has to decide how much she wants to get involved with her sister, knowing full well it might cause heartbreak at the end.
Manito. Story of 2 Puerto Rican brothers in New York City, one of which is an ex-con trying to earn a living, the other is a “good kid” about to graduate from high school. But it really is about the milieu, the extended family, the neighbors, the coworkers, the students. The movie cuts quickly between scenes, conveying a sense of disorder and the complexities of relationships in this small ethnic neighborhood. The movie hurries through their lives so randomly that I began to wonder whether the movie was going to be simply another slice-of-life movie or whether it actually was hurling to something. But by the end I realize the movie has raised some unsettling questions about victimizing and forgiveness.
Also: my favorite movie which I haven’t seen is “56 Up” the latest installment in Michael Apted’s epic documentary charting the lives of a dozen-plus British youngsters every 7 years. 56 Up came out last spring in UK, but the movie distribution system, in their infinite wisdom, has decided not to release it in the US. The good news is that there are now plans for limited distribution at select movie theatres (including the Houston Museum of Fine Arts on March 15, 2013)
Michael Barrett is a San Antonio writer and critic who has been publishing essays about cinema and TV for more than 20 years. (His reviews are listed on Rotten Tomatoes ). His screenplay for an animation feature is currently going through “development heck.” Other projects include writing children’s fiction actually intended for adults and appearing in a still-unreleased comic video about the life of John Ruskin. In addition to currently writing articles and reviews for the San Antonio Express-News, Video Watchdog magazine, and PopMatters, he keeps busy selling old books on Amazon. I’ve known Mike since college where we collaborated on a literary magazine and I ran the film projectors for an international films series Barrett headed. Barrett’s forte is writing longer analytical essays about obscure cinematic genres under the guide of DVD reviews. In one of his more notable essays, You are Living in the Golden Age of Cinema, Barrett asserts that he doesn’t believe in the myth of declining quality of cinema (when compared to “golden ages” like the 1970s.) “The new problem is getting … noticed amid all this overwhelming superfluity of access, but I submit that this is a much happier problem than not finding a distributor—of which there are a surprising number during this so-called decline, and an increasing number of festivals and labels and channels hungry for product.” (A brief annotated list of his cinema essays is at the end—Also, every text link included in this interview takes you to the relevant Barrett essays). Finally, even though this hyperlink is not active, I’ve been reproducing MB’s private end-of-the-year book & movie recommendations which he circulates to friends. The URL is here: https://www.personvillepress.com/11378h/private8/mike-list.txt (I add the latest recommendations every year to that URL). The interview took place in February 2012.
January 2022 Update: About 1/2 the hyperlinks in the article are broken. Have no fear. The articles are all there, but Popmatters changed all the URLs, so I’m in the process of updating them — by going to waybackmachine.org to find the title and then googling that).
Personal Observations
You once mentioned to me that every film inevitably has a mirror scene, something which I’ve noticed ever since you pointed out. Are there any other secrets or rules of thumbs to cinema which you’d like to share?
Yes, and the mirror scene is often the very first or last scene. I’ve just watched Fassbinder’s German sci-fi TV movie World on a Wire, which we can safely say has a mirror in every scene!
I have facetiously complained that all foreign movies have a scene where somebody urinates; this goes all the way back to Bicycle Thief. Maybe it’s not all foreign movies, but more than fifty percent, and now it’s spread to American cinema.
My personal rules of thumb have been to watch anything silent and anything Japanese (so Japanese silents must be the apotheosis!), and I pretty much think anything from Eastern Europe is worth watching, and most items from Iran and Africa. Eastern European movies are very “film school”, while films from “emerging” countries have a directness bordering on audacity, which has nothing to do with lack of sophistication and perhaps something to do with oral traditions.
In the second week of April, I’ll be attending or participating in threeFOURFIVE events in Houston: A Liar’s Contest, Houston Indie Book Festival, a Film Premiere, and an Energy/Environmental Conference. Details for attending these events is below. (Note: the Movie Premiere is Thursday, the conference is Friday and the Liar’s contest/booksale & book fest is Saturday — even though I listed everything in reverse chronological order). Drop me a line if you think you’ll be at one of these events!
What did I get from Simon? An education – the thing my parents always wanted me to have. I learned a lot in my two years with Simon. I learned about expensive restaurants and luxury hotels and foreign travel, I learned about antiques and Bergman films and classical music. All this was useful when I went to Oxford – I could read a menu, I could recognise a fingerbowl, I could follow an opera, I was not a complete hick. But actually there was a much bigger bonus than that. My experience with Simon entirely cured my craving for sophistication. By the time I got to Oxford, I wanted nothing more than to meet kind, decent, straightforward boys my own age, no matter if they were gauche or virgins. I would marry one eventually and stay married all my life and for that, I suppose, I have Simon to thank.
But there were other lessons Simon taught me that I regret learning. I learned not to trust people; I learned not to believe what they say but to watch what they do; I learned to suspect that anyone and everyone is capable of "living a lie". I came to believe that other people – even when you think you know them well – are ultimately unknowable. Learning all this was a good basis for my subsequent career as an interviewer, but not, I think, for life. It made me too wary, too cautious, too ungiving. I was damaged by my education.
By the way, these memoirs served as the material for the excellent British film, The Education. If you plan to watch the film, you should watch the film first and read the essay later. If reading the essay makes you want to watch the film, too bad. (Carey Mulligan did an excellent job; she’s a marvelous actress; I saw her in the amazing Dr. Who episode Blink).
The essay explains one thing about the film which struck me as implausible: why would a man propose to a young girl when he was already married? I think every person’s romantic history must seem bizarre and implausible to random strangers and a source of hilarity to people decades later. Was it a joke? Was he really intending to divorce his wife? Was he just being sadistic? In the movie you can’t just chalk it up to the character being a villain.
In the movie there is a horrifying discovery scene near the end which was a masterpiece of understatement. Also, there were several set pieces in Paris, nightclubs, racetracks. (The film enjoys these little side adventures more than it needs to; alas, such is the nature of the cinematic medium). Looking at Wikipedia, I see that the movie was inspired by an essay Barber wrote for Granta which appeared in her book An Education. Barber never intended to make it into a movie, but screenplay writer Nick Hornsby discovered the story and wrote a dazzling screenplay for it. The result was excellent, but that avoids the obvious question: what medium would have the best one for telling this story?
The film has a sensuality and a single-minded focus on the affair (and incidental details arise from this primary plot). But Barber admits in the prose piece that she didn’t feel any great enthusiasm about the affair – and maybe having more enthusiasm for the life lesson learned. But the cinema genre focuses too much on the visual and sensual (even though the film ostensibly tries to warn against such seductions). It is fun to watch – to see the adults squirm, to see Miss Naiveté learn her lesson. But a prose version could convey some of the episodes with more detail and reflection. When we see the film, we are led to believe that the affair was catastrophic for her, but in the book it is just one episode on the road to knowledge. A prose version can convey longer conversations, intellectual banter, jokes and the emotions flowing her before, during and after the affair. It can also convey the interweaving of events. This woman was not just being romanced by an older man; she was reading Camus and studying her Latin and presumably gossiping with her female friends.
The act of writing is a conceit; very few would take the time to document their experiences. The decision to write about something means you are editing the narrative, selecting details which read well, focusing on narrative flow, throwing in a few tragicomic moments. When a person keeps a diary, it is possible to estimate the relative importance of an event by space devoted to it. But merely because you waste a lot of words on a topic doesn’t mean it’s that important. For example, I spend an awful lot of time blogging about climate change, Bush and yes –even blogging. But none of this is important (or it is not particularly important to me). A reader would learn next to nothing about me by my blogging about climate change (except that I am tenacious, progressive and unafraid of arguments). Books are important to me….vitally important; yet I spend very little on my blog talking about books or authors or even literature. This may have to do with the casual nature of blogging; I don’t have casual remarks to make about literature; my remarks on literature have to be profound or remarkable or witty or else I will not bother to speak about them here.
A blog is not a confessional; if I killed somebody or had my heart broken or felt unbelievable sorrow or joy about something, I would never mention it here. (I did mention the recent death of my dad, but that is a different story). The more words you spill on a web page, the more you avoid saying. I do not consider myself an academic type, but the few times that I write a long critical or research essay, I feel as though I have invested my heart and soul in getting it perfect. If I wrote an essay or memoir like Barber’s The Education, it would not and could not be chatty or casual. On the other hand, I am not always serious; I love a good joke, a good TV show, a good meal. But would I blog about this?
Is it better to write about important feelings and events or unimportant ones? I remember a photograph from high school of an old high school girlfriend Susan E. She was a lovely girl and lots of fun. The photograph I found recently was taken at Galveston beach. We are with her friends who are wearing bathing suits. Susan is laughing with her friends. It is a lovely moment in time – but unimportant to me except for the fact that it became a photograph. But one detail about the photo really stirs up nostalgia – my car! It is a 1979 Toyota Celica, and when I saw it again, it triggered lots of random memories – misadventures with friends, Susan, family. Amazingly, I was walking on a Corpus Christi street and stumbled upon the same Celica model on the street. I don’t think the car was drivable – it was basically a billboard for some small business, but I felt an awe towards this icon for my past (even though I am not really a fan of cars anymore – the CO2 they emit are bringing the earth closer to a state of damnation!)
There are reasons not to like the literary memoir; it doesn’t really involve the imagination, and it doesn’t really try to escape; all it tries to do is to be faithful to a person’s remembrance and insightful about it. All worthy goals, but structurally unsound: why base an art form on one person’s memory? Isn’t it an exercise in egotism? What if everyone did the same thing? Isn’t it better that most people keep their private thoughts and feelings to themselves? Would I like it if my mom or sister were drafting memoirs about some family incidents involving me? I know they would be kind and discreet, but what if I preferred these memories not to reach public ears? What if my high school sweetheart preferred not being a subject of a blogpost (Oops, I think I already did one).
Fiction, if you stop to think about it, is amazing. You are just making things up – and adding characters and poetry. The stories I write don’t normally fall too far outside my circle of experience, but I don’t feel the need to limit my writing to things I have direct experience with. Recently, I have started writing fiction about places I have never been before: Venice, Chicago, Berlin. Obviously, I’d like to do more traveling (well, eco-friendly traveling!), but I rather enjoy trying to fake it. Could I write a story which could fool people into thinking I actually knew what I was talking about?
But actually writing fiction isn’t something I can do all the time. Most of my writing is about more mundane things, and that is how it should be. If I wrote nothing but essays about literature, then I would be conveying the impression that literature is the only thing in my life. Of course it is important – probably the most important thing. But I don’t spend a lot of time pondering literature; I spend much more time contemplating life’s absurdities, the financial and professional challenges, the random things I think about on the bus, random thoughts about politics. As it stands, now, my random observations about pop culture are going to Facebook more often than to this blog, but even so, a blog is a good way to capture the random reflections. Every so often I like browsing through my archives – not so much to see instances of great essay writing or to find typos, but simply to remember what was going through my mind at a certain period of time.
In a Jack Matthews book I edited for publication, Matthews makes the point that instead of writing confessional diaries, authors need a journal to keep track of artistic fragments which they later can pull into stories. Maybe for some authors, it is a good technique and I do a little bit of that – not much – but most of these are simply handwritten notes on random pieces of paper, keywords, story outlines with significant details.
A blog fulfills a similar purpose. Not so much for recording story ideas, but for cataloguing articles and random observations about life. As much as I admire bloggers who blog daily or two or three times a day, many of these blogs would be practically unreadable 5 years later. Who cares about the transportation bill or some international scandal or predictions about who will win some election? The blog posts that will seem important 5 years later will be about birthdays, personal milestones, extreme weather, mild annoyances, etc. A blog is most useful for cataloguing minutiae of life and juxtaposing it with reflections like this one.
About the film 49 Up, I once wrote that the audience never finds out what is really going on in the interviewee’s life until the next episode filmed 7 years later. Apparently 7 years is a long enough time period for someone to talk about a life event with detachment and lack of shame or self-consciousness. Let me see, 7 years ago I was recovering from a nasty long distance relationship; after a long hiatus from fiction writing, I had finally started publishing stories under a pseudonym for a fiction project; In Spring 2004 or so during a trip to Baltimore, I had conceived the idea for a major collection of stories (which I put aside for a while, but will pick up in the next few years). I was bored at my job and dreaming about video projects. Yet if you looked at my blog, you would see that most of my posts were about audio recording, Thai emoticons, George W. Bush, referrer spam, lusting after a haircut and python programming.
I guess none of those posts were important aside from the fact that they marked time.
Basketball Jones song. I totally love this song. It appears nonsensically in the classic movie Being There even though it was originally a Cheech and Chong video that a lot of stars got involved on. George Harrison on guitar! Carole King on piano. Billy Preston on organ.
I have recently learned about Julie Ruin, a punk-pop project by performer Kathleen Hanna. See this vid and this one too (by the way I love the cough at the beginning of this song!) All the songs from this album are great! And of course, La Tigre is great too.
Another music sensation: Space Your Neighborhood. I had listened to this song for several years, misplaced the CD and forgot the title. Boy I loved 90s music! Space is a Liverpool pop band with witty lyrics. Here’s another song Female of the Species.
Two months ago I saw a great concert by a band called Gram Rabbit. Some vids: Shiny Monster and a recent studio performance of Off with your Head.
Video Mashup of Staying Alive and Another Brick in the Wall. "Two songs from two groups that were both pivotal to the era, and that had absolutely nothing to say to each other. You COULD NOT like the bee gees and floyd at the same time and be taken seriously. You know all this – hell, I learned from you why these decisions of what I thought were personal taste and preference (…discernment, even) were freighted with all sorts of other cultural, socio-economic and racial baggage. The mashup (not smushing, though that’s nicely derogatory) links them thematically – meaning the people who did this see some of the same content in the bee gees that you did. Capitalism forecloses options, disarms dissent and brutalizes humanity, leaving us with valorizing survival as some sort of liberation. C’mon. Also, who would have ever guessed they were so musically compatible?" (source).
Everything is better with a bag of weed. Hilarious Family Guy number about the virtues of marijuana. Unfortunately, this song is an earwig that will haunt you all day.
I wasn’t aware that the Richard Feynman videos were so accessible or humorous. Here’s his attempt not to answer how magnets work. The Fun To Imagine series of talks (on Youtube) were off-the-cuff riffs on random natural topics. I think every 10-12 year old should watch these vides. Isn’t it great that they can!
Here’s one fascinating video by Feynman about fire where he answers an interesting question: where do trees get their substance from? Yes, the answer has to do with photosynthesis, but it’s not obvious.
Microsoft produced a great site featuring Feynman’s lectures. Unfortunately they built it with Silverlight (MS’s multimedia platform), so some of the browsers don’t show it well.
Waltz with Bashir is a serious animated film which tells the autobiographical story of an Israeli soldier during the Israel attack on Lebanon. This was a serious film tackling important questions in an innovative way. At the same time, I was uncomfortable with how it dramatized political events. It raises an interesting ethical and aesthetic question: is the Israeli soldier’s perspective a good vantage point for viewing a historical event (and constructing a narrative)?
In the film, Israeli soldiers are semi-innocent bystanders who watched Lebanese murder one another. Poor Israeli soldiers are stuck in Beirut while barbarian Lebanese fire at them.
In reality, Israeli attacked a peaceful nation (where yes PLO used to hide out).
Local TV station interviews yoyo expert who visits schools to teach kids about ecology. Video One, Video Two, Video Three. Here’s the foundation’s website. Here’s a feature article to read AFTER watching the video(s). Amusingly, I posted this on Facebook, and nobody appreciated what was going on.
Tongue-in-cheek video rebutting Bill Oreilly’s ludicrous statements about Amsterdam. Part 1, Part 2 and Part 3. The controversy is old, but it’s still fun to watch.
I blogged about Viral Video Film School by Brett Ehrlich. He compiled his 3 minute segments into 4 20 minute segments (part 1, Part 2, Part 3, Part 4). That’s 80 minutes of total fun!