A Most Wanted Man

Hamburg, port

Hamburg, Germany (photo: wikimedia)

Ambiguity, betrayal, characterization, desire—The ABC’s of John le Carré are all in place and working hard in this new film (trailer here). The setting is the gritty port city of Hamburg, from whence much violence rained down on America—and the dirty water of the first scene is the proper element for the dirty business to come—and the real world of espionage. I won’t say more about the plot. Acting throughout is exemplary. Perfect music.

(Must contrast this with the over-long, deeply implausible, and fundamentally boring Poirot mystery on PBS’s Masterpiece Mystery last night. What happened there? I get it that it’s just supposed to be fun. Wasn’t.)

A Most Wanted Man is both movie title and epitaph. John le Carré’s encomium is a must-read. Rotten Tomatoes critics’ rating: 90%

The Orchard

The Cherry Orchard, The Orchard, Chekhov, movie

(photo: pixabay.com)

Interesting experience recently, seeing The Orchard (trailer) at the Trenton Film Festival. In the story, filmed in real time, six actor friends get together for a weekend to prepare an improvisational performance of Chekhov’s The Cherry Orchard—the world’s most performed play. Excellent score by Towering Inferno.

The movie script is something of a mashup of Chekhov and Pirandellos’ Six Characters in Search of an Author, but with its own absurdist excesses. (I’ve seen Six Characters and have forgotten it in its entirety.) With the heavy regional English accents and scenes where everyone talks at once, I missed a lot, but that seems the intent.

The private arguments over which actor should play which part suggest viewers are glimpsing intimate scenes that expose jealousies, rivalries, and personal histories. But, really, they’re scripted. After a while, the story moves seamlessly into Chekhov. And out again. Some of the non-AC scenes could be 20 percent shorter, but the cast is terrific in their actor and Chekhovian personae. As the synopsis says, after this weekend, “Will they ever be friends again?” Good question.

Personally, I think Wallace Shawn’s Vanya on 42d Street (1994) was easier to watch—another movie about trying to mount a Chekhov play, but The Orchard is a worthy effort suitable for specialty audiences with a taste for fine ensemble acting.

Amen.

amen, Costa-Gavras, Vatican, NaziCosta-Gavras’s 2002 movie about the role of The Vatican in World War II (you can watch it here) was certain to be controversial, as opinions are strongly felt, relevant information is still secreted in Vatican archives, and the movie is based on a controversial play, The Deputy, by an erratic German playwright, Rolf Hochhuth. (The movie promotion, like this poster, offended many, as well.)

Most interesting is the portrayal of an SS officer hired to help “control vermin” at military bases—typhus was a big problem—using deadly Zyklon B gas. At a concentration camp, he witnesses the gas being used against people and is so horrified, he makes many efforts to bring religious leaders’ attention to the carnage, believing that if they would only speak out, the horror will stop. He befriends a (fictional) young Jesuit who joins his crusade and takes these concerns all the way to Pope Pius XII.

In real life, and improbably, such an SS officer did exist. Kurt Gerstein was thrown out of the Nazi party in the 1930s, yet allowed to join the SS in 1941 and, because of his engineering and medical education, soon became head of the Technical Disinfection Services. In custody after the war, he wrote lengthy testimony about the death camps that became prominent evidence in subsequent war crimes trials, including at Nuremberg. Gerstein died in French custody in 1945, reportedly by suicide. His story is included in Europe Central, a National Book Award-winning novel by William T. Vollman.

Throughout the period, the Pope’s pronouncements were consistently anti-war, but vague. In the movie, he doesn’t speak out about the Jews, specifically, for a number of reasons (explored in an interesting article by Jewish historians here): The Vatican’s neutrality (the Allies and the Nazis both criticized it for favoring the other side); fear that Church properties in Germany would be seized, or The Vatican itself invaded; and concern that opposition to Germany would give support to the atheistic Soviets, with communism deemed the greater long-term threat to the Church. When this issue came up during a visit to Auschwitz and Birkenau, an American Catholic defended the Church, saying rather heatedly that the Pope couldn’t speak out, or “the nuns and priests would be next.”

People's Palace, Bucharest, Palace of the Parliament, Romania

Parliament, Bucharest (photo: 1.bp.blogspot.com)

Despite all this, many individual clergy and religious moved to protect threatened individuals, and the Pope himself quietly urged Catholic churches, convents, and other facilities to take in Jews, and the movie includes this. Amen. makes for interesting viewing, and perhaps we will never know the full story.

As a side-note, I learned about this movie when visiting Romania last year. Because filming inside The Vatican was not allowed, the movie Vatican was the enormous, surreally empty “People’s Palace” in Bucharest.

Such Stuff as Dreams: The Tempest vs. Ida

Shakespeare, The Tempest

Sherman Howard (Prospero) and Erin Partin (Ariel) in The Tempest, Shakespeare Theatre of New Jersey (photo: imgick.nj.com)

Quite a contrast recently between the nonstop cannonade of literary touchstones in The Tempest—in an exuberant and colorful production at the Shakespeare Theatre of New Jersey, alas, only through June 22—and the oppressive restraint of the near-silent black-and-white movie from Poland, Ida, viewed the same day (trailer).

In the live—and lively—play, the portrayals by Sherman Howard (Prospero), Lindsey Kyler (Miranda), John Barker (Caliban), and especially Erin Partin (Ariel) were remarkable.

Shakespeare touches button after button with his iconic quotes: “Hell is empty and all the devils are here” (wait, that sounds like John Boehner’s voice!), “Now I will believe that there are unicorns,” “We are such stuff as dreams are made on,” “What’s past is prologue,” , “O, brave new world, that has such people in’t,” “my library was dukedom large enough,” or “he receives comfort like cold porridge,” Ida has hardly any dialog.

David Denby in The New Yorker puts a positive spin on this, saying, “I can’t recall a movie that makes such expressive use of silence and portraiture.” In Ida, instead of being carried along by a current of words, we float in a bleak, misty, ambiguous atmosphere, albeit rendered with beautiful cinematography, “every shot as definitive as an icon,” Denby says, quite truly.

But after all Shakespeare’s verbal passion, Ida felt like cold porridge indeed. Perhaps the filmmakers had some great story in mind and just forgot to tell it, because they give the barest of bones and leave viewers (me, anyway) with more questions than answers—not so much about the past, which the movie explores in sufficient glimpses—but about what is going on right now in the minds of the characters on the screen.

Agata Kulesza, does a fine job playing the aunt of the main character, a sheltered, opaque novitiate raised in a convent (Ida), played less well by Agata Trzebuchowska. The pair uncover a terrible but not uncommon World War II tragedy, and the question of whether exposure to her aunt’s earthiness will persuade somnambulant Ida to abandon the convent seems none too debatable. Bear in mind the Rotten Tomatoes critics gave it 93%, so don’t take my word for it.

Hollywood Vice

Los Angeles, Hollywood

(photo source: farm9.staticflickr.com)

Vice—the international cultural and political magazine of the Vice media empire—devotes its fiction issue this year to Hollywood and the movies. Careful with that link, the magazine cover is NSFW, depending on where you work. Literary bright lights and Hollywood insiders like David Mamet, James Franco (a story about Lindsey Lohan), and Alec Sokolow are among the authors. Blake Bailey does a run-down of some of Vladimir Nabokov’s unpublished notes for the Lolita screenplay, about which Nabokov said after a screening of the finished film, “only ragged odds and ends of my script had been used,” though he received the picture’s only scriptwriting credit.

Vice was launched in Montreal in 1994, and the company is currently valued at more than $2 billion. In the last few days, it launched a sports channel to add to its publishing, online, and video stable. Since Vice is distributed free, with distribution points in major cities, you can read the content online or download it with an iTunes app, if you are at least 17 years old.

History is Personal

Edwards, Wilson County

Edwards graveyard, Wilson County, Tenn. (photo: author)

A trip to the New York Public Library’s Milstein Division this week with three friends was a chance to catch up on the progress we’re making with our family genealogies. Each of us has made surprising discoveries—a grandfather who, as a baby, was left at the doorstep of a foundling hospital; Tennessee Civil War veterans who lived the agonizing struggle of “brother against brother”; the ancestor who lived next door to the real-life House of the Seven Gables in Salem, Massachusetts, and was a member of the Salem Grand Jury two decades before the witch trials; the family grave markers revealing sons who died within days of each other in the 1918 influenza outbreak. I even know the names and a bit of the history of the ships that brought some of my ancestors to America in 1633 and the early 1900’s (Griffin, Kaiser Wilhelm II, and Amerika).

All writers can find inspiration in history, says a recent blog on the Writer magazine website by Hillary Casavant. From my own experience, looking at lives reduced to a few lines transcribed from some 180-year-old deed book, or the estate inventory that includes not only “a cowe and hoggs,” but also salt, pepper, and a coffee pot makes you think about what was valuable in a person’s life generations ago. (As a measure of changing living standards, my household has four coffee-pots and three tea-pots. No cowe or hoggs, though.)

These shards of insight prompt the thought, “I’d like to know the story behind that.” Just such an impulse set a writing colleague on a path to research one of her ancestors, born in the late 1800’s—the first woman to serve as a probation officer in the London criminal courts. Information is scattered, and she has the challenge of writing a fictionalized history. Another writer friend is compiling a set of essays on her family’s history that is closer to a conventional memoir, but viewed through a psychological lens—a thoughtful analysis of how a father’s treatment of his sons echoes through the family generations later.

Writers use history in many different ways to “make it real.” From my recent reading, additional examples are Robert Harris’s An Officer and A Spy, a novelization of the infamous Dreyfus case, in which all the players are known, and the mystery The Cold, Cold Ground by Adrian McKinty, which uses the hunger strikes in Northern Ireland’s HM Prison Maze not only as a backdrop but weaves it into the actions and motivations of the fictional characters. Movies plow this ground endlessly. I really enjoyed The Monuments Men, which, although it prompted inevitable historical quibbles, stayed closer to real experience than the more highly fictionalized The Train, the 1964 Burt Lancaster/Paul Scofield movie on the same theme, which I saw again on TV last night. (Illustrating how far from real life Hollywood must sometimes stray, Wikipedia reports that Lancaster injured his knee playing golf, and to explain his limp, the movie added a scene in which he is shot while crossing a pedestrian bridge. Also, the executions of a couple of characters occurred because the actors had other “contractual obligations.”)

Casavant provides links to websites that can provide historical inspiration, including the

lists of history facts in Mental Floss, a blog of noteworthy letters, and the Library of Congress’s 14.5 million photo and graphic archive. To her suggestions, I’d add that one’s own family history, the unique combinations of external events and internal dynamics that made them who they were, can also be a rich resource. In a sense, it’s a recasting of the much-abused advice to writers to “write what you know.” Or, as George Packer has said (his ancestors lived adjacent to mine on Hurricane Creek in Wilson County, Tennessee, BTW), “History, any history, confers meaning on a life.”

The Rum Diary

The Rum Diary, Johnny Depp, Hunter S. Thompson

(photo: pixabay.com)

Is it that drinking-to-oblivion has exhausted its limited appeal? Is it that we feel we’ve been there before? Is it that I’m just old and crotchety? If you have The Rum Diary (2011) (trailer) on your Netflix list, you’re in for a few good laughs, but a predictable romantic element and a decided downturn in enjoyment when the main character suddenly dons a cloak of sanctimony near the end.

The movie, set in Puerto Rico in the late 1950’s (great cars!) is based on Hunter S. Thompson’s book, and while Johnny Depp, Richard Jenkins, Aaron Eckhart, Michael Rispoli and Giovanni Ribisi (who makes the least likable character in the movie fun to watch) are more than fine in their roles, the material isn’t up to their performances. It might have been better as a straight comedy without hitting viewers with occasional deeply menacing information, then staggering on as if nothing just happened. Rotten Tomatoes critics rating: 50%.

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**** The Reversal

Michael Connelly, Mickey Haller, Lincoln Lawyer

If you’ve read the Lincoln Lawyer series, you know Mickey Haller does most of his legal work from the back seat of his Lincoln Town Car, which has the vanity plate NT GLTY

Got my Michael Connelly fix for the year—The Reversal—a 2010 crime thriller that alternates chapters between brash lawyer Mickey Haller and his half-brother (or did you miss that one?) cynical LAPD detective Harry Bosch. Both men have teen daughters so are especially anxiety-prone when a man convicted of abducting and murdering a young girl is released from San Quentin as a result of DNA evidence and must face trial again after 24 years.

It’s interesting how Haller—working for the prosecution this time—must introduce old evidence without revealing to the jury the prejudicial information that the accused has already been convicted once. Nor can he say why some witnesses are unable to appear (dead or demented) and interviews with them, actually their previous trial testimony, must be read aloud.

While this isn’t Connelly’s best, he never disappoints and received four Amazon stars from readers. If you like every plot angle tied up with a bow, in this one, that doesn’t happen, and the author leaves Harry still pursuing leads as to the convict’s possible involvement in other crimes. It’s as if Connelly was leaving the door open for a never-written sequel.

Matthew McConaughey, Lincoln Lawyer

Matthew McConaughey stars in the movie version – note vanity plate!

For a fun Netflix pick, Matthew McConaghey in The Lincoln Lawyer. Rotten Tomatoes Critics rating: 83%. I thought it was better than that, and I’d read the book! Also notice how the movie poster changed the license plate to “NT GUILTY,” thinking viewers were too dim to figure it out, I suppose.

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Blackfish

killer whale, Blackfish

Being in the pool with killer whales during performances, as in this photograph, is now banned (photo: farm1.staticflickr.com)

The Northwest Natives call them Blackfish. Tilikum is a Chinook word meaning “friends, tribe, nation”—exactly what Tilikum, the killer whale, has been denied. Finally, last night I watched the Magnolia Pictures documentary Blackfish, aired by CNN last October and November, which tells the story of Tilikum and the three humans he has killed.

Blackfish has sparked renewed questions about the capture, confinement, and training of cetaceans—especially killer whales—for human entertainment. From 1976 to 1997, 77 whales were taken from the wild in Iceland, Japan, and Argentina for aquariums and aquatic theme parks. Some additional number died during attempts at capture. Now about 50 of these animals are on display throughout the world, and a large number of them were born in captivity.

Not surprisingly, SeaWorld Orlando, where Tilikum lives, has many objections to the documentary (and provides only half-answers to the questions it raises), but their ultimate concern boils down to money. This was apparent in comments at an April 8 hearing on California Assemblyman Richard Bloom’s proposal to make it illegal to hold killer whales in captivity and to use them for performance or entertainment. According to NPR coverage, the President of SeaWorld San Diego “reminded committee members that the park is an important part of the regional economy,” with 4.6 million visitors last year and making $14 million in lease payments to the city.

SeaWorld’s lobbyist was even more blunt, saying that “if the bill passes, SeaWorld would just move the 10 killer whales it has in San Diego to other parks.” Such a restriction would cost the park hundreds of millions of collars, and SeaWorld “would expect the state to make restitution.” In short, he said, “if you ban them, you buy them.” The Assembly committee called for further study.

SeaWorld officials label Blackfish as propaganda and unbalanced. If by that, they mean the film is powerfully made, emotionally gripping, and makes a strong point, they certainly are correct. Filmmaker Gabriela Cowperthwaite, however, says she is not an animal rights activist and developed an interest in the story of Dawn Brancheau’s 2010 death by wondering, “How could our entire collective childhood memories of this delightful water park be so morbidly wrong?” Rotten Tomatoes critics rating: 98%.

Cowperthwaite provides background about killer whales in the wild that enables viewers to appreciate why the idea of penning them in pools is inherently flawed. Subspecies of orcas establish matrilineal, multigenerational family groups that are the most stable of any animal species. Throughout their lifetimes, individuals are never away from their family group for more than a few hours. Several related family groups form pods of perhaps 20 animals. They range great distances and are found in every ocean. Each group’s preferred foods, vocalizations (dialect), hunting methods, and behavior is specific to that group and is passed from generation to generation. In other words, the groups have an identifiable culture.

Adults are big (up to 26 feet long and weighing six tons or more), mobile (often traveling 100 miles a day), and fast (swimming nearly 35 miles per hour at top speed). They have big brains, especially well developed and for analyzing their complex environment and identifying prey. In the wild, females can live to age 90, and males to age 60, but their average lifespan is 50 for females and 29 for males. In captivity, they generally live into their 20s, despite the supposed advantages in feeding and veterinary care the parks provide.

Contrast this picture with their life in captivity. Generations are separated. Whales from different groups (culture and language again) are penned together. The environment is not particularly stimulating. And, if they don’t do what their human trainers expect, food is withheld. Killer whales, an apex predator, may find this baffling and unacceptable.

Intelligent, curious, playful, problem-solving–all these positive traits have helped create the friendly, seemingly affectionate Shamu image. In truth, although there are few documented attacks on humans–and no fatalities–by the tens of thousands of killer whales in the wild, the small number of captive killer whales reportedly has made nearly two dozen attacks on humans since the 1970s, four of which have been fatal, and three of which fatalities have involve Tilikum.

Born in 1981, Tilikum is the largest orca in captivity, 22.5 feet long and weighing 12,000 pounds. He was responsible for the drowning and battery deaths of a trainer in British Columbia in 1991, a SeaWorld Orlando intruder in 1999, and SeaWorld Orlando trainer Dawn Brancheau in 2010, when he grabbed her arm and pulled her under the water. The latter death led to new safety procedures at SeaWorld, although the parks have unsuccessfully appealed OSHA safety penalties and are looking to install new technologies that would let trainers return to the orca pools.

Ironically, the sea parks that have fostered public affection for these giant creatures and cultivated interest in their welfare may also have created the environment in which concern over their captivity has again erupted, 20 years after Free Willy.

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Kristen Scott Thomas Week

Kristin Scott Thomas, movies, Bel Ami, Salmon Fishing in the Yemen

Kristin Scott Thomas at Cannes (photo: en. wikipedia)

Two KST movies this week—one really awful and one quite fun, and aided considerably by the comparison. Bel Ami (trailer) came to attention via a Netflix preview, with many attributes to recommend it: cast (KST, Uma Thurman, Christina Ricci, and Robert Pattinson), 1880’s Parisian costume drama, based on Guy de Maupassant’s second novel. What could go wrong? So much, really. Not a whit of humor in the whole movie, though there certainly were laughable moments. Not all 130-year-old plots are suitable to modern audiences, and this one is not. Worst was putting Pattinson up as the lover of the three women. His character had nothing to recommend him—he was a journalist who couldn’t write, he was acknowledged by one and all as not very bright, and Pattinson, striking his match against these three strong performers, created no fire. Rotten Tomatoes critics’ rating: 28%.

The second movie, missed in the theaters, was Salmon Fishing in the Yemen (trailer), directed by Lasse Hallstrom, and based on a well-received satiric novel by Paul Torday. This has true comedic moments, with every character admitting the unlikelihood of the premise, judging it only “theoretically possible.” Here is a romance of equals, with Ewan McGregor and Emily Blunt in the leads, ably supported by Amr Waked. KST plays the press secretary to the British prime minister with gleeful imperiousness. Filmed in Morocco (possibly near their film capital, Ouzazarte, near the southern Atlas Mountains, where I have visited) and glossing over the hydrology challenges of a country with no year-round fresh water, our heroes pluckily plunge ahead to a satisfying, if foreseeable, conclusion. Not enlightening, but entertaining, and never takes itself too seriously. Rotten Tomatoes critics’ rating: 67%.

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