Category Archives: politics

Why We Fight

A powerful, award-winning exploration of the American involvement in Iraq by Eugene Jarecki, Why We Fight (2005) applies inspiration from Frank Capra’s World War II motivational films and President Eisenhower’s farewell address that gave us the term military-industrial complex to explain where the thinking behind this adventure originated.

Too frequently documentaries are bland melanges of talking heads, even when the subject matter is compelling an important. 100 straight minutes of talking about almost any subject can just turn into too much yada yada yada and dramatic yet empty images do little to correct things; repetitive shots gliding down overly similar stretches of whatever are just as snore-inducing. Jarecki avoids this by integrating clips from Eisenhower and other important historical figures.

Mainly though, we see the rationale for the Iraq War through interviews with a few relevant, insightful folks:

Karen Kwiatkowski: A career military officer who was actually in the Pentagon working on the morning of 9/11, and had also spent time on assignment to the National Security Agency, she was assigned to the DoD’s policy development office but resigned in disgust after Cheney associates hijacked her bureau’s function.

Richard Perle: One of the original Neocons, Perle is also one of the heavy lifters in the Project for the New American Century, a thinktank which provided analytical firepower for the attack on Iraq and the use of pre-emptive strikes that are the core of the Bush Doctrine. Perle fervently believes, if we are to take him at his word, that bringing down Saddam Hussein was massively important in reducing the threat to America’s national security.

Wilton Sezker: A retired New York City police officer, Wilton’s son died in the World Trade Center’s collapse. Searching for a way to memorialize him, and thinking back to his own service in Vietnam, Sezker wrote to the military to ask that the son’s name be painted on a missile before it got dropped in Iraq. His request was granted and they even sent him photos of the adorned bomb. Shortly thereafter, though, the former cop saw through the Bush Crew lies about Iraq and now spends his days wondering why he let himself be duped.

Susan Eisenhower: The former general’s granddaughter weighs in, pointing out that exactly what he warned of in that historic speech came to pass nearly immediately, to his great chagrin, and the relationship has become so enmeshed in the system that its invisible.

Chalmers Johnson: A professor specializing in Asian politics who was also a CIA consultant in the Vietnam era, Johnson became disillusioned with American government tactics during the scandals of the ’70s and has since been trying to use his insight and contacts to bring wrongheaded policy into public view, including the publication of three books on what he calls the American Empire. In the immediate aftermath of 9/11 Johnson wrote an article for The Nation called Blowback, which is a CIA term referring to unforeseen responses to secret government actions, because in his view this is exactly what caused the terrorist horror in Manhattan and DC; in fact he published a prophetic book with that title in 2000 which received little notice until that sad September day, at which time it jumped onto the bestseller lists.

recommended

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Thank You for Smoking

I read Christopher Buckley’s novel from which this movie came and though the film isn’t bad the book was better. Probably Aaron Eckhart, who plays Nick Naylor, the lead, is just a tad too bright and shiny compared to my mental illustration formed while reading.

Thank You for Smoking is, as most of Buckley’s tales, very dark humor. Naylor is the vice president of marketing for the Academy of Tobacco Studies; in other words, he’s the chief lobbyist and spokesperson for Big Tobacco. But Nick is still human and is desperate to have a solid post-divorce relationship with his nine or ten year old son (the step-dad, of course, is a doctor who harps on Naylor everytime he brings the boy back).

Senator Finisterre (D, VT), played by Bill Macy, has decided the time has come to drive another very big nail into the tobacco business: require a large skull and cross bones to be printed on the front of every pack of cigarettes. He even gets the spokesperson for a Latino group to claim the current English-only warnings are racist.

Naylor and his bosses (Robert Duvall, JK Simmons) can’t let this law get passed and so we get to see Nick pull out all his rhetorical tricks. This guy is the captain of the best debate team in the state crossed with the hunkiest star in the drama club, meaning he can usually get what he wants.

There are two obstacles this time: reporter Heather Holloway (Katie Holmes) is writing an article about Nick and some radical anti-smokers kidnap him. Being somewhat deficient in the ethics department, Heather has no trouble using her smoking body to get our man to open just a bit more widely than he should have. When the article comes out, Naylor is nearly done for and then comes the kidnapping. After getting free he uses the attending publicity and his rhetorical jujitsu to completely disarm the Senator and his plans.

Along the way is a trip to Hollywood with the boy. Nick thinks the key to turning around the tobacco image problems is to go back to what worked so well in the ’30s and ’40s: hot movie stars lighting up. Their trip is to meet with superagent Rob Lowe who is arranging, for the small product placement fee of $25 million, that Brad Pitt and Angelina Jolie enjoy a post-coital smoke in a soon to film far future science fiction flick. Also, Nick has to drop off a briefcase of cash with a cancer-stricken former Marlboro Man (Sam Elliot). The cash isn’t hush money, but close.

I noticed some web commentators claiming that Thank You for Smoking is not only not a satire, its the opposite, a pro-smoking commercial. Anyone who read the original novel would know better.

recommended

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Live Free or Die Hard

Can you believe it’s been 19 years since we first heard John McClane tell off some baddie with his trademark retort “Yippiekiyay, motherfucker!” right before he blows them to the next life? In 1988 no one outside of academia had heard of the Internet, and Tim Berners-Lee wouldn’t invent the World Wide Web for another half decade but in the short time since the last Die Hard flick network connectivity has become a pervasive utility underpinning our economy and government. It’s not just blogs, YouTube and Facebook after all.

Live Free or Die Hard, as unlikely as this sounds, is one of the first major studio productions to recognize this sea change and take it into account in a serious way. An uber-geek brought into the federal government in the wake of 9/11 told his new bosses on his first day of work that network security was far more important than they thought as well as nowhere near sufficiently implemented to protect us. Determined black hats could easily break through and conduct a “fire sale.”

What, you ask, is a fire sale? Think of our country as a three-legged stool: government, finance and energy. Because each of them have become so dependent on connectivity they are all vulnerable through an attack via this single route. And our angry geek (Thomas Gabriel, played by Deadwood‘s Timothy Olyphant) left the government when he wasn’t taken seriously and decided to show everyone how right he was.

Part of Gabriel’s plot requires the assistance of other alpha level computer hackers, which he acquires through innocent looking fronts. Helping him is his combo martial arts/hacker lover, played by Asian hottie Maggie Q, because you know young hackers are totally out of their minds dealing with such a luscious lady. With the plot about to launch and their assistance no longer needed, Gabriel’s muscle squad murders the external contractors.

McClane, already over the river in New Jersey to visit with his daughter Lucy (Mary Elizabeth Winstead) whose now a college student at Rutgers; actually he’s there to spy on her as she returns from a date and Lucy is, not surprisingly, angry at him. The Feds, noting a strange glitch in their computer network, have started rounding up hackers they think could have been responsible and have asked the NYPD to have a senior detective to pick up Matt Farrell (Mac Guy Justin Long) in Camden and drive him to D.C. (Okay, why wouldn’t they ask the Philadelphia police, who are much closer, or the Camden police? Because then John wouldn’t be in Washington when this goes down.)

McClane arrives literally just in time to save Matt. We know that if he’d pressed Enter on his computer keyboard the plastique planted inside would have killed him and McClane and Farrell find out seconds later when the musclemen launch a frontal assault after the computer doesn’t explode. The two get away, barely, and head to the Capital.

Gabriel’s attack gets into high gear while our heroes are on the road. Traffic computers are programmed to keep lights green in all directions. He forces the same videos to be shown on all television networks and net-connected computers. Cell phone networks and then landlines and even satellite phone systems are shutdown. Stock market computers are flooded with false transactions. Government computer networks are compromised.

The public is going into full panic mode, precisely as planned. Even the FBI’s team tasked with responding to this type of attack, lead by Bowman (Cliff Curtis) and Molina (Zeljko Ivanek, who seems to be playing key supporting roles everywhere these days), are having a hard time understanding events. Which is where Farrell steps in and is the first to utter the words Fire Sale, something the Fibbies won’t accept. Yet. Until they realize Gabriel is going after the power distribution grids as well.

Live Free, though, is a Die Hard movie–in fact I think it’s the best of the four–and so, once he understands what’s going down, John McClane steps up and does what only he seems able to do, cutting through the BS and panic and putting his life on the line through an increasingly threatening series of confrontations until the bad guy gets to hear him utter those two words and then die.

Director Len Wiseman (Underworld, Underworld: Evolution) and writer Mark Bomback (the 2004 Robert De Niro thriller Godsend) smartly recognize that McClane is older now and as ungeeky as one can be, so that having him succeed singlehandedly would have made this movie a farce. There’s plenty of the cynical, sardonic humor you’d expect but having Justin Long’s character stay with McClane, despite our boy’s misanthropy and the youngster’s fear, provides a far more believable result. Lucy, kidnapped when Gabriel realizes that McClane just won’t go away, also gets the chance to step up in the end and show she’s a chip off the old block (as disgusted as that might make her). In fact, I wonder if the producers did this with the idea of a Die Hard: Next Generation movie in mind.

recommended

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Johnny Was

Although numerous film festivals honored it, I thought Johnny Was never connected the characters from the two groups which formed its dramatic heart and, disappointed, I turned off after about 45 minutes or so. Vinnie Jones plays the title role, with Patrick Bergin, former boxing champ Lennox Lewis, Samantha Mumba, Roger Daltrey (still hopefully of an acting career, I suppose) and Eric LaSalle (from ER) rounding out the main cast.

Johnny Doyle (Jones) used to be a member of an IRA crew led by Flynn (Bergin, looking much older now but best known in the US, I suppose, for playing Julia Roberts’ nasty ex in Sleeping with the Enemy) but Johnny went straight, and under the radar, after Flynn was arrested for their last job together. He lives in a strange squat in the Brixton section of London, with the very serious drug dealer Julius (LaSalle) and his junkie girl Rita (Mumba) on the first floor and revered Rasta DJ Ras (Lewis) living and spinning on the third. Flynn has a thing for Rita but not the, err, cojones to act on his feelings.

Flynn breaks out of Brixton Prison with fellow soldier Michael after serving five years, expecting Jimmy, another IRA confederate, to meet and carry them away. The cops have other ideas though, and the two are blocked from reaching Jimmy. Scrambling through the streets and unaware that Johnny’s nearby, Flynn nonetheless stumbles on him at a market and pressures him for temporary shelter. Back at the squat Flynn and Julius intersect, a conflict which Johnny and Ras are barely able to contain.

So you can see that the script, by former journalist Brendan Foley, sets up strong possibilities. Unfortunately, neither the relatively weak cast–Jones is much better in supporting roles–nor director Mark Hammond take hold and realize them. I honestly don’t understand the film festival awards but c’est la vie.

not recommended

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The Devil's Own

In director Alan J. Pakula’s last film (he was killed in a road accident the year after this came out in 1997), Brad Pitt and Harrison Ford face off after Pitt’s cover comes undone when thugs invade their home in search of Pitt’s cash. Despite the significant body count, The Devil’s Own is almost more of a psychological battle; either way a great drama.

Pitt is Frankie McGuire, a young but hard leader in the Provisional Irish Republican Army, determined to get back at those who shot his own father while they were sitting down to an otherwise normal family dinner when he was but eight. Twenty years on he’s doing a very good job of it and has a few dozen names X’ed out to his credit. Temporarily escaping the intense heat he flies to America to arrange for the purchase and transport of Stinger surface to air missiles from Billy Burke (Treat Williams), a bar owner with a less legitimate income stream as well.

A New York judge and active IRA supporter arranges for Pitt to stay with a local Irish family, headed by police sergeant Tom O’Meara (Ford), who are told McGuire is in the States to work construction and make a little dosh. In truth he and a confederate are prepping an old fishing boat to take the missiles home in a few months, and in the meanwhile their guest becomes almost a member of the O’Meara family when problems in the old country throw the necessary wrench into the plans.

Ford and Pitt are both more than competent actors, and ably supported by Margaret Colin, Natascha McElhone, Ruben Blades and a very young Julia Stiles as Ford and Colin’s eldest child. The script, by Kevin Jarre, Vincent Patrick and David Aaron Cohen, is pithy and angular.

But I really felt the main credit goes to Pakula for getting authentic emotions from the cast (especially Williams, who all too often seems to act is if he’d never heard the expression less is more), strong pacing with the action and interactions well balanced and doing a good job off lulling us into forgetting that McGuire is, without doubt, a hard, cold killer.

Pakula first made his mark in Hollywood as a producer in the early ’60s with such hits as To Kill a Mockingbird, Love with a Proper Stranger, Up the Down Staircase and Sterile Cuckoo, which was also his directorial debut. He went on to make such impressive films as Klute, All the President’s Men, Sophie’s Choice, The Pelican Brief and the under appreciated Consenting Adults. He was nominated for three Oscars: for writing Sophie’s Choice, for directing All the President’s Men and for producing To Kill a Mockingbird, and actors in his films won three out of eight nominations (Jane Fonda, Jason Robards and Meryl Streep).

recommended

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V for Vendetta

Yet another, er, graphic novel adaptation but much darker and more serious than others I’ve seen or noticed. Written and produced by the Wachowski brothers and directed by their longtime assistant James McTeigue, V for Vendetta is the story of a near future Britain that falls under the control of a fascist politician riding a wave of terrorist episodes and global unrest. One man, known only as V, has found the means to fight back and he uses the failed revolutionary Guy Fawkes as a stalking horse to rally support.

V (Hugo Weaving, in yet another high profile science fiction role) is never seen out of costume, centuries old clothing and a hard ceramic mask. Even when making breakfast for his unwilling house guest, Evey (Natalie Portman, in her early 20s, her appearance a very appropriate blend of child and woman). V saved her from some nasty extracurricular police activity one night but soon after realized the only way he could truly protect the girl was to keep her in his lair. Despite what you’re probably thinking there’s no intimate contact, how could there be when he never removes that mask?

Meanwhile V’s high profile guerilla actions are driving High Chancellor Adam Sutler (John Hurt) a bit batty, and the politician has already got a good start on that. One by one his minions are falling to V or Sutler’s discontent with the exception of top policeman Finch (Stephen Rea), a cop bent on doing his job and keeping the politics as far out of it as possible.

McTeigue keeps the visuals dark, lots of deep reds, greys and scenes shot at night, underground or with rain falling if day time, and a big building on fire some years beforehand which we see in pieces throughout. There’s a minimum of exposition and flashbacks used instead of talking for most of the explanatory material. The philosophical backdrop is clearly of a piece with the Wachowski brothers’ most famous work, the Matrix trilogy, decidedly individualistic and wary of corporate machinery.

(As an aside, I’m quite amused that their next project is the film version of ’60s cartoon series Speed Racer. Another project in which an underdog takes on The Man and another cartoon adaptation.)

recommended

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In the Name of the Father

The United Kingdom got itself into a huge mess in Northern Ireland that bubbled over into outright violence around 1970. With the signing of today’s accord between the Sinn Fein and the Democratic Unionist Party this horrible era may be drawing to a close. I previously wroteup Bloody Sunday, Paul Greengrass’s amazing retelling of a 1972 rally gone bad.

In the Name of the Father, released in 1993, is an excellent fact-based movie concerning a second tragedy of the early years of the conflict. In 1974, the IRA bombed a pub in Guilford known as a military hangout and killed five people. Facing enormous pressure to pin blame and with recently passed legislation giving them a much freer hand, the Special Branch blew a tip given by a jealous boyfriend into the arrest and conviction of nearly a dozen innocent Irish people including three old people and two teenage boys.

For 15 years they proclaimed their innocence but even after an actual IRA soldier, caught dead to rights on a different attack, confessed the authorities refused to reconsider the verdicts. Even though they were largely the result of torture, even though they had nothing on the secondary defendents but the result of handling garden soil, they refused to reconsider the verdicts.

Finally a lawyer got involved in their appeals and, with the chief archivist out sick one day, saw the entire, unadulterated police file. In it she found a police interview conducted just a few weeks after the bombing with a witness who confirmed the two key men’s story, with a note attached: “Do not show to defense counsel.” This pretty much ended the legal travails, though too late for the father, who’d died a few years previously from lung disease.

Daniel Day-Lewis plays Gerry Conlon and Pete Postlethwaite his father, Emma Thompson their lawyer and Corin Redgrave the policeman responsible for their railroading; Day-Lewis, Postlethwaite and Thompson were nominated for acting Oscars while Jim Sheridan, who wrote, produced and directed, got nominations for all three jobs. All quite deserved but were shut out in a strong year, up against Philadelphia, Schindler’s List, The Piano and Remains of the Day.

Day-Lewis’s performance is the key to the movie. At the opening, Conlon is a (bad) petty theft in Belfast and can’t even stay out of the IRA’s notice. Dad sends him to London, where his sister lives, but Gerry has other ideas and hooks up with some school chums and their lady friends in a hippie squat. Out on a lark one night they see a prostitute drop her wallet but when she doesn’t respond to their calls they take it and help themselves to a wad of cash hidden in a bedpost.

Unfortunately, one of the guys who was already in the squat was pissed at Conlon for squeezing him out with a hot blonde and after the bombing got his revenge by dropping a word in a police detective’s ear. Conlon and three others from the squat are pulled in and tortured until they confess. At trial the claims of coercion are dismissed as a tactic to beat the charges and a tidal wave of English public anger results in guilty verdicts all around, life for the four key defendants and four-15 years for the other seven.

Reality finally sets in and Conlon starts growing up, but the years in prison with his father (they’re cellmates) as well as the other inmates have important lessons to teach him. In the hands of a lesser actor the subtle changes required by the role would’ve been too much but Daniel is quite capable.

definitely recommended

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Munich

The massacre of nine Israeli athletes and coaches at the 1972 Munich Olympics was both a tragedy and turning point in the conflict between Israel and the Palestinians; whatever else it generated, the world’s perception of the war against israel began to move the country’s enemy from Arabs generally, and the surrounding Arab nations specifically, to the refugees dispossessed in May 1948 and their descendants. Eleven at the time, I have only the barest memories of the TV coverage by ABC and saw little of its effects during my visit in two summers later.

Steven Spielberg is a master moviemaker (consider how well he overcame generic performances by Tom Cruise in War of the Worlds and Minority Report) and realized that a simple retelling of the tense hours at the Olympic Village and the denoument at a nearby airport was not the movie to make in 2005. Instead he focused on the Israeli response–the Golda Meir government dispatched a deniable team to track down and kill the eleven men deemed responsible for the massacre–with the events in Munich shown as a prelude and then occasionally mixed in to remind us why.

Eric Bana plays Avner, the Mossad agent picked to lead the team of Ciaran Hinds (Julius Ceasar in HBO’s Rome), Daniel Craig (derr, the new Bond), Mathieu Kassovitz and Hans Zischler. The movie is nearly three hours long so I can understand Spielberg’s choice to focus all the non-assassination screen time on Bana’s personal life and emotions but it does make the other four, with the possible exception of Hinds’ Carl, just a bit above cardboard level.

The men are supplied with little more than a Swiss safety deposit box filled (and refilled) with untraceable dollars but quickly connect with an anarchistic French clan who specialize in supplying information to all comers, as long as the customer is not working for or with a government. The clan is headed by Papa, the excellent French character actor Michael Lonsdale (Ronin), who takes a liking to Avner despite eventually piercing the wall of deniability.

The problem is that Avner, like most humans not suffering from psychopathy or sociopathy, finally becomes unhinged by the death he’s dealt out and no longer has the coin to continue. Frankly, that he was able to take care of six targets, plus one’s replacement and a contract killer who ended one of his team members, seems huge to me. No matter how greatly I value Israel and the United States I could never do anything like it.

Bana was a great choice for the lead role, which I simply could not imagine, say, Tom Cruise handling. Hinds is very good as are Geoffrey Rush as the team’s Mossad handler, Mathieu Amalric as the information clan’s point person and Gila Almagor as Avner’s Holocaust survivor mother. Guri Weinberg, interestingly, portrays his own father Moshe, one of the Israelis massacred.

Spielberg does not give us a one-sided view, despite the fact that he as well as scriptwriters Eric Roth (Forrest Gump, Ali, The Good Shepherd) and Tony Kushner (Angels in America) are all Jewish. The Palestinians are, mostly, portrayed in their own words and actions, the events in the Olympic Village use lots of actual footage from ABC’s coverage, the Israelis are not perfect nor unemotional in their decisionmaking.

recommended

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Man of the Year

In most instances the combination of writer/director Barry Levinson and actor Robin Williams will result in a smart, funny movie; this is certainly true of their previous collaborations, Toys and especially Good Morning, Vietnam. Going back to the same political territory he worked so well in Wag the Dog, Levinson uses the (entirely justified) controversy over electronic voting machines and the fact that Americans are getting as much of their political insight from comedy shows like The Daily Show and Letterman than straight journalism, if not more.

Man of the Year launches from the premise that Tom Dobbs (Williams), a lightly fictionalized version of Jon Stewart, takes an audience suggestion that he run for president to heart; Stewart, at least so far, has resisted the urge though we are a long way from even the 2008 primaries. Eschewing the massive spending of the major party candidates–Dobbs runs as an independent–he draws crowds and press coverage from his TV-driven name recognition.

Jack Menken (Christopher Walken, playing a good guy for a change) and Eddie Langston (Lewis Black, who of course was formerly a regular on The Daily Show, nicely tones down his normal angry guy schtick to snarkily ironic), manager and producer of his show, keep the same roles in the very modest, odd campaign but they cannot get Dobbs to use any humor, he insists on staying serious. This unsurprisingly turns off the potential voters who come out to his events until he cannot hold it in any more at the final debate, the only one Dobbs is invited to, when he ignores the groundrules to directly confront the other candidates on their obfuscation, evasion and willful use of insignificant but emotionally appealing issues.

From there the campaign goes into star mode, or at least that’s how Levinson portrays events. Meanwhile Eleanor Green (Laura Linney), a system test manager at Delacroy, the company making the new electronic voting system, uncovers a huge bug in the software. Bringing it to executive attention, she’s sloughed off with a promise of a fix but in fact there isn’t time to do it. After realizing at an election night company celebration that nothing was changed she confronts the CEO and general counsel (Jeff Goldblum), who gives her a long speech full of bullshit.

Green and Dobbs meet up, fall in love and suffer for their good hearts. I’m not sure why Levinson brings in a bit of pure thriller to climax the plot rather than leavening it with humor but that’s the weakest aspect of the movie. Otherwise it pretty much hits on all cylinders. I also wonder if the movie will give Stewart, Bill Maher, Dennis Miller and a few others second thoughts about getting into politics and Al Franken is a potential candidate for the Minnesota Senate seat occupied by Norm Coleman in 2008. One pothole most of them would hit is use of drugs when younger but Levinson has Dobbs answer it by calling it BS, just an excuse by politicians and their media friends to use irrelevant emotions to avoid dealing with real problems.

I especially like the point that Langston (Black) makes about television. TV, he says, makes everything meaningless by making both sides of issues equal. For instance, a news show will put a lunatic Holocaust denier and an eminent history professor side by side, the same amount of screen space and speaking time. After so many years of this we just tune out the details as noise, the politics as pandering.

recommended, Man of the Year is smart funny and shows how we can break through the noise.

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