Hiển thị các bài đăng có nhãn HISTORY. Hiển thị tất cả bài đăng
Hiển thị các bài đăng có nhãn HISTORY. Hiển thị tất cả bài đăng

Thứ Sáu, 4 tháng 9, 2015

Huo An (Jackie Chan) and Lucius (John Cusack) in Dragon Blade.
Can we all just get along?

By John Esther

Gosh darn it. It is such a big production; it means so well; it stars Jackie Chan -- who is so cool; and it has two likable American actors: Adrien Brody and John Cusack. Yet Dragon Blade barely passes the entertainment muster.

Inspired by, yet hardly accurately based on, historical events, writer-director-production designer Daniel Lee's film sets itself in 50 B.C. along the Silk Road. A significant road for trade between the Occident and the Orient, the protection of the road is headed by Huo An (Chan). A passionate, reasonable, and preferably peaceful man, Huo and his troop protect the land through negotiation and equality -- only resorting to violence when all other means have been resisted by members of the 36 warring nations roaming and occupying the northwestern territory.

With so many belligerent people (primarily men) in the area, a peaceful dude like Huo is bound to be framed for a violent act committed by someone else. This setup leads him to the Wild Geese Gate.

A trading post in the middle of the desert, Wild Geese Gate is currently under construction. If the construction is not done on time, the slave labors, along with their masters, Captain (Xiao Yang) and Rat (Wang Taili), will be killed by the higher echelon.

As the construction completion deadline approaches, matters are complicated when Roman soldiers attack. Led by Lucius (Cusack), the Roman soldiers are in dire need of water. They are many. They are strong. Fortunately, Huo will teach their leader humility through martial arts superiority and generosity.

In return for the compassion the occupants of the trading post have shown the Romans, the Romans will teach the east how to build the post much sooner through the use of cement and newer construction techniques. This collaboration brings east and west together, furthering the film's message about the value, peace and, even self preservation, through multiculturalism. United (nations) we stand.

Naturally, this multiculturalism will be challenged by those who seek power at the expense of others. Divide and conquer.

Led by their ruthless leader, Tiberius (Brody), the Roman soldiers -- those who did not split and follow Lucius -- intend to take over the trading post and steal its treasure. While these Roman soldiers do not have the overall martial arts expertise of the current occupants of Wild Geese Gate, they are far greater in numbers.

A massive hit in China, and one of the most expensive films ever made there, Dragon Blade is indeed a grand production with thousands of soldiers fighting and dieing. The spectacle is quite impressive. People and horses seem to be forever charging ahead. Bodies upon bodies fall to the ground. Masses of men stain the desert with their demise.

On the smaller, more personal levels is where Dragon Blade suffers. Everyone speaks English (and their "native" language -- at least while singing), which was hardly the international language of the time. And the much of the dialogue does not necessarily serve the language well.

The acting is bit sub par for the likes of the main players, too, as if the weight of the spectacle makes any serious thespian effort futile in the grand scope of the film's things. Brody's accent seems to change over the course of the film. And I would mention the actor who plays Publius, but I am not sure his performance is his fault or Lee's. At any rate, I do not like to pick on children.

Having written that, Dragon Blade is still worth the experience. There is a lot going on here, and the glaring anti-xenophobic message of peace, cooperation and understanding is a potent antidote to the trumped up poisonous fears of our times.










 

Thứ Sáu, 5 tháng 6, 2015


Charlie (Thatcher Robinson) and Derek (Paul Stanko) in Superior.
Spokes in the wheels of history

By Miranda Inganni

Prior to heading off to their respective futures, look-alike best friends Derek (Paul Stanko) and Charlie (Thatcher Robinson) agree to one last adventure: biking around Lake Superior. With little preparation, and fewer supplies, the boys hang on to the handlebars of their youth while riding head on into adulthood.
Setting out from Calumet, Michigan, the boys have two weeks to circumnavigate the massive lake before Charlie heads to Michigan Technological University and Derek enlists in the Army. Neither guy is excited about their chosen path, but both act like it has been preordained and they have no say in the matter (which, at this point, they still do).
Derek, a self-proclaimed loser and the jokester of the duo steers them onto the path of mischief, while practical Charlie pays too much mind to their schedule. But the boys have a balance and it’s clear that they have been playing these roles off each other for their entire lives. The closer they get to their destination, however, each guy acts more and more in his own best self-interest and the anxiety regarding their return causes them to choose their own path in life. Unfortunately, this is where Superior takes a schmaltzy turn to sentimental town.
Based on writer-director-producer Edd Benda’s uncle’s real life adventure (and shot by Benda the younger’s partner Alex Bell), Superior is a coming-of-age story set in 1965. Derek and Charlie meet a number of characters along the way (over the top caricatures, really) who each have an effect on the travelling pair. With the exception of an out of place bonfire scene (are they suddenly at a music festival?), Superior takes the boys on a trip around the lake and into the next phase of their lives.
 
Superior screens at Dances with Films tonight, 9:30 p.m. For more information: Superior.
 
Hi, If you enjoy our site, please check out: JE.

Thứ Sáu, 24 tháng 4, 2015

Martha Canary/Calamity Jane (Kay Campbell) in Calamity Jane: Wild West Legend.
Martha, thy dreary

By Miranda Inganni

Calamity Jane, nee Martha Canary, was born in 1852 (most likely) in Missouri. According to Greg Monro’s film, her unstable childhood included the 8 year-old Martha traveling the Oregon Trail with her family, her parents’ subsequent deaths and Martha and her siblings being sent to an orphanage. First adopted at age 12, Martha was soon sent away for bad behavior. Where she went and/or what she did is not fully known. What historians do know is that Martha joined the Newton-Jenney Party into the Black Hills in 1875. Dressed in men’s attire, when reporters found out that Martha was a she, the public’s interest grew, leading to many articles, dime novels and even an autobiographical pamphlet Martha dictated (as she had no formal education) for publication. We also know that in 1876 she travelled to Deadwood, South Dakota, along with Wild Bill Hickock, though the full extent of their relationship is unknown.

Martha was daring and caring (as long as we are not talking about Native Americans). Not only was she a professional scout in the Wild West, she helped nurse smallpox sufferers back to health in Deadwood in the late 1870s. She was also, by all accounts, a raging alcoholic. She had two children, who were placed in foster care, and despite her infamy, died destitute in 1903 at the age of 51.
Told with reenactments -- with Kay Campbell playing the titular character, vintage photographs and lots of moving shots of pastoral and pristine rolling hills, wind-swept plains, and mountain ranges, director Monro’s film also employs many “experts,” most of whom rely heavily on hypothetical phrases such as, “I imagine… ,” or “it was possible… .” They make many suppositions about Martha and her family.
Martha was known for her colorful stories, but many of the tales about her life are unsubstantiated. Historical facts have disproved many of the musings about Calamity Jane. Unfortunately, Monro’s Calamity Jane is just as colorful yet unreliable as Martha’s own history. Monro tries to straddle the line between fact and fiction, but just can’t seem to ride it out.
 
 
Calamity Jane: Wild West Legend screens at the Newport Beach Film Festival April 26, 2:45 p.m. For more information: Calamity Jane.

Thứ Tư, 18 tháng 6, 2014

A scene from Last Days in Vietnam. 
Family heirlooms 

By Ed Rampell

As U.S. foreign policy in Iraq faces its biggest defeat since the Indochina invasions, the niece of US President John Kennedy -- who escalated the U.S. presence in Vietnam -- has directed the cinematic equivalent of putting a blossom on a turd. Rory Kennedy has fired the opening salvo in the propaganda war regarding upcoming historic anniversaries with Last Days in Vietnam. This film is so shamefully, wildly one-sided film that this historian/reviewer hesitates to call it a “documentary” -- rather, Last Days in Vietnam is a piece of propaganda in the very worst sense of the term. Indeed, this egregiously biased, one-sided work is arguably more of a mock-umentary -- but unlike This is Spinal Tap, Rory's Orwellian disinformation is no laughing matter.

As the 50thanniversary of the Gulf of Tonkin Incident -- that fabricated hoax US President Lyndon Johnson exploited to further escalate U.S. military activities in Vietnam -- much as  the Bush regime’s blatant lies about Iraq’s nonexistent weapons of mass destruction were cooked up to “justify” another disastrous U.S. invasion of a sovereign nation that had not attacked America -- nears this August, and the 40th anniversary of Vietnam’s liberation approaches next April 30, Last Days in Vietnam desperately tries to find something positive to say about the role the American military and diplomats played as the “Yankees go home” scenario unfolded and the communists took over what was then Saigon.

According to the film, some soldiers and State Department officials took great pains -- and sometimes at grave personal risk to themselves -- to evacuate about thousands of the Vietnamese, including military, who had worked for and married U.S. personnel, as well as the up to 5,000-7,000 Yanks still “in country.”

Rory and her partners, including co-writer/husband Mark Bailey, have taken great pains to try and find something glorious and heroic in the greatest defeat for U.S. imperialism in the entire history of the American empire. In their disgraceful effort to make a stinking garlic smell like a rose, the filmmakers willfully expunge history and any sort of context from their one dimensional exercise in disinformation. 

For example: It’s alleged that during 1968’s TếtOffensive the communists executed thousands of South Vietnamese at Huế. However, the countless war crimes committed by Washington and US forces are never, never once mentioned in this execrable piece of agitprop. Hey Rory, ever hear of the Mỹ Lai Massacre? How about the 1972 bombing of Hanoi -- during Christmas? Or the mining of Haiphong Harbor? Of course, the list of American atrocities committed against the Indochinese -- starting with intervention in the domestic affairs of nations that never attacked the U.S.A. -- is endless, the millions murdered by carpet bombing, landmines, agent orange, etc., is innumerable, and it would require an entire series of documentaries to record them all. But Rory never mentions any of them -- although she goes out of her way to vilify the Reds (don’t forget that her father, Bobby Kennedy, served on anti-communist Sen. Joseph McCarthy’s witch-hunting Senate Permanent Subcommitteeon Investigations).

Last Days in Vietnam simplistically endeavors to depict the Vietnam invasion (which, by the way, the Vietnamese call “the American War”) as a conflict between the north and the south, with Washington backing the latter. Rory conveniently commits the heinous crime of omission by never -- not even once! -- ever mentioning the National Liberation Front (NLF), the resistance fighters in the south. According to the Pentagon Papers, 300,000 people belonged to the NLF by 1962 (you know, when Rory's uncle was president). Millions f people in the south must have supported the NLF in order for the TếtOffensive to have been carried out in 1968, let alone for the south to have been liberated seven years later, beating both the American imperialists and the army it supplied and funded. Last Days in Vietnam mentions that the ARVN (Army of the Republic of Vietnam) “eroded” in 1975, but never ponders why the North Vietnamese Army (NVA) and the Viet Cong didn’t.

(Assuming that Last Days in Vietnam's conceit -- that the U.S. merely backed the south against the north -- is correct, then why is it that last month, when this critic visited Hanoi, he saw wartime shrines, such as the Hanoi Hilton and Ho Chi Minh’s mausoleum, but did not see some wall inscribed with the names of the 50,000-plus Vietnamese who died fighting in the U.S. Civil War, from 1861-1865?)

Last Days in Vietnam's sources include former US Secretary of State Henry Kissinger, who appears in news clips and presumably in contemporary, original interviews, where this mass murderer of millions in Indochina, Chile, Timor, etc., is once again given the softball “elder statesman” treatment. Richard Armitage -- no, not the Hobbit actor but the Navy and U.S. government operative who apparently never met a covert action he didn’t like -- is likewise given the hero treatment. But Armitage’s willingness to break the law -- purportedly to save south Vietnamese lives -- is never put in the context of his alleged involvement with Ted Shackley, the CIA chief in south Vietnam, and the heroin trade, or Armitage’s dubious role in the Iran-Contra Scandal -- are never mentioned.The film also conducts original interviews with former ARVN officers.

After the LA Film Festival screening an audience member asked Rory and crew members why nobody from the communist and NLF side were interviewed for the film and she replied, “We considered this but ultimately their part of the story was about the war. We wanted to focus on the heroes,” that is, those Americans who put themselves in peril to rescue south Vietnamese lives, in order to tell what Rory blithely called “a human story.”

Author Stuart Herrington, who served in military intelligence and then the Defense AttachéOrganization in south Vietnam and is a source in the film as he was an eyewitness to the events of April 1975, joined Rory for the post-screening Q&A. Herrington said that the communist side “did not add to the film” and that they would have merely indulged in “chest thumping” had they been interviewed. Sore Loser!  As if Yanks never take part in “American triumphalism” screaming “USA! USA!” and the like, especially when it invades -- unprovoked -- smaller, weaker nations.

But here’s the real reason why this agitprop pic never makes any effort to show the other side of the story: NVA and NLF supporters would presumably point out that the southerners the Yankees tried to save at the last minute were collaborators and running dogs of U.S. imperialism, who supported a Washington-backed puppet government. And that it was the Viet Cong who were the south’s real patriots. But don’t worry: The former president’s niece, charter member of the ruling class, has taken great care to make sure that American ears aren’t offended by hearing the other side of this “human story.” The Vietnamese Left doesn’t just not get equal time -- it gets no air time in this blatantly biased propaganda flick, violating journalistic ethics to present multiple viewpoints, without fear or favor.

However, skillful propagandist that Rory is, in her effort to whitewash history and to try to ferret out something positive in a colossal debacle so she can pander to U.S. rightwing sentiment, there’s something even she can’t hide. Look closely at the newsreel clips as the NVA tanks roll into what was renamed Ho Chi Minh City. Not only are the soldiers jubilant, but look at the smiling faces of the Vietnamese masses as they are being liberated from decades of Japanese, French and Yankee occupation and imperialism. Perhaps we should thank Rory for not using CGI to turn those smiles into frowns.

To be fair, Rory has produced and/or helmed some good documentaries in the past, including 2005’s Street Fight, 2006’s The Homestead Strike and 2007’s Ghost of Abu Ghraib. The jury is still out as to what US President Kennedy would have done in Vietnam had he had a second term in office. Some, like film director Oliver Stone (JFK), contend he planned to pull out of Vietnam (which Stone and others believe is a major reason why the president was liquidated). And Rory’s father, Bobby, did run as a peace candidate in 1968, although again, bullets cut short his life and who knows how a possible Bobby presidency might have ended the war, instead of Tricky Dick Nixon's ascension to the presidency in 1968?

And Last Days in Vietnam does point out that the U.S. Ambassador to south Vietnam, the Nixon-appointed Graham Martin, was in denial of reality up to the very last minute (if not, like the pig who appointed him, unhinged), resulting in chaotic, last minute evacuation plans. More than 400 of those Vietnamese camping out at the U.S. embassy grounds in what had been Saigon never made it to those choppers or boats to escape their fates. 
Having said this, with liberals like Rory Kennedy, who needs reactionaries? 

Last Days in Vietnam will premiere on PBS’ (your tax dollars at work!) American Experience in Winter/Spring 2015 -- just in time to brainwash Americans as the 40th anniversary of U.S. imperialism’s greatest defeat nears, and as another catastrophe for Washington’s foreign policy unfolds in Iraq. 

But the real lesson to draw from the Vietnam invasion is not that at the very end, perhaps a handful of Yanks put themselves in harm’s way. (Which is a bit like arsonists patting themselves for rescuing a few folks from the house they’ve set afire.) Rather, the true moral of the story is that being the world’s policeman is a disastrous policy that costs Americans and the nations they willy-nilly invade dearly, in blood and treasure. U.S. military and intelligence are arguably the most destabilizing forces on Earth, with bases straddling the globe and eternally intervening in others’ internal affairs. Nobody likes busybodies and meddlers: If you go around the world sticking your nose into other people’s business you’re likely to get punched in the nose. Washington’s empire is bankrupting a country that can’t even take care of those hapless soldiers who politicians and corporations blithely send abroad for foreign misadventures -- should they eventually make it back home outside of body bags. No amount of flag waving can hide the truth: that when it comes to militarism, Washington should mind its own business -- as if America doesn’t have enough pressing problems back home.

Having just returned from Vietnam, this reviewer can assure readers that there is life after U.S. imperialism. Rory's despicable, reprehensible propaganda flick might be called Last Days in Vietnam, but the liberation and reunification were certainly not the last days of Vietnam. The Vietnamese won the war and they are winning the peace, proving that the last shall be first.




Thứ Năm, 20 tháng 3, 2014

Adam and Anthony (both played by Jake Gyllenhaal) in Enemy.
A bed of two naught(s)-y boys

By Ed Rampell

Quebecois director Denis Villeneuve's Enemy is a topsy-turvy doppelgänger tale about dual identity with a weird psychosexual subtext and William S. Burroughs and/or Franz Kafka-esque vibe.

As Adam, Jake Gyllenhaal plays a rumpled nebbish of a history professor at a college in Toronto, where he is seen lecturing a class. The absent-minded professor (who even shows up late for a class) is holding forth on how dictatorships use entertainment to maintain control. During a break a colleague recommends that Adam see a movie with the portentous (if not pretentious) title, Where There's a Will, There's a Way, which he proceeds to rent. 

Much to his astonishment, Adam discovers that one of the actors in a minor role named Anthony St. Claire (Gyllenhaal) looks exactly like him. (For those keeping score in the symbology department, while “Adam” can obviously refer to the first man, “Claire” can be translated from the French to mean “clear,” as in see-through.) 

One of the great mysteries of this movie is that the nerdy Adam actually has a hot looking blonde lover, Mary (Melanie Laurent), although their relationship and sex life does not seem to be very satisfying to either partner. In any case, after viewing his alter ego in Where There's a Will, There's a Way Adam appears to try to force his will on the sleeping Mary by having anal sex with her, which the awakened, irritable Mary interrupts. Then she angrily dresses and departs.

Adam then embarks on an obsessive odyssey to track Anthony down, using deception in his detective work. He finds out that the actor has a wife who -- like Mary -- is young, blonde and beautiful. However, Helen (Sarah Gadon) is at least six months pregnant. In the dialogue Mary mentions that Anthony has been unfaithful to her, which suggests that it might have been him at the sex club, and not Adam.

In any case, when Adam finally comes, literally, face to face with Anthony, the bit part actor appears to be more like a doppelgänger in the sense of an evil twin, than just a mere look alike. When Anthony rides his motorcycle he wears a full face helmet with opaque visor, which makes him look like some sort of an insect. Indeed, bugs, in particular arachnids, are a surrealistic element of this increasingly complicated, convoluted, creepy story. In a key scene the cracks formed by the broken glass in a mirror allegorically resembles a spider’s web. (Paging Peter Parker!)

Eventually the two men try to deceive their women, switch sex partners and so on. Will the duplicates dupe each other and their women? As the natural order of things is inverted and upturned, all Hades breaks loose.

Adam and Anthony wonder how it’s possible for them to look so much alike. Were they Siamese twins separated at birth? To try and find out Adam visits his caustic, bitchy mother, nastily, coldly played by Isabella Rossellini, who appears to be a painter. Perhaps this is another clue as to what it all means -- just as actors create roles, painter’s render images, while historians examine the past. The fact that a father is never glimpsed may also be significant. 

Based on the 2002 novel, The Double, by the Nobel Prize winning Portuguese author José Saramago, with the screenplay by Javier Gullón, to tell you the truth, your addled reviewer is not really sure what Enemy is all about and what it means.