Category Archives: Culture Clash

Stealing the sun from the day: Top 10 Eco-Flicks

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 21, 2018)

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Come on you world, won’t you give a damn?

Turn on some lights and see this garbage can

Time is the essence if we plan to stay

Death is in stride when filth is the pride of our home

-from “Powerful People” by Gino Vanelli

It’s hard to believe that this year marks the 50th anniversary of humankind’s first collective selfie…the “Earthrise” photo from the Apollo 8 mission. It may seem “ho-hum” now, but it provided a profound moment of “cosmic perspective” (if I borrow one of Dr. Neil deGrasse Tyson’s favorite phrases) for anyone in the world who gave a damn.

The iconic portrait was taken on Christmas Eve, 1968 by Apollo 8 crew member Major William A. Anders. The story behind the photo is recounted on NASA’s official website:

Anders said their job was not to look at the Earth, but to simulate a lunar mission. It was not until things had calmed down and they were on their way to the moon that they actually got to look back and take a picture of the Earth as they had left it.

“That’s when I was thinking ‘that’s a pretty place down there,'” Anders said. “It hadn’t quite sunk in like the Earthrise picture did, because the Earthrise had the Earth contrasted with this ugly lunar surface.”

Anders described the view of Earth before Earthrise “kind of like the classroom globe sitting on a teacher’s desk, but no country divisions. It was about 25,000 miles away where you could still recognize continents.”

Yes, that is a “pretty place down there.” Be a shame if anything happened to it:

The Trump administration’s tumultuous first year has brought a flurry of changes—both realized and anticipated—to U.S. environmental policy. Many of the actions roll back Obama-era policies that aimed to curb climate change and limit environmental pollution, while others threaten to limit federal funding for science and the environment.

It’s a lot to keep track of, so National Geographic will be maintaining an abbreviated timeline of the Trump administration’s environmental actions and policy changes, as well as reactions to them. We will update this article periodically as news develops.

Needless to say, many “updates” follow that intro (the most recent one is from April 6, and there will be more to come). Bookmark the link, if you dare (sick bag on standby).

So…are you doing anything special for Earth Day (April 22)? It almost seems counter-productive to have a once-a-year Earth “day”, because when you stop to think about it for about 5 seconds, shouldn’t every day be “earth day”? It sort of devalues the importance of taking care of our planet (since we appear to have only been issued the one “pretty place”, best to my knowledge).

At any rate, in honor of Earth Day, here are my picks for the Top 10 “eco-flicks”. Per usual, my list is alphabetical; no ranking order. As long as you don’t print out a hardcopy, this week’s post is 100% biodegradable (it’s a com-post!).

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Chasing Ice– Jeff Orlowski’s film is glacially paced; meaning: these days, “glacial pacing” ain’t what it used to be. Glaciers are moving along (”retreating”, technically) at a pretty good clip. This does not portend well for the planet. To put it in a less flowery way…we’re fucked. After all, according to renowned nature photographer (and subject of Orlowski’s film) James Balog, “The story…is in the ice.”

Balog’s fascinating journey began in 2005, while he was on an assignment in the Arctic for National Geographic to document the effect of climate change. Up until that fateful trip, he candidly admits he “…didn’t think humans were capable” of having an effect on weather patterns in such a profound manner. His epiphany gave birth to a multi-year project utilizing specially modified time-lapse cameras to capture irrefutable proof that the tangible effects of global warming had transcended academic speculation.

The resulting images are beautiful and mesmerizing, yet troubling. Orlowski’s film itself mirrors the dichotomy, being in equal parts cautionary eco-doc and art installation. The images handily trump the squawking that emits from bloviating global climate deniers in the opening montage, and proves a picture is worth 1000 words.

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The Emerald Forest– Although it may give an initial impression as a heavy-handed (if well-meaning) “save the rain forest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper.

Powers Boothe plays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting him at his job site on the edge of the rain forest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally reunited with his barely recognizable, now-teenage son (Charley Boorman), the challenge becomes a matter of how he and his heartbroken wife (Meg Foster) are going to coax the reluctant young man back into “civilization”. Tautly directed, lushly photographed and well-acted.

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Godzilla vs. the Smog Monster-I know what you’re thinking: there’s no accounting for some people’s tastes. But who ever said an environmental “message” movie couldn’t also provide mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie!).

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An Inconvenient Truth– I re-watched this recently; I hadn’t seen it since it opened in 2006, and it struck me how it now plays less like a warning bell and more like the nightly news.  It’s the end of the world as we know it. Apocalyptic sci-fi is now scientific fact. Former VP/Nobel winner Al Gore is a Power Point-packing Rod Serling, submitting a gallery of nightmare nature scenarios for our disapproval. I’m tempted to say that Gore and director Davis Guggenheim’s chilling look at the results of unchecked global warming only reveals the tip of the iceberg…but it’s melting too fast.

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Koyannisqatsi– In 1982, this innovative, genre-defying film quietly made its way around the art houses; it’s now a cult favorite. Directed by activist/ex-Christian monk Godfrey Reggio, with beautiful cinematography by Ron Fricke (who later directed Chronos, Baraka, and Samsara) and music by Philip Glass (who also scored Reggio’s sequels), it was considered a transcendent experience by some; New Age hokum by others (count me as a fan).

The title (from ancient Hopi) translates as “life out of balance” The narrative-free imagery, running the gamut from natural vistas to scenes of First World urban decay, is open for interpretation. Reggio followed up in 1988 with Powaqqatsi (“parasitic way of life”), focusing on the First World’s drain on Third World resources, then book-ended his trilogy with Naqoyqatsi (“life as war”).

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Manufactured Landscapes-A unique eco-documentary from Jennifer Baichwal about photographer Edward Burtynsky, who is an “earth diarist” of sorts. While his photographs are striking, they don’t paint a pretty picture of our fragile planet. Burtynsky’s eye discerns a terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated modernization. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on an almost gothic, cyber-punk dreamscape. The photographs play like a scroll through Google Earth images, as reinterpreted by Jackson Pollock. An eye-opener.

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Princess Mononoke– Anime master Hayao Miyazaki and his cohorts at Studio Ghibli have raised the bar on the art form over the past several decades. This 1997 Ghibli production is one of their most visually resplendent. Perhaps not as “kid-friendly” as per usual, but many of the usual Miyazaki themes are present: humanism, white magic, beneficent forest gods, female empowerment, and pacifist angst in a violent world. The lovely score is by frequent Miyazaki collaborator Joe Hisaishi. For another Miyazaki film with an environmental message, check out Nausicaa Valley of the Wind.

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Queen of the Sun- I never thought that a documentary about honeybees would make me laugh and cry-but Taggart Siegel’s 2010 film did just that. Appearing at first to be a distressing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its increasing frequency over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these tiny yet complex social creatures are to the planet’s life cycle. Humans may harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these busy little creatures are, in fact, the boss of us.

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Silent Running– In space, no one can hear you trimming the verge! Bruce Dern is an agrarian antihero in this 1972 sci-fi adventure, directed by legendary special effects wizard Douglas Trumbull. Produced around the time “ecology” was a buzzword, its message may seem a little heavy-handed today, but the film remains a cult favorite.

Dern is the gardener on a commercial space freighter that houses several bio-domes, each dedicated to preserving a species of vegetation (in this bleak future, the Earth is barren of organic growth). While it’s a 9 to 5 drudge gig to his blue collar shipmates, Dern sees his cultivating duties as a sacred mission. When the interests of commerce demand the crew jettison the domes to make room for more lucrative cargo, Dern goes off his nut, eventually ending up alone with two salvaged bio-domes and a trio of droids (Huey, Dewey and Louie!) who play Man Friday to his Robinson Crusoe. Joan Baez contributes two songs on the soundtrack.

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Soylent Green– Based on a Harry Harrison novel, Richard Fleischer’s 1973 film is set in 2022, when traditional culinary fare is but a dim memory, due to overpopulation and environmental depletion. Only the wealthy can afford the odd tomato or stalk of celery; most of the U.S. population lives on processed “Soylent Corporation” product. The government encourages the sick and the elderly to politely move out of the way by providing handy suicide assistance centers (considering the current state of our Social Security system, that doesn’t sound like much of a stretch anymore, does it?).

Oh-there is some ham served up onscreen, courtesy of Charlton Heston’s scenery-chewing turn as a NYC cop who is investigating the murder of a Soylent Corporation executive. Edward G. Robinson’s moving death scene has added poignancy; as it preceded his passing (from cancer) by less than two weeks after the production wrapped.

…and singing us out, Gino Vanelli:

 

Setsuko doesn’t live here anymore: Oh Lucy! (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 17, 2018)

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Writer-director Atsuko Hirayanagi’s dramedy Oh Lucy! (which earned her a “Best First Feature” nomination at the Independent Spirit Awards) is a bit like Lost in Translation; lonely hearts, urban isolation and linguistic confusion…all bathed in Tokyo’s neon lights.

Shinobu Terajima is Setsuko, a single, middle-aged office drone in Tokyo. She trudges through indistinguishable days with dour expression and existential malaise; barely noticing when somebody deliberately jumps in front of an oncoming train at her station.

Her young and vivacious niece Mika (Shirori Kutsuna) feels Aunt Setsuko needs to get out and mingle more, so one day she hands her a flyer with the address for an ESL class that she’s been attending, taught by an American named John (Josh Hartnett). Reluctantly, Setsuko acquiesces and gives it a go. John’s teaching methods are unconventional; in addition to doling out uncomfortably long hugs, he picks out a wig and Anglicized name for each student. Setsuko (he decides) is now a blonde named Lucy.

In spite of herself, Setsuko begins to enjoy the class; she may even be developing a little crush on John. However, much to her dismay, John unceremoniously quits his job; it seems he has fallen hard for a young Japanese woman, and has spirited her back to Los Angeles. Setsuko quickly discovers that the young woman is Mika. And so she and Mika’s concerned mother, her sister Ayako (Kaho Minami) hop on a plane to California.

What next ensues can be labeled equal parts road movie, “fish out of water” story, social satire, and family melodrama. Granted, it’s a stylistic miss-mash, vacillating between light comedy and dark character study, but director Hirayanagi manages to juggle it all with a deft hand. She also works in subtle observations on the evergreen “ugly American” meme. Fine performances abound, but the glue holding it all together is Terajima, who gives a wonderfully nuanced and layered performance as Setsuko/“Lucy”.

SIFF 2017: God of War ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 3, 2017)

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Hong Kong action maestro Gordon Chan’s war epic stars Sammo Hung as a general with an under-trained “people’s army” desperately trying to get the upper hand on a sizable coterie of seasoned Japanese pirates who have been wreaking havoc up and down the coast. Chan has his Japanese cast members speak in-language; it’s unique for a Chinese film, and enhances the verisimilitude. Sections of the story line get murky and confusing, but colorful, rousing (and frequent) battle scenes make up for occasional lulls.

SIFF 2017: Angry Inuk ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 27, 2017)

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Canadian film maker Alethea Arnaquq-Baril hails from an Inuk community near Baffin Island, where locals rely on traditional subsistence seal hunting; not only to literally put food on the table, but to earn a living from commercial sales of sealskin products. In 2009, the European Union banned commercial trade in all seal products except for those from Indigenous hunts. While that seems a reasonable concession, the director and her fellow Inuk activists feel that the legislators and animal rights groups miss the fact that the ban has all but killed the market for the products-thus putting the Inuk people in dire economic straits. Aranquq-Baril’s documentary is wise, witty and thought-provoking, offering up a unique perspective on this controversial issue.

SJFF 2017: Germans and Jews ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 11, 2017)

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Can’t we all just get along? If you’re talking Jews and Germans, even in the context of here and now in a modern, (very) democratic Germany…it’s complicated. This documentary was the brainchild of NYC-based (non-Jewish) director Janina Quint, who grew up in Germany, and her friend, producer Tal Recanati, who was born in the US, but spent some formative years in Israel. The result is a fascinating study about collective guilt, forgiveness, sins of the fathers and sociopolitical backlash. Don’t expect pat answers; on one hand, it’s been over 70 years since WW2 ended…on the other hand, it’s only been 70-some years since WW2 ended (if you know what I’m saying). And yes, there are discomfiting moments, but this film is timely and thought-provoking.

(For more information, visit the Seattle Jewish Film Festival website)

Put some shorts on

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo o February 18, 2017

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At the risk of having my critic’s license revoked, I will freely admit this, right here in front of (your deity of choice) and all six of my readers: I have not seen any of the 9 films nominated for Best Picture of 2016. Then again, you can feel free to ask me if I care (the Academy and I rarely see eye-to-eye). Funny thing, though…I have managed to catch all of the (traditionally more elusive) Oscar nominees for Best Short Film-Animation and Best Short Film-Live Action. And the good news is you can, too. The five nominees in each sub-category are making the rounds as limited-engagement curated presentations; each collection runs the length of a feature film, with separate admissions (the films are held over this week in Seattle and will be on various streaming platforms February 21).

(Reads woodenly off teleprompter) And the nominees for Best Short Film-Animation are:

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Blind Vaysha (Canada; 8 mins) – Directed by Theodore Ushev, this piece (based on the eponymous short story by Georgi Gospodinov) is a parable about a girl born with uniquely dichotomous vision: one eye sees the past, the other the future. Is it a metaphor about living in the moment? Oh, maybe. Simple, direct, and affecting, with a woodcut-style “look” that reminded me of Tomm Moore’s animated films (The Secret of Kells).

Rating: ***

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Borrowed Time (USA; 7 mins) – Set in the old west, this portrait of remembrance and regret is visually impressive, and seems well-intentioned…but it’s curiously uninvolving. It’s co-directed by veteran Pixar Studios animators Andrew Coats and Lou Hamou-Lhadj.

Rating: **

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Pear Cider and Cigarettes (Canada/UK; 35 mins) – Director Robert Valley’s resume includes a graphic novel series; and his film definitely has that dark vibe. It’s a noir-ish memoir concerning the narrator’s longtime love/hate relationship with his best buddy, “Techno Stypes”, a charismatic but maddeningly self-destructive Neal Cassady-type figure. The story is involving at the outset, but becomes somewhat redundant and ultimately, tiring. Atmospheric, and great to look at-but even at 35 minutes, it’s overlong. Note: Parents should be advised that this one (not exactly “family-friendly”) is being exhibited last, allowing time for attendees to opt out (“hey kids-who wants ice cream?!”).

Rating: **½

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Pearl (USA; 6 mins) – A young girl and her free-spirited musician father have a care-free, nomadic existence living out of their car, but as the years pass, life’s bumpy road creates challenging detours (Jesus, did I just write that? A gig with Hallmark beckons). Quite lovely and very moving; it’s my favorite of the nominees in this category. It’s almost like a 6 minute distillation of Richard Linklater’s interminable Boyhood (wish I’d discovered this first-would have saved me some time). Well-directed by Patrick Osborne.

Rating: ***½

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Piper (USA; 6 mins) – I’ve resigned myself to the fact that a Pixar nomination in this category is as unavoidable as Taylor Swift at the Grammys. Actually (long-time readers will back me up on this) I have softened on my curmudgeonly stance on CGI animation, enough to cave on this animal-lover’s delight. Not much of a narrative, but somehow “the story of a hungry sandpiper hatchling who ventures from her nest for the first time to dig for food by the shoreline (the end)” is a perfect salve for what’s, you know…going on the world right now. In fact, I might need to watch this on a loop, just to keep from hurtling myself off the nearest cliff. Beautifully directed by Alan Barillaro and Marc Sondheimer.

Rating: ***

And the nominees for Best Short Film-Live Action are:

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Ennemis Interieurs (France; 28 mins) – Set in 1990s France, an Algerian-born French citizen is given the third-degree at a police station regarding his association with members of his mosque who are suspected terrorists. The political subtext in Sleim Aszzazi’s film recalls The Battle of Algiers; with a touch of The Confession. While I appreciate what the director is trying to convey in his examination of Islamophobia, the film doesn’t go anywhere; it’s too dramatically flat to stand out in any significant way.

Rating: **½

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La Femme et le TGV (Switzerland; 30 mins) – Inspired by a true story, Timo von Gentun’s film stars 60s icon Jane Birken (mother of Charlotte Gainesbourg) as a lonely widow living a quiet, structured life. “Quiet” with one exception-which is when a daily express train thunders past her cottage. Smiling and waving at the train is the highlight of her day. After she stumbles on a letter that the train’s conductor chucked into her garden, a unique relationship begins (a la 84 Charing Cross Road). OK, it is borderline schmaltzy at times-but also touching and bittersweet, with an endearing performance from Birken.

Rating: ****

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Silent Nights (Denmark; 30 mins) – A young Danish woman who works as a volunteer at a homeless shelter and an illegal immigrant from Ghana cross paths at the facility and develop a mutual attraction. Director Aske Bang uses the ensuing romantic relationship as political allegory; examining difficulties of cultural assimilation and the overall plight of immigrants in Western countries (much as Fassbinder did in Ali: Fear Eats the Soul).

Rating: ***

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Sing (Hungary; 25 mins) – It’s interesting that two of the five nominated films in this category are set in the 90s, and specifically in allusion to the political turmoil in Europe that was proliferating at the time (it’s either “interesting”, or perhaps I’m merely slow in catching on that “the 90s” was a generation ago, ergo “history”…funny how one loses sense of time as one ages, isn’t it?). At any rate, Kristof Deak’s tale centers on a young girl just starting out at a new school. She joins the choir, a perennially award-winning group with a dictatorial choir director. When she finds out that the “secret” to the choir’s continuing success is not above board, she is faced with a moral conundrum. Although based on a true story, it plays like a modern parable about the courage of whistleblowers.

Rating: ***½

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Timecode (Spain; 15 mins) – As directed by Juanjo Gimenez Pena, this hipster catnip about two mopey millennial security guards (one male, one female) who barely exchange a word during their daily shift change is a glorified YouTube video that uses up its irony quotient quickly. I might have thrown it an extra star if it was but ten minutes shorter.

Rating: *

Blu-ray reissue: The Man Who Fell to Earth ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 3, 2016)

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The Man Who Fell to Earth: 40th Anniversary Collector’s Edition                  Studio Canal Region “B” Blu-ray*

 If there was ever a film and a star that were made for each other, it was director Nicolas Roeg’s mind-blowing 1976 adaptation of Walter Tevis’ novel The Man Who Fell to Earth, and the late great David Bowie.

Several years after retiring his “Ziggy Stardust” persona, Bowie was coaxed back to the outer limits of the galaxy to play Thomas Jerome Newton, an alien from a drought-stricken planet who crash-lands on Earth. Gleaning Earth as a water source, Newton formulates a long-range plan for transporting the precious resource back to his home world. In the interim, he becomes an enigmatic hi-tech magnate (makes you wonder where Bill Gates really came from).

A one-of-a-kind film, with excellent supporting performances from Candy Clark, Rip Torn and Buck Henry. The Studio Canal Edition has a gorgeous new 4K transfer, a second disc packed with extras, and a bonus CD of “Papa” John Phillips’ soundtrack.  Lionsgate will be releasing the domestic version of this set in January 2017.

*Note: Region “B” requires a region-free player (they’re getting cheaper!).

SIFF 2016: Mekko ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 21, 2016)

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Director Sterlin Harjo’s tough, lean, neorealist character study takes place in Tulsa, Oklahoma. Rod Rondeaux (Meek’s Cutoff) is outstanding as the eponymous character, a Muscogee Indian who gets out of jail after 19 years of hard time. Bereft of funds and family support, he finds tenuous shelter among the rough-and-tumble “street chief” community of homeless Native Americans as he sorts out how he’s going to get back on his feet. Harjo coaxes naturalistic performances from his entire cast. There’s a lot more going on here than initially meets the eye; namely, a deeper examination of Native American identity, assimilation and spirituality in the modern world.

Wolves, bison & bears…oh my: The Revenant ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 16, 2016)

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“Nah, man…I gotta remember: NEVER get outta the boat!”

-from Apocalypse Now

If there’s one thing I’ve learned reading Jack London and Joseph Conrad and watching countless adventure movies over the years, it’s this: never get out of the goddamn boat. Remember what happened in Apocalypse Now, when they got out of the boat? Aguirre, the Wrath of God? The 7th Voyage of Sinbad? Uh, Deliverance? It very rarely ends well.

Latest case in point: Alejandro Inarritu’s sprawling survivalist epic, The Revenant. Once “they” get out of the boat, everything goes to hell in a hand basket; in this case, an authentic, hand-woven hand basket crafted by authentic First Nation peoples, in an authentic rustic setting. Inarritu’s film is not only steeped in gritty and authentic Old West verisimilitude, but tells its tale in real time. OK, I’m exaggerating-it’s only 3 hours.

The story is set in the early 19th Century, “somewhere” in the Rocky Mountain region of the Louisiana Purchase (I assume, as there are Frenchmen wearing fur hats lurking about). Leo DiCaprio stars as a crackerjack woodsman named Hugh. He and his half-Native American son Hawk (Forrest Goodluck) have hired on as guides for a pelt-hunting expedition.

After the party is ambushed by Indians, Hugh leads the survivors into the deep woods. While temporarily separated from the party, Hugh is severely mauled by an actual “grizzly mom” (it is the film’s most harrowing scene, which is really saying a lot).

His compatriots find him, barely alive, and begin to carry him along. However, they soon find the terrain too daunting to navigate with a stretcher. Fitzgerald (Tom Hardy), one of the more mercenary members of the party, suggests putting Hugh out of his misery so they can make tracks.

The party’s Captain (Domhnall Gleeson, son of Brendan) briefly considers the option, but decides to leave Hugh in the care of Hawk and a young volunteer named Jim Bridger (Will Poulter…playing who I can only assume is the Jim Bridger of legend, since the screenwriters take no pains to elucidate). One more man is needed, but the Captain has to first sweeten the pot with the offer of a reward. Guess who steps up? If you guessed our mercenary friend with dubious motivations, you are correct.

What ensues earns what I like to call my “3G” rating (Grueling, Grinding, and Gruesome). It’s a quasi-biblical, “to hell and back” tale of betrayal, suffering, fortitude and (drum roll please)…redemption. It’s also a bit of the aforementioned for the viewer, as he or she is required to channel the patience of Job while awaiting the redemption part.

Which reminds me of a funny story. Around halfway through, I had to excuse myself for a few minutes (hey-let’s see you try making it through a 3 hour flick with a 59 year-old prostate…and fellow sufferers be warned that the sights and sounds of babbling brooks, surging rivers and roiling rapids abound throughout).

Anyway, as I left the auditorium, I noted that the recovering but not yet fully ambulatory Leo was slowly, painfully, crawling through brambles. I go do my thing; when I return to my seat several minutes later, I note Leo is still slowly, painfully crawling through brambles. I whispered to my friend, “So I take it I didn’t miss anything?” He confirmed that my intuition was spot on.

While I stand by my conviction that the film would not have suffered from judicious trimming, it still has much to recommend it, particularly for fans of adventures like Black Robe, The New World, The Last of the Mohicans, Dances with Wolves, Never Cry Wolf, or The Naked Prey.

In context of its striking visual poetry, there is one film that must have inspired Inarritu and/or his cinematographer Emmanuel Lubezki, and that is Letter Never Sent, Mikhail Kalatozov’s tale about a squartet of Russian geologists who become trapped by a wildfire while diamond-hunting in Siberia. The 1960 film was breathtakingly photographed by Sergey Urusevskiy, also renowned for his work on Kalatozov’s The Cranes Are Flying and I Am Cuba (my review).

Like Urusevskiy, Lubezki fuses natural light wide-angle photography with classically composed long shots and audacious hand-held takes that make you scratch your head and wonder “how in the hell did the camera operator shoot that without running into a tree?!”

The director and screenwriter Mark L. Smith co-adapted their screenplay from Michael Punke’s 2002 book The Revenant: A Novel of Revenge. I didn’t realize until doing a little research after seeing the film that Hugh Glass was a real-life trapper and frontiersman (how I know who Jim Bridger is, yet have never heard of this guy…is one of life’s mysteries).

I also learned this is not the first film based on Glass’ exploits; that honor goes to a 1971 western called Man in the Wilderness, directed by Richard C. Sarfian (how I know and love Sarfian’s 1971 classic Vanishing Point, yet have never heard of his other 1971 film…is another of life’s mysteries).

What isn’t such a mystery are the 12 Oscar nominations, which include Best Actor and Supporting Actor for DiCaprio and Hardy. DiCaprio earns his statue for the al fresco dining alone (you’ll know when you see it). Hardy is perfect playing a character who could be an ancestor for those mountain men in Deliverance. And I can’t emphasize this enough: Never, never get outta the boat.

Through a glass, darkly: The Tainted Veil ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 19, 2015)

https://i2.wp.com/cdn.stepfeed.com/uploads/2015/10/30125735/20151030-20151027-hijab.png?w=474&ssl=1

In my 2013 review of the documentary The Trials of Muhammad Ali, I wrote:

[…] Ali’s vilification was America’s pre-9/11 flirt with Islamophobia. Ali was “safe” and acceptable as a sports celebrity (as long as he played the face-pulling, poetry-spouting ham with Howard Cosell), but was recast as a dangerous black radical once he declared himself a Muslim and began to publicly speak his mind on hot-button issues. The Islam quotient is best summarized by an interviewee who says “…Since 9/11, ‘Islam’ has acquired so many layers and dimensions and textures. When the Nation of Islam was considered as a ‘threatening’ religion, traditional Islam was seen as a gentle alternative. And now, quite the contrary […]

What Ali went through back in the 1960s was a romp in the fields compared to what every day law-abiding Americans who happen to be Muslim have to put up with in our current political climate; particularly in the wake of the San Bernardino mass shooting incident. Between the vile hate rhetoric spewing from certain presidential hopefuls and wingnut commentators, and the only slightly more subtle notes of hysteria ginned up by mainstream media outlets who should know better, I would imagine many of these folks are involuntarily compelled to look over their shoulder as they go about their daily lives.

Am I being shrill? Alex Wagner interviewed Dr. Suzanne Barakat on MSNBC’s All In this past Thursday. She is the sister of Deah Barakat, one of the 3 Muslim students who were slain by a neighbor this past February in Chapel Hill (authorities have not ruled out  a hate crime). At one point in the interview, Wagner asks Dr. Barakat (who works at San Francisco General) what her personal experience has been, as a professional who happens to wear a head scarf. She recalls fellow hospital workers making comments like “…she mustn’t be a terrorist…because she has a badge.” Apparently, this is not a sporadic occurrence; she adds “I was almost run over the other day in the parking lot by a patient leaving the hospital, who stuck out his middle finger and called me [an] ‘effing B’ [sic].” She’s a doctor. An American citizen. All her attacker saw was a woman wearing a hijab.

All the more reason for me to bring a rather timely new documentary to your attention. While ostensibly a PBS Frontline-styled, multi-viewpoint treatise “about” the venerable Muslim tradition requiring a woman to wear a head scarf in public, The Tainted Veil is also a kind of litmus test that subtly prompts a non-Muslim viewer to step back and take stock of his or her own autonomic response when encountering a person who is so attired.

When a modern-day Muslim woman dons a hijab, what does it telegraph to the world? Does it denote a personal spiritual conviction? Is it a cultural/ideological symbol; a kind of uniform? A fashion statement? A feminist statement? A symbol of male oppression?

With their eclectic array of interviewees, which includes scholars (Islamic, Christian and Jewish), clergy, educators, liberals, conservatives and a cross-section of Muslim women around the world who have worn the hijab, co-directors Ovidio Salazar, Nahla Al Fahad and Mazen al Khayrat demonstrate that the answer to all those questions could be “yes.”

Some viewers may be flummoxed that the film doesn’t adhere to any specific point of view; but that is precisely what I liked about it. It doesn’t take sides, and by not doing so it stimulates the kind of open-minded dialogue that we need to have in a day and age of such acute political and cultural polarization. As one of the interviewees observes (paraphrasing Edward Said), “We are not living in a clash of civilization, but a clash of ignorance…people don’t approach each other, even though we live in a ‘connected’ world.” We’d best find a path to connecting with one another soon, because as one of the religious scholars cautions, “When Earth lives in misery, the heavens bloom.” Er, amen?