Tag Archives: 2006 Reviews

Stereotyped in America: Crash (*1/2) & The Landlord (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 16, 2006)

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I’m going to risk crucifixion here and confess that I only recently got around to viewing Crash, Paul Haggis’ 2005 Oscar winning meditation on racism in America. (Perhaps I was shamed into screening it after Michael Richard’s recent star turn on YouTube).

Crash takes the premise of 1993’s Falling Down and expands on it exponentially. Instead of one disenfranchised white guy going off the deep end and raging through L.A. as he blames every person of color he encounters for his own personal failures, Crash serves up an Altman-sized, multicultural cast of self-pitying whiners running around L.A. pissed off at everybody else. They hail from all ethnic and socioeconomic strata, they are all fuming about their (real or perceived) victimization by one societal injustice or another and (yeah, you guessed it) they are all on a ‘crash’ course, about to collide.

Structurally, Crash is a close cousin to P.T. Anderson’s (vastly superior) Magnolia, and operates on the same conceit. We are asked to accept an absurdly implausible series of “coincidences” in order for the story (or in this case, Today’s Lecture) to work.

The cast is talented, the performances are earnest and the film is slickly made, but the mind boggles as to how this condescending, contrived, PC-pandering mess earned a Best Picture Oscar. The Message (people are people and bigotry is colorblind) has been delivered numerous times before…and with much more panache (see review below).

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The late great Hal Ashby only directed a relative handful of films, but most, especially his 70’s output, were built to last (Harold and Maude, The Last Detail, Bound for Glory, Shampoo, Being There). In The Landlord, Beau Bridges is a spoiled rich kid who worries his parents with his “liberal views”, especially when he buys a run-down inner-city tenement, with intentions to renovate. His subsequent involvement with the various black tenants is played sometimes for laughs, other times for intense drama, but always for real. The social satire and observations about race relations are dead-on, but never preachy or condescending (are you listening, Paul Haggis?). Top-notch ensemble work, featuring a young Lou Gossett (with hair!) giving a memorable dramatic turn. The lovely Susan Anspach is hilarious as Bridge’s perpetually stoned and bemused sister. A scene featuring Pearl Bailey and Lee Grant getting drunk and bonding over a bottle of “sparkling” wine is a minor classic all on its own. They don’t make ‘em like this anymore-honest, bold, uncompromising, socially and politically meaningful, yet (lest we forget) entertaining.

Borderline cinema: The Three Burials of Melquiades Estrada ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 30, 2006)

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The spirit of Sam Peckinpah lives on (sans slo-mo) in The Three Burials of Melquiades Estrada. First-time director Tommy Lee Jones casts himself as a contemporary Texas cowboy named Pete who befriends a Mexican “vaquero” (the namesake of the movie’s title). Estrada is an illegal looking for steady work and a brighter future here in the land o’plenty. Jones utilizes flashbacks to illustrate the growing kinship between the two compadres, who bond in the usual “cowboy way”- drinkin’ and whorin’, sleeping under the stars, and reaching a general consensus that A Cowboy’s Life Is The Life For Me (as a great man once sang.) In the key vignette, Estrada confides that, if “something” should ever happen to him, he wishes to be buried in his home town. In half-drunken sentiment, Pete vows to see it through if the unthinkable happens. Guess what happens next?

When Estrada is mysteriously killed, Pete becomes incensed by the indifference of the local authorities, who seem reluctant to investigate. When he learns through the grapevine that his friend was the victim of negligent homicide, thanks to a bone-headed border patrol officer (Barry Pepper), he goes ballistic. He abducts the officer, forces him to dig up the hastily buried Estrada, and informs him that the three amigos are taking a little horseback trip to Mexico (and it ain’t gonna be anything like Weekend at Bernie’s).

Much unpleasantness ensues as the story evolves into a “man on a mission to fulfill an oath” tale…on the surface. Despite the simplistic setup, astute viewers will begin to realize that there is a deeper, mythic subtext; this is one of those films that can really sneak up on you. Although my initial reaction was more visceral than philosophical (I didn’t find any of the characters particularly likeable, it started to feel overlong, and I was repulsed by some of the more graphic scenes) I eventually realized that I had just been taken on an Orphic journey, and it suddenly all made sense. The film gives you hope that, despite the rampant cynicism that abounds in this world, there is something to be said for holding true to a personal code that covets friendship, loyalty and a deep sense of honor.

Incitement to mutiny: Sir! No Sir! ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 18, 2006)

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There have been a good number of excellent documentaries examining various aspects of the Sixties protest movement (The War At Home, Berkeley In The Sixties and the more recent Weather Underground), but none focusing specifically on the members of the armed forces who openly opposed the Vietnam war-until now. Sir! No Sir! is a fascinating look at the GI anti-war movement during the era. Director David Zeigler combines present-day interviews with archival footage to good effect in this well-paced documentary. Most people who have seen Oliver Stone’s Born On The Fourth Of July were likely left with the impression that paralyzed Vietnam vet and activist Ron Kovic was the main impetus and focus of the GI movement, but Kovic’s story was in fact only one of thousands (Kovic, interestingly, is never mentioned in Ziegler’s film). While the aforementioned Kovic received a certain amount of media attention at the time, the full extent and history of the involvement by military personnel has been suppressed from public knowledge for a number of years, and that is the focus of Sir! No Sir!.

In one very astutely chosen archival clip, a CBS news anchor somberly announces that there appears to be some problems with “troop morale” in Vietnam (while in the meantime, behind closed doors, the US military was apparently imprisoning dissenting GIs left and right under “incitement to mutiny” charges, sometimes just for being overheard expressing anti-war sentiments). All the present-day interviewees (Army, Air Force, Navy and Marine vets) have interesting (and at times emotionally wrenching) stories to share. Jane Fonda speaks candidly about her infamous “FTA” (“Fuck the Army”) shows that she organized for troops as an antidote to the somewhat creaky and more traditional Bob Hope USO tours. Well worth your time. The film would make an excellent double bill with the classic documentary Hearts and Minds (available from Criterion).