Category Archives: Up the Workers

Dare to struggle: Judas and the Black Messiah (***)

by Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 27. 2021)

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Kay: You know how naïve you sound? Presidents and Senators don’t have men killed.

Michael: Oh. Who’s being naïve, Kay?

— from The Godfather

While it is based on a true story and billed as a “biopic”, Shaka King’s new film Judas and the Black Messiah feels more akin to fictional early 70s conspiracy thrillers like The Conversation, The Parallax View or Three Days of the Condor. Those three films (released in proximity of the Watergate break-in scandal and President Richard Nixon’s consequent resignation) are permeated by an atmosphere of paranoia, distrust and betrayal that mirrors the climate of the Nixon era. That is not to imply Judas and the Black Messiah is made up from whole cloth. From a recent Democracy Now broadcast:

[Host Amy Goodman] Newly unearthed documents have shed new light on the FBI’s role in the murder of the 21-year-old Black Panther leader Fred Hampton on December 4, 1969, when Chicago police raided Hampton’s apartment and shot and killed him in his bed, along with fellow Black Panther leader Mark Clark. Authorities initially claimed the Panthers had opened fire on the police who were there to serve a search warrant for weapons, but evidence later emerged that told a very different story: The FBI, the Cook County State’s Attorney’s Office and the Chicago police had conspired to assassinate Fred Hampton. FBI memos and reports obtained by historian and writer Aaron Leonard now show that senior FBI officials played key roles in planning the raid and the subsequent cover-up. “It was approved at the highest level,” says attorney Jeff Haas.

Federal, state, and local law enforcement agencies conspiring to assassinate an American citizen as he slept in his apartment? It happened. Haas, a founding member of the People’s Law Office in Chicago and one of the lead lawyers in the (posthumous) Fred Hampton civil rights case elaborated to host Amy Goodman (from the same broadcast):

But what [documents] showed was that [FBI Director J. Edgar] Hoover, [director of the FBI’s Domestic Intelligence Division William] Sullivan and [head of the Extremist Section of the Domestic Intelligence Division George] Moore were following Roy Mitchell, a special agent in charge, very closely with regard to [FBI informant Bill] O’Neal. And they were complimenting him and rewarding him from the moment he gave the information and the floor plan [for Fred Hampton’s apartment] to special agent Mitchell. They were congratulating Mitchell on what a wonderful job he did with this informant. Of course, Mitchell got the floor plan, gave it to Hanrahan’s [Chicago] police, and that’s what led to the raid. The floor plan even showed the bed where Hampton and Johnson would be sleeping.

So, we knew much of this. We knew O’Neal had gotten a bonus. We never knew Mitchell got a bonus. And we never knew that Hoover and Sullivan and Moore were starting to watch this in November, 10 days before it happened. They were monitoring exactly what went on. And so it was approved at the highest level. And during the trial, we had sought to go up to Sullivan and Moore and Hoover, but the judge wouldn’t allow us. And we thought perhaps even John Mitchell and Richard Nixon were involved. We didn’t have these documents, so we couldn’t uncover that. This also shows that after the raid, the head of the FBI in Chicago met with and congratulated the informant, O’Neal, thanked him for his information, which led to the success of the raid.

Possible direct involvement by the White House certainly qualifies as the “highest level”. It is also interesting that an “Extremist Section of the Domestic Intelligence Division” existed in 1969 to keep close watch on the Panthers and other organizations that shared what present-day Fox prime time hosts might sneeringly refer to as “radical extremist socialist agendas” (BTW if such a special section still exists…where was their vigilance this past January 6th?).

That is a lot to unpack; much less in a 2-hour film. Perhaps wisely, writer-director King and co-writers Will Berson, Kenneth Lucas and Keith Lucas focus less on the complex political machinations and more on the personal aspects of the story.

More specifically, the filmmakers construct a dual narrative that shows how the life paths of charismatic Marxist revolutionary Fred Hampton (Daniel Kaluuya) and the man who would ultimately play “Judas” to his “black messiah”, Bill O’Neal (LaKeith Stanfield) converged.

There isn’t much backstory offered explaining Hampton’s rapid transformation from aspiring law student who joined the NAACP in the mid-60s to founder of the Chicago chapter of the Black Panthers in 1968; but then again, considering that he was dead and gone by age 21, his historical impact seems all the more remarkable.

On the other hand, O’Neal (who was one year younger than Hampton) is a man with less lofty ideals and negligible passion for politics. He is a career criminal whose luck runs out when he gets nailed for a felony beef after driving a stolen car across state lines. The arresting officer is FBI agent Roy Mitchell (Jesse Plemons) who offers O’Neal a way out: infiltrate the Chicago chapter of the Black Panthers, become an FBI informant, and win fabulous prizes (like having his felony charges disappear). O’Neal accepts the deal.

O’Neal ingratiates himself with Hampton, to the point where he becomes a member of the Chairman’s trusted inner circle. Along the way, the filmmakers offer a Cliff’s Notes summary of Hampton’s brief but productive tenure as head of the Chicago Panthers; his implementation of a program providing free breakfasts for schoolchildren, establishment of a free clinic, and (most impressively) mediating a peace treaty between long-time rival Chicago street gangs (ultimately leading to formation of the original multiracial “Rainbow Coalition”).

Ironically, it’s not so much what Hampton “does” that matters one way or the other to FBI director Hoover (Martin Sheen) and the rest of the posse out to “neutralize” the threat (perceived or otherwise) Hampton represents to the status quo, but rather what he says…which is at times incendiary and what some might even call seditious (Hoover is on record declaring the Panthers “the greatest threat to the internal security of the country”).

Just months before his death Hampton is arrested for (of all things) stealing $70 worth of candy. He is convicted, but the charges are overturned. There were several police raids on the Black Panthers’ HQ the same year, although the filmmakers distill them into one shootout incident. Clearly, the authorities were circling their prey, culminating in the fateful late-night raid in December of 1969 that left Hampton and fellow Panther Mark Clarke dead and several people wounded. The reenactment of the incident is harrowing and affecting.

Ballistic evidence revealed one shot fired by the Panthers…and 100 (one hundred) shots fired by the police. Maybe it’s just me, but that sounds more like a police “assault” than a police “raid”. One of the people in the apartment that night was Hampton’s eight-month pregnant girlfriend Deborah Johnson (wonderfully played in the film by Dominique Fishback, who was a standout in the HBO series The Deuce). No matter how you may view Hampton’s place in history (hero or villain) the circumstances of his demise should dismay anyone familiar with the 14th Amendment of the Constitution, which says (among other things)

No state shall make or enforce any law which shall abridge the privileges or immunities of citizens of the United States; nor shall any state deprive any person of life, liberty, or property, without due process of law; nor deny to any person within its jurisdiction the equal protection of the laws.

Judas and the Black Messiah is not a definitive biopic but does convey that what happened to Fred Hampton was an American tragedy…sadly, one that continues to occur to this day.

Let’s party like it’s 1929: Top 10 Great Depression Films

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 9, 2021)

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I’m not running for office, so I’m not going to lie to you. It’s been a tough week. Not just for me, personally…but for Democracy and junk. Most of today, I was trying (really trying, gentle reader) to finish up a review for you of a couple of new films, but it wasn’t working. I haven’t been able to concentrate very well since the events of this past Wednesday. I just…can’t.

So I was texting with my pal Digby, to give her a heads up that I might just take a breather this week. Or perhaps I could just find something from my archives to recycle that would be apropos to the current news cycle. My first thought was “conspiracy a go-go”…but then I remembered I just recycled that one back in November on the anniversary of the JFK assassination. Besides, I don’t think we need to get that dark just now. “What about something on fascism?” (Digby helpfully texted). Yes! I thought. A capital idea (Capitol?).

And I’ll be damned if I didn’t find a post I published the day after the current occupant of the White House was inaugurated that makes a perfect bookend for the imminent denouement of said occupant’s rent-free overstayed welcome in our collective unconscious . Er, enjoy?

(Originally posted on Digby’s Hullabaloo on January 21, 2017)

Yesterday, after putting my head down on the desk for a spell (which I haven’t done since kindergarten), in order to process the inaugural address, I felt compelled to do a Google search using the key words “Fascism” and “ideal conditions” – and I found this:

Fascism begins by promising to make the country strong again, to restore pride. It wants to help, it wants to build a better country, it wants to improve your life. It wants to challenge a corrupt establishment and change a broken system. It wants to get people working again and get tough on crime. It doesn’t present an image of violent thugs to you, instead it shows the face of ordinary respectable people, people just like you, who have had enough. […]

So it starts with things a lot of people find attractive: national pride, restoration of glory, fighting the establishment. Then it pushes this further and further to the extreme. The nationalism becomes more extreme. Not only are we the best people, but all others are inferior. They only appear better because they cheat, they lie, they steal. The establishment is corrupt, the system is rigged, it is undeserving of support, it is illegitimate. The opponents are crooks, they should be put in jail. The media is suppressing the facts, censoring the truth, spreading lies, their dishonesty must be silenced.  Democracy only leads to indecisive and ineffective politicians, it only elects liars too corrupt to serve the people. If only we had a strong and decisive ruler, then we could solve the country’s problems. Drastic problems require drastic solutions.

-from a post by Robert Nielsen (Whistling in the Wind blog)

The author is explaining how Fascism was able to flourish in Europe between the wars, but there are obvious parallels with the current political climate (in Europe and the U.S.).

So, with that cheery thought in mind, and in the interest of applying what I call cinematic aversion therapy, here’s my Top 10 Great Depression Movies. Study them well, because you know what “they” say: Those who do not understand history are doomed to repeat it.

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Berlin Alexanderplatz- When you think of the Depression in terms of film and literature, it tends to vibe America-centric. In reality, the economic downturn between wars was a global phenomenon; things were literally “tough all over”. You could say Germany had a jumpstart (economically speaking, everything below the waist was kaput by the mid 1920s). In October of 1929 (interesting historical timing), Alfred Doblin’s epic novel Berlin Alexanderplatz was published, then adapted into a film in 1931 directed by Phil Jutzi.

It wasn’t until nearly 50 years later that the ultimate film version emerged as Rainer Werner Fassbinder’s 15 hour opus (made for German TV but also distributed as a feature film). It’s nearly impossible to encapsulate this emotionally draining epic in a few lines; it is by turns one of the most shocking, transcendent, maddening and soul-scorching films you’ll ever see. If that time investment is too daunting, you can always opt for Cabaret!

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Bonnie and Clyde– The gangster movie meets the art house in this 1967 offering from director Arthur Penn. There is much more to this influential masterpiece than the oft-referenced operatic crescendo of violent death in the closing frames; particularly of note was the ingenious way its attractive antiheroes were posited to appeal to the counterculture zeitgeist of the 1960s, even though the film was ostensibly a period piece. The real Bonnie Parker and Clyde Barrow were nowhere near as charismatic as Faye Dunaway and Warren Beatty…but we don’t care, do we? The outstanding cast includes Gene Hackman, Estelle Parsons, Michael J. Pollard, and Gene Wilder in his movie debut.

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Bound for Glory– “This machine kills Fascists”. There’s only one man to whom Pete Seeger, Bob Dylan and Bruce Springsteen must kowtow-and that’s Woody Guthrie. You can almost taste the dust in director Hal Ashby’s leisurely, episodic 1976 biopic about the life of America’s premier protest songwriter/social activist. David Carradine gives one of his finest performances, and does a credible job with his own singing and playing. Haskell Wexler’s outstanding cinematography earned him a well-deserved Oscar. The film may feel a bit overlong and slow in spots if you aren’t particularly fascinated by Guthrie’s story; but I think it is just as much about the Depression itself, and perhaps more than any other film on this list, it succeeds as a “total immersion” back to that era.

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The Grapes of Wrath– I’m stymied for any hitherto unspoken superlatives to ladle onto John Ford’s masterful film or John Steinbeck’s classic source novel, so I won’t pretend to have any. Suffice it to say, this comes closest to nabbing the title as the quintessential film about the heartbreak and struggle of America’s “salt of the earth” during the Great Depression. Perhaps we can take (real or imagined) comfort in the possibility that no matter how bad things get over the next few months (years?), Henry Fonda’s unforgettable embodiment of Tom Joad will “be there…all around, in the dark.”

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Inserts-If I told you that Richard Dreyfuss, Veronica Cartwright, Bob Hoskins and Jessica Harper once co-starred in an “X” rated movie, would you believe me? This largely forgotten 1976 film from director John Byrum was dismissed as pretentious dreck by many critics at the time, but 42 years on, it begs reappraisal as a fascinating curio in the careers of those involved.

Dreyfuss plays “Wonder Boy”, a Hollywood whiz kid director who peaked early; now he’s a “has-been”, living in his bathrobe, drinking heavily and casting junkies and wannabe-starlets for pornos he produces on the cheap in his crumbling mansion. Hoskins steals all his scenes as Wonder Boy’s sleazy producer, Big Mac (who is aptly named; as he has plans to open a chain of hamburger joints!). Set in 30s Hollywood, this decadent wallow in the squalid side of show biz is a perfect companion for The Day of the Locust.

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King of the Hill– Steven Soderbergh’s exquisitely photographed film (somewhat reminiscent of Bogdanovich’s Paper Moon) is a bittersweet rendering of A.E. Hotchner’s Depression-era tale about young Aaron (Jesse Bradford) who lives with his parents and kid brother in a decrepit hotel. After his sickly mother (Lisa Eichhorn) is sent away for convalescence, his kid brother is packed off to stay with relatives, and his father (Jeroen Krabbe) hits the road as a traveling salesman, leaving Aaron to fend for himself.

The Grand Hotel-style network narrative provides a microcosm of those who live through such times. The film is full of wonderful moments of insight into the human condition. The cast includes Karen Allen, Adrian Brody, Elizabeth McGovern and Spaulding Gray.

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Pennies From Heaven (Original BBC version)-I’ve always preferred the original 1978 British television production of this to the Americanized theatrical version released several years afterwards. Written by Dennis Potter (The Singing Detective), it is rife with the usual Potter obsessions: sexual frustration, marital infidelity, religious guilt, shattered dreams and quiet desperation…broken up by the occasional, incongruous song and dance number.

Bob Hoskins is outstanding as a married traveling sheet music salesman in Depression-era England whose life takes interesting Potter-esque turns once he becomes smitten by a young rural schoolteacher (Cheryl Campbell) who lives with her widowed father and two extremely creepy brothers. Probably best described as a film noir musical.

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Sullivan’s Travels-A unique and amazingly deft mash-up of romantic screwball comedy, Hollywood satire, road movie and hard-hitting social drama that probably would not have worked so beautifully had not the great Preston Sturges been at the helm. Joel McCrea is pitch-perfect as a director of goofy populist comedies who yearns to make a “meaningful” film.

Racked with guilt about the comfortable bubble that his Hollywood success has afforded him and determined to learn firsthand how the other half lives, he decides to hit the road with no money in his pocket and “embed” himself as a railroad tramp (much to the chagrin of his handlers). He is joined along the way by an aspiring actress (Veronica Lake, in one of her best comic performances). His voluntary crash-course in “social realism” turns into more than he had bargained for.

Lake and McCrea have wonderful chemistry. The Coen Brothers borrowed the title of the fictional film within the film for their own unique take on the Depression, O Brother, Where Art Thou?

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They Shoot Horses, Don’t They? – “Yowsa, yowsa, yowsa!” This richly decadent allegory about the human condition (adapted from Horace McCoy’s novel) is one of the grimmest and most cynical films ever made. Director Sydney Pollack assembled a crack ensemble for this depiction of a Depression-era dance marathon from Hell: Jane Fonda, Gig Young (who snagged a Best Supporting Actor Oscar), Susannah York, Bruce Dern and Red Buttons are all outstanding; Pollack even coaxes the wooden Michael Sarrazin into his finest performance. The powerful ending is devastating and difficult to shake off.

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Thieves Like Us-This loose remake of Nicholas Ray’s 1949 film noir classic They Live by Night is the late Robert Altman’s most underrated film. It is often compared to Bonnie and Clyde, but stylistically speaking, the two films could not be farther apart. Altman’s tale of bank-robbing lovers on the lam (Keith Carradine and Shelley Duvall) is far less flashy and stylized, but ultimately more affecting thanks to a consistently naturalistic, elegiac tone throughout.

Carradine and Duvall really breathe life into their doomed couple; every moment of intimacy between them (not just sexual) feels warm, touching, and genuine-which gives the film real heart. Altman adapted the screenplay (with co-writers Joan Tewkesbury and Calder Willingham) from the same source novel (by Edward Anderson) that inspired Ray’s earlier film.

Up the workers: Made in Bangladesh (***) and a Top 10 list

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on September 5, 2020)

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“Repeat after me,” a union organizer directs a roomful of female garment workers in a key scene from writer-director Rubaiyat Hossain’s docu-drama Made in Bangladesh: “Worker’s rights are human rights… [And] women’s rights are human rights.” Through a First World lens this dialog may appear a bit heavy-handed, but the sad fact remains there are still places in this world where these truths are not necessarily held to be self-evident.

The central character is a headstrong 23 year-old named Shimu (Rikita Nandini Shimu). To avoid a forced child marriage, she fled her home village when she was a pre-teen and now lives in Dhaka with her husband of choice Reza (Shatabdi Wadud). Like many young women in the capital, Shimu has found gainful employment in the garment industry. That is not to say she has a dream job; in point of fact she works in a sweatshop.

In addition to putting up with the low wages, long hours, unsafe conditions and spotty overtime compensation Shimu and her fellow workers regularly face sexual harassment, workplace intimidation, and all the other systemic maladies of a patriarchal society. Still, it’s a paycheck; with her husband chronically unemployed, somebody has to pay the rent.

After an explosion and fire kills a fellow employee, Shimu is approached by an investigative journalist, who after hearing her account of working conditions steers her to a local union organizer (Shahana Goswami). Shimu embarks on a mission to unionize her factory. With obstacles at every turn (including at home) she has her work cut out for her.

While it is a familiar narrative (especially if you have seen Norma Rae, a film the director has cited as an inspiration, along with the real-life story of a woman named Daliya Akhter who is a factory worker and union leader) Hossain offers us a 21st Century feminist heroine who challenges the stereotype of the subservient Muslim woman and reminds us that the final chapter in the struggle for worker’s rights is yet to be written.

“Made in Bangladesh” is currently streaming via Virtual SIFF Cinema.

Speaking of worker’s rights, here are 10 more great films for Labor Day weekend:

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Blue Collar– Director Paul Schrader co-wrote this 1978 drama with his brother Leonard. Richard Pryor, Harvey Keitel and Yaphet Kotto portray Motor City auto worker buddies tired of getting the short end of the stick from both their employer and their union. In a fit of drunken pique, they pull an ill-advised caper that gets them in trouble with both parties, ultimately putting friendship and loyalty to the test.  Akin to Elia Kazan’s On the Waterfront, Schrader subverts the standard black-and-white “union good guy, company bad guy” trope with shades of gray, reminding us the road to Hell is sometimes paved with good intentions. Great score by Jack Nitzsche and Ry Cooder, with a memorable theme song featuring Captain Beefheart (“I’m jest a hard-woikin’, fucked-over man…”).

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El Norte – Gregory Nava’s portrait of Guatemalan siblings who make their way to the U.S. after their father is killed by a government death squad will stay with you after credits roll. The two leads deliver naturalistic performances as a brother and sister who maintain optimism, despite fate and circumstance thwarting them at every turn. Claustrophobes be warned: a harrowing scene featuring an encounter with a rat colony during an underground border crossing is nightmare fuel. Do not expect a Hollywood ending; this is an unblinking look at the shameful exploitation of undocumented workers.

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The Grapes of Wrath – I’m stymied for any hitherto unspoken superlatives to ladle onto John Ford’s powerful 1940 drama (adapted from John Steinbeck’s novel). Suffice it to say, this is the quintessential film about the struggle of America’s salt of the earth during the Great Depression. Perhaps we can take comfort in the possibility that no matter how bad things get, Henry Fonda’s unforgettable embodiment of Tom Joad will “…be there, all around, in the dark.” Ford followed up with the Oscar-winning How Green Was My Valley (1941) another drama about a working class family (set in a Welsh mining town).

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Harlan County, USA – Barbara Kopple’s award-winning film is not only an extraordinary document about an acrimonious coal miner’s strike in Harlan County, Kentucky in 1973, but is one of the best American documentaries ever made. Kopple’s film has everything that you look for in any great work of cinema: drama, conflict, suspense, and redemption. Kopple and crew are so deeply embedded that you may involuntarily duck during a harrowing scene where a company-hired thug fires a round directly toward the camera operator (it’s a wonder the filmmakers lived to tell this tale).

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Made in Dagenham – Based on a true story, this 2011 film stars the delightful Sally Hawkins as Rita O’Grady, a working mum employed at the Dagenham, England Ford plant in 1968. She worked in a run-down, segregated section of the plant where 187 female machinists toiled away for a fraction of what male employees were paid; the company justified the inequity by classifying female workers as “unskilled labor”.

Encouraged by her empathetic shop steward (Bob Hoskins), the initially reticent Rita finds her “voice” and surprises family, co-workers and herself with a formidable ability to rally the troops and affect real change. An engaging ensemble piece (directed by Nigel Cole and written by William Ivory) with a standout supporting performance by Miranda Richardson as a government minister.

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Matewan – This well-acted, handsomely mounted drama by John Sayles serves as a sobering reminder that much blood was spilled to lay the foundation for the labor laws we take for granted in the modern workplace. Based on a true story, it is set during the 1920s, in West Virginia. Chris Cooper plays an outsider labor organizer who becomes embroiled in a conflict between coal company thugs and fed up miners trying to unionize.

Sayles delivers a compelling narrative, rich in characterizations and steeped in verisimilitude (beautifully shot by Haskell Wexler). In addition to Cooper, you’ll recognize many Sayles regulars in this fine ensemble cast (David Strathairn, Mary McDonnel, et.al.). The film is also notable for a nicely curated Americana soundtrack.

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Modern Times – Charlie Chaplin’s 1936 masterpiece about man vs. automation has aged well. This probably has everything to do with his embodiment of the Everyman. Although referred to as his “last silent film”, it’s not 100% so. There’s no dialogue, but Chaplin finds ingenious ways to work in lines (via technological devices). His expert use of sound effects in this film is unparalleled, particularly in a classic sequence where Chaplin, a hapless assembly line worker, literally ends up “part of the machine”. Paulette Goddard (then Mrs. Chaplin) is on board for the pathos. Brilliant, hilarious and prescient.

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Norma Rae – Martin Ritt’s 1979 film about a minimum-wage textile worker (Sally Field) turned union activist helped launch what I refer to as the “Whistle-blowing Working Mom” genre (Silkwood, Erin Brockovich, etc). Field gives an outstanding performance (and deservedly picked up a Best Actress Oscar) as the eponymous heroine who gets fired up by a passionate labor organizer from NYC (Ron Leibman, in his best role). Inspiring and empowering, bolstered by a fine screenplay (by Irving Ravetch and Harriet Frank, Jr.) and a great supporting cast (including Beau Bridges, Pat Hingle and Barbara Baxley).

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On the Waterfront – “It wuz you, Chahlee.” The betrayal! And the pain. It’s all there on Marlon Brando’s face as he delivers one of the most oft-quoted monologues in cinema history. Brando leads an exemplary cast that includes Rod Steiger, Lee J. Cobb, Karl Malden and Eva Marie Saint in this absorbing portrait of a New York dock worker who takes a virtual one-man stand against a powerful and corrupt union official. The trifecta of Brando’s iconic performance, Elia Kazan’s direction, and Budd Schulberg’s well-constructed screenplay adds up to one of the finest American social dramas of the 1950s.

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Roger and Me – While our favorite lib’rul agitprop director has made a number of films addressing the travails of wage slaves and ever-appalling indifference of the corporate masters who grow fat off their labors, Michael Moore’s low-budget 1989 debut film remains his best (and is on the list of the top 25 highest-grossing docs of all time).

Moore may have not been the only resident of Flint, Michigan scratching his head over GM’s local plant shutdown in the midst of record profits for the company, but he was the one with the chutzpah (and a camera crew) to make a beeline straight to the top to demand an explanation. His target? GM’s chairman, Roger Smith. Does he bag him? Watch it and find out. An insightful portrait of working class America that, like most of his subsequent films, can be at once harrowing and hilarious, yet hopeful and humanistic.

Sing us out, Billy Bragg…

Blu-ray Reissue: Britannia Hospital (**1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 11, 2020)

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Britannia Hospital – Indicator Limited Edition (Region “B” locked)

This 1982 satire (a wild mashup of The Hospital, The Rocky Horror Picture Show and The Magic Christian) was the final third of iconoclastic UK writer-director Lindsay Anderson’s loosely-linked “Mick Travis” trilogy. Malcolm McDowell reprises his role as Travis, the protagonist of If…. (1968) and O Lucky Man! (1973).

Anderson’s satirical targets are less defined than in the previous two films, resulting in a broad take-down of everything from the U.K.’s National Health system to corporate culture, royalty, classism and ineffectual politicos. Still, it succeeds as a two-fingered salute to Thatcherism (considering the year it came out). Huge cast; many returning from the previous films. Weirdest casting: Mark Hamill!

Indicator’s Blu-ray is a limited edition (3,000 copies) and Region “B” locked (requires a region-free player). The high-definition remastering is pristine. I have not had a chance to plow through all the extras yet, but they are plentiful. There are newly produced interviews with several participants in the production, as well as a 117-minute 1991 interview with the late director (audio only) produced as part of The British History Project.

Same as it ever was: Capital in the Twenty-First Century (***½)

By Dennis Hartley

(Originally posted at Digby’s Hullabaloo on May 9, 2020)

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“There is no America. There is no democracy. There is only IBM, and ITT, and AT&T, and DuPont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. What do you think the Russians talk about in their councils of state, Karl Marx? They get out their linear programming charts, statistical decision theories, Minimax solutions, and compute the price-cost probabilities of their transactions and investments, just like we do. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale. It has been since man crawled out of the slime.”

― from Network, screenplay by Paddy Chayefsky

And thus spoke “Arthur Jensen”, CEO of fictional media conglomerate “CCA” in what is for me the most defining scene in director Sidney Lumet’s prescient 1976 satire. Jensen (wonderfully played by Ned Beatty) is calling “mad prophet of the airwaves” Howard Beale (Peter Finch) on the carpet for publicly exposing a potential buyout of CCA by shadowy Arab investors. Cognizant that Beale is crazy as a loon, yet a cash cow for the network, Jensen hands him a new set of stone tablets from which he is to preach (the corporate cosmology of Arthur Jensen). It is screenwriter Chayefsky’s finest monologue.

Recently, we’ve witnessed a President of the United States who is Tweeting and making public statements in TV interviews and press conferences (in a very “mad prophet of the airwaves” manner) that suggest he feels it’s more important right now in the midst of a still-raging pandemic to get everyone back to work than to save their lives. Because the economy. And per usual, Wall Street watches, waits and yawns while it gets a manicure.

You would almost think “someone” has handed the President a set of stone tablets from which he is to preach (akin to the corporate cosmology of Arthur Jensen). Or, at the very least-he opines from the perspective of someone borne of privilege and inherited wealth?

So how did the world become “…a college of corporations, inexorably determined by the immutable bylaws of business”? And come hell, high water, or killer virus, why is it that “Thou shalt rally the unwashed masses to selflessly do their part to protect the interests of the Too Big to Fail” (whether it’s corporations, the dynastic heirs of the 1% or the wealth management industry that feeds off of them) remains the most “immutable bylaw” of all?

It’s not like “the people” haven’t tried through history to level the playing field between the “haves” and the “have-nots”. Take, for example the French Revolution, which ultimately did not change the status quo, despite the initial “victory” of the citizenry over the power-hoarding aristocracy. As pointed out in Justin Pemberton’s documentary Capital in the Twenty-First Century, while there was initial optimism in the wake of the revolution that French society would default to an egalitarian model, it never really took.

Why? Because the architects of the revolution overlooked what is really needed to establish and maintain true equality: strong political institutions, an education system, health care (*sigh*), a transport system, and a tax system that targets the highest incomes.

Same as it ever was.

That, and financial inequality in general are the central themes in Pemberton’s ever-so-timely film, which is based on the eponymous best-seller by economist Thomas Piketty.

Cleverly interweaving pop culture references with insightful observations by Piketty and other economic experts, the film illustrates (in easy-to-digest terms) the cyclical nature of feudalism throughout history. Focusing mostly on the last 200 years or so, it connects the dots between significant events like the aforementioned French Revolution, the Industrial Revolution (which greatly expanded the boundaries of “capital” while driving an even deeper wedge between workers and factory owners), New World expansion (which spawned the slave trade), and the labor movements of the late 19th-to-early 20th Centuries.

While a lot of the historical review is disheartening, it is not all gloom and doom and “the system is rigged”. The film reminds us that there have been periods where egalitarian ideals have taken hold (the Roaring Twenties, FDR’s New Deal, the post-war rise of the middle-class). That said-1% of the world’s population still owns 70% of the land in 2020.

Will there ever come a time when economic equality “takes” for good? Maybe when an asteroid strikes the Earth and puts us all back on equal footing? My personal cynicism aside, Piketty and his fellow commentators do toss out possible scenarios that give you some hope; but frankly they all seem to be predicated on a wee bit of magical thinking.

Naturally, I was being facetious in the previous paragraph when I mentioned an asteroid striking the Earth. But history does indicate it takes some form of Great Equalizer to precipitate a shakeup in the status quo. As pointed out in the film, war is one example (WW 1 begat the Roaring Twenties, WW 2 begat the rise of the middle class, etc.). What about this pandemic? A killer virus doesn’t care whether you’re wearing a Bud-stained T-shirt or a Brioni suit; it’s just looking for the nearest warm body to attach itself to.

As the film was produced before Covid-19 shut down much of the world’s economy, it does not delve into the possibilities of a post-pandemic restructuring. As luck would have it though, a fitting postscript for my review presented itself the day after I screened the film when Thomas Piketty popped up as a guest on The Daily Social Distancing Show with Trevor Noah. Curiously, he was not there to promote the documentary, but did share some interesting thoughts on possible post-pandemic shifts in current economic models:

[Piketty] I think this is one of these crises we see that can really change people’s views about the world and how we should organize the economy. What we see at this stage is a big increase in inequality. […]

With this crisis right now, I think people are going to be asking for proof that we can also use this power of money creation and the Federal Reserve in order to invest in people; investing in hospitals, in public infrastructure, increasing wages for unskilled workers…all the low-wage and middle-wage people which we see today are necessary for our existence and our society.

In the longer run, of course we cannot just pay for everything with public debt and money creation…so we have to re-balance our tax system. […]

In the past three decades in America, we’ve seen a lot more billionaires; but we’ve seen a lot less growth. So in the end, the idea that you get prosperity out of inequality just didn’t work out. […]

[Noah] What do you think about the “worst case scenario”, then…if you live in a world where the inequality just keeps growing; the rich get richer and the poor get poorer, what do we inevitably get to?

[Piketty] Well to me the worst scenario is that some skilled politicians like Donald Trump, or [President of the National Front Party] Marie Le Pen in my country in France will use the frustration coming from wage and income stagnation and rising inequality in order to point out some foreign workers or “some people” [are] to blame. […] And this is what really worries me-that if we don’t change our discourses, if we don’t come up with another economic model that is more equitable, more sustainable…then, in effect we re-open the door for all this nationalist discourse.

Trevor had to go there with the “worst case scenario”. But that does not mean that is where we must end up. I am not an economic expert, nor pretend to have the answers to such questions. However, one quote from the film stuck with me: “This logic of one dollar, one vote is completely opposed to the democratic logic of one person, one vote.” I am not taking that one to the bank; I’ll be taking that one to the polls with me on November 3rd-with fingers crossed.

Capital in the Twenty-First Century is streaming through May 14 via Seattle’s Grand Illusion Cinema website . Proceeds are split to help support the theater during its current closure.

 

Five O’clock World: Working Man (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 2, 2020)

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“It is about a search, too, for daily meaning as well as daily bread, for recognition as well as cash, for astonishment rather than torpor; in short, for a sort of life rather than a Monday through Friday sort of dying. Perhaps immortality, too, is part of the quest. To be remembered was the wish, spoken and unspoken, of the heroes and heroines of this book.”

― Studs Terkel, Working: People Talk About What They Do All Day and How They Feel About What They Do

We live in interesting times. This past May Day marked a particularly “interesting” confluence of traditional historical commemoration with a cold and harsh “new reality”.

[from The Intercept]

An unprecedented coalition of workers from some of America’s largest companies will strike on [May 1]. Workers from Amazon, Instacart, Whole Foods, Walmart, Target, and FedEx are slated to walk out on work, citing what they say is their employers’ record profits at the expense of workers’ health and safety during the coronavirus pandemic.

The employees will call out sick or walk off the job during their lunch break, according to a press release set to be published by organizers on Wednesday. In some locations, rank-and-file union members will join workers outside their warehouses and storefronts to support the demonstrations.

“We are acting in conjunction with workers at Amazon, Target, Instacart and other companies for International Worker’s Day to show solidarity with other essential workers in our struggle for better protections and benefits in the pandemic,” said Daniel Steinbrook, a Whole Foods employee and strike organizer. […]

“These workers have been exploited so shamelessly for so long by these companies while performing incredibly important but largely invisible labor,” said Stephen Brier, a labor historian and professor at the CUNY School of Labor and Urban Studies. “All of a sudden, they’re deemed essential workers in a pandemic, giving them tremendous leverage and power if they organize collectively.”

And these are the folks who are “lucky” enough to still have a job during this unprecedented (albeit necessary) national lock-down. There are tens of millions of Americans who have been laid off or furloughed over the past 2 months currently wondering where they are going find the money to pay their rent, much less buy necessities and cover all their monthly bills.

“Insecurity cuts deeper and extends more widely than bare unemployment. Fear of loss of work, dread of the oncoming of old age, create anxiety and eat into self-respect in a way that impairs personal dignity.”

― John Dewey

Even during “normal” times, losing a job can be traumatic; especially for career employees in traditional blue-collar manufacturing jobs who get blindsided by unexpected factory shutdowns. Such is the lot of the Every Man protagonist in writer-director Robert Jury’s drama, Working Man (available on VOD beginning May 5).

His name is Allery Parkes (Peter Gerety, who you may recognize from HBO’s The Wire, as well as his more recent roles in Showtime’s Ray Donovan and City on a Hill). Allery has been working at the same factory most of his adult life, living quietly with his devoted wife Iola (Talia Shire) in a small (unidentified) rust belt town (maybe in Illinois).

As the film opens, Allery wearily un-crumples himself from his bed in the manner that weary elderly folks do. He goes through his morning ablutions, slaps together a Braunschweiger sandwich on white bread (no condiments), nods goodbye to his wife and dutifully sets off on his morning walk to work, armed with his thermos and his lunch pail.

Not unlike Allery himself, who not so much walks as waddles due to his time-worn hips, this is a town obviously on its last legs. Abandoned buildings abound, many adorned with “for lease by owner” signs. Allery works at a factory that manufactures plastic…widgets?

Whatever Allery and his co-workers are manufacturing, they will not be doing so much longer…the factory is closing, and this is to be their last shift. In fact, they are instructed to knock off early, line up for final paychecks, then sent off on their (not so) merry way. However, Allery is determined to finish out his full shift, to the chagrin of his supervisor-who nonetheless understands the gesture and lets Allery exit the stage with dignity intact.

Without giving too much away, suffice it to say that while the factory has shut down, Allery is not ready to rest on his laurels. One day (to the puzzlement and concern of his wife and neighbors) Allery sets off as he has for decades, thermos and lunch pail in hand.

What’s he up to? As this was the last operating factory in town…where is Allery headed?

For that matter, with 90 minutes more to fill-where is this story headed? I’m not telling.

The film meanders at times, but not fatally. There are shades of Gung Ho and The Full Monty (without dancing). Still, Jury’s film holds its own, thanks to strong and believable performances from Gerety, Shire and Billy Brown, and is nicely shot by DP Piero Basso.

The film’s uncanny timeliness gives it an additional shot in the arm. And for those who may currently find themselves in a situation like Allery’s, the film itself may deliver a shot in the arm that they could use right about now; perhaps a glimmer of hope that all is not lost, that this too shall soon pass …or at the very least, an affirmation of the dignity of work.

It can’t happen here: The Edge of Democracy (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 16, 2019)

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“That’s my man right there…love this guy…the most popular politician on Earth.”

 – President Obama in 2009, upon meeting then-Brazilian president Lula da Silva

“They say he’s the Donald Trump of South America…Do you believe that? And he’s happy with that. If he wasn’t, I wouldn’t like the country so much. But I like him.”

– President Trump in 2019, commenting on current Brazilian president Jair Bolsonaro

Politics ain’t beanbag (as the saying goes). It can be a nasty business. Latin American politics have a particular rep for volatility; historically an ever-simmering cauldron of violent coups, brutal dictatorships, revolving door regimes and social unrest. In my 2012 review of Lula: Son of Brazil, Fabio Barreto and Marcelo Santiago’s stirring yet frustrating biopic about the former president of Brazil Luis Inacio Lula da Silva I wrote:

[…] Luis Inacio Lula da Silva’s life journey from dirt-poor shoeshine boy to benevolent world leader (he served as president from 2003-2010) seems tailor-made for the screen, with the major players in his life plucked straight out of Central Casting […] You have the Strong Saintly Mother (Gloria Pires), the Drunken Abusive Father (Milhem Cortaz), and the Childhood Sweetheart (Clio Pires, pulling double duty as The Young Wife Who Dies Tragically). […]

 We watch Lula (played as an adult by Rui Ricardo Diaz) come of age; he graduates from a technical school, gets a factory job, loses a finger in a lathe mishap, and marries his childhood sweetheart. His first marriage ends tragically, after which he begins (at the encouragement of his brother and to the chagrin of his mother) to gravitate toward leftist politics. […]

 By the time he becomes a union official in the late 70s, he finds himself at loggerheads with the military-controlled government of the time. After officials identify him as one of the prime movers behind a series of major work strikes, he is arrested and jailed. After prison, the increasingly politicized Lula helps create Brazil’s progressive Worker’s Party in the early 80s, and then…and then…the film ends.

 Ay, there’s the rub, and the main reason why political junkies may find this slick, well-acted production inspiring on one hand, yet curiously unsatisfying on the other. […]

 I found myself  wondering “what happened next?!”, and asking questions like: What did he do to earn declaration as Brazil’s most beloved president, with an approval rating of 80.5% during the final months of his tenure? What inspired President Obama to greet him at the G20 summit with “That’s my man right there…love this guy…the most popular politician on Earth”? […]

The film left me hanging like a chad on a Florida ballot. But, as Fate would have it I was listening to Democracy Now while driving to work the other day (as progressive pinko NPR-listening Lefties often do) and lo and behold –I found out “what happened next”:

JUAN GONZÁLEZ: We begin today’s show in Brazil, where former President Luiz Inácio Lula da Silva was freed from prison Friday after 580 days behind bars. Lula’s surprise release came after the Brazilian Supreme Court ruled to end the mandatory imprisonment of people convicted of crimes who are still appealing their cases. Lula has vowed to challenge Brazil’s right-wing President Jair Bolsonaro in the 2022 elections. During a rally on Friday soon after his release, Lula warned about Bolsonaro’s ties to violent militias.

 LUIZ INÁCIO LULA DA SILVA: [translated] “Bolsonaro was democratically elected. We accept the result of the election. This guy has a mandate for four years. Now, he was elected to govern the Brazilian people, and not to govern the militia in Rio de Janeiro. … I want to build this country with the same happiness that we built it when we governed this country. My dream isn’t to solve my problems. Today I’m a guy that doesn’t have a job, a president without a pension, not even a television in my apartment. My life is totally blocked. The only thing I’m certain of is that I have more courage to fight than ever before.”

 AMY GOODMAN: Lula was serving a 12-year sentence over a disputed corruption and money laundering conviction handed down by conservative Judge Sérgio Moro, an ally of current far-right Brazilian President Jair Bolsonaro. After that, he became the justice minister. Lula has long maintained his innocence. Earlier this year, The Intercept revealed Moro aided prosecutors in their sweeping corruption investigation, known as Operation Car Wash, in an attempt to prevent Lula from running in 2018 election. This cleared the path for Bolsonaro’s victory. At the time of his imprisonment in April 2018, Lula was leading the presidential polls.

 Wow. If Lula pulls it off in 2022, it would be the political comeback story of the century. But that chapter is yet to be written. The current political reality in Brazil is somewhat tenuous, precipitated in part by the ascension of the aforementioned President Bolsonaro.

President …who? Here’s a refresher from the New York Times, dated March 19, 2019:

President Trump hosted Jair Bolsonaro, the Brazilian president, at the White House on Tuesday, and it was something like looking in the mirror.

 Like other authoritarian leaders Mr. Trump has embraced since taking office, Mr. Bolsonaro is an echo of the American president: a brash nationalist whose populist appeal comes partly from his use of Twitter and his history of making crude statements about women, gay people and indigenous groups.

 “They say he’s the Donald Trump of South America,” Mr. Trump marveled during a speech to the Farm Bureau in January, noting that Mr. Bolsonaro had been called the “Trump of the tropics” since taking office this year. “Do you believe that? And he’s happy with that. If he wasn’t, I wouldn’t like the country so much. But I like him.”

“Something” changed in Brazil’s sociopolitical sphere in the 8 years that elapsed between 2010, when the progressive populist Lula left the presidency with an unprecedented 80.5% approval rating, and 2018, when far-right candidate Bolsonaro won the election.

In her extraordinarily intimate documentary, The Edge of Democracy (now available on Netflix) Brazilian actress and filmmaker Petra Costa suggests there is something much more insidious at play in her country than a cyclical left-to-right shift. Costa’s film delves into the circumstances that led to the impeachment of former President Dilma Rousseff (Lula’s hand-picked successor) and Lula’s imprisonment (which began in April of 2018).

Costa begins with a recap of the military dictatorship in Brazil that began with a 1964 coup and effectively ended in 1989 with the first election of a president via popular vote in 29 years, then moves on to cover Lula’s 8-year tenure (2003-2010), which brought a great deal of positive social change in the country through various progressive programs.

However, the honeymoon began to sour during the presidency of Lula’s successor Dilma Rousseff. Elected in 2011, Rousseff (a former member of a leftist guerilla group that fought against the military dictatorship-which led to a 2-year imprisonment from 1970-1972 during which she endured torture) largely upheld the ideals of her predecessor, but was impeached and removed from office in 2016 as a result of the “Car Wash” scandal.

What separates this film from an informative but dry episode of Frontline is Costa’s deeply personal perspective. The 36-year-old director points out that she is approximately the same age as Brazil’s hard-won democracy, and makes no bones about the fact that her parents were passionate left-wing activists who openly railed against the dictatorship.

But the real coup for Costa (no pun intended) is the amazing accessibility she was given to President Rousseff and ex-President Lula during times of particularly high drama in their lives. This lends urgency and adds a “fly on the wall” element to the palace intrigue.

There is something Shakespearean about the rise and fall of the two leaders, which gives the film the feel of a byzantine political thriller. There is also a Kafkaesque element. In one scene, a visibly scandal-weary Rousseff candidly alludes to the protagonist in “The Trial” with a heavy sigh. “Do you really feel like ‘Josef K’?” someone asks. “Yes,” she replies with a sardonic chuckle, “I feel just like Josef K…but Josef K with an attorney.”

The film’s most dramatic moments derive from the footage Costa was able to get while she was essentially holed up for 3 days with Lula at a trade union hall while he vacillated over turning himself in. When Lula announces he is ready to face the music, a crowd of his supporters tries to stop him from doing so, forming a human blockade between him and the police outside the hall waiting to arrest him.

As you watch Lula give an impassioned speech to his supporters (many of them in tears) to explain his decision and reassure them everything will be fine, you understand why people are so drawn to him.

This is the most powerful documentary about South American politics since Patricio Guzman’s The Battle of Chile. It is also a cautionary tale; we have more in common with Brazil than you might think. As Costa observed in an interview on Democracy Now:

“…Brazil has the third-largest incarcerated population in the world. It’s a huge crisis, similar to the United States. And we need an urgent judiciary — like, prison reform and judiciary reform that will make our judiciary system more efficient. I think the mistake that many people fall into is thinking that constitutional rights can be abused to have a more efficient system. The danger with that is that today Lula’s constitutional rights can be abused, tomorrow mine, tomorrow yours. And where do we stand as a democracy?”

Where do WE stand as a democracy? As politicians say, “that’s an excellent question…”

SIFF 2019: Go Back to China (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 1, 2019)

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Writer-director Emily Ting’s family dramedy/fish-out-of-water story concerns a young woman (Anna Akana) living high off her trust fund in L.A. who gets cut off by her prosperous dad in China. If she wants back on the gravy train, he demands she must first come back to China for a year to work at his toy factory. Not groundbreaking-but all-in-all it’s an amiable, audience-pleasing charmer.

SIFF 2019: I Am Cuba (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 1, 2019)

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There is a tendency to dismiss this 1964 film about the Cuban revolution as Communist propaganda. Granted, it was produced with the full blessing of Castro’s regime, who partnered with the Soviet government to provide the funding for director Mikhail Kalatozov’s sprawling epic. Despite the dubious backers, the director was given a surprising amount of creative freedom.

On the surface, Kalatozov’s film is in point of fact a propagandist polemic; the narrative is divided into a quartet of rhetoric-infused vignettes about exploited workers, dirt-poor farmers, student activists, and rebel guerrilla fighters.

However it is also happens to be a visually intoxicating masterpiece that, despite accolades from critics over the decades, remains relatively obscure. The real stars of the film are the director and his technical crew, who will leave you pondering how they produced some of those jaw-dropping set pieces and logic-defying tracking shots!

Arriba, abajo: Roma (***)

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By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 5, 2019)

Alfonso Cuaron’s Roma (currently available on Netflix) is one of those contemporary arthouse flicks that has “A Compendium of Classic World Cinema” tattooed on its forehead (either that, or “I’ve Seen Too Many Goddamned Movies” is tattooed on mine).

For example, take the title, which recalls Fellini’s Roma (1972), his semi-autobiographical love letter to the city he lived in for years. Cuaron’s film is his semi-autobiographical love letter to the city he lived in for years; although in this case it refers not to Rome, Italy but to the eponymous neighborhood of Mexico City where he grew up.

The story centers on a young woman named Cleo (Yalitza Aparicio) who is employed as a maid for an upper middle-class family living in politically turbulent Mexico City during the early 1970s. There is another maid in the household named Adela (Nancy Garcia), but Cleo looks to be the de facto nanny, showing a close and loving bond with the 4 children.

The father (Fernando Grediaga) is a physician, who travels frequently due to his work. Or so it seems; when he takes an extended trip to Quebec on “business”, the worst fears of his wife Sofia (Marina de Tavira) are confirmed when she learns he’s decided to play house for keeps with his mistress (World Cinema Rule #142…there’s always a mistress).

As Sofia struggles with how she is going to gently break the news to her kids that daddy has split town on them because he is a cheating bastard, the family dynamic is further complicated when Cleo finds herself struggling with how she’s going to gently break the news to her employer that she is with child by her short-term boyfriend Fermin (Jorge Antonio Guerrero) who splits town on her faster than you can say “I think I’m pregnant.”

If the narrative is beginning to sound not dissimilar to a tawdry telenovela, you are very perceptive. Cuaron’s cliché-ridden script is not the film’s strongest suit. That said, the man knows how to set up a shot, and his eye is keen (Cuaron pulled cinematography duty here as well). In fact, his B&W photography is stunning enough to forgive a flimsy story.

Where Curaon excels here is in giving the viewer an immersive sense of time and place. There are several memorable set-pieces; most notably a scene wherein the children’s grandmother helps a very pregnant Cleo shop for a crib. That everyday mundanity may not make for riveting cinema, but the situation percolating in the street right in front of the store, which suddenly escalates and engulfs the women in a horrifying manner…does.

I’ll admit being a little late to the party on this film, which has popped up on a surprising number of critics’ “10 best” lists for 2018. I say “surprising” because it has had limited theatrical engagements since late November and has only been streaming on Netflix since December 14th (I stumbled across it quite by accident while scrolling through the network’s maddeningly unsearchable programming menu).

It has also been nominated for 3 Golden Globes: Best Foreign Language Film, Best Director, and Best Screenplay (as I have already discussed, I have to raise a Belushi eyebrow regarding that screenplay nom).

While many of my fellow critics have swooned mightily under its apparent spell, for me Roma is, alas, a mixed bag. Aparicio has a quietly charismatic screen presence and gives a fine, naturalistic performance as Cleo; although you wish she’d been given a little more to do with her substantial screen time beyond playing the quietly suffering, archetypal Noble Peasant.

Visually, it’s quite a beautiful film. And there is certainly nothing wrong with emulating and evoking the likes of Fellini, Kalatozov, Bertolucci, Antonioni, and other masters of world cinema. It’s just a bit of a disappointment from Curaon, who has given us some outstanding films like Y Tu Mama Tambien, Children of Men, and Gravity.