Movies – Page 12 – artdiamondblog.com

When Experts Picked California Wine Over French Wine

“Alan Rickman portrays Steven Spurrier, the British wine dealer who organized a famous blind wine tasting near Paris in 1976, in Randall Miller’s “Bottle Shock.”” Source of the caption and photo: online version of the WSJ article quoted and cited below.

Cultural pretension and conspicuous consumption are among the less admirable aspects of human behavior. So the blind wine tasting where California beat France, has always had appeal.
This, plus the inimitable Alan Rickman (aka Snape), put this movie on my “to see” list.

(p. B7) “Bottle Shock,” an easygoing little movie, made with more affection than skill, takes us back to the days when men wore loud plaid suits and people who were serious about wine sneered at the very mention of California. Sticking reasonably close to the historical record, the director, Randall Miller (who wrote the screenplay with his wife, Jody Savin, and Ross Schwartz), reconstructs a watershed moment in the wine world’s acceptance of the Golden State and, eventually, of many other non-French viticultural regions.

In 1976, at a gathering near Paris, a panel of experts conducted a blind tasting at which two California wines emerged victorious over their more pedigreed French competitors. That tasting provides the climax to “Bottle Shock,” and even if the potential surprise of its outcome were not already spoiled by history, the movie’s adherence to the clichés of the triumph-of-the-underdog narrative would be enough to remove any doubt.
There are, indeed, at least two underdogs hungering for triumph. The first is Steven Spurrier, played by Alan Rickman, whose parched low voice and air of beleaguered pomposity are never unwelcome.

For the full review, see:
A. O. SCOTT. “Plaid Suits, Prize Grapes and the Rise of Napa.” The New York Times (Weds., August 6, 2008): B7.

“The Whole Point of Camp is to Dethrone the Serious”

(p. W1) The 2000 film “Billy Elliot” was a surprise hit. It’s an absorbing drama about personal transformation and the power of art to ennoble the human spirit. “Billy Elliot: The Musical” — the noise is supplied by Sir Elton John — is a depressing spectacle about partisan politics and the ephemeral power of schlock.
. . .
The musical, a campy, anticapitalist confection, is just one of the latest prepackaged exercises in “transgression.” Maybe it’s “Corpus Christi,” Terrence McNally’s play about a gay Jesus Christ. Maybe it’s “The Goat,” Edward Albee’s play celebrating bestiality, or a production (p. W4) of “The Flying Dutchman” in which the heroine sports posters of Che Guevara and Martin Luther King on her bedroom wall. The point about these unpleasant offerings is not how outrageous but how common they are.
. . .
In the film, there was one extended reference to Margaret Thatcher. Mrs. Wilkinson’s middle-class drink-sodden husband (tellingly made “redundant” — that is, laid off) praises the prime minister for showing down the miners. He is hardly a sympathetic figure, but he had a point: If it costs more money to get the coal out of the ground then you make from selling it, why keep the pit open?
If there were truth in advertising, the musical would have been called “Billy Elliot, The Musical, Featuring Margaret Thatcher as the Incarnation of Evil.” She is roundly abused by several characters in the opening scenes, is the object of casual calumny throughout the show, and features in a Christmas children’s song — replete with gigantic scary Thatcher masks and puppets — whose refrain is “Merry Christmas, Maggie Thatcher. We all celebrate today because it’s one day closer to your death.” Nice stuff, eh?
In one sense, “Billy Elliot: The Musical” represents a growth enterprise. Everywhere you turn these days, you are met not only with celebrations of the vulgar but also entertainments that pretend to be brave, challenging “interrogations” of established taste which in fact are simply reflections of established taste. The little sermons about Thatcher and capitalism and bigotry are presented as if they were fresh thoughts designed to disturb the dogmatic slumbers of the audience. In fact, they simply reinforce the left-liberal clichés audiences everywhere internalized decades ago. It’s an odd phenomenon. In theaters and museums across the Western world you find audiences applauding sentiments that, were they translated into the real world, would spell their demise.
Perhaps it’s an instance of what Lenin was talking about when he said that the bourgeoisie was so rotten that it would sell the rope with which it was to be hanged. The matinee I attended was packed to the last emergency exit with a cheery crowd of nice, middle-class folks who cheered and clapped and whistled and bravoed.
. . .
The impressive thing about “Billy Elliot” the film is its dramatic enactment of serious questions. “Billy Elliot: The Musical” spoofs and sentimentalizes those questions, replacing them with a series of political sermons and distracting gymnastic exhibitions. In 1964, Susan Sontag famously said that the “ultimate Camp statement” was “It’s good because it’s awful.” Sontag wrote as an enthusiast for Camp. I have no doubt that she would have emerged happy from “Billy Elliot: The Musical.” “The whole point of Camp,” she wrote, “is to dethrone the serious.”

For the full commentary, see:
ROGER KIMBALL. “Culture; A Clumsy Mix of Art and Politics; Broadway turns subtle themes into simplistic fare in shows like ‘Billy Elliot’.” Wall Street Journal (Sat., DECEMBER 13, 2008): W1 & W4.
(Note: ellipses added.)

I Was Wrong: Apparently the U.S. Auto Industry Does Have a Prayer

“PRAYING FOR A MIRACLE. S.U.V.’s sat on the altar of Greater Grace Temple, a Pentecostal church in Detroit, as congregants prayed to save the auto industry.” Source of the caption and photo: online version of the NYT article quoted and cited below.

The process of creative destruction, requires that failed businesses be allowed to fail, so that the resources (labor and capital) devoted to the failed businesses, can be devoted to more productive uses.
The Danny DeVito character in “Other People’s Money” makes this point in a speech near the end, in which he says that the Gregory Peck character has just delivered a “prayer for the dead” in calling for continued support for a dead business that is technologically obsolete.
On a more personal level, we have always bought cars from Honda and Toyota, because we sincerely believe that they build better cars than Detroit does. By what right does the government force taxpayers to prop up companies whose products have been rejected in the marketplace?
When the economic and moral arguments for bailout fail, all that is left for a failed industry is prayer (and politics)—one more reason to believe that the opportunity cost of prayer, is high.

(p. A19) DETROIT — The Sunday service at Greater Grace Temple began with the Clark Sisters song “I’m Looking for a Miracle” and included a reading of this verse from the Book of Romans: “I consider that our present sufferings are not worth comparing with the glory that will be revealed in us.”

Pentecostal Bishop Charles H. Ellis III, who shared the sanctuary’s wide altar with three gleaming sport utility vehicles, closed his sermon by leading the choir and congregants in a boisterous rendition of the gospel singer Myrna Summers’s “We’re Gonna Make It” as hundreds of worshipers who work in the automotive industry — union assemblers, executives, car salesmen — gathered six deep around the altar to have their foreheads anointed with consecrated oil.

While Congress debated aid to the foundering Detroit automakers Sunday, many here whose future hinges on the decision turned to prayer.

Outside the Corpus Christi Catholic Church, a sign beckoned passers-by inside to hear about “God’s bailout plan.”

For the full story, see:
NICK BUNKLEY. “Detroit Churches Pray for ‘God’s Bailout’.” The New York Times (Mon., December 8, 2008): A19.
(Note: The photo of the top appeared on p. A1 of the print edition of the December 8, 2008 NYT; also, the online version of the article has a date of Dec. 7 instead of the Dec. 8 date of the print version.)

“Worshipers at Greater Grace Temple, a Pentecostal church in Detroit, prayed on Sunday for an automobile industry miracle.” Source of the caption and photo: online version of the NYT article quoted and cited above.

George W. Bush: The Real Dark Knight

The movie version of the Dark Knight. Source of photo: online version of the WSJ commentary quoted below.

(p. A15) A cry for help goes out from a city beleaguered by violence and fear: A beam of light flashed into the night sky, the dark symbol of a bat projected onto the surface of the racing clouds . . .
Oh, wait a minute. That’s not a bat, actually. In fact, when you trace the outline with your finger, it looks kind of like . . . a “W.”
There seems to me no question that the Batman film “The Dark Knight,” currently breaking every box office record in history, is at some level a paean of praise to the fortitude and moral courage that has been shown by George W. Bush in this time of terror and war. Like W, Batman is vilified and despised for confronting terrorists in the only terms they understand. Like W, Batman sometimes has to push the boundaries of civil rights to deal with an emergency, certain that he will re-establish those boundaries when the emergency is past.
And like W, Batman understands that there is no moral equivalence between a free society — in which people sometimes make the wrong choices — and a criminal sect bent on destruction. The former must be cherished even in its moments of folly; the latter must be hounded to the gates of Hell.

For the full commentary, see:
ANDREW KLAVAN. “What Bush and Batman Have in Common.” The Wall Street Journal (Fri., July 25, 2008): A15.
(Note: ellipses in original.)

At Pixar, “Storytelling is More Important Than Graphics”

Source of book image:
http://bp2.blogger.com/_Sar8IPNlxOY/SClPS33oTxI/AAAAAAAAB_0/B8GjajHtetY/s1600/PixarTouch.jpg

(p. A19) One of Mr. Catmull’s other inspirations was to hire computer animator John Lasseter after he was fired by Walt Disney Co. in 1983. (He had apparently stepped on one too many toes in the company’s sprawling management structure.) Then again, as Mr. Price reports, in the world of computer animators, workplace comings and goings seemed to be part of the job. Mr. Lasseter himself had already quit Disney and then returned before being fired. In the creative ferment of computer animation in the late 1970s and early 1980s, what mattered most was the work itself: Never mind who signs the paychecks – what project are you working on now?
. . .
One of Pixar’s first projects revealed a truth that would point the way to success: Storytelling is more important than graphics firepower. The company created a short film, directed by Mr. Lasseter, called “Tin Toy,” about a mechanical one-man band fleeing the terrors of a baby who wants to play with it. “Tin Toy” made audiences laugh in part because it turned established themes on their heads. The story was told from the toy’s-eye view, close to the floor. The baby, doing what babies do, seemed like a gigantic, capricious monster. “Tin Toy” won the 1988 Academy Award for animated short film.
The upside-down “Tin Toy” point of view seems to fit much of what happened at Pixar afterward. The company made a deal with Disney in 1991: The little animation outfit would produce three movies, and the entertainment behemoth would distribute and market them. With the outsize success of the first movie in the deal, “Toy Story” – it grossed $355 million world-wide – Pixar and Disney were perhaps on an inevitable collision course over control and profits. Mr. Price adroitly depicts the clashes between Mr. Jobs and his nemesis at Disney, chief executive Michael Eisner, and captures the sweet vindication of Mr. Lasseter as the projects he guides outstrip the animation efforts of his former employer.
The sweetest moment in the Pixar saga came two years ago, when Disney bought the company for $7.4 billion in an all-stock deal – one that gave Pixar executives enormous power at their new home. Mr. Jobs sits on the Disney board and is the company’s largest shareholder. (Mr. Eisner left in 2005.) And Mr. Lasseter became the chief creative officer for the combined Disney and Pixar animation studios, where Mr. Catmull serves as president.
The day after the sale was announced, Mr. Lasseter and Mr. Catmull flew to Burbank, Calif., to address a crowd of about 500 animation staffers on a Disney soundstage. “Applause built as they made their way to the front,” Mr. Price reports, “and then erupted again in force” when the two men were introduced. “Lasseter was welcomed as a rescuer of the studio from which he had been fired some twenty-two years before.” In one of their first moves, Mr. Price says, Messrs. Lasseter and Catmull “brought back a handful of Disney animation standouts who had only recently been laid off.” Redemption, after all, is essential to any story well told.

For the full review, see:

PAUL BOUTIN. “Bookshelf, An Industry Gets Animated.” The Wall Street Journal (Weds., May 14, 2008): A19.
(Note: ellipsis added.)

Blacklisting of Voight Urged in Display of Liberal Hollywood McCarthyism

Source of the images: screen captures from the CNN report cited below.

With self-righteous indignation, the left often accuses the right of “McCarthyism.”
But many on the left are happy to limit free speech when what is spoken is not to their liking.
Jon Voight’s column in the Washington Times has ignited a firestorm, and caused at least one Hollywood insider to openly advocate blacklisting Voight from the movie business. The CNN story cited and linked below, gives some of the details.
Unfortunately, this is not an isolated example.
On our campuses, free speech is often violated if the speaker speaks what is not politically correct. For many examples, see some of the cases discussed on the web site of the Foundation for Individual Rights in Education.
Another example is from my own personal experience as a young scholar many decades ago. I had applied to three or four top PhD programs in philosophy and was initially rejected from every one of them, even though I had a nearly perfect GPA, and very high test scores.
I was especially surprised by the rejection from Chicago, because an Associate Dean had visited the Wabash campus the year before and talked with me about applying to Chicago. He had looked at my record and said, ‘with your record, if you score X, or above on the GREs, it is almost certain that you will be accepted.’ (I don’t remember the exact number he said.) Well I scored above X, but was rejected. So I wrote to the Associate Dean, saying I was disappointed and asking if he had any insight about the rejection. He told me that he was dumbfounded and that he would look into it.
Awhile later, I received a letter reversing the decision of the University of Chicago Department of Philosophy. I never learned all the details, but apparently the Dean of Humanities had over-ruled the Department of Philosophy. (This is fairly unusual in academics, and though I do not remember her name, I salute that Dean for taking a stand.)
Years later, the episode came up in a conversation with a member of the philosophy faculty. He said that he had been on the admissions committee the year that I had applied, and that I had been rejected because I had mentioned Ayn Rand in my essay about how I had become interested in philosophy.

For some of the details of the Voight story, see:
Wynter, Kareen. “Bloggers Fire Back at Voight.” CNN Feature, broadcast on CNN, and posted on CNN.com on 8/8/08. Downloaded on 8/8/08 from: http://www.cnn.com/video/?iref=videoglobal
(Note: the clip runs 2 minutes and 27 seconds.)

Voight’s op-ed piece ran in the Washington Times on July 28, 2008 under the title “My Concerns for America” and can be viewed at: http://www.washingtontimes.com/news/2008/jul/28/voight/

Paternalistic Doctors With Way Too Much Time on Their Hands

(p. C6) The American Medical Association is hulking mad at Marvel Studios.
Last week, the advocacy arm of the powerful physicians’ group unleashed a tsk-tsk campaign against “The Incredible Hulk,” a Marvel film that opened on Friday and is distributed by Universal Pictures. The complaint was of “gratuitous depictions of smoking.”
In the movie, which drew a PG-13 rating from the Motion Picture Association of America, Gen. Thunderbolt Ross, a bad guy played by William Hurt, is rarely seen without a smoke-spewing cigar. (Presumably, the physicians’ association worries that children who identify with the authoritarian general — who wants to annihilate the Hulk, played by Edward Norton — may be tempted to pick up the habit.)

For the full story, see:
BROOKS BARNES. “Physicians’ Group Furious at Cigars in ‘Hulk’ Movie.” The New York Times (Mon., June 16, 2008): C6.

Sir Laurence Olivier Got Mad at Those Who Ridiculed Charlton Heston’s Acting

(p. 5go!) “In 1985, I took a train to London from Royal Air Force Mildenhall (Base) with a couple of med techs and decided to check out some of the plays,” Brodston recalled in his e-mail.
His theater date was a native Briton who had joined the U.S. Air Force.
“We came upon a play that had Charlton Heston in it, ‘The Caine Mutiny Court Martial,'” Brodston remembered. “We couldn’t afford the tickets, so they put us on the ‘king’s cuff’ (standby tickets for students and servicemen).”
Just as the house lights were dimming, an older woman led Brodston and his companion up the steps to a private box because no one had claimed the seats.
“Be quiet and don’t tell anyone,” she furtively whispered because she wasn’t supposed to give away box seats that normally fetch up to $300 each.
Two minutes into the play, the door at the rear of the box opened, and two people sat behind them. Engrossed in the play, Brodston and friend paid little attention.
“At intermission, we looked up and saw Lord Laurence Olivier and his wife, Joan Plowright, sitting behind us!”
. . .
In 1999, Brodston crossed paths with Plowright in New York, and she remembered the night they shared a box at the London theater.
“Larry used to get mad when people made fun of Chuck’s acting,” Plowright told Brodston. “He loved Chuck in ‘Ben Hur’ and that silly ape movie (‘Planet of the Apes’). He and the children would watch those movies again and again.”

For the full commentary, see:
BOB FISCHBACH. “Bob’s Take on Cinema: A night of fine theater with Chuck, Larry.” Omaha World-Herald (Thursday, June 12, 2008): 5go!.
(Note: ellipsis added.)

Will Smith’s ‘I Am Legend’ Performance Earns the Academy Award that Matters

Will Smith in I Am Legend. Source of photo: http://blogs.bet.com/news/newsyoushouldknow/?p=1398

Will Smith’s remake of Charleton Heston’s The Omega Man, is a pretty good movie. It shows a lone scientist struggling to cure a terrible disease in a world where he has lost almost everything that he valued. The Will Smith character exemplifies the motto of the marines: semper fi.
But I think I still like the Heston version a bit better, even though its special effects are dated, and Heston may have been a bit old for the role.
Why, then? After some thought, I think there is one main reason I like the Heston version better: the villains in The Omega Man, have ideas, while the villains in I Am Legend are subhuman, idealess vampires. The battle of good against evil in The Omega Man is both physical and intellectual, and that makes it easier to care more deeply about the outcome.
Still, I Am Legend is a good movie, showing a heroic man’s lonely struggle to remain true to his mission.
(And his canine companion should have received some sort of award too.)

(p. 2E) West Point, N.Y. (AP) — Will Smith wasn’t nominated for an Oscar this year, but his role in “I Am Legend” has earned a different “academy” award — from the cadets at the U.S. Military Academy.
Smith was named the first winner of the Cadet Choice Movie Award, designed to honor the character that best personifies West Point leadership qualities on the silver screen.

For the full story, see:
“People; Cadets vote Will Smith a winner.” Omaha World-Herald (Mon., Feb. 25, 2008): 2E.

Creative Destruction in the Film Industry

(p. B1) While film still is central in big Hollywood features, it’s unclear how long it will be before even the biggest feature movies go all- digital. The buzz in technical movie-making circles these days involves the two-month-old, ultra-high-resolution digital Red camera. Boosters say it looks nearly as good as 35mm film — and costs around $30,000, or about the same as renting a 35mm camera for 10 days.
Thanks to cheap computers, a similar sort of creative destruction is happening everywhere in the industry. Color adjustment used to require expensive oscilloscope-like monitors. It first moved to specialized — and expensive — software, but lately it’s done with relatively low- cost (say, $200) “plug-ins” by companies like Red Giant Software.

For the full story, see:
Lee Gomes. “Editing on Big Films Is Now Being Done On Small Computers.” Wall Street Journal (Weds., Oct. 24, 2007): B1.

Thor Halvorssen Produces Documentaries that Defend Human Rights

"Thor Halvorssen at his office in the Empire State Building." Source of caption and photo: online version of the NYT article quoted and cited below.

(p. 11) Since 2005, having already founded two nonprofit organizations focused on free speech and human-rights issues, Mr. Halvorssen has made the movie business part of his portfolio of controversy-stirring efforts. Established with a small amount of his money, his nonprofit Moving Picture Institute has raised about $1.5 million in donations to date to pay for, promote and seek distribution for documentary films.

At a time when the most successful documentaries on political or social issues all seem to be anti-corporate, anti-Bush, pro-environmentalist and left-leaning, the Moving Picture Institute has backed pro-business, anti-Communist and even anti-environmentalist ones. The latest, “Indoctrinate U,” follows the first-time filmmaker Evan Coyne Maloney as he turns Michael Moore’s guerrilla interview tactics on their head to address what he sees as political correctness on campus. In one scene, Mr. Maloney strolls into the women’s studies centers on several campuses and, playing innocent, asks directions to the men’s studies center. He is met with genuine bafflement, derisive laughs or icy hostility.

To Mr. Halvorssen his new role as a fledgling movie mogul dovetails perfectly with his other activities. “Pop culture has (p. 12) the power to be transformational culture,” he said. “A film can reach a lot more people than a white paper. You could think of the film as a trailer for the white paper.”

He paused, then said, “Put it this way: What ‘Sideways’ did for pinot noir, I want to do for freedom.”

. . .

His upbringing helped make a self-described “classical liberal” rather than a conservative, big on free markets and individual liberties, and convinced that “government is not your friend most of the time,” he said. “And I abhor fascism, whether it’s socialist or National Socialist.”

. . .

“The Sugar Babies,” a documentary by Amy Serrano that Mr. Halvorssen helped produce, takes on the issue human trafficking of Haitian workers on sugar plantations in the Dominican Republic. A screening at Florida International University in June erupted into what local press described as “a near riot” between Dominican and Haitian audience members.

Other documentaries championed by the Motion Picture Institute include “Hammer & Tickle,” a lighthearted look at the subversive jokes Soviet citizens told about their leaders.

And Mr. Halvorssen was a co-producer of “Freedom’s Fury,” narrated by Olympic swimmer Mark Spitz, which describes the role Hungary’s Olympic water polo team played in that nation’s 1956 uprising against its Soviet occupiers.

No doubt the most contentious film on the Motion Picture Institute roster so far is ”Mine Your Own Business,” billed as ”the world’s first anti-environmentalist documentary.” Phelim McAleer, an Irish journalist who received a fellowship from the Motion Picture Institute, traveled to Romania, Madagascar and Chile, where international environmental groups oppose planned mining operations. His film — financed by Gabriel Resources, a Canadian mining company — portrays environmentalists as condescending elitists while impoverished locals insist they would welcome the jobs and development the mines would bring.

. . .

Mr. Halvorssen speaks of a ”YouTube revolution” with the Internet, along with on-demand cable and satellite television, freeing independent filmmakers from Hollywood dominance.

Ultimately, he added, he hopes that ”exploiting technology, marketing and alternative distribution will transform human rights, making it inspiring and even sexy.”