Movies – Page 12 – artdiamondblog.com

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.”

For the full story, see:

JOHN STRAUSBAUGH. "A Maverick Mogul, Proudly Politically Incorrect." The New York Times, Arts&Leisure Section (Sun., August 19, 2007): 11 & 12.

(Note: ellipses added.)

For more information on the documentaries of Halvorssen’s Moving Picture Institute, see:

http://www.thempi.org/

Poster for the movie "Mine Your Own Busines." Source for poster: http://billhobbs.com/myobposter.gif

Entrepreneurial Capitalism is the Good Kind

Source of book image: http://ec1.images-amazon.com/images/I/41WVH9PAR3L._SS500_.jpg

. . . capitalism as practiced in the U.S. is different from the capitalism practiced in, say, Singapore or Saudi Arabia. "Capitalism…takes many forms, which differ substantially…in their implications for economic growth and elimination of poverty," three economists write in "Good Capitalism, Bad Capitalism." The book identifies four strains of modern capitalism and argues the U.S. version is particularly well-suited to creating and exploiting innovations that boost living standards.

. . .

The book was written by William Baumol, an eclectic New York University economist impressively energetic at 85 years old; Carl Schramm, president and research director of the Kauffman Foundation and a recovering health economist and insurance executive; and Robert Litan, an economist-lawyer who was a budget and antitrust official in the Clinton administration. (Disclosure: I recently spoke at Kauffman’s Kansas City, Mo., headquarters.)

. . .

Along the way, the economists make a point often missed in the romanticism about "small business." They aren’t talking about all small businesses — the corner dry cleaner, for instance — or all the self-employed. Their entrepreneurs are entities that provide a new product or service or develop methods to produce or deliver existing goods and services at lower cost. . . .

It all sounds great — and compelling. A capitalism that cannot spur innovation and/or display flexibility to reorganize itself cannot be a model. In their book, though, the three touch too lightly on an issue about which Mr. Litan has written previously. As he puts it in an interview: "An entrepreneurial society is going to be more of a high-risk society."

The strengths of U.S.-style capitalism are apparent. No place in the past quarter century has better mixed the ingredients of talent, imagination, education, science and capital. But the risks are apparent, too: workers who lose jobs and find new ones that pay far less and lack health insurance, widening disparities between economic winners and losers, challenges posed by stiffening competition from low-wage, increasingly skilled workers abroad, and schools that aren’t improving as fast as the economy is changing.

Preserving the strengths of American capitalism requires finding a way to reduce the anxiety and harm posed by such risks without losing the entrepreneurial vigor. That’s the hard part.

For the full commentary/review, see:

DAVID WESSEL. "CAPITAL; By Capitalism’s Vigor May Hinge On Confronting Its Risks." The Wall Street Journal (Thurs., May 10, 2007): A2.

(Note: ellipses added.)

Helping Russians Remember the Truth About Communism

Some of the crew of Gruz 200, including the director Alexei Balabanov, who is second from the left. Source of the photo: online version of the WSJ article cited below.

(p. B1) The film is named "Gruz 200" (Cargo 200) after the zinc-lined coffins in which dead Soviet soldiers were shipped home from the 1979-89 war in Afghanistan. Messrs. Balabanov and Selyanov say they made the movie as an antidote to what they describe as rising nostalgia in Russia for the Soviet period.

"I show what filth we lived in," said Mr. Balabanov, a director sometimes described as Russia’s Quentin Tarantino. "Society was sick from 1917 onwards," he added, referring to the year the Bolsheviks took power.

The film — a graphically violent story of the sexual abuse of a teenage girl at the hands of a sadistic Soviet policeman — paints a relentlessly negative picture of a time that many Russians recall with warm nostalgia. The filmmakers hope to release the movie overseas but haven’t yet signed up a foreign distributor.

Russian President Vladimir Putin, who restored Russia’s Soviet-era national anthem, has called the 1991 collapse of the Soviet Union "the greatest geopolitical catastrophe of the 20th century," and polls show a majority of Russians regard the period as one of relative prosperity, stability and national pride.

. . .

(p. B2) Mr. Balabanov says "Gruz 200" is based on his own experiences while traveling across the Soviet Union in the 1980s, as well as on stories he heard second-hand.

Mr. Selyanov says he believes it is his "duty" to remind people of what the Soviet Union was really like and combat the rising warmth for the period. "We have to fight this nostalgia," the producer says.

But the film has been dogged by controversy since even before it opened. Mr. Balabanov says three prominent actors who had played in his previous films refused parts once they read the script. "They were scared," he said. The director was forced to use largely unknown actors.

. . .

Russian TV networks, controlled by the state, have balked at even late-night showings — critical to financial success for Russian movies.

"We don’t have the courage to put something like this on the air," said Vladimir Kulistikov, head of the No. 3 NTV network, in a statement.

For the full story, see:

ANDREW OSBORN. "From Russia, Without Love: New Movie Slams Soviet Union." The Wall Street Journal By (Thurs., June 21, 2007): B1 & B2.

(Note: ellipses added.)

The sadistic police captain is portrayed by Alexei Poluyan. Source of the photo: online version of the WSJ article cited above.

“I Couldn’t Write a Prescription for Antibiotics, Because There Were None”

"THE DOCTOR MIGHT BE IN Cubans young and old at a Havana clinic in 2004." Source of caption and photo: online version of the NYT article cited below.

CUBA works hard to jam American TV signals and keep out decadent Hollywood films. But it’s a good bet that Fidel Castro’s government will turn a blind eye to bootleg copies of “Sicko,” Michael Moore’s newest movie, if they show up on the streets of Havana.

“Sicko,” the talk of the Cannes Film Festival last week, savages the American health care system — and along the way extols Cuba’s system as the neatest thing since the white linen guayabera.

Mr. Moore transports a handful of sick Americans to Cuba for treatment in the course of the film, . . .

. . .

Universal health care has long given the Cuban regime bragging rights, though there is growing concern about the future. In the decades that Cuba drew financial and military support from the Soviet Union, Mr. Castro poured resources into medical education, creating the largest medical school in Latin America and turning out thousands of doctors to practice around the world.

But that changed after the collapse of the Soviets, according to Cuban defectors like Dr. Leonel Cordova. By the time Dr. Cordova started practicing in 1992, equipment and drugs were already becoming scarce. He said he was assigned to a four-block neighborhood in Havana Province where he was supposed to care for about 600 people.

“But even if I diagnosed something simple like bronchitis,” he said, “I couldn’t write a prescription for antibiotics, because there were none.”

He defected in 2000 while on a medical mission in Zimbabwe and made his way to the United States. He is now an urgent-care physician at Baptist Hospital in Miami.

Having practiced medicine in both Cuba and the United States, Dr. Cordova has an unusual perspective for comparison.

“Actually there are three systems,” Dr. Cordova said, because Cuba has two: one is for party officials and foreigners like those Mr. Moore brought to Havana. “It is as good as this one here, with all the resources, the best doctors, the best medicines, and nobody pays a cent,” he said.

But for the 11 million ordinary Cubans, hospitals are often ill equipped and patients “have to bring their own food, soap, sheets — they have to bring everything.” . . .

. . .

Until he had to have emergency surgery last year, Fidel Castro — who turned 80 this year — was considered a model of vibrant long life in Cuba. But it was only last week that he acknowledged in an open letter that his initial surgery by Cuban doctors had been botched. He did not confirm, however, that a specialist had been flown in from Spain last December to help set things right.

For the full commentary, see:

ANTHONY DePALMA. "‘Sicko,’ Castro and the ‘120 Years Club’." The New York Times, Section 4 (Sun., May 27, 2007): 3.

(Note: ellipses added.)

Fred Thompson Skewers Michael Moore with Wit and Wisdom

Mr. Moore was back from Cuba, where he made a documentary on the superiority of Castro’s health-care system. Mr. Thompson suggested Mr. Moore is just another lefty who loves dictators. Mr. Moore challenged Mr. Thompson to a health-care debate and accused him of smoking embargoed cigars. Within hours Mr. Thompson and his supposedly nonexistent staff had produced a spirited video response that flew through YouTube and the conservative blogosphere. Sitting at a desk and puffing on a fat cigar, Mr. Thompson announces to Mr. Moore he can’t fit him into his schedule. Then: "The next time you’re down in Cuba . . . you might ask them about another documentary maker. His name was Nicolás Guillén. He did something Castro didn’t like, and they put him in a mental institution for several years, giving him devastating electroshock treatments. A mental institution, Michael. Might be something you ought to think about."

You couldn’t quite tell if Mr. Thompson was telling Mr. Moore he ought to think more about Cuba, or might himself benefit from psychiatric treatment. It seemed almost . . . deliberately unclear.

PEGGY NOONAN. "DECLARATIONS; The Man Who Wasn’t There." The Wall Street Journal (Sat., May 19, 2007): P14.

(Note: ellipsis in original.)

See Fred Thompson’s response to Michael Moore on YouTube at:

http://www.youtube.com/watch?v=Ds_GhRxivOI

Source: screen capture from Fred Thompson’s response to Michael Moore at http://www.youtube.com/watch?v=Ds_GhRxivOI

Sometimes “A Strongly Worded Letter” Is in Order

The Titanic sinks. Source of drawing: http://commons.wikimedia.org/wiki/Image:St%C3%B6wer_Titanic.jpg

Here is one of my favorite lines from the "Titanic" movie. It is spoken by the hero, as the Titanic sinks:

Jack Dawson: I don’t know about you, but I intend to go write a strongly worded letter to the White Star Line about all this.

Source:

"Titanic" movie (1997), as recorded in: http://en.wikiquote.org/wiki/Titanic

To the Ultimate Luddites: “Build Coffins, That’s All You’ll Need”

Charlton Heston as Robert Neville, the last scientist on earth. Source of photo: http://datacore.sciflicks.com/the_omega_man/images/the_omega_man_large_09.jpg

In the 1970s, one of my favorite films was "The Omega Man" (1971) starring Charlton Heston as the doctor/scientist who was the last healthy man on earth. A plague had killed most of humanity, leaving a few in a demented "tertiary" condition. Heston as "Robert Neville" had developed a vaccine, but only had been able to test it on himself, as the world collapsed.

Those in the "tertiary" state had been organized by a former broadcast commentator named "Matthias" into the "family" whose goal it was to burn books, and destroy all remnants of science and technology.

At one point near the end, the family captures Neville, and as the family destroys Neville’s paintings, and laboratory, Matthias rants that Neville is the last scientist, the last remnant of the old world, and that all will be well when they have destroyed him. Then comes one of my favorite exchanges.

Matthias: Now we must build.

Robert Neville: Build coffins, that’s all you’ll need.

When I saw the movie again today (3/16/07) for the first time in decades, I was worried that I had built it up in my memory, and that the reality would be way disappointing.

I was relieved to see that the movie, though not perfect, was still plenty good enough.

The Case Against Gun Control

Venus Ramey shows how she balanced her pistol on her walker to shoot out the tires of an intruder on her farm. Source of photo: screen capture from CNN clip "Granny’s Packing Heat" as viewed on 4/23/07.

In the wake of the Virginia Tech killings, there have been some renewed calls for more gun control (see the WSJ and NYT articles cited way below). But we should not forget that a gun can also be a leveler; it gives the ordinary citizen a fighting chance against the thief and the murderer.

There was a great scene in the first Indiana Jones movie (Indiana Jones and the Temple of Doom, 1984) where Indy is being chased by a huge bad guy armed with swords. The crowd clears, and the the huge man confidently and ominously twirls his swords. Indy looks at him quizzically for a couple of seconds, pulls out a pistol, and shoots him.

When I first saw that scene, the theater erupted in laughter and applause.

Laughter and applause are also appropriate responses to the story of 82 year old, former Miss America, Venus Ramey:

Miss America 1944 has a talent that likely has never appeared on a beauty pageant stage: She fired a handgun to shoot out a vehicle’s tires and stop an intruder. Venus Ramey, 82, confronted a man on her farm in south-central Kentucky last week after she saw her dog run into a storage building where thieves had previously made off with old farm equipment.

Ramey said the man told her he would leave. "I said, ‘Oh, no you won’t,’ and I shot their tires so they couldn’t leave," Ramey said.

She had to balance on her walker as she pulled out a snub-nosed .38-caliber handgun.

"I didn’t even think twice. I just went and did it," she said. "If they’d even dared come close to me, they’d be 6 feet under by now."

For the full story, see:

Associated Press. "Armed Miss America 1944 Stops Intruder." Forbes.com Posted 04.21.07, 5:00 AM ET Downloaded on 4/23/07 from http://www.forbes.com/feeds/ap/2007/04/21/ap3637737.html

CNN has a great clip on this story, under the heading "Granny’s Packing Heat."

The WSJ article mentioned above, is:

VANESSA O’CONNELL, GARY FIELDS and DEAN TREFTZ. "Next Debate: Should Colleges Ban Firearms? The Wall Street Journal (Weds., April 18, 2007): B1 & B10.

The NYT article mentioned above, is:

LESLIE EATON and MICHAEL LUO. "Shooting Rekindles Issues of Gun Rights and Restrictions." The New York Times (Weds., April 18, 2007): A19.

“Work Hard at Work Worth Doing”

We went to see "The Bridge to Tarabithia" this afternoon (2/25/07), which I thought was a sad, but good, movie aimed at older children, but with enough plot and enough characters to care about, to be of interest to adults too.

I heard a quote in the movie that I liked and I don’t remember having heard before. It’s source was given as Teddy Roosevelt, who is not one of my favorite presidents, because of his efforts to increase the size and power of government. But he wasn’t all bad, and he sometimes spoke well:

Far and away the best prize that life offers is the chance to work hard at work worth doing.

Theodore Roosevelt, Speech in New York, September 7, 1903 [26th president of US (1858 – 1919)]

Source of quote, and information about quote: http://www.quotationspage.com/quote/2056.html

Hope for Film Version of Atlas Shrugged

Rand, Ruddy, Wallace, and Jolie. Source of photos: http://ustimes.us/ayn_rand_no_longer_has_script_approval.htm

(p. 9) BACK in the 1970s Albert S. Ruddy, the producer of ”The Godfather,” first approached Ayn Rand to make a movie of her novel ”Atlas Shrugged.” But Rand, who had fled the Soviet Union and gone on to inspire capitalists and egoists everywhere, worried aloud, apparently in all seriousness, that the Soviets might try to take over Paramount to block the project.

”I told her, ‘The Russians aren’t that desperate to wreck your book,’ ” Mr. Ruddy recalled in a recent interview.

Rand’s paranoia, as Mr. Ruddy remembers it, seems laughable. But perhaps it was merely misplaced. For so many people have tried and failed to turn the book she considered her masterpiece into a movie that it could easily strike a suspicious person as evidence of a nefarious collectivist conspiracy. Or at least of Hollywood’s mediocrity.

Of course Rand herself had a hand in blocking some of those attempts before she died in 1982. Her heirs in the Objectivist school of thought helped sink some others. And plans for at least a couple of television mini-series fell to the vicissitudes of network politics and media mergers.

But Rand’s grand polemical novel keeps selling, and her admirers in Hollywood keep trying, and the latest effort involves a lineup of heavy hitters, starting with Angelina Jolie. Randall Wallace, who wrote ”Braveheart” and ”We Were Soldiers,” is working on compressing the nearly 1,200-page book into a conventional two-hour screenplay. Howard and Karen Baldwin, the husband-and-wife producers of ”Ray,” are overseeing the project, and Lions Gate Entertainment is footing the bill.

Whether Ms. Jolie, who has called herself something of a Rand fan, will bring the novel’s heroine, Dagny Taggart, to life on screen, or merely wind up on a list with other actresses who sought or were sought for the role — including Barbara Stanwyck, Faye Dunaway, Raquel Welch, Farrah Fawcett and Sharon Stone — remains to be seen. Until now, at least, no one in Hollywood has figured out a formula that promises both to sell popcorn and to do justice to the original text, let alone to the philosophy that it hammers home endlessly, at times in lengthy speeches. (The final one is 60 pages long.)

But Mr. Baldwin said he believed that Mr. Wallace and the rest of their team were up to the task. ”We all believe in the book, and will be true to the book,” he said.

For the full story, see:

KIMBERLY BROWN. "FILM; Ayn Rand No Longer Has Script Approval." The New York Times, Section 2 (Sun., January 14, 2007): 9 & 14.

A 1957 photo of Rand in New York. Source of photo: http://www.iht.com/articles/2007/01/11/news/atlas.php

At Screen Actors Guild, Communists Threatened to Disfigure His Face

Source of book image: http://www.shopaim.org/assets/images/large/458i.jpg

There are better books on Reagan. But Bosch’s book has a few illuminating anecdotes. Here is one:

(p. 63) Reagan first learned about Communists and their intentions as a member of a Hollywood union, the Screen Actors Guild (SAG). He had been introduced to the Screen actors Guild by his wife Jane Wyman and had quickly risen to become a member of the Guild’s board. As a SAG Board member, and later as its president, he mediated a dispute between two rival unions. One of the unions, the Conference of Studio Unions (CSU), was led by a suspected Communist, Herb Sorrell.

. . .

(p. 64) Sorrell and Reagan went head to head. When Reagan crossed a picket line outside Warner Brothers, Sorrell called for a boycott of his movies. Reagan was called a fascist. An anonymous phone caller threatened to disfigure his face so he could never act again. He began to carry a gun and accepted police protection. He became an informant for the FBI

"These were eye-opening years for me," he later wrote. "Now I knew form first-hand experience how Communists used lies, deceit, violence, or any other tactic that suited them to advance the cause of Soviet expansionism."

Source:

Bosch, Adriana. Reagan: An American Story. TV Books Inc., 1998.