Category: Movies

Did Robbie Fail to Be Oscar-Nominated for Barbie Due to a Powerful Patriarchy, or Might It Be Random, or Even Based on Merit?

(p. A24) And now there is a new Barbie cause to rally around: the Great Oscar Snub and what it all means — and why it is wrong. Neither Margot Robbie nor Greta Gerwig was nominated for her most prominent role: best actress or best director, respectively.

. . .

But hold on. Didn’t another woman, Justine Triet, get nominated for best director (for “Anatomy of a Fall”)? As for “Barbie,” didn’t Gerwig herself get nominated for best adapted screenplay and the always sublime America Ferrera get nominated for best supporting actress? A record three of the best picture nominees were directed by women. It’s not as if women were shut out.

Every time a woman fails to win an accolade doesn’t mean failure for womanhood. Surely women aren’t so pitiable as to need a participation certificate every time we try. We’re well beyond the point where a female artist can’t be criticized on the merits and can’t be expected to handle it as well as any man. (Which means it still hurts like hell for either sex — but not because of their sex.)

For the full commentary, see:

Pamela Paul. “‘Barbie’ Is Bad. There, I Said It.” The New York Times (Friday, January 26, 2024): A24.

(Note: ellipsis added.)

(Note: the online version of the commentary has the date Jan. 24, 2024, and has the same title as the print version.)

Cancel Culture Makes It Tougher to Be “Intellectually Interesting”

(p. B6) John Cleese is “not bothered about getting cancelled.”

. . . while he is too “old” and established to worry about it, he admitted if he was just starting his career he’d be more hesitant about his writing.

. . .

“Cancel culture tends to make people less broad in their thinking, more literal-minded. It is tougher to make funny — or intellectually interesting — associations.

When The Life of Brian was released in 1979, the Monty Python troupe faced calls for it to be banned or censored, and John, 84, thinks they were “early targets” of cancel culture.

For the full story, see:

Bang Showbiz. “Cleese ‘Too Old’ to Worry about Being Canceled.” Omaha World-Herald (Thursday, Nov. 2, 2023): B6.

(Note: ellipses added.)

Disabled Civil Rights Leader Removed from Audience of “The Color Purple” Because the Chair He Brought Fails to Comply with the Americans with Disabilities Act

Presumably the Reverend William J. Barber II knows what chair designs reduce the chronic pain he feels from the ankylosing spondylitis he has endured “for almost 40 years.” He has what Hayek called “local knowledge” that is not possessed by the government legislators and enforcers of the Americans with Disabilities Act. Regulations keep individuals from using their local knowledge, with results that can be outrageously unfair.

(p. A15) AMC Theaters has apologized to the Rev. William J. Barber II, a civil rights leader, after he was escorted from a Greenville, N.C., theater after employees refused to allow him to use a chair he needs to manage a painful medical condition, he said.

Mr. Barber, 60, was attending a Tuesday afternoon screening of “The Color Purple” with his mother, Eleanor Barber, 90. He said he tried to use the chair, which an assistant carried for him, by placing it in an area reserved for handicapped seating, saying he had done so before in theaters, at Broadway plays and even on a visit to the White House.

He said a theater employee told him that he would not be able to use the chair, which looks like a small stool, because it did not comply with guidelines in the Americans with Disabilities Act.

. . .

Mr. Barber has a condition called ankylosing spondylitis, and walks slowly with the aid of a cane. He said the disease attacks his joints “like a guided missile” and has forced him to live with chronic pain for almost 40 years. “I describe it like that because it’s a war to live with it,” he said.

He added that people with disabilities often fight invisible battles that can be difficult for people not living with disabilities to understand.

For the full story, see:

Clyde McGrady. “Rights Leader Gets Apology For Removal From Theater.” The New York Times (Saturday, December 30, 2023): A15.

(Note: ellipsis added.)

(Note: the online version of the story has the date Dec. 28, 2023, and has the title “AMC Theaters Apologizes to Civil Rights Leader Removed From Movie Theater.”)

Communists Extinguish Hong Kong’s “Brash Flash”

(p. 8) It was never just about the neon, that Cubist, consumerist razzle-dazzle cantilevered over Hong Kong’s streets announcing pawnbrokers and mooncake bakers, saunas and shark’s fin soup shops.

. . .

Because while the government’s crackdown on the neon signs stems from safety and environmental concerns, the campaign evokes the fading of Hong Kong itself: the mournful allegory for an electric city’s decline, the literal extinguishing of its brash flash.

Nights in Hong Kong these days feel as if still in the pall of a plague, or a deep political malaise.

Many of the tourists and resident foreigners are gone, the old party spots unsullied by their beer-guzzling excess.

Hong Kongers have left, too. More than 110,000 permanent residents departed last year, and the city’s population of those worth more than $30 million shrank by 23 percent, according to government and wealth survey data.

Their departure, a quarter-century after the territory reverted from British to Chinese rule, has been spurred by the territory’s economic decline and by an acute diminishment of political rights.

. . .

A national security law, imposed in 2020, criminalizes acts considered threatening to the state. Students, former legislators and a former media mogul sit in prison because of it.

. . .

The Hong Kong filmmaker Anastasia Tsang’s directorial debut, “A Light Never Goes Out,” is about a family coping with the death of a neon sign maker. The film, Hong Kong’s submission for next year’s Oscars, is an elegy for a disappearing craft that could also be a requiem for something larger.

“Hong Kong people have a very strong feeling of loss,” Ms. Tsang said. “Every day you’ve got a friend or relative who’s going to emigrate. Every day you feel like some part of your flesh is being taken from your skeleton.”

For the full story, see:

Hannah Beech. “A City Where a Lot More Than Neon Is Fading Out.” The New York Times, First Section (Sunday, December 10, 2023): 8.

(Note: ellipses added.)

(Note: the online version of the story has the date Dec. 9, 2023, and has the title “Where Did All the Hong Kong Neon Go?”)

With Repeated Experiences We Establish “a Personal Relationship” with Technological Tools

In a philosophy course that our daughter Jenny took at Notre Dame, a reading or two suggested that repeated experience with technologies make them almost extensions of our own senses, expanding what Ed Yong (quoting others) calls our “umwelt” (which I think means the scope of the sensory world we can experience). My guess is that pilot Brian Shul (who is discussed below) experienced this after many hours piloting the SR-71 Blackbird. If this is an important phenomenon, and I think it is, then it increases even further the diversity of what Hayek called “local knowledge” and what Polanyi called “tacit knowledge.”

(p. A17) Brian Shul, a retired Air Force major who modestly described himself as “a survivor” rather than a hero after he was downed in a Vietnamese jungle, suffering near-fatal injuries, before rebounding to pilot the world’s fastest spy plane, died on May 20 [2023] in Reno, Nev.

. . .

His final assignment, before he retired in 1990 after a two-decade military career, was piloting the SR-71, the world’s highest-flying jet.

The aircraft, nicknamed the Blackbird and deployed to monitor Soviet nuclear submarines and missile sites, as well as to undertake reconnaissance missions over Libya, could soar to 85,000 feet, fly at more than three times the speed of sound and survey 100,000 square miles of the Earth’s surface in a single hour.

“To fly this jet, and fly it well, meant establishing a personal relationship with a fusion of titanium, fuel, stick and throttles,” Major Shul wrote in his book “Sled Driver: Flying the World’s Fastest Jet” (1991), invoking the detractive nickname that U-2 pilots had pinned on their faster Blackbird counterparts. “It meant feeling the airplane came alive and had a personality all her own.”

Major Shul piloted the Blackbird for 2,000 hours over four years.

. . .

The Lockheed SR-71 soared so high into the mid-stratosphere that its crew was outfitted in spacesuits, and it flew so swiftly that it could outpace missiles.

“We were the fastest guys on the block and loved reminding our fellow aviators of this fact,” Major Shul wrote.

. . .

In Vietnam, he was a foreign air adviser during the war, piloting support missions in conjunction with the Central Intelligence Agency’s Air America, which flew reconnaissance, rescue and logistical support missions for the military.

When his aircraft was attacked, he crash-landed in the jungle, where he was rescued by a Special Forces team and evacuated to Okinawa, Japan. Doctors there predicted that his burns would prove fatal.

. . .

. . . one day, while lying in bed, he heard children playing soccer and, as he remembered being their age, the radio began to play Judy Garland’s “Over the Rainbow.”

“You listen to the words to that song — it’s all about daring to dream,” Major Shul said in a speech at the Lawrence Livermore National Laboratory in California in 2016.

“I heard the words of that song for the first time that day,” he continued. “They penetrated my brain sharper than any scalpel they were using, and I could look out the window and see the other side of the rainbow and those kids, and I made a choice. I made a decision right then. I am going to try to eat the food tomorrow. I want to live. I’m going to try to survive.”

For the full obituary, see:

Sam Roberts. “Brian Shul, Fighter Pilot Who Flew World’s Fastest Plane, Dies at 75.” The New York Times (Saturday, June 3, 2023): A17.

(Note: ellipses, and bracketed year, added.)

(Note: the online version of the obituary was updated June 8 [sic], 2023, and has the title “Brian Shul Dies at 75; Fighter Pilot Who Flew World’s Fastest Plane.”)

The Shul autobiography quoted in a passage above is:

Shul, Brian. Sled Driver: Flying the World’s Fastest Jet. 2nd ed. Chico, CA: MACH 1, Inc., 1991. [I am not sure the year is right in this citation. Maybe it should be 1992. I have not seen a copy of the book, and citations online are inconsistent.]

The Yong book I mention at the start is:

Yong, Ed. An Immense World: How Animal Senses Reveal the Hidden Realms around Us. New York: Random House, 2022.

“People’s Experience with the D.M.V.” Teaches Them “the Government Is Plodding, Slow”

(p. B1) The film “Leave the World Behind” centers on the idea of mistrust and how easy it is for humans to lose empathy for one another when faced with a crisis. It is at once unnerving, misanthropic and bleak, and, perhaps somewhat surprisingly, it’s produced by Barack and Michelle Obama’s production company, Higher Ground.

. . .

(p. B5) While Mr. Obama was no stranger to Hollywood — since his early days of campaigning for the presidency he found a welcoming audience among the show business elite — he has found that working in this business has taken some getting used to.

“It’s ironic that the private sector is made out to be this hyper-efficient thing, and the government is plodding, slow,” he said. “I think part of it is ideological and part of it is people’s experience with the D.M.V.”

For the full story, see:

Nicole Sperling. “Reimagining Storytelling, Obama Style.” The New York Times (Friday, December 8, 2023): B1 & B5.

(Note: ellipsis added.)

(Note: the online version of the story was updated Dec. 7, 2023, and has the title “Obamas’ Vision for Hollywood Company: ‘This Isn’t Like Masterpiece Theatre’.”)

“Keeper” of Home Where Walt Disney Screened His Films Wants to “Inspire” the “Creative”

(p. M6) Walt Disney’s former Los Angeles home—now for rent asking $40,000 a month—looks like something out of one of his films: Largely covered in vines, the Storybook-style home has a turret, leaded-glass windows and a cobblestone motor court.

Disney built the four-bedroom Los Feliz home in 1932, and lived there with his wife and family for about 20 years before moving to Holmby Hills, according to Disney historian and blogger Todd Regan. The property is now owned by Kazakhstan-born film director Timur Bekmambetov, who bought it in 2011 for $3.7 million, according to public records.

. . .

He is now renting it out, he said, because he wants people to be able to experience staying there.

. . .

There is a screening room in the house where Disney watched his films, Regan said. In the yard sits a cottage-style playhouse, which Disney gave his daughters on Christmas Day in 1937 following the release of “Snow White and the Seven Dwarfs,” he said.

. . .

Bekmambetov, who has directed movies including 2004’s “Night Watch” and “Wanted” in 2008, said he has always been a fan of Disney’s work. When the home hit the market in 2011, he couldn’t believe it was tied to the late filmmaker. “I got a notification that there was a house for sale and it had the Walt Disney name,” he said. “I called my assistant and said to her, ‘Please call. I think it’s a mistake.’” But it wasn’t a mistake, and Bekmambetov decided to buy the home sight unseen.

Bekmambetov said he considers himself the home’s “keeper.” The house inspired a graphic novel and movie script he is working on, he said, about fictional Disney characters who never made it to the big screen. He said he hopes to rent the house to someone who is creative and will be inspired by the home, just as he has been.

For the full story, see:

Libertina Brandt. “Walt Disney’s Onetime L.A. Home for Lease.” The Wall Street Journal (Friday, June 16, 2023): M6.

(Note: ellipses added.)

(Note: the online version of the story has the date June 12, 2023, and has the title “Walt Disney’s Former L.A. Home Is Now Renting for $40,000 a Month.”)

Chinese Communists Suppress “A Touching Portrait of Love and Resiliency”

(p. C6) According to reliable news reports, the Chinese government never confirmed having banned Li Ruijun’s quietly heartbreaking feature “Return to Dust,” a touching portrait of love and resiliency in a collapsing rural community of Gansu Province.

Still, the film was pulled last fall from all Chinese movie theaters and streaming services two weeks after a successful domestic debut. It isn’t hard to see why. China’s leadership has a history of suppressing art that spotlights the failings of its ruling class and ideology, which is exactly what Li’s film does, . . .

For the full movie review, see:

Austin Considine. “Return to Dust.” The New York Times (Friday, July 21, 2023): C6.

(Note: the online version of the review has the date July 20, 2023, and has the title “‘Return to Dust’ Review: Grit Against All Odds.”)

Mermaid Remake: “Joy, Fun, Mystery, Risk, Flavor, Kink — They’re Missing”

(p. C1) The new, live-action “The Little Mermaid” is everything nobody should want in a movie: dutiful and defensive, yet desperate for approval. It reeks of obligation and noble intentions. Joy, fun, mystery, risk, flavor, kink — they’re missing. The movie is saying, “We tried!” Tried not to offend, appall, challenge, imagine. A crab croons, a gull raps, a sea witch swells to Stay Puft proportions: This is not supposed to be a serious event. But it feels made in anticipation of being taken too seriously. Now, you can’t even laugh at it.

. . .

(p. C8) . . ., the movie’s worried — worried about what we’ll say, about whether they got it right. That allergy to creative risk produces hazards anyway. I mean, with all these Black women running around in a period that seems like the 19th century, the talk of ships and empire, Brazil and Cartagena just makes me wonder about the cargo on these boats.

For the full movie review, see:

Wesley Morris. “Remake Finds Its Feet but Loses Its Bubbles.” The New York Times (Friday, May 26, 2023): C1 & C8.

(Note: ellipses added.)

(Note: the online version of the movie review was updated May 26, 2023, and has the title “‘The Little Mermaid’ Review: The Renovations Are Only Skin Deep.”)

In Blackberry Movie “The Excitement of Disruption and the Thrill of Creation Become Tangible”

(p. C9) In Matt Johnson’s “BlackBerry” — a wonky workplace comedy that slowly shades into tragedy — the emergence of the smartphone isn’t greeted with fizzing fireworks and popping champagne corks. Instead, Johnson and his co-writer, Matthew Miller (adapting Jacquie McNish and Sean Silcoff’s 2015 book “Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry”), have fashioned a tale of scrabbling toward success that tempers its humor with an oddly moving wistfulness.

. . .

. . ., we’re in Waterloo, Ontario, in 1996, where Mike Lazaridis (a perfect Jay Baruchel) and Doug Fregin (Johnson) — best friends and co-founders of a small tech company called Research in Motion (RIM) — are trying to sell a product they call PocketLink, a revolutionary combination of cellphone, email device and pager.

. . .

The corporate types don’t understand Mike and Doug’s invention, but a predatory salesman named Jim Balsillie (a fantastic Glenn Howerton), gets it. Recently fired and fired up, Jim sees the device’s potential, making a deal to acquire part of RIM in exchange for cash and expertise. Doug, a man-child invariably accessorized with a headband and a bewildered look, is doubtful; Mike, assisted by a shock of prematurely gray hair, is wiser. He knows that they’ll need an intermediary to succeed.

Reveling in a vibe — hopeful, testy, undisciplined — that’s an ideal match for its subject, “BlackBerry” finds much of its humor in Jim’s resolve to fashion productive employees from RIM’s ebulliently geeky staff, who look and act like middle schoolers and converse in a hybrid of tech-speak and movie quotes. It’s all Vogon poetry to Jim; but as Jared Raab’s restless camera careens around the chaotic work space, the excitement of disruption and the thrill of creation become tangible.

For the full movie review, see:

Jeannette Catsoulis. “When Geeks Clash With Suits, They’re All Thumbs.” The New York Times (Friday, May 12, 2023): C9.

(Note: ellipses added.)

(Note: the online version of the movie review has the date May 11, 2023, and has the title “‘BlackBerry’ Review: Big Dreams, Little Keyboards.”)

The book that is the basis of the movie under review in the passages quoted above is:

McNish, Jacquie, and Sean Silcoff. Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of Blackberry. New York: Flatiron Books, 2015.

Firing an Actor “Early Could Be a Motivator for the Remaining Cast”

The ability to fire at will gives the entrepreneur (and the movie director) the ability to put together the right team for a project. Keeping those employed who are not doing their jobs, can be demoralizing for those who are doing their jobs.

(p. C1) When the writer and director Mike Nichols was young, he had an allergic reaction to a whooping cough vaccine. The result was a complete and lifelong inability to grow hair. One way to read Mark Harris’s crisp new biography, “Mike Nichols: A Life,” is as a tender comedy about a man and his wigs.

. . .

(p. C5) Harris is the author of two previous books, “Pictures at a Revolution: Five Movies and the Birth of the New Hollywood” and “Five Came Back: A Story of Hollywood and the Second World War.” He’s also a longtime entertainment reporter with a gift for scene-setting.

He’s at his best in “Mike Nichols: A Life” when he takes you inside a production. His chapters on the making of three films in particular — “The Graduate,” “Silkwood” and “Angels in America” — are miraculous: shrewd, tight, intimate and funny. You sense he could turn each one into a book.

Nichols was an actor’s director. &nbsp. . .  But he had a steely side.

He fired Gene Hackman during week one on “The Graduate.” Hackman was playing Mr. Robinson and it wasn’t working, in part because, at 37, he looked too young for the role.

Sacrificing someone early could be a motivator for the remaining cast, he learned. He fired Mandy Patinkin early in the filming of “Heartburn,” and brought in Jack Nicholson to play Meryl Streep’s faithless husband.

For the full review, see:

Dwight Garner. “BOOKS OF THE TIMES; The Wit and Wigs Of a Star-Studded Life.” The New York Times (Tuesday, January 26, 2021): C1 & C5.

(Note: ellipses added.)

(Note: the online version of the review was updated Jan. 29, 2021, and has the title ‘BOOKS OF THE TIMES; ‘Mike Nichols’ Captures a Star-Studded Life That Shuttled Between Broadway and Hollywood.”)

The book under review:

Harris, Mark. Mike Nichols: A Life. New York: Penguin Press, 2021.