Tuesday, 29 March 2011

Mighty Heart
(2007)

RATING: 60%
TECHNICAL QUALITY: DVD

Despite an excellent ensemble cast; including Angelina JOLIE and Irrfan KHAN, and superb performances from all concerned, this story exists in a political vacuum.

How we got to where we are now is only thinly-sketched using the standard White, Western claim that the 21st century began on 9/11. This tells us nothing about the ongoing racewar between East and west and why, for example, the rules of the political game keep changing but the game remains the same.

By trivializing world politics, in this way, the story of a wife’s grief at the loss of her husband to international terrorism is also trivialized and rendered melodramatic – despite the documentary styling of the film itself. The characters become ciphers that exist to represent a specific political point-of-view rather than a specific psychology. The fear, as always, lies in seeing too much into the actions of ones enemies and finding that they are actually justified and that you are not: That the Terrorist is actually a Freedom Fighter. Because of this the theme remains the unimportant one of not being terrorized, cowed or made bitter by grief and loss, when the real issue is to minimize the loss in the first place.


Sunday, 27 March 2011

Rukajärven Tie
[Ambush]
(1999)

RATING:40%
FORMAT:DVD



Unconvincing and unmoving war drama that contains no themes other than those we already know: War is hell.

The performances are lackluster, the plotting pedestrian and the politics of the Finnish invasion of the USSR in 1941 largely unexplored.

The combat scenes are well mounted - and the leading nurse fetching - but these are not enough to engage our emotions in a nation’s struggle for self-determination and in the fight to create a fulfilling sexual relationship.

Like Saving Private Ryan (1998), this is not really about anything much at all other than good old blood and guts.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Thursday, 24 March 2011

Shooter
(2007)

RATING:40%
FORMAT:DVD



Politically-naïve and psychologically simplistic movie with its heart in the right place.

That violence is both a solution and a preventive to violence is obvious, but dramatically unexplored here in terms of consequences – particularly the consequences of current (2007) US imperialism around the globe. This leaves the film with flat characterization, a screenplay mostly concocted from newspaper headlines and a largely quality cast mugging desperately to make the action movie clichés seem different from all the other clichéd adventures produced by Hollywood in recent years; and failing, despite their best efforts.

This director’s much better Training Day proves the decline of a once promising talent – despite the evidence of the deleted scenes that a much better film was planned here.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Wednesday, 23 March 2011

Blue Valentine
(2010)

RATING:100%
FORMAT:Cinema



a sexual relationship movie of singular distinction that refuses to pull any punches about the true sins of the flesh: Divorce.

Not really a love story, since that particular human quality is both undefined and undemonstrated here, more a profound analysis of a relationship on the rocks; resulting from the need for love rather than the ability to share it with someone else from the outset. We see the background of two people from averagely-dysfunctional families where love was not the norm and their resultant attempts to achieve something worthwhile from their sex lives that are better than their parents possessed. But such a goal can never lead anywhere because both are still obsessing about the past and telling each other what they need rather than actually doing it: They talk about love but find the act itself problematic. Living in the past makes the contrast between their courtship and their divorce all the more stark; while simultaneously revealing how much like their parents they have - in the end - become.

The acting is first-rate from the two leads Michelle WILLIAMS & Ryan GOSLING and they grip and hold our attention from first to last. They embody their characters completely: The male side desperate to prove he is caring and sensitive; the female, wanting her Prince Charming. The writing and direction are exemplary from Derek Cianfrance and reveal the film as wrenched from the personal experience of wanting to achieve a so-called happiness through others that simply does not exist. The documentary-style of the filmmaking emphasizes the realism of the performances, along with the extreme close-ups and shallow focus: We feel very much a part of the lives of these two people. Like Two Lovers, this deals unflinchingly with sexual love in the modern, materialistic West. A modern-day horror story, if ever there was one.


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Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Tuesday, 22 March 2011

Jesus Christ Superstar
(1973)

RATING: 80%
FORMAT: DVD

Superb and largely-orthodox adaptation of a classic tale with a focus on Judas Iscariot. He is presented as both an intellectual and as a religious fundamentalist who requires Jesus to be consistently-unsubtle while never really challenging Roman rule over Palestine. This makes Iscariot the most interesting apostle of all because he is the most dedicated and committed to what Jesus stands for while simultaneously believing Jesus will betray the cause out of jealousy for the charisma that Iscariot lacks and open fear of Nazarene demagoguery.

In this version, it is hard to condemn Iscariot out-of-hand because of his belief that he is doing right. Not simply motivated by material concerns, but by a reasonable fear that The Christ could become a demagogue. Moreover, with all the swooning women here bowled over by this Christ’s masculinity, it is easy to see the relationship between Jesus Christ and Judas Iscariot as an unrequited homosexual love affair.

The casting is excellent - especially Yvonne ELLIMAN (Mary Magdalene) & Carl ANDERSON (Judas Iscariot) - and the Summer Holiday-like conceit of youth putting on a Passion Play in Israel works very well indeed: Shooting in the desert, in bare locales, visually strips the drama down to its essentials. And doing it as more of an opera (continual singing) as opposed to a musical (alternating singing & spoken dialogue) shortens the film’s length; making it a model of musical concision and clearly-expressed themes. Nevertheless, Jesus is presented as more of a rock star than a religious figure; explaining the weakness of the characterization.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Shine of Rainbows
(2009)

RATING:80%
FORMAT:DVD

Unlike a great many heartfelt melodramas featuring the growing pains of children, this one does not cheat the audience of its tears with mawkish sentiment.

A slight and somewhat unexplored story of childhood and adult loss is made magical by understated filmmaking and the superb acting of the precociously-talented John BELL, the beauteous Connie NIELSEN & the piercing-eyed Aidan QUINN.

The characters come across very clearly, despite being too underwritten, in this simple story, well told. If its aliveness does not make you feel as good as it makes you feel sad – then you are already dead.


Band Baaja Baaraat
(2010)

RATING: 80%
FORMAT: DVD



Above-average Bollywood romantic, musical-comedy that deals with such political issues as a growing Indian middle-class created from a peasantry who no longer find working on farms all that interesting, but who are not necessarily academically-inclined. Additionally, this movie deals with overly-planned careers that leave no time for a spontaneous social life, along with an implicit critique of Indian arranged marriages as opposed to marrying for love.

Anushka SHARMA is superb as the career girl who thinks she can avoid emotional complications in her life by simply plowing all her energies into her startup business and letting her parents choose her bride-groom when she is 25. She needs to be good because her co-star plays someone who is uneducated, unsophisticated and immature, and is played by an actor perfectly typecast for the role! SHARMA has to carry the emotional weight of all their scenes together, which she does with great aplomb and distinction, while making the very best of a weakly-characterized and perfunctorily-plotted screenplay.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Saturday, 19 March 2011

Thousand Acres
(1997)

RATING: 60%
TECHNICAL QUALITY: DVD



Well-written movie undercut by weak and inconsistent performances and somewhat perfunctory plotting. The melodrama does not grab ones emotional attention as much as it should despite a fine performance from Jessica LANGE and a believable sibling chemistry between herself and Michelle PFEIFFER. (Jason ROBARDS is also excellent as the manipulative family patriarch.)

As a study of female toughness, we are not given enough information to elucidate just what it is that they have survived from their childhoods that could have created that resilience to develop in the first place. The attempt to eschew melodramatic cliché leaves us with little dramatic meat on the bone since the former are not replaced with anything dramatically-fresh – despite the sincerity of the actors.

The similarities to King Lear are obvious and played for what they are – a good idea that can work well in a different context. However, this movie should have been at least twenty minutes longer so that we witness the characters change over time in a more convincing – and less instant-gratification - manner than shown here.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Sunday, 13 March 2011

E.T. The Extra-Terrestrial
(1982, 2002)

RATING:100%
FORMAT:Cinema

Brilliant proof that the video-sated public does not hunger, meretriciously, for all that sex ‘n’ violence claimed by the cynics, but for superior entertainment like this - based primarily on a basic sense of humanity and of the importance of a place for properly-understood and expressed emotion in fulfilling human lives.

This film is emotionally-realistic (ie, melodramatic) rather than literally so, and those who do not understand the role of emotions in our lives will always find such visual tropes difficult to countenance. In this, this movie is a delirious piece of poetry when compared to the prosaic claptrap we have come to expect from our local multiplex in recent years.

US cinema went through an all-too-brief phase of presenting alien visitors to Earth as friendly and loveable; beginning with this director's own Close Encounters of the Third Kind (Steven Spielberg). Audiences responded - big-time - to these movies, but we now live in a cultural world returned to its Cold War so-called certainties of ever-present threat and the permanent cultural warfare of Western elites against their own citizens to justify increasing arms’ expenditure by claiming the world is a far more dangerous place than ever before. Like the Hollywood movies of the 1950s, contemporary cinema (2011) is awash with either not so friendly aliens; mirroring the current anti-immigrant political rhetoric of the West (eg, Spielberg’s own War of the Worlds (2005) & Independence Day (1996)) and/or predicted environmental disaster on a global scale (eg, 2012 (2009) & The Day After Tomorrow (2004)). Films that are not as popular - in terms of bums-on-seats - but which continue to be made for ideological reasons, in the hope that the public will prefer them so that they can be churned out as a formulaic peplum for the easier obtaining of profits from a fickle public - as well as because better films are harder to make. A terrible pity since entertaining and escapist propaganda to justify losing ones civil rights - and diverting our attention from the fact - never rises above the level of entertaining and escapist propaganda.

What makes this movie work so well is the fact that (like Big (1988)) over-ripe special effects are largely eschewed in favor of human values and scale. The director’s famous ability at handling children in his movies and removing the Hollywood tendency to overweening cuteness is well to the fore here - as well as the inherently-excellent acting abilities of the chosen cast. Henry THOMAS & Drew BARRYMORE are particularly affecting in this regard. Spielberg sees the world as children do and the movie has a distinct first-person feel to it - especially as most of the adults are shown from the groin down since the camera is mostly placed at the child’s height. This leads to a depth of characterization for the child stars that is unusual in Western films that usually treat children as beings who should be seen and not heard.

Ultimately, a hopeful film about friendship between different peoples: Ethnicities, cultures, genders, classes and aliens that transcends its kiddie-film origins with Christian theology (birth, death, resurrection & Ascension) to create a movie of such greatness that there is simply nothing as good to compare it with. A movie worth watching more than once and the last truly great film Hollywood ever produced. (The Special Edition simply - and pointlessly - tries to perfect the already perfect.)


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Friday, 11 March 2011

BLOOD, SWEAT AND ARROGANCE:
and the Myth of Churchill’s War
(2006)

RATING: 60%



Despite being the product of a White warmongering imperialist; hating the dithering of politicians during peacetime and their interfering in operational matters during wartime, as well as being written from a position of great class resentment - this is a welcome, if White supremacist - antidote to the usual propagandist and heroic-myth nonsense perpetuated in Anglo history books about the Second World War.

A serious and largely-credible critic of the first three disastrous years Great Britain tried to beat the Germans on land and, for their pains, suffering only setbacks, defeats and an ignominious evacuation (among others withdrawals) disguised - for propaganda purposes - as a miracle. The problem for a micro-managing UK prime minister like Winston Churchill, was his need of a political victory against the Germans in order to stay in political power - regardless of the military risks involved.

The need to create myths of national survival against all odds has meant that propaganda is still very much evident in contemporary White history books, despite the fact that the main battlefield in World War 2 was the Russian Front and, thus, the main victor, the Soviet Union.

The book is also a criticism of the years of disarmament between World Wars 1 & 2, of which Churchill himself was partly to blame, and of the Western tendency to scapegoat others - as Neville Chamberlain was scapegoated as an appeaser - when he was one of the first to realize that rearmament was necessary to face a resurgent Germany.

The author understands that modern wars are not fought to rid the world of dictators and evil people, but to make sure that the dictators and evil people we approve-of remain in power. Adolf Hitler was thus a threat to the British political interest in the status quo of a balance of power in Europe; allowing them free rein to pursue their imperial exploitation. Defending Polish sovereignty, saving the Jews, defending democracy (within the context of an undemocratic British Empire) and the right of self-determination of small nations were mere pretexts to wage an unavoidable war with a despot intent on rocking the boat. In democracies, the general populace needs a pretext since it is not going to be the beneficiary of the status quo unless its life is threatened. This is why enemies are always presented as baby-bayoneting sub-humans to get the poor to risk their lives for the further enrichment of the already-wealthy - and as a means for the Establishment to avoid class conflict by creating a false national unity.

But the author's criticism is repetitive (as the critiques made by the powerless so often are), as if he does not fully believe his own thesis and hopes that repetition will grind down the reader's intellectual defenses - much like the techniques used in the propaganda he so vigorously criticizes. Moreover, like a child obsessed with toys, he does not really understand the geopolitics he so often condemns; while presenting reams of technical data about planes, guns and tanks that reveal an immature preoccupation with the means of waging war rather than far more important issues such as cost and outcome.

Like Hitler, Churchill was an armchair brigadier; feigning military experience and know-how; whose arrogant, micro-managing and autocratic tendencies could have lost Britain the war. The UK Royal Army was greatly inferior to the German Wehrmacht - especially in terms of flexibility and resulting effectiveness. Few battles were won against them and the Germans only lost because Hitler's self-destructive tendencies led him to take on too much; three wars: In Europe, in Russia and against the USA.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Thursday, 10 March 2011

Kites
(2010)

RATING:80%
FORMAT:DVD



Delirious and highly-derivative cross between Priceless and The Getaway; focusing on emotional - rather than literal - realism. The love story is compelling despite the general incredibility of the proceedings. This is fun and enjoyable filmmaking that possesses - at its core - a believable romance that almost achieves Shakespearean proportions. The movie’s view is as simple and as straightforward as can be: Love is more important than Death. Bollywood doing what it does better than anyone else in the world.

Barbara MORI is especially good as a star-crossed lover: She gets all the best lines, carries the emotional weight of the scenes she is in and is both sexy & funny: A classic Mexican spitfire; expertly-handling this culture-clash comedy. She also compensates for the weak characterization and acting of the other roles.



Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Monday, 7 March 2011

Way Back
(2010)

RATING: 60%



Rather silly pseudo-political film that exploits Tibet as a backdrop to part of the drama to make a political point about the current Chinese occupation of that land that has only limited resonances with the story of the excesses of Soviet communism. To claim that communism collapsed when the Soviet Union did is also supremely fatuous and ahistorical; smacking, as it does, of leering wishful-thinking.

However, the real problem with this film is the characterization and the relationships between the characters. The fine acting does not conceal this dearth in this all-important dramatic dimension, and so we never feel the characters' pains and pleasures as they move along their tortuous journey to freedom. The usual ensemble playing preferred by Peter Weir is very much in evidence, since no actor – no matter how famous – is favored over another. Yet the lack of developed ideas means we simply do not care enough about the characters.

This is odd, given the fact that we know some of these men will succeed from the get-go such that there is no suspense as to whether they will succeed - merely how. The film's spoiler beginning leads us to expect a character-driven drama that eschews all the clichés of winning against impossible odds. There are no clichés, certainly, but there is also precious little in the way of character. The film's theme of not renouncing ones humanity simply to survive is not well-explored and the audience is left very much to its own devices as to what point the filmmakers are really trying to make.

Only Colin FARRELL's performance saves this cross between Bridge on the River Kwai and Midnight Express - that is not as good as either - from complete boredom; along with a focus on a realistic look at Gulag life. But One Day in the Life of Ivan Denisovich it certainly is not. An example of style over substance; of vast visuals dwarfing the characters - and nearly swallowing the whole edifice. Still, the Himalayan scenery is pretty breathtaking.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Harry Brown
(2009)

RATING:80%
FORMAT:DVD

Despite being somewhat contrived, this is a stylish look at inner-city crime among the White lower class. Despite the large-scale absence of Black people here, the Whites adopt UK Black slang as their favored argot to express their emotional limitations born of being unwanted children.

A sort of Get Carter for senior citizens, this offers only curative solutions to the structural problems presented, yet is as entertaining as these serious limitations allows.

The characterization is good but not profound – yet just deep enough to make this rise above the usual violent revenge-thriller. The over-eager desire to please its audience with action scenes creates a tension between the film being plot- and/or character driven. (This becomes more obvious with deleted scenes that reveal some rather good acting left on the cutting-room floor.)

The high quality performances remaining require special mention and Michael CAINE is especially moving as the old Royal Marine at the end of his tether: His world weary and quiet performance as a lonely widower quite dominates the film. Moreover, Ben DREW, as the depraved criminal’s son, is extremely scary along with his two henchboys: Jamie DOWNEY & Jack O’CONNELL. The drug- & arms’-dealer (Sean HARRIS) is also superbly-unhinged while being balanced by Emily MORTIMER & Charlie CREED-MILES as two police officers caught in the middle of all the mayhem.

Without this classy casting, this movie would simply be another cloned cross between Taxi Driver and Death Wish - with none of the brilliance of the former.


Saturday, 5 March 2011

Defiance
(2008)

RATING:60%
FORMAT:DVD



Rousing war adventure that fails to develop its theme of not wanting to become as bad as ones opponents by focusing too much on the concept of the Jewish community looking after itself because no-one else will. Despite the best efforts of the actors, the characters fail to ignite the screen and we are left with a great deal of realistic period detail but not the story of survival that could have rivaled the sweeping grace of Schindler's List nor the sheer terror of Come and See.

Despite not relying on the flashy special effects that so characterize recent Hollywood output, this fails to offer much else about how to survive in a hostile environment and the absolute necessity for community coherence and purpose. Yet, somehow, it never fails to entertain if only because you want to see if, and how, the participants survive.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Baader Meinhof Komplex
[Baader Meinhof Complex]
(2008)

RATING:80%
FORMAT:DVD



Interesting drama about the inevitable response to state terrorism and state imperialism: Guerilla Terrorism.

The film shows that the best way to defeat terrorism is not to create the need for it in the first place - as well as to understand the mind of violent political activists. They are neither fanatics nor madmen and are quite capable of causing trouble beyond their numbers. To underestimate ones enemy is to allow him too-many easy victories.

Attempts to create a terrorist network reveal that there is more that terrorists have in common than that divides them; making them even more terrorizing than each group would be alone. Despite the feigned surprise of authorities that the terrorists are immoral when the authorities’ own terrorism is not, they still act dumbfounded when the violence they project onto the world comes back to bite them.

The basic argument of this movie is that state-created violence that causes privatised terrorism can be used by governments to control their own populations through the fear it creates among their own peoples. The Frankenstein-like creation of terrorism is thus useful to Western states in terms of population control and in terms of avoiding any political revolutions that could overthrow the powers-that-be: Governments always become more popular with their people when the government is seen as protecting its own people, even when this is false or when only the government is being protected. Thus, each act of state terror produces more terrorism; leading to more state terror and more terrorism – and so on and so forth.

There is not enough understanding of these particular terrorists to make this a sufficiently emotionally- (as opposed to intellectually-) involving story. Privileged Whites rightly decide that their government needs reform, but are not well-organized, nor terribly effective, because they have no real reform program: Just undergraduate and adolescent rage at a rotten and corrupt system. Despite the best efforts of the fine performers here, the characters are not fully fleshed out.

This film compares nicely with Munich in its depiction of internecine violence that leads nowhere but towards more violence. And with Untergang as pretty-solid historical thrillers.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Friday, 4 March 2011

Happening
(2008)

RATING: 60%
TECHNICAL QUALITY: DVD

Thoughtful look at what Mankind is doing to the planet that suggests the Earth will respond by destroying human life. As with exploiting foreigners who come back to haunt you as terrorists, Mother Nature can only take so much expropriation before it retaliates in order to survive. The humans here suddenly develop a stronger-than-usual desire for murder and suicide that is filmed in director M Night Shyamalan's typically-understated style.

Where this film fails big time lies in the fact that although Zooey DESCHANEL is excellent as the unfaithful and somewhat eccentric wife, her co-star is unable to suggest any deep-seated emotional relationship to her that would make sense of their sexual relationship. This deflates our emotional involvement in the drama; rendering it no more than a series of oddly-devastating events reminiscent of The Day of the Triffids.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com) is included: E-mail notification requested. All other rights reserved.

Thursday, 3 March 2011

Guzaarish
(2010)

RATING: 80%
FORMAT: DVD



Contrived but emotionally-affective melodrama about euthanasia - along the lines of Mercy or Murder?, Million Dollar Baby and the original (of which this is a remake): The Sea Inside - that rehearses the arguments for and against; while being both in favor of voluntary Mercy Killing and against it; depending upon individual circumstances.

A far more entertaining remake than the original; retaining its Spanish ambience with a soulful injection of Indian sensibility combined with a playful nod in the direction of The Prestige.

This is also a tale of the unrequited and unexpressed sexual love of a beautiful woman who sacrifices her marriage to nurse a dying quadriplegic.

The film's only real problem is that the lead is not as convincing as Javier Bardem was in the first film, but this is more than made-up for by the presence of one of the world's great beauties, Aishwarya RAI BACHCHAN an impressive talent, to boot, in a (Bollywood) happy to see women as more than just sex-objects - unlike Hollywood. But, overall, the subtle characterization is matched by the equally-excellent acting.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

Invisible Princess
(1999)

RATING: 80%



Clever look at White supremacism and its affects on Blacks in terms of families destroyed by the separation of relatives during the transatlantic slave trade and the difficulty of establishing a positive sense of self when one is told, for example, that Black women can never be beautiful simply because they are black.

That there are no White supremacists who are blind from birth is carefully-evoked by a blind White girl who can see the beauty of the Invisible Princess.

An easy read for children, given the extensive use of analogy and metaphor in this allegory of the relations between the so-called races. The mythological approach enables the narrative to focus on archetypes; thereby avoiding any crude stereotyping of either racists or their victims. Black family life is shown as respectful of the elderly, of tradition, of the difference between who you are and how you are seen (the Invisible Princess & the Village of Visible) and of nature itself.

Naively, this book presents a reformed slave-owner yet, the fact that the central character is Black, makes this is a useful primer in the development of a Black racial identity in a White supremacist culture. This is especially true because it presents positive Black role models - as do Mary Hoffman's Grace books.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

It's a Wonderful Afterlife
(2010)

RATING: 60%
FORMAT: DVD



A pure Mills & Boon romance whose amusing side does not successfully conceal its arbitrary plotting and weak characterization.

This is the story of an Anglo-Indian mother's determination to marry-off her Plain-Jane daughter before the parent dies. This becomes such a desperate desire that she turns to serial-killing those who have turned her daughter down for being too fat or too sexually-unattractive or whatever - as in Serial Mom.

The cultural specificity is such that some of the humor will be lost on non-Sikh and non-Jewish audience members. This is made-up for with a broad horror-comedy making pointed visual references to Alien and Carrie. Like so many comedies about familial oppression (eg, Rhoda), there is an abiding love for both the community and the religion being parodied (in the absence of anything better) that offsets the oppression, since the parent here is - rightly or wrongly - wanting the best for the child.


Copyright © 2011 Frank TALKER. Permission granted to reproduce and distribute it in any format; provided that mention of the author’s Weblog (http://franktalker5.blogspot.com/) is included: E-mail notification requested. All other rights reserved.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.