This has been the
most wonderfully KEE-RAY-ZEE month of my life, and lemme tell ya: I’ve never
been happier.
I apologize for my
lack of posts, and for using this as an excuse to brush up on my typing skills.
You see, I’m taking a
big certification test tomorrow and as it turns out, there will be no “writing
in the blue books”—hasn’t been any in yonks, it seems—the testing is all
computerized now.
Meaning I have to be
able to type in my thoughts toot damn sweet tomorrow.
Oh, did I mention my
test is tomorrow?
[Why all The Monster Times? Because it was my
favorite magazine/newspaper growing up, and a definite influence on me. This
sort of nostalgia comes to mind as I plan to enter the arena of education. I
still have a pile of old issues at my mom’s place; they’re going brittle and
getting so yellowed, they’re turning brown. Touch one and it crumbles. Sigh….
Go Here for more about The Monster Times.]
This fall, I will be
in a classroom—either middle or high school—teaching English.
Right now, I am
swamped by classes to learn to be a teacher; assignments; lesson plans; reading
important texts; learning to establish discipline and order; and so on.
I am training as
apprentice teacher at a school in the South Bronx, and I am learning SO MUCH.
It’s exciting and a
tad mind-blowing—but also very time consuming.
But the future of
America rests in the hands of the kids from the Inner City. I truly believe
that these students, because of the intense life situations they have already
had to go through, are better prepared for the tough times ahead for North America
than their counterparts from suburbia or the “flyover” zones. I’ve been there,
and those kids didn’t impress me.
That said, my reviews
will probably be getting more infrequent and terse…
SCREENED IN MARCH
2014:
Beat Girl (1960; Edmond
T. Greville) More like “Strip Club Girl,” since much of the movie is set in a
peeler bar, with some delightfully tawdry moments.
Meanwhile the flick’s
not so much about Beats, but about juvenile delinquents and the generation gap,
stapled to a “Daughter vs. Step-Mother” soap opera plot. “Why do you feel the
need to be so different,” protagonist Jenny is asked—to which she replies, “It’s all we’ve
got.”
The movie is saved by
good acting and a captivating—if overwrought—script, with John Barry’s
soundtrack a perfect indication of the musical giant he was to become. While
the leads are largely forgotten, supporting cast Christopher Lee and a very
young and sexy Oliver Reed are perfect (as an oily nightclub owner and a teen
roustabout, respectively), and the flick has a nice “kitchen sink” feel, even
when set in the family’s modernist house.
Matango (1963; Ishiro
Honda) is a new favorite, and I may never give Squeaky back his DVD…
This film is a
wonderful, rich and moody supernatural tale. Hardly any shocks—so I am hesitant
to call it a horror story—more of an unsolved mystery with an excessively
morbid sense of dread about it; one that is compounded by the less-than-sympathetic
characters—as well as some weird but sudden tonal shifts (aided by great
camerawork and a lurid color scheme).
Even though I’ve commented on this film before, I am going to save my additional comments
for a future post; Matango deserves
it!
Tora! Tora! Tora!
(1970; Richard Fleischer, Kinji Fukasaku and Toshio Masuda; with second unit/stunt
directing by Ray Kellogg) is the type of historical action-epic I love:
"How the Great Pacific
War Began!"
Square and humorless
and not hip at all, this movie is almost perfect.
Perhaps “artless”—or
as true to “truth” as possible?
It’s all in the
details; I love the parallel structure; and we know nothing of these men’s
personal lives—no love story bolted on; equal time to both the American and
Nipponese forces, with ugly character actors on both sides: no pretty boy movie
stars.
Beautiful production
design and breathtaking stunt work.
Of course this flick
was a big part of my childhood—
Fab score by Jerry
Goldsmith—jeez, was there nothing he couldn’t do?
And it’s always fun
to hear Paul Frees voice dubbed over Japanese actors supposedly speaking
English.
The Notorious Bettie
Page (2005; Mary Harron) A new fave, despite a slow start. However, the flick
really picks up when Bettie starts modeling—hubba-hubba! Maybe the movie should’ve started in media res, with her first visit to
the Klaw Studio—that's when it starts broaching socio-philosophical questions about people
who need the kind of “smut” that Bettie was part of, as well as her status as a
“pure innocent”—someone whose later conversion to Christianity doesn’t feel
contrived. Thoughtful film aided by good perfs, especially the very fetching
Gretchen Mol as Ms. Page.
Kubrick & the
Illuminati: Don’t You Want to Go Where the Rainbow Ends? (2013; Laurent Vachaud
with Michel Cimint)—this makes me want to reappraise Eyes Wide Shut….
A nutzo companion
piece to Room 237, but this time focusing on the Elite Power
Structure/Mega-Cults that EWS supposedly tried to expose—and which Kubrick may
have been killed over… Conspiracy weirdness that’s worth at least two looks.
Now, I just have to work up my courage for the second go…
The Outer Limits:
“The Deprogrammers” (1996; Joseph L. Scanlan; written by James Crocker) Watched
because of a recommendation from The Secret Sun (who’s never let me down).
This is a wonderfully nasty sci-fi morality tale about mind control. Superb
stuff, with a shocking ending.
Concerning Violence:
Nine Scenes From the Anti-Imperialistic Self-Defense (2013; Göran Olsson; text
by Frantz Fanon)
A fascinating
documentary examining imperialistic colonialism imposed on Africa, using the
words of revolutionary Frantz Fanon as its narration. Grim, intense stuff.
Captain Phillips
(2013; Paul Greengrass) A disgusting film. Lame awful propaganda for The Man.
Overkill, riding the Zero Dark Thirty wave.
The glorification of
the SEALs, who look like a room full of Terminators against the skeletal
scarecrows of Somalia.
It’s never a fair
fight…
Worse than the “scary
black man” overt racism was the subtext that you could never beat the
corporation.
What sort of contest is
it when you pit starving African bags of skin-and-bones against a U.S. warship?
We spent how much money to stop what? This movie’s mistake was in trying to be
EPIC/it should have stuck solely with Phillips and never shown what was
happening with the U.S. or on the Navy vessels.
If anything, the
movie should have been made from the perspective of the Somali “pirate” (actually
a fisherman whose livelihood was taken away when the big fishing nets used by
the mega-corp fleets scooped away all the food)—this poor fisherman is fucked
from before the film’s start, and it will only get worse for him.
Zulu Dawn (1979;
Douglas Hickox) Wonderful revisionist imperialist adventure movie; while 1964’s
Zulu is the better film, the more
truthful Zulu Dawn is its utter antithesis,
featuring the Victorians’ failed attempt to accomplish “the Final Solution to
the Zulu problem.”
Absolutely EPIC in
every detail (thousands of extras? Perhaps…), and many wonderful bits of
character—most of whom will die at the end of spears. Superior, but grim,
action film.
Blood and Black Lace
(1965; Mario Bava) Bava is the master! Murder, models, mayhem: it’s all here,
with some set pieces—dig the purse just sitting there…—that rival Hitchcock.
This is a moody
style-overload, just on the cusp of the Swingin’-60s, that was more than a
passing influence on post-1980s Brian De Palma. See it and be stunned!
Team America: World
Police (2004; Trey Parker) One of the greatest political satires ever made. ’Nuff
said.
Beauty Is
Embarrassing (2012; Neil Berkeley) Wayne White rules! A very neat doc about
this fascinating creative artist, who has been at the center of several
zeitgeists, all the while maintaining an honest and heartfelt “aw shucks”
persona.
Thor: The Dark World
(2013; Alan Taylor) Great stuff! So much fun, but also moving. A stirring,
ingenious action film that never makes fun of its characters, but is tons of
fun, and almost one of the best comedies in a long time. And that is this
film’s ultimate saving grace, that many seem to have missed: This film is a
COMEDY. (BTW, and a spoiler: Jane Foster doesn’t deserve to have a god die for
her. That’s all I’m saying.)
All Is Lost (2013;
J.C. Chandor) This flick is practically Kubrickian with its relentless bad luck
assaulting this nautical Job. A bare-bones tale with no real dialog, except a
short prolog statement, this is a grueling story, giving no quarter and forcing
the audience to go hand-in-hand with the protagonist through hell.
My wife’s new
favorite film (joining Eraserhead and
Haneke’s Amour), I’m sorry we missed
this in the theater.
Feed the Kitty (1952;
Charles M. Jones—short) Caught this classic Warner Bros. cartoon with the speaking
parts dubbed into Italian—which made it better overall, like the adults in a Charlie
Brown cartoon with their “Mwuh-maw-mwah” sounds instead of words or dialog; because the dialog is unnecessary, at best. About
a spoiled-rotten monster-dog that falls in love with the CUTEST KITTEN EVER—and
the increasing havoc that result because of it, this brilliant short works so
well because it pulls the heartstrings so effectively. Love it!
¡Mátalo! (1970;
Cesare Canevari) Probably the most insane, yet seemingly coherent Spaghetti
Western ever made. A kinky, creepy and kozmik western from the Swingin’ 1860s
for those who thought El Topo made
too much sense.
Not necessarily made
for stoners, but deffo by
stoners: there’s a real funky formalism stapled to a sloppy
experimentalism—jump cuts, freeze-frames and other optical hijinks turn up for
no apparent reason. But there is some exquisitely mobile camerawork, and a
wonderfully schizoid editing scheme—djointed?—and by the midway point, I’m not
even sure this movie knows what’s going on. Then Lou Castel shows up with his
boomerangs. Painfully obtuse and purposefully weird, but never not fascinating,
¡Mátalo! is definitely a lost cult
classic. You must be either very patient or very stoned, but either way, the
viewer will be rewarded.
STILL WATCHING (Started
on Netflix, and never got around to finishing…)
The Angry Red Planet
(1959; Ib Melchior) The giant bat-rat-spider! Cinemagic! The rotating-eye blob!
Gotta love it!
Assault on Precinct
13 (1976; John Carpenter) LOVE this movie—it’s got many scenes that are
classic, esp. the ice cream cone.
Books Read in March
2014! (* = read before)
Back to Our Future: How the 1980s
Explain the World We Live in Now—Our Culture, Our Politics, Our Everything by David Sirota (2011)—This book
made so much sense to me: How we are essentially trapped in some sort of
horrible time-loop, where the battles of the 1980s are still being fought:
Mainly because the Repubs are still living (in their minds and beliefs) in that
so-called Golden Age of Reagan, which was a tissue-paper fantasy anyway.
It’s still with us:
the Militarism, the hatred of the Progressive 1960s, the Gordon
Gekko-Sociopathic Greed—but even more amped, more extreme, more stupiderer!
[It’s so amped because it’s even more aware, if only on a subconscious level,
that the ice is getting thin…So Mega-Extreme-Ostrich Time!]
I’d read this book as
a take-out from the library, but was so impressed, I went to the Strand and
picked up my own copy.
Cotton Comes to Harlem by Chester Himes (1965) Not only
an excellent crime thriller with cops tougher than any of James Ellroy’s
rascist assholes—former jewel thief Himes has created two very memorable
sardonic and brutal flatfoots, Coffin Ed Johnson and Gravedigger Jones.
The plot is well
crafted, but to me incidental: the book’s strength lies in its recreation of
the vibrant neighborhood of Harlem circa 1965, just before the riots and total
economic collapse, along with the government-sponsored flood of heroin,
destroyed the ’hood and ghettoized it.
Meanwhile, Himes has
a fabulous ear for dialog and dialects, perfectly capturing the voices of the
inner city.
On a personal level,
the book is a wild ride as it takes place all over where I live, and I am very
happy to say that Himes gets it right, properly describing the geography of
Harlem, getting the hills and streets and landmarks correct.
Žižek’s Jokes: (Did you hear the
one about Hegel and negation?) by Slavoj Žižek (2014)—A collection of various
Zizekian witticisms: I liked it.
Jane Austen’s Emma by Nancy Butler and Janet Lee (2011;
graphic novel)—Using the “Classic Comics” format to catch up on some major
literature that slipped through the cracks as I brush up my skills in pursuit
of my teaching career.
*) The Stranger by Albert Camus (1946)—Read
as part of a class discussion; of course it’s still great. For me, though, this
is Camus taking the piss out of coffee-house existentialists; those who would
go to the guillotine for their “freedom” but never did anything worthwhile with
it in the first place. That is, so Meursault is rebelling against bourgeois
convention? That’s great—what’s he doing with this freedom? Nothing.
Meursault and his end
are not to be emulated; they are a warning.
Now that you are in position to move in the shadows of the Seventh Protocol -- what with your new position and all -- I will watch my verbs. Köngratz, by the way. If you think you've been remiss in your posting duties. Look at the history of mine. Not ONE single post in all of 2013. But fuck it. WE MOVE FORWARD!
ReplyDeleteOtto,
ReplyDeleteCite strong and thorough textual evidence to support analysis of what the text
says explicitly as well as inferences drawn from the text.
Determine a theme or central idea of a text and analyze in detail its
development over the course of the text, including how it emerges and is
shaped and refined by specific details; provide an objective summary of the
text.
Analyze how complex characters (e.g., those with multiple or conflicting
motivations) develop over the course of a text, interact with other characters,
and advance the plot or develop the theme.
Yours,
The Board of Directors, LERNER INTERNATIONAL