Showing posts with label Errol Morris. Show all posts
Showing posts with label Errol Morris. Show all posts

Apr 10, 2014

The Unknown Known

 
"soph·ist·ry ˈsäfəstrē/ 
noun: sophistry 
1. The use of fallacious arguments, esp. with the intention of deceiving."

If you are ready to spend 105 minutes in the exclusive company of Donald Rumsfeld, twice Secretary of Defense, as interviewed by Errol Morris, you will be treated to a crash course on self-delusion and verbal acrobatics. The picture that emerges is more damning than it seems. It doesn't look like Morris lobs harsh questions at his undeniably charming subject, but through subtlety and ironic contrast, the portrait that emerges is that of a man who thinks he's smarter than the rest of us, unrepentant, and deeply engaged with his own sophistry and self-mythologizing. 
The greatest "unknown" is why he lends himself to the scrutiny of Morris, someone he must know harbors no sympathy for his disastrous, warmongering shenanigans. Rumsfeld skirts the answer to this question. He thinks this is all a game of verbal and logical one-upmanship with a worthy opponent. Well, he did not fool me one bit.
Do not expect someone with the heroic-tragic stature of a Robert McNamara. Do not expect regret of any kind. We are dealing here with a man in love with the sound of his own mellifluous, Midwestern voice, and even more in love with having grasped power and taken it for a spin, consequences be damned. 
It is fascinating to watch him today, utterly composed, charming and relaxed and then see contradictory footage of his press briefings at the height of the war: arrogant, condescending, clearly relishing his power over the fawning press corps, to which he bequeathed famously blasé pronouncements like "stuff happens", when asked why nobody thought to prevent the looting of archaeological treasures in Iraq.  This is the subtle way by which Morris attempts to balance Rumsfeld's happy go lucky view of his own history. It's not a pretty sight.
Rumsfeld is a charmer. He has a wonderful voice, made for documentaries about life in the prairie. He acquiesces to read to camera a few of his hundreds of thousands, if not millions, of "snowflakes"; memos he wrote from the beginning of his long ascent into the pinnacle of power. Why did he put everything in writing? Was he thinking to leave a record of heroic public service behind? That he allows himself to read some damning memos only means he is hiding under this supposed transparency. He sleeps well at night. His conscience is untroubled.
I didn't know about his past career, and how he ascended to power by legendary Machiavellian maneuvers in the Ford administration, where he made enemies with Bush pére. Maybe that is the reason he ended wielding such enormous power at the cabinet of the fils, who seems to have done all the damage he did just to show up his daddy. The case against Iraq was merely a father-son Bush squabble that Rumsfeld and Cheney enabled. I didn't know that when he worked for Nixon, little Dick Cheney (aka Satan) was Rumsfeld's assistant. Rumsfeld's body language when he mentions this is priceless. He pats his hand in the air as if he was condescending to a little child. Much later, it was Cheney who recommended him to George W. Bush as Secretary of Defense. All this back story just adds to the creeping realization that we think we live in a democracy, but we actually live in a fiefdom of dynastic power and the same white, mostly male people rotating positions at the top for eternity.
Ironically, for a verbal fencer, or perhaps because of it, Rumsfeld is obsessed with definitions. He insists on the definition of every word. What is the definition of torture, he demands. Well, different people have different definitions. He and Dick Cheney decided that what they were doing to prisoners in Guantanamo was not torture, or that the Geneva Convention did not apply to them. 
He paints himself like a hero when he resigned after the pictures of Abu Ghraib came to light. I'm not buying it. That resignation had little to do with ethics and more to do with shrewd self-preservation. Bush did not accept his resignation. So he continued. It was much later that eight retired generals had had enough of his incompetence and finally mutinied.  
His legacy is the most abject decline of moral values in the handling of war in the history of this country, not to mention two failed wars and needless human suffering. But he freely roams the Earth, charming as the snake in Eden.
Unrepentant, the only tears he sheds happen as he recalls a hospital visit to a critically injured American soldier, which he turns into a happy ending. That soldier in particular rallied and survived, despite all odds: a quintessentially American narrative. But what about the tens of thousands of dead, injured, permanently damaged, overextended and abused American soldiers, plus hundreds of thousands of Iraqi citizens who didn't? Because of people like Rumsfeld, this has become a quintessentially American narrative as well. This is a fantastic, if maddening documentary. 

May 16, 2013

Frances Ha


I have never enjoyed the films of Noah Baumbach. Although they are well written and well directed, I find them mean spirited. From The Squid and The Whale's withering portrait of a couple of monstrous, self-absorbed parents, to the depressive sibling dysfunction of Margot at The Wedding and the bitter nihilism of Greenberg, their sour humor is rarely tempered by compassion. Their main characters are really hard to take, and at times it feels like Baumbach is too unforgiving with them. Not this time around.
In this luminous collaboration with actress, co-writer, and main squeeze Greta Gerwig, Baumbach has finally loosened up and delivered a truly lovely, funny, sad film that's an homage to a lot of many splendored things. It's an homage to the early films of François Truffaut and Jean-Luc Godard, with echoes of Jules Et Jim and A Band Apart, and reminiscent in spirit of Woody Allen's Manhattan; beautifully shot in black and white by Sam Levy. It uses the gorgeous music of Georges Delerue to great effect (together with an extremely well considered soundtrack). It is a tone poem to the difficulty of making it in New York if you are an artist, a bittersweet love letter to female friendship, and a very enjoyable film. Most remarkably, it is an homage to Gerwig's charm, and somehow through her, to all the female movie stars who light up the movie screen with their ineffable loveliness. There is barely a frame without Gerwig in it, and the camera basks on her beautiful, expressive face at all times.
Gerwig plays Frances, a 27 year-old eternal aspiring dancer. She lives with her best friend from college, Sophie, (Mickey Sumner, daughter of Sting, and very good) and refuses to grow up. Frances is a world class ditz, but she is sweet and loopy and fun. Life gets in the way, the way life does, particularly in New York. Better apartments are found, jobs are lost, friendships strained, and through it all Francis soldiers on, where someone with less moxie would have taken to shrinks and antidepressants. What she does instead is lie. She lies to her friends and family and to herself, trying to hold on to a way of life that is slipping away from her.
It's a strange occurrence when the middle of a movie is actually the most satisfying part of it. The second act introduces some real pain into Frances' life. Gerwig and Baumbach leave Frances' twee antics behind and delve into the painful crush of reality. Everything seems to go wrong for Frances. She can't pay the rent, her best friend is having a life without her, and Frances refuses to give up her dignity, as well as her messiness, for a shot at financial stability. The movie is arranged by chapters on her diminishing fortunes. She moves from neighborhood to neighborhood, the harsh economics of living in New York laid bare, until she's practically homeless, and a fellow dancer takes her in. Still fun, but now faced with serious problems, we really feel for Frances, even as she makes whimsical, unsound choices. She's not a violent rebel, but a sweet fuck up, and it takes rock bottom to make her come through to the other side, older and wiser. At certain points, I thought Gerwig was on the verge of falling into shtick, but she is such a charmer that she gets away with it. I just hope she doesn't play lovely, loopy women forever. She is an intelligent, vibrant actress and it would be great to see her stretch her range.
There are a couple of plot contrivances that gently strain credulity. Potential love affairs never get off the ground, because Frances is more of a sport than a seducer. She doesn't take herself seriously, so no one else does either. A refrain runs through the movie that Frances is undatable, which I found hard to believe. What man in his right mind wouldn't like to spend a couple of hours in her presence? And in the third act things come together way too neatly. The movie really makes you root for her happy ending, but I wish the ending was not so perfect. A little more of Frances' own messiness, of the bittersweet sting of successful compromise would have been nicer, but these are nitpicks. Frances Ha is Baumbach's best movie to date.

Dec 22, 2011

Best And Worst Movies of 2011


(And everything in between). All and all, this was a pretty great year for movies. Some critics justly included gems like Aurora, Poetry, and Tuesday After Christmas in their lists. You can find these movies in my list of 2010, because I saw them at the NYFF. This list is subject to change, as I'm still to see some movies.
But if I absolutely must furnish a:

10 Best List

A Separation
The Artist
Melancholia
Bridesmaids
The Trip
The Tree Of Life
Shame
Martha Marcy May Marlene
Into The Abyss
Corpo Celeste

Great

Coriolanus
Carnage
Cedar Rapids
Rapt
Presunto Culpable
El Velador
Tabloid
This is Not A Film

Good 

The Descendants
Jane Eyre
La Princesse de Montpensier
Tinker Tailor Soldier Spy 
The Muppets
The Girl With The Dragon Tattoo
The Ides of March

Flawed
 
Contagion
Margin Call
Le Havre
My Week With Marilyn
Midnight in Paris
A Dangerous Method 
Miss Bala
Young Adult
Crazy, Stupid, Love
Margaret

Disappointments

We Need To Talk About Kevin 
The Debt
Take Shelter
George Harrison: Living in a Material World
Once Upon A Time in Anatolia
Incendies
Insidious
Hugo


Bad

The Iron Lady
Drive

Horrid

J. Edgar
The Help
The Skin I Live In
Beginners
Miral
Leap Year

Jul 14, 2011

Tabloid


In his documentaries, Errol Morris is fascinated equally by interesting human subjects, the thin line between fact and fiction, and the slippery nature of the truth. Oscar Wilde's dictum, "The truth is rarely pure and never simple", which should be the motto of this country instead of "In God we Trust", is a recurring motif in Morris' films. As opposed to other documentary filmmakers who use the genre to tell "the truth", Morris explores whether the truth exists at all. In his films there is not one truth, there is no objectivity, everything depends on the perspective of the subject and the truth is extraordinarily relative. I think he is a genius.
He has explored serious subjects in excellent documentaries like The Thin Blue Line, in which he so effectively challenged the findings of a murder trial in Texas that the case was reopened and the accused, exonerated; The Fog of War, about Robert McNamara, Standard Operating Procedure, about the photographs of Abu Ghraib and the soldiers who took the fall for them, and, my favorite, Mr. Death: The Rise and Fall of Fred Leuchter, about the guy who invented the lethal injection, who also happens to be a Holocaust denier. Tabloid, his much anticipated latest film, is about a much flimsier, lightweight subject, yet Morris handles it, as usual, with great intelligence. It is still about the nature of truth and the thin line between fact and fiction. And in this case a bit tangentially about the nature of tabloid news, and how they are manufactured, both by the subjects and the press.
Morris unearths the long forgotten story of Joyce McKinney, who, for a brief time in the Seventies, captivated the public with her bizarre amour fou for a Mormon man. Joyce is a charming, vivacious and histrionic raconteuse, a motherlode of Southern eccentricity. I'm not even sure if her there is an official classification for her behavior in the Diagnostic and Statistical Manual of Mental Disorders. People with some of her traits, like narcissism and mythomania, but without her sunny disposition may be classified as sociopaths.
Joyce tells us her version of how she went to London to look for her beloved Mormon fiancee after he vanished from her, according to her, abducted by a Mormon cult. How she did this is what landed her in the tabloids and on the wrong side of the law, and it is such zany, bizarre fun, you'll have to see the film for yourself. Suffice it to say that for the British police what she did could be construed as kidnapping and rape, but to her, in her own words, it was "a honeymoon".
Morris is not interested in the facts of the story. He is interested in the retelling by Joyce and other competing narratives. We also hear from two British tabloid journalists, from a gay ex-Mormon, who explains some of that religion's oddest tenets and from the pilot who flew Joyce to England (Joyce couldn't just fly across the Atlantic like the rest of us; she had to hire a private plane, take a bodyguard and bring recording equipment and a bottle of chloroform).
Once the British press gets word of her exploits, Joyce, a world-class tease, becomes an overnight sensation and enjoys her fifteen minutes, until a competing tabloid, in order to sell more papers, fishes out nasty details about her past. When she realizes she cannot control the narrative anymore, she officially goes nuts (as opposed to being just her bubbly, creative self) and tries to jump out a window. She reminds me of Princess Diana: another gifted manipulator who loved to have the press on her lap, as long as it told the story she wanted to tell, but complained bitterly when she could not control the narrative. The problem with tabloids is that they control the narrative, and people are incredibly naive if they think they can do anything about it. The recent news about the News of The World and the phone hacking tabloid scandal in England could not be a more dramatic reminder of this (and could not have come at a better time for this movie).
Joyce's story is not as tragic as Di's, but it is very sad. She seems to have great reserves of spunk and optimism, and she literally shines now that she is in the spotlight again. There is something touching, almost innocent, about her relationship with the tabloids, in comparison to what goes on today. In our age of reality shows and tabloid news on TV, regular fame-seeking schmoes understand the racket and they enter it willingly and with premeditation. They are already calculating all the ancillary benefits, products, endorsements, and exposure they can get even before they know exactly how they are going to embarrass themselves in front of the entire world. As Sacha Baron Cohen showed in Bruno, mothers are willing to subject their babies to anything as long as they can get them on TV. Joyce is not like that. She is so kooky, she invariably ends up making headlines on the tabloids. In the Eighties she landed there once again, for totally unrelated but equally bizarre reasons, providing this movie with one of the funnier twists I've ever seen in a film. My impression is that she didn't do what she did with the intent to become famous. I believe her when she says she wanted her Mormon lover back. I think she's so crazy that she can't keep her eye on the money ball, unlike other more business-oriented tabloid fodder who parade themselves mercilessly to keep the cash rolling in (Kardashians, Paris Hilton, etc). Joyce gets distracted by her own romantic view of herself and forgets to cash in. What moves her is not greed, but her own self-mythologizing. Fame finds her.
Tabloid is a very entertaining and funny movie, but Joyce's story is very sad. She has been writing a book about her story since it happened forty years ago and it is still a work in progress! This is heartbreaking and somehow heartening at the same time.