My two cents (on the Iowa results)

The blogosphere is abuzz in the aftermath of last night's results from Iowa. So, here's my two cents...

I commented a couple of months ago that I thought an Obama v. Huckabee general election would be good for the country. I see the potential for some substantive debate on issues that often get ignored and I think both men would keep the campaign on a high plane, even if their supporters didn't (I'm sure we'd see partisans on both sides using Obama's race/name and Huckabee's background as a Baptist minister to sow fear). In any case, that scenario is somewhat more likely after last night. But I liken the Iowa caucuses to a college basketball team's non-conference schedule. My Gators went 13-2 in non-conference play, which looks impressive, but isn't a good barometer of how good they might be since they haven't played many good teams yet. That will come when they start playing their SEC rivals next week. Huckabee and Obama look really good after last night, but we'll know a lot more in a month.

I still plan to vote for Huck on Jan. 29, but I like McCain more and more as a possible alternative. Huckabee's comments after the Bhutto assassination didn't exactly inspire confidence in his foreign policy acumen. Maybe those two will get together eventually? McCain and Huckabee that is. Senator McCain had some nice things to say about Governor Huckabee on NPR this morning, but that probably has more to do with "the enemy of my enemy (Romney) is my friend" (at least for now). And that Pat Robertson endorsement doesn't seem to be doing Rudy a whole lot of good so far.

This is going to be an interesting election!

UPDATE: Since writing this I came across David Brooks' analysis. As usual, he hits a home run.

On Obama:

Barack Obama has won the Iowa caucuses. You’d have to have a heart of stone not to feel moved by this. An African-American man wins a closely fought campaign in a pivotal state. He beats two strong opponents, including the mighty Clinton machine. He does it in a system that favors rural voters. He does it by getting young voters to come out to the caucuses.

This is a huge moment. It’s one of those times when a movement that seemed ethereal and idealistic became a reality and took on political substance.

Iowa won’t settle the race, but the rest of the primary season is going to be colored by the glow of this result. Whatever their political affiliations, Americans are going to feel good about the Obama victory, which is a story of youth, possibility and unity through diversity — the primordial themes of the American experience.

On Huckabee:

On the Republican side, my message is: Be not afraid. Some people are going to tell you that Mike Huckabee’s victory last night in Iowa represents a triumph for the creationist crusaders. Wrong.

Huckabee won because he tapped into realities that other Republicans have been slow to recognize. First, evangelicals have changed. Huckabee is the first ironic evangelical on the national stage. He’s funny, campy (see his Chuck Norris fixation) and he’s not at war with modern culture.

Second, Huckabee understands much better than Mitt Romney that we have a crisis of authority in this country. People have lost faith in their leaders’ ability to respond to problems. While Romney embodies the leadership class, Huckabee went after it. He criticized Wall Street and K Street. Most importantly, he sensed that conservatives do not believe their own movement is well led. He took on Rush Limbaugh, the Club for Growth and even President Bush. The old guard threw everything they had at him, and their diminished power is now exposed.

Third, Huckabee understands how middle-class anxiety is really lived. Democrats talk about wages. But real middle-class families have more to fear economically from divorce than from a free trade pact. A person’s lifetime prospects will be threatened more by single parenting than by outsourcing. Huckabee understands that economic well-being is fused with social and moral well-being, and he talks about the inter-relationship in a way no other candidate has.

In that sense, Huckabee’s victory is not a step into the past. It opens up the way for a new coalition.

There's more, but those are the highlights.

Early Spring

Japanese filmmaker Yasujiro Ozu (1903-1963) has been on my radar for a while. If not as influential as fellow countryman Akira Kurosawa, he's no less revered as one of the all-time greats of cinema. Thanks to my brother, who gave me Criterion's Late Ozu set for Christmas, I've been able to start studying this master first hand. First up was Early Spring from 1956. Ozu's style could be described as one of classical restraint, well in keeping with his generation. His camera rarely moves and actors are usually shot at eye-level. He was an innovator though and ignored conventions of Western cinema, most notably the 180 degree rule. He was also known for his "pillow shots" -- abstract shots that transition between one scene to the next. These were often shots of modern cityscapes juxtaposed against the sky or other manifestations of nature (transcendence?) that add hints of symbolism to the narrative. You can see some examples below.

What comes through loud and clear in this series of films is the profound spiritual crisis of post-war Japan, a crisis that continues today. Is it a coincidence that there is no exact word for "hope" in the Japanese language?

"What people need in this situation is hope in the Christian sense of the word, but hope is an alien idea here," says the renowned organist Masaaki Suzuki, founder and conductor of the Bach Collegium Japan. He is the driving force behind the "Bach boom" sweeping Japan during its current period of spiritual impoverishment. "Our language does not even have an appropriate word for hope," Suzuki says. "We either use ibo, meaning desire, or nozomi, which describes something unattainable." After every one of the Bach Collegium’s performances Suzuki is crowded on the podium by non-Christian members of the audience who wish to talk to him about topics that are normally taboo in Japanese society-death, for example. "And then they inevitably ask me to explain to them what ‘hope’ means to Christians."
(a quote from J.S. Bach in Japan by Uwe Siemon-Netto)

Even as Japan is miraculously transforming from an imperialistic military power to a peaceful economic juggernaut, young Japanese (like salaryman Shoji in Early Spring) struggle to find meaning in their existence and relationships. Ozu described Early Spring this way.

It had been a while since I dealt with the salaryman, I wanted to have a go at representing their lifestyle. The thrill and aspirations one feels as a fresh graduate entering society gradually wane as the days go by. Even working diligently for 30 years doesn't amount to much. I tried to portray the pathos of the salaryman's life as society undergoes transformation. Screening time was the longest among my postwar films. I tried to avoid anything dramatic, and instead piled up scenes where nothing at all happens, so as to let audience feel the sadness of their existence.

Here are some representative frames from Early Spring taken from Ozu-san.com, one of the nicest filmmaker tribute websites I've ever come across.

Resolved...pray!

Last week I was listening to John Piper preach on prayer. He exhorted his listeners to "treat prayer like your job, treat prayer like food, treat prayer like sleep. It's more important than all of those." After all, even the most undisciplined among us manage to get to work, eat regularly and go to bed when we're tired. Listening, I resolved to make that my goal for 2008. That is to cultivate a disciplined, intentional practice of prayer.

Along those same lines, fellow Hobe Sound alum Randy Huff asks: Will the New Year find you praying?

Charlie Wilson's War

"We'll see, the Zen master said."

I find it hard to come up with fresh adjectives when writing about movies I like. In the case of Mike Nichol's latest, I'll settle for brilliant! A trio of brilliant performances by Tom Hanks, Julie Roberts and Philip Seymour Hoffman and a brilliant script by Aaron Sorkin brilliantly staged by 76-year old American director Mike Nichols. Enough with brilliant. This film explodes off the screen with one great sequence after another. Hilarious, tragic and lacerating...sometimes all at once, and remarkably balanced, despite the Democratic pedigree of the filmmakers.

Back in the 80's when most kids my age were playing Atari, I was reading Time, Newsweek and National Review, so I can recall the events portrayed and I even have a vague recollection of Congressman Charles Wilson from Texas. He was a "Blue Dog Democrat" (a breed that no longer exists), the name given to the group of conservative Democratic congressmen that had enormous power when Ronald Reagan and Tip O'Neill faced off in epic battles. They were often the swing vote which accounted for their disproportionate clout in the House.

This movie isn't a hatchet job on Wilson and his associates -- who covertly and intrepidly armed and trained the Mujahideen so they could drive the Russians out of Afghanistan and hasten the demise of the Soviet Empire -- but it is a case study in the unintended consequences that accompanied that decision. A straight line can be drawn from that to 9/11 and our current involvements in Afghanistan and Iraq. Terrific ironies abound and places and names that fill today's headlines crop up in Charlie Wilson's story. Afghanistan, Pakistan, Giuliani and Bhutto (Benazir's father). And at the center the Afghan "freedom fighters" who gave birth to the Taliban and Al-Qaeda. Even knowing what we know now, a case can be made that it was the right thing to do, but the best of intentions often go awry and it's usually the "endgame" that gets screwed up (Charlie Wilson would use a different word). In one sad scene after the war has been won, we see Wilson trying to convince his colleagues to approve $1 million dollars to rebuild schools in Afghanistan (this after having spent hundreds of millions on the war). The response? "Nobody gives a s--- about Afghanistan anymore." 13 years later American troops were invading after 9/11.

In another great scene, Wilson and his wonderfully colorful and loyal staff are celebrating his re-election and success in helping to defeat the Russians. CIA operative Gust Avrakotos (played by Hoffman) tries to bring some perspective to Charlie by telling him a parable about a Zen master and a boy. I paraphrase:

In a village, a boy got a beautiful pony, and all the villagers said, 'That’s wonderful.' The Zen master said, 'We’ll see.' A couple of years later, the boy fell off the pony and broke his leg and all the villagers said, 'That’s terrible.' The Zen master said, 'We’ll see.' Then a war came and all the other boys went to war, but the boy couldn’t go because of his leg. All the villagers said, 'That’s wonderful.' The Zen master said, 'We’ll see.'

And so it goes. Or as is said elsewhere in the film, "the ball keeps bouncing" even when we've looked away. A master of a different kind, in fact the Master, said to Peter "all who take the sword will perish by the sword." Is this a call to pacifism? I think not. But it is a call to careful, prayerful reflection, for rarely (never?) is the taking up of the sword without unintended consequences. And as this movie dramatizes, in another entire subtext that I could write a lot about, claiming a religious warrant for fighting our enemies is a slippery slope that leads to a moral twilight zone.

Joanne Herring, the Texas right-wing socialite played by Roberts, "who has the body of Julia Roberts" and "the brain of William F. Buckley" (Paul Asay writing at pluggedinonline.com), tries to frame the conflict in Afghanistan as a Christian crusade. In one scene Wilson tries to get her to tone down the rhetoric. For one thing, the enterprise is dependent on the support of Wilson's more liberal Democratic colleagues, but also on the Israelis, Saudis and Pakistanis...none of whom want to be seen as participants in some kind of Christian holy war. But Herring demurs and tells Charlie, "I talk about God for one simple reason, we need Him on our side." Charlie's reply is priceless. "Sooner or later, God's going to be on both sides."

Charlie Wilson's War is a success on every front and may turn out to be my favorite film of 2007.

Atonement

Often a promising film is undone by it's ending, but in the case of Atonement a mediocre film is almost redeemed by it's ending. I had doubts about this project from the first time I saw the trailer. It seemed like a too obvious attempt to recreate a successful formula -- hip director Joe Wright teaming up again with Keira Knightley in another British costume drama full of handsome actors and equally handsome locations. On the other hand I liked Wright's version of Pride and Prejudice and Roger Ebert (who I usually agree with) just included Atonement in his top ten movies of 2007. My initial instincts were correct. This film has some nice moments, but overall I was underwhelmed.

While watching Atonement I was reminded of other films that take place in this period or explore similar themes...all more successfully. The imposing shadows of Merchant & Ivory loom and I couldn't stop thinking about another favorite film of mine: The English Patient. Wright seemed to be striving to achieve the same tragic pathos and self-consciously literary style. Even certain shots made me wonder if they were a conscious homage to Anthony Minghella's masterpiece, and then lo and behold Minghella himself shows up in a cameo role at the end. Hmmm.

Like the film as a whole, the cast isn't awful, but it isn't terribly memorable either. There's no doubt that Keira Knightley has an elegant beauty that the camera loves. She looks every bit the part of the aristocratic daughter, but her performance never registers emotionally. Neither does that of leading man James McAvoy. They never made me care about their characters. Only Vanessa Redgrave hits a home run in the 5 minute coda I mentioned before. I won't be surprised if she nets a supporting actress Oscar for her brief appearance. What an actress! Like I said, she almost rescues this film from falling victim to it's weak characterizations and forced symbolism.

The conceit of the movie (and I assume of the novel it's based on) is that it's not Knightley's "Cecilia" or McAvoy's "Robbie" that's the catalyst to the story. It's younger sister Briony. And it's she who seeks atonement. I don't know how much meaning the word "atonement" still has in a post-Christian society like ours, probably not much, but it's a precious word for the Christian. We know that our atonement is only found at the cross of Christ and can't be attained by our effort. Without giving too much away, this truth seems to be poignantly borne out in this story.

The "Gods of the Copybook Headings" strike again

As it will be in the future, it was at the birth of Man
There are only four things certain since Social Progress began.
That the Dog returns to his Vomit and the Sow returns to her Mire,
And the burnt Fool's bandaged finger goes wabbling back to the Fire;

And that after this is accomplished, and the brave new world begins
When all men are paid for existing and no man must pay for his sins,
As surely as Water will wet us, as surely as Fire will burn,
The Gods of the Copybook Headings with terror and slaughter return.

I thought of those lines from Kipling's poem this morning after hearing the shocking news of Benazir Bhutto's assassination. Coming as it does during this semi-holiday week when most of us are enjoying the blessings of peace and prosperity, it's an abrupt reminder of the darker realities that reign in other parts of the world. It's hard to say whether these events will have major ramifications for us -- but considering that Pakistan has been somewhat of a U.S. ally, possesses nuclear weapons and is the true frontline in the West's struggle against Islamic terrorism -- I'd say it's a good bet.

UPDATE: Ahmed Rashid on the Benazir Bhutto Assassination

Oscar Peterson (1925-2007)

As a jazz lover I'd be remiss not to mention the passing of Oscar Peterson on Sunday. Peterson was among a handful of the greatest jazz pianists of the 20th century and perhaps the greatest jazz musician to ever come out of Canada. One of the first jazz albums I ever bought was Night Train. Peterson's playing was characterized by a virtuosic technique that could sizzle or do a slow burn, accompanied by impeccable taste. The New York Times pays tribute.

Christmas Eve...King's College style

Merry Christmas! Til our eyes at last shall see him...

In case you missed this...

Another reason why John Piper is my hero. He looked a little bit like Buddy Holly didn't he?

Looking back at Little Women

I'm not ashamed to say that Little Women is one of my all-time favorite movies -- specifically the 1994 version starring Winona Ryder and a host of talented actors. Louisa May Alcott's novel has had a long history of adaptation for the screen (Shannon even remembers watching a cartoon version as a girl). Playing Jo March, Ryder was following in the formidable footsteps of Katherine Hepburn (the 1933 version) and June Allyson (1949).



Having never seen those earlier films I can't compare her to them, but I love Ryder's work here. She has a wholesome, wide-eyed quality that subtly changes into something more complex as her character matures and faces the triumphs and tragedies of family, friendship and love. I think Ryder's performance in Little Women must have benefited from her work in Martin Scorsese's splendid adaptation of The Age of Innocence the previous year. She has a similar quality in both films. I find all the perfomances appealing and believable except for Samantha Mathis, playing the grown-up Amy, who seems stiff and out of place. More on her below

Every scene of Little Women is beautifully lit and the sets and costumes are picture postcard perfect. The film has an idealized glow, even the "hovel house" where the poor immigrant family lives looks picturesque. But hey, it's not meant to be a work of gritty realism! Another asset is the score by Thomas Newman. Yes, it's a bit cliched and sounds remarkably similar to his score for The Shawshank Redemption from the same year (he received Oscar nominations for both films losing to Hans Zimmer for The Lion King), but again, I think it works in this context.

It's hard to think of another American film that featured more A-list actors (or actors that went on to become A-list) than Little Women. In addition to Ryder there's Susan Sarandon (who's aged more gracefully than any American actress I can think of), Claire Danes, Kirsten Dunst, Gabriel Byrne, Christian Bale...even Eric Stoltz, who became an Indy-film darling, and whose performance as the staid tutor John Brooke was a follow-up to his turn as loopy drug dealer Lance in Pulp Fiction. 1994 was a big year for Stoltz! The only exception to the model of stardom was Trini Alvarado, who played oldest March sister Meg, but went on to only moderate success before dropping out of sight. According to Wikipedia, she now resides in New York with her actor husband. Samantha Mathis went on to act in some successful films and has had a long career in TV, including starring in an episode of Lost earlier this year. But she may be best known as the girlfriend of actor River Phoenix. She was with Phoenix the night he died of a drug overdose outside The Viper Room, the Hollywood club once owned by Johnny Depp.

I've watched Little Women too many times to count and never get tired of it. I pulled it down off the shelf a few nights ago and introduced it to Shannon. It's not usually thought of as a "Christmas movie", but several scenes take place at Christmas and I believe it makes a fine Christmas movie! Here's the first 10 minutes. It's worth watching for the opening credits montage which feels like a video Christmas card. Enjoy.