The Teeth of Gilgamesh

eating the boat jaws I saw 'Jaws' in a cinema for the first time, having grown up afraid of swimming due to repeated pan-and-scan broadcasts on probably all four of the terrestrial channels granted me in childhood, but never having the opportunity to see it projected on a canvas large enough to do it justice.   I was struck by my friend and co-host's suggestion that the story of Roy, Ricky, Bob and the shark is a Holocaust film in disguise - evoked by the the city fathers' refusal to acknowledge the danger, the fleeing of the powerless bathers from the sea, the conversation about the delivery of the A-Bomb, and, perhaps most Freudian of all, the fact that gas is used to kill.  As is often the case, my co-host impressed with his mysterious ability to find things in movies that no one has said before, or that at least don't show up on the first page of a Google search.  I'm fascinated by his suggestion that the most obvious analogue to 'Jaws' in Spielberg's work may be 'Schindler's List', and I'm sure we'll talk about this on TFT soon.

It dovetails with the fact that, for me, 'Jaws' has become the archetypal film for representing the meaning of violence in our shared culture - there are obvious parallels between the death of the shark and the origin of the myth that order can be brought out of chaos by the application of more chaos found in 'The Epic of Gilgamesh'.  In 'Jaws', paradise is restored through ultimate force; in that regard it looks like the story that catechises pop culture, unquestioned.  So it's troubling, and philosophically compelling.  It also happens to be crafted from a rock that looks to me like the secret headquarters of perfect film grammar; so it's an utterly compelling, character-rich tale.

I leave you with three questions:

1: What other films do you, the TFT community consider to be philosophically deeper than their reputation would suggest?

2: What films other films can you think of that end with the opposite of the climax in 'Jaws', with a negotiated settlement rather than killing the bad guy?

3: Where did Murray Hamilton (below) get his jackets?  And does anyone know if you can buy them in Tennessee or North Carolina?

mayor in jaws

Mental Illness and the Movies

cuckoo Just a brief post from me as I'm on my way to Nashville to, among other things, meet up with the maestro for a screening of recent cult film 'The Room' at the glorious Belcourt Theatre. Meantime, I'd like to recommend the gutsy article at the Huffington Post from Glenn Close on the cinematic portrayal of mental illness. It's a significant moment when anyone is prepared to criticise their own work, especially when that work is among the most successful and iconic they've done, but Close all but disassociates herself from 'Fatal Attraction' because the way it turned a human being with a personality disorder who needed help into a monster whom the audience was supposed to consider worthy only of being spectacularly murdered.

There are, as Close writes, notable exceptions (such as 'One Flew Over the Cuckoo's Nest', above) to the superficiality or demonising portrayals of mental illness; but for the most part, the contours of the mind in the movies are subject to the same kind of over-simplification or plain ignorance that shows up every time the term 'schizophrenic' is used to describe 'split personality' (an entirely different condition) or, more disturbing, when 'psychotic' is used interchangeably with the accurate term given to the extremely rare phenomenon of 'psychopathy'. According to the Native American scholar Joe Gone, 48% of US Americans have a diagnosable mental illness, and so Close's points about ignorance not helping any of us are just the tip of the iceberg.  I'm not an expert in any of this, although like most of us, have not been untouched by mental illness in my friends, my family, myself; I'd love to have a conversation here about the portrayal of psychological conditions in cinema - any particularly good examples of accuracy, or bad examples of egregious misunderstanding?  If mental illness is frequently rooted in conflicted desire and expectation, and if cinema is about desire, is it possible that the movies might actually have the power to make us sick?  Or to heal us?

Monsoon Wedding: 'There's a temple right in the middle of the driveway'

Monsoon 1 The good folks at the Criterion Collection have set a new standard for themselves with their edition of Mira Nair's 2001 'Monsoon Wedding', out today, and, if it wasn't for the fact that they're giving us 'Wings of Desire' in a couple of weeks, it would be my choice for simply the best DVD release of the year.

I remember being exhilirated by the film when I saw it in Belfast - a mostly handheld family soap opera centering on the microcosm of all human life that takes place around a Delhi wedding, that also manages to take in the impact of globalisation, the economic transformation of India, sexual identity, the re-interpretation of religious traditions to accommodate modernity, but most of all the question of how love on earth is possible.  For four days it feels like the whole world has arrived in India to dance, to fight, to eat, to complain, to stress out, to wear extraordinary colors and carry out the tensest of rituals: a family gathering.

monsoon 3

And so we get Old and New India scattered in our direction, English and Hindi in the same sentence, remixed Bollywood dance tunes underscoring ancient rituals (flowers arranged as if their lives depended on it, mothers-in-law hiding the fact that they smoke, motivations mixed).  It's utterly exuberant, but far deeper than that: this is about what India is really like.  It's kinetic enough to feel like a rehearsal for 'Slumdog Millionaire', its scope wide enough to invoke the spirit of Robert Altman, its high drama mingled with a smidgen of magic is undeniably sourced from Fellini.  (While it's become fashionable to detract from 'Slumdog', I'm still a fan (with reservations); but there's a scene of a boy with an eyepatch carrying coconut halves through the rain in 'Monsoon Wedding' that's as evocative than anything I saw in this year's Best Picture winner.) Nair knows when to up the emotional ante (to 'milk it', as she says on the erudite and illuminating commentary track); her cinematographer Declan Quinn arrives at a representation of these people and this place that makes you feel like you're there (and was to repeat this technique for 'Rachel Getting Married' last year, a film that could be considered a sister to 'Monsoon Wedding'); the music and editing dovetail perfectly.

Nair's early work was in the theatre, and she says that with the wedding scene she wanted to create 'an enormous drama in one night'.  It's obvious that in making this film she organised things so that something approximating real life would happen on screen.  And you're into it from the opening frames; totally compelled by these people who remind you of yourself, even if you feel that you have nothing in common with their rituals or culture.  What's most compelling is how there are so many well-rounded characters - Naseeruddin Shah's patriarch chief among them, granting his role dignity, soulfulness, authority, and - the hardest thing - a moment of change that feels completely convincing.

monsoon wedding 2

Now, I just got married, so I may be allowing the residue of sentimentality that derives from that day to prejudice me in favor of this movie; I'd counter that by saying I liked it when I was single too...It's a genre-defying film patched together from Bollywood/Hollywood romance, musicals, a bit of psychological thriller here, a family soap opera there.  It will make you cry and laugh, and think about your own family while it teaches a gentle lesson about how the world is changing, and the place of India in the world (it shouldn't be a surprise that Steven Spielberg sees the future of Dreamworks as intimately bound with the country).  Most of all, though, 'Monsoon Wedding' portrays the mad courage that it takes to enter into love with other people; it's liberating to imagine that life could be like this.

Criterion's edition includes several short documentaries and fiction films from Nair, and a crop of thoughtful interviews, alongside the requisite essay; there's almost nothing you could imagine being left out of the supplements.  It's a fantastic edition of a wonderful film that repays repeat viewings.

*Images courtesy Criterion Collection.

Why I Think He (Maybe) Deserves the Nobel Peace Prize

I know it's been a week and a bit, which in the contemporary mode suggests that ancient history has already passed under the bridge since the Nobel Committee announced its decision, but I wanted to comment about Obama's Prize.  I think it's telling that half the country is outraged that their President is well thought of by the outside world; and there's a lot of obvious projection going on, both from those who miss their fallen emperor - you, know, the guy who invited people who wanted to kill us to 'bring it on' - and from those who think his successor is their ideal version of what a man should be. Now, for me, President Obama is a pretty representative approximation of what kind of good man could possibly be elected to the Presidency; he seems to have made it there with his soul intact, and you have to empathise with him when he is targeted at the hands of the astonishing double-mindedness of his opponents, whose complaints seem to be as follows: He hasn't saved the world in his first ten months in office, he hasn't ended the wrong-headed war his predecessor started eight years ago, he hasn't disavowed his blackness (which some people appear to want him to do), he's too smart, etc.

I've met a few Nobel Laureates over the years - being on the fringes of the northern Ireland peace process meant that you tended to bump into them from time to time.  Between my alma mater and home city, we produced four of them in just over two decades - Mairead Corrigan Maguire, Betty Williams, David Trimble and John Hume.  Very few people would dispute that each of them deserved to be so rewarded.  Mairead and Betty co-founded the Peace People with the journalist Ciaran McKeown, a truly grass roots mass movement that transformed the streets of Belfast in the mid-1970s into space for non-violent public protest against the use of violence.  People mobilised in tens of thousands to make their voices heard, gathered in a movement sparked off by the killing of three of Mairead's sister's children.  When they were awarded the Nobel, they had not brought peace to the streets of my home town.  But they had served as a focal point for people's hope.  Precedents had been set.  And although the Peace People movement came under enormous pressure, and was not helped by either local political parties or the British state, it still works in a grass roots way today.

Two decades later, political negotiators drew up a treaty that offered a structure for relationships in northern Ireland that could be used instead of violence.  Hume and Trimble, the two avatars of northern Irish Protestant unionism and Catholic nationalism, were recognised by the Nobel committee; their political opponents used this as an opportunity to rant then as well.  That was eleven years ago.  Both Hume and Trimble have left the northern Irish political stage, and people who hated either or both of them are now in charge of the government built on the agreement they championed.

But - and this really is the heart of why I think the Nobel Committee got it (mostly) right - the totem for the northern Ireland peace process is not the fact that we now have a broadly stable government, that violence has all but disappeared (with awful, but thankfully rare exceptions), that all the major paramilitary organisations have decommissioned their weapons, or begun the process of doing so, that the police are more accountable than ever and have an enviable (albeit imperfect) record on human rights, and that the opportunity to deal with the past without vengeance exists, even though all these things are true.  No, the totem for the northern Ireland peace process is that, after decades of using violence or belligerence as a political first resort, people decided that negotiation was not a sign of weakness.  Four years of talking got us an agreement.  Nine years of still talking got the agreement implemented.  In the past, there were years when people were killed for political reasons in northern Ireland every single day.  Since 1994, when we started talking, the death toll has reduced to a tragic handful each year.  It is undeniable: a vast number of people are alive today because sworn violent enemies talked to each other.

And this is why President Obama may deserve the Nobel Peace Prize.  Because he is willing to talk first.  Now, he has been saddled with a legacy of war and presides over a nation which has grown too fond of a 'shoot first' attitude.  He cannot easily extricate himself from business as usual.  But I agree that the Nobel Committee gave him the award because they want to help him.  Complaining that he doesn't deserve it is both sour grapes, and a misunderstanding of why the Prize is given - sometimes you get it because you've done something amazing (Mandela, Mother Teresa, Wangari Maathai, Jose Ramos-Horta), sometimes you get it because you maybe did something that could have been amazing and might have covered a multitude of sins (Henry Kissinger), and sometimes you get it because the Norwegians think you might be something some day.   I think President Obama already is something - just take today, for instance.  His representatives are talking to Iranian diplomats about diverting their uranium to another country for processing.  His predecessor appeared more willing to drop bombs on Iranians than to talk to them; it may only have been the US election cycle that prevented another insane war in the Middle East.  Obama's presidency, on the other hand, is offering a teachable moment to us all; we might learn that scapegoating our leaders ends up delivering only more violence.  Alternatively, we might give them a chance to take the high road, and to avoid the mistakes of history by doing what we deeply know, but often deny, to be true: talking is better than fighting.  Doing that might mean that we deserve a peace prize one day too.

*Caveat: Because I know some folk might want to take issue with me, let me say this:

1: I don't think Obama is perfect.  He is not the Messiah.  He is not the Antichrist either.  Neither is George W Bush.

2: There are plenty of areas where I think he is either moving too slowly, or has given no indication that he is going to change some of the wrong directions set by the Bush administration.

3: Obama is not responsible for my choices or behaviour.  I hope we can agree to disagree about whether or not he deserves the Peace Prize.  But I hope we will not disagree that we both have a responsibility to reduce violence wherever we are, including when we're having a conversation on a blog.