Posts Tagged politics

Time Out Interviews

So what have I been doing for the past couple of months that’s precluded me from rambling about popular culture here? Working on screenplays, mostly. (One down! One with a long, long way to go!) But I’ve also been doing plenty of film-related interviews for Time Out, so here are some recent highlights:

Experimental filmmaker Guy Maddin talks about his body of work, the development of his visual style, and his mistrust of cinematic ‘realism’.

Skins’ actor Kaya Scodelario on the challenges of playing Cathy in Andrea Arnolds’ new, poetic adaptation of Wuthering Heights.

Geoffrey Wright looks back at his controversial Romper Stomper on its 20th anniversary, and tells why just-starting-out filmmakers should take more risks.

Bollywood superstar Vidya Balan discusses lascivious winking,’virtual sex’, and shifts in Hindi cinema.

Here’s Claudio Simonetti of Goblin on how a young Italian rock band created one of the most famous horror soundtracks of all time for Dario Argento’s Suspiria.

And B-movie legend Larry Cohen – of It’s Alive, God Told Me To, and The Stuff – explains why most Hollywood films are so screwed up.

(Yeah, it’s directors. Goddamn directors.)

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The Messenger: jmag review

Here’s my apologetic review of The Messenger from the latest issue of triple j magazine. I somehow missed this entirely when it was playing in cinemas, and it turned out to be much more interesting than expected. (Also – just in case it kills you like it did me – hey, that’s Eli from Freaks and Geeks!)

THE MESSENGER

Director: Oren Moverman

Starring: Ben Foster, Samantha Morton, Woody Harrelson

Do you hate your job? Well, suck it up. In The Messenger, injured soldier Will Montgomery (Ben Foster) is assigned to one of the worst jobs on earth: the Casualty Notification Team that informs the next of kin that a loved one has died in combat. They’re tough, tattooed soldiers who stick expressionlessly to a script. (Rule #1: no hugging.)

Will is taught the ropes by an eccentric mentor, played by Woody Harrelson as 50% laid-back charmer, 50% snorting bull. He’s good, but I was more amazed by Ben Foster’s jittery performance as Ben. Even when he sweetly connects with a new widow (Samantha Morton), he never seems less than dangerous. Director Oren Moverman was a writer first (including penning the Bob Dylan kinda-but-not-really biopic I’m Not There) and he doesn’t rely on battle flashbacks for instant drama. He just lets the characters tell their stories in long, painful takes.

If you skipped The Messenger because you were expecting another preachy anti-war weepy – it’s not. It’s unpredictable, moving, often mesmerising.

Other reviews this month: a rave for Aronofsky’s Black Swan, a boo for Romero’s Survival of the Dead, and a suspicious ‘huh?’ for Catfish.

Issue #47 on sale now.

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This Is Not A Gun

When I heard about the shooting of Gabrielle Giffords in Tucson, Arizona, I was reading Bruce Sterling’s novel Distraction. It’s about American politics in the year 2044 and – despite being written back in the Stone Age of 1988 – often reads as eerily prophetic.

Early on in the novel, a political agent is targeted by a “homicidal lunatic”. Why? Because his enemies have software that automatically generates hate-mongering messages about him and forwards them to those who’ll be most influenced:

“That’s spam from a junk mailbot. I’ve seen some junkbots that are pretty sophisticated, they can generate a halfway decent ad spiel. But that stuff is pure chain-mail ware. It can’t even punctuate!”

“Well, your core-target violent paranoiac, he might not notice the misspellings.”

There’s no need for Manchurian Candidates in Distraction; you just bombard those “core-targets” with the right messages and wait for someone to snap and pull the trigger. Is this the sci-fi version of illustrating a map of your political opponents with gun targets, or telling your supporters to reload instead of retreating?

I don’t really have anything coherent to add to the sea of what’s already been said about the possible links between violent rhetoric and violent action. I do think it’s both fascinating and awful, though, that the shooter was also obsessed with the cause-and-effect of language. As Bob Rehak wrote: “I think some virus of language did finally get to Loughner; I think words ate him alive.”

In Australia’s last federal election, the media’s weapon of choice was a knife. When Julia Gillard replaced her predecessor Kevin Rudd as Prime Minister, we were told over and over again that Rudd had been “knifed” by Gillard. Every appearance, every press conference, journalists wailed about Rudd’s knifing. Eventually you had to wonder if the metaphor had escaped them. Maybe they honestly thought he’d been stabbed, literally if not fatally. Why else would they be so determined to use the word, again and again? They must’ve been wondering why the police didn’t take their panicked phone calls!

Keith Olbermann called for the end of gun metaphors in politics, and many subsequently pointed out that violent political metaphor is nothing new. Sports are the same. One team winning, one team losing? That’s just not interesting enough. A quick google search for “football” plus “demolished” or “obliterated” or “destroyed” shows how many teams apparently disintegrated upon loss, never to play again.

(Don’t even get me started on “I’d hit that” as a substitute for “I’d like to have sex with her”, or the casual “George Lucas raped my childhood!” school of internet commentary.)

Perhaps I’m too cynical even for politics – man, that’s a depressing thought, isn’t it? – but I don’t think politicians honestly want their opponents dead. It’s almost sadder than that. I think it’s just the desperate hyperbole of those who think their audiences are drifting away.

We compare elections to sporting matches. We compare sporting matches to all-out war. Do veterans flinch to hear their horrifying experiences described in the same terms we use for teams of men running a ball back and forth across a field for an afternoon?

I can’t seem to make myself watch the videos left by the Arizona shooter, but I’m haunted after reading this statement: “All humans are in need of sleep. Jared Loughner is a human. Hence, Jared Loughner is in need of sleep.”

A man using words to try to convince himself he’s a human being.

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Harry Brown: jmag review

Here’s my short review of UK revenge flick Harry Brown from the latest issue of jmag. One thing I didn’t manage to squeeze into the wordcount was a mention of its killer opening scene – like a low-rent remake of the first moments of Kathryn Bigelow’s Strange Days.

HARRY BROWN

Directed by: Daniel Barber

Starring: Michael Caine, Emily Mortimer

Country: UK

Michael Caine has always been a “working actor”, happy to accept a role now rather than wait around for something better. It’s why he’s been in so many great films as well as so many shockers. Harry Brown is somewhere in the middle.

This “vigilante pensioner” flick plays shamelessly into the story currently fuelling newspapers worldwide: KIDS THESE DAYS ARE SOCIOPATHIC MONSTERS WHO’LL KILL YOU AS SOON AS LOOK AT YOU, GRANDPA! Caine brings echoes of his legendary 1971 Get Carter hardarse to Harry – an elderly ex-marine who decides enough is enough. The emotional realism of his performance gives the movie a classiness that doesn’t mesh with its grimy, cartoonish thrills. (Especially the ridiculous digitally-added spurting blood.)

Most vigilante films pay at least a little lip-service to the fact that revenge is wrong – fun, sure, but wrong. Harry Brown has no such qualms. You’ll have to balance your desire to see Michael Caine kill teenage thugs with how dirty cheering him on might make you feel afterwards.

Other reviews this month: Fish Tank, Baghead, and True Blood: Season Two on DVD.

Issue #40 on sale now.

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