Hard Lessons for My Head and My Heart

April 29 2020 – Just Mercy (2019) Screener

Sometimes you are the mood for a Hollywood movie. I have been watching many excellent but sprawling movies from the past and from other countries, and sometimes I want a movie with more narrative drive. Just Mercy is a biopic – usually one of my least favorite kinds of movies – with narrative drive. It tells the linear story of how lawyer Bryan Stevenson manages to free an innocent man from death row in Alabama. Though you know exactly where this story is going the whole time, even if you haven’t read Stephenson’s book, the film is really well done, especially when compared to something like Remember The Titans. Michael B. Jordan gives a restrained performance as Stevenson. The supportive performances are excellent too, particularly Jamie Fox as the man on death row and Tim Blake Nelson as the key witness. The soundtrack too is restrained, not telling us what to feel at every moment. And best of all, the movie manages to balance the uplift you feel when an innocent man is released while also not letting a racist inhuman justice system off the hook.

I had the privilege of meeting the real Bryan Stephenson this past November on a trip I took with my synagogue IKAR to Montgomery Alabama. As a community organizer, I have read and thought a lot about racism in the United States. I didn’t anticipate how profoundly I would be affected by the Legacy Museum and the National Memorial for Peace and Justice. The Legacy Museum tells the story of racism in this country, from slavery to Jim Crow to mass incarceration. The Memorial commemorates the thousands of African-Americans who were lynched in the twelve southern states.

I have read The New Jim Crow and seen the documentary 13th. I knew the basic story of racism in America. But knowing it intellectually was different then seeing it all laid out so devastatingly in the museum in pictures and the words of those who lived through it. I knew about lynching, of course, but I always thought of it as something done by a few bad racist people. I didn’t realize what lynching really was until I saw the story the Museum tells and the names carved in stone in the Memorial. I didn’t realize that lynching was systematic terrorism, designed to maintain the political status quo of Jim Crow. I always thought that most people stood idly by while lynching occurred. I didn’t realize that lynchings were advertised in the newspaper, that tens of thousands of people came out to watch and celebrate, that white people took photos next to the lynched black bodies hanging from a tree or bridge, and that people bought postcards of the lynching to remember that festive day.

I was emotionally overwhelmed by my visit to the museum and memorial that Bryan Stephenson’s organization started. I mourned the loss of life, the loss of freedom and the loss of dignity by so many people for so long. I was outraged at the devaluing of African American lives to benefit the white majority. I despaired to see how racism has morphed and evolved over the last 400 years to maintain the power and privilege of whites in America even in the face of big victories won by the abolitionist movement and the civil rights movement and in the face of the efforts by so many of us today to dismantle mass incarceration. These were hard lessons for my head and my heart.

I also took some solace in a clearer understanding of the problem. We can’t cure the disease of racism unless we have an accurate diagnosis of the illness. I feel like I understand the illness better now.

Meeting Bryan Stephenson and hearing him talk was inspiring too. Stephenson is not content to rest on his victories. He is always looking at what else must be done to achieve justice. He told us that even if he kept winning cases and saving people from death row that his legal victories would not stop racism and oppression from increasing in America. Stephenson said he realized that if Thurgood Marshall brought Brown vs. Board of Education to the Supreme Court today, he would lose the case. Stephenson said we need to hold up a new narrative about race our country that challenges the dominant narrative of white privilege and African-American inferiority that still holds reign in the United States. So Stephenson and his organization Equal Justice started their narrative work, resulting in the museum, the memorial, and the book and movie Just Mercy.

When our world returns to normal and travel is again possible, I highly recommend a trip to Montgomery, Alabama. It will the most profound, the most moving, and the most memorable trip you have ever taken.

Yearning for the Stylish, Obscure, and Deep

April 24, 2020 – The Man Who Fell to Earth (1976) Criterion Channel

What a disappointment this movie was. I have wanted to see The Man Who Fell to Earth for as long as I can remember. I always imagined that this movie was stylish, slightly obscure, and very deep. Could anything be more stylish than a movie starring David Bowie as an alien trying to make his way forward on Earth? Yes, it turns out: many things can be more stylish. Perhaps this movie was stylish in 1976, but viewed today it just looks amateurish. Perhaps this movie was deep in 1976, but watched now it seems shallow and obvious. If you want heady and stylish, watch instead Ex Machina or Devs, both directed by Alex Garland.

Charming But Slight

April 23, 2020 – Paris Blues (1961) Criterion Channel

Paris Blues is the story of two American Jazz musicians, Paul Newman and Sidney Poitier, and the two visiting American tourists, Joanne Woodward and Diahann Carroll, who they fall in love with. It is a charming but slight movie. The most memorable part of Paris Blues is the music, composed and performed (off-camera) by Duke Ellington with a guest appearance (in the soundtrack and on-camera) by Louis Armstrong. This is the third movie about jazz (also: A Song is Born and Chico and Rita) and the second movie directed by Martin Ritt (also: The Spy Who Came In From The Cold) I have watched since the pandemic started.

I would write more, but I have to shed my identity as Lee Winkelman, mild-mannered community organizer and blogger, and take up my secret identity as Sisyphus the dishwasher.

Comfort Watch

April 19, 2020 – What Men Can’t Jump (1992) VH1

I loved this movie when it came out, I loved it every time I saw it on television, and I love it now. White Men Can’t Jump is funny and sweet and just a little bit sour. Ron Shelton is another under-rated director for this movie and the all-time classic Bull Durham. There is a great bit about how men and women communicate, where Rosie Perez gets mad at Woody Harrelson because he gets her a drink of water rather than empathizing with her thirst. I love the banter between Harrelson and Wesley Snipes, and I love the hustles they pull on unsuspecting basketball players. And then there is the whole jeopardy thing. This is a very satisfying movie.

Defiant Humor in the Face of My Worst Fears

April 18 2020 – The Tin Drum (1979) Criterion Channel

I read the novel The Tin Drum by Gunter Grass in the very early 1980s and then saw the movie The Tin Drum not long afterwards. I loved both. They are part of the black comedy genre: social satire that takes on dark subjects with a bitter but often very funny sense of humor. In general, I don’t want to read books or watch movies about death and destruction – life is depressing enough. But I love the novels Slaughterhouse Five by Kurt Vonnegut and Catch-22 by Joseph Heller even though they are about war. I love the movies Brazil by Terry Gilliam, Parasite by Bong Joon Ho, and the Death of Stalin by Armando Iannucci, even though they are about dark subjects. Defiant humor in the face of death and adversity is somehow comforting to me. The laughter is a release, but beyond that defiant humor gives me the feeling of control in the face of my worst fears. I guess it is no surprise I am turning to black humor at this time.

The film of The Tin Drum is a great example of this genre and just a great overall film. There are images that have stayed with me since I first saw the movie almost 40 years ago. I still remember the POV shot narrated by young Oskar as he travels through his mother’s birth canal into the world. I still remember the conception of Oskar’s mother as an escaped Polish nationalist gets busy while hiding from soldiers under Oskar’s grandmother’s ample skirts. And I remember the toddler Oskar, disrupting a Nazi march, turning it into a waltz, with nothing but his tin drum. I guess it is not so surprising that I didn’t remember as well the more disturbing parts of the movie: the horsehead filled with eels and the brutality of the Nazis.

The Tin Drum the movie is really well made: beautifully written, beautifully shot, and beautifully acted. It is so easy to get the tone wrong in a black humor film. Mike Nichol’s film of Catch 22 never got the tone right – the visual depiction of violence in the movie overwhelms the humor. The Tin Drum the film avoids that problem. Volker Schlondorff, the film’s director and co-writer, turns a sprawling novel spanning decades into a funny, moving, and relatively focused film. OK, the film is a little sprawling too, but it only covers a third of the time period of the novel and omits much even from that period it does cover. The film is about a child that decides to stop growing because the adult world is so unappealing, not just because of Nazi violence which mostly comes later but because of the sexual hypocrisy and compulsion he sees. If it is not clear yet, I highly recommend this film.

I loved the film so much, that I went back to reread the novel. I am still in the early chapters of The Tin Drum the novel – Oskar’s mom has not yet been conceived in the potato field – but I am liking it a lot. I take it a good omen that the I was able to buy the book at a steep discount because it was on sale as a Kindle Daily Deal while I was still reading the free download of the opening chapters.

Triumphing Over Danger and Winning in the End

March 14, 2020 – The Spy Who Came In From the Cold (1965) Amazon Prime

I find my self wanting to watch and read detective stories these days. I just read and loved Harlen Coben’s new book The Boy From the Woods and Lee Child’s old book One Shot, and I watched the Netflix show The Stranger based on a different Harlen Coben book. It is easy to see why detective stories are so comforting in this dangerous time. The detective is a figure who holds onto his moral certainty while triumphing over danger. Sam Spade starts off unsure who killed his partner, but he is always able to disarm the gunsel and uncover the truth, all the while holding fast to his determination that “I won’t play the sap for you.” Jack Reacher beats the odds again and again, defeating a half dozen or so armed Russian gangsters with only a knife and taking out the “puppet master” because “ he had a girl killed…so he deserves to have something come out at him.” The detectives in these stories are exceptionally competent at a time when we feel anxious and insecure; they overcome violent threats at a time when we feel overwhelmed by danger; they have a clear moral code when we are living in murky unclarity; they uncover the truth when we are unsure about what comes next. While there is usually loss in these stories, the detective triumphs over danger and wins in the end. I think at this difficult moment, we would all like to triumph over danger and win in the end.

The Spy Who Came In From the Cold is a spy story, not a detective story. There are similarities: a murky situation, life and death stakes, and the hero-spy who must act in the face of danger and uncertainty. Despite the similarities, this spy story – and perhaps all spy stories – is the inverse of the detective story in one key aspect. The detective has a moral code, but the spy has no moral code: the spy does whatever is necessary to protect their country. This film explicitly says that there is no difference between the spies of the “free” world and those of Soviet Block. Alex Leamas, the British spy in this movie, says: “What the hell do you think spies are? Moral philosophers measuring everything they do against the word of God or Karl Marx? They’re not! They’re just a bunch of seedy, squalid bastards like me: little men, drunkards, queers [sic], hen-pecked husbands, civil servants playing cowboys and Indians to brighten their rotten little lives. Do you think they sit like monks in a cell, balancing right against wrong?” While the detective triumphs precisely because they hold fast to their moral code, the spy is defeated when they try to act from morals instead of expediency.

I really liked this film even though it deviated from what I like most about the detective story. It is well-acted by Richard Burton, Clair Bloom, and the other cast members, and it is well directed by Martin Ritt. I would like to say a word or two about the director Martin Ritt, who doesn’t get the attention and respect he deserves. There is a strong thread of politics – social criticism and morality – in his movies without them ever becoming didactic or preachy. I love his early movie Edge of the City (1957) which is an answer movie to On the Waterfront – a movie I love even if it is Elia Kazan’s justification for naming names. Edge of the City, featuring John Cassavetes, Sidney Poitier, and Jack Warden, is about a dock worker who confronts the corrupt gangsters directly, rather than cowardly naming names. After seeing this movie, it comes as no surprise that Ritt was blacklisted for his politics and was a former friend of Kazan. Ritt has made many other great movies: a partial list includes Hud, Sounder, The Front, and the beloved Norma Rae. Ritt is one of my favorite directors, and you can expect more of his movies to show up in this blog diary.

A Very Good Day

April 11 2020 – Eyes of Laura Mars (1978) Criterion Channel

It was a very good day. I woke up after a good night’s sleep. I prepared my blog for launch. I got good news from my mom’s doctor and my accountant. Wendey, Henry, and I played a game of Settlers of Catan. And then to cap it off, I watched Eyes of Laura Mars, a stylish 1970s thriller about a fashion photographer who sees murders through the eyes of a serial killer. I doubt if I would have liked this move back when it came out, but now all the silly things about it – its attempt to critique art and fashion photography, some of the plot twists, the disco soundtrack – just seem charming. This is Tommy Lee Jones’ first major role, and Faye Dunaway is great as always. I was pleased to see Raul Julia – an actor I used to like a lot but had almost forgotten about. The cheesy Barbra Streisand theme song is a perfect example of the 1970s theme song archetype. And John Carpenter – director of Halloween and so many other movies – wrote the script. Watching this film was a very good ending to a very good day.

Counterpoint

April 9, 2020 – Snowpiercer (2013) Netflix

This was Henry’s pick – we were all fans of Bong Joon Ho’s Parasite.  But I don’t think Henry had any idea how weird and disturbing this movie would be. We lost Wendey right away at the first sign of violence.  Henry and I stuck it out to the end.  I think he regretted watching the movie all the way through, but I liked the movie’s combination of heavy-handed parable, humor, action sequences, and weird sets and scenarios.  Snowpiercer is no Parasite, but it is also not the same old thing – a fine counterpoint to this morning’s movie Remember the Titans

A Break From Subtlety and Nuance

April 9, 2020 – Remember the Titans (2000) Prime

Today was a day to recover from a tough work week, from planning and holding our Passover seder last night, and from a bit more than four cups of wine. Here is a recovery day movie that did not require a lot of concentration to watch. Remember the Titans announced its lack of subtlety and nuance from the start. There is no subtext in this film – everything is spelled out. The score is saccharine and manipulative. There is no “unconscious bias” in Titans – all the racism is overt, conscious and extreme.  But be assured that by the final act, people are brought together across racial lines by the redemptive power of Football. There was not a single thing that happened during this movie that we didn’t foresee, but despite this predictability, Titans is a pleasant, well-made movie.  The adult leads – Denzel Washington and Will Paton – are excellent, and the teen leads are good too. A highlight was a performance by a very young Hayden Panettiere. This movie was too long – it should not take two hours to tell this story – but entertaining in its obvious way. 

Stylish Then and Now

April 4, 2020 – Diva (1981) Criterion Channel

This thriller was stylish in 1981, and it is stylish now: opera, mopeds, Paris, a cool loft, murder, and corruption. Directed by Jean-Jacques Beineix, who also directed Betty Blue, a movie I liked back in the day that may soon make an appearance in this film festival diary. It was a nice world to disappear into for a while.