Restless

May 2, 2020 – The Correspondents by Tim Murphy (2019) Grove Press

I was restless today. I must have started four or five different excellent movies and gave up on each of them within the first 15 minutes. Some days I get tired of it all: the quarantine, working too much, the threat of illness, not being able to keep up with everything and not being able to escape. I did finally escape though, into the novel The Correspondents by Tim Murphy (2019). It is the story of two families in Massachusetts’ Merrimack Valley – one an Irish Catholic family and the other a Lebanese-American family – and the half Irish, half-Lebanese foreign correspondent descended from these two families. The characters in The Correspondents are well-drawn and charming – you want to spend time with them. My only gripe with the novel is when it switches between characters, and sometimes between decades and continents. I don’t want to leave any of the characters to switch to other ones. I am only a quarter of the way through the book, but I can already recommend it. Thanks to Brett Benner for recommending it to me.

Return to an Old Favorite

May 1, 2020 – His Girl Friday (1940) Criterion Channel

I wanted a movie that was light and fun, something that would make me laugh. I turned to this old favorite, which I haven’t seen in a million years. Has there ever been a movie so funny and delightful as His Girl Friday? Cary Grant is brilliant as the narcissistic newspaper editor who will do anything to get a story. Rosalind Russell is brilliant too as the ace reporter who wants to get away from the heartless newspaper business – or does she? If you have never seen this movie – which is available streaming from many sources – do so as soon as possible. And if you haven’t seen it in a long time, go back and watch it now. His Girl Friday is even better than you remember.

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.

Finding Her Voice and Sense of Self

April 26, 2020 – Unorthodox (2020) Netflix

I am late to the party on this one – most everyone I know has already watched this limited Netflix series about a young woman who decides to leave behind her Brooklyn community of Chassidic Jews to flee to Berlin. I wasn’t eager to watch Unorthodox. The subject didn’t interest me, and I didn’t have the heart to watch Chassidic characters depicted as two-dimensional bad guys. I thought I knew what I was going to see in this show. But so many of my friends love this show, I decided I would give it a chance.

The show is much more subtle and moving then I expected. Unorthodox is about more than leaving a Chassidic community. It is about a young woman finding her voice and sense of self. Shira Haas, the actor who portrays Esty, the young woman who flees to Berlin, is just amazing. She is vulnerable and completely compelling. The whole cast is good, and the Chasidic Jewish characters are three-dimensional people, not cardboard villains. You feel real sadness for the husband Esty flees, who wanted to have a real and respectful relationship with his wife but didn’t have a clue how to do that and was misguided by bad advice from his community. But mostly you feel bittersweet: exhilaration as Esty begins to find herself and sadness at the cost to her in doing so.

Unorthodox is gripping and genuinely moving. I highly recommend it.

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.

He Belonged to Me

April 21, 2020 – Let’s Go Crazy: The Grammy Salute to Prince (2020) CBS

Prince Rogers Nelson died 4 years ago today. He was the first music superstar my age that I followed and loved. I discovered Prince in 1981, six months or so after the release of Dirty Mind, his third album. I loved Dirty Mind — it is still probably my favorite Prince album — it was vital, rocking, soulful, funky and very, very sexy. He played all the instruments on the album. I became a devoted fan, buying his next album Controversy the day it came out and sitting 12th row at Hill Auditorium in Ann Arbor. The intimate auditorium was electric — everyone thrilled to the concert, and it still is one of the best shows I have ever seen. The Time opened for Prince, and they may have been even better that night than Prince and his band. I also skipped class to go alone to the first showing of Prince’s first and best movie Purple Rain, a 10:00 am matinee.

I have followed Prince through the years, buying his records and seeing him when a could, at venues large — sitting in the last row of the Worcester Centrum for the Lovesexy tour — and small — standing behind Ron Wood and his 25-year-old girlfriend, 8 feet from Prince and his Jimi-Hendrix-syle power rock trio in the Conga Room, a small club in Los Angeles. Prince was my age — or so I thought when I discovered him, it turned out his publicists shaved a couple of years off his age. My other favorite musicians are all substantially older than me. I always felt Prince belonged to me in a way that other favorites didn’t because we grew up together, because I watched him become a star.

This concert tribute special was filmed in January. The weakest performances in this concert are the ones that most closely mimicked the original Prince songs — and even these performances are not bad. H.E.R. was a revelation — trading guitar licks with Gary Clark Jr. on Let’s Go Crazy and playing piano and singing her heart out on The Beautiful Ones. Other strong performances included Clark doing The Cross, Beck doing Raspberry Beret, St. Vincent doing Controversy, and Miguel doing I Will Die 4 U. Sheila E. presided over the whole thing. My favorite moment of the night was the reunion of the original members of The Time, including Jimmy Jam and Terry Lewis, doing a medley of their hits. They were a great band then, and they are a great band now.

The Prince tribute special airs again, this Saturday night, April 25th. Don’t miss it.

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.

Observer Effect

April 17 2020 – Futureman, Season 3 (2020) Hulu

When deciding what to watch these days, I feel pressure because I am going to share my choice with the handful of people who are reading this blog. I would rather be seen as someone who watches stylish foreign films or edgy indie pictures or obscure classic movies, not someone who watches mindless trash. I am trying to resist this pressure. For one thing, I sometimes like to watch mindless trash. That is who I am: I have always been proud of having high/low tastes, liking both high art and very popular entertainments. But mostly, I want this blog to be an accurate account of what I am watching and going through during this strange time and not an idealized account of what I think I should be watching and going through.

Today, I watched mindless trash. The TV show Futureman is a raunchy time-travel comedy produced by Seth Rogen. It is exactly what you would expect from that description, so if you watch it, you have been warned. After another long, stressful week, Futureman is exactly what I needed: fast-paced, silly and fun, not requiring much concentration to watch. I started watching the show a couple of years ago because Wendey directed a couple of the episodes, but I keep watching even though Wendey has moved on to other projects. I am still an adolescent boy at heart. My favorite part of Futureman is the TV-MA warning at the beginning of each episode, saying the show is for “mature viewers only.” Of course, the warning should read: this show is for “immature viewers only.” I enthusiastically qualify.