Showing posts with label go to a MOVIE. Show all posts
Showing posts with label go to a MOVIE. Show all posts

Monday, March 16, 2009

Nothing About Luke

The opening of Cool Hand Luke is astonishing. “Violation”, “violation”, “violation”, then the shot zoomed out a little, and we saw that it was a parking meter, and the villain was decapitating it. I thought he did it for money but no, he cut it one by one and left the heads on the ground. The police came near and I thought he’d run or come up with a brilliant excuse to get away, but no, he offered his charming Paul Newman smile and admitted his crime.

When he was sent to jail we learned that he was a war hero. He’d be treated differently then? He’d so some heroic things? No. He offended the old inmate Dragline and got himself a boxing challenge. He’d win magically although Dragline was twice his size? No, he lost miserably. Dragline even picked him up and he couldn’t resist. When his feet touched the ground again he could barely stand but he hit Dragline. Ignoring everyone’s advice to stay down, he stood up again and again making it clear to Dragline: “You’ll have to kill me to keep me down.” In the poker game that night he won money, a buddy who used to be his major foe, and a nickname, “Cool hand Luke”.

Luke had nothing but that was how he charmed Dragline and others. “Sometimes nothing can be a real cool hand”, says Luke. When his mother came to visit him we realized how Luke became Luke, and where his reckless smile came from. Luke’s mom smoked and laughed knowing that she was dying and this was her last chance with her son. She laughed some more and coughed, choked, then back to laughing and smoking. She was the last one Luke got, the only obstacle between Luke and nothing.

Luke ran away. I thought he’d make it. When Dragline received a magazine, I knew it right away, and I was as satisfied as other prisoners when I saw the picture with Newman in fancy suit surrounded by beautiful women in the magazine. But he got caught. How disappointing. I thought he was smart but all he did so far was some meaningless acts—eating 50 eggs and urging his colleagues work fast to get two hours free time doing nothing—how disappointing.

He ran again. This time he spread pepper behind him to confuse the dogs, good work. Got caught again. How disappointing. "Are you a cool hand or are you simply nothing, Luke?" I thought. This time he was targeted to set an example: after working all day he was asked to do extra work until he begged them not to hit him. He was allowed back to the dorm and he lost the followers’ support. He kept losing even when he had nothing. Cool hand Luke became the busboy for the jailors. They broke him. I had no expectation any more; I pretty much wanted him to die. Please just die. They broke me too.

He ran away. This time he did it by car and Dragline got a ride at the last minute. In the chapel he revealed his weakness, “it’s beginning to get to me. When does it end?” He was tired; so was I. When he was last seen in the vehicle smiling he looked relieved, contented, proud. I was relieved too. Thank God it ended.

Starting from zero, Luke went to a minus and we all know that the way leads to infinity. A stop at any point is a mercy of God. That’s how I felt after watching Cool Hand Luke. I can’t say that I like the movie but it stays with me, the way Luke cried: “Stop hitting me, boss, I’ll do whatever you say, just don’t hit me again please...”

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Tuesday, September 23, 2008

Battle in Seattle, Battle in Yourself

Battle in Seattle brings about mixed feelings which boil down to the guilt for not doing enough, and the compassion for the hectic lives of activists.

The image of the crowd, demonstration, garrison police and blood-shedding conflict reminds me of the years before the Martial Law was lifted in 1987 in Taiwan. It is an inseparable part of my youth. I remember watching the TV news with great suspicion, which presented the mob rioting and the police defending, until alternative video and printed media broke the silence and revealed that the police provoked the conflict.

Shortly before and after the lift of the Martial Law, protests mushroomed everywhere and people pay a price for the rough years. Cheng Nan-Jung, a publisher of a political magazine, was indicted for insurrection and he ended up burned himself alive to claim freedom of speech. The photo of the remain of his body can be found on the internet. Unlike dead bodies found in most fire scenes curling to avoid the pain, his body maintains in a straight position as if he has no fear for the fire. I think I owe him. I think we owe him.

In my 20s I was actively involved in feminist movements, lesbian movements, and other human right issues. We had our glory but glory is for bystanders. For insiders the sense of achievement is always peripheral. More often there was the crash of egos, the group dynamics of implicit manipulation, the projection of emotional problems onto social issues, and the anger that dominates the movement.

I remember an activist talking in a condescending manner as if this is the only way to assure his proletarian stance. I remember an activist being unreasonable at whoever works under her and constantly threatened to dissolve the organization she founded. The super-sized ego guy and the self-hatred woman both make great contribution to social movements, but I very much want to say, go home and rest, and stop poisoning the movement with your resentment because it is goddamn pathetic.

I remember those episodes in which we were rough and nasty, even to one another, as if it is not part of our goal to make the world more accommodating to tenderness and delicacy. If we could we might quote Harlan Ellison, "you can't make an omelet without breaking a few eggs, and in every revolution a few die who shouldn't, but they have to, because that's the way it happens, and if you make only a little change, then it seems to be worthwhile."

Over the years I lost several friends and comrades to every kinds of emotional problems. They are alive. They are just not themselves.

A movie like Battle in Seattle or more so, the movement of anti-globalization, stirs my mind nonetheless. The courage and creativity in it is thrilling and I think I owe them, I think we owe them. I have my militant years but now I would like to give more space to allow my doubts afloat. I still engage in some sort of activism such as judicial reform and the abolishment of death penalty, but the anger is appeased to a large extent. I have had other goals and now I tend to think that my ultimate concern IS to make the world more accommodating to tenderness and delicacy.

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Tuesday, July 22, 2008

The Fake Mustache of Peter Sellers: (4) The Wrong Man Escaped

Then it is Lolita by Kubrick. Wikipedia says that Peter Sellers plays a small part but “proved a scene stealer”. The opening is the main character Humbert Humbert walks into a big house but it is quite a wreck. He shouts a name, and a chair covered by cloth squirms, a man comes out from the cloth and it is Peter Sellers, playing Clare Quilty.

Quilty was completely drunk. He was so friendly as to ask Humbert to play ping pong as if he didn’t know that Humbert walked in for revenge. Humbert ran out of patience and pulled out a gun, but Quilty didn’t take it seriously until he was shot on the leg. Quilty crawled on the stairs trying to find a place to hide, and found a painting as a shield. Not a good one, obviously. The camera stops at the painting, and we see that the painting is a portrayal of a young woman and the bullet hole was right on her forehead between the eyebrows.

Peter Sellers plays the writer who figured out what happened between Humbert and his stepdaughter. He created opportunities for Lolita to get away from Humbert by choosing her as the leading actress for his play. Humbert got jealous and forbade it. Quilty wore a disguise and pretended to be a German psychoanalyst from the school, threatening Humbert to conduct a survey about Lolita’s family life. Humbert was afraid that the relationship would come to people’s knowledge so he settled with permission for Lolita’s extracurricular activity. Because of this piece, when it came to Dr. Strangelove, the studio funded Kubrick under the condition that Peter Sellers plays multiple roles.

Kubrick is the director who knows how to use Peter Sellers and make him glow. In Lolita Sellers is funny even if it is just a simple dance, but he is able to remain funny without sacrificing a realistic touch. He doesn’t need to be kitsch to by funny.

At last I found After the Fox to recollect the start of the encounter with Peter Sellers. I again got a really good laugh. It’s so bizarre and entertaining! After the Fox didn’t do well on the Box Office, and is never listed as classic or must-see. But it amuses me tremendously a good 40 years later. Peter Sellers’ sister was chasing movie stars and someone in the crowd exclaimed, “Look at the nose, it’s just like Marlon Brando!” Someone asked Sellers who is in the car anyway, and he replied, “Marlon Brando’s nose.”

The next year after Being There, Peter Sellers died at the age of 54. He identifies with the void gardener and his life ended at this role, isn’t it something? No, he made another mediocre movie The Fiendish Plot of Dr. Fu Manchu and that becomes his last movie. Moreover, Blake Edwards used the outtakes and footage of the previous Pink Panther movies to make another one Trail of the Pink Panther. Peter Sellers who hates mediocrity ceases in utmost mediocrity.

His life is exactly the way he tried to avoid. The heritage goes the wrong way, the career ends at outtakes; he was most known for a character unworthy of the fame, and the prize he deserves does not come his way. His life requires a good sense of humor to look at, even his tomb. The inscription reads: “My Darling Husband: I will always love you.”

I like the ending of After the Fox. When it starts, Peter Sellers is a thief in jail. He decided to escape because he learned that his sister didn’t attend school as she should. There was a psychotherapist visiting the prisoners routinely. After the visit, Peter Sellers wore a disguise and tied himself to the bed pretending to be the therapist, and called for help. The guards were fooled and that’s how he was set loose.

At the end he was caught again. He designated a specific date and claimed that he would escape again. This time he tied the therapist in the bed and walked out, and the poor therapist was mocked when he cried for help. The gate closed behind Peter Sellers and he looked into the camera with a conceited smile. He tried to rip off the fake mustache but oops, it didn’t work. He tried again and it didn’t work. Peter Sellers panicked: “Oh my God! The wrong man escaped!”

One is real and the other is fake, one is tied up and the other escaped. “The wrong man escaped” is against logic, hence hilarious. But for Peter Sellers who couldn’t figure out who he is, it might be just the perfect metaphor. Perhaps there was no Peter Sellers ever; there was an evil doctor, stupid inspector, void gardener and Fox the thief, and it is impossible to integrate these fictional characters into a real person. There is only the fake mustache that refuses to go, and the grin under it.

“Some forms of reality are so horrible we refuse to face them, unless we are trapped into it by comedy. To label any subject unsuitable for comedy is to admit defeat.” —Peter Sellers.


Peter Sellers died on 24 July, 1980. The wrong man escaped.

-1962 Lolita
-1964 Dr. Strangelove
-1966 After the Fox
-1968 I Love You, Alice B. Toklas
-1976 Murder by Death
-1979 Being There


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Monday, July 21, 2008

The Fake Mustache of Peter Sellers: (3) or How I Learn to Stop Picking on Him

In 2004 BBC and HBO collaborated to bring the true Peter Sellers to the audiences. The Life and Death of Peter Sellers starred Geoffrey Rush as Peter Sellers and other 39 roles, mostly people in Sellers’ life, and some fictional characters played by Sellers.

Suffering from frustration before the stardom and indulging in sex, drugs and alcohol after; marrying, divorcing, and ignoring his family; big temper, high pressure and low self-esteem; aren’t these the standardized equipment for all movie stars? The Life and Death of Peter Sellers offers nothing new in this respect.

There are creative bits in the style of the film. Geoffrey Rush plays Peter Sellers arguing with Kubrick, and the next take he plays Kubrick talking to the audiences. On this end of the telephone line Peter Sellers refused to visit his mother in the hospital, and on the other end “she” lifted her head from sadness and it’s Geoffrey Rush wearing a wig playing the sick lady, talking when walking to her coffin, lying down and dying. The change of roles creates a surreal atmosphere but the style contradicts the message, in my opinion. Peter Sellers was known to be immature and selfish, while the style implies that he was insightful of people’s secret thoughts.

Geoffrey Rush is a good actor. I am impressed by his performance in The Quill. But it is a pity that in The Life and Death of Peter Sellers, no matter which role he plays he looks just like himself, Geoffrey Rush. What is worse, he plays the famous roles Sellers played too, Inspector Clouseau, the President of the U.S., Dr. Strangelove and Chance the gardener, and still they all are just himself, Geoffrey Rush! The way The Life and Death of Peter Sellers salutes the great comedian is to use Geoffrey Rush as sacrifice. Watching Rush makes me realize how difficult it is to copy Sellers. Rush only manages to make Dr. Strangelove look evil, but not funny; Chance looks dull and dumb but not void.

Rush’s pathetic mimicry of Sellers shows that the riddle of Sellers is bigger and deeper than I know. How did he do it then, if Rush fails miserably? Those roles vary to such an extent and those personalities contain such complexity; how could Sellers put it off as if it is the most natural thing for him to do? What is the true, natural Peter Sellers?

Obviously somebody asked the question. One of Seller’s famous quotes is, “There is no me. I do not exist. There used to be a me, but I had it surgically removed.”

The Life and Death of Peter Sellers does not help much in the answer. Maybe it is a question that can not possibly be answered; maybe Sellers was honest in that quote: there is no Peter Sellers. He identifies deeply with Chance in Being There and that is a subject of the void. It is doomed that Geoffrey Rush could only do so much. Peter Sellers describes himself, “I feel ghostly unreal until I become somebody else again on the screen.” As good as Geoffrey Rush is, how can he possibly portray someone “ghostly unreal”?

The Life and Death of Peter Sellers has a beautiful ending. Peter Sellers stood in the snow without a word, the flakes sank and titles rose, and we learn that he was down because he did not win the Oscar for Being There. At the tender moment it was Blake Edwards, the director of The Pink Panther that Sellers despised, witnessed Sellers’ defeat. The titles tell the death of Sellers. The take zoomed out and it became the footage played in the shooting scene, the audience turned around and it is Rush as young Sellers. Young Sellers watched his whole life and gave us a “what the heck” smile. He walked to his trailer and shut the camera out: “No, you can not come in.” On the door, it says, “Peter Sellers”.

His death is actually comic if you know how to laugh. He was about to go to his lawyer to sign a document to exclude his current wife of his will. (Another quote from Peter Sellers: “You only know what happiness is once you're married. But then it's too late.”) He didn’t get to see the lawyer before he was taken by a severe heart attack. In his funeral the song In the Mood was played as Sellers wanted. That’s his last humor because it’s a song he hates. He has a son and two daughters and he decides to give them £800 each. His son didn’t appreciate the “humor”: “Even the lawyers blushed when they came to tell me.” The rest of the gigantic inheritance went to his wife, which Sellers tried to prevent.

After The Life and Death of Peter Sellers I stop picking on him and start to watch whatever I can find with him. The Pink Panther. Casino Royale. I don’t care their notoriety for being boring; I just want to watch how this man wasted his talents. He once said, “I have a name of being very difficult, I'm not difficult at all, I just cannot take mediocrity, I just cannot take it on any level.” These movies are nothing but mediocrity.

On the list of his works there is I Love You Alice B. Toklas. That’s interesting! Alice B. Toklas is a lesbian, whose girlfriend is Gertrude Stein. Peter Sellers plays an American lawyer with a stable but predictable life. His brother is a hippie with a hippie girlfriend. Peter Sellers was enchanted by the free lifestyle of hippies, so he ran away from the wedding, got rid of his belongings and opened his house for everyone. The soul searching journey started from the hashish brownie the hippie girlfriend made—the hippie girlfriend of his brother’s and then of his but of course she is of no one’s, she’s a hippie—that was too liberating to resist, even for the hardcore conservatives. I didn’t know that Alice B. Toklas is famous for two things: One is Gertrude Stein, and the other is the cookbook she published with the recipe of hashish brownie. The theme of the movie sings, “I love you Alice B. Toklas! So is Gertrude Stein…” The movie presents the encounter of the values of middle class and hippies. It’s interesting to see the lesbian reference be used naturally in a movie which did not target specifically lesbian audiences.

Another one is titled Murder by Death. Peter Sellers plays a Chinese detective. It is so racist. Peter Sellers’ costume is only seen on zombies in Chinese movies. Who else would dress like that other than those who lie in tombs! He paints his eyes slanted, wears snaggletooth and fakes Chinese accent. At some point he was ridiculed for not being able to use articles and prepositions correctly.

Since it was made 30 years ago and they don’t do it anymore, I didn’t allow it to bother me too much. What is for ridicule and what is not is delicate. In Dr. Strangelove the German is portrayed as Nazi, pervert, dangerously ambitious; and people laugh. Germans didn’t complain and such portrayal is never judged as politically incorrect. In The Pink Panther the French accent is exaggerated and ridiculed too. If Germans and French don’t need special care, do Chinese need it?

Aside from falling for stereotype, Peter Sellers’ efforts in acting like a Chinese is very much visible. Or maybe I don’t care. I think I am officially a fan of Peter Sellers.

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Sunday, July 20, 2008

The Fake Mustache of Peter Sellers: (2) Dr. Strangelove, Why Pink Panther?

Dr. Strangelove is adapted from a novel Red Alert. It was a hype of the Cold War as well as the weaponry competition between the U.S. and the U.S.S.R in the 1960s. The story is about how a right wing extremist commander of the U.S. decides to send planes to attack the U.S.S.R. in order to force the U.S. to declare an all-out war against communism. The mainstream strategic thinking at that time is MAD, mutual assured destruction: Peace is maintained by the balance of terror based on the knowledge that the other side has all the capacity and the determination to mutual destruction if attacked.

Stanley Kubrick decided that MAD is simply mad so he was going to make the thriller novel into a hilarious satire. The topic and the timing are way too sensitive, so when Dr. Strangelove was screened, a title card was added and it goes like this: “It is the stated position of the U.S. Air Force that their safeguards would prevent the occurrence of such events as are depicted in this film. Furthermore, it should be noted that none of the characters portrayed in this film are meant to represent any real persons in living or dead.” The audiences burst into laughter even before the movie began.

There are several story lines in Dr. Strangelove. The extremist commander sent out the planes and shut down all communication of the military base. He is not for negotiation; he wants a war! A British exchange officer was trapped together with the commander, and all he could do is to try to calm down the commander and get the code to recall the planes. The British officer is Peter Sellers.

In the War Room, high ranking politicians and generals have an emergency meeting to discuss about the solution. General Turgidson tried to persuade the President of the U.S. to declare a war. “Mr. President, I'm not saying we wouldn't get our hair mussed. But I do say no more than ten to twenty million killed, tops! Uh, depending on the breaks.”

Contrary to the bold and reckless general, the President is bald and patient. “I find this very difficult to understand. I was under the impression that I was the only one in authority to order the use of nuclear weapons.” “That's right, sir, you are the only person authorized to do so. And although I, uh, hate to judge before all the facts are in, it's beginning to look like, uh, General Ripper exceeded his authority.” “When you instituted the human reliability tests, you assured me there was no possibility of such a thing ever occurring!” “Well, I, uh, don't think it's quite fair to condemn a whole program because of a single slip-up, sir.”

The President had no choice but to call Soviet Premier Dimitri. “You know how we've always talked about the possibility of something going wrong with the bomb... Well now, what happened is... ahm... one of our base commanders, he had a sort of... well, he went a little funny in the head... you know... just a little... funny. And, ah... he went and did a silly thing... Well, I'll tell you what he did. He ordered his planes... to attack your country... Ah... Well, let me finish, Dmitri... Let me finish, Dmitri... Well listen, how do you think I feel about it?” The image and voice of Dimitri was not shown in the movie so it’s a one-man show of the President, who is also played by Peter Sellers.

Since it was not feasible to recall the planes, the President offered details to the Soviet Premier to make sure that the planes would be taken down before they make any damage. The front-line flight officers were easily sold out. Unfortunately one flight survived and was loyally on the way to complete the mission. The U.S.S.R. ambassador revealed the existence of the “doomsday machine”, which will activate automatically and can not be deactivated. The President had enough of warlike General Turgidson, so he turned to Dr. Strangelove for advice.

Dr. Strangelove is an ex-Nazi scientist, who is naturalized as a U.S. citizen after WW2. He sits on a wheel chair, blond, wears sunglasses and leather gloves, and talks with a wicked smirk. He said that the doomsday machine is unstoppable so the only solution is to build an underground shelter and pick healthy, intelligent, fertile people moving in to reproduce. Dr. Strangelove suggested that all government officers should be admitted, and that the male/female ratio should be 1:10 to ensure productive breeding. General Turgidson was so excited by the idea and only on this matter the U.S.S.R. ambassador agrees with Turgidson; two sides of the Cold War found common ground on the priority of male fantasy.

Dr. Strangelove has trouble controlling his right hand. It was not explained in the movie but it is a rare disorder called alien hand syndrome. Due to stroke or brain surgery, the patient can not control one of his hands and it tends to contradict the normal hand, so the patient perceives it as a hand of someone else’s. Dr. Strangelove’s alien hand exercised its own will when he talked about eugenics: Salute to Hitler! He addressed to the President as “Mein Führer” as a slip of tongue. The portrayal of ex-Nazi scientists has reference to reality, for there were strategists with Nazi background among high ranking U.S. consultants, and the alien hand reveals that Dr. Strangelove is no less a Nazi. Dr. Strangelove is, again, played by Peter Sellers.

British accent on a nervous officer, Mid-west American accent on a serious politician, and German accent on a crazy scientist: Peter Sellers didn’t count on magical cosmetology or computerized special effect as we have today to perform multiple roles, but mainly build them on the ability to mimic different accent and to construct a personality.

George C. Scott is equally impressive as General Turgidson. As an advocate of war, General Turgidson has the hawk-like look in the eyes, and George C. Scott plays it in a serious way delivering those most absurd lines. There was a scene that General Turgidson disagreeing with the U.S.S.R. ambassador. He was rude enough to interrupt the ambassador, walked backwards and tripped himself, rolled over on the ground and got back on his feet and resumed talking as if nothing bothers him.

George C. Scott was tricked into to do this. Reportedly he preferred to do it in a more reserved way but Kubrick asked him to do an “over the top” acting just to warm up. In the final cut it is the “over the top” version that Kubrick uses. George C. Scott said he’ll never work with Kubrick again. He later played General Patton with a lot of authorities; maybe he considers General Turgidson to be distorted? I have no access to the reserved takes but I have to say that I enjoy his “over the top” performance so much and I think it is just adequate for Dr. Strangelove. I replay the tripping scene several times and it never stops to amaze me.

After Dr. Strangelove, it is impossible to think of Peter Sellers in the same way I did. He becomes a riddle. As someone capable of what he did in Dr. Strangelove, why did he do the Pink Panther?

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Saturday, July 19, 2008

The Fake Mustache of Peter Sellers: (1) Being There and That's All?

Years ago I bumped into a funny movie on TV and got a good laugh. I checked the program and it is called After the Fox. A friend told me it’s an old movie with Peter Sellers. Peter Sellers? I’ve heard the name but have no idea who he is.

Months ago I started to watch movies in the fashion of taking a stroll. Lack of admiration for masters, loyalty to stars, and the determination to exhaust classics, I play a movie when I have a meal and all too often the first 20 minutes I don’t understand a thing because I am too hungry.

That’s how I watched Being There. A middle-aged gardener is hired and confined in a mansion since he was a kid. He is not allowed to leave the mansion so he watches TV all day and tries to make sense of the reality out of it. One day the employer died and the lawyers informed him that the mansion is shut down and he’s got to go. Chance, the name of the gardener, walks the streets of Washington D.C. He has no last name, no family, no money, no friends, no skills other than gardening, and no common sense about city life except what he sees on TV. His simplicity in the complexity of the city discloses the menace of everyday life.

Being There is slow. Peter Sellers is so void in the face. When in the mansion there was a black maid bringing meals to him, so he walks to a random black woman in the street and asks, without a trace of emotion, “Can you bring my lunch? I am very hungry.”

When leaving the mansion the lawyers asked Chance if he has any claim, he said no with a blank face. Having been hit by a car then brought to examination he was asked again if he has any claim, he said no, with a blank face. He appears to be modest but when the rich family invited him for dinner he didn’t hesitate for a second, “Yes, yes, please, I am very hungry.”

Being There is classified as a comedy but I didn’t laugh a lot. I am so worried and concerned that for a person with no claim the world is so much a jungle. Each time he said “I am very hungry” my heart aches. Why can’t it be just plain and simple.

Chance is so much an empty mirror that people see what they want to see. He is defenseless to any interpretation and that earns him the reputation of a guru. He introduces himself as “a gardener” and people take that his last name is Gardiner. He comments on the elevator to be “a very small room” and it is perceived as a good sense of humor. He talks about plants in the garden and the President takes it as a metaphor for the national economy. The journalists and securities couldn’t figure why they are not able to find anything about the background of this celebrity, not even a driver’s license or credit card.

The rich family is a loving couple. The husband is considerably older than the wife and he is so ill. There is an unspoken agreement between the couple that Chance will be an ideal candidate as a successor. But Chance has no idea about such delicacy. He asked the wife, Shirley MacLaine, “Are you going to leave and close the place when Ben dies?”

Ben died. Chance strolled away from the funeral and came to a pond in the woods. He bent over to try the depth of the water with his umbrella and the whole umbrella submerged in. He walked on the water, leaving a few ripples behind and nothing more.

The director Hal Ashby fought hard against the studio for the ending. The original ending is Peter Sellers and Shirley MacLaine meeting in the woods, but before the scene was shot Hal Ashby came up with the idea of having Chance walk on the water. The ending was shot on a flat land with a thin layer of water and the total cost is no more than $10,000. Aside from the improvised ending, Hal Ashby wanted to add outtakes at the end but the studio prohibited. Ashby went to every theater and said, “I'm Hal Ashby, the director of the film. The studio put in the wrong ending, but I've got the right one with me. How about if we edit it in?”

Peter Sellers was nominated for the Oscar for Being There but lost to Dustin Hoffman in Kramer vs. Kramer. Hal Ashby was never paid for the directing for the studio charged him with violating the contract.

Peter Sellers is best known as the French Inspector Clouseau in the Pink Panther Series. The series was meant to be a story of a smart thief played by David Niven, but the Inspector Clouseau received such wide popularity, as a result the series was stolen from the thief and became the story of the incredibly stupid inspector. The series also gave life to the animated figure the Pink Panther.

Other than that the Pink Panther series doesn't have much to talk about. I mutter to myself, is this all, the legend of Peter Sellers? I watched The Party in which he plays an Indian guy who is naïve, friendly but always out of context. The opening is very funny but still I mutter, is this all?

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Monday, July 7, 2008

No Willy Wonka: "The Take"

The Take, a documentary made by Naomi Klein (the author of No Logo) and her husband Avi Lewis (the former host of CBC now works for Al Jazeera), tells a story about how Argentine workers take over the closed factories and make them productive again. The bosses are fired.

In the late 80s Argentina was expected to be counted among the arising countries, but in the 90s the economy model failed and the country was in trouble. Multinational companies withdrew everything in cash, in time. Many owners of factories filed bankruptcy but walked away with money. The workers left unemployed, in awe of the mobility of money and the immobility of themselves.

Activists come up with the three-phase strategy: Occupy, resist, produce. The plant is under the court's seal. Workers break in, resist the police, and try to make the factory function and produce. A boss is the only thing missing in the picture but workers wonder if a boss is really a necessity.

Workers/managers in The Take were busy. They had to deal with the court, the judge was not happy about the breaking-in; they had to deal with the police, they got orders from the judge to clear up the plant; so they had to build up solidarity of the community for a stronger defense against legal authorities.

And they had to handle the whole production, but somehow that's easy. They know how to operate the machines; that's the only thing they were trained to do. They had to do accounting but they shrugged: "You buy materials, and you sell products; you just add and subtract. I don't know why it is so difficult to the bosses."

There were tears wiped in silence when they returned to the closed factory for first time after being unemployed, when they failed, and when they won. The teary eyes remind me of "Charlie and the Chocolate Factory".

I was so terrified by the cruelty of the movie and its indifference. Willy Wonka fired everyone in the factory and replaced them with machines and immigrant workers. Charlie's grandmas and grandpas remain in bed all day, awake or asleep, because there is simply no space; but the biggest dream of the formerly-employed grandpa is to return to the factory and take a look. As poor as that, they spent money on the chocolate which they can't possibly afford, because Willy Wonka is rich enough to create a global dream and make everyone drooling over the tickets for the game. The game is about moral commandments: Thou shalt not be greedy, willful and selfish; but isn't Willy Wonka the most greedy, willful, and selfish person in the movie?

Naomi Klein was challenged by TV hosts that she fails to propose an "alternative" for capitalism. Activists are familiar with this argument: "I don't want you to tell me what's wrong unless you can FIX IT! If you say you can you better PROVE IT! And buzz me when you are done." The Take is the alternative she finds. Of the worker, by the worker, for the worker; and no Willy Wonka.


1. To buy The Take, and the products made by Argentine workers' factories, please go to The Working World.

2. A Taiwanese filmmaker Chao-Ti Ho made a documentary on a similar situation titled El Salvador Journal and just won an award in Taipei Film Festival. The owner intending to shut down the factory is a Taiwanese, and a Taiwanese activist helped the local workers to fight against the entrepreneur and take over the plant. I look forward to watching it!


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Tuesday, June 17, 2008

Two comments of Men

One from "Heaven Can Wait", a guy saying to the woman he has a crush on:

"If I were, for instance, a suit or clothes, you wouldn't call me a stylish cut, and I prefer it that way. But I can safely say I'm made of solid material, I'm sewed together carefully and I have good lining, Martha. Frankly, I believe I wear well. I'm not too hot in the summer and I give protection in the winter."

Another one from "The Shop Around the Corner". The two are in constant quarrel.

Alfred Kralik: "There might be a lot we don't know about each other. You know, people seldom go to the trouble of scratching the surface of things to find the inner truth."

Klara Novak: "Well I really wouldn't care to scratch your surface, Mr. Kralik, because I know exactly what I'd find. Instead of a heart, a hand-bag. Instead of a soul, a suitcase. And instead of an intellect, a cigarette lighter... which doesn't work."

Both films are made by Ernst Lubitsch. What would Freud say about the "I wear well" claim and the "cigarette lighter which doesn't work" comment? :-)

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Monday, May 5, 2008

His Prime Time

After Lawrence of Arabia, I just couldn't do anything properly. I was taken away to another place, another time. I started it with a simple dinner when it was bright and pleasant, an ordinary summer evening in Europe where the night is not born until nine. When I finished the movie, it was dark, and the sunlight was a hint of the past, a rumor that will never happen.

I've watched Peter O'Toole in My Favorite Year, The Lion in Winter, and Venus; it is Venus (2006) that pushes me to watch Lawrence of Arabia. In Venus he fell off a stool for trying to peep at a girl's body and O'Toole manages to fall so convincingly. The old day's glory isn't worth a dime and he has long given up his pride.

The depth of Peter O'Toole's performance matches the complexity of of the life of T.E. Lawrence. In the first half of the film, he was considered brave but he couldn't stop trembling when talking about the unavoidable death. In the second half he burst into hysterical laughter when he saw the living hell of Turkish survivors in an intentional overkilling, a result of his own doing.

Lawrence died young but O'Toole lives old. Due to heavy drinking he looks older than he actually is. It's hard not to see the pride and shame coexist in those eyes, sometimes peacefully, sometimes not so peacefully. The war didn't end, nor does it confine to Arabia.

"道其盛時,以悲其衰。" ——歐陽修(1007-1072)
"tell/his/prime/time,to/feel for/his/withering" --O-Yang Hso(1007-1072)

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Friday, May 2, 2008

Copycat

I watched Yojimbo by Japanese director Akira Kurosawa to know that A Fistful of Dollars was nothing but a copycat, including the storyline, the characters and structure. It's a poor imitation: the strength was lost, the tension was watered down, and the deep understanding of Zen is abolished. Only the beauty of Clint Eastwood is, though, original.

When writing this, again, I can't get rid of the image of a cat in "copycat". In Chinese expression, a copycat is a dog-- "畫虎不成反類犬"-- intending to copy a tiger but it turns out to resemble a dog.

I do remember a dog in Yojimbo. After the concise but powerful opening, the samurai reached the outskirt of the town. The villagers offered him water but slashed their anger about the chaotic situation on the samurai: "Dogs come along for they smell blood!" When the samurai entered the town, an innocent-looking white dog passed by with a human hand in his mouth. Humor like this is what the copycat A Fistful of Dollars fails to copy.

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Friday, April 25, 2008

Bothered

"Ernesto being who he was, was terribly bothered by what he had seen."

--"The True Story of Che Guevara", a documentary

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Tuesday, April 22, 2008

The American Hero

A Fistful of Dollars is a brief history of what the U.S. did and is still doing to the rest of the world. They enter a foreign little town, learn the politics and current antagonism. They set the two sides into serious fight to benefit from the conflict. Then they let the vicious eliminates the not-so-vicious. At the end they finish it off and feel good about themselves.

But Clint Eastwood-- is he handsome!

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Sunday, April 20, 2008

Audrey Hepburn and Social Capital

At first I know her as an icon of people growing up in the 60s, but I am too young for that. Until recently I got to watch her movies and know a little more about her than big eyes and bony face.

Love in the Afternoon, Roman Holiday, My Fair Lady, How to Steal a Million, and Breakfast at Tiffany's; watched in that order. When I thought she could only do the elegant naive princess, there is the vulgar poor girl in My Fair Lady impressing everyone with her almost primitive, untamed strength. Yet no less adorable, desirable, lovable.

Contrary to the strength of Katherine Hepburn which comes from intellect and reasoning, Audrey Hepburn demonstrates the qualities that summon the good old days: innocence, trust, simplicity, faith in humanity. She opens up for strangers and the chance meetings all turn out to be a memorable encounter if not more. In almost each of the movies we see her wash her hair, brush her teeth, in pajama, ear plugs and blindfold. We as the audiences are not the only one who sees it; she does that in someone's presence in the scenes. She is unarmed... with make-up though.

I am doing readings about "social capital" for my thesis. Put in plain English, social capital is the trust among people that can be used to reduce cost by avoiding unnecessary conflict, or enhance productivity by cooperation and sharing. That's what Audrey Hepburn stands for: to overcome the social disguise, appeal to common decency, and come to a true connection.

A dream of everyone: harmony and reconciliation with the universe. In Chinese it can be expressed as "天人合一": sky/people/unite/one, meaning: the universe and the people are united as one. That's the ideal and here is the reality: Do the Katherine Hepburn thing every now and then but spare a place for Audrey Hepburn, in case the Eden is found.

who were so dark at heart they might not speak
a little innocence will make them sing

--e.e. cummings


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Thursday, April 3, 2008

A Kid with a Balloon

I bumped into "Out of Africa" on HBO. I went to that movie when I was in high school and I fell asleep. When I woke up, I got confused with the twin brothers. Having heard my experience, everyone said, "What are you talking about? There is no twin brothers in Out of Africa."

A good twenty years later, I can relate myself to the theme of the movie: freedom vs. love. I'm touched by Maryl Streep's performance but I'm more a Robert Redford in life who needs to be away from time to time. Not away to be with another woman, although we cannot rule out that possibility; not away to hunt, although sometimes it is; he is away because he needs to be away from maybe everything, including the woman he truly loves.

I am a kid with a balloon in my hand. It is too often that I get invited to a house but the door closes as soon as I enter and shuts out my balloon. This time I'm going to tell the host, "I want my balloon."

--An old entry from an old blog

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Touched by an Angel

When a child was a child, he’d ask, why am I me and not you? In Wings of Desire the question comes up repeatedly and it provides the context of an angel with the keen aspiration to become human. Being an angel in this movie means complete altruism. Angels walk around the city to find people and help them. If an angel is on a train it’s not because he has a destiny, but because he locates a sad face on the train that can use some comfort.

Being a human, on the other hand, means the sensibility: the ability to taste, to feel, to touch, to be seen and to be heard; that is, to LIVE. Thus an angel is someone who is deprived of a life. An angel is an observer and helper of human lives, he casts his attention on people and nobody returns his attention because he is invisible and what he does is invisible. The supposedly poetic question turns out to be a corny complaint, “why me?”

That is where I start to feel regret for Wim Wenders. Despite making an original movie loaded with artistic images, he missed the possibility to deepen the story. He could have explored the dilemma of being an angel and a human by showing the inescapable sorrow and stupid worries of ordinary human lives, but instead he granted the converted angel with a life in which his dreams come true. Two ex-angels both seem happy with their choices and the other angel looks gloomy. What if the three of them reveal some self-doubt and contemplate on the “to be or not to be”, the ultimate question of being?

The trapeze once gets ridiculed about being an angel and the real angel standing beside her was shocked for a moment. As much as a puncture of laughter for the audience, it implies that the woman possesses a certain quality that can relate to an angel or allow an angel to relate to her. Unfortunately the film fails to build it up in the part and the actress fails to deliver the divine charm. And again I am thinking this, will it be better if the angel is not attracted to a woman and we don’t interpret his desire of being human in terms of love? What if the angel just wants to get a life and experience everything? Wouldn’t it be with great philosophical quality if he is driven to transform because he asks himself, “who am I and why am I the way I am?” Wouldn’t it be worth some thoughts if he makes the transformation a journey toward self-discovery, instead of a journey toward love?

I guess it’s not fair to comment on a film in a way that almost rewrites it. Let’s just say that it’s because an angel touched my shoulders when I watched the movie and he inspires me so much that he becomes visible to me.

--An old entry from an old blog

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