Arti – Page 33 – Ripple Effects

Saturday Snapshot May 30: Of Birds and Men

Living adjacent to a Provincial Park, I’m always amazed at how tolerant and adaptable the birds are towards our human intrusions. Birds and men co-exist considerably well in my neck of the woods:

There’s even a vague resemblance between birds and man-made structures like in this photo, The Great Blue Heron and the Light Post:

And then there are the Canada Geese, who aren’t shy and actually quite imposing, never observe right of way’s, and never keep their voices down in public places. Since some of you in response to my previous Saturday Snapshot post were surprised that Canada Geese nest in tree trunks, here are a couple more photos for you. People just walk or bike by below these trees, as the Geese give birth to their young just above their heads; no, not in the water. How can you build a nest in the water anyway?

From afar, the Goose at her nest:

At the doorstep:

Of course, you’ll see them in the water once the Goslings are big enough. Here is a family outing:

Here’s a picture of co-existence in harmony… the sailboat was in close proximity to the Geese family, yet both parties took a nonchalant attitude, doing their own thing:

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Saturday Snapshot is hosted by West Metro Mommy Reads. CLICK HERE to see what others have posted.

ALL PHOTOS TAKEN BY ARTI OF RIPPLE EFFECTS

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Flight of the Red Balloon (2007)

In honour of Taiwanese director Hou Hsiao-hsien winning the Best Director award last Sunday at the 2015 Cannes Film Festival, I’m re-posting a review I wrote a few years back on Hou’s Flight of the Red Balloon (2007).

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In celebration of its 20th anniversary, the Musée d’Orsay in Paris has commissioned four notable directors to create a series of commemorative films. One of them is Olivier Assayas with his Summer Hours (l’Heure d’été) which I have reviewed. Another is the highly acclaimed Taiwanese auteur Hou Hsiao-hsien. Flight of the Red Balloon is a unique piece of film art gently crafted by Hou in homage to Albert Lamorisee’s Oscar winning short Le Ballon Rouge (1956). Hou has long been garnering awards in international film festivals throughout Europe and Asia since the 1980’s, albeit relatively unknown in North America. Flight of the Red Balloon is his first French language film.

The little boy in this 2007 rendition is Simon (Simon Iteanu), a child growing up in the hustle and bustle of Paris. With an absentee father somewhere in Montreal pursuing his writing, and a frantically busy mother Suzanne (Juliette Binoche), Simon is alone in an adult world. Overloaded with her work as a voice-over artist in a puppet production plus other personal matters, Suzanne hires Song (Fang Song), a film student from Beijing, to look after Simon for her.

Suzanne is the embodiment of urban frenzy. As a single mother, she has to shuttle between home and work, deal with the eviction of a bad tenant in her lower apartment, confront her non-committal husband on the phone to Montreal, and connect with her daughter in Brussel, all in a day’s work. Simon is most perplexed. “Why are you so busy, Mama?”, he asks.

Song, on the other hand, offers the tranquility that is needed to balance life in the midst of chaos. As a film student, she uses her hand-held camera to record Simon’s activities, and by her quiet demeanor and calm observing, she reflects pleasure in the mundane, everyday trivialities called life. This is reality show without sensationalism. Hou has ingeniously conveyed his perspective of realism with artistic overtone. No doubt, there is a lack of plot, suspense, or climax, but there is character contrasts, cinematic offerings in sights and sounds, and realistic, natural performance. Juliette Binoche has once again assured me why she is one of my favorite actresses. And no, you are not watching paint dry, you are watching life unplugged.

The red balloon forms the focal point of Hou’s signature long take. The almost God-like omnipresence hovering over buildings in the Paris skyline is a joyful symbol of childhood. Its silent drifting is as elusive as the fleeting memories of happiness. Even little Simon achingly remembers the pleasant days he had shared with his much older sister, who is now living in Brussel. We are all trying to catch and hold on to fond memories and meaningful relationships. Yet as the busyness of urban living numb our senses, we ignore and shove away what we think is a hindrance to our time, just like the people rushing out of the subway station, shoving away the red balloon. Only a child would try to catch and befriend it.

Complementing the cinematic artistry is the equally mesmerizing piano music, meditative, serene and restoring, setting the mood and the preamble of the film. Other musical numbers are equally soulful. Click here for the official IFC site where you can have a taste of the sights and sounds of the film.

I particularly enjoy the ending. As Simon goes on a school trip to the art gallery of the Musée d’Orsay, the children gather on the floor to talk about Félix Vallotton’s 1899 painting Le Ballon, he leans back, slightly removes himself from his school mates, and lays on his back. As he looks up to the glass canopy of the museum ceiling, he sees it again, the red balloon, that omnipresence, watching over him, removed yet engaged, far away, yet ever so near.

~ ~ ~ Ripples

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Other Related Posts on Ripple Effects:

Conversation with Juliette Binoche

Tuffing it out at TIFF14

Summer Hours (l’Heure d’été) by Olivier Assayas

Yasujiro Ozu and the Art of Aloneness

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Saturday Snapshot May 23: Birds Among Buds

While some of you are enjoying roses and rhododendrons, or harvesting your first tomatoes and zucchini, we’re finally seeing buds on our tree branches that were still bare just a few weeks ago.

Here are some photos of what you can see within our budding grove. Probably the most common and easiest to photograph are the Robins. They like to pose and they are not too camera shy:

For a few days I was trying hard to shoot the elusive Ruby-crowned Kinglet, for their calls are clear and distinct. Lured by their songs, I walked into a thicket of bushes and trees and lost my direction for a while in the forest. Love’s labour’s not lost. Here are some of the fruits of my venture off the beaten track. You can see two tiny dots of red on the crown of this one:

But trust me, I saw one flash out in red at the crown flapping his wings frantically from a short distance, but only for just a second. I didn’t even have time to lift my camera and it flew away.

Here’s another Ruby-crowned Kinglet. I must say the budding leaves are more appealing here.

Where do you see the Canada Goose nesting? Inside tree trunk cavities. Here’s one:

On a nearby trunk, the Northern Flicker tapping away, with calls you can hear from a distance:

Have you heard of the Happy Wren? Here he is, probably the happiest bird around at 8 a.m. He was on that branch for half an hour chirping away, loud and clear:

Remember the Great Horned Owlet? He’s grown quite a bit. Here’s a recent photo:

Don’t recognize him? Here’s looking at you kid:

Within the budding grove, birds come and go. Another spring, another generation. This owlet will soon fly away when spring comes to an end. But those eyes I won’t soon forget.

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Saturday Snapshot is hosted by West Metro Mommy Reads. CLICK HERE to see what others have posted.

ALL PHOTOS TAKEN BY ARTI OF RIPPLE EFFECTS

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Far From the Madding Crowd (2015)

Here’s the paradox of books to movies. The more you know about the book, the more critical you’ll be when watching the movie, and the less likely you’ll enjoy it. Here’s a case in point. If you want to enjoy this current version of Far From the Madding Crowd without hindrance, do not read or reread Hardy’s novel before you see it. For me, alas, I’ve read it twice in the last few months. So, who can I blame if I find the movie disappointing?

Now, I know exactly that I need to judge a movie on its own merits and not according to how ‘faithful’ it is to the source. I’ve written a post on this view. This current adaptation misses the mark not because it’s not ‘faithful’ but because it has been mishandled. The script, the direction, and for that matter, the casting. Now hear me out. I had high expectations for it. Here we have an Oscar nominated director, Thomas Vinterberg (The Hunt, 2012), offering a new version from John Schlesinger’s 1967 production which touted a high calibre cast of Julie Christie, Peter Finch, Alan Bates and Terrance Stamp. After almost fifty years, should one not hold a certain high level of excitement in welcoming a new version with a modern cast?

To start off, I must give credit where it’s due and that’s to the director of photography Charlotte Bruus Christensen (The Hunt) for bringing the beautiful Dorset country to the big screen so we can visualize Hardy’s ‘Wessex’. The camera captures the lush green fields and gentle rolling hills at dawn and dusk, the farming life, the harvesting under the golden sun. Reminds me of Terrence Malick’s Days of Heaven. The scenic and authentic location of the filming is an alluring backdrop to the story.

Now to the screenplay. David Nicholls is no stranger to simplified versions of classics. His last Hardy light Tess of the D’Urbervilles, a TV mini-series (2008), had four episodes to tell the story. But here as a full-length feature, this new Madding Crowd script could make CliffsNotes writers feel they are doing some heavy lifting. Actually, the movie is not far from the source material, almost all of the scenes and many of the dialogues come from the book, with some alterations, but this is understandable. One would think alterations should be for the purpose of dramatization; so it’s just mind boggling that certain scenes that are essentially dramatic in the novel have been left out, ones that could have enhanced the tension substantially. Two readily come to mind: First is the circus scene where Sergeant Troy was nearly recognized by Bathsheba, and the second is right at the climax of the story, Boldwood’s Christmas party, not omitted but with its tension substantially lessened.

Danish director Vinterberg’s previous work The Hunt – a 2014 Oscar Best Foreign Language Film nominee – was a riveting and psychological piece of work. He could have operated in that mode here. With the scenes sweeping by, and leaving out some pivotal cinematic moments, he has missed chances to engage the audience. The altered state of the climatic scene is regretful. Take that crucial act when Boldwood was driven by mad passion (I’m trying to avoid spoiler here in case you haven’t read the book) during that fateful Christmas party in his home. Instead of displaying the conflict and tension in full public view, Vinterberg has taken the action out into the dark of night. Without all the guests as witnesses, the gravity of the conflict and Boldwood’s ultimate action is effectually diminished; not only that, the handling is incredulously haphazard and swift. While Hardy’s Far From the Madding Crowd exudes a lighter mood compared to the cosmically burdened Tess of the U’Derbervilles – and I chuckled at many of his lines while reading – I don’t expect movie viewers would take this film as a comedy. But this was exactly the audience’s reaction in the theatre. When you hear loud laughter at the climax of the movie, you know the director has missed the mark.

The story is about the characters, more so here when you have one headstrong female being wooed by three vastly different men. What’s intriguing is the emotional ‘trilemma’ of our heroine. The effervescent Bathsheba Everdene, the independent, new mistress of the Weatherbury farm is, alas, misdirected. Carey Mulligan can be a convincing Bathsheba, but the strength of character is diminished by the breezy script and a director who fails to draw out her potential. From the “I shall astonish you all” first meeting with her farmhands to the “Please don’t desert me, Gabriel!” plea to Oak so he would come back to rescue her ailing flock, there are pages of Hardy descriptions. Surely, time is of the essence in a 120-minute movie, but at least show visually the gravity of her situation before she so readily rides horseback and race to Gabriel. As a transition, let the camera frame a wide angle shot of the field littered with sheep lying helpless, ready to expire, for she’s about to lose them all. But just showing a sheep in distress doesn’t warrant the quick change in character, from leading to pleading. It looks like Vinterberg has crafted a feeble and even exploitive Bathsheba who gets her way by her outward charm. In several scenes she could have been more intense; we see no Hardy’s expression of ‘nether lip quivered.’

Among the three suiters, the strongest performance comes from Michael Sheen as William Boldwood. His nuanced facial expressions speak louder than words. Whether intentioned by Vinterberg or not, Sheen has turned the truly, madly, deeply love-sick Boldwood into a comic character, more so than Hardy’s portrayal. Or, were the laughters not intended? No matter, Sheen’s performance compensates for the lack of in the other two men.

Gabriel Oak the resourceful shepherd is the strong and silent type. Not only is he a man of few words, the Belgium actor Matthias Schoenaerts has turned him into a man of few expressions as well. Schoenaerts is fine in action thrillers like The Drop (2014) but just not in a romantic lead, as in Rust and Bone (2012), and now Madding Crowd, for he fails to command the image of either a lead or a romantic. In several scenes, we as audience are left hanging, ungratified, for his lack of verbal response to Bathsheba’s sincere words.

If Schoenaerts is expressionless, here is an equal rival, Tom Sturridge as Sergeant Troy. The George Wickham parallel who dazzles with his brass and scarlet, Sergeant Troy is a subdued character here who lures with his sword. Is it the director or the screenwriter, the few lines given him are mostly sparse and one-liners like “I don’t think I’ve ever seen a face as beautiful as yours.” Sure, that’s from Hardy, but in richer descriptive context. Or, another short line to explain (away) pages of happenings absent on screen.

I’m writing this not in disrespect but disappointment in that a good chance to do justice to Hardy’s illuminating work is missed. Yet, all is not lost; there still remains a synopsis of a Hardy story and Hardy country in full cinematic view. Further, we are confirmed, again, that Carey Mulligan can sing, in a particular folksy, soulful way. So far, I’ve heard her sing in three movies, and each time it enriches the storytelling. When Awards Season comes this fall, I look forward to a stronger performance from her in Suffragette. Simply by virtue of the release date, it is an award hopeful. Some are already predicting Oscar nods for her role in that production.

As for Madding Crowd, let’s just note that it’s a May-released movie.

~ ~ 1/2 Ripples

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Other related review posts:

Tess of the d’Urbervilles (2008, TV)

The Great Gatsby (2013)

Never Let Me Go (2010)

An Education (2009)

Can a Movie Adaptation Ever be As Good As the Book?

Saturday Snapshot May 16: Silhouettes

Often when I’m outdoor, the light, shadow, direction of the sun and the time of day are less than ideal for photography. That’s the time when I see beauty from another perspective. The lack of light on the subject, or when it’s backlit, makes it all the more intriguing.

I’ve learned to appreciate silhouettes. They are more soulful and quiet. When devoid of colour, I can see more clearly the subject’s shape and form, and its solitary existence. Here are some photos I’ve taken lately… a kind of Wabi-sabi.

The slow and meditative movement of the Great Blue Heron:

Look at the shadow in the water, like a Chinese brush stroke:

A solitary Belted Kingfisher:

Cattails by the pond in the evening light:

Guess who’s still busy at dusk:

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Saturday Snapshot is hosted by West Metro Mommy Reads. CLICK HERE to see what others have posted.

Photos Taken by Arti of Ripple Effects

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Saturday Snapshot May 9: Spring’s New Babies

Spring ushers in buds and blooms, and in my neck of the woods, Spring brings new babies. For the past few years, Mama and Papa welcome two new owlets into their Great Horned Owl family every Spring.

The next time you wander into the woods, if you see two furry balls high on a tree, don’t pass them by.

Those furry balls could turn into two pairs of big eyes, inviting you to stay awhile. Fine, take some pictures. We love to pose.

They look cuddly as a teddy bear.

I can only imagine how those fluffy down feel to the touch. They’re nature’s babies; I can only admire from afar.

And what are they thinking, looking at us humans gathering under the tree?

Oh, humans? That’s what they are? Strange, with such huge and long noses. No? Telephoto lenses? They sure are curious and interesting creatures. Alright, let me give them a high five. That’ll make their day.

Ok… let me show off a little: here’s a wing:

and two:

Don’t think I’m just a cute li’l baby. I’m learning to be formidable:

Mama knows. She’s always watching nearby. She may have her eyes closed, but she’s alert and watching alright:

Happy Mother’s Day, Mama!

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Saturday Snapshot is hosted by West Metro Mommy Reads. CLICK HERE to see what others have posted.

PHOTOS TAKEN BY ARTI OF RIPPLE EFFECTS

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While We’re Young: Wearing the Hat of Authenticity

The discussion that follows involves major plot points. Spoiler Alert. If you have watched the movie, you’re welcome to share your views in the comment section.

The film begins with an excerpt from Henrik Ibsen’s play The Master Builder. In the context of the play, Solness, the Master Builder, is fearful of the young, specifically, the draftsman he has taken under his wings, Ragnar. Solness’ anxiety lies in his apprehension that one day, soon, the young Ragnar would open shop on his own as a full-fledged builder, surpassing him and rendering his life work obsolete. He has the following exchange with a young lady friend Hilda:

Solness: … Wait and see, the young will come here, thundering at the door! Breaking in on me!
Hilda: Then I think you should go out and open your door to the young.
Solness: Open the door?
Hilda: Yes. Let them come in to you – as friends.

Writer/director Noah Baumbach sets the stage for a contemporary story with the parallel of Solness in his main character Josh Shrebnik, 44, aptly played by Ben Stiller. Josh is a documentary filmmaker who may have passed the peak of his career, his latest project dragging on for ten years without new grant money coming in. In the continued education class where he teaches documentary filmmaking, he meets a hipster couple in their 20’s, Jamie (Adam Driver) and Darby (Amanda Seyfried). Jamie expresses great admiration for Josh, feeding him what he needs. Soon, Josh and his wife Cornelia (Naomi Watts) become fast friends with them, and begin to drift away from their peers, new parents Marina (Maria Dizzia) and Fletcher (Adam Horrovitz).

In Frances Ha (2012), Baumbach brought us a positive profile of youth embodied in co-writer and star Greta Gerwig. Gerwig grasped the gist of youth beautifully by portraying an aspiring young dancer in NYC finding her way to a career and to her own true self. In Frances we see a delightful image of the young. Here in While We’re Young, Baumbach presents another view on youth. He does it by juxtaposing hipsters with the middle-aged, leading the audience through a revealing and interesting story. While the brunt of the laughs falls on the older pair Josh and Cornelia, the ultimate revealing is on the younger generation.

What makes the movie rich and intriguing is that what looks like a simple, single storyline embeds multi-layered thematic materials. On the surface, Baumbach lets us laugh at Josh and Cornelia, forty-something, childless, needing to come to terms with aging but not until one last attempt at rejuvenation. Hanging out with Jamie and Darby makes them feel young again. Josh dons a fedora hat, wears hipster shoes, rides a bike to keep up with Jamie. Cornelia goes with Darby to a hip hop dance class, and stressed herself out with the moves. For more flavour, both try the new experience of detoxing through a vomit inducing potion in a shaman party. Watts sure can keep up in her comedic act with Stiller, just right in juggling between depth of emotions and light-hearted fun. After St. Vincent, where she plays a small, funny role alongside Bill Murray, Watts has proven once again that she can wear the comic hat suitably.

On another level, we see Baumbach contrasting the ironic lifestyle choices in a sequence of fast cuts. We see the middle-aged couple using iPhone to Google once something comes up, while Jamie and Darby just try to remember and recall the info. Googling is too easy; they don’t want instant answers. If they can’t recall, they’re contented with not knowing. I can’t get enough of these subtly planted Baumbach jokes. As Josh listens to CD’s on his laptop, Jamie enjoys his wall to wall collection of vinyl records, played on a turntable. Jamie makes his own table, Darby makes ice cream from scratch. They ride a bike to get around. Their hipster lifestyle totally grabs Josh as genuine and cool; impressing him even more is their generous and open demeanour. A budding documentary filmmaker, Jamie invites Josh to co-direct his film. Josh is totally sold.

Ben Stiller is a natural when it comes to playing a clueless, de-valued character like this one. In Greenberg (2010), his previous collaboration with Baumbach, he plays a similar role, middle-aged and lost in the flow of life, also touched and changed by a youthful character (Greta Gerwig). It’s easy for us to laugh at Stiller, a greying forty-four-year-old hipster-wanna-be trying hands-free cycling following Jamie but only for a short two seconds before he twisted his back. The back will soon heal, but it’s “Arthritis” on the knees that the doctor is more concerned about. The joke there in the doctor’s office is just too good for me to include here. And, when did he last have his eyes checked?

As the story develops however, we begin to see Josh having second thoughts. Maybe Jamie’s work isn’t as authentic and spontaneous as it looks. Adam Driver is perfect in projecting a fused expression of innocence and mischief. His calculated moves startle Josh. Herein lies a crucial, contentious thematic element. There’s a fundamental breach of integrity. Is Jamie ignorant about ethics or is he simply amoral? Isn’t a documentary supposed to present truths? To what extent can it be staged or its ‘facts’ twisted? Nil, according to old-schooled Josh; such methods are fraudulent, crossing ethical boundaries, inexcusable. To Jamie, it’s no big deal, “it doesn’t matter that it’s fake.” To us the viewers, this third act is the juice in the meat. Josh’s indignation is justified.

But then, Baumbach pulls back, as if being too harsh on young Jamie. As I think about the notion of authenticity in the movie, I realize it comes in different forms, not only in documentary filmmaking, but with the actual life these characters are living. A love for retro and owning a collection of vinyl records don’t mean Jamie has real experience living in the 60’s. Or for Josh, imitating hipster fashion doesn’t make him young, as his friend Fletcher says: “You’re just an old man with a hat.” Taking an example from a recent real-life happening: when we see a veteran news anchor faking accounts to add glamour and self-importance to his reporting we know age is not the dividing line for authenticity. So maybe Baumbach has a point there by cutting Jamie some slack at the end. In the last scene, Josh, wiser now, utters: “He’s not evil; he’s just young.”

Let’s hope authenticity won’t become a dismissible fashion trend like a hat.

~ ~ ~ 1/2 Ripples

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Other Ripple Reviews you may like to read:

The Secret Life of Walter Mitty (2013)

Force Majeure (2014)

The Grand Budapest Hotel (2014)

Inside Llewyn Davis (2014)

Saturday Snapshot May 2: Big is Beautiful

It was a grey and overcast evening sky. I was driving away slowly, resigned that not everyday had to be a fruitful birding day. And then I saw it.

From afar, it looked mythical, like a miniature Loch Ness monster, still as a statue. I quickly and quietly got out of the car and made my way closer.

The Loch Ness monster doesn’t have a beak, does it?

Lock Ness 2

No mistaking now… I’d come face to face (almost) with a Great Blue Heron:

For the next few days, I went back to that pond and experienced some gratifying moments. I saw two Great Blue Herons the next day, albeit hard to get them both together in one frame. Here are some images:

I’m one who often plays down sheer size. I take pleasure in the small things I can find and not derive joy from how big a bird is. However, I must say, this time seeing the Great Blue Heron makes me see that sometimes size does matter. In comparison with the ducks, the Great Blue Heron distinctly stands out:

Aloof and stoic, the Heron is also very sensitive and camera shy.

Seeing me take a few steps closer, it quickly took off. In relatively slow motion, it lifted off with majestic poise. This is what I’ve found: the bigger the bird, the slower the flapping of wings, the more graceful it is in flight. I admit these are not the sharpest pictures, but they are the best shots I could get:

I call that a fruitful day.

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Saturday Snapshot is hosted by Metro Mommy Reads. CLICK HERE to see what others have posted.

ALL PHOTOS TAKEN BY ARTI OF RIPPLE EFFECTS

DO NOT COPY OR REBLOG

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Upcoming Movie Adaptations from Literary Sources: 2015 and Beyond

“Literary Sources”, that’s a highly debatable term. Here I just mean anything that’s written, with text, and had been published in real paper or digitally. Which means, Avengers: Age of Ultron is eligible, having been published as a comic book, with text accompanying graphics. Indeed, that’s one movie I’ll be watching. Main attraction: James Spader as Ultron.

Now, for the list. I admit that’s subjective because it’s my list. I include here some titles that pique my interest, ones that I feel would create some ripples. So here it is.

Far From The Madding Crowd (May 1, 2015)

I have talked about this in a previous post, and now the time has come. In just a few days – opening the same day as Avengers: Age of Ultron – is a new version of Thomas Hardy’s classic. What an assortment of delights in our entertainment smorgasbord. Almost fifty years have past since John Schlesinger’s 1967 production, the definitive version shall I say. Schlesinger was a director of high repute; two years after Madding Crowd he went on to win the Oscar best picture for Midnight Cowboy. His stars for the Hardy adaptation were all high caliber actors: Julie Christie, Peter Finch, Alan Bates. But watching it again a while ago I couldn’t help but feel it a bit dated. Now almost fifty years later, a 21st C. attempt is viable and anticipated. I should reserve my judgement until I’ve seen the movie of course, but from the trailers, it sure looks like a very contemporary take on 19th C. literature. Will the eversweet Carey Mulligan make a believable Bathsheba Everdene?

Macbeth (May 2015)

Acclaimed Australian director Justin Kurzel’s Macbeth will premiere at this year’s Cannes Film Festival in May. Shakespeare’s works are probably the most adapted sources on screen. Just for Macbeth, we have 200 results if you go on IMDb. So why watch another one? For one reason, how many Macbeth’s have your actually seen on screen? I’m sure there are other good reasons too, like, watching Academy Awards best actress Marion Cotillard transform from Edith Piaff into Lady Macbeth should be interesting. What more, with high calibre character actor Michael Fassbender as Macbeth, the two should make a dynamic, murderous duo.

Genius (2015)

Based on the National Book Award winning bio (1978) Max Perkins: Editor of Genius by A. Scott Berg. Perkins was editor at Scribner, a ‘genius’ because he brought to the world the works of Earnest Hemingway, F. Scott Fitzgerald, and Thomas Wolfe, among others. He was also the man who told Hemingway to “tone it down”. To these great writers, Perkins was also critic, money-lender, psychoanalyst, and friend. What’s interesting is that the 500+ page bio is adapted into film with its director and most of the main cast all non-Americans. Acclaimed stage director Michael Grandage, cast includes Colin Firth, Jude Law, Dominic West, Guy Pearce, Nicole Kidman, Laura Linney. Screenplay by John Logan who wrote Skyfall (2012). Yup.

Blonde (2016)

Joyce Carol Oates’s imaginary account of Marilyn Monroe was a finalist of the National Book Award in 2000 and the Pulitzer in 2001. It just happened that recently I’ve re-watched My Week with Marilyn (2011, Michelle Williams as MM) and the superb doc Love, Marilyn (2012), both leaving me with a troubling sadness. I’ve not read Oates’s novel and know not how she approaches her subject, who I feel, despite her talent and popularity, was a victim of objectification as a sex symbol, exploited for her beauty and sexuality, despised for her inadequacy by her husband AM, drowned in fame, and eventually, lost her total self. I hope Oates’s perspective is internal and sympathetic. I love the choice for the role: Jessica Chastain.

With the success of Cinderella (2015), looks like this is the trend: Animation turned into live-action feature. I do look forward to this one. I mean, even with such a worn-out, age-old tale like Cinderella can be revitalized and brought back to life with such vigour and sparks, I trust Disney’s Beatuy and the Beast can be adapted into an even more entertaining work. After all, that’s a story I love much more than Cinderella. Take a look at this human cast: Emma Watson as Belle, Dan Stevens as Beast (a long way from Matthew Crawley), Luke Evans as Gaston, Ewan McGregor as Lumiere, Ian McKellen as Cogsworth, Stanley Tucci as Cadenza, Emma Thompson as Mrs. Potts, Kevin Klein as Maurice, directed by the Oscar winning Bill Condon (Dreamgirls, Twilight). But can they all sing?

This is not Robert Graves’s autobiography but Joan Didion’s essay in her collection Slouching Towards Bethlehem (1968). The film rights have just been optioned recently by Megan Carlson and Brian Sullivan as the first project of their production company. A feature film based on an essay is a most interesting idea. But this is no ordinary essay. Didion’s seminal piece in her iconic collection contains substantial materials as a springboard to a full length movie, and I believe it can be done. The essay is a summarized account of her years living in New York City working for Vogue, an essay prize she won while at UC Berkeley. At first thinking of staying in NYC for six months, eventually living there eight years until she married John Dunne and moved back to CA. I highly anticipate this movie adaptation. The producers are seeking for a female screenwriter and director for the feature. Who other than Didion herself should do the writing?

McFarland, USA (2015): A Worthy Winner

The reason I waited till now to see McFarland, USA is plainly because I thought it would be just another cliché movie on teacher inspiring students, and specifically here, a white teacher coming into a hispanic community, changing their youngsters to what they’re not, the white knight of condescension.

I’m glad that’s all a misconstrued perception. True, there’s a white teacher coming into the poorest town in the USA, McFarland, CA, where most of its population is hispanic, Mexican immigrants labouring in the open fields from morn till dusk picking produce. The hope of the parents’ – if there is any – is for their sons to continue picking produce so they can earn a living for themselves.

What’s best about this movie is that it’s a true story. The script is well-written and the production helmed by a competent director Niki Caro (North Country, 2005; Whale Rider, 2002). While its elements seem like the ingredients of a formulaic teacher changing students feel-good movie, it is surprisingly moving and exceeds my expectation.

Sure, the coach can’t be more white… a Mr. Jim White (Kevin Costner) from Idaho. You can’t find a whiter name. The school is McFarland High School, with low morales and expectations, students from blue-collar Mexican immigrant families. We see Mr. White come to McFarland after some unsuccessful employment at another school. Bringing his wife Cheryl (Maria Bello) and two daughters Julie (Morgan Saylor) and Jamie (Elsie Fisher) with him, White soon finds they are a misfit and maybe even unsafe in the town. Yet, he has no choice; this is his only job offer.

McFarland 1

Hired as a biology and gym teacher, White one day discovers some of his boys are fast long-distance runners. There are the Diaz boys, David (Rafael Martinez), Damacio (Michael Auguero), and Danny (Ramiro Rodriguez, well, maybe not all of them fast) who are waken up by their mother every morning before dawn to go work in the fields before they head to school. Their only way to get to school on time from the field is by running fast. And then there’s Carlos Valles (Carlos Pratts), whose athletic talent is marred by family and personal conflicts.

White sees the potentials in these boys. With no experience whatsoever, he asks for permission to set up a seven-member cross country running team and train the boys for competition. Being the newest team, they have to compete against well-trained and formidable upper-middle-class schools from areas such as Palo Alto. Physical endurance comes much easier than when the McFarland boys have to deal with low self-image and discouragement.

Kevin Costner is the key to the success of the movie. I can’t think of any other actor who is more suitable for the role. Costner is a natural, even without the chance of him pitching a baseball, even having him ride a girl’s Barbie bike (White’s daughter’s apparently) to keep up with the boys in their practice, as he’s just a bit over-the-hill to run with them. A charmer and very convincing here, Costner shows genuine concern for the welfare of his students, even going to the fields to pick produce with them to make up for the time when he takes them out for practice. He soon wins the hearts of the parents and their community.

The movie captures my attention from the very start, any resistance is soon melted by Costner’s performance, and the natural appearance of the students and their families. Most of them are first time actors, and some are residents of McFarland. One soon finds that it’s not a white knight rescuing the underprivileged, but life-changing for them all. The movie sheds no traces of racism or condescension, but paints a realistic picture of family, community and the humanity that binds.

If you want to avoid spoilers here we have the historical facts in the following:

The triumph comes in the final act of the movie when the McFarland Cross Country Team The Cougars won the California States championship in 1987, and subsequently, a total of nine wins over the next fourteen years. And to his credit, White turned down an offer from a Palo Alto high school to stay where he was, at McFarland.

What is most moving is the final text shown on screen telling how the boys had turned out in real life. All of them have no family member who had gone past a grade 9 education, but all seven of them in the cross country team graduated from college. Some of them had gone back to teach at McFarland High School, one became a police detective, one a writer for the L.A. Times. We see their faces as adults, the fruits of everyone’s labour at McFarland.

The triumph of the movie is in its authenticity and uplifting ending. Uplifting because it’s a true story. Of course, the filmmakers have to tweak and add in dramatic elements to turn it into a watchable movie, but the basic facts remain intact. I can’t remember being so moved by a Disney movie. Kudos to the McFarland community for the inspiration.

~ ~ ~ Ripples

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CLICK HERE to watch a featured video of the movie.

Here’s a “History vs. Hollywood” comparison.

Voice of the Poet: Things Fall Apart

April is National Poetry Month, and three quarters of the days are already gone. Still not too late for me to offer a poetry post. At present, I’m reading Joan Didion’s essay collection Slouching Towards Bethlehem (more about that in a later post). To start off her book, Didion uses W. B. Yeats’ poem “The Second Coming”, from which her book title originates.

Yeats wrote the poem in 1919, shortly after WWI; it was published in 1920. Didion used it like an epigraph for her book published in 1968, about fifty years later, apparently finding it speaks to her collection of essays on her experiences in 1960’s America.

Now almost another fifty years later, the poem still has not lost its relevance. Yeats’ mythical references aside, and just listen to the clearer and more direct words, I can hear the Poet’s voice speak hauntingly to our present world.

The Second Coming
by William Butler Yeats (1865-1939)

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned.
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

Especially the first stanza… hear what I mean?

Saturday Snapshot April 18: A Whiter Shade of Spring

We don’t have green grass yet. Flowers, another two months. A hidden stream I saw a few days ago was still in ice. This is our spring. And I’m fine with it, for on a clear day, I can see for miles all the way to the snow-capped Rockies.

These photos were taken earlier this week. On that day, I had to stop my car and capture these sights. The sun was out in full force and the sky was magnificently blue, all clear for me to use just my point-and-shoot camera (mind you, one with a pretty good zoom I admit).

A whiter shade of Spring than most of you are used to:

Ah… the benefit of living right at the foothills of the Rockies:

The wide open space can cast away all claustrophobic wintry blues, and set your imagination free. Have you seen the pyramids of Giza covered in snow? Here they are:

Or flashback to the days when the sky, mountains and grasslands fuse with your homestead. Breathe in the scene; the firewood can wait:

By the next few weeks, these mountains will still be covered with snow (actually they are snow-capped all year). The icy stream will long have melted, colours will return. I’ll show you our birds and other living creatures. But right now, I look beyond the dry, brown grass up to the mountains, and soak in this whiter shade of Spring.

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Saturday Snapshot is hosted by West Metro Mommy Reads. CLICK HERE to see what others have posted.

ALL PHOTOS TAKEN BY ARTI OF RIPPLE EFFECTS

DO NOT COPY OR REBLOG

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