Demndiary Blog

Under discussion:

Fahrenheit 9/11  (2004)

No End in Sight  (2007)

Charles Ferguson's No End In Sight is the living history of an unfinished war. It is done in an old fashioned journalistic style which means questions are asked to illicit answers, not to provoke or prod. It is      non-partisan and objective. It is a chronicle from 2003 to now. It includes live footage shot in Iraq and statements from Iraqis. It is moving beyond words. It should be the instruction manual for the next administration of what never to do again.

Ferguson's interviews are focused and diversified among many authorities. Ferguson interviewed the common soldier, the Deputy Secretary of State, the military heads at the beginning, the journalists, the civilians, the UN, and on and on. What was missing was those who would not be interviewed: Cheney, Rice, Rumsfeld, Wolfowitz and Bremer. In other words, those who bear the responsibility.

No End In Sight points to many factors on where the chaos originated. It could have been not planning for after the war until 2 months before the war began. It could have been disbanding the Iraqi military. It could have been never arresting Al-Sadr. The list multiplies and one realizes that the mistakes will be felt for generations to come worldwide. World War Two and September 11 pale in comparison. Our grandchildren's grandchildren will read about thjs as topical news.

If Fahrenheit 9-11 is an indictment of the Bush administration, No End in Sight is the verdict. Clear and concise it is impossible to ignore. Ferguson has made a history book. It is not light reading.

Under discussion:

Clean  (2004)

Olivier Assayas' Clean is not a simple addict story. It is not the dark descent and miracle salvation. It is not the drug trips and hallucinations. It is the human drama with characters who are real and not overblown.

To begin with Clean is one of the most accurate films about the music industry. The film features such artists as Metric and Tricky and places them in the correct strata of their career. It places Lee and Emily's band as independent but not superstars. It also does not linger on the drama of the business, but the desire. Clean also has an amazing soundtrack.

Next, the strongest relationship in the film is Emily (Maggie Cheung) and Albrecht (Nick Nolte). They have a cordial and respectful relationship in every part of the film. Albrecht is honest about his dreams for both Emily and her son Jay, and hopes Emily can achieve them. Emily's other relationships in the film, whether they be with Elena, Irene (a TV boss), Gloria (her prison friend) are all friendly with a touch of caution. They also describe Emily's wild ways better than living them.

Assayas' direction and camera work is simple but elegant. Nine times out of ten he chooses natural light. He shoots in all the locations in the script, instead of "faking" them on a soundstage. He paces the film almost too slowly so that the viewer can understand Emily as a person, but also see a larger world. In other words, he lets the world judge Emily's actions not just her words. The film does involve death at points, but is not bloody or gratutious.

Maggie Cheung's Emily is beyond a cardboard character. She lies, cheats and steals but also feels lonely and is willing to fight. She does grow in subtle, simple ways. She is not redeemed but is capable of redemption.

Finally, Clean does not take the easy ending. It does not make a black and white statement at the finish. Instead it has a sense of positive ambiguity. Clean tells a complex story with simple methods. Grab a stool. Grab a beer. Wait for the music to start and the vocals to bleed in and enjoy the show.

Under discussion:

Field of Dreams  (1989)

Wondrous Oblivion  (2003)

Paul Morrison's Wondrous Oblivion wants to be many things. It wants to be a period piece about Post WWII England. It wants to be an underdog sports story like a children's Field of Dreams. It wants to be a story about classism and racism. It wants to be a growing up piece like Stand by Me. It wants to be an adult drama about an interracial affair. It wants to be many things, but it is very few.

The story is told from the point of view of David Wiseman, an optimistic, naive boy who loves cricket and little else. David is played by Sam Smith who is too bright-eyed and bushytailed throughout the movie. He also has too clean an English accent to reflect his German roots.

David is an underdog who really doesn't come alive until the Samuels move in next door. David's relationship with Judy Samuels (Leonie Elliot) is kind, but is shoved down the viewer's throat. David's relationship with Dennis Samuels (Delroy Lindo) is much easier to believe.

Ruth Wiseman (Emily Woof) also delivers a great performance, but it is never given the chance to develop into a full story. Ruth gets into an intimate relationship with Dennis. Although it is given many scenes, it never is given a resolution. It disappears to make an idealistic ending to the film.

Wondrous Oblivion is also riddled with many technical flaws. The first is everyone either whispers or speaks with a thick accent. The accents are pushed too strong that it makes it difficult to understand what is being said, even by the English characters. Second, it takes too long to explain Cricket to the audience. The film assumes the viewer is a fan, knows the rules, and knows the players. For an American audience those are too many assumptions. The audience understands David's love of the game, but is not given a chance to understand the basics of the game itself. It's like watching Field of Dreams when you grew up knowing archery as the only sport. A ball, bat and field are foreign. Last, it fills the story with too much classism, racism and religious intolerance. One second the viewer is being hit with older schoolboys bullying a black ticket taker, the next David is reading the Torah. A narrower field would have lightened the load for the viewer and saved more of the story and the acting.

Wondrous Oblivion is colorful, cute and wants to be dark and dreadful. It is a children's film that desires to be a morbid, somber adult film. It fails at being both.