Demndiary Blog

Under discussion:

Stalag 17  (1953)

Saving Private Ryan  (1998)

Blood Diamond  (2006)

The Last King of Scotland  (2006)

Letters from Iwo Jima  (2006)

The Hunting Party  (2007)

Richard Shepard's The Hunting Party is that wonderfully strange creature known as a political comedy, or more appropriately, a war comedy. It is incredibly funny, but also delves into the horrors of war. It does this without being preachy. It is a rare gift these days.

Richard Gere's Simon is wild, spontaneous, and just a little not there. It is not Gere's best part, ,but one of his best. Terrance Howard's Ducky owns the movie. It is his narrative that puts everything in perspective while showing just how absurd it really is. It should be an Oscar part for Howard. Jessie Eisenburg's Benjamin, the green cameraman, is over the top stereotypical until one scene that makes the ending of the film.

War films are tough. It is a fine line between Letters from Iwo Jima, and MASH. They can be too preachy like Saving Private Ryan and Blood Diamond. The Hunting Party finds it line in a space that The Last King of Scotland, and Stalag 17 drew out. It is the right mix of comedy, absurdy and characters that keep the audience balanced against bloodshed and horror. It is a fun film and worthy of seeing again and again.

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.