6/26/13

Video Review: Chico & Rita Not a Jazzy as Advertised

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CHICO & RITA (2010/2011 USA)
Directed by Fernando Trueba, Javier Mariscal, Tono Errando
Motion Pictures (Spain), US distribution by Disney
94 minutes, (In Spanish with spotty English subtitles)
* *

I missed this one in the theater, but grabbed it on Netflix when several people recommended it. Wish I hadn’t. Everyone who recommended it is a jazz freak, and you probably need to be to appreciate this animated film from Spain. It was nominated for–but did not win–an Oscar in 2012.

It should have been better on many levels, starting with the animation, which seemed pretty ordinary given what we can do these days. There are several chase scenes and lots of musicianship and none of it looks realistic or dramatic. That’s fine, if one takes advantage of animation to do something experimental or dreamy. That’s simply not the case for most of what we see. (The only shimmery moments are, ironically, swirls of light dancing across Rita’s naked cartoon body.) Nor is the story as compelling as it might have been. There are three classic themes in the film: rags-to-riches, dramatic social change, and love won, lost, and regained. The story opens in Cuba in 1948, where Chico is a shoeshine boy who also happens to be a demon jazz pianist. When he spies flirty, saucy Rita, a chanteuse, it’s lust (then love) at first sight. Music and passion propel the characters and story from Havana to New York to Hollywood to Vegas and back to Havana (by which time the Cuban Revolution has occurred). The story arc is that of a tragic bolero and is imbued with ambition, misunderstanding, danger, revelation, regret, and remembrance.

Maybe it’s because I speak no Spanish and the subtitling was spotty, but much of what I wanted to know was not revealed, and most of what was revealed I could see coming miles down the road. If you are such a fan of jazz that you want to watch the ‘toons play the tunes of Thelonious Monk, Cole Porter, and Dizzy Gillespie, you might find Chico & Rita more interesting. If that sounds dull, you and I are on the same keyboard.

Rob Weir

6/24/13

Democrats--the Party of Geezers

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Ed Markey. Is this face what's wrong with the Democratic Party? 

In Massachusetts, a June 25 special election will fill John Kerry’s U.S. Senate seat. Recent polls give Democrat Ed Markey a 7% lead over his Republican challenger Gabriel Gomez and the fact that it’s not double that ought to give Democrats pause. The party apparatus has been out in force for Markey, but an indication of the tepidness of Markey’s support can be found in recent campaign ads attacking the Republican Party rather than Gomez directly.

As a Bay State resident, I get daily emails telling me what a wonderful “progressive” Ed Markey is and telling me how terrible it would be if the Senate fell to the Republicans. Call it where scare tactics meet running scared. Like many in Massachusetts, I agree that the current G.O.P. is a collection of Troglodytes, though Gomez doesn’t seem to be among them. (The Republican Party hasn’t endorsed him, which is actually a backdoor recommendation!) I won’t vote for Gomez, but I just can’t get juiced about Markey–25 years ago, maybe, but not now. I see Ed Markey as symptomatic of all that’s wrong with the Democratic Party, as well as what could go terribly awry in the future. Markey is too old, he’s been in Congress since 1976, and he’s amassed a record (as opposed to his stump speeches) that suggests he’s more of a lukewarm liberal than a progressive. 

Currently the Democratic Party holds a rather substantial advantage among voters of all age groups, but party faithful need to change the demographics or that won’t last. Generation X, the cohort that grew up with Reagan, is the best bet going for the Republicans, whose core support is ages 38 to 45. Not coincidentally, Gomez is 47 and he speaks to Gen X concerns such as aggressive foreign policy and tax cuts. Democrats enjoy a huge advantage of nearly 3:1 with voters under 25, but can they keep Generation Y? Maybe not if they don’t start acting like real progressives instead of just assuming the label. And maybe not if they keep throwing Baby Boomers like Markey out there. Is it a “youth” strategy to get a 67-year-old to replace the 69-year-old John Kerry? Baby Boomers are almost as enthusiastic about Democrats as Generation Y, but do you want to build a future on that key 65 to 82 constituency? 

Lest anyone accuse me of ageism, I am a Baby Boomer. I’m no math genius, but I can do basic arithmetic. What does it tell you when President Obama will be younger when he leaves the White House than any of the current pretenders to the throne would be if they took the oath of office in January of 2017. Lots of people are jonesing for Hillary Clinton to run in 2016. Ironically, many of them argued back in 1980 that Ronald Reagan was too old for the Oval Office. He was 69 when he entered the White House–exactly the same age Hillary would be.

It’s even more dire when one looks at other party leaders: Harry Reid is 74, Nancy Pelosi is 73, Joe Biden is 71, Dick Durbin is 69, and even Charles Schumer is 63. The Democrats have a serious lack of imagination when it comes to age. Remember when the party recruited then-74-year-old Walter Mondale to challenge Norm Coleman for the U.S. Senate in 2002? Coleman won, then lost to Al Franken in 2008, but he’s still 11 years younger than Mondale was in 2002. The Democrats also tried (unsuccessfully) to convince George McGovern to run against John Thune in 2005, even though McGovern was a dying man. More recently the Democrats lost a Senate seat–at least temporarily–when New Jersey’s Frank Lautenberg died. Lautenberg retired from the Senate at age 77 back in 2001, but was lured back to the fold to defeat Troglodyte Jon Corzine in 2003. One can applaud that victory, but what’s Lautenberg still doing in the Senate at 89, his age at death? New Jersey's Republican Governor Chris Christie, age 51, has already appointed a temporary senator. He's a younger Republican.

Chris Christie is emblematic of a potential G.O.P. age advantage. Look at some others–Bobby Jindal and Mario Rubio are 42, Paul Ryan is 43, Minority Whip Kevin McCarthy is 48, and Eric Cantor is 50. Hell, even 64-year-old John Boehner is a spring chicken by Democratic standards! Do the Democrats have any non-geriatric stars of their own? A few, though most lack national name recognition. Probably the best known is Andrew Cuomo (55), though he might not be as electable as Maryland’s Michael O’Malley (50). With all due respect to Hillary Clinton, I submit that those looking for the first female president and want her to be a Democrat should let Hillary retire now that she’s 65, and get behind either Amy Klobuchar (53) or Kristen Gillibrand (46). Heck, even 63-year-old Elizabeth Warren would be more youthful. But whatever they do, Democrats need to realize that the hands of time only turn in one direction.

Rob Weir

6/21/13

Les Misérables and Zero Dark Thirty Can Be Deleted from the Rental Queue

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Trust Your Instincts with Questionable Movies

Film critic Roger Ebert (R.I.P.) once gave a refreshingly honest answer to the question of whether he thought reviews made any difference. Ebert opined that most films are “review-proof”–including summer blockbusters and those with “hot” stars–in that people will go to see them no matter how bad critics say there are. The critic’s difference comes, Ebert speculated, in films that aren’t hyped or widely distributed. With these, critical praise or damnation can be the difference between a film being seen by a wide audience, or one that won’t even show up on HBO after midnight.

Ebert is right, though I’d amend his remarks to say that reviews also make a difference for films that seem to be aimed at a specific audience and whose hype may or may not match reality. Such films generally open “big,” but the reviews determine if they have staying power. My rule is to trust your instincts with films of that nature. It’s always good to stretch yourself now and then, but there’s no need to sit through something you just don’t care about. (I dodged Kill Bill for the reason that I’ve never seen a film involving martial arts that I like.)

I recently rented two films that made me wish I paid attention to the instinct that made me stay away when they were in the theater. The two are quite different: Les Misérables and Zero Dark Thirty. Of the two, the second is much better, but neither comes close to matching their pre-release hype.

I’m always skeptical of musicals, a genre I tend to either hate (Phantom of the Opera, Sweeney Todd, Momma Mia, Annie) or be astonished by (All That Jazz, Chicago, Moulin Rouge, The Singing Detective). I really didn’t want to see Les Misérables and I was right. It’s not the show’s fault. I saw it in London and was mesmerized by it. Moreover, Victor Hugo’s novel is one of the greatest stories in Western history. (It has inspired adaptations ranging from I am a Fugitive from the Chain Gang to The Fugitive.) Alas, Director Tom Hooper’s 2012 film is as flat as a flounder and as dull as CNN. One problem is that Hooper filled the screen with big names (Hugh Jackman, Russell Crowe, Anne Hathaway, and Helena Bonham Carter) rather than singers. The best that can be said is that a few of them didn’t suck, which is more than can be said for Sacha Baron Cohen. (My instincts say never see a film in which he appears.)

Mainly the film doesn’t work because the score is terrible, instant death for a musical. All of the “dialogue” is sung, but in the way you might invent a tune to sing your grocery list. What’s left with is a “big” production–big sets, pull-out feature songs, loads of extras, and dramatic effects. In London, the famed sewer chase was nothing more than swirling spots that evoked light pouring through street grates. In the film, nothing is left to the imagination, but it’s a spectacle that fails to be spectacular. The film made money, but critics were unmoved. They were right, Call Les Mis a swing and a miss.

I was also nervous about Zero Dark Thirty because I thought it might be inflammatory and because I’m sick of the American cult of the warrior. I was wrong on the first score, but dead on the money on the second. It’s the story of a CIA analyst played by Jessica Chastain who has to cut through skepticism and sexism to get leaders ranging from her bureau chief to President Obama to believe that she knows where Osama bin Laden is hiding. She was correct and American troops took him out. Chastain was praised to the hilt and was nominated for a Best Actress Oscar, but there’s nothing special about her performance.

Director Kathryn Bigelow must live a charmed life, though, as she got away with eliding history far more recklessly than much-maligned Michael Moore ever did. She rockets between the Soviet invasion of Afghanistan, the 1993 World Trade Center bombing, and explosions in Khobar, London, Bagram, and Times Square with such dizzying speed that it’s nearly impossible to establish a credible time line. That’s weird, because the film is needlessly long (157 minutes) and contains many places where she could have sped the pace without sacrificing clarity. I give Bigelow credit for showing that the U.S. does torture its enemies, but for me the key moments were those in which we see Chastain gazing with longing and admiration at troops before and after their mission into Pakistan. Bigelow depicts their mission as a cross between a video game and Black Hawk Down. It’s hard not to see Chastain as Bigelow’s alter ego. Most of what she’s done, including The Hurt Locker (2010), involves macho men (cops, troops, sailors, cyberpunks, FBI agents) and I’m beginning to wonder if she longs to be one of the warriors or simply bed them all. The film’s tone changes to celebratory at the end, thereby negating the torture she critiqued earlier. It’s as if all the terrible things are justified because they helped the US hit its man. In the end, Zero Dark Thirty plays like a teenaged boy’s video fantasy of getting the bad guys. This film made some money, but not a lot. Those who loved it think it failed to spark because Americans are fatigued by the war on terror. Maybe they are, but I think it’s because it’s merely an average film, not a great one. --Rob Weir

6/19/13

The Deep Blue Sea an Underappreciated Gem

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THE DEEP BLUE SEA (2011/US release 2012)
Directed by Terence Davis
Film4, 98 minutes, R (brief nudity)
* * * *

Lloyd Sellus, who lives in London, tells me that the prosperous city we see today was nothing like that of his youth. London was repeatedly shelled during World War II and, well into the 1960s, the city was marred by bombed-out neighborhoods and dire slums. The Deep Blue Sea is set in that London. It’s 1950, a time in which scorched ruins stand cheek by jowl with intact buildings and city services are so rudimentary that a bit of heat means bundling up several feet from the “electric fire” into which one feds coins for precious moments of (barely) radiating warmth. If that sounds uncomfortable, the heating was light years ahead of feminism. Women had few options and most British women stoically accepted that. But what if you can’t?

How does a young woman with ambition and strong views, but little money, negotiate such a world? There’s another common British trope–one found in dozens of traditional songs–that of a young lass marrying an older man. That’s the set-up for The Deep Blue Sea, a film based on a 1952 Terence Rattigan play. Hester Collyer (Rachel Weisz) is the young woman in question and she has married very well. She’s actually Lady Collyer, as her husband, Sir William (Simon Russell Beale), is a high court judge. He’s also decades older than she and, as one old folk song puts it, he has no “courage in him” (a pun on a British beer name and a metaphor for lack of virility). William may be a judge, but he’s a milquetoast dominated by an imperious, snooty mother whom Hester finds as pretentious as a queen and as dull as ditchwater. The film unfolds in various flashback sequences, but you could predict what happens when Hester meets young blade Freddie Page (Tom Hiddleston). She spends a lot of time wearing (and shedding) a red dress in the film and her name tips us off. She’s essentially Hawthorne’s Hester Pyrne (The Scarlett Letter) several centuries later and several thousand miles removed.

The movie is a love triad/tragedy and, like Hawthorne’s Hester, Lady Collyer is full of desire but devoid of options other than those that male-dominated society deigns to grant. The Deep Blue Sea is also decidedly a play set to film and will not be everybody’s cup of tea. (Indeed, Netflix audiences rank it low.) Much of it is painterly in tone, the palette being more somber Rembrandt than sunny Monet. It’s also akin to a silent film in places, including the first 7 ½ minutes in which there is no dialogue. For all of that, Weisz won the New York Film Critics’ 2012 Best Actress award and I’d call it well chosen. One should not confuse lack of dialogue with silence, and Weisz is stunning in the manner in which she conveys Hester’s desperation without histrionic speeches. We see her pain etched upon her face and in the languid ways in which she moves. Beale is every bit her equal. He doesn’t need to tell us about the unrequited love burning in his bosom–we can practically see the flames shooting from it. Hiddleston’s Freddie is also done well. All, even the smitten Hester, can see that he is a man-child whose exterior as a former RAF fighter pilot is shopworn veneer that scarcely covers the shallowness beyond the shell. 

The film’s title is drawn from the expression “between the devil and the deep blue sea,” a metaphor for being trapped by two unappealing options. If you were Hester, how would you choose? And what would you do if, suddenly, you couldn’t even opt for one over the other? This is a bleak film, but if you like ones filled with interior angst and have the patience for it, it’s a very good one. Few of us Yanks saw it. More’s the pity.

Rob Weir

6/17/13

Tony McManus New Release Classic in Good and Not-so-Good Ways

TONY McMANUS
Mysterious Boundaries
Compass 7-4612-2
* * *

If you’ve ever heard Tony McManus add a delicate bridge to a fiery Alaisdair Fraser reel, lay it down double time with Quebeçois musicians, or marvel over his jazzy interpretations of Charles Mingus compositions, you already know that there’s not much he can’t do on the guitar. If you need any further proof, check out the artistry on Mysterious Boundaries. This time he puts his stamp on longhair stuff–the classics, not the hippies. This project that grew out of mandolin artist Mike Marshall’s challenge to McManus to learn Bach’s E major “Prelude.” That one’s on the new album, along with two others by Bach for good measure (“Allemande” and “Chaconne”). Among other things, you’ll also hear two from Baroque composer François Couperine, Claudio Monteverdi’s “Nigra Sum,” and “Gnossienne # 1” from avant-garde classical composer Erik Satie. As you can probably anticipate, McManus is technically flawless–his precise fingering of crisp melody notes in perfect resonance with resonating bass. I’d rank Mysterious Boundaries among the year’s top classical releases.

So why three stars instead of five? Call it purely a matter of preference–although I appreciate its complexity, I really don’t like classical music very much. What’s missing from McManus’s new album is what I find lacking in a lot classical music: passion and fire. Or, to be more precise, the way we define passion and fire in our age rather than the Baroque or some other past period. John Renbourn once called Tony McManus the “greatest Celtic guitarist in the world.” I agree, and I’d rather hear McManus raking barred chords up and down the neck, or adding crystalline contrast to pipes, fiddles, and accordions. McManus, of course, has more than earned the right to play whatever pleases him, just as we choose what makes its way into our listening rotations. If you’re a fan of classical music, Mysterious Boundaries will no doubt startle you, but I look forward to a future McManus release with more spit and less polish. --Rob Weir

6/12/13

From Lawrence to Bangladesh to China to ?

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Lawrence, MA: 1860. All that has changed as where industrial accidents are most likely to occur. 

On April 24, 2013, a garment factory in the Savar suburb of Dhaka, Bangladesh collapsed. By the time searchers called off rescue efforts on May 13, the body count stood at 1,127, and the exact toll may never be known as bodies have decomposed and no one is certain exactly how many people were in the 8-storey building.

In U.S. media sources, the Dhaka disaster was often compared to the 1911 Triangle Shirtwaist fire in which 146 people died. That analogy is useful in reminding Americans that such horrors are not something confined to “developing nations,” though a much accurate comparison would be to the January 10, 1860 disaster at the Pemberton Mill in Lawrence, Massachusetts, in which 145 workers were crushed and another 600 were trapped until pulled from the rubble. Like the Dhaka incident, the 5-storey Pemberton Mill “pancaked,” meaning that its upper floors fell as slabs, causing the floors below them to stack. In both cases, most of the survivors were trapped in debris pockets that allowed enough space and air to cheat death.

The Triangle disaster occurred due to an overt action–factory supervisors had locked escape doors to prevent theft and perceived malingering; passive negligence was the culprit in Lawrence and Dhaka. Pemberton was just four years old when it fell, the original building having been sold at a loss to George Howe and David Nevins, Sr. when an economic panic drove John Lowell and J. Pickering Putnam to offload it. Howe and Nevins sought to profit from their enterprise by cramming more machinery into the Pemberton. The result was not unlike what happens to a child adding one too many blocks to his tower. The Dhaka collapse was blamed on a crack in the foundation, no doubt occasioned by building four additional floors on an inadequate foundation (without permit or inspection). It didn’t help that the Sana Plaza, where the factory was located, was owned by a local politician, or that American retailers such as Wal-Mart, J. C. Penney, and other had been dawdling for several years over whether to require safety inspections of its suppliers.

Pemberton reminds us that American workers of 153 years ago were akin to those today in places such as Bangladesh; that is, they were disposable. Incidents such as the Triangle fire or the 1913 Ludlow Massacre–in which company guards brutally murdered two dozen Colorado workers–evoke outrage because of their sheer arrogance, but passive negligence has always killed more workers. And perhaps we speak of the passive incidents less because they disturb the very logic of capitalism. Do we, for instance, ask why American clothing is made in Bangladesh? Do we pause to consider that the term “sweatshop” was coined in the United States? Although the practice of sweat-inducing labor is ancient, the idea of subcontracting labor to foul factories in inappropriate dwellings is collateral damage of the Industrial Revolution and the temptation to cut costs by cutting corners is but a mild deviation of capitalist logic.

The price we pay for goods is more than “what the market will bear,” just as “profit” is more complex than what investors reap once they pay costs and wages. These things are said to be constrained by the “invisible hand” of supply and demand within self-regulating free markets. (One should note that modern applications of these principles often depart from Adam Smith’s explanation of how they are supposed to work.) It’s more complicated than this. Numerous wage and price bargains take place long before a product hits retail shelves. Within free markets, all wages and prices must be negotiated. (Socialist command economies do not necessarily have better worker safety records than capitalism, but they do experience fewer wage and price pressures.) Let’s return to the garments made in Lawrence and Dhaka.

A manufacturer making shirts must pay his workers. Wages are among the few things over which he exercises much control. “Price” is more than what consumers pay; manufacturers also face price pressures. Unless the company is a rare vertical integration that owns most of the components necessary for its product, a garment manufacturer must purchase the cloth or raw materials necessary to make fabric. He has minimal control over how much machines cost, the energy rates to power them, or the cost of parts to repair them. He may be able to negotiate transportation and handling costs, but only within a range determined by others. Wholesalers (or the retailer in the case of large firms such as Wal-Mart) tell the manufacturer what they will pay for shirts–take it, or leave it. And so on.

The bottom line is the bottom line. A manufacturer seeking profit looks to cut costs however he can, most often by constraining labor costs and capital investments. Today’s garment worker in Bangladesh was once a Mexican, who was once a South Carolinian, who once worked in Lawrence. In each case, moving production from a higher-waged to a lower-waged setting reduced labor costs. New England’s textile and garment factories began fleeing to the non-unionized South en masse in the 1920s and were pretty much wiped out by the late 1960s. Count on the fact that if labor costs rise in Bangladesh, tomorrow’s garment workers will be located elsewhere.

Manufacturers seek to cut capital costs where they can. The maquiladora phenomenon so common in the early days of the North American Free Trade Agreement was motivated as much by Mexico’s loose environmental standards as its low-wage structure. Numerous profitable American firms found they could increase profit by locating just across the border, where they wouldn’t need expensive air scrubbers or have to worry about what they dumped into landfills and streams. Even consumer safety laws could be avoided. Volkswagen, for instance, continued making the original Beetle in Mexico long after it disappeared from the U.S. market. It made money by eliminating some of the steel in side door panels, frames, and bumpers required under U.S. safety codes. Or maybe you just do as was done first in Lawrence and more recently in Bangladesh–take advantage of lax inspection codes and ignore things such weight capacity and human density. Maybe you slap up the cheapest possible building and hope for the best.

Consumers routinely fail to see what documentary film director Robert Greenwald dubs “the high cost of low price.” It is a price literally paid in blood and, in an age of declining labor unions, globalism, and greed-driven investment, seldom has it been so easy to exact that price. The global business community continually insists that regulation destroys competitiveness and that free trade benefits workers. One need not convert to command-economy socialism to refute this–simply look at the track record of laissez-faire and let the record speak for itself. That past is why societies that place quality of life above either profit or tyranny have “mixed” economies in which both private and public enterprises thrive, and in which sensible regulation is seen as the handmaiden of opportunity. Without such standards the only unknown is who will be tomorrow’s Lawrence or Dhaka.

By the way, on June 2 the real analogy to Triangle occurred when 119 Chinese workers died in a poultry plant. There was just one exit from the building and owners had locked it!
   

6/10/13

Wulu Wulu is Bongos Ikwue's Smooth Triumph

BONGOS IKWUE AND DOUBLE X
Wulu Wulu
Bik 001
* * * *

Nigeria’s Bongos Ikwue isn’t a household name in North America, but if his U.S. debut gets half the airplay it deserves, he will be. His baritone is as soothing as it is smooth, and as a stylist he’s a veritable chameleon. He opens with “Kongo Soldier,” a jaunty Afrobeat celebration of Nigerian peacekeepers returning home from the Congo. It’s one of several sung in the Idoma language of his Nigerian kin. But Ikwue and band Double X don’t dwell in any one place for long; “Kongo Soldier” also evokes reggae and funk. Forget Pan-African; Ikwue is pan-everything. “Agango” is a taste of high-life, the title track is an English-Idoma duet sung with his daughter as if it was South African Township jive, and selections such as “How Long” and “Tell My Girl” are like sexy Barry White soul with substance. He even dons a social worker-meets-folklorist on “Ouno,” the tragic tale of a girl who dies from a snakebite while gathering wood. There are fourteen tracks in all, every one a winner—even one that was Nigerian soap opera theme song (“Cock Crow at Dawn”). At times Ikwue sngs like the very voice of Nigeria; at others he could be a New Yorker working the R & B charts. This is an album that’s joyful, even when the content is sad, and one that’s as musically solid as it is diverse. You name it–blues, light jazz, gospel, country, Caribbean, Afropop–and Ikwue integrates it into his music. That he does so successfully is impressive; that he does so seamlessly is a miracle. Above all there’s Bongos Ikwue’s buttery voice–one whose tones will linger no matter what language he chooses.—Rob Weir