my ignorance of certain genres is a real problem

My recent suggestion that you all start a regular screening of westerns for my education was not met with the unmixed enthusiasm I anticipated. But I'm trying again. People, I need to see westerns. I cannot understand other movies. Once when I was very young I saw Bronco Billy on TV when my mom thought I was asleep. I saw Drums Along the Mohawk in a course on Images of American Indians in Film. And while I would still argue that The Big Lebowski is a western, I don't think it really counts as, you know, canon. I'm pretty sure I've never seen a John Wayne movie all the way through. I mean, except this one.

I saw The American last weekend, and I think it was a Western, but I can't be sure. George Clooney is a crafty gun maker--a definite contender for the handmade Oscars this year, if anyone is keeping track--and maybe he's also an assassin, and he's hiding out in a tiny town in Italy. He is in a restaurant and a movie is on the TV, and someone explains (to us? to Clooney?) that Sergio Leone was Italian. Who knew!?


People love this movie, and I understand why; it's very beautiful to look at, whether you prefer looking at crooked Italian cities or implausibly beautiful Italian prostitutes or George Clooney's lean torso. I loved how silent it was (or...I would have loved it, had I not been trying to eat some nachos in a very crowded theater, but I can hardly blame Anton Corbijn's for the fact that the Bow Tie ran out of soft pretzels).George Clooney does this grave, understated, crafty thing, and he does it very well. There is a lot to like in the construction and the performances.

But it is also kind of a movie about cartoon butterflies. It is about redemption, and I'm not very interested in the character's redemption. There is a love story, but I don't understand why anyone loves anyone in this movie. There is a priest who has lots of aphorisms ("You cannot deny the existence of hell. You live in it.") and shadowy moral failings (I know, shocking). And, seriously, there are a lot of cartoon butterflies.

Happy Cinco de Mayo!

And what better way to celebrate it than with the final shootout from The Wild Bunch!

Justified

I love Westerns. Old Westerns (The Man Who Shot Liberty Valance), new Westerns (The Assassination of Jesse James by the Coward Robert Ford), Sci-fi Westerns (Outland), Australian Westerns (The Proposition written by Nick Cave?!), Czech Westerns (Lemonade Joe) and even Russian Westerns (The Elusive Avengers), which are called Easterns because they’re all about Siberia. I love Clint Eastwood, John Ford, Sergio Leone, Yul Brenner, and Cleavon Little. I pretty much love everything about Westerns with one major exception: Marion Mitchell Morrison. But at least Bruce Dern shoots him in The Cowboys.

I guess what I find to be most appealing about the genre is really something that isn’t expressly revolutionary or exciting. In my mind, Westerns are all about our desire for justice and going beyond the reasonable and moral limits to enact it. If nothing else, Westerns show us that deep down inside even good people are murderers, and we fully support even the most despicable acts if they are “on the side of the law.” In Westerns, democracy, the law, and morality are all proven to be nothing more than a facade and humans are just atavistic beasts who haven’t evolved. Or, as Ike Clanton puts it in Tombstone, “Having that badge don’t make you right.” Just like Timothy Olyphant’s character in Justified.

Everything about Olyphant’s character conjures up the vigilante of old (yes he wears a cowboy hat and everyone talks about it, yes he wears a hip holster and is a quickdraw artist), but at work in a world that has no use for such barbarism. Of course the plot is cliched, but Elmore Leonard is just the writer to turn the cliched into the interesting and entertaining show that Justified is. Did I mention the show take place in Kentucky and makes Kentucky seem like an interesting place?

Ignoring the hat and boots, Olyphant has all the necessary traits to be a great Western sheriff. He’s a roguish gentleman, he believes in traditions, he’s honest and a natural leader. Allow me to translate. He’s a chauvinist, conservative technophobe who doesn’t mind sacrificing anything and everything to get an arrest. Oh, and as far as honest goes, in a recent episode he states that he’d rather, “stick [his] dick in a blender,” than go to a gallery of paintings by Adolf Hitler. All in all, I think Justified is going to be a solid show because, unlike Westerns where vigilante justice tries to right the lawless society, Justified is all about the vigilante in a hyper-legal society. There is no better expression of this change in tone than the way everyone talks about the way Olyphant gunned down the hitman in the first episode. In Justified, shock has replaced awe, but it’s still all about terror.

The Crazies (2010)

There are a lot of reasons to remake a movie, none of them very good. Sometimes there have been so many sequels already that the only way to continue the franchise is to restart it. We have seen a rash of these in recent years, Nightmare on Elm Street being the newest (note: I don't approve of rebooting the franchise, but I sure do like the idea of Jackie Earle Haley as the new face of Freddy). Sometimes a movie has a small but loyal following and the filmmakers hope to gain a wider audience for something they consider great by releasing a new version of it. Or technology has changed since the time of the original, and the filmmaker feels he can make a better-looking version of the same story. I suppose this is what justified remaking King Kong. Perhaps the hardest remake rational to argue with is when the original director himself remakes his own film, as Michael Haneke did with Funny Games last year. If anyone has the right to tamper with the legacy of a film, surely the director does. But if you go down the road of creator ownership, eventually you will run into George Lukas, and you will have to admit that just because a person created something, that does not mean he understands it. 

The Crazies was not remade for any of these reasons. Director Breck Eisner approached the project with the question, "What would George Romero have done with this if he had had more money?" So far so good. First, he hired real actors. Fine. He added big explosions. Fine again. Then he edited out all the really terrifying parts. You know, the horror. 

It's been a long time since I saw The Crazies. I saw it only once, and I remember it for one reason: because it was horrifying. 

The Crazies was very much in the Romero mold: mysterious illness infects a population, no one knows who to trust, a small group of unconnected people are thrown together in rural Pennsylvania, where they all turn on each other. Ugly things happen. Some not-very-subtle points are made about human nature and/or politics and/or society. Very ugly things happen. Roll credits. 

The remake of The Crazies is a perfectly adequate epidemic movie. Timothy Olyphant is a likable small-town sheriff, Radha Mitchell is a likable extremely hot small-town doctor. Joe Anderson (who I did not remember from the three movies imdb tells me I've seen him in) was very convincingly not British. There are jumpy moments, and big fires, and one pretty cool scene in a carwash. But I will forget all those things pretty quickly. I will never forget a certain scene from the 1973 movie. If you've seen the old one, I bet you know exactly what I'm talking about. 

p.s. Was it the music or the hand-held camera or the hot teenagers that made me think more than once that I was watching an episode of Friday Night Lights? Am I the only person who had this experience? The Internet says I am. 

Post-Birthday, Post-Apocalypse....

If I learned anything from the Hughes Brothers' The Book of Eli, I learned that three things will survive the apocalypse. First and foremost, the violence, hatred and ignorance brought about by religion will survive us all well into the sun-scorched deserts of post-apocalyptic America. Wait, that's already three things. Let me start again, the five things that will survive the apocalypse are those three aforementioned principles of religious thought and advertising. Appearances by Dr. Dre's headphones, iPod, J. Crew (skinny jeans fit better when you're on a steady diet of cat meat), the Coffee Beanery, GMC, and Puma remind us of the sins of materialism and as Eli tells Solara, "Then, people threw away what people today kill each other for." But there is hope. For in the future with the voice of God ringing in our ears and advertising clouding our vision, there will be a prophet to lead us. No, it's not Denzel Washington or Mila Kunis who will murder anyone who might stand in the path of God's doing. And it's not Gary Oldman who rightly believes that the Bible is "a weapon." No, we humble sinners have found a voice, a gravely voice, the voice of Tom Waits.

THE BOOK OF ELI: Ohhh Sweet - The best video clips are right here

To be serious for a moment, I'm a fan of the Hughes Brothers and I thought Dead Presidents and From Hell were impressive films. If nothing else, the Hughes Brothers tried to defy the notion that directors should work within a genre or specific style. When the trailers of The Book of Eli hit Apple's website, I felt justified in maintaining this stance and I don't think I'm wrong, yet. Because as much as this film is about the hope and resolve given to Eli in his quest to protect the Bible, there is no question as to the moral hypocrisy that comes with it. Eli is violent and unforgiving arbiter of God's will and he kills upwards of forty people on his quest. At times he's called on to protect the defenseless but this isn't always the case. Early in the film Eli watches the murder and rape of two travelers muttering to himself, "Stick to the path, stick to the path," only to deviate from this "path" and save Mila Kunis from a similar fate. Why Eli chooses to save one over the other is perhaps only explained by the fact that Kunis's character is a believer and the others did not yet know the Word. Ultimately, this film is an Old Testament parable about the might and power of God, and it doesn't leave out the hatred and intolerance that comes with it. I guess you could say it renewed my 'faith' or complete lack thereof.