Good Night and Good Luck

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Only just caught this and it’s an excellent piece of work from Clooney and co. (his second time as director). Impossible not to see parallels between Ed Murrow’s determination to expose the excesses of McCarthyism with the current battles between the press in America and the belligerent rabble currently occupying the White House. Senator Joe McCarthy famously developed a pattern of accusing all his critics of being Communists or fellow travellers with the Communist cause. Likewise today we have the Bush administration accusing their critics of being traitors and terrorist sympathisers. Swap the word Communist for terrorist and the arguments remain identical. Last week the New York Times was accused of treason for publishing a report into secret service investigations into international banking activity, not the first time America’s newspaper of record has suffered accusations of treachery. As the NYT said in response:

Government officials, understandably, want it both ways. They want us to protect their secrets, and they want us to trumpet their successes. A few days ago, Treasury Secretary John Snow said he was scandalized by our decision to report on the bank-monitoring program. But in September 2003 the same Secretary Snow invited a group of reporters from our papers, The Wall Street Journal and others to travel with him and his aides on a military aircraft for a six-day tour to show off the department’s efforts to track terrorist financing. The secretary’s team discussed many sensitive details of their monitoring efforts, hoping they would appear in print and demonstrate the administration’s relentlessness against the terrorist threat.

Meanwhile Republicans continue to howl for the editor’s head. Why does America seem to slip into this kind of rigid authoritarianism so easily? This is one question not answered in Clooney’s film, perhaps understandably; it’s not an easy one to answer. Ed Murrow reported from London during the height of the Blitz and, at the end of the Second World War, from Buchenwald; he didn’t need lectures about patriotism or the evils that men are capable of. His articulacy compared with the showroom dummies that comprise today’s TV presenters is astonishing. His words are as relevant now as they were in the 1950s:

“If we confuse dissent with disloyalty – if we deny the right of the individual to be wrong, unpopular, eccentric or unorthodox – if we deny the essence of racial equality, then hundreds of millions in Asia and Africa who are shopping about for a new allegiance will conclude that we are concerned to defend a myth and our present privileged status. Every act that denies or limits the freedom of the individual in this country costs us the . . . confidence of men and women who aspire to that freedom and independence of which we speak and for which our ancestors fought.”

“We cannot defend freedom abroad by deserting it at home.”

Postscript: There’s a good analysis of the NYT debacle and why it’s such a serious issue here.

Barta’s Golem

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The Pied Piper.

Jiri Barta is a great Czech animator whose 1985 film, The Pied Piper, is an extraordinary, hour-long re-telling of the familiar fable. In Barta’s version, the medieval town and its inhabitants are rendered as beautifully-carved, Expressionist wood figures, and Barta twists the story in a darker direction by having the Pied Piper turn the materialistic townspeople into rats.

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The Golem.

His current project is a film based on the old Prague legend of the Golem, taking Gustav Meyrinck’s classic novel as its inspiration. Since the collapse of the Communist regimes, Barta and other independent filmmakers have struggled to find financing for their more personal projects, which means that The Golem—which looks quite incredible—remains unfinished. This is especially ironic given that Prague is now a major movie-making centre for big Hollywood productions.

Kinoeye talks to Barta about The Golem and his other films, while Darkstrider has a trailer and clips from many other Czech animations.

Davy Jones

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No, not the dreadful singer from The Monkees but he of the undersea locker and also the new villain in Pirates of the Caribbean: Dead Man’s Chest. Bill Nighy plays this splendidly-designed character, with the assistance of some CGI to get those tentacles working. I’ve still not seen the first film but the look of this makes me more interested in the series as a whole.

Aside from William Hope Hodgson‘s sea tales, the pirates plus voodoo/Sargasso Sea angle has rarely been exploited properly in fiction. Tim Powers had a go in On Stranger Tides but the results fell rather flat. In film there’s been hardly anything apart from the Hammer oddity The Lost Continent (1968), based on Uncharted Seas, a Dennis Wheatley potboiler that plundered Hodgson’s Sargasso Sea stories. The new Pirates film may be about to amend this situation; Davy Jones looks like something dreamed up after a heavy diet of Hodgson and HP Lovecraft.

Early Kubrick

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Before Stanley Kubrick’s first self-financed feature, Fear and Desire, there came two documentary shorts: Flying Padre and Day of the Fight. The latter is probably the best, not least for the way it connects to the noir ambience of the period (boxing dramas such as Body and Soul and The Set-Up) and points towards Kubrick’s own noir excursions, Killer’s Kiss (featuring a boxer as the lead character) and The Killing. Thanks to the miracle of the interweb you can now see this early Stanley gem for yourself in a reasonable copy, not crappy YouTube grain-o-vision. Grab it while you can.

a dvd-r recently arrived from an anonymous source. upon hitting ‘play’ i found it was none other than stanley kubrick’s 1951 debut ‘day of the fight’.

i initially considered taking it viral, but decided against that because i thought such anonymity would be an insult, modern american independent filmmaking began here. kubrick didn’t have dvds to study or final cut pro. at the age of 22, he taught himself and did it. and invented the trajectory of the kid who scraps it together and rises to greatness.

Day of the Fight (116MB mov)

Dunwich

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Christian Matzke writes to inform me that his short film, Dunwich, based on two HP Lovecraft stories, The Dunwich Horror and The Terrible Old Man, is in production, and that he and co-director Sarah Tarling used my Dunwich Horror adaptation as inspiration. I’m very pleased to hear this, of course, and look forward to seeing how their prequel to the events in Lovecraft’s story turn out. The film’s website has more information.