The plane crash in the icy waters of the Hudson Thursday will continue to be a big story for quite some time, as it should be. The stellar captain, Chelsey Sullenberger III, will likely go down as a national hero for his quick and innovative thinking and saving the lives of all on board; if ever praise was deserved, this is the individual to lavish it on. Although the miraculous landing and eventual survival of all on board is the real story here, I think what this event has the power to do is far greater than simply make us all feel proud, if not a little warm and fuzzy. In fact, I think it has the power to help this entire country turn a much needed corner.
There's no question that the election of Barrack Obama has ignited a fire among a lot of Americans. There are inaugural parties scheduled all over the country, countless thousands of people will flock to the actual event and even in the downtrodden economy and icy grip that has it's hold on the US, many folks are just excited and even proud to see this guy take office next week. Myself, I am cautiously optimistic, as I am not a fan of any politician, which Obama has already shown himself to be at times. However, he does bring a certain "newness" to the office, and he has shown he's willing to work with members of both parties so I am going to give him my support and hope that he lives up to his promise, and also let's me keep most of what I earn for a living. The start of the Obama administration, however, will not be enough to pull the country out of the grips of recession and despair. Almost half the country voted for the "other guy", many people have lost their jobs or are in fear of losing it, a great deal of people no longer have their homes and some people just don't feel like being in a good mood in general, so how can we as a nation turn this thing around? I think the "Miracle on the Hudson" could be the real catalyst.
It doesn't matter who you voted for, or what your political ideologies are or if you believe in God or if you hold secular views of the world. It matters not if you lost your job last week or found out your rent check bounced or if your child kept you up all night crying. The day could be filled with frigid temperatures and too-long drive-thru lines and slow moving bank tellers, but if you were one of the survivors of that US Air flight, you are now someone who truly understands the concept of "Life is Short". There are so many times in each of our days where we really feel like things are going horribly and that our minute problem or dilemma is all-encompassing and worthy of anger, frustration and contempt. Then, when you come to witness the very definition of an honest catastrophe, things are immediately put into perspective. The problem is that too often that perspective is lost with the onset of the next personal trauma. As human beings we're programmed to get a little selfish from time to time, and pain that is our own, whether mental or physical, minor or intense, can be overwhelming and hard to subvert. However, this "miracle" on the river in NYC should not only be a constant reminder to keep those daily traumas at bay, but also a vehicle to help us move this entire country back into prosperity and enthusiasm.
The job losses and economic slowdown that's occurring in this country right now is daunting, and there's a long road ahead to get things back on track for certain. I don't pretend to be so naive to think that the witnessing of an inspirational landing of a plane by a brave pilot can turn things around overnight, but I do think it presents us all with a unique opportunity to change the way we live our lives in the face of adversity. It's never been a secret that "glass half full" people are more successful and live generally happier lives. It's also no secret that Wall St. often runs on the engine of perception more so than that of actual financial data. If we as citizens were to honestly take a look at the events of US Air flight 1549 and let ourselves be not only inspired and impressed, but also intoxicated by it's grandeur, I think there's a distinct possibility we could pull ourselves out from this nightmare rather than hope things improve on their own or in the hands of those who helped facilitate some of this in first place. The simple act of choosing to be positive is a great start. When we're positive we tend to want to be around others and share this emotion, and often this leads to gathering at a local pub or restaurant which is certainly beneficial to the economy as a whole. Positive people tend to work not only harder but better, and increased productivity has never been a bad thing for an economy. It's really that simple, a turnaround of any kind will never be advanced on the backs of a pessimistic society.
I haven't stopped thinking about this flight since I saw the first images of it on TV. I want to grab the pilot and bear hug him, and I'd love to do the same to the flight crew. It's a story that makes you want to cling to who and what you love most and cherish what's best about the human spirit. It's this amazing "feeling" that's hard to describe, though tangible to so many. If feelings like these, on a national level, mixed with enthusiasm for a new leader taking his place in history, can't fuel the engines of recovery and abundance then I don't think anything could ever hope to.
I truly hope the feeling endures...
Friday, January 16, 2009
Monday, January 12, 2009
Gran Torino
Clint Eastwood has become my favorite director, a place long held by Michael Mann. Sure, there are others I worship like Terrence Malick, Woody Allen and Scorcese, but up until recently Michael Mann was the dude for me. With Clint's latest effort, "Gran Torino", however, the 78 year old Icon has moved into the top spot for certain.
First off, let me just say that Gran Torino is NOT a perfect movie. It's peppered with a little too much "explanation dialogue" which can be an annoying cinematic device, it uses a few too many cliched lines in terms of the main character's (Clint) interaction with others and it's not the most powerful script I have ever seen laid out on screen. However, the sum total of it's parts is simply stunning, in a very understated way.
The basic plot of the film revolves around Clint Eastwood's "Walt Kowalsky", a recently widowed, racist Korean war vet that is a stubborn old codger with no use for political correctness, tact or basic compassion. He's living in the midst of a heavily populated "Hmong" neighborhood in Michigan and has no reservations about letting those folks know how he feels about them. Although the film moves in a fairly formulaic fashion at times and Eastwood blends parts of past characters like Dirty Harry and Josey Wales, it never feels recycled or stale. The story moves through some believable and traumatic occurrences smoothly and engagingly. For me, the film didn't succeed so well, however, based solely on the story alone, it was something simpler than that.
What makes Gran Torino so intriguing and beautiful to watch is the building relationship between Hank's neighbor "Thao", as well as his sister, especially in scenes where Eastwood is more rigid and confrontational. There's a humor that permeates the film throughout which could only be accomplished by Eastwoods demeanor AND the reactions, or lack thereof, of these Asian actors. I have heard some bemoan the "weak acting" by the kid who played Thao, and while he may not be DeNiro, I think his subtlety and lack of acting chops made him more engaging and fun to watch; if they had put a heavy hitting, known actor in that part in might not have worked so beautifully. The other aspect of Gran Torino that's so rewarding, entwined within the great humor, is it's honesty.
People in America, and undoubtedly other parts of the world, are so befuddled, perplexed and frightened by things they feel are "racist" that no one knows what to feel, think, say or act like in situations where there are mixed races anymore. One would hope that the nature of words spoken and language used would always be sensitive to historical and social mores, but in many ways it's gotten out of control. When I was growing up I had a number of pals that were of varying races and colors who had little reservation about "busting balls" with one another without ever being offensive. We called each other various "racial slurs" and odd versions of those slurs, among other things, all the while with a smile on on our face because we knew it was harmless and not meant to offend or damage. Gran Torino is saturated with this same kind of banter, (though fairly one-sided) and while some would call it alarming, shocking or offensive at times, and often it is, by the end of the film you'll likely come away from it with the same conclusion many have: Embracing one's differences, even joking about them, is a far better reality than avoiding them altogether, as at least you're interacting. Nothing breeds fear and contempt of the unknown more than the idle mind left to faulty influence.
Of course it's no shocker that Hank tones it down at the end and refrains from as many "chink" references as he did earlier in the film, as no Hollywood film is going to end with a guy like him not changing his ways at least somewhat. Yet, what's magical about this film is that in most of Hank's racist rants among his buddies or the Hmong neighbors, there's a sense of inclusion in it that's what leads him to open his mind and heart to these people he feared and loathed so long.
The story also follows Hank's resistance to confessing and repenting for his sins of years past, and deals with that in a way I found very satisfying, though some did not. Without spoiling the ending let me just say that Gran Torino is classic Eastwood tough guy film in many ways, but with the textured beauty of Mystic River and Million Dollar Baby, two of his other great directing jobs from this wonderful run in is 70's. It's funny and touching and dramatic and frightening all while being simplistic and rewarding. If I was to pick it apart scene by scene I could knock it here and there for this and that, but the film comes together as a whole brilliantly and will make you want to see it again. The actors that played Thao and his sister "Sue" were shining examples of what good character actors can do when just left alone to be natural and un-coached; they felt very real. The film is a fantastic piece of work from one of the great living legends in Hollywood, and although it may not win the Oscar, it certainly deserves to be in it's company.
Go see Gran Torino...and take a friend.
First off, let me just say that Gran Torino is NOT a perfect movie. It's peppered with a little too much "explanation dialogue" which can be an annoying cinematic device, it uses a few too many cliched lines in terms of the main character's (Clint) interaction with others and it's not the most powerful script I have ever seen laid out on screen. However, the sum total of it's parts is simply stunning, in a very understated way.
The basic plot of the film revolves around Clint Eastwood's "Walt Kowalsky", a recently widowed, racist Korean war vet that is a stubborn old codger with no use for political correctness, tact or basic compassion. He's living in the midst of a heavily populated "Hmong" neighborhood in Michigan and has no reservations about letting those folks know how he feels about them. Although the film moves in a fairly formulaic fashion at times and Eastwood blends parts of past characters like Dirty Harry and Josey Wales, it never feels recycled or stale. The story moves through some believable and traumatic occurrences smoothly and engagingly. For me, the film didn't succeed so well, however, based solely on the story alone, it was something simpler than that.
What makes Gran Torino so intriguing and beautiful to watch is the building relationship between Hank's neighbor "Thao", as well as his sister, especially in scenes where Eastwood is more rigid and confrontational. There's a humor that permeates the film throughout which could only be accomplished by Eastwoods demeanor AND the reactions, or lack thereof, of these Asian actors. I have heard some bemoan the "weak acting" by the kid who played Thao, and while he may not be DeNiro, I think his subtlety and lack of acting chops made him more engaging and fun to watch; if they had put a heavy hitting, known actor in that part in might not have worked so beautifully. The other aspect of Gran Torino that's so rewarding, entwined within the great humor, is it's honesty.
People in America, and undoubtedly other parts of the world, are so befuddled, perplexed and frightened by things they feel are "racist" that no one knows what to feel, think, say or act like in situations where there are mixed races anymore. One would hope that the nature of words spoken and language used would always be sensitive to historical and social mores, but in many ways it's gotten out of control. When I was growing up I had a number of pals that were of varying races and colors who had little reservation about "busting balls" with one another without ever being offensive. We called each other various "racial slurs" and odd versions of those slurs, among other things, all the while with a smile on on our face because we knew it was harmless and not meant to offend or damage. Gran Torino is saturated with this same kind of banter, (though fairly one-sided) and while some would call it alarming, shocking or offensive at times, and often it is, by the end of the film you'll likely come away from it with the same conclusion many have: Embracing one's differences, even joking about them, is a far better reality than avoiding them altogether, as at least you're interacting. Nothing breeds fear and contempt of the unknown more than the idle mind left to faulty influence.
Of course it's no shocker that Hank tones it down at the end and refrains from as many "chink" references as he did earlier in the film, as no Hollywood film is going to end with a guy like him not changing his ways at least somewhat. Yet, what's magical about this film is that in most of Hank's racist rants among his buddies or the Hmong neighbors, there's a sense of inclusion in it that's what leads him to open his mind and heart to these people he feared and loathed so long.
The story also follows Hank's resistance to confessing and repenting for his sins of years past, and deals with that in a way I found very satisfying, though some did not. Without spoiling the ending let me just say that Gran Torino is classic Eastwood tough guy film in many ways, but with the textured beauty of Mystic River and Million Dollar Baby, two of his other great directing jobs from this wonderful run in is 70's. It's funny and touching and dramatic and frightening all while being simplistic and rewarding. If I was to pick it apart scene by scene I could knock it here and there for this and that, but the film comes together as a whole brilliantly and will make you want to see it again. The actors that played Thao and his sister "Sue" were shining examples of what good character actors can do when just left alone to be natural and un-coached; they felt very real. The film is a fantastic piece of work from one of the great living legends in Hollywood, and although it may not win the Oscar, it certainly deserves to be in it's company.
Go see Gran Torino...and take a friend.
Wednesday, January 7, 2009
The Wackness
I rented and watched "The Wackness" yesterday and it was better than I expected it to be. I had heard it was about a drug dealing High School kid who befriends a loony shrink that buys weed from him, and that's a decent enough summary of the film I suppose but what the movie is really about at it's core is the magnitude and ambiguity of one's first love.
As a kid, I was certain I was "in love" with my first crush, Leslie Hill, in Ellington CT at the age of 9. I went so far as to compose a letter to her, at my father's insisting (you gotta just go for it man!), and suffered the inevitable humiliation of her ignoring me like a red-afroed leper in the halls shortly after that. The next one I recall being infatuated with was Vicki Green around the time of sixth grade, who's decision to dance with me at a school event led me to believe she was in fact madly in love with me, when in actuality she just "wanted to be friends". I was crushed of course, but rebounded quickly and soon went on to have my first real girlfriend, a sweet girl from my Grandmother's church named Erin. Those couple years Erin and I "dated"-neither one of us having money, a car, any real motivation other than to make out and fondle each other every chance we got-were some of the most intense, horrifying, pleasurable, scary, and magical days of my life. The constant uncertainty of when and if we'd be able to continue seeing each other, the battles with parents, the lies, the games, the petty jealousy and the lust...it was all so overwhelming yet so utterly gratifying. I remember when it was finally over, after having moved farther away and starting a new school, that I was certain I'd never feel the same way about another girl in my life, and I was right...for about 3 days.
The Wackness deals more with the later part of adolescence, but in terms of the main character portrayed it's apparent that it's definitely his first love, and it does a great job of expressing the complex and seesawing emotions that go along with discovering that person. There's a part of you that becomes so consumed and infatuated with them that you feel like you'll literally die if you can't see them even hours after you just left their side. This longing blends with a constant fear that they'll decide you're not really all that great and be dating some other schmo the next day-it's really amazing that anyone even survives their teens.
In the film, the male character "Shapiro" discovers his first love, and without ruining the movie for you, experiences much of what I have described above, but does so while being involved in a number of other personal dramas, as much of us likely were when we fell in love for the first time as an adolescent. It does an excellent job of showing the complexities of relationships as we get older, all the while remaining hopeful. The movie ends on a good note, or at least an inspiring one, and speaks a lot to the idea that being in love, even as a teenager, is so vital to what comes later in life. As many times as I had my heart broken way back then, and did the same to others a few times unfortunately, I wouldn't change it for anything. There's an intricate and requisite part of one's soul and character that can only be formed by having been in love in those early years, and it only solidifies once the pain of losing that love has been thoroughly felt.
The Wackness isn't a perfect movie but it's thoughtful and honest and not sugary sweet, and it will likely rekindle emotions from many years ago, which is usually a good thing. It's also not a "chick flick", but I defy anyone to watch it and not feel a connection to it's characters and message.
As a kid, I was certain I was "in love" with my first crush, Leslie Hill, in Ellington CT at the age of 9. I went so far as to compose a letter to her, at my father's insisting (you gotta just go for it man!), and suffered the inevitable humiliation of her ignoring me like a red-afroed leper in the halls shortly after that. The next one I recall being infatuated with was Vicki Green around the time of sixth grade, who's decision to dance with me at a school event led me to believe she was in fact madly in love with me, when in actuality she just "wanted to be friends". I was crushed of course, but rebounded quickly and soon went on to have my first real girlfriend, a sweet girl from my Grandmother's church named Erin. Those couple years Erin and I "dated"-neither one of us having money, a car, any real motivation other than to make out and fondle each other every chance we got-were some of the most intense, horrifying, pleasurable, scary, and magical days of my life. The constant uncertainty of when and if we'd be able to continue seeing each other, the battles with parents, the lies, the games, the petty jealousy and the lust...it was all so overwhelming yet so utterly gratifying. I remember when it was finally over, after having moved farther away and starting a new school, that I was certain I'd never feel the same way about another girl in my life, and I was right...for about 3 days.
The Wackness deals more with the later part of adolescence, but in terms of the main character portrayed it's apparent that it's definitely his first love, and it does a great job of expressing the complex and seesawing emotions that go along with discovering that person. There's a part of you that becomes so consumed and infatuated with them that you feel like you'll literally die if you can't see them even hours after you just left their side. This longing blends with a constant fear that they'll decide you're not really all that great and be dating some other schmo the next day-it's really amazing that anyone even survives their teens.
In the film, the male character "Shapiro" discovers his first love, and without ruining the movie for you, experiences much of what I have described above, but does so while being involved in a number of other personal dramas, as much of us likely were when we fell in love for the first time as an adolescent. It does an excellent job of showing the complexities of relationships as we get older, all the while remaining hopeful. The movie ends on a good note, or at least an inspiring one, and speaks a lot to the idea that being in love, even as a teenager, is so vital to what comes later in life. As many times as I had my heart broken way back then, and did the same to others a few times unfortunately, I wouldn't change it for anything. There's an intricate and requisite part of one's soul and character that can only be formed by having been in love in those early years, and it only solidifies once the pain of losing that love has been thoroughly felt.
The Wackness isn't a perfect movie but it's thoughtful and honest and not sugary sweet, and it will likely rekindle emotions from many years ago, which is usually a good thing. It's also not a "chick flick", but I defy anyone to watch it and not feel a connection to it's characters and message.
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