Showing posts with label India. Show all posts
Showing posts with label India. Show all posts

Monday, September 05, 2022

Shantaram Is Finally Coming

On April 27, 2007, the first paragraph of my post was:

"The book was calling to me from the cabinet in the big open breakfast room of the Chiengmai bed and breakfast. I opened the glass door and started reading the book with my breakfast. “It took me a long time and most of the world to learn what I know about love and fate and the choices we make, but the heart of it came to me in an instant, while I was chained to a wall and being tortured. I realized, somehow, through the screaming in my mind, that even in that shackled, bloody helplessness, I was still free: free to hate the men who were torturing me, or to forgive them.” After reading a few pages, I was done with breakfast and put it back into the glassed cabinet."

After a couple more breakfasts reading Shantaram, there was no way I could just put the book back


in the cabinet and wait until I could find my own copy.  I think I left another book in its place and then I wrote

"I’ve been living in parallel worlds - my ostensibly 'real' life and Roberts' India - almost a month now. [It's over 900 pages.] Flying back to the US from Thailand got me a long way into Roberts' world. By the time I reached LA, I needed to look it up on the internet. Was this fiction or autobiography? The morning after seeing Mira Nair’s The Namesake, I discovered Shantaram was loosely autobiographical fiction, soon to be a movie directed by Mira Nair starring Johnny Depp."

Soon.  I guess in movie making - especially big, sprawling films - 15 years is vaguely within the limits of 'soon.'  

Because Sunday there was an article in the LA Times highlighting upcoming films and series.  Shantaram was on the list.

 [Coming] Oct. 14

‘Shantaram’

Hollywood has been trying to adapt “Shantaram,” Gregory David Roberts’ sprawling, quasi-autobiographical novel about a fugitive Australian bank robber on the lam in 1980s Mumbai, for nearly two decades. First there were scrapped film adaptations starting Johnny Depp and Joel Edgerton , then Apple revived the project for television. Now, after pandemic-related delays, a showrunner change and a production relocation, a 12-episode series with “Sons of Anarchy” star Charlie Hunnam in the lead is almost here. If the finished product is half as dramatic as the show’s backstory, viewers should be riveted. > Apple TV+

— Meredith Blake

So now I have to figure out how to watch an Apple TV series.  

Saturday, December 09, 2017

AIFF2017: Pale Blue Dot - Audience Reaction

I saw "Pale Blue Dot" last week and it plays again

Today (Saturday, Dec. 9) at 
2:30pm in the 
Alaska Exp Theater

 I think I'd rank it right after "The Drawer Boy" among the best features that I've seen.

It takes place in rural India and middle aged man, happily married with a son he loves, gets distracted by the idea of death after several friends and relatives die unexpectedly.  I communicated with the director Girish Mohite via Facebook before the festival.  He told me it was based on a Hindu legend and was about death and the meaning of life.  I was a little concerned about it being too abstract and esoteric, but it turned out to be a charming movie with interesting characters.  It's also a way to take a 90 minute trip to rural India.

 I posted about the legend and included the trailer last week.


Girish had asked to tell him how it was received, so I asked audience members if they would talk about it as they came out of the theater.  Here's what they said:




Saturday, December 02, 2017

AIFF 2017 - Homework Assignment Before Seeing "Pale Blue Dot" ('Sarvanaam' in Marathi) SUNDAY

I've been chatting with Girish Mohite via Facebook Messenger about his film, Pale Blue Dot, which plays at the Anchorage International Film Festival
Sunday, Dec. 3 AK Exp Theater Small 11:45am   and
Sunday, Dec. 9 AK Exp  Theater Small  2:30pm

I would note that this film has only been shown publicly in India at its world premiere at the Mumbai International Film Festival.   This will be the first public showing of the film outside of India.  This is one of the Features in Competition.


In our first exchange, he told me the film was based on an ancient Hindu legend.  I asked for more information and he sent me a link to Wikipedia:
"The son questions his father - First Valli The Upanishad opens with the story of Vajasravasa, also called Aruni Auddalaki Gautama,[24] who gives away all his worldly possessions. However, his son Nachiketa (Sanskrit: नचिकेता) sees the charitable sacrifice as a farce, because all those worldly things have already been used to exhaustion, and are of no value to the recipients. The cows given away, for example, were so old that they had 'drank-their-last-water' (पीतोदकाः), 'eaten-their-last-grass' (जग्धतृणाः), 'don't give milk' (दुग्धदोहाः), 'who are barren' (निरिन्द्रियाः).[25] Concerned, the son asks his father,  
"Dear father, to whom will you give me away?"
— Nachiketa, Katha Upanishad, 1.1.1-1.1.4[26][27]
He said it a second, and then a third time.
The father, seized by anger, replied: "To Death, I give you away."  
Nachiketa does not die, but accepts his father's gifting him to Death, by visiting the abode of Yama - the deity of death in Indian mythology. Nachiketa arrives, but Yama is not in his abode. Nachiketa as guest goes hungry for three nights, states verse 9 of the first Valli of Katha Upanishad. Yama arrives and is apologetic for this dishonor to the guest, so he offers Nachiketa three wishes.[28] 
Nachiketa' first wish is that Yama discharge him from the abode of death, back to his family, and that his father be calm, well-disposed, not resentful and same as he was before when he returns. Yama grants the first wish immediately, states verse 1.1.11 of Katha Upanishad.[28] 
For his second wish, Nachiketa prefaces his request with the statement that heaven is a place where there is no fear, no anxiety, no old age, no hunger, no thirst, no sorrow.[28] He then asks Yama, in verse 1.1.13 of Katha Upanishad to be instructed as to the proper execution of fire ritual that enables a human being to secure heaven. Yama responds by detailing the fire ritual, including how the bricks should be arranged, and how the fire represents the building of the world. Nachiketa remembers what Yama tells him, repeats the ritual, a feat which pleases Yama, and he declares that this fire ritual will thereafter be called the "Nachiketa fires".[29] Yama adds that along with "three Nachiketa fires", anyone who respects three bonds (with mother, father and teacher), does three kinds of karma (rituals, studies and charity), and understands the knowledge therein, becomes free of sorrow.[29] 
Nachiketa then asks for his third wish, asking Yama in verse 1.1.20, about the doubt that human beings have about "what happens after a person dies? Does he continue to exist in another form? or not?"[29] The remaining verse of first Valli of Katha Upanishad is expression of reluctance by Yama in giving a straight "yes or no" answer. Yama states that even gods doubt and are uncertain about that question, and urges Nachiketa to pick another wish.[30][31] Nachiketa says that if gods doubt that, then he "Yama" as deity of death ought to be the only one who knows the answer. Yama offers him all sorts of worldly wealth and pleasures instead, but Nachiketa says human life is short, asks Yama to keep the worldly wealth and pleasures to himself, declares that pompous wealth, lust and pleasures are fleeting and vain, then insists on knowing the nature of Atman (Soul) and sticks to his question, "what happens after death?"[30][32]"
He also sent me this synopsis of the film.  I don't think this is a spoiler, trust me.
"A specific name underlines the existence of a given individual but Sarvanaam i.e. an Eternity is a collective notion. Even while living this life making an effort to  preserve one's own identity, often the destiny plays its cards in such an incomprehensible manner that one is imperatively left with no alternative but to ignore one's own personal existence or unique identity and dissolve oneself in the mighty oblivion of the Sarvanaam, the eternity.  The film 'Sarvanaam', the Pale Blue Dot makes you aware of this insurmountable truth.
Thus, the existence of LIFE is PALE BLUE DOT.
'Death' is an ultimate truth. Each one of us is radically aware that at some or the other point of time in life, the death, is going to come to meet us and end our role. But even then every human being feels afraid of the death of his near and dear ones rather than being frightened of one's own death. That is why, every individual gets disturbed when the same death starts lingering around in the lives of your near and dear ones. This close shadow of the death destroys the peace of mind of every individual howsoever invariable truth it may be. An approaching shadow of that evil arouses a feeling of unacceptable injustice in his mind and he leaves no stone unturned to unveil the answer of this riddle. The unbearable sorrow of this inhuman destiny and the agonising journey of every human being's life saga is the gist of the Marathi feature film 'Sarvanaam'."

Below is the trailer. I'd note that Girish sent me this and gave me permission to put it on Youtube so I could get an embed code to post it here.


Thursday, November 16, 2017

AIFF 2017: Features in Competition - Pale Blue Dot, Painless, The Drawer Boy, and American Folk [UPDATED] What If It Works?

Features are full length fictional films.  Films in competition are those chosen by the original screeners  to be eligible for awards. 


I'd note that while these are the screeners picks, screeners don't always agree, so some might have chosen other features as the best.  I often disagree with the screeners, but this is a good start as you try to figure out what to watch.  There are always gems that don't make it to this list.  And you might find films on topics that you want to see or from a country you're interested in, even if they aren't in competition.




Features in CompetitionDirectorCountryLength
American Folk 
David Heinz
USA
1:39:19
The Drawer Boy
Arturo Perez Torres
Canada/Mexico1:37:00
Painless 
Jordan Horowitz
USA1:40:10
Pale Blue Dot Girish Mohite
India
1:39:00
What If It Works? Romi TrowerAustralia1:35:00

I'm not making any judgments here except that I'm posting the films in competition - those eligible for an award.  These are just descriptions, interviews, pictures and video I've found on line to give people a sense of what's coming to Anchorage Dec. 1.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++
American Folk
David Heinz
USA
1:39:19
Showing: Sunday Dec. 3,  at 8:15pm Beartooth

"When their plane from Los Angeles to New York is grounded on the morning ofSeptember 11, 2001, strangers Elliott (Joe Purdy) and Joni (Amber Rubarth) are unexpectedly thrust together amidst the chaos of that historic day. With little in common but both needing to get to NYC urgently, they accept help from Joni's family friend Scottie (Krisha Fairchild) who lends the duo a rusty old 1972 Chevy Van. The shock and stress of 9/11 quickly threatens to derail their cross country journey until the pair discover what they do have in common: a love for old folk songs. Armed with a pile of guitars left in the van from Scottie’s touring days, Elliott and Joni raise their voices together (and with those they meet on the road), re-discovering the healing nature of music and bearing witness to a nation of people who, even while mourning, manage to lift each other up in the wake of tragedy.?


++++++++++++++++++++++++++++++++++++++++++++++++++++++++


The Drawer Boy  
Arturo Perez Torres
Canada/Mexico
1:37:0
Showing:  Monday Dec. 4  5:30pm Bear Tooth

From  Evan Dossey in the Midwest Film Journal:
"The Drawer Boy (Draw-er, as in, a boy who draws) is an adaptation of Michael Healey’s 1999 play about Miles (Jakob Ehman), a traveling actor who shows up at a farm owned by Angus (Stuart Hughes) and Morgan (Richard Clarkin) with the hopes of staying in their house, helping around the farm and learning what it’s like to be a rural Canadian.
Angus takes care of most of the work as well as Morgan, who has severe short-term memory loss. As Miles learns the ebb and flow of a farmer’s life, he also begins to uncover the tragic story that led to Morgan’s condition.
To director Arturor Perez Torres’ credit, The Drawer Boy captures the staging and performances you’d expect from a stage production without sacrificing opportunities afforded by the cinematic lens. It’s a beautifully shot movie. There’s a tendency for stage-to-film adaptations to sometimes come across as something stuck between the two mediums in a way that satisfies neither. That’s not the case here."


 This is probably a movie that you don't need to know anything about.  Just go and let it unfold with no expectations.

The Drawer Boy - Trailer from Open City Works on Vimeo.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++





Painless
Jordan Horowitz
USA
1:40:10??
Showing:  Saturday Dec 2, 1:45  AK Experience Small 
                  Friday Dec 9, 7:45pm AK Experience Large


Here's the Painless website synopsis:

"Henry Long was born with a rare condition that leaves him unable to feel physical pain. Life for him is a daily struggle, never knowing when he might become seriously injured without realizing it, or worse, die from an internal injury he never knew existed. He lives in a constant state of fear and is completely alienated from those around him who cannot relate to his daily struggles.
Barricading himself in a world of science, Henry has dedicated his life to finding a cure so that he can one day know what it’s like to feel ‘normal.’ When he discovers a promising drug that he is unable to obtain on his own, he gets involved with a dangerous scientist with a dark past and his own secret agenda. Henry must decide if his need for normalcy is worth paying the ultimate price before it’s too late.
Based on actual medical science, Painless looks at the dark side of life with a rare condition and the challenges both symptomatic and social that people with these conditions face."


You can listen to David Majzlin's sound track for Painless here.


+++++++++++++++++++++++++++++++++++++++++++++++++++++++++


Pale Blue Dot 
India
Girish Mohite
1:39:00
Showing:  Sunday, Dec. 3  11:45am AK Experience Small 
                      Saturday, Dec. 9, 2:30pm AK Experience Small 

I couldn't find much on this film.  

From Filter Copy - An Indian website reporting on this year's Mumbai Film Festival last month which highlighted 13 of the festival films including Pale Blue Dot.
"Synopsis: Sarvanaam, or the Pale Blue Dot, was birthed when a photograph taken by a NASA Voyager showed the earth to be smaller than a pixel from a distance of 6 billion km in space. The very fact that the Earth is as miniscule as a grain of sand in the eternal expanse of the universe brings forth questions about the weight of our existence and death."

From The Hindu, a page of very short questions and answers at the Mumbai Film Festival dated October 2017.  Directer Girish Mohite was asked

What is your film about?
"It is about the existence of hum life and our fear of death - the eternal question that haunts us all our life"
I can imagine his head rolling back and forth as he gives this answer.
The next question was:  What should the MAMI crowd expect to see?
"I have filmed the entire feature film in natural light without resorting to artificial sets.  I have treated the subject as seen through the eyes of the central character - a man who is struggling with these thoughts about life and death when a person close to him in on the verge of dying."
UPDATE Nov. 23, 2017:  The film maker, Girish Mohite, has sent me this synopsis of the film.

"A specific name underlines the existence of a given individual but Sarvanaam i.e. an Eternity is a collective notion. Even while living this life making an effort to  preserve one's own identity, often the destiny plays its cards in such an incomprehensible manner that one is imperatively left with no alternative but to ignore one's own personal existence or unique identity and dissolve oneself in the mighty oblivion of the Sarvanaam, the eternity.  The film 'Sarvanaam', the Pale Blue Dot makes you aware of this insurmountable truth.  
Thus, the existence of LIFE is PALE BLUE DOT.
'Death' is an ultimate truth. Each one of us is radically aware that at some or the other point of time in life, the death, is going to come to meet us and end our role. But even then every human being feels afraid of the death of his near and dear ones rather than being frightened of one's own death. That is why, every individual gets disturbed when the same death starts lingering around in the lives of your near and dear ones. This close shadow of the death destroys the peace of mind of every individual howsoever invariable truth it may be. An approaching shadow of that evil arouses a feeling of unacceptable injustice in his mind and he leaves no stone unturned to unveil the answer of this riddle. The unbearable sorrow of this inhuman destiny and the agonising journey of every human being's life saga is the gist of the Marathi feature film 'Sarvanaam'."

I couldn't find a trailer for this film. [UPDATE Nov. 23:  Girish Mohite sent me the trailer, so here it is:





+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

What If It Works?
Romi Trower
Australia
1:35:00

I don't recall ever citing the Catholic Church of Australia, so it seems a good time to check that off my blogger list of things to do.  Here's from their review of What If It Works?
"There have been many films over the years, especially in recent years, about relationships, romantic relationships, potential healing relationships between people who are physically and/or mentally disabled. We don’t always expect to see these stories acted out in the ordinary streets, in the ordinary suburbs of Melbourne. They are acted out here – but, at the end, there is still the question that the title raises, will it work, what if it works?
It takes a few moments to get into the feel of the film We are introduced to Adrian, Ford, a young man in his 30s, driving a fast car, getting into trouble, landing unsuspectingly into a group of drag queens. Who is Adrian? When we see him behave, gloved hands, hands raised in the air, wary of touching anything, fastidious, we realise that he is absolutely obsessive, has a compulsive disorder. Which means that while he is friendly in his way, it is not always easy to like him. Non-compulsiveness will feel very impatient with him. But, as we get to know him, see him in all his foibles, there has to be some sympathy. In fact, he is very intelligent with science and engineering and is able to help people in the art commune, even calling in the aid of the drag queen friends.
He almost runs over a young woman (Anna Samson) who lives just up the street, who walks dogs (which he abhors). When he encounters her on his session with his therapist and she comes to visit, mistaking him for the therapist and pouring out a rather salacious life story, he is upset. He later meets her in the street."

And from FilmInk:
"Giving the leads of your romantic comedy mental health issues is tricky ground to navigate. Jokes built around your characters could be seen as laughing at them, rather than with them. Additionally, in the pursuit of true love, there’s a certain danger of downplaying their daily struggles. What if it Works?, from first time director Romi Trower, not only tackles these issues, it does so with success."




[UPDATE Dec. 18 - I've swapped out a film that is no longer in the festival for one on the list that I didn't see in the first list].


+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

UPDATE Nov 30, 2017:  I'd note that the film Muse was originally 'in competition' but for some (legitimate) reason, it will still be in the festival, just not in competition.  

Monday, August 07, 2017

Whitewashing History

The Guardian has an article by Sunny Singh that asks why Christopher Nolan's film Dunkirk only shows white soldiers fighting and dying.  In fact, the article explains, there were many Indians as well as Asians and Africans recruited from the British empire who fought there too.  The French army also contained many North Africans.

How would knowing this change change modern day attitudes toward immigrants?  That's the basic question the article  asks.

This jumped out at me because I recently read (and posted about) Amitav Ghosh's novel The Glass Palace which also focuses on how Indian troops were vital to the British army in Asia, yet they never got credit (or blame.)  One Indian soldier to another after a Japanese surprise attack in Malaya, from that post:
"You know, yaar Arjun, over these last few days, in the trenches at Jitra - I had an eerie feeling.  It was strange to be sitting on one side of a battle line, knowing that you had to fight and knowing at the same time that it wasn't really your fight; knowing that whether you won or lost, neither the blame nor the credit would be yours.  Knowing that you're risking everything to defend a way of life that pushes you to the sidelines.  It's almost as if you're fighting against yourself.  It's strange to be sitting in a trench, holding a gun and asking yourself:  Who is this weapon really aimed at?  Am I being tricked into pointing it at myself?""I can't say I felt the same way, Hardy."

And Singh's criticism of the movie seems to echo this - that the Indian (and other forces from the empire) will be erased from the story.  

Here are some excerpts from the Guardian article:

"To do so [leave out the darker troops], it erases the Royal Indian Army Services Corp companies, which were not only on the beach, but tasked with transporting supplies over terrain that was inaccessible for the British Expeditionary Force’s motorised transport companies. It also ignores the fact that by 1938, lascars – mostly from South Asia and East Africa – counted for one of four crewmen on British merchant vessels, and thus participated in large numbers in the evacuation.
But Nolan’s erasures are not limited to the British. The French army deployed at Dunkirk included soldiers from Morocco, Algeria, Tunisia and other colonies, and in substantial numbers. Some non-white faces are visible in one crowd scene, but that’s it. The film forgets the racialised pecking order that determined life and death for both British and French colonial troops at Dunkirk and after it.
This is important, firstly, because it is a matter of factual accuracy in what purports to be an historical portrayal – and also because it was the colonial troops who were crucial in averting absolute catastrophe for the allies. It is also important because, more than history books and school lessons, popular culture shapes and informs our imagination not only of the past, but of our present and future."

It's interesting when you contrast this historical inaccuracy with film makers who say they can't put blacks or Asians into certain roles, because ti would be factually inaccurate.  But here they can put whites into the roles of the Indian and Asian troops, equally inaccurate.  

And Singh believes this whitewashing of history makes it easier to condemn immigrants today and vote for Brexit.

"Could we still see our neighbours as less than human if we also saw them fight shoulder-to-shoulder with “our boys” in the “good” war? Would we call those fleeing war “cockroaches” and demand gunboats to stop them from reaching our white cliffs if we knew they had died for the freedoms we hold so dear? More importantly, would anti-immigration sentiment be so easy to weaponise, even by the left – in the past and the present – if the decent, hardworking Britons knew and recognised how much of their lives, safety and prosperity are results of non-British sacrifices? In a deeply divided, fearful Britain, Nolan’s directorial choices succeed as a Brexiteer costume fantasy, but they fail to tell the story of Operation Dynamo, the war, and Britain. More importantly, they fail us all, as people and a nation."

Sunday, July 02, 2017

Connecting Our Hearts And Our Hands - Do You Know Who You Are?

Knowing oneself isn't easy.  Every society, every community projects models of who we should be, what we should do.  When who we actually are, deviates from the social, cultural, political, religious, or economic ideal, those who don't fit the ideal perfectly are alienated from themselves, their community, or both.

I'm sure readers either know what I'm talking about or strongly reject that notion.  I suspect those who strongly reject it are likely to be the ones most denying their own true selves.

OK, let me clarify what I'm talking about.

I've recently finished Amitav Ghosh's The Glass Palace.  It starts out in 1885 in Mandalay, the capital of Burma then, just as the British are moving up from Rangoon to capture Mandalay and exile the King and Queen of Burma to a small town on the west coast of India.  The main character is an Indian orphan who has gotten a job on a ship that ended up in Mandalay.

The whole book focuses on the Indians who served the British empire and the fundamental question (for me anyway) throughout is, "What does it mean to be an Indian?"  Particularly if you are a soldier keeping order among your conquered fellow Indians, and conquering and maintaining order in other colonies like Burma and Malaya?

At times Ghosh is a little heavy handed in this discussion, not that he's wrong, but as a novelist, he could have handled it more subtly.  It's hard tracing the way a person slowly awakens to the fact that he's been a prisoner his whole life.  But it is a topic all people must ask themselves now and then.  Sometimes it's a very heavy burden, sometimes people fit well into the world in which they were born.  Or at least think they do as is the case of Arjun in the book.  ('Think' isn't even accurate, because Arjun is portrayed as taking things as they are and not even consciously aware of who he is.)

He comes from a well-to-do family and got into officer training school, much to his surprise, since this was not something Indians had been accepted into until just recently.  It was a job and adventure to him.   But WWII has started and he's sent to Malaya.  Skipping lots of details, a woman, Allison, he's attracted to abruptly breaks things off.
"Arjun - you're not in charge of what you do;  you're a toy, a manufatured thing, a weapon in someone else's hands.  Your mind doesn't inhabit your body." (p. 326)
He responds, "That's crap."  But the issue comes back very soon when the Japanese surprise the British and their Indian soldiers and successfully invade Malaya (as well as the rest of Southeast Asia.)  He's with a fellow Indian soldier, Hardy, a long time pre-military friend, who has thought these issues through much more as they face the fact that the Japanese have landed.  They've also bombed the Indian troops with leaflets that begin:
"Brothers, ask yourselves what you are fighting for and why you are here:  do you really wish to sacrifice your lives for an Empire that has kept your country in slavery for two hundred years?" (p. 337)

Their peril opens Arjun and Hardy to a probing conversation:
"You know, yaar Arjun, over these last few days, in the trenches at Jitra - I had an eerie feeling.  It was strange to be sitting on one side of a battle line, knowing that you had to fight and knowing at the same time that it wasn't really your fight; knowing that whether you won or lost, neither the blame nor the credit would be yours.  Knowing that you're risking everything to defend a way of life that pushes you to the sidelines.  It's almost as if you're fighting against yourself.  It's strange to be sitting in a trench, holding a gun and asking yourself:  Who is this weapon really aimed at?  Am I being tricked into pointing it at myself?"
"I can't say I felt the same way, Hardy."
"But ask yourself, Arjun:  what does it mean for you and me to be in this army?  You're always talking about soldiering as being just a job.  But you know, yaar, it isn't just a job - it's when you're sitting in a trench that you realize that there's something very primitive about what we do.  In the everyday world when would you ever stand up and say - 'I'm going to risk my life for this'?  As a human being it's something you can only do if you know why you're doing it.  But when I was sitting in the trench, it was as if my her and my hand had no connection - each seemed to belong to a different person.  It was as if I wasn't really a human being - just a tool, an instrument.  This is what I ask myself, Arjun:  In what way do I become human again?  How do I connect what I do with what I want, in my heart?'" (p. 351, emphasis added)

Somewhat later, the Japanese return and as the group flees, Arjun gets hit, but manages to get under cover and his batman, Kishan Singh, pulls him into a culvert where they are hidden.  His leg wound gets bandaged but he's in pain, thinking about what he's heard.
"What was it that Hardy had said the night before?  Something about connecting his hand and his heart.  He'd been taken aback when he'd said that, it wasn't on for a chap to say that kind of thing  But at the same time, it was interesting to think that Hardy - or anyone for that matter, even himself - might want something without knowing it.  How was that possible?  Was it because no one had taught them the words?  The right language?  Perhaps because it might be too dangerous?  Or because they weren't old enough to know?  It was strangely crippling to think that he did not possess the simpler tools of self-consciousness -  had no window through which to know that he possessed a within.  Was this what Alison had meant about being a weapon in someone else's hands?  Odd that Hardy had said the same thing too."(p. 370)
Then he asks Kishan to just talk and he talks about the fighting history of his village.  He says the soldiers went to fight out of fear.  Arjun asks, fear of what?
"'Sah'b,' Kishan Sing said softly, 'all fear is not the same.  What is the fear that keeps us hiding here, for instance?  Is it a fear of the Japanese, or is it a fear of the British?  Or is it a fear of ourselves because we don not know who to fear more?  Sah'b, a man may fear the shadow of a gun just as much as the gun itself - and who is to say which is the more real?" (p. 371)
Arjun is confused.  How could his uneducated batman be more aware of the weight of the past than he himself?  He thinks to himself, fear had played no part in his joining the military academy, becoming a soldier.
"He had never thought of his life as different from any other, he had never experienced the slightest doubt about his personal sovereignty;  never imagined himself to be dealing with anything other than the full range of human voice.  But if it were true that is life had somehow been molded by acts of power of which he was unaware - then it would follow that he had never acted of his own volition;  never had a moment of true self consciousness.  Everything he had ever assumed about himself was a lie, an illusion.  And if this were so, how was he to find himself now?"(p. 372)

It does seem to me that the author, Ghosh, is helping Arjun articulate his thoughts.  But the points are important ones.

We know that African-American soldiers in WWI and WWII began to question their treatment in the US after being in Europe.  Here's a quote that sounds very similar to Arjun's struggle from Philip Klinkner and Rogers Smith, The Unsteady March: The Rise and Decline of Racial Equality in America 167 (2002) cited on the Equal Justice Initiative website.  (The piece starts with civil war veterans and moves up to WWI and WWII.)
“It is impossible to create a dual personality which will be on the one hand a fighting man toward the enemy, and on the other, a craven who will accept treatment as less than a man at home.”1
 Throughout the 20th century women continually questioned their treatment - demanding the right to vote, to own property in their own name, equal pay, access to universities and to jobs.  Gay rights are another obvious example, and listening to Scott Turner Schofield last night telling stories about his transition from female to male I also couldn't help but think of this passage.

But those are obvious examples.

What about white soldiers and veterans, recruited to overseas wars to 'protect American freedoms'?  What happens when they see how much of war is to protect corporate interests overseas, to keep the arms industry profitable?  When they see how many civilians are being killed?  When the realize that their fellow recruits are disproportionately less educated and poorer than the average American?  And when they get home and they can't get adequate help for their war caused physical and mental problems?  Do they start thinking about their true identity and who and what they've really been fighting for?

[Consider the rest of this to be a draft application of the ideas above to current American situations.  I don't want to omit it completely because the points from the book do apply to nearly everyone and I don't want readers to feel they are only relevant to history or to other people.  They're part of being a human among other humans.  But I don't think I've made my points as clearly as I'd like.  So consider the following to be rough notes and any support or thoughtful criticism is welcome, which is always the case.]

But this is really about everybody.  Because as individual people we have individual interests that aren't consistent with what others expect of us.

What about the people who voted for Donald Trump?  How many will ever see how they've been duped for years and years by Fox News and talk radio that panders to their inadequacies and their sense of victimhood?  That they've been baited into hating other victims instead of the perpetrators of their problems?   How do they square their own sense of victimhood with their ideal of personal responsibility?  How do they come to believe that the system is stacked against them when the system has, for so long, been structured to favor them over women and people of color?  They never worried about those injustices.  They're only upset when the playing field is being made more level and they now are losing their advantages over women and people of color in getting jobs and power.  The dysfunctional president we have today was evident throughout the campaign.  There's no way anyone should be surprised at the American disgrace in the White House now, unless their hearts were separated from their hands, as Hardy put it in The Glass Palace.  

But liberals aren't immune either.  I don't want anyone to think I'm setting up a false equivalency here.  From Reagan on, conservative ideology has been part of the national oxygen.  Being liberal takes more effort than being conservative, more consciousness of inequity and of the gap between American ideals and reality.  One has to move beyond an individualist Ayn Rand view of the world and understand the power of mutual cooperation.  (Yeah, I know that's an assertion  that needs lots more back up.  For now let me assert it but I'll need to offer more evidence.  I think it's true and if anyone has some support for me on that, let me know.  Or proof to the contrary.)  But I would argue that people get to their political stances more through environmental influences - family, personal experiences, education, etc. - than by careful, conscious, reasoning.

But group-think infects every group when there isn't active debate and dissent.  And much of the separation of heart and hand is related to personal issues and beliefs that are accepted without analysis - like the myth of the magic of the work ethic to allow anyone to succeed in America.  What America would look like if everyone became a millionaire (in 2017 dollars).  How would all the minimum wage work get done?  And at most (not counting deaths in office) only 25 people can be US president per century.  What happens to the other 10,000 who believed they could be president if they only tried hard enough?  I don't hear work ethic believers talking about how that would actually work if everyone worked hard.

I'm starting to ramble - on topic, but not in a well organized way.  The key here is to think about our own conflicts between self and societal models.  A certain amount of compromise is necessary for people to live in groups, but how much of that is organized oppression of differences for the benefit of those in power?  That, I think is the basic question raised in this Indian/British debate from the book.



Tuesday, June 06, 2017

Recipes for Glass Palace

My book club is reading Amatav Ghosh's The Glass Palace.


The meeting host generally tries to make refreshments with an eye to food that was in the book.  Sometimes that's easy, sometimes a bit more difficult.


The Glass Palace begins in the mid 1800s when the British demands for access to more teak forests are turned down by the King of Burma so the British fleet moves up the Irriwaddy and overwhelms the Burmese military and then send the King and Queen into exile on the west coast of India. A key theme of the book is how the British used  Indians to become their soldiers - who then do most of the Burmese invasion (killing and dying) work.

In any case, there was a fair amount of food mentioned, but as often happens, I wasn't thinking about the book club refreshments (it was at our place last time when we discussed The Three Body Problem).  But then on page 190, the key characters are gathered for a meal in Malaca (now Malaysia just south of the island of Penang) and the whole menu is listed.

I couldn't resist sending the list to our next host, and I wondered if I could even find the recipes for these dishes.  For some I was more successful than others.  But here it is:







When I sent the list, I noted these recipes were way beyond the call of duty for our book club meeting, but his reply suggested he might try one or two.

By the way, the book is an interesting romp through the history of that region from the view of an Indian.  You get a much different picture of that region of the world than you do from The Camp Of The Saints.    One of the characters - Uma - lives a number of years in London and then New York.  She gets involved with other ex-pat Indians who are concerned about the plight of their homeland.  Their view sees how India was exploited by the British empire and then set up for failure in the newly industrialized world.

"Witnessing the nascency of the new century in America, they were able to watch at first hand the tides and currents of the new epoch.  They went to visit mills and factories and the latest mechanized farms.  They saw that new patterns of work were being invented, calling for new patterns of movement, new ways of thought.  They saw that in the world ahead literacy would be crucial to survival;  they saw that education had become a matter of such urgency as to prompt every modern nation to make it compulsory.  From those of their peers who had traveled eastwards they learnt that Japan had moved quickly in this direction;  in Siam too education had become a dynastic crusade for the royal family.   
In India, on the other hand, it was the military that devoured the bulk of public monies:  although the army was small in number, it consumed more than sixty percent of the Government's revenues, more even than was the case in countries that were castigated as "militaristic."  Lala Har Dayal, one of Uma's most brilliant contemporaries, never tired of pointing out that india was, in effect, a vast garrison and that it was the impoverished Indian peasant who paid both for the upkeep of the conquering army and for Britain's eastern campaigns.   
What would become of India's population when the future they had glimpsed in America had become the world's present condition?  They could see that it was not they themselves nor even their children who would pay the true price of this Empire:  that the conditions being created in their homeland were such as to ensure that their descendants would enter the new epoch as cripples, lacking the most fundamental means of survival;  that they would truly become int the future what they had never been in the past, a burden upon the world.  They could see too that already time was running out, that it would soon become impossible to change the angle of their country's entry into the future;  that a time was at hand when even the fall of the Empire and the departure of their rulers would make little difference;  that their homeland's trajectory was being set on an unbridgeable path that would thrust it inexorably in the direction of future catastrophe."
There's also an interesting tidbit on how the Indians in the US were learning from the Irish in the US about how to resist the British.

"The Indians were, comparatively, novices in the arts of sedition.   It was the Irish who were their mentors and allies, schooling them in their methods of organization, teaching them the tricks of shopping for arms to send back home;  giving them instruction in the techniques of fomenting mutiny among those of their countrymen who served the empire as soldiers.  On St. Patrick's Day in New York a small Indian contingent would sometimes march in the Irish parade with their own banners, dressed in sherwanis and turbans, dhotis and kurtas, angarkhas  and angavastrams."

Studying the past certainly does put a fresh light on the present.  

Friday, December 09, 2016

AIFF2016: A Trip To Rural India, Donald and Peter, Susie and Liz Great Night

Wow.  This year's festival is offering lots of good films and film makers visiting.  I was tied up all afternoon and got to the Bear Tooth just as Cinema Travelers started.  Travelers documented one of the last cinema teams that traveled from community to community with huge ancient projectors in equally ancient trucks to show reel to reel movies at outdoor night fairs in and around Maharashtra Province.  I'm guessing that because they occasionally announced that the films were in the Marathi language.

We saw them laboriously take down and put up the big tent, break down the camera, load it on the truck, and then put it back together again in the next town.  We saw the crowds of people at the fairs and getting in to see the movie.  We also visited the projector repairman who said he was about 13 or 14 in 1958 or 59 when he saw his first movie.  He said while the others wondered about the story, he wondered about how they got the pictures on the screen and the sound, and he eventually got involved in showing movies.  He demonstrated how he'd created a camera where the rewind was on the bottom instead of the top so the cinema showers didn't have to lift the reels, which looked close to three feet in diameter.  And we watched the cinema traveler buy his first digital projector and learn how to download the movies and take an old projector to a scrap metal man.

It was a touching film that recorded the end of an era.  And it spoke directly to me because I spent two years in a rural Thai community that had similar (though much smaller) night fairs, though we had a movie theater in town.  But we did have traveling troops of actors - both Thai likae (dramas) and Chinese opera who would come through each year.

But the second film grabbed me like no other film in the festival so far.  There have been very good films, but this one seemed to reach out to me and left all sorts of unanswered questions.

Donald Cried starts with Peter coming back to the small town where he grew up to sell his grandmother's house and settle things after she's died.  You don't know all this as the film starts - you pick up more and more details as things progress.  He's lost his wallet on the bus and so he has no money and goes across the street to a neighbor's, who greets him like a long lost pal and practically kidnaps him taking him around town.  The neighbor, Donald, seems like he's got Asbergers or something as he constantly crosses normal conversational boundaries in politeness and topics.  But the history of Peter, Donald, the grandmother, and others slowly is revealed.  But there were still so many questions I had.  And reading the credits - Kris Avedisian was listed as the writer, the producer, the director, and actor - I knew exactly who I wanted to talk to.  My wife asked, which one was he?  I assumed he played Donald, but then I had this thought, whoa, what if he played Peter?  That would have been so weird.  But as the cast scrolled by, he did play Donald.  So I was ready to go home and start looking for an email address for Kris

I hope I've gotten you curious enough to check out the trailer for Donald Cried which I posted in my rundown of the Features In Competition.  It has an early outrageous scene of Donald and Peter that is only a hint of things to come.  (When I looked back on that page, I realized I've now seen all the features in competition and they are all strong films.  The judges are going to have a hard time picking a winner.  I could defend any of them as the winner and if I have time before Sunday, I might try.)



Liz Torres and Susie Singer Carter
I saw Rich Curtner, the president of the film festival board, and asked him why Kris wasn't here because I had questions to ask.  And he could have flown up four different members of the crew and cast for the price of one.  Rich deflected my attention by pointing out that Susie Singer Carter  was here - the director and actor in My Mom and the Girl,  one of the shorts we saw Saturday morning. The film was about Susie's mother and her caregiver - the character I fell in love with.  She was just wonderful.  And Rich then said that Liz Torres, who played the caregiver, was here too.

Photographer Note:  I hate using a flash.  The Bear Tooth lighting leaves a lot to be desired and so my first picture was a bit blurred and looked unusable.  I tried some more pictures, but in the end, I think the first one captures more of the love of life I felt in these two women. I rationalize that if these pictures aren't photographically perfect, they do a good job of reflecting the mood and the ambiance of the Bear Tooth.   So, if you don't like a little blur, just skip the picture.

We had a long and warm conversation and I hope I get to see them again before they go back to LA.  You can see both of them, and Valerie Harper who plays Susie's mother in the trailer I put up on my post about the Shorts in Competition.   I'd also note here that Liz Torres is a two time emmy winner and a Golden Globe nominee with a long history in theater, television, and film.

And here's an article dated March 21 about the film on Broadwayworld that says the film was going to start shooting in April 2016.  So this picture is pretty new.

I had a long day today and J was tired too and so we didn't stay for the Quick Freeze films that began at 10pm or so.  These have gotten better and better each year.  People are given four or five words to include in a film to be completed 24 hours [four days] later.  It's always fun to see what they do with that challenger.

But I was full on two rich and filling movies and had no room for dessert.




Thursday, December 08, 2016

AIFF2016: Thursday India, Dragon Animation, And More


I am so busy.  So here are your choices for today.  Click the screen to get to the festival schedule site so you can see the drop down windows.







Tuesday, November 29, 2016

AIFF2016 Documentaries In Competition Tibetan Nomads, Tuvan Throat Singers, Slanty Eyed Mamas, Thai Boxing, And Those Ruby Slippers

Here are the documentaries in competition with descriptions below.

Docs in CompetitionDirectorCountryLength
Best and Most Beautiful ThingsGarrett Zevgetis USA 90 min
DrokpaYan Chun S China 79 min
Goodbye Darling, I’m Off to FightSimone ManettiItaly,Australia, United States  73 min
SHU-DE!Michael R Faulkner United States85 min
Happy Lucky Golden Tofu PandaCarrie Preston United States 75 min
The Slippers Morgan WhiteUSA min
The Cinema TravelersShirley Abraham India min







Best and Most Beautiful Things
Garrett Zevgetis
USA
90 min

Tuesday December 6, 2016 5:30pm - 7:30pm *** Warning - one showing only!!
BearTooth 


From the film's website:
"In 2009 director Garrett Zevgetis googled the word “Beauty.”
He had been working on a number of darker-themed documentaries and was determined to find an uplifting story for a future project. The search returned a poignant Helen Keller quote that led Garrett to Perkins School for the Blind outside Boston, a renowned institution where a feature documentary had never before been made. He began volunteering at Perkins. On the last day of his scheduled term, a bubbly student introduced herself – Michelle had found him.
BEST AND MOST BEAUTIFUL THINGS is a celebration of outcasts everywhere, following a precocious young blind woman who disappears into quirky obsessions and isolation. With humor and bold curiosity, "







The Cinema Traveler
Shirley Abraham
India
96 minutes
Thursday December 8, 2016 5:30pm - 7:00pm **WARNING - Just one showing
BearTooth 

This film debuted at Cannes last May where it won a Special Jury Prize.  This seems to be one not to miss.  I did get see some films shown in rural Thailand on a sheet across a dirt road in Thailand in the 60s, it wasn't quite what this film seems to be documenting.  The annual visit by the Chinese opera troupe probably was more like this.  From the reviews, it sounds like the film captures the excitement of these events.

From a much longer article at the Guardian:
"In Shirley Abraham and Amit Madheshiya’s understated documentary, we’re given intimate access to a unique experience: two travelling cinemas that travel across rural India sharing films with people who would otherwise have limited access. It focuses on the lives of the men who put the show on the road, faced with a changing medium and a demanding audience.
Shot over five years, we follow a set of men with different key roles in the process of the two companies. There’s the easygoing manager trying to provide for his family while on the road, the 70-year-old projector mechanic whose weathered hands have helped bring the joy of cinema to thousands and the many serious-minded cineastes who work around them."
From the Hollywood Reporter:
"The traveling cinema world, mostly based around Maharashtra, the vast state whose capital is Mumbai, has been bringing the magic of the silver screen to remote villages for some 70 years. Setting up tents in rural fairs that often are several hours from anything even approaching a local multiplex, the screenings draw hundreds, who line up to see the latest Bollywood hits, old Hindi classics and even the odd dubbed Hollywood title.
But it’s a tradition that is nearing extinction. "There are very few of these cinemas left," says Shirley Abraham, who together with her co-director Amit Madheshiya, has spent eight years tracking those remaining in the industry for The Cinema Travelers, screening in the Cannes Classics sidebar on May 15. 'It has been petering out over the years. I don’t think they’re going to survive the march of time and technology.'"

The film's website's press page has lots and lots of links to articles about the film.
The video below features a discussion with the film makers talking about the film. The video isn't great. I haven't found a trailer.



Screenshot from Dropka trailer

Drokpa
Yan Chun Su
China
79 minutes

Saturday December 3, 2016 2:00pm - 3:30pm 
Anchorage Museum
Saturday December 10, 2016 12:00pm - 1:30pm 
Alaska Experience - SMALL

The site only lists three other festivals in addition to AIFF so we're some of the first people to see this film.  From their website:
"DROKPA (Nomads of Tibet) is a portrait of the lives and struggles of nomads on the Eastern Tibetan Plateau. Through intimate individual stories, the film reveals the unprecedented environmental and sociopolitical forces that are pushing the nomads to the edge of their existence. "






Goodbye Darling, I’m Off to Fight
Simone Manetti
Italy
73

Wednesday December 7, 2016 8:00pm - 9:30pm 
BearTooth
Sunday December 11, 2016 2:00pm - 3:15pm 
Alaska Experience - SMALL


The trailer of this Italian movie is in English with Italian sub-titles. The trailer has the title in English, Italian, and Thai.  It's about boxing.  And that seems to be confirmed in the English description I found at DocsMX:
"After a painful break-up with her boyfriend, Italian actress and fashion model Chantal Ughi discovered that Muay Thai was the only way to confront the violence she suffered as a child. She went to Thailand to train for four weeks, but ended up living there for five years—training and fighting, becoming stronger than a man."





Happy Lucky Golden Tofu 
Panda
Carrie Preston
USA
75 min

Saturday December 3, 2016 1:30pm - 3:00pm 
Alaska Experience - SMALL 
Saturday December 10, 2016 6:00pm - 7:30pm 
49th State Brewing Company 

Where do I start this?  There's a duo called Slanty Eyed Mamas.  I'll let their own words from their website explain:
"TWO GOOD ASIAN GIRLS GONE BADASS.
Thoroughly modern, urban, sexy sounds from the very fresh, street infused Asian-American duo that always causes a stir...You've never seen anything quite like it--part hip hop, part rock, part electroclash, from two rock n roll asian chicks. Slanty Eyed Mama sees the world through the searing electric violin and beats of virtuoso Lyris Hung and the iconoclastic rants from Kate Rigg, aka. Lady K-Sian. Kate is also a Juilliard trained actor/playwright and a well known comedian, who has been on Fox's Family Guy, 2 seasons of the Dr. Phil show where she talked about the Asian American Experience to 5 million people, and has toured extensively as a stand up comic. Electric violinist Lyris Hung is also a Juilliard graduate who also has a metal band called HUNG, tours with The Indigo Girls and has played with Jay Z, Bono, Quincy Jones, and many others."
And the movie?  On her website, Kate writes about the movie:

"In addition to keeping busy with theater and TV work, 2016 sees the release of the thoroughly original, mind bending, but gusting, comedy music and spoken word mashup film Happy Lucky Golden Tofu Panda Dragon Good Tie Fun Fun Show- The movie. Shot on location in New York and directed by Emmy Award Winning actress Carrie Preston. The movie captures the downtown New York spirit with live portions filmed in an East Village Club, with musical numbers and sketches blown up and shot on location throughout the City. It examines the "East meets west experience" ways in which we see "Asian-ness" in the West through culture, media, commodities and familiar images-- Hello Kitty, Nail Salons, Chinatown bargain shopping, Pokemon, bowl cuts. Kate's Stand up weaves the show together, with sharp observational, political and outrageous out-there jokes."
 It premiered in New York in June, but I can't find much except their own promotional stuff.  Eclipse Magazine mentions it in passing when discussing what people will find at the SOHO film festival:
"intriguing oddities like Happy Lucky Golden Tofu Panda Dragon Good Time Fun Fun Show" 
Here's the teaser.








SHU-DE!
Michael R Faulkner
USA 
85 min

Saturday, Dec 3, 2016: BearTooth 6:00 PM Sunday, Dec 11, 2016:Alaska Exp - SMALL, 
4:00 PM

I remember first seeing live Tuvan throat singing 20 or 30 years ago at the Fly-by-Night Club in Spenard.  It's other-worldly.  So this one piques  my interest.

From the Shu-De website:
"Khoomei (hoo-may) or Tuvan throat singing, is an ancient vocal tradition originating in the remote Republic of Tuva, which is located in the center of Asia in Siberia, and now, part of the Russian Federation. Considered to predate modern linguistics, Khoomei, involves a remarkable technique for singing two or more pitches simultaneously. The sounds are said to come from the land and harmonize with nature itself. The Alash Ensemble are masters of this vocal art and have been touring the world, sharing their music with other cultures, for years.
Shodekeh, a beatboxer and vocal percussionist from Baltimore, with a vision for creating an "oasis of unity through musical collaboration," has spent his life mastering new sounds and using them, while fostering seemingly unlikely collaborations. SHU-DE! is the story of what happened when these artists came together, utilizing their common instrument: the voice and body."
The Baltimore Sun did a profile of the film maker, Michael Faulkner.  Here's a snippet from it:
" . . .The resulting film, "Shu-De!" – Tuvan for "Let's go!" — was one of the crowd favorites at May's 18th Maryland Film festival, where it had its East Coast premiere (its world premiere was a few weeks earlier, at the Nashville Film Festival). Its mix of local interest and exotic locales, not to mention its haunting melodies, proved a crowd-pleaser of the first order. It's since screened at several other festivals, and will be going on a seven-city tour in October
"It's amazing to see your work on a big screen — especially me being a cinephile, someone who loves movies and story in general," says Faulkner, a freelance location manager and film producer who moved from Kalamazoo, Mich., to Baltimore in 1998. 'I was really happy to notice — it's a real movie. It's there; it stands up on the big screen.'"
There's something very film-festivalish about this film, and I mean that in the best possible way.

We don't learn much about what the film is about in the trailer, but we learn a lot about what it feels like.












The Slippers

Morgan White
USA
90 minutes

Saturday December 3, 2016 4:00pm - 6:00pm 
Anchorage Museum 
Sunday December 11, 2016 12:00pm - 1:30pm 

Alaska Experience - SMALL

From Letter Box:
"THE SLIPPERS pulls back the Wizard’s curtain on the unbelievable story and cultural impact of Dorothy's Ruby Slippers from The Wizard of Oz.  Through first-hand accounts and archival interviews, THE SLIPPERS will detail the life of the Ruby Slippers after their sale at the famed 1970 MGM auction. Discovered by costumer Kent Warner, it is unclear how many pairs were found and how many pairs exist. That mystery has only helped to propel the shoes to the forefront of the Hollywood memorabilia market. They have been bought, stolen, and coveted by many. They are considered the most important piece of Hollywood memorabilia and the catalyst for the creation of Hollywood memorabilia collecting."
From an interview with director White at Hammer To Nail:
HtN: So how about access? Did you have any issues there, interview-wise, or footage-wise?
 MW: Footage-wise wasn’t so hard. I spent a lot of time trying to collect stuff. So I became very obsessed with the idea that I should collect as much of the material that’s in the film as possible, because I’m making a movie about collecting. So a lot of the things that are in there come from 16mm prints that I bought, on eBay, or on the black market of 16mm-print collecting. Or I bought magazines and newspapers and articles and…whatever I could find on eBay. So in terms of that stuff, it was just me spending time looking for it. Access-wise, for interviews, I mean, everybody was pretty great. Michael Shaw, who was one of the owners of the shoes, he was a little bit complicated to get, because he’s a little bit complicated of a person…
From the interview, it's clear this is movie is about collecting movie memorabilia, not just the Ruby Slippers.