Saturday, August 23, 2014
The following is a post I wrote several years ago when I was a regular contributor to Edward's Copeland's Tangents. I am re-posting it here for the Spielberg Blog-a-thon (hosted by Kellee of Outspoken & Freckled and Michael of It Rains, You Get Wet) because I still stand by it.
The phrase "I know it when I see it," uttered by Supreme Court Justice Potter Stewart regarding pornography, is an expression that, at one time or another, we've probably all heard used to encapsulate the frustration of failing to define something whose basic nature seems otherwise unexplainable. I mention it only because I've been wondering lately if art isn't also like that. It is nigh impossible to define and/or analyze a great work of art to such a degree that the elements that make it timeless and brilliant can be adequately determined, nor a basic "formula" be found. It's like the color yellow. You can't really define it. You have to just point at it and say, "See that? That's it." When I think of some of the works of art that I consider to be among the greatest ever created — Shakespeare's Hamlet, Mozart's "Requiem," Vermeer's "Girl With a Pearl Earring" — I find myself struggling to find the proper words to capture their greatness. In the end, I can't really articulate what makes them great. I have to just point it out to others and see who "gets it" and who doesn't. Well, this piece that I am writing for the "Spielberg Blog-a-thon" is about a film that I think falls into that category.
Over the years, though, I have found myself returning to one film over and over again: the film that had a profound impact on its director, on the culture at large and on me personally (as a cinephile certainly but also as a human being). It was the film I held up as the standard by which to measure all other films. It was the film I thought of whenever anyone spoke of "cinematic high art" or how the motion picture medium could achieve its true potential. I would discover new and profound truths contained within its frames every time I watched it. Far from diminishing in quality with each viewing, it actually improved in my eyes. I finally had to admit the truth to myself. This is the greatest film I've ever seen and probably ever will see.
It's Steven Spielberg's masterpiece Schindler's List.
I first heard of Spielberg's "Holocaust flick" in the summer of 1993 when I was reading an issue of Entertainment Weekly. I was flipping through their "Winter Movie Preview" section when I turned the page and saw the photograph seen below of Liam Neeson as Oskar Schindler addressing "his" Jews staring back at me. I knew who Spielberg was because I had grown up with E.T. and the Indiana Jones adventures and had only recently become interested in him again because of the movies Hook and Jurassic Park. Like a lot of people at the time, my reaction was one of confusion and skepticism. This did not seem like the kind of film that Spielberg was typically known for. Could he pull it off or would it be a failure on a massive scale? I was curious to say the least.
When the film was eventually released during the winter of my senior year in high school, I went with my dad to the movie theater on Ninth Street in Corvallis, Ore. to see it. I wasn't entirely sure what to expect. I knew the film was going to be serious. I knew it was going to be heavy and, not least of all, I knew it was going to be very violent, but I also had a sense that it was going to be worth seeing. I didn't realize it at the time, but I was at a crucial point in my development as a cinephile. I had always loved movies, but I approached them primarily as a form of entertainment. The idea that they could also function as a means of artistic expression was a concept I was only beginning to become vaguely familiar with (prompted especially by a film history class, led by my good friend Tucker Teague, which I had recently attended). Needless to say, I was also moving rapidly toward a major crossroad in everyone's life. I was 17 years old. Graduation was just around the corner and I was preparing to leave home and head off to college to try and figure out who I was and make something of myself. All this served as the context for my introduction to the film and may even help to partially explain why the film had such a big impact on me.
When the lights went down and the movie started, I was actually bewildered at first because I had understood that the entire film was in black-and-white. What I was seeing was in color. A hand was striking a match and lighting some candles. A Jewish family was gathered around a table in a small room celebrating the Sabbath. The patriarch was singing something in a language I didn't understand. Was this a mistake? Were my dad and I in the wrong movie? Soon the family faded from the scene (though the song/prayer could still be heard) but the candles were left behind. As one shot dissolved into the next, clearly signifying the passing of time, the candles burned further and further down (this also was when the main title appeared on the screen indicating to me that this was indeed Schindler's List, though I was still somewhat confused). Finally, the camera showed only a solitary candle with the flame about to burn itself out. I didn't notice it then but the candle and the background were already in black and white. Only the tiny flicker of flame was still in color. The flame soon extinguished and the resulting thin streak of smoke that flowed upward from it was followed by the camera. A train whistle was suddenly heard and the movie cut to a cloud of thick, gray smoke that poured forth from the smokestack of a locomotive. Now the film was completely in black-and-white and I knew I was in the right movie.
The greatest films have openings that are unforgettable. The Godfather has that wonderfully slow zoom-out with the heartbroken father seated in a dark room relaying his tale of woe to a mysterious figure ("I believe in America."). Citizen Kane has the magnificent montage of shots of that fortress Xanadu which culminates in a single whispered word ("Rosebud.") and a shattered snow globe. Schindler's List has the sequence I just described. There is so much going on just in that brief collection of sounds and images (Spielberg's symbolic use of color and its lack thereof, the imagery of the candles being snuffed out and the ensuing smoke, etc) that I could write the rest of my piece on it alone. Suffice it to say that from that opening, I already was engaged by the film. Indeed, I was captivated and that sensation never let up for the next three hours and 14 minutes (during which I wept a couple times). When it was completely over and the lights came up I noticed that most of the people who were in the theater with us also were still sitting there, dumbfounded. We all looked like we'd been sucker-punched. Slowly and silently, everyone started to get up and walk out including my father and I. As we often do, we talked about the movie in the car, though I don't remember much of what we discussed. What I do remember is his taking me by Fred Meyer on the way home and purchasing the film's soundtrack for me because among the many things that stood out to both of us was John Williams' sad, but achingly beautiful, musical score.
Like a lot of folks, my initial reaction to the film was one of shock. I was horrified by what I had seen on screen. I was shaken to the core of my being and consequently couldn't revisit the film for a long time afterward. I just knew that I loved it. It reached me in a way that very few films can or do. I also remember thinking that this was a different kind of movie than most of the other films I had seen...not just in terms of content but in terms of style. My clumsy way of characterizing it back then was to say that it felt "like a foreign film only it was in English; it didn't feel like a Hollywood movie at all." I was also astounded that it had been directed by the same man who was responsible for the movie I had seen only six months earlier that featured giant dinosaurs eating people. "This is not the same man. This can't be the same man," I thought to myself. Nowadays when I watch the film (having in the interim become far more familiar with the subtleties and nuances of Spielberg's general technique), naturally I can see his hand in the execution of this story, but in a sense I was right in my initial reaction. Schindler's List was not helmed by the same Spielberg who did Jaws, E.T. or even his previous serious efforts such as The Color Purple and Empire of the Sun. Schindler represented a major challenge for Spielberg. In bringing this story to the screen, he pushed himself in a way that very few filmmakers ever do. He did so not only technically but emotionally and spiritually as well. He re-connected with something in himself that he had denied for a very long time: his own Judaism. Making Schindler's List changed Steven Spielberg just as watching it changed me.
Although controversy has always surrounded Schindler's List, I myself wasn't aware of most of it upon its release. All I heard was praise for the film. This was probably just as well since my passionate love for the film would've blinded me to anything negative anyone would've said about it. As the years have gone on, and I've watched it numerous more times as well as familiarized myself with the various writings on it, I feel I am in a better position to understand and appreciate the problems that people have with it (David Mamet famously called it "emotional pornography"). I could acknowledge that Schindler's List may not be a "perfect" film (if such a thing even exists), but as the great Pauline Kael (who, incidentally, did not care for the film) once said, "Great movies are rarely perfect movies." There may be legitimate criticisms of Schindler's List, but they are not significant enough to undermine the overall greatness of the finished product. If Schindler missteps occasionally it does so because it reaches higher than most other films dare to. I've long thought it's better to strive for greatness and "fail" than aim for mediocrity and succeed.
I could talk at some length about the true story that the film represents, but by this point everyone already knows it. I could also go on and on about how impressive the film is in all of its technical areas (the stunning cinematography by Janusz Kaminski, the aforementioned music score by John Williams, the impeccable screenplay by Steven Zaillian, the striking editing by Michael Kahn, the excellent performances by all of the actors, etc) but since this piece is already getting too long I am going to conclude by attempting to explain not only why the film means so much to me personally but why I feel it belongs in the pantheon of the greatest art ever fashioned by humans. To those who have heard me expound on this subject before, some of this might sound a little familiar.
Schindler's List is more than just a Holocaust movie. Like all great works of art it transcends its subject matter. It is a meditation on the extremes to which we human beings can go. Not only is its depiction of human darkness, brutality and evil (as personified by the psychotic Nazi officer Amon Goeth) the most honest I have ever seen, but its portrayal of human goodness, courage and nobility (as represented in the complex, but ultimately righteous, person of Oskar Schindler) is the most compelling I have ever experienced. Rarely does a film so successfully highlight both the best and worst of humanity simultaneously. Like most Holocaust movies it doesn't shy away from showing the cruelty and inhumanity of the atrocities that the Nazis inflicted, but it also dares to depict the love, mercy and compassion that many exercised in the midst of so much bleakness and tragedy. Schindler's List not only opened my eyes to what cinema is capable of (particularly in how it can dramatize a serious subject with passion and dignity while still reaching a massive audience), but it also made me want to be a better human being (how many films can you say that about?). As I told someone recently, I would rather be inspired by goodness than merely repulsed by evil. Schindler's List does both. Like the film's opening sequence, it is more about lighting a candle than cursing the darkness.
Wednesday, August 13, 2014
I've been mildly curious, though extremely skeptical, since I heard of the new Teenage Mutant Ninja Turtles movie (and despite my vow never again to watch another Michael Bay-directed film, the fact that he merely produced this one provided a convenient loophole). I was in Jr. High when they first became huge, so I was the perfect age to be into them (although I remember my first introduction was in fifth grade when my comic book fanatic friend Merlin Carson showed me a role-playing game book cover and based on the title alone I was incredulous; "This will never catch on," I actually said). The film's miserable critical reception -- 20% on rottentomatoes -- almost dissuaded me, but if there's anything I learned from last summer's Lone Ranger, it's that if a movie looks at all interesting to you, even if it is universally reviled, you should see it and decide for yourself. So, I saw and it and I decided for myself.
Probably the best thing to be said for this new TMNT is that it is not nearly the disaster it could have been. It is, for the most part, pretty harmless junk, neither offending nor engaging. Brad Keefe said, "It isn't nearly as bad as it could have been. Mind you, it isn't good. It isn't even 'so bad it's good.' It's just there. I wish it was better. Or worse." Well, I don't necessarily wish it was worse, but I can sympathize with his indifference.
Naturally I still have my issues. I don't like the design of these new turtles. First off, I could never really get over their new nostrils. They just bug me. Secondly, in trying to make them appear "cooler" to today's audiences, the filmmakers have adorned their bodies/shells with perepheranlai (sunglasses, necklaces, etc) making them look like a cross between military grunts and homeless people. The cobbled-together nature of it makes a kind of sense I guess, but it ends up just looking cluttered. I miss the sleekness and simplicity of the characters' looks from the old cartoon and movies (where they were distinguished only by their weapons and the color of their masks). The surfer-speak has been understandably dropped (though replaced with a hip-hop/gangta lingo) and the turtles have also been made taller and more muscular. These are more intense, agressive incarnations of these characters. Grittier and edgier heroes in a halfshell for a darker, more cynical youth. At least they got their personalities and inter-relationships right. Leonardo is still the leader and constantly butting heads with the rebellious Raphael. Donatello is still the techno-geek and Michelangelo the laid-back one. My favorite moments were probably when the turtles had to work together, the themes of family loyalty and teamwork having always been one of the most appealing elements of these stories for me. I also liked the elevator gag.
The non-reptilian characters in this whole affair are pretty forgettable. Nowhere is there a human with the charisma and screen presence of Judith Hoag or Elias Koteas. The always reliable William Fichtner (who was also in Lone Ranger) comes the closest to actually being interesting. Whoopi Goldberg and Will Arnett are wasted while Megan Fox -- and I realize this is not exactly breaking news -- is really a bad actress and embarrasses herself in just about every scene. The turtles' nemesis, the Shredder, is barely a human character as he spends most of the film in his now bulked-up, servo-assisted suit (which eerily resembles the Silver Samurai from last year's Wolverine) and becomes fully CGI as soon as he starts fighting in a wildly animated manner. This is typical of the kind of excess displayed in a film that thinks more is better. Everything is on steroids.
With one exception, the action sequences are fairly ho-hum, although director Jonathan Liebseman seems to possess a bit more of an appreciation for spatial coherence than his producer. The one scene I found enjoyable and, dare I say it, even a bit exciting was the chase down the snowy mountainside.
Finally, while they wisely abandoned the lame alien idea (there is even a line of dialogue in the film acknowledging so), their changes to the backstory are not exactly improvements. The turtles and Splinter (voiced here by Tony Shalhoub) are now subjects in a mutation experiment who were saved from a laboratory fire by a young April O'Neil and dumped down a sewer. This sacrifices one of the aspects of the turtles' origin story I always liked (and demonstrates a growing trend in superhero/comic book adaptations that I don't like): namely, the seeming randomness of their genesis. Like the rebooted Spider-man franchise (from which this movie basically steals its plot/climax), the turtles are no longer just victims of circumstances whose transformations result from a freak accident (they stumbled on a broken cannister leaking a radioactive ooze). Call me nit-picky, but I miss the days when heroes were created through chance. I don't want Peter Parker to be the only guy who, through genetic pre-determination, could possibly have become Spider-man. I want his being bitten by the super-spider to be a coincidence and his decision of how to use his newfound powers to be what makes him a hero. That is more compelling to me. Same with Batman. I've always preferred the idea that Bruce Wayne's parents were gunned down by some anonymous hood who disappears rather than them being assassinated as part of a big conspiracy. What happened to the days when an ordinary schmoe (or turtle) was just in the wrong place at the wrong time and was struck by lightning or hit by a meteorite or encountered toxic waste or survived an explosion or something? Why do their heroic births always have to result from design now (I mean, obviously from a storyteller's perspective it's by design, but I am talking about within the universe of the story itself)? I miss those days.
Oh, and rather than being the pet of a Chinese master from whom he learns the martial arts, Splinter teaches himself ninjitsu from an abandoned book and passes the knowledge on to his "sons." I know expecting realism is futile in a movie featuring six-foot talking turtles, but that just struck me as really stupid and lazy.
In the end, I didn't hate this Turtles, even thought it is mostly devoid of the charm and self-awareness that made most previous incarnations amusing... especially the live-action 1990 film (featuring those remarkable suits designed by Jim Henson's creature shop) which for my money is still the best Turtles movie to date. The kids in the theatre where I saw this one, however, seemed to like it. Cowabunga, dude.