17 November 2010

God, Faith, Morality and Right vs. Wrong, The Heavy Fare Served by Allen and Bergman in Two of Their Greatest Films

Wood chipper accident kills tree trimmer
Henry K. Lee, Chronicle Staff Writer
Tuesday, November 16, 2010
(11-16) 14:41 PST CONCORD -- A tree trimmer was killed in a freak accident in Concord when a rope to which he was attached became entangled in a wood chipper, authorities said Tuesday.
Antonio Barajas, 33, of Concord suffered a fatal head injury Monday when he was slammed against a gate of the chipper as it was operating on Snowberry Court, near Cowell and Ygnacio Valley roads, said Krisann Chazarik, spokeswoman for Cal/OSHA.
The agency is investigating the accident, which happened at 1:30 p.m.
Barajas was wearing a climbing rope, which became caught in tree limbs that were being fed into the chipper, Chazarik said. He did not actually end up in the machine, authorities said.
Barajas was a seven-year employee of Traverso Tree Service of Walnut Creek. Five other workers were trimming trees, but none saw the accident, said Alyce Traverso, the company's office manager and wife of the owner.
"They just heard the chipper make a whir sound," Traverso said.
Barajas leaves behind a wife and their 8-month-old son, she said.


The very nature of existence and the real or imagined presence of God in our lives. The fundamental difference between right and wrong.  Great stuff for heated debate, philosophical musings or lengthy discussion. But can you make a film of it?

Ingmar Bergman and Woody Allen did, and quite successfully at that.

Though they dared to tackle these issues on numerous occasions (Allen is still at it) I think their best works in this regard are Bergman's Winter Light (1963) and Allen's Crimes and Misdemeanors (1989).

They are in some respects a cinematic odd couple. Allen is a New York born Jew and Bergman (he died in 2007) a Swedish born Lutheran. While both were college dropouts, Bergman started his professional career in the theater while Allen was initially a comic. Yet both started directing at a young age, though Allen's earlier films were strictly comedy and many of his later ones have either been comedies or heavily laced with humor.

Of course, Bergman was a huge influence on Allen who has never hidden his admiration for the great Swede. Indeed in his film Manhattan (1979) Allen's character Isaac Davis claims that Bergman is the only true genius in film. It is not then surprising that Allen has tackled the central issues of human existence in many of his movies ala Bergman.

In Crimes and Misdemeanors we are introduced to a pillar of society, a renowned opthamologist who is being honored at a swanky dinner for his charitable fundraising efforts. Martin Landau as Judah Rosenthal is as genial, affable and respectable man as you'd ever want to meet. But he's also got a neurotic mistress (Angelica Huston) who is threatening to expose their affair. Judah's shady brother (Jerry Orbach) offers a solution -- having her "taken care of." Can Judah even contemplate such an option? To save his marriage and career he sure can and does.

To what extremes will an otherwise moral man go to protect himself? It is in the contemplation of okaying the deed and in living with the consequences, that Judah struggles mightily with his conscience. Though raised in a Jewish home, he is no longer a believer. Yet he seeks counsel from a patient who is a rabbi (Sam Waterson) and their discussion includes the question of whether we can have a moral compass without a belief in God. This element is added: Judah well remembers his father's admonition that "the eyes of God are watching us always" a powerful memory, particularly for an opthamologist. And oh by the way, the rabbi/patient, this truly moral man, is slowly going blind.

Allen's character is an unsuccessful documentary film maker who is saddled with making a film about his super successful brother in law, a God like TV producer (Alan Alda). He'd rather be doing a film on an aged philosopher who shares great insight into the nature of man including his relationship with, who else, God.

Questions of right and wrong, good and evil, faith and secularism permeate Crimes and Misdemeanors, a heavily layered film which reveals more of itself with each viewing. Lesser characters and events take on greater meaning as one studies the film closely and begins to realize that there are are no lesser characters or events.
Winter Light centers around a Lutheran pastor (Gunnar Bjornstrand) who is suffering from a severe crisis of faith. All he wants is for God to speak to him. Instead he is faced with God's silence. Not an uncommon malady for any one, even a man of the cloth.

The pastor counsels a parishioner (Max Van Sydow) who is depressed owing to his belief that a nuclear holocaust is right around the corner. He is suicidal and the pastor is of no help. How can the pastor assure anyone of God's divine grace and eternal love when he doubts the very existence of God himself? The outcome for the parishioner is inevitable.

The pastor is an austere, sullen man whose entire persona seems perfectly in keeping with the harsh Swedish Winter and the rigid lifelessness of Scandinavian Lutheranism. I speak as someone so raised. The iconography is spare and dark, the services dry and rote. Bergman, himself the son of a Lutheran minister, perfectly captures the solemnity and lack of emotion in the services, the cinematic opposite of Fellini's Italian Catholicism. The very barren landscape of the Pastor's church is highlighted by the meager turnouts. It's all enough to make one wonder why anyone wouldn't question his faith.

Happily the pastor is much loved by a woman. Sadly he is incapable or uninterested in accepting her unconditional love. Worse, he is cruel towards her.

It hardly seems like the makings of a watchable film. But Winter Light is not only intriguing for the issues its explores, but is beautifully told by Bergman and cinematographer Sven Nykvist. By the framing of shots and the use of light, the movement of a character into and out of light or darkness, invite us to ask questions about the characters, faith and God's silence. And as in Crimes in Misdemeanors, there are no small characters or events.

Judah claims that "God is a luxury I can't afford." In Winter Light the sexton of the church supposes that Christ's greatest hardship was being seized by doubt in his final moments and facing, "God's silence." It's not the stuff of most films but when handled by directors like Bergman and Allen, the weightiest of questions seem perfectly appropriate to tackle in a film. Wow.

10 November 2010

For Veteran's Day, Some of the Best Movies of Our Lives, With Veterans Even

You'll see a lot of suggestions for films to watch on or around Veteran's Day and I'm here to provide still more. However, unlike other bloggers, critics or reviewers, the suggestions here are not just war pictures. Mine all feature a war veteran or two. It is, after all, veteran's who we honor on November 11 (nee Armistice Day). Brief digression: I can't be the only one who's excited about next year's Veteran's Day, specifically when the clock tolls 11:11 am. Yes, it'll be 11:11 on 11/11/11. How cool is that?

A second brief digression. It is a scandal that while the United States "honors its troops" at every possible occasion, veterans here practically have to go begging for the most basic services, especially those who are disabled as a consequence of combat.

Here are now are a few films for your Veteran's Day, all with veterans featured prominently.

The Best Years of Our Lives (1946). This is the mother of all veteran's films. The multi Oscar winner is first and last about the fates of three veterans returning to their hometown at the end of World War II. It has the immediacy of having been made at the very time it depicts. Some of the best movies about an event or time period are ones that are made contemporarily. This is a case in point. While Hollywood has churned out umpteen films about WWII, this is one of a handful to deal specifically with the lot of those fighting men upon their return home. Dana Andrews, Fredric March and Harold Russell play the trio and, along with co stars Myrna Loy and Teresa Wright, form one of the greatest ensemble casts of all time. You'll not see a better depiction of the difficulties faced by ex servicemen in adjusting to civilian life. The idea of picking up where one left off after facing the holocaust of war is laughable. Nothing is the same even when returning to a stable family. Imagine being without such a home or without one's hands. The Best Years of Our Lives is one of the better films of any kind ever made. On the topic of veterans, it's the gold standard.

Heroes For Sale (1933). Among the scars and hardships a solider can return from war with is an addiction to drugs, often painkillers that were administered to ease the suffering caused by battle injuries. Meet Tom Holmes (Richard Barthelmess) the main character in this tale. His addiction costs him his job and after rehab, sends him on the road seeking better prospects. Add to that, the medal for bravery in the line of fire he deserved has gone to another, a coward at that. Holmes overcomes hardships only to be one of the many victims of the Great Depression. A terrific film from America's most under appreciated director, William Wellman.

The Roaring Twenties (1939). Another wonderful movie that follows the exploits of an American GI returning from the Great War. This time its Eddie Bartlett played by James Cagney in one of his many outstanding performances. Talk about not honoring vets, Bartlett can't get his old job back! One thing leads to another and the next thing you know Eddie is in the bootlegging game. And before you know it he's got his own gang and is raking in the dough. Sadly, this is a rise and fall story. It's not too much of a stretch to suggest that the failure of the country to take care of its vets led the previously honest Eddie to a life of crime, a life cut short at that.

Born on the 4th of July (1989). Strictly in terms of showing the lot of veteran, this Oliver Stone film is second only to Best Years. This is the true story of Vietnam veteran Ron Kovic who entered the army a gun ho "love it or leave it" patriot and returned from the war a paraplegic as the result of a gunshot wound. It was not long after coming home that Kovic made the radical transformation into a an outspoken opponent of the war. Born on the 4th follows Kovic's life from entering the war, fighting, hospitalization and through anti war activism. Tom Cruise gave the best performance of his career to date in the starring role.

The Manchurian Candidate (1962). It's bad enough to re-adjust to society after fighting in a war but when you've unknowingly been brainwashed into being a political assassin, well that just sucks. Such is the fate of returning Korean War POW Raymond Shaw (Laurence Harvey) in this political thriller from director John Frankenheimer. Fellow POW Bennett Marco (Frank Sinatra) was not similarly programmed but he's dealing with some serious post traumatic stress disorder in the form of cryptic dreams about their experiences. Not terribly realistic (or is it?) but still a helluva film and a powerful look at PTSD.

06 November 2010

The Virgin Spring, An Example of Bergman's Touch

I am a great believer in having as many types of films made as possible. Along with a laugh-a-minute Marx Brothers comedy, you need a good mystery and of course a film that asks the most serious of questions.

It is the latter category in which the great Swedish director Ingmar Bergman excelled.  As evidence I submit The Virgin Spring (1960) which I watched today for the first time.

Towards the end of the film Max Van Sydow's character, Tore speaks to the heavens saying: "You see it, God, you see it. The innocent child's death and my revenge. You allowed it. I don't understand you. Yet now I beg your forgiveness. I know no other way to be reconciled with my own hands. I know no other way to live."

It takes extraordinary courage to make a film that asks profound questions about existence, especially when it goes in with no preconceptions about what the answers are. Bergman specialized in such films. The Seventh Seal (1957) being just one other example.

In Virgin Spring, God is the main character. We never, of course, see the supreme being and he or she is only seldom referenced, but its God's movie all the way.

The Virgin Spring is the story of a wealthy family in rural 14th century Sweden whose teenage daughter is raped and murdered while journeying to the nearest church by goat herders. The synopsis seems hardly likely to encourage people to see the film, but its done pretty well for its self since being released 50 years ago, including recognition at the Oscars, Cannes and the Golden Globes.

What has drawn viewers and critical acclaim to the film undoubtedly has to do with Bergman's effective way of telling the story and the questions that story asks about, among other things, faith. Lubitsch had a "touch" with his films that made them clever, witty and appealing. Bergman similarly had a touch. One that made the kind of unsavory fare served in The Virgin Spring palatable. Characters were multi dimensional irrespective of how much screen time they had. The worst of the lot were always clearly human and despite their actions, tolerable to watch. Protagonists were flawed (i.e. human) and sentiment was nowhere to be seen.

In Virgin Spring we are invited to watch. The camera allows us to get aquatinted with characters but not intimate. Medium shots with sparing use of close ups keep the film a viewing experience but an engrossing one. It is thus easier to form our own judgments about events and people. The victim here has a half sister who is culpable in her fate. She is at once sympathetic and abhorrent. The vengeful father is more complex that most films would allow him to be too. He is both unwavering in his convictions and doubtful after their outcomes.

Bergman was a complete filmmaker in that he had no major weaknesses. This overall competence allowed him to take on the heaviest of material and not only not make a mess of it but make something quite special.

There is a wonderful simplicity to The Virgin Spring. This makes it all the easier to feel God's presence in the story. We need not be believers ourselves, just needing to accept the fact that a higher power is very much at work in the minds of the characters.

Faith is a heavy cross to bear and can serve as a wonderful reward to the believer. It is also tested mightily throughout a lifetime. It is further complicated by the unique relationship with and perception of their higher power that each believer brings to this most special relationship.

The Virgin Spring can seem a difficult movie to watch. But it's a beautifully told story that rewards us with a golden opportunity to consider some of the central issues of life. I think it so cool that you can get that out of movie.

03 November 2010

I Love a Parade

Photos from today's San Francisco Giants' victory parade. All taken by my oldest daughter.
Our view down the parade route.
The parade was led by the world's greatest marching band, the University of California marching band. (Go Bears!)
Giants' GM Brian Sabean accepts my apology for having ever doubted him.
Manager Bruce Bochy and the World Series trophy.
SF Mayor and California Lt. Governor-elect Gavin Newsom, a life long Giants' fan.
Game 4 hero rookie pitcher Madison Bumgarner.
Closer Brian Wilson parties like a rock star.
Catcher and superstar Buster Posey.
Bay Area native veteran slugger Pat Burrell.
And so it ends. That's my index finger indicating the Giants' position in the baseball world.

01 November 2010

At Long Last!!!!!!!!!!!!!


The first baseball game I remember going to was game one of the 1962 World Series (I'd been to many before). I was eight that year when the Giants lost in seven games to the Yankees. We were so close that I naturally assumed that a title was coming "next year." Little did I know that next year would be 48 years later.

The San Francisco Giants have been one of the great loves of my life. I have alternately enjoyed them and suffered because of them through a little bit of thick and a whole lot of thin. But when you love someone or something unconditionally you stick to it no matter what.

I'm so happy tonight that the Giants are at long last World Champions. For the team and for all the fans like me who've adored the Orange and Black, whether for 50 years, 20 or 13 like my oldest daughter (I told her I was so happy she didn't have to wait as long as I did for this experience).

I can't help but think of many past Giants who I rooted on: Cap Peterson, Ed Bailey, Jim Davenport, Willies Mays and McCovey, Juan Marichal, Jack and Will Clark, Ray Sadecki, the Baby Bull, John "The Count" Montefusco, Jeff Leonard, Kevin Mitchell, Johnnie LeMaster, Tito Fuentes, Jimmy Ray Hart, Ty Cline, Ron Pruitt, Mike Krukow, Duane Kuiper, Juan Uribe, Robbie Thompson, Mike Sadecki, Billy Swift, Randy Moffit, Greg Minton, Bobby Bonds, Steve Scarsone to name but a few.

I also want to give a shout out to some of the people who've taken in Giant games with me over the years: My late great parents, my big brother, Megan Elizabeth, Miranda Kathryn, My Giants brother Paul, Phil, Johnny, Keith, my handsome young nephews, Harvard Steve, Gary, my darling wife, Tim, Jeremy, Jesse, Michael, Natalie, Eric, George and of course many more.

Holy Christy Mathewson, the Giants are World Champions!

30 October 2010

For Your Halloween Enjoyment, The Wilhelm Scream



I'll let Wikipedia explain: The Wilhelm scream is a frequently-used film and television stock sound effect first used in 1951 for the film Distant Drums. The effect gained new popularity (its use often becoming an in-joke) after it was used in Star Wars and many other blockbuster films as well as television programs and video games. The scream is often used when someone is either pierced with an arrow or falls to his death from a great height, or because of an explosion.
The Wilhelm scream has become a well-known cinematic sound cliché, and is claimed to have been used in over 216 films and even certain video games.
The sound is named for Private Wilhelm, a character in The Charge at Feather River, a 1953 western in which the character is shot with an arrow. This was believed to be the second movie to use the sound effect and its first use from the Warner Brothers stock sound library.

24 October 2010

A Streams of Unconsciousness Classic: Trick or Treat or Movie, In it's Third Edition, This Time With No New Content


It is my pleasure to bring to you my third annual Halloween appropriate films post. Last year I added a few films to the last. This year I've nothing to add, so comprehensive were my first two posts. The paragraph below starts last year's post.


In October of last year I wrote a widely acclaimed post with recommended Halloween season films for your viewing pleasure. As a service to my readers (both of us) I am reproducing that post in toto below. As an added bonus I am suggesting a half dozen other Halloween appropriate films that you may enjoy, all good for scare, a laugh or at least your amusement. So within this post you'll find films that feature isolated castles, terrifying ghosts, hideous monsters, strange apparitions, mysterious powers, blood curdling screams and things that go bump in the night. Most of all you'll find some wonderful cinematic alternatives to bumming candy off your neighbors or enduring a silly costume party.

First the post titled "Trick Treat or Movie" from October 23, 2008.

Halloween is just around the corner (how's that for hokey intro!). Many of us old geezers no longer play dress up. And if the kiddies are too old to trick or treat (at least with parents in tow) we're free to stay at home and enjoy a scary movie or two.

Hollywood has been churning out horror films since the silent era. Sadly, the genre has recently morphed into slasher films that emphasize gratuitous gore. But there's still plenty to choose from from days of yore. Here's a sampling of choices for your Halloween viewing pleasure.

Bride of Frankenstein (1935) Not just the best of the classic horror films of the Thirties, a wonderful film in its own right. The great James Whale's direction along with an intelligent script for a seemingly preposterous story outshine even the magical performance of Boris Karloff. Colin "it's Alive!" Clive is the now conflicted scientist and Elsa Lanchester is the blushing young bride. But Ernest Thesiger as the evil Dr. Pretorious is an absolute scene-stealer. This is a must-see film.

Frankenstein (1931) How about a shout out for the original? While out shined by the sequel its still an excellent film. Clive, Karloff and the prototype of the angry mob star. Excellent cinematography and some touching moments highlight this classic.

The Old Dark House (1932) It was a dark and stormy night. Let's see a group of travelers seek refuge from a driving rainstorm in a forbidding looking mansion. What could go wrong? You'll see. The residents are a decidedly odd lot with a temperamental butler. Amazing cast including Melvyn Douglass, Raymond Massey, Gloria Stuart, Charles Laughton that man Karloff again and the delightful Thesiger (watch and listen as he offers his guests potatoes). This is my third straight Whale selection. Obviously he had the Gothic horror story down cold.

Alien (1979) No, no, no it's not science fiction it's a horror film. This time the role of the haunted mansion is played by a space ship and the victims/heroes are astronauts. This does not change the fact that all the elements of the horror film are at work. While the Alien is terrifying (and set the standard for many years to come) it's those moments when it is lurking off screen that are tense and scary.

The Exorcist (1973) I was reading the book in college on a weekend when my roommates all happened to be out of town. I slept in the living room with lights on and though not a religious man I've worn a cross around my neck ever since. The movie is just as frightening even after repeat viewings.  An innocent young lass is possessed by the devil (don't you just hate that). Satan is profane, duplicitous and oh so dangerous. A great film by any standard.

Invasion of the Body Snatchers (1978) I like this better than the original (my God I've got a sequel and a re-make on this list, who'd of thunk). An absolutely terrifying concept expertly done by director Philip Kaufman. Alien clones are invading bodies and the human race is in peril. Will star Donald Sutherland save humanity or fall victim to this alien plot? The very notion of retaining your human form but your mind being taken over is chilling (hey, that sounds like Scientology!).

Psycho (1960) I know you've seen it a few times already but like a lot of Hitchcock's finest it gets better with each viewing. It never loses its suspense (how did Hitch do that?).  Just don't think about it in the shower. Janet Leigh and Vera Miles star along with the creepy Anthony Perkins and his..um "mom.."

Young Frankenstein (1974) Why not some Halloween chuckles? I've never been a huge Mel Brooks fan but I love this film. This is, of course the classic send off of the Frankenstein film with Gene Wilder as the doctor and Peter Boyle as the monster. The all star cast includes Teri Garr, Cloris Leachman and Marty Feldman as the funniest Igor you'll ever see.

The Ring (2002) What's this? I have a film of recent vintage? Yes. I obviously quite liked it. It's a mystery as much as a horror film (many scary movies are) with an intelligent plot. The opportunity to enjoy Naomi Watts is a plus. She's both a great beauty and a great actress.

The Shining (1980) If he'd a mind to Stanley Kubrick could likely have directed a lot of good horror films and Jack Nicholson could have starred in them. Their respective directing and acting styles lent themselves to the genre.  The Shining is proof. A family of caretakers in a snowed in mountain resort. The father goes bats. Supernatural events take place. Kudos to Stephen King's story and Kubrick's adaptation of it.

Omen (1976) What could possibly be scarier than the anti-Christ?  I can't think of anything either. Gregory Peck is an American statesman who's got the bad fortune of being the anti-Christ's father (and you thought your kid was a little devil). Richard Donner was the perfect man to direct this. It's got grisly deaths, tension and excitement and maybe a little something for bible thumpers and agnostics alike to think about.  There are sequels and remakes aplenty but stick to this, the original.

Rosemary's Baby (1968) What could be worse than fathering the devil? How about giving birth to it? That was Mia Farrow's lot in this wonderfully scary Roman Polanski film. The worst part is that everyone seems to be in on it. Not knowing whom you can trust is scary stuff indeed. What's really scary is when there's such a sense of normalcy but you gradually discover something is amiss. Horribly so.

Dracula (1931) We close with this absolute classic. No one will ever be better in the title role than was Bela Lugosi. His performance is one of the reasons that this Dracula version ages so well. A seductive and intelligent demon is the worst kind to deal with. Repeat viewings only increase the film's allure.

And now for this year's addendum.

The Rocky Horror Picture Show (1975). Here's a real poser, try providing a synopsis of this movie. Suffice it to say everyone should see it at least once. Many have seen it dozens and dozens of times. The ultimate cult classic. Tim Curry as...whatever he is, steals the show So what is it? Why it's....


It's just a jump to the left.
And then a step to the right.
With your hand on your hips.
You bring your knees in tight.
But it's the pelvic thrust.
They really drive you insane.
Let's do the Time Warp again.
Let's do the Time Warp again.
Poltergeist (1982). I watched it again this weekend for the first time science it first hit theaters (thanks TCM). I'm pleased to say it holds up pretty well. By no means a classic but it does tap into some very real fears: loss of a child; not safe in your own home; unseen forces at work and goblins in your TV set of all places. It's also a cautionary tale about building tract houses over graveyards.

The Invisible Man (1933). I love this movie. The feature film debut of the great Claude Rains (photo above) and what a debut it was. He's a cackling but diabolical mad scientist who's gone and got himself invisible (don't you just hate when that happens?). He checks into a typical English country tavern to try to sort things out and the next thing you know Una O'Connor is screeching left and right. Another horror classic from my man James Whale.

Carrie (1976). The granddaddy of all oh-my-God-I-totally-didn't-see-that-coming-I-thought-all-the-scariness-was-over movies -- to coin a phrase. Brian DePalma directed, Sissy Spacek  stars in this story of a teen with telekinetic powers This is not someone you want to p*ss off and wouldn't you know, pretty much all of her classmates conspire to humiliate her, and at the prom no less. Hell hath no fury like a girl with telekinesis scorned.

The Mummy (1932). Our old friend Karloff again, this time he's all wrapped up in his work (pause while readers roll on the floor emitting gales of laughter). For God's sakes folks don't waste your time with any of those silly Brendan Fraser mummy movies of recent vintage, you want this classic. British explorers discover an old Egyptian tomb  and let loose a killer mummy. This was an easy sell for audiences back in its time because of the supposed curse on discoverers (disturbers) of King Tut's tomb. Karloff is wonderful as is a supporting cast that's mostly unfamiliar to today's viewers.

Nosferatu (1922). Today silly vampire movies are a dime a dozen. We've even had silly vampire TV shows with equally silly slayers of said vampires. It's being done -- you should excuse the expression -- to death. But here we have the original, preceding even Lugosi's blood loving count by nearly a decade. Moreover it comes from legendary German director F.W.  Murnau. I'll not say more about it now because I'm going to screen Nosferatu in a day or so and do a separate post on it soon.

A few of other titles to consider: Aliens (1986), Bud Abbott Lou Costello Meet Frankenstein (1948), The Blob (1958), The Blair Witch Project (1999), Tremors (1990), The Wolf Man (1941), The Haunting (1963).



20 October 2010

Movie Titles Available, All You've Got to Do is Ask (And Pony Up Some Dough)

I've tried but I just don't see myself writing a film script. Hell, it's all I can do to maintain a film blog. But I can come up with film titles. This is not so easily done and as the folks in marketing will tell you it is key to selling a picture. So I've exercised my modest talents to come up with some ready made titles. It's up to the rocket scientists in Hollywood (I'm kidding of course, they're are a bunch of idiots) to take advantage of my labors. Here are 21 film titles applicable to the standard fare that Hollywood churns out like so much spam. Anyone interested in one of these for their next blockbuster or bomb simply email me and we'll discuss terms. I've also offered some ideas for the type of film each title could be used for. Dig in.

Lethal Margin You could make this a cop film, or pile on the special films for an action feature.

XTreme Man The definitive action super hero film. No one, but no one can get the best of someone called XTreme Man. And you know how he does everything? To the extreme>

Death Ray Outer space. Explosions. I'm spit balling here...how about a giant laser?

Tex Lucy and the Terror Train I've done half your work by coming up with the title, the rest should be a piece of cake.

Brother's Keeper Just off the top of my head I'm thinking this is a drama with a pair of siblings. Life lessons learned that sort of thing.

Harbor City Hokies This would be the the story of a rag tap assemblage of misfits who magically come together under a gruff but lovable coach for one magical season.

Triplets! Hilarious complications ensue when a mismatched pair not only have a baby but three at once!

The Wedding Caterer We've already had films about just plain old weddings, and about a wedding singer and a wedding planner so this must be next.

Demon Pirates of Tangiers You've got the title, the movie practically writes itself, get to work fellas.

Heart of Candy Maybe an indy film. An offbeat love story set against the harsh backdrop of meth country.

Ghost Caller We clearly need more films in which people encounter and talk to ghosts. This has got to be in the offing.

Never Man You can go a million ways with a title like this. Could be anything from a Sci Fi thriller to the dramatic story of a man's mid life crisis.

Rock and Darcy They're a lovable duo. Could be a hetero teen couple, maybe gay, maybe a girl and her dog. The possibilities are endless.

Johnny Best My first thought is guitar wielding country boy, but then again this could be a super hero or the son of short time Beatle Pete Best.

Glitz A rollicking musical!

Switchblade 2 This presupposes that someone first makes a slasher film called Switchblade. I'm thinking any day now.

The Poke-Along Gang Finally a movie for the kids that the whole family can enjoy. The darling misadventures of...You get the idea.

Fantastic Beloved If you've got a simply AMAZING love story with a hint of the mystical, here's your title.

Steel Magnum The perfect cop action movie title.

Attack of the Killer Otters Admittedly this one's a long shot but just in case.

Divine Secrets of the Ya Ya Sisterhood A ridiculous title I know but...what's that? I'm being told this has already been used. You're kidding right? What moron would call a movie -- aw, skip it!

19 October 2010

Don't See This Movie -- At Least Until After Reading This

Imagine if during the height of the recent US war in Iraq, politicians, academics and  Ordinary Joes started blaming the debacle on the soldiers. "Soldiers need to be held accountable," they'd opine. "There are too many who are under performing. We need to start evaluating them more carefully. Maybe establish merit pay for those who are getting the most kills."

Unthinkable, right? But teachers go about their duties in trying conditions, often poorly supplied and without the overwhelming public support afforded soldiers. As US schools continue to struggle relative to some Asian and many European countries, teachers have become convenient scapegoats. It is infinitely more difficult to face the fact that education is grossly under funded, that American culture similarly undervalues educations (leads to elites!) and that a huge percentage of struggling students come from not only non-supportive homes, but ones with severe problems. Teachers are expected to be miracle workers.

I have seen first hand the terrible disparity in education in this country. It represents a form of economic oppression and classism. I've been to private schools in San Francisco where predominantly white student bodies roam carpeted halls on their way to classrooms that boast the latest educational technology. All the facilities are new, modern and clean. I've also been to public schools in East Oakland that are almost exclusively comprised of African American and Hispanic students. The facilities are adequate at best, school supplies are old and shabby and classrooms are crowded. This is 21st century America but there are shades of the time before Brown v. Board of Education.

(By the way I have a simple and guaranteed solution for curing what ails our schools, though it could never happen. Outlaw private schools. Politicians, whose children and grandchildren would all be forced to attend public schools, would allocate funds as generously to education as they currently do to the military. Meanwhile, all the time, energy resources and money that the wealthy funnel into private schools would now find their way to public ones.)

I bring all this up now because of the recent release of a documentary on the "crisis" in America's schools called Waiting for Superman. All I need to know about is that takes pot shots at teachers. I am proud to have taught for 18 years at a public middle school and don't take kindly to people talking smack about teachers. You've no idea, unless you're in the biz, what dedicated, hard-working, industrious, imaginative people  most teachers are. We deserve the kind of adulation so freely given to athletes, entertainers and the military. (Yes, I recognize that there are a few bad apples. Can you name a profession in which that is not the case?)

So do I mean to write about a movie I've never seen? Indeed do I presume to dissuade people from seeing a movie I've never seen? No. But I would ask that you read the article below that I copy and pasted from the Washington Post. It was written by Rick Ayers. His son was a student of mine and my youngest child was a student of his. So I know the man and he's aces. He took a bullet for a lot of us by seeing the film and writing about it.
Here it is:

What ‘Superman’ got wrong, point by point
This was written by Rick Ayers, a former high school teacher, founder of Communication Arts and Sciences small school at Berkeley High School, and currently adjunct professor in teacher education at the University of San Francisco. He is the co-author, with his brother William Ayers, of the forthcoming "Teaching the Taboo" from Teachers College Press. This post is long, but it is worth your time.
By Rick Ayers
While the education filmWaiting For Superman has moving profiles of students struggling to succeed under difficult circumstances, it puts forward a sometimes misleading and other times dishonest account of the roots of the problem and possible solutions.
The amped-up rhetoric of crisis and failure everywhere is being used to promote business-model reforms that are destabilizing even in successful schools and districts. A panel at NBC’s Education Nation Summit, taking place in New York today and tomorrow, was originally titled "Does Education Need a Katrina?" Such disgraceful rhetoric undermines reasonable debate.
Let’s examine these issues, one by one:
*Waiting for Superman says that lack of money is not the problem in education.
Yet the exclusive charter schools featured in the film receive large private subsidies. Two-thirds of Geoffrey Canada’s Harlem Children’s Zone funding comes from private sources, effectively making the charter school he runs in the zone a highly resourced private school.Promise Academy is in many ways an excellent school, but it is dishonest for the filmmakers to say nothing about the funds it took to create it and the extensive social supports including free medical care and counseling provided by the zone.

In New Jersey, where court decisions mandated similar programs, such as high quality pre-kindergarten classes

and extended school days and social services in the poorest urban districts, achievement and graduation rates increased while gaps started to close. But public funding for those programs is now being cut and progress is being eroded. Money matters! Of course, money will not solve all problems (because the problems are more systemic than the resources of any given school) – but the off-handed rejection of a discussion of resources is misleading.

*Waiting for Superman implies that standardized testing is a reasonable way to assess student progress.
The debate of “how to raise test scores” strangles and distorts strong education. Most test score differences stubbornly continue to reflect parental income and neighborhood/zip codes, not what schools do. As opportunity, health and family wealth increase, so do test scores.
This is not the fault of schools but the inaccuracy, and the internal bias, in the tests themselves.
Moreover, the tests are too narrow (on only certain subjects with only certain measurement tools). When schools focus exclusively on boosting scores on standardized tests, they reduce teachers to test-prep clerks, ignore important subject areas and critical thinking skills, dumb down the curriculum and leave children less prepared for the future. We need much more authentic assessment to know if schools are doing well and to help them improve.
*Waiting for Superman ignores overall problems of poverty.
Schools must be made into sites of opportunity, not places for the rejection and failure of millions of African American, Chicano Latino, Native American, and immigrant students. But schools and teachers take the blame for huge social inequities in housing, health care, and income.

Income disparities between the richest and poorest in U.S.society have reached record levels between 1970 and today. Poor communities suffer extensive traumas and dislocations. Homelessness, the exploitation of immigrants, and the closing of community health and counseling clinics, are all factors that penetrate our school communities. Solutions that punish schools without addressing these conditions only increase the marginalization of poor children.

*Waiting for Superman says teachers’ unions are the problem. 
Of course unions need to be improved – more transparent, more accountable, more democratic and participatory – but before teachers unionized, the disparity in pay between men and women was disgraceful and the arbitrary power of school boards to dismiss teachers or raise class size without any resistance was endemic.
Unions have historically played leading roles in improving public education, and most nations with strong public educational systems have strong teacher unions.
According to this piece in The Nation, "In the Finnish education system, much cited in the film as the best in the world, teachers are – gasp! – unionized and granted tenure, and families benefit from a cradle-to-grave social welfare system that includes universal daycare, preschool and health care, all of which are proven to help children achieve better results in school."
In fact, even student teachers have a union in Finland and, overall, nearly 90% of the Finnish labor force is unionized.
The demonization of unions ignores the real evidence.
*Waiting for Superman says teacher education is useless.
The movie touts the benefits of fast track and direct entry to teaching programs such as Teach for America, but the country with the highest achieving students, Finland, also has highly educated teachers.
A 1970 reform of Finland’s education system mandated that all teachers above the kindergarten level have at least a master’s degree. Today that country’s students have the highest math and science literacy, as measured by the Program for International Student Assessment (PISA), of all the Organization for Economic Cooperation and Development (OECD) member countries.
*Waiting for Superman decries tenure as a drag on teacher improvement. 
Tenured teachers cannot be fired without due process and a good reason: they can’t be fired because the boss wants to hire his cousin, or because the teacher is gay (or black or…)

Income disparities between the richest and poorest in U.S.society have reached record levels between 1970 and today. Poor communities suffer extensive traumas and dislocations. Homelessness, the exploitation of immigrants, and the closing of community health and counseling clinics, are all factors that penetrate our school communities. Solutions that punish schools without addressing these conditions only increase the marginalization of poor children.

*Waiting for Superman says teachers’ unions are the problem. 
Of course unions need to be improved – more transparent, more accountable, more democratic and participatory – but before teachers unionized, the disparity in pay between men and women was disgraceful and the arbitrary power of school boards to dismiss teachers or raise class size without any resistance was endemic.
Unions have historically played leading roles in improving public education, and most nations with strong public educational systems have strong teacher unions.
According to this piece in The Nation, "In the Finnish education system, much cited in the film as the best in the world, teachers are – gasp! – unionized and granted tenure, and families benefit from a cradle-to-grave social welfare system that includes universal daycare, preschool and health care, all of which are proven to help children achieve better results in school."
In fact, even student teachers have a union in Finland and, overall, nearly 90% of the Finnish labor force is unionized.
The demonization of unions ignores the real evidence.

*Waiting for Superman says teacher education is useless.
The movie touts the benefits of fast track and direct entry to teaching programs such as Teach for America, but the country with the highest achieving students, Finland, also has highly educated teachers.
A 1970 reform of Finland’s education system mandated that all teachers above the kindergarten level have at least a master’s degree. Today that country’s students have the highest math and science literacy, as measured by the Program for International Student Assessment (PISA), of all the Organization for Economic Cooperation and Development (OECD) member countries.
*Waiting for Superman decries tenure as a drag on teacher improvement. 
Tenured teachers cannot be fired without due process and a good reason: they can’t be fired because the boss wants to hire his cousin, or because the teacher is gay (or black or…), or because they take an unpopular position on a public issue outside of school.
A recent survey found that most principals agreed that they had the authority to fire a teacher if they needed to take such action. It is interesting to note that when teachers are evaluated through a union-sanctioned peer process, more teachers are put into retraining programs and dismissed than through administration-only review programs. Overwhelmingly teachers want students to have outstanding and positive experiences in schools.
*Waiting for Superman says charter schools allow choice and better educational innovation. 
Charters were first proposed by the teachers’ unions to allow committed parents and teachers to create schools that were free of administrative bureaucracy and open to experimentation and innovation, and some excellent charters have set examples. But thousands of hustlers and snake oil salesmen have also jumped in.
While teacher unions are vilified in the film, there is no mention of charter corruption or profiteering. A recent national study by CREDO, The Center for Research on Education Outcomes at Stanford University, concludes that only 17% of charter schools have better test scores than traditional public schools, 46% had gains that were no different than their public counterparts, and 37% were significantly worse.
While a better measure of school success is needed, even by their own measure, the project has not succeeded. A recent Mathematica Policy Research study came to similar conclusions. And the Education Report,"The Evaluation of Charter School Impacts, concludes, “On average, charter middle schools that hold lotteries are neither more nor less successful than traditional public schools in improving student achievement, behavior, and school progress.”
Some fantastic education is happening in charter schools, especially those initiated by communities and led by teachers and community members. But the use of charters as a battering ram for those who would outsource and privatize education in the name of “reform” is sheer political opportunism.
*Waiting for Superman glorifies lotteries for admission to highly selective and subsidized charter schools as evidence of the need for more of them.
If we understand education as a civil right, even a human right as defined by the U.N. Convention on the Rights of the Child, we know it can’t be distributed by a lottery.
We must guarantee all students access to high quality early education, highly effective teachers, college and work-preparatory curricula and equitable instructional resources like good school libraries and small classes. A right without a clear map of what that right protects is an empty statement.
It is not a sustainable public policy to allow more and more public school funding to be diverted to privately subsidized charters while public schools become the schools of last resort for children with the greatest educational needs. In Waiting for Superman, families are cruelly paraded in front of the cameras as they wait for an admission lottery in an auditorium where the winners’ names are pulled from a hat and read aloud, while the losing families trudge out in tears with cameras looming in their faces – in what amounts to family and child abuse.
*Waiting for Superman says competition is the best way to improve learning.
Too many people involved in education policy are dazzled by the idea of “market forces” improving schools.
By setting up systems of competition, Social Darwinist struggles between students, between teachers, and between schools, these education policy wonks are distorting the educational process.


Teachers will be motivated to gather the most promising students, to hide curriculum strategies from peers, and to cheat; principals have already been caught cheating in a desperate attempt to boost test scores. And children are worn out in a sink-or-swim atmosphere that threatens them with dire life outcomes if they are not climbing to the top of the heap.
In spite of the many millions of dollars poured into expounding the theory of paying teachers for higher student test scores (sometimes mislabeled as ‘merit pay’), a new study by Vanderbilt University’s National Center on Performance Incentives found that the use of merit pay for teachers in the Nashville school district produced no difference even according to their measure, test outcomes for students.
*Waiting for Superman says good teachers are key to successful education. We agree. But Waiting for Superman only contributes to the teacher-bashing culture which discourages talented college graduates from considering teaching and drives people out of the profession.
According to the Department of Education, the country will need 1.6 million new teachers in the next five years. Retention of talented teachers is one key. Good teaching is about making connections to students, about connecting what they learn to the world in which they live, and this only happens if teachers have history and roots in the communities where they teach.
But a recent report by the nonprofit National Commission on Teaching and America’s Future says that “approximately a third of America’s new teachers leave teaching sometime during their first three years of teaching; almost half leave during the first five years. In many cases, keeping our schools supplied with qualified teachers is comparable to trying to fill a bucket with a huge hole in the bottom.”
Check out the reasons teachers are being driven out in Katy Farber’s book, "Why Great Teachers Quit: And How We Might Stop the Exodus," (Corwin Press).
*Waiting for Superman says “we’re not producing large numbers of scientists and doctors in this country anymore. . . This means we are not only less educated, but also less economically competitive.”


But Business Week (10/28/09) reported that “U.S. colleges and universities are graduating as many scientists and engineers as ever,” yet “the highest performing students are choosing careers in other fields.” In particular, the study found, “many of the top students have been lured to careers in finance and consulting.” It’s the market, and the disproportionately high salaries paid to finance specialists, that is misdirecting human resources, not schools.
*Waiting for Superman promotes a nutty theory of learning which claims that teaching is a matter of pouring information into children’s heads.
In one of its many little cartoon segments, the film purports to show how kids learn. The top of a child’s head is cut open and a jumble of factoids is poured in. Ouch! Oh, and then the evil teacher union and regulations stop this productive pouring project.
The film-makers betray a lack of understanding of how people actually learn, the active and engaged participation of students in the learning process. They ignore the social construction of knowledge, the difference between deep learning and rote memorization.
The movie would have done a service by showing us what excellent teaching looks like, and addressing the valuable role that teacher education plays in preparing educators to practice the kind of targeted teaching that reaches all students. It should have let teachers’ voices be heard.
*Waiting for Superman promotes the idea that we are in a dire war for US dominance in the world.
The poster advertising the film shows a nightmarish battlefield in stark gray, with a little white girl sitting at a desk in the midst of it. The text: “The fate of our country won’t be decided on a battlefield. It will be determined in a classroom.”
This is a common theme of the so-called reformers: We are at war with India and China and we have to out-math them and crush them so that we can remain rich and they can stay in the sweatshops.
But really, who declared this war? When did I as a teacher sign up as an officer in this war? And when did that 4th grade girl become a soldier in it? Instead of this new educational Cold War, perhaps we should be helping kids imagine a world of global cooperation, sustainable economies, and equity.
*Waiting for Superman says federal “Race to the Top” education funds are being focused to support students who are not being served in other ways.
According to a study by the Lawyers Committee for Civil Rights under Law, NAACP Legal Defense and Educational Fund, Inc., and others, Race to the Top funds are benefiting affluent or well-to-do, white, and“abled” students. So the outcome of No Child Left Behind and Race to the Top has been more funding for schools that are doing well and more discipline and narrow test-preparation for the poorest schools.
*Waiting for Superman suggests that teacher improvement is a matter of increased control and discipline over teachers.
Dan Brown, a teacher in the SEED charter school featured in the film, points out that successful schools involve teachers in strong collegial conversations. Teachers need to be accountable to a strong educational plan, without being terrorized. Good teachers, which is the vast majority of them, are seeking this kind of support from their leaders.
*Waiting for Superman proposes a reform “solution” that exploits the feminization of the field of teaching; it proposes that teachers just need a few good men with hedge funds (plus D.C. Schools Chancellor Michelle Rhee with a broom) to come to the rescue. 
Teaching has been historically devalued – teachers are less well compensated and have less control of their working conditions than other professionals – because of its associations with women.
For example, 97% of preschool and kindergarten teachers are women, and this is also the least well-compensated sector of teaching; in 2009, the lowest 10% earned $30,970 to $34,280; the top 10% earned $75,190 to $80,970. () By comparison the top 25 hedge fund managers took in $25 billion in 2009, enough to hire 658,000 new teachers.

Waiting for Superman could and should have been an inspiring call for improvement in education, a call we desperately need to mobilize behind.

That’s why it is so shocking that the message was hijacked by a narrow agenda that undermines strong education. It is stuck in a framework that says that reform and leadership means doing things, like firing a bunch of people (Rhee) or “turning around” schools (Education Secretary Arne Duncan) despite the fact that there’s no research to suggest that these would have worked, and there’s now evidence to show that they haven’t.


Reform must be guided by community empowerment and strong evidence, not by ideological warriors or romanticized images of leaders acting like they’re doing something, anything. Waiting for Superman has ignored deep historical and systemic problems in education such as segregation, property-tax based funding formulas, centralized textbook production, lack of local autonomy and shared governance, de-professionalization, inadequate special education supports, differential discipline patterns, and the list goes on and on.
People seeing Waiting for Superman should be mobilized to improve education. They just need to be willing to think outside of the narrow box that the film-makers have constructed to define what needs to be done.
Thanks for ideas and some content from many teacher publications, and especially from Monty Neill, Jim Horn Lisa Guisbond, Stan Karp, Erica Meiners, Kevin K

Yumashiro, Ilene Abrams, Bill Ayers, and Therese Quinn.