Viewed February 22, 2009: Right America: Feeling Wronged – Some Voices from the Campaign Trail, a made-for-HBO documentary directed by Alexandra Pelosi.
This is one of a number of exposés of right-wing subjects by Alexandra Pelosi (daughter of Nancy Pelosi, current Speaker of the House of Representatives). An earlier documentary, Friends of God…, was entertaining and illuminating to the max, and I’m looking forward to seeing her The Trials of Ted Haggard soon. In this film, she travels around some conservative areas in the US to get man-on-the-street style interviews with people who voted for McCain in the recent presidential election, in order to get their reaction to their candidate’s loss. Those she gets, or at least the ones she shows, range from idiotic to moronic, passing through outright racist.
I have mixed reactions to this film. On one side, one just sits there jaw-droppingly dumbfounded at the things people are saying to the camera. Many of the old canards are paraded out: Obama will take the oath of office on the Koran, his middle name is Hussein, he refuses to take the Pledge of Allegiance, a black person (and worse words are used) should never be President, and more. Perhaps worse, many people are completely unable to produce an argument behind their position at all, and often not even a sentence. There are a few people who make reasoned statements, but the memory of them is blotted out by most of the others. On the other side, one wonders if Pelosi is simply setting up her ducks and shooting them down: I suspect (in fact, am pretty sure) you can find lots of ignorant and hateful people on any side – people who have political alignments they can’t justify and beliefs they can’t explain – and indeed get-out-the-vote drives sometimes seemed aimed at hustling them up. One thing you have to give her: she certainly plumbed the depths on the side she was going after. This may not be exactly educational, but it sure is watchable. It brings to mind that Churchill quote that’s you see behind every position these days, that “the biggest argument against democracy is a five minute discussion with the average voter.” And having cited it, I too can feel all superior.
Viewed February 21, 2009: The Legend of 1900 directed by Giuseppe Tornatore, starring Tim Roth and Pruitt Taylor Vince, and featuring Bill Nunn and Clarence Williams III.
This is the story – a fantasy, really – told in flashback reminiscences by musician Max Tooney (Vince) about a man who was abandoned as a baby aboard a passenger liner in the year 1900. He is found by coal stoker Danny Boodmann (played by Bill Nunn) on top of a grand piano in the ship’s luxurious ballroom. As it’s the beginning of a new century (geeks, you’ll have to get past the fact that it really isn’t) Boodmann christens the boy “1900” and raises him aboard ship. Time elapses, Boodmann passes on; one day the boy 1900 wanders into the ballroom, sits down at piano, and displays an innate talent. More time goes on and 1900, now grown into a man (played by Tim Roth) wows the first-class passengers who gather nightly in the ballroom. In all this time, 1900 has never left the ship, yet his reputation has spread. His life is remembered in episodes, some dramatic, some romantic, some poignant. In one, famed musician Jelly Roll Morton (Clarence Williams III), self-proclaimed inventor of jazz, takes a trip on the ship just so he can prove his superiority to 1900. The contest between them, about midway through the film, with 1900 producing a Leo Ornstein -like performance, is not to be missed. One assumes that the filmmakers have taken some liberties with the character of the real Jelly Roll Morton; you just have to treat it as poetic license. And they did use some of Morton’s music in the contest.
This is my third viewing of this movie, and it’s just a wonderful film. In my mini-review of “Angel-A” I referred to that film as a fairy tale for adults – a friend suggested that that tag might apply to this movie as well.
Other than a few sequences (such as the above-mentioned piano contest), this is a deliberately-paced (read: slow) movie, which may put off some viewers who demand action and fast cars and explosions (OK, so there are some explosions in this film). While my tastes generally run to the more deliberate movies, even I would say that the second half of this film could use some tightening. But then again: the version I’ve seen is the US release which runs 125 minutes. The original release was 35 minutes longer than that, and I suspect that any problem that I have with the editing of this film stems from the fact that so much was removed from it. I’d love to see the longer version and compare.