Review: The Weather Underground (2007)

Terrorism was on everyone'e mind this past decade. It began with the attacks of 9/11 and ended with the failed airplane bomb plot on Christmas Day 2009. The award winning documentary, The Weather Underground, is a somber look at a group of 1960s radicals that resorted to violence. Their rage at the government's persecution of the Vietnam War and frustration with ineffective anti-war movement led to go underground and "bring the war home." In time, the Weathermen hoped radicalize all young people, overthrow the government, and inaugurate a new Utopian society. A tall order indeed. The film combined narration, archival footage, and interviews with former members. At the heart of The Weather Underground is the question of how citizens should express dissent with the government and no clear answers are given. Unfortunately, the film rests on the myths of the 1960s and and a not so subtle commentary on the Bush administration (2001-2009)

The Weathermen were a splinter group of the Students for a Democratic Society (SDS), the vanguard of the campus revolts of the 1960s and 1970s. Created in 1962 in Port Huron, Michigan, they advocated for a new "participatory democracy" and non-violent resistance to war and racism. They spoke directly to a younger generation frustrated with the complacency of their parents towards the Cold War and the struggle for Civil Rights. But it was the Vietnam War that defined them. As the war intensified and the draft calls cut into the middle class the anti-war ranks increased. Some members of SDS favored a more confrontational approach towards the government and they broke away to create the Weatherman (they took their name from the Dylan lyric from Subterranean Homesick Blues, "you don't need a weatherman to know which way the wind blows").

Several figures from the group were interviewed and all have differing views of their past actions. Some have regrets and some do not. From 1969-1975 the Weatherman were responsible for several bombings on government buildings. In 1970, a bomb accidentally went off in Greenwich Village and killed three of its own members. After the incident the group decided to take every precaution to avoid civilian casualties, but they still considered those that disagreed with them complicit with the government. A dangerous line of thinking when one believes they have all the answers, that is a pure terrorist. As the Vietnam War slowly came to an end the Weatherman fell into obscurity.

The film did a fine job of presenting the Weathermen's viewpoint, but is lacking in historical context. They relied on the myths of the 1960s. The first myth is that most young people opposed the war, when in fact most did. More young people went conservative in the 1960s; membership in the conservative student group YAF (Young Americans for Freedom) were higher than SDS. Furthermore, the film gives a superficial depiction of the Vietnam War. It never explains why America was there in the first place, but that it was just a war that most people were against. Another flaw is its depiction of Richard Nixon, showing cherry picked clips with Nixon sounding angry and intolerant. Must every 60s themed film fall back on Nixon as the ultimate bad guy?

At the documentary's heart is the question of dissent in a democratic society. How far should it go? If you disagree with the administration in power, what is the proper course of action? There are no satisfactory answers to those questions, at least I have no answers. From a historical standpoint, America was forged in a violent revolution and rebelling against tyranny is always an admired American trait. Then there was the Civil War (1861-1865), but that was a war to prevent secession, as the South did want to conquer the North. In recent history, there was the 1995 Oklahoma City attacks by a right wing fanatic that despised the government. Dissent is only successful when it has a large following, otherwise they remain on the fringes. Acts of violence on innocent people rarely win people to your cause.

By the end The Weather Underground has the feel of a depressing class reunion. None of them seems too proud of their past actions. One former member, bar owner, Brian Flanagan, regrets his involvement with the group. He sees no honor in the use of violence to make a political point, especially in the wake of 9/11. Others remain committed to various causes and believe that violent change may be necessary. For students or anyone viewing the film, however, perhaps it is better to understand the nature of power before deciding how to dissent. Isn't the entire point of having a democracy?

Review: "The Battle over Citizen Kane"

The PBS documentary "The Battle over Citizen Kane" from the acclaimed anthology series, The American Experience is a compelling snapshot of cultural history. The show depicts the clash between the media mogul William Randolph Hearst (1863-1951) and actor/director Orson Welles (1915-1985) over the release of what is universally considered the greatest American film ever made, Citizen Kane. Both men left indelible impressions on their respective eras. Hearst is to American journalism what John D. Rockefeller was to oil, as he controlled a sizable portion of the newspaper industry for the first half of the 20th century. Welles revolutionized American theater and film in the 1930s and 1940s. In 1941, Hearst and Wells, an old man and a young man, clashed over the limits of artistic expression on the eve of America's entry into the Second World War. The film skillfully used narration, photography, and the usual talking head commentary that captures the personalities of two giants.



Hearst holds a dubious place in American history, even more so than most titans of industry. The heir to a mining fortune, Hearst used cunning and wealth to build a news empire. Early in his career Hearst championed the underdog with stories favoring immigrants, the poor, and reformers. In 1898, Hearst favored war with Spain and helped spark a war fever in the country, with outrageous stories of Spanish atrocities in Cuba and their alleged complicity in the explosion of the U.S.S. Maine. After a failed foray into politics, Hearst newspapers turned their focus to sensationalism and celebrity driven stories. In later life, he secluded himself at his Northern California mansion with his mistress, the actress Marion Davies, and held court with the Hollywood elite. The life of Hearst is a metaphor for the corrosive effect of greed and epitomized the worst of American capitalism.

Welles cuts a far more interesting and enduring figure. During his childhood in suburban Chicago Welles was told he was a genius and believed it! In the late 1930s Welles shook up American theater with topical productions of classic Shakespeare plays. For example, he placed Julius Caesar in Nazi Germany. A star of the radio as well, Welles frightened the CBS listening audience in his legendary broadcast of War of the Worlds. In 1939, Hollywood came calling and he signed a contract with RKO that gave him complete creative control. Out of this came, Citizen Kane.

Modern film goers may not be aware the film is inspired by the life of Hearst, although the character Charles Foster Kane has the attributes of other historical figures. In 1941, when word leaked out the film gave a less than flattering portrayal of Hearst, he used all his power to prevent the film from being released. Hearst newspapers were banned from advertising the film and even distributed harsh reviews. Many theaters, under pressure from Hearst, refused to show it as well. Welles threatened major lawsuits on RKO if they caved in. The film was released to generally favorable reviews, but Welles had left a bad impression on the Hollywood elite. Citizen Kane only won one Oscar for original screenplay.



Several books and articles are available explain why Citizen Kane is a great film. The study by New Yorker critic Pauline Kael, The Citizen Kane Book, remains the standard work. I would also recommend the commentary tracks on the DVD with film historian Peter Bogdanovich and the movie critic Roger Ebert. The groundbreaking cinematography and the non linear structure of the film were way ahead of its time. Welles's amazing transformation from an idealistic young man into a cold reactionary is still remarkable. Also, the film is a parable about the nature of wealth and fame in America. The film opens with Kane dying alone inside his mansion is an odd foreshadowing of the demise of future icons like Howard Hughes, Elvis Presley, or Michael Jackson.

My one qualm in the film is its downbeat depiction of Welles. After the controversy surrounding Citizen Kane Welles lost creative control over his films. Amazingly, Welles was planning on film based on the life of Christ with himself in the title role! Eventually Welles left the studio system and became an independent filmmaker - before it was hip. The film implied that his post-Kane career was a downward spiral. Critics now acknowledge later films as masterpieces as well, Touch of Evil and Chimes at Midnight. His work remains relevant and a recent film by the indy director Richard Linklater, Me and Orson Welles, is about his famous production of Julius Caesar. Overall, the is useful in telling the story behind America's greatest film.

Music Review: Wilco: (the album)

"Are you under the impression this isn't your life?" begins Wilco's latest LP, entitled, Wilco: (the album). Jeff Tweedy, lead songwriter and singer for Wilco, is beginning to receive widespread notoriety. Based in Chicago, their music is rooted in the American Midwest. Formed after the break up of the pioneering alt-country band, Uncle Tupelo, Wilco has crafted some of finest music in the past two decades. Wilco: (the album) is a great starting point for anyone unfamilar with their music since it has all the best aspects of their previous work.

The band's history is not lacking in drama. In the mid 1990s they were on the vanguard of the alternate country scene, but quickly moved on. Their 1996 double album, Being There, moved them in a more classic rock direction; a retro homage to the great 1970s bands. Wilco's next project was of a collaboration with the British folk singer, Billy Bragg, of unrecorded Woody Guthrie tunes. In 1999 came Summerteeth, a departure into pure pop music. Tweedy's dark lyrics juxtaposed with Jay Bennett's heavy production redefined Wilco. The signature track, "Via Chicago," opens with the line, "I dreamed about killing you again last night and it felt all right to me," in a haunting, but beautiful journey into a nightmarish landscape.

The year 2001 brought the release of Yankee Hotel Foxtrot. An instant classic, it was almost left on the shelf after their record company dropped them for being too experimental. Differences between Tweedy and Bennett led to his departure (Bennet passed away last May). Everything was captured in the documentary, I am Trying to Break your Heart, - the Let it Be of this generation. Some songs were released on the Internet that created a buzz and brought them more fans. Yankee is truly unique album that sounds traditional and futuristic. The follow up in 2004, A Ghost is Born, had a bit of everything, from the 12 minute surrealistic epic "Spiders" ( a showstopper at their concerts) and 16 minutes of drone. In 2007 came Sky Blue Sky with a revamped line up of musicians brought them back to earth after two experimental albums.

Their latest album has brought them national attention from major media outlets, including the cover of Spin. While the album lacks the controlled chaos of the Tweedy/Bennett era, the spirit is still there. Some highlights include a charming duet with Feist on "You and I," an ode to civil war conscript "I'll fight," and a parody of American nostalgia in "Sonny Feeling." Finally there is "Bull Black Nova," imagine an Edgar Allan Poe tale set to electric mayhem.

Wilco is a great live band as well, playing sets that often last 2 1/2 hours. Rumor has it they will begin recording new material in January, so fans can eagerly await which direction Tweedy will take them. Hopefully, they will keep making great music.

On Seeing a Bob Dylan Concert

I've never met anyone famous. Nor have I traveled to all places I wish to see. But about a year ago I did get to see Bob Dylan perform. One of my heroes that's actually still alive. It was on a rainy, chilly November night in Kalamazoo, Michigan. A Bob Dylan concert is a unique experience, and one will leave feeling they've just been through something . . .

So along with my sister we made the trek to Kalamazoo to see the aging icon of the 1960s. I've read enough about Dylan to know that he's no saint. Our society demands much of its heroes and Dylan would scoff at the very notion of hero worship. In "Subterranean Homesick Blues" from 1965, a stream of consciousness rant, Dylan proclaimed "don't follow leaders." His music is honest, sometimes panifully so about life. My first memory of his music is hearing "Positively 4th Street" and having a vague idea of the song's meaning. The comforting organ sound juxtaposed with the searing lyrics of either a jilted lover aimed at someone or maybe at the folk community who thought him a sellout for playing rock and roll. It's really hard to pinpoint the exact meaning towards any Dylan song.

The concert opened with a rollicking version of "Maggie's Farm." That was the song Dylan played at the 1965 Newport Folk Festival with a rock band that enraged the folk community. Dylan's voice has aged and it's hard to decipher at times. On his first album, Bob Dylan (1962), he was a 21 year old trying to sound like an old man - so things have come full circle for him. But there's a poignancy to the voice . The second song, another 60s classic, Rainy Day Women 12 & 35 had a joyful carefree spirit. Towards the end his band performed 'Ballad of a Thin Man," perhaps the most searing condemnation of the American establishment ever written.

There were many memorable moments. Some of the best material from his recent trilogy Time Out of Mind (1997), Love and Theft (2001), and Modern Times (2006) were highlights. These recordings are just as relevant anything Dylan recorded in the 1960s. They are like a history of American music told through emotion rather than fact. The best word to describe them is timeless.

The two encores, "Like a Rolling Stone" and "All Along the Watchtower have now transcended the 1960s. One a sermon on self-reliance, the other a vision of impending doom made famous by another major Dylan fan - Jimi Hendrix. At the end Dylan introduced his band took a bow and left the stage. Many get miffed he rarely recognizes the audience, but his fans realize that's just Dylan.

In all his many guises - scion of Woody Guthrie, Mod Rocker/Romantic poet, Old West outlaw, born again Christian, has been rocker, world weary prophet - all endear us to him. Dylan is a survivor of an America that seems distant to my generation - Cold War, Vietnam, Civil Rights, assassinations, and Watergate - as one who lived up to his early promise. In future ages scholars will look to Dylan's words to unravel the elusive American character. As for myself, that one encounter with greatness will always be with me.

Rebooting the Second World War: Inglorious Basterds ****

Quentin Tarantino's Inglorious Basterds has the attitude of a Ramones album and the virtuosity of a Thomas Pynchon story. Tarantino's past films have taken formulaic genres and reinvented them. He threw out all the rules of Hollywood film making and a tidal wave swept the film industry. Inglorious Basterds takes things further and defies history itself. Movie goers will be discussing it for years to come, at least I will.

The title's somewhat misleading as there are four storylines which all converge at the end - very much like another WWII epic Bridge on the River Kwai (1957). Brad Pitt plays Lt. Aldo Raine, a moonshiner from Tennessee who leads an all Jewish unit that wage "Apache" warfare on the Nazis. We never learn much about them except that they love scalping Nazis. One of them beats them to death with baseball bats. The Basterds are an obvious nod to The Dirty Dozen (1966), who are group of violent misfits we can get behind because they kill Nazis.

Another unforgettable character, the "Jew Hunter" Col. Hans Landa (Chrstolph Waltz) easily steals the film. Colonel Landa hunts his victims through charm, intimidation, and intelligence. The opening scene in which he interrogates a French farmer would make Hitchcock proud. Hollywood has a history creating sadistic Nazis, perhaps most memorably Ralph Fiennes in Schindler's List. He was a barbarian thug. While Landa is nothing of the sort, instead he's cultured, charming, and, a master of languages. An important point since not all Nazis were thugs; they were cultured people who listened to Beethoven. Tarantino's decision to create charismatic Nazi villain is actually truer to history than many WWII films.

Strong female characters also play a key role. Melanie Laurent plays a French girl who witnesses her family getting massacred and plots revenge, similar The Bride in Kill Bill. Diane Kruger plays German movie star Bridgette Von Hammersmark. These story lines, particularly Melanie's, add an emotional element to the film.

A few words about the film's violence. First of all, it's tame for a Tarantino film. Some may be repulsed by the the basterds - others gleeful. What's better than Nazis getting what they deserve? Does Tarantino dare his audience to cheer on the violence? There is no simple answer. The Allies also did horrible things to win the war such killing thousands of innocent civilians in their strategic bombing campaigns (not to mention the use of nuclear weapons). The cartoon violence in the film will excite and unsettle audiences.  If anything, it should make us think about violence, instead of simply responding to it.

Finally the war depicted in the film is more like a fantasy loosely based on the actual war. History has taken a course no one can change. Everyone wishes Hitler had been stopped in the 1930s and the war could've been avoided. The film offers some wish fulfillment on the surface, but also forces us to think of alternative paths to history.

Inglorious Basterds is an immensely entertaining film. Mike Myers plays a Scottish Colonel recalling Trevor Howard in The Third Man. A David Bowie song randomly appears. Tarantino has made his war movie; he has raised the bar once again.