Showing posts with label historical. Show all posts
Showing posts with label historical. Show all posts

Tuesday, November 13, 2012

Lincoln [2012]

MPAA (R)  CNS/USCCB (A-III)  Roger Ebert (4 Stars)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB review
Roger Ebert's review
 
Lincoln (directed by Steven Spielberg screenplay by Tony Kushner based in part on the book Team of Rivals: The Political Genius of Abraham Lincoln by Doris Kearns Goodwin) is one of the best American films of the year and will earn a whole host of Oscar nominations including best film, best adapted screenplay (Kushner), best director (Spielberg) and best actor in a leading role (Daniel Day Lewis who plays President Abraham Lincoln [IMDb] in the film) as well as nominations for various other artistic/technical aspects of the film including best makeup, costume design and art direction.

Despite being a historical "biopic" about the towering figure of Abraham Lincoln, the film is IMHO remarkably timely because it's also largely about the "nuts and bolts" of the political process in a democracy.  That is, the film's about the Lincoln Administration's effort in the closing months of the American Civil War (and right after his reelection in 1864) to collect the requisite 2/3 of the votes in the House to pass what became the 13th Amendment to the U.S. Constitution, which after being ratified by 3/4 of the States came to outlaw slavery in the United States.  And collecting the votes was _not_ an easy task.

Though the Republican Party of the time was abolitionist (indeed largely founded to promote the cause of slavery's abolition) the Democratic Party of the time was "the party of compromise."  Indeed the American Civil War was precipitated by the election of Abraham Lincoln as President of the United States (the first Republican ever to be elected to the office).  And though the Southern States seceded from the Union as a result, Democrats in the still unionist North remained substantially represented in the Congress and they always counseled moderation to end hostilities between the unionist North and the secessionist South and _perhaps_ restore the union afterwards through some sort of a compromise regarding "States' Rights" / Slavery.

With the fortunes of the war (after 3 grinding years) turning decidedly in the North's favor by late 1864, Lincoln won re-election in November 1864 and the balance of power in the U.S. Congress shifted decidedly in the Republicans' favor.  HOWEVER, since there was a fear that the American Civil War may actually end before the inauguration of the new Congress (in February-March 1965) it was decided by the Lincoln Administration to push through the 13th Amendment through Congress _before_ the inauguration of the new Congress.  This meant cutting deals with the Democrats who had in the outgoing Congress enough votes to block the measure.

Thus the Lincoln Administration faced a very similar "vote counting" (and arguably "arm twisting" / "vote buying" ...) challenge that has characterized getting anything done in Congress in the United States over the last 20 or so years. (Indeed a year ago, I reviewed a fascinating documentary called How Democracy Works Now on the contemporary political process in the United States where the overwhelming lesson was that of counting (and more to the point, getting) the votes: "to get anything done in the U.S. Congress today, one has to get 60 votes (out of 100) in the Senate.")   In Lincoln's time, the challenge was getting 2/3 of the votes in the House.

How would one do that?  How would one get members of the opposing party to vote with you?  Well Jesus himself told his disciples: "I am sending you like sheep in the midst of wolves; so be shrewd as serpents and simple as doves" (Mt 10:16).  And in the film, Lincoln himself admonished an abolitionist purist (played by Tommy Lee Jones) appalled by his Administration's "vote buying" tactics telling the purist: "A compass is certainly valuable in navigation, but it can only tell one which direction is north.  It can not tell one anything of the mountains, swamps, rivers and gorges that may separate one from one's goal.  So what good is it to head purely in one direction if we only end up in a swamp?"  So basically the film advocates a "whatever it takes" approach (hopefully within reason) to get a noble goal accomplished. (And yes, the opponents of a noble cause can also employ similar tactics to block the effort).

In any case, one gets the sense that resolving even something as unambiguously clear (today) as the question of abolishing slavery was difficult to push through Congress (even _after_ hundreds of thousands of deaths on the battle field in service of resolving the question).  Can we therefore be surprised that our times may be difficult and "full of noise" as well?

Finally, does this film deserve an "R" rating?  To be honest except for a few bad words and a couple of relatively short battle scenes (the story took place in the context of the American Civil War after all) I honestly don't understand why this film got an "R" rating rather than being rated "PG-13."  On the other hand, the dialogue itself is rather complex and I don't think that children younger than 7th or 8th grade would really understand it.  Still, sometimes the rating system doesn't make sense.   So parents, if you have a child who's in junior high or high who's interested in seeing this movie, then please don't hesitate to take him/her to it.  The film is excellent and certainly one of the best of the year.


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Monday, November 12, 2012

The Totentanz. Scenes from the Warsaw Uprising (orig. Taniec śmierci. Sceny z powstania warszawskiego)[2012]

MPAA (UR would be R)  Fr. Dennis 4 Stars

Filmweb.pl listing

The Totentanz. Scenes from the Warsaw Uprising (orig. Taniec śmierci. Sceny z powstania warszawskiego) [FW.pl]* [2012] is an excellent historical film that writer/director Leszek Wosiewicz [IMDb] [FW.pl]*) has been taking to various international festivals over the past several years and the writer/director is still tweaking.  He came to the 24th Polish Film Festival in America/Chicago with two versions.  The version that I saw was the one that he took to the 16th Annual Shanghai International Film Festival, which he told us was more technique driven.  A second more character driven version was to be shown here later in the week.

Growing up, I always associated Polish cinema with basically the war, the war being World War II.  And since it took until the fall of Communism in 1989 to begin telling the stories of the war period (and of the subsequent Communist era) in freedom, it was perhaps inevitable that the stories of the past would finally have to come out and explode onscreen in the years following.

So even today it's almost impossible for me to imagine a festival like the 24th Polish Film Festival in America/Chicago to arrive here without a substantial number of films shown still dealing with various aspects of World War II or the subsequent Communist era.  This would seem to me to be simply inevitable, cathartic and over time redemptive.  Life across Eastern Europe (and then Poland in a special way) was simply awful (approaching the very border of "unbearable") from onset of World War II in 1939 (which began with the Nazi _and_ Soviet invasion of Poland) to the fall of Communist totalitarianism fifty years later.

Then among the various massacres, betrayals and tragedies that occurred over the course of those years, the Warsaw Uprising of 1944 led by the non-Communist/British leaning Polish "Home Army" of partisans and the subsequent Nazi leveling of the city to cruelly beat down the Poles _one last time_ while the British/Americans found that they could do next to nothing and the Soviet army resting (after a major offensive) on the other side of Vistula River from Warsaw (and thus could have done something) _chose_ to do next to nothing, was a tragedy of almost unimaginable proportions.


It is in the truly Apocalypse in the making rubble strewn streets and gutted buildings of Warsaw during the uprising that Leszek Wosiewicz [IMDb] [FW.pl]* tells his story.  And he doesn't pull any punches.  The overwhelming message of this film would seem to be that in wartime "moral clarity" is for simpletons and idiots.  The story is told entirely from the perspectives of the terrified and often pragmatic/scheming civilians hunkering down in the tunnels and basements of Warsaw while the uprising that _they_ didn't call for (but was now being viciously put down) took place all around them.

At the beginning of the film, the 30-something mother of one of the film's principal protagonists declares to the others hiding around her in some basement somewhere in Warsaw that "raped or not raped" she's going to flee the city.  And put the exclamation point on her declaration: "And if you think I'm going to resist (being raped) no I'm not.  For what?  Just to get a bullet in my head?"  Yet, there's her 14-15 year old son Marek (played by Rafał Fudalej [FW.pl]*).  What to do with him?

She tries to dress him as a woman but realizes that this will be hopeless.  The two part with Marek deciding that he's going to try to find his dad who's something of a "big shot" among the resistance leaders somewhere in the center of town.  Trying to reach him is something of a suicide mission, but Marek's mother (played by Małgorzata Sadowska [FW.pl]*) knows that _she can't save him_.  Perhaps (if he can get to him) his father can.  So he and another adolescent boy Tomek, a boy scout (scouts like Tomek had been used by the resistance leaders as message couriers during the uprising) set out to reach the resistance headquarters in the center of town, while Marek's mom sets out to flee the city.

In the course of their journey through mountains of rubble and crushed / gutted buildings with occasional German Stukas bombing overhead, they come across a young woman named Irena (played by Magdalena Cielecka [FW.pl]*) who's about to be hung by a group of terrified Polish civilians who are convinced that she's a German spy.  "Wherever you arrive, the bombs arrive soon afterwards," an angry/terrified middle aged woman in a torn, mud-covered frock accuses her.  The others already have a noose aaround her neck when Marek steps forward and declares that he knows her and that she's innocent.  Actually, he didn't know her at all, but even in the chaos he apparently couldn't bear to watch a small mob of terrified civilians put a young woman to death.

And it turns out that Irena isn't all that innocent.  A lifelong resident of Warsaw, she's nevertheless ethnic German.  But she's looking for her 10 year old half-Polish/half-German son, who apparently is running around as a courier for the resistance as well.  This is because his step-father, lifelong Warsawite and ETHNIC GERMAN AS WELL who Irena had married "to make her son 100% German" ACTUALLY CHOSE TO SIDE WITH THE POLES in the war and as a (now underground) officer in the Polish Army was again a significant member of the resistance.  (Who would have imagined...?)

So she is walking among the rubble-strewn streets and gutted basements of Warsaw looking for her son _playing everybody_ trying to find him and then hoping also to get out of the city (in her case presumably with the German army to whom she feels closer).  It is her "playing" (or "dancing with") everybody (saying what she has to say, doing what she has to do) gives the film its name "Totentanz" / "Taniec śmierty" ("Death Dance").

Much obviously ensues.  How does it turn out?  Well ... guess.

I found the film both jarring and brave and then a reminder that "from a distance" on a nice neat map somewhere war perhaps can make sense.  However from the level at which this film was made, from the perspectives of the civilians trapped in the horror, it honestly made no sense at all. 


* At the time of the writing of this review, machine translation of the text on filmweb.pl links given above appears to work best using the Chrome browser rather than Firefox or MS Explorer.


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