Archive for Robin Wood

Untold/Unheard

Posted in FILM, literature, Politics, Television with tags , , , , , , , , , , , , , , , on August 27, 2013 by dcairns

untold

The only downside of coming to America for ten days is that I’ve had to leave behind Oliver Stone & Peter Kuznick’s book The Untold History of the United States. Not because they’d impound me on crossing the border, though that seems conceivable, but because it’s a mammoth doorstop of a thing, if mammoths can be said to have doorstops (paleontologists are divided on the subject).

I’m highly skeptical of Stone as a filmmaker. His screenwriting produced three films accused of racism — MIDNIGHT EXPRESS (Turks); YEAR OF THE DRAGON (Chinese-Americans); SCARFACE (Cubans); it’s possible CONAN THE BARBARIAN was picketed by a few outraged Cimmerians. Of course screenwriters can’t be accused of responsibility for anything in their movies because they have no authority about what goes in ’em. Robin Wood accused Paul Schrader of fascism based on his extensive writing output but I don’t think anything he’s directed really supports that, though Wood made a case for AMERICAN GIGOLO’s homophobic tendencies.)

Shadowplayer David WIngrove is an admirer of SEIZURE, but I’ve only seen the preposterous THE HAND from this period (come to think of it, the Michael Caine character who is so outraged that his barbarian cartoons are being rewritten after his hand is implausibly knocked off by a truck [true!] must be channeling Stone’s rage at getting rewritten by John Milius on CONAN — though he managed to get his response into cinemas a year ahead of Milius’s stimulus).

Then I thought SALVADOR was terrific and highly relevant, but was underwhelmed by PLATOON and since then have only sort-of liked anything from Stone. NATURAL BORN KILLERS has a compelling audio-visual style but is one of the more morally repellent films I’ve seen: though John Grisham’s attempted lawsuit against it was moronic, Stone’s film seems to invite such a reaction.

But I got stuck into Stone’s new book on the recommendation of (clunk of name-drop) Richard Lester, who had seen the TV series and pronounced it “brilliant” a word he does not use lightly (well, he never applied it to me). “I don’t know how he hasn’t been arrested for it.” The good news for non-Stone fans is that probably co-author Kuznick can be credited with the blinding insights, with Stone in charge of presenting them clearly in a way that works for an audience who may know only a little, or else quite a lot of misinformation, about the subject.

I’ve still to check out the TV show — only way seems to be to buy it so I’m waiting for payday — but I’m now fascinated to see what Stone does with it visually. The basic gist of the thing, chapter by chapter, is to present a contrary view to how large chunks of modern US history are understood. This is less the case in (skipping ahead) chapters about the last two presidents, but it’s certainly the case where the authors revisit world war two and the start of the cold war, a part of the book which presents Henry A. Wallace, a largely forgotten vice president, as the hero who could have changed the course of history for the better if democracy had been allowed to triumph over vested interests.

The book is at times heart-breaking, because we’re told that Hiroshima & Nagasaki, and then the cold war, were not in fact necessary. To give you just a small sense of the book, I want to talk about the bomb — because this chapter has haunted me since I read it.

I’d always swallowed the terms of the argument, if not the argument itself, you see. There’s something very compelling about the moral conundrum we’re told faced Truman: invade Japan and face severe casualties from US troops, or drop the bomb and cause many civilian casualties. The obscenity of war means a commander-in-chief is forced to weigh up the lives of friendly combatants versus enemy civilians, and how are you supposed to calculate that.

But this whole argument is academic and irrelevant here because that’s not what happened. George W.H. Bush once credited the atomic bombings with saving “millions of lives.” But the figure Truman claimed was “just” a quarter of a million. And he was lying too — he was provided with all sorts of contradictory figures (how can you be sure anyway?) but the highest was nowhere near that and the lowest was just three thousand.

But playing that game is still assuming that the choice came down to nuking or invasion. In fact, Japan was ready to surrender: they had been putting out feelers to the USSR, in hopes that Stalin could broker a more favourable peace. They were terrified that the “unconditional surrender” Roosevelt had spoken of meant they could lose their emperor. A lot of advisers were telling Truman that a clarification of the terms of surrender could have provoked an immediate favorable response.

Hiroshima did not prompt a surrender because the situation with Emperor Hirohito remained unclear. The Japanese already knew we could bombs cities out of existence since we’d done that to Tokyo, What probably prompted them to down arms was the USSR launching an invasion against them — this caught them between two super-powers, and meant they could abandon all hope of help from that direction. But before they could even respond to this attack, Nagasaki was bombed.

The argument is made, and it convinces, that America wanted to avoid the USSR making territorial gains in the East, and earning economic aid that had been promised for its participation in the war on Japan. Furthermore, General Groves, who oversaw the Manhattan project, was quite clear in his own mind that the goal of the bomb drops was not to affect Japan, but to affect the Soviet Union. The impact of using the atomic bomb would obviously far greater than the impact of merely possessing it — Japan was the USA’s last opportunity to show itself willing to annihilate a whole city with a single weapon.

If you have any more doubts about this, a direct quote from Truman may help allay them: he said that his announcement of the dropping of the bomb was the “happiest” he ever made.

Highly recommended stuff. I’ll be checking out the series.

Advertisements

“Just carve them up like regular chickens…”

Posted in FILM, literature with tags , , , , , , on December 19, 2009 by dcairns

Dialogue from ERASERHEAD, complimentary image from FRENZY. Does this make you feel festive, much? What an old Grinch I have become. Still, I did watch FRENZY this week with an amenable bunch of my students, thus welcoming the younger generation in to Hitchcock Year at the eleventh hour. So that’s something to look forward to on Wednesday.

Nabokov said, or I think Martin Amis said he did, that it’s impossible to read books, only to re-read them. Without the overall view that you get from finishing the text the first time, you can’t absorb most of what the author has placed before you. And Verlyn Klinkenborg, quoted by the Self-Styled Siren,  make the opposite point: it’s impossible to re-read books, because when you re-experience a book you’re a different person from the last time you looked. As Heraclitus says, you can’t jump in the same river twice.

All of which wild quotation and quotation of quotation leads me to the fact that seeing FRENZY again was a very different experience, and I have  a perhaps more tolerant or forgiving attitude to the movie, maybe based on the looong journey I’ve been on with Hitch this year. So that’s something I look forward to sharing with you.

While on the subject of Hitch, I must pause to mourn the passing of Robin Wood, one of the first English-language critics to give serious consideration to the Master as an artist, and while on that melancholy subject, a tip of the Shadowplay hat to Jennifer Jones and Dan O’Bannon, who have likewise departed this mortal coil for parts unknown.

Now we know…

Posted in FILM with tags , , , , , , on January 22, 2008 by dcairns

Piss from Chris

More on Cronenberg and bodily fluids. 

Thanks to regular reader and pal Chris Bourton for this screen grab from Cronenberg’s EASTERN PROMISES. I wondered awhile back about whose name was chiseled into the gravestone that gets pissed on partway through the film. Does the fact that I care about this trivial point so much mean that I really liked the film, or that I didn’t really like the film?

One theory I entertained was that this might be Mr. Cronenberg’s way of getting back at a critic. But there might be legal repercussions in using somebody’s name this way, and also, it would be distracting to many if the gravestone read “R.I.P. Robin Wood”… so I would expect some kind of code to be used. It wouldn’t matter if nobody ever decoded this, it would just give a quiet satisfaction to whoever placed the name. Can we unmask Hastings?

wavy davy

Hmm, Elliot Hastings is an anagram of “hostile slating”… also “Ealing shot list”, which is nice and filmic, “genital slosh it” (fairly appropriate), “still not geisha” (a gnomic plot synopsis of Cronenberg’s M. BUTTERFLY?), and the very apt “slashing toilet”.

Apart from all that, the only film-related reference I can find to an Elliot Hastings is a character name in the 1956 jungle romp BEYOND MOMBASA. The role is taken by Ron Randell, in a cast also including Cornel Wilde and Cronenberg’s future fellow horror stalwart Christopher Lee.

Hmm, better put this one down as “unsolved”…for now.