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The Lieberman Problem

By: Sal Cinquemani On: 10/28/2009 16:43:35 In: Politics Comments: 0

Joe Lieberman

"I don't think we need it now," a prominent U.S. senator said in a statement yesterday regarding a public health care option, and it wasn't a Republican. Once again, "Democrat" Joe Lieberman has gone rogue. Shortly after the 2008 election, I posited a scenario under which Lieberman, who failed at almost every turn to use his chairmanship on the Committee on Homeland Security and Governmental Affairs to hold the Bush administration accountable, would become a thorn in the side of the Obama administration. Democrats, led by the new president, refused to strip Lieberman of his title or his seat in the Democratic caucus after the Connecticut senator not only campaigned against his own party during the presidential election, but did so rather unscrupulously.

Senate majority leader Harry Reid said then that he trusted Lieberman, but this new development in the seesawing life of the so-called public option should come as no surprise: Lieberman went on record as being against a filibuster-proof majority months ago, and he's fought against his own party on key issues for years. Until now, it's been his position on foreign policy that has been most troubling (it's disturbing, if not downright dangerous, to have a politician who pals around with a hatemonger like John Hagee simply because—even though Hagee's position on Israel is based on his belief that the preservation of the Jews is integral to the coming Rapture—he supports his Zionist agenda to chair a national security congressional committee), but Lieberman's maverick-y impulses are now poised to kill what could potentially be a transformative piece of domestic legislation. According to Firedoglake, if Lieberman votes against cloture, the process by which Democrats can prevent a filibuster by Republicans, it will be the first time in American history that a member of a super-majority has joined the opposition to filibuster a bill.

So if not now, Joe, when? According to the National Coalition on Health Care, employer-based health insurance premiums have risen 131 percent over the last decade and are projected to double in the next 10 years, and the industry essentially advertised its intent to increase rates via a recent "study" of the Senate Finance Committee's reform bill, which was, in part, written by those very special interests in the first place. With or without government intervention, the insurance industry has no intention of lowering rates, making a robust public option even more essential.

But here's the rub: The public option as it's currently being proposed in the Senate, the one Lieberman is so adamantly against that he would deviate from his party in such an unprecedented way, would not only allow states to opt out (a hurdle overcome by simple shaming; see the stimulus bill), but it would be limited solely to those who are uninsured, rendering it practically impotent for the millions currently paying exorbitant premiums and getting little in return. The watering down of government programs like this is the next best thing to right-wing lobbyist and anti-tax crusader Grover Norquist's dream of cutting government down to a size where it can be drowned in a bathtub. A public option so limited in scope will surely fail to create fundamental change in the system, thereby allowing Norquist and his ilk to declare that government is indeed a failure. So perhaps Lieberman will be doing the country a favor by preventing such a weak bill from passing in the first place. Joe Lieberman, hero of progressives?

Toronto Film Festival Day Seven: Micmas, Trash Humpers, Lourdes, and To the Sea

By: Fernando F. Croce On: 09/21/2009 17:10:00 In: Festivals Comments: 0

Micmas

Micmacs: To judge from his films, Jean-Pierre Jeunet couldn't tie his shoelaces without first devising a Rube Goldberg contraption of toothpaste, waffle makers, and jars full of bees to do so. Jerry-rigged doodads dominate the Gallic auteur's new clockwork confection, which retains some of the anti-militarism of A Very Long Engagement while scrambling to outdo the sugary excesses of Amélie. The prologue, with its collision of disobedient landmines, prison-like schools, and a video clerk (Dany Boon) with a bullet in his noggin while classic film noir plays on his telly is breathless in its one-idea-per-shot inventiveness. Unfortunately, it takes no time for the inventiveness to turn antic and oppressive as the hero sets out to take down a pair of nefarious ammunition magnates with the help of a gang of adorable junkyard dwellers, and an onslaught of balloon-thought puns, contortionist gamines, and lavishly wasteful camera movement is unleashed. The one clear feeling is that Jeunet hates the human damage of warmongers and that he hates parting with his goony gizmos even more.

Trash Humpers: After Jeunet's wantonly prettified toy cities, Harmony Korine's pageant of belligerent grubbiness is almost welcome. Almost. Like Gummo, it's explicitly offered as an act of vandalism, with creatures ignored by the rest of society and cinema taking over the spotlight and tap-dancing all over notions of "taste." The joke is that the adolescent hellions from his debut have become rubbery prunefaces, wearing grotesque geriatric masks that turn them into hideous parodies of horny retirement-home troglodytes. Korine's world is a squalid stage, his characters are shock-artists channeling madness into performance: People hump trash bins (and trees and fences), smash TVs with hammers, molest dolls, deliver monologues, fill the air with cackling mantras and Beavis and Butt-Head giggles, and basically act like the Manson family shooting their version of Cocoon. (Mock-porno/snuff VHS graininess is the aggressively ugly aesthetic, complete with tracking problems.) Some of it has a grimy elation, but in the end the wrinkled masks serve mainly as a metaphor for a spastic enfant terrible in danger of aging without maturing.

Lourdes: Miracles are the most difficult things to depict on screen, according to Godard, who posited Hitchcock and Dreyer as the only ones able to pull it off. Austrian filmmaker Jessica Hausner's tour of the titular sacred site may not be invited into the pantheon just yet, but her balance of earnestness, irony, gravity, and wry humor is consistently captivating. Lourdes here is a tranquil, teeming playground. People go to confessionals, watch inspirational videos, tell each other their dreams, pray for miracles, and look on in envy as someone else gets them. Part of a group of pilgrims, the wispy, wheelchair-bound heroine (Sylvie Testud) isn't after wonders but people to meet (she unfavorably compares the city to Rome). A seemingly wondrous event takes place, though she remains, as one biddy puts it, "not as pious as she might be." Suspense grows, coolly but firmly: "The Lord giveth…" Composed with an eye for telling gesture within crowded frames and anchored by Testud's emotional purity, it's a modest but trenchant investigation of the spiritual.

To the Sea: A discovery and a revelation, Pedro González-Rubio's micro-budget seaside idyll shows how swollen and synthetic many of the festival's pricier entries are. Straddling the line between fiction and documentary with as much tenderness and sensuality as Robert Flaherty's works, the film takes three real individuals—separated couple Jorge and Roberta and their young son Natan—and has them not so much "play" themselves on screen as add their innate essences to González-Rubio's vivacious play of nature, people, and camera. Set in the Mexican-Caribbean reef of Chinchorro, where Jorge stays with Natan before the boy moves to Rome with his mother ("I'm unhappy with your reality, you're unhappy with mine" is how Roberta sums up the end of the couple's romance), it provides lambent views of underwater crustaceans, the boy's graceful bond with a white egret, and the vérité spectacle of seawater splashing the lens as a great barracuda is wrestled onto a boat. Immersive yet as fluid as the ocean, it's a movie André Bazin would have loved.

Micmacs, Trash Humpers, Lourdes, and To the Sea @ the Tribeca Film Festival

Toronto Film Festival Day Six: Mother, Enter the Void, and The Hole

By: Fernando F. Croce On: 09/19/2009 20:15:02 In: Festivals Comments: 0

Mother

Mother: Further memories of murder with Bong Joon-ho. The mother (Kim Hye-ja) is a middle-aged, small-town store clerk running a little clandestine acupuncture on the side, the son (Won Bin) is a man-child who gets distracted by golf balls while seeking revenge on hit-and-run millionaires. Won is hauled off to jail after a schoolgirl is found murdered, and Kim, sure that her boy is innocent, turns amateur sleuth. Park Chan-wook would have wrung the Grand Guignol hell out of this premise, but Bong is less interested in shocks than in the synergy between vast Korean fields and the equally mysterious inner landscape of the dazed matriarch making her way across them. A welter of motifs and clues (a sluggish psyche's gradually unclogged remembrances, tell-tale snapshots in a promiscuous high schooler's cell phone, a key scene played from different angles) fused by superb filmmaking, it at times suggests a dark-humored lampoon of one of Naruse's odes to maternal diligence, but with a tarantula sting of its own.

Enter the Void : 2001: A Space Odyssey as a stoner's trip between life and death and assorted altered states? That's the setup for Gaspar Noé's mammoth pothead doodle, an all-sensation marathon that alternates between dazzling and unendurable. "They say you fly when you die." Sutured and lubed to give the feel of a single POV shot, it follows a faceless, drone-voiced American fuck-up as he marvels at the phosphorescent Tokyo cityscape, gets shot during a drug bust, and watches his own corpse being dragged away as his soul hovers around other characters, slides past walls, and rummages through incestuous relationships, star-children, and light shows. Seeking cosmic transcendence (or at least a Keanu-like "whoa"), Noé pulverizes screen space: The screen flickers, blurs, rotates, turns liquid, and stretches like taffy. I should confess I walked out not long after the first hour, so the already infamous vagina-cam shot of a ginormous incoming penis will have to remain for me the imagined stuff of dreams and nightmares.

The Hole: The void in Joe Dante's ebullient family-horror flick, meanwhile, is a bottomless pit in the basement of a fractured family's new home. Moving into yet another city with their restless mom (Teri Polo), two brothers (Chris Massoglia, Nathan Gamble) ward off boredom by exploring the new surroundings with their vivacious neighbor (Haley Bennett), which leads to the eponymous pitch-black portal. After peeking in, the three find their fears taking physical and increasingly baroque form: a grinning clown puppet, a blue-skinned, sad-faced little girl out of a J-horror yarn, a looming patriarch wielding a serpentine belt in a Caligari-styled living room. The plot takes heavy-handed turns toward the end, but Dante's sense of mischievous fright, cinephiliac erudition (Orlac Glove Factory, anyone?) and never-condescending use of adolescent anxieties and 3D giddiness, make this a welcome return to the big screen for a director who has never missed a chance to locate the skewed abyss under the placid surfaces of suburbia, and wink at it.

Mother, Enter the Void, and The Hole @ the Tribeca Film Festival

Toronto Film Festival Day Five: My Son, My Son, What Have Ye Done, White Material, and Survival of the Dead

By: Fernando F. Croce On: 09/18/2009 19:32:42 In: Festivals Comments: 0

My Son, My Son, What Have Ye Done

My Son, My Son, What Have Ye Done: The other half of the Werner Herzog Nutty Procedural Double Feature, this David Lynch-produced thriller offers far more controlled absurdism than Bad Lieutenant: Port of Call New Orleans, but is easily the lesser work. One of the supporting actors playing straight man to Cage's cyclonic clowning in Lieutenant, Michael Shannon takes center stage here as a San Diego momma's boy who returns "different" from a trip to Peru and takes an unhealthy interest in playing the matricidal protagonist in a production of The Oresteia. The setting is a hostage negotiation between Shannon and police officer Willem Dafoe, with Chloe Sevigny, Brad Dourif, Grace Zabriskie, Udo Kier, and other kooks duly dropping by. Smooshing near-parodic versions of tropes by both Herzog (maddening jungles, incongruous animals) and Lynch (promiscuous coffee-drinking, tuxedoed dwarves), it's strenuously deadpan where the other film was organically hysterical. It works most intriguingly as a curious meeting between simpatico but ultimately incompatible artists, not unlike Dali doing his own version of Millet's Angelus.

White Material: Based on the reactions of many of my Toronto colleagues, it seems that Claire Denis has reached the point of artistry and expectations at which a merely excellent film could be seen as something of a disappointment. Indeed, next to the best of her extraordinarily vivid previous works, this story of French colonials and civil war violence in an unnamed African country is an uncharacteristically open-and-shut case for the auteur. Still, the beauties are numerous. Isabelle Huppert plays the owner of a coffee plantation struggling to keep both business and family together in the midst of gun-toting rebels and insurrection-squashing militias. There is a plot (Denis is a splendid storyteller), but her question, as usual, is not "Where are we going?" but "What are we seeing?" From the first image of a car's headlights revealing a dirt road full of wild dogs to the blissful view of Huppert riding her bicycle, this is sinewy, elliptical, ethereal filmmaking. If this is lesser Denis, that's still miles above just about everyone else out there.

Survival of the Dead: Are George Romero's late-career ghoul operas fatigued retreads of his seminal undead movies, or eccentrically satirical twists on the horror subgenre he virtually created? When a zombified heroine gallops across the screen on horseback and barely any of the characters bats an eye, it's damn near impossible to tell the difference. Kicking off "six days after the dead began to walk," the latest Dead chapter picks up on a strand from the previous one, following the rogue soldiers who had previously crossed paths with the vlogging youngsters in Diary of the Dead as they head into the Hatfield-McCoy territory of dueling patriarchs and cowboy bellicosity. There are trenchant bits (like the landowner's "dead-head" wife kept chained in the kitchen) amid the erupting viscera, but for the most part Romero settles for pleasing fans who cheer every drip of gore but couldn't care less about political subtext.

My Son, My Son, What Have Ye Done, White Material, and Survival of the Dead @ the Tribeca Film Festival

Toronto Film Festival Day Four: Bad Lieutenant: Port of Call New Orleans, Soul Kitchen, and The Neil Young Trunk Show

By: Fernando F. Croce On: 09/16/2009 23:05:30 In: Festivals Comments: 0

Bad Lieutenant: Port of Call New Orleans

Bad Lieutenant: Port of Call New Orleans: The title makes it sound less like a remake of Abel Ferrara's 1992 masterpiece than a coming-this-fall-to-CBS cop show, yet Werner Herzog's dizzying comedy is its own unruly beast. It may have taken somebody who's wrangled Klaus Kinski five times before, but Nicholas Cage's bruise-purple twitchiness is employed fruitfully for the first time in ages: Playing the titular dope-snorting, high-gambling, granny-terrorizing homicide detective, Cage offers a deranged high-wire act that is unmistakably part of the director's singular world even as it keeps spilling over the edges of that world. By the time the lieutenant is lurching across the screen like a broken-backed Nosferatu, even seasoned weirdoes like Brad Dourif and Fairuza Balk are stepping out of the way. Herzog's New Orleans is even more aggressively eccentric than Tsai's Paris in Face: Visions of demented lyricism (an alligator's view of a roadside crash, a pair of iguanas seemingly breaking into a Big Easy aria) giddily punch through the film's hack-policier surface.

The Neil Young Trunk Show: Next to their previous collaboration, 2006's luminous Heart of Gold, Jonathan Demme's new film of a Neil Young concert might seem like a minor work, though in its own way it presents fans with nearly as many blissful moments. Shot in Pennsylvania's Tower Theater during the grizzled singer's 2008 Chrome Dreams II tour, the pictures combines performances of classic favorites ("Cowgirl in the Sand," "Cinnamon Girl"), overlooked tunes ("The Sultan," "Mexico"), and autumnal numbers ("No Hidden Path") on a stage bare but for a few props (mementos from the singer's spiritual "trunk") and Young's guitar-thrusting physicality. Compared to the Young who was facing an open grave in the mortality-infused Heart of Gold, the performer here glows with lifeworn vigor, haloed by the spotlight and set off by vibrant stage colors, his hair thinning and unkempt yet still sweeping. Captured by Demme, it's a beautifully crafted and profoundly emotive spectacle.

Soul Kitchen: This year, Toronto has largely been a festival of extremes, with several films either minimalist-morphing-into-wallpaper or with adrenaline leaking out of their ears. Like Lieutenant, Fatih Akin's two-fisted culinary comedy falls (dropkicks, really) into the latter slot. Closer to the high-decibel exoticism of the director's breakout hit Head-On than to the border-busting gravity of his previous The Edge of Heaven, the picture sets up camp at a ramshackle Hamburg restaurant run by a frazzled Greek bruiser (Adam Bousdoukos) and takes in the hotheaded chefs, paroled relatives, and corporate scumbags pushing through. The whirring multiethnic textures are more exhausting than exhilarating: Akin's camera-in-heat keeps slamming, always rushing to cram in one more canted angle, one more musical cue, one more smackdown between squabbling characters. Still, it's something of a relief to see Edge of Heaven's we-are-the-world solemnity giving way to gags about massage-room boners and aphrodisiac-laced desserts.

Bad Lieutenant: Port of Call New Orleans, The Neil Young Trunk Show, and Soul Kitchen @ the Tribeca Film Festival

Toronto Film Festival Day Three: The Imaginarium of Doctor Parnassus, Face, and Police, Adjective

By: Fernando F. Croce On: 09/15/2009 16:22:27 In: Festivals Comments: 0

The Imaginarium of Doctor Parnassus

The Imaginarium of Doctor Parnassus: Bound to get the lion's share of media attention, Heath Ledger in his final (uncompleted) role is actually just one of the copious phantasmagoric elements in Terry Gilliam's impassioned farrago. Troubled productions are nothing new to the director, but Gilliam forges ahead and gets his Fellini freak on as soon as a rickety caravan of saltimbanques materializes to regale modern-day night clubbers. A millenniums-old fabulist cursed by immortality, Parnassus (Christopher Plummer) is not only the new incarnation of Gilliam's obsession with addled visionaries, but also his most personal examination of artistic endurance, from the Faustian deals struck for survival to the melancholy of spinning yarns to increasingly jaded audiences. A character's carny pitch ("Do you dream?") becomes the director's inquiry, ringing throughout as both question and invitation. Cluttered with shifting CG canvases, Monty Pythonish revues, and cameos patching up Ledger's absence, the film's sideshow illusionism is often ungainly but rarely less than deeply felt.

Face: Following in the footsteps of Hou's Flight of the Red Balloon, Tsai Ming-liang comes to Paris and makes it his. Like Doctor Parnassus, it's a memory film largely composed of mementos—pet themes and images—from the auteur's past, fragmented and bluntly personal. The crux is the filming of the Salome story presided over by a Truffaut-worshipping director (Lee Kang-sheng), overseen by a frazzled producer (Fanny Ardant), and starring a befuddled old-timer (Jean-Pierre Léaud). A matriarch expires in an apartment flooded by a wayward faucet, an actor falls asleep and the snowy set is suddenly stacked with mirrors and chorines, the starlet (Laetitia Costa) who had previously stared sullenly at the camera winks and bobs and lip-synchs to a sugary Chinese song. Filming in the Louvre, Tsai finds a haunted house: People appear as reflections on glass panes or encircled by darkness, Truffaut's muses (Ardant, Jeanne Moreau, Nathalie Baye) are like visiting apparitions. Nothing connects, but much of it ravishes.

Police, Adjective: Leave it for the Romanian New Wavers to turn the act of leafing through a dictionary into one of the year's most riveting cinematic moments. Corneliu Porumboiu's great moral inquiry (disguised as a dreary police procedural) swiftly and unobtrusively sketches a Kafkaesque cosmos by simply following its protagonist, a young cop (Dragos Bucur), from the overcast streets of Bucharest to the phosphorescent greens of his cramped office. Investigating a minor case of pot-smoking high schoolers with increasing reluctance, the drudging hero gradually grows engaged in the interpretation of the moral signs and meanings around him, whether irritably debating a song's symbolism with his girlfriend, scrambling to rush a computer report from an uncooperative co-worker, or humoring a petty tyrant of a police captain's impromptu semantics lesson. Not just a wry portrait of the clash between changing attitudes and rigid laws, but also a call for active consciousness in life and in cinema.

The Imaginarium of Doctor Parnassus, Face, and Police, Adjective @ the Tribeca Film Festival

Toronto Film Festival Day Two: The White Ribbon, A Serious Man, and Up in the Air

By: Fernando F. Croce On: 09/13/2009 16:40:42 In: Festivals Comments: 1

The White Ribbon

The White Ribbon: Ever wonder about the ancestors of the murderous jocks from Funny Games? Michael Haneke time travels to rural Germany on the cusp of WWI to find the answer, or, rather, to make the audience's collective skin crawl at the question. Something of a distant Teutonic relative to H.G. Clouzot's caustic Le Corbeau, the story traces the "horror and perplexity" contaminating a small village after a series of mysteriously interconnected events inexorably suggests the oppressive rot lurking under the townspeople's unsmiling, puritanical façade and spreading into the next generation. (Shot in monochromatic tones peculiarly reminiscent of Dreyer's Gertrud, it's Haneke's most visually polished picture yet, though the buzz of flies seeking decay is never far.) Unfolding like a finely wrought adaptation of a sprawling, detail-rich novel, the film showcases Haneke's undeniable technical mastery and is thankfully light on the filmmaker's patented hectoring shocks. The lingering feeling, however, is ultimately less of a portrait of encroaching dread than of a Children of the Corn prequel played as rigid thesis.

A Serious Man: The camera descends onto a snowy village, and then slowly zooms from the pitch-black inside of a character's head toward the light of an earpiece playing Jefferson Airplane's "Somebody to Love." These two showy camera movements appear early in the Coen brothers' latest tragicomedy, visualizing my recurring problem with the filmmakers (they're always looking down on their own characters) and perhaps their riposte to that line of criticism (they're working from deep within those characters). The two views are more in harmony here than in any of their other movies since The Big Lebowski, though where Jeff Bridges's Dude endured his tribulations with a rumpled suavity, Michael Stuhlbarg's Larry Gopnick watches in helpless terror as enough indignities are piled on top of him to make Job himself cry, "Uncle!" The film navigates its protagonist through a late-'60s sea of bullies, yentas, backstabbers, and parasites, hitting moments of pitiless cosmic doubt that shame No Country for Old Men's frigid cynicism. Bleak, hilarious, remarkable.

Up in the Air: Be a capitalist asshole, but don't be alone. That's the message in Jason Reitman's glib crowd-pleaser, which takes the most facile bits of Thank You for Smoking and Michael Clayton and stitches them together with a potpourri of musical montages. The jet-set dislocation of a moneyed frequent flyer is the presiding metaphor, as a Golden Club prick (George Clooney) who makes his living firing people and delivering relationship-whittling motivational speeches is made to face his own emotional isolation. Clooney's early scenes with Vera Farmiga promise sexy, satirical amorality, but it soon becomes clear that the actor's attempts to suggest emptiness behind handsomeness are really an excuse for narcissistic cuteness, just as Reitman's use of the crumbling economy is quickly exposed as white noise for yet another tale of an aging bachelor's redemption.

The White Ribbon, A Serious Man, and Up in the Air @ the Tribeca Film Festival

Toronto Film Festival Day One: Antichrist, Bright Star, and Vision

By: Fernando F. Croce On: 09/12/2009 14:04:04 In: Festivals Comments: 0

Antichrist

Antichrist: Let it not be said that I prefer to ease my way into things. For my first screening on my first day at the Toronto International Film Festival, I dived right into Lars von Trier's Antichrist, the hound from hell that has polarized viewers since its cause célèbre debut in Cannes. As usual with overhyped shockers, the Rite of Spring promised turns out to be closer to ominous Muzak. Still, filled with psychosexual wounds and scored to a cacophony of growls and moans, it's a bravura jumble of concentrated bad vibes. Flower vases hold primordial slime, CGI critters warn about doom, cocks ejaculate blood. As if taunting his critics, von Trier's horrific-wacky tale of a grieving nameless couple (Willem Dafoe, Charlotte Gainsbourg) alone with their fears in a woods cabin evokes not just misogyny, but medieval misogyny. As with Bergman's Hour of the Wolf, there's no anchor to the cataract of malevolent images other than the director's own crawling neuroses. Gainsbourg's mutilating succubus is far preferable to von Trier's usual brand of suffering maidens though.

Bright Star: At the opposite pole from von Trier's raging therapy session lies Jane Campion's delicate period embroidery. Staying in the realm of 19th-century poets after having played a snippy version of Rimbaud in I'm Not There, Ben Whishaw offers an appropriately pallid John Keats, a penniless artiste alternating between brainstorming odes to beauty and bouts of tubercular cough. The film traces his final years with his beloved Fanny Brawne (a gracefully passionate Abbie Cornish), a young society woman who quickly takes center stage as the latest of Campion's individualist heroines. "I have two luxuries to brood over," Keats tells her. "Your loveliness and the hour of my death." Had it fused the romanticism and morbidity of that swooning declaration, the film might have achieved the sense of lyrical danger that Campion's work has at its best. Unfortunately, its drawing rooms and blossoming fields remain so prettily tasteful that the slightest bit of energy, like the broad Scottish accent of Paul Schneider's Charles Armitage Brown, comes as a relief.

Vision: Sisterhood (familial, political, spiritual) has been Margarethe von Trotta's recurring theme for over 30 years, so it's no surprise to see the veteran feminist auteur examining society's gender hierarchies from within the walls of a cloister. A biopic of Hildegard von Bingen (Barbara Sukowa, fierce and luminous), it paints the 12th-century magistra, writer, and composer as an instinctive visionary with a profound hunger for knowledge, endowed with intense, even possessive emotions and, in her struggle to lead her fellow nuns onto a commune of their own, something of a Moses complex. Visually stolid (too often the film settles for blocky robed figures hitting their marks against stony walls) but generous-spirited, von Trotta scrupulously contemplates von Binden's controversial apparitions, aching relationships, and multiple deathbed resurrections not as signs of sainthood, but as proof of an all-too-human search for illumination and love.

Antichrist, Bright Star, and Vision @ the Tribeca Film Festival

Kill Bill: The Right's Commitment to Murdering Health Care Reform

By: Sal Cinquemani On: 09/10/2009 18:03:19 In: Politics Comments: 5

Kill Bill

I had intended to write a series of blog entries on health care reform this summer focusing not only on already well-documented problems within the system and challenging illogical, boogeyman arguments against a public option, but also on issues that haven't received enough—or any—mainstream media attention, like the underinsured and the role doctors play in the rising costs of health care. Though perhaps inevitable, but no less unfortunate, the spate of attacks on reform that erupted during Congress's August recess required those in favor of it to go on the defensive instead, spending time combating misinformation and distortions about public opinion when they should have been touting the progress Congress has made in making reform a real possibility for the first time in decades.

I found myself unwilling, if not unable, to comment on the distractions, partly because it was so downright depressing to me—a reminder of the brief period just after Sarah Palin was announced as the vice presidential candidate for the Republican ticket last fall and before she revealed herself to be a perpetual political punchline. At a Labor Day barbeque, a friend and staunch Barack Obama supporter glibly called me "un-American and un-democratic" for suggesting that hecklers shouting down a congressperson until his or her public forum grinded to a halt is not democracy but the ugly face of corporate-sponsored astroturfing. It's a tactic used to stifle progress and send a message. That message, of course, is "Kill the bill!," a slogan brought to you by the same masterminds who crafted last year's "Drill, baby, drill!" and which was chanted ad nauseam at town halls across the nation during the final week of summer.

The Republican talking point has been to insist that those who showed up at town halls across the country last month were ordinary citizens who are unhappy with the changes they see taking place since Obama took office in January, who don't want him interfering in their presumably cozy relationships with their health insurance providers. They just want to express their concerns, Republican officials will tell you. You know, like Heather Blish, former vice-chairman of the Kewaunee County GOP, who showed up at her former boss's opponent's town hall claiming to be "just a mom with no political affiliation" to protest health care reform.

Many of these people, however, are undoubtedly real, law-abiding citizens, but the groups mobilizing this so-called "grassroots" scare campaign are anything but grassroots. And it wasn't just right-wing commentators or the fringe activists who listen to them who disseminated and continue to disseminate misinformation. "Death panel"—a term so repugnant and dripping with mischaracterization used to describe a part of the proposed reform bill that would reimburse Americans who choose to seek medical advice regarding end-of-life care—was hatched in the sickened brain of right-wing think tank fellow and Cantel Medical Corp. board member Betsy McCaughey and was propagated via Facebook by Palin like a 15-year-old mean girl spreading rumors about the popular new kid in class.

So it came as no surprise when, during Obama's address to a joint session of Congress last night, Republicans behaved exactly like the angry mobs of town hall protesters they encouraged, pandered to, and used like political pawns throughout the recess. By the time I post this, Rep. Joe Wilson will likely have already started making the cable-TV rounds, ratcheting up his public profile in the wake of his outburst of "You lie!" when Obama attempted to debunk the rumor that his health care plan would insure illegal immigrants. It was a moment so profoundly revealing, in terms of both Wilson's willful ignorance and his party's cynicism, that it left no doubt about what the Republican strategy (to kill the bill) and the purpose of that strategy (to score political points against the president) has been. Wilson wasn't the only elected official heckling the president—just the loudest and most red-faced. Whether it's Sen. Jim DeMint expressing his desire to "break" Obama by stopping health care reform, or Sen. Chuck Grassley engaging in negotiations with Democrats under the guise of a bipartisan solution and then perpetuating myths about "killing Grandma" at town hall meetings and vowing not to vote for the very bill he's been tasked with helping to form, the Republican Party's objective has been to stifle any forward momentum.

I often hear the argument by those on the right that calling out this kind of behavior is frivolous because there is bad behavior on both sides of the aisle. And while that might be true, there is simply no parity on the left today. The left hated George W. Bush because he was perceived to be a corrupt warmonger; the right is painting toothbrush 'staches on portraits of Obama because he wants to reform health care. Symbolically dissing the commander in chief by denying him an applause line or twittering away while he speaks in the chamber is nothing new, but there was a palpable outward contempt for Obama last night that's unprecedented in modern political history. And one that, exemplified by right-wing parents yanking their children from school so as to shield them from the president's address to K-though-sixth-graders on Tuesday, reeks of something far more dangerous than old-fashioned partisanship.

The party's opposition to the president (reform in any shape) notwithstanding, Republicans were going to reject any idea that was presented to them simply because it's the nature of our two-party system. One should always ask for more than what they want or are willing to settle for when sitting down at the negotiating table, and the biggest problem with Obama's plan has always been that he conceded too much too soon, pitching the compromise (a public option) instead of a single-payer or Medicare-for-all system that would truly represent the kind of universal coverage that has become a pillar of the Democratic platform. A proposal to further dilute the immediate impact of reform by putting a "trigger" on the public option, meaning that that particular part of the bill would only go into effect if and when the insurance industry failed to meet certain coverage criteria laid out by Congress, was even rejected by Republican Governor and likely 2012 presidential candidate Tim Pawlenty because, he told CNN's John King, it "simply kicks the can down the road," which, like the conflicting GOP talking points that a public option would both provide inferior coverage and simultaneously be too good for private companies to compete against, is essentially an admission that he knows insurance companies—and Republicans—will never step up to the plate.

Obama ended his speech by evoking Ted Kennedy, reading part of a letter the late senator had written following his cancer diagnosis last year and which he asked to be delivered to the president upon his death. Kennedy's words—"What we face is above all a moral issue; at stake are not just the details of policy, but fundamental principles of social justice and the character of our country"—are the best and clearest articulation of both broad liberal ideology and the necessity of universal health care I've heard to date. Obama's assessment of those words took Kennedy's legacy of proud 20th-century liberalism into a new era: "[Our predecessors] understood that there are instances when the gains in security from government action are not worth the added constraints on our freedom. But they also understood that the danger of too much government is matched by the perils of too little; that without the leavening hand of wise policy, markets can crash, monopolies can stifle competition, and the vulnerable can be exploited. And they knew that when any government measure, no matter how carefully crafted or beneficial, is subject to scorn; when any efforts to help people in need are attacked as un-American; when facts and reason are thrown overboard and only timidity passes for wisdom, and we can no longer even engage in a civil conversation with each other over the things that truly matter—that at that point we don't merely lose our capacity to solve big challenges. We lose something essential about ourselves."

Barney Frank Refuses to Argue with Dining Room Table

By: Sal Cinquemani On: 08/19/2009 14:43:58 In: Politics Comments: 4

For the past several weeks I've wanted to comment on the industry-organized lobbying efforts masquerading as grass-roots outrage about health care reform, but each time I tried to write something, my head nearly exploded at the futility and nonsensicality of it all. It would be, as Barney Frank generously put it at a town hall meeting in Massachusetts yesterday, like arguing with a dining room table:



Meeting of the Mindless

By: Sal Cinquemani On: 08/02/2009 14:00:32 In: Politics Comments: 4

Michelle Malkin

The Republican Party is so bankrupt of new ideas that they've taken to co-opting every criticism that was launched at the Bush administration for eight long years and lobbed them right back at Barack Obama. The Grand Old Party hasn't even bothered to give it the good old college try by paraphrasing their stolen ideas or disguising them with little mustaches. Just find "Bush" and replace-all with "Obama" and you've got the party's current talking points.

According to the right, the "corrupt" Obama administration is attempting a "power grab" that is "fundamentally transforming" the country and "dismantling the Constitution." Corruption isn't partisan, of course, and the new administration deserves as much scrutiny as its predecessor when it comes to presidential powers and constitutionality, but most disturbing and transparent is how the left's claims that Bush's presidency was illegitimate has been countered by a small but increasing—and increasingly vocal—fringe faction of the Republican party who claim that Obama isn't an American citizen and therefore isn't eligible to be president. After getting all the ratings mileage out of bashing Mexicans that he could, even CNN's Lou Dobbs has taken his xenophobia to a new level of parody, giving the Birthers a mainstream platform—and credibility—they hadn't enjoyed previously.

On his show earlier this week, FOX News loon Glenn Beck played a snippet of a speech in which Obama vowed to push Americans to make sacrifices for the greater good and take responsibility for things like climate change (specifically making the point that the U.S. cannot credibly demand developing nations to take steps toward more eco-friendly policies if we do not set an example), and then erupted into a predictably childish rant, the essence of which was basically "You're not the boss of me! I do what I want!" He then, fittingly, introduced blogger Michelle Malkin. Malkin is promoting her new book, Culture of Corruption: Obama and His Team of Tax Cheats, Crooks, and Cronies, which details corruption that is ostensibly so potent and pervasive that it warranted a book being released six months into Obama's first term, which is probably about as long as it took its coherence-challenged author to write it.

On the show, Malkin struggled to compose her ostensibly planned string of unintelligible buzz words and fear-mongering, warning of "shadow governments," "the Chicago way," "a civilian core," and—my favorite—"a brigade of foot soldiers implanted in neighborhoods across the city who are at the beck and call of Team Obama, um, to, whether it's shaking down banks, forming a housing entitlement mob, um, fostering voter fraud and, uh, census shenanigans." Brigade! Foot soldiers! Implanted! Shaking down! Mob! Fraud! Shenanigans! At least she didn't use the word "gang." Later in the segment, without an ounce of irony, she chirped, "Sunlight is the best disinfectant!"

Beck, in an attempt to plug Malkin's book, provided evidence to his previous claims that he's not a real reporter by declaring that he doesn't "read other people's books when it comes to their political thoughts, et cetera, et cetera." The state of the Republican Party, ladies and gentlemen:



My Health Care Plan Doesn't Cover Wigs...or Chemotherapy

By: Sal Cinquemani On: 07/23/2009 19:33:06 In: Politics Comments: 1

wigs

The fear-mongering attempts to "break" Barack Obama and his health care reform agenda, or at least delay it and therefore its momentum, are flimsy at best. Desperate to paint any kind of reform of the wasteful and immoral private health insurance industry as either socialist or inadequate, the right has asserted that a "government option" would result in "rationing" while at the same time saying it would make it impossible for private companies to compete. The government's ability to run a deficit aside, you'd have to be politically dishonest or insane to hold those two opposing ideas in your mind at the same time and still retain the ability to function.

Another main argument against reform is the fact that universal health care in other countries isn't perfect. Critics often cite long wait lists to see specialists or receive care, and Americans don't wait for anything, damn it. More times than not, these are the very same people who patriotically, if not nationalistically, trumpet the Union's near-perfection and ability to accomplish anything to which it sets its collective mind. I admire that kind of optimism, but it seems to wither at the first sign of a challenge to the status quo. Why can't the U.S. show Canada, France, and all of those other allegedly socialized nations how to do it, and do it right?

The most inane argument against reform, however, is that it will reduce the quality of coverage and access to care. Following last night's presidential news conference on health care reform, Bill O'Reilly quietly and calmly rang the bell of panic about private medical records being kept "on a disk" in Washington, D.C. (Cue scary music.) Government bureaucrats, as he and others on the right who oppose reform claim, will decide who gets care, when, and for what. In the wake of an administration that sanctioned secret spy programs and tapped the phones of its own citizens, privacy is indeed an important issue in 21st century America. But right now the private medical records that O'Reilly is so concerned about are being kept "on a disk" in the offices of a health insurance company, the bureaucrats of which decide who gets care, when, and for what.

I am one of the 253 million Americans who are "insured." A few years ago, a visit to my primary care physician for a simple physical led to nearly two years of those very bureaucrats refusing to make payments based on all sorts of technicalities, after which they claimed to have paid their contractually obliged minimum reimbursement, but which the administrator at my doctor's office said she never received. I spent hours over the course of several months attempting to resolve the situation because communication between the two inept parties was practically nonexistent. It was an arduous, infuriating, and exhausting situation—and I wasn't even sick.

Due to perpetually inflating premiums, I was recently forced to downgrade from what my current insurance company likes to call its "Preferred HMO," a plan that is "preferable" only to their "Basic HMO." There's a small pool of PCPs, hospitals, laboratories, and specialists from which to choose, co-payments are high, and coverage is limited. A quick glance at the summary of exclusions reveals that the plan does not cover ambulances, casts or crutches, hearing aids, infusion therapy (which is, according to the National Home Infusion Association, "prescribed when a patient's condition is so severe that it cannot be treated effectively by oral medications"), preventative care or counseling (an essential element of waste reduction and health care reform), second opinions, and wigs. Yes, wigs. Luckily, that item isn't such a big deal, since the plan doesn't cover chemotherapy either.

Health Care Reform: Are Doctors the Real Problem?

By: Sal Cinquemani On: 07/09/2009 15:38:44 In: Politics Comments: 1

Doctor

The villains in the battle over health care reform in the U.S. are obvious, right? The insurance and pharmaceutical companies are not-so-quietly lining the pockets of their corpulent, greedy CEOs, who sit in corner offices adorned with centuries-old pine wooden desks and golden toilets, while doctors, patients, and businesses small and large are getting squeezed dry. But real reform requires a less one-dimensional examination of the industry, one that reveals a much more systemic assortment of maladies plaguing the system as a whole. President Obama has made prevention a pillar of his health care reform plan, suggesting patients' poor diets and exercise habits are partly responsible for the astronomically rising costs of care. (According to the National Coalition on Health Care, health care spending represented 17 percent of the country's gross domestic product in 2007, and is expected to reach 20 percent or more in the next eight years, and yet U.S. health care is ranked 37th by the World Health Organization.) Rush Limbaugh, he of the beer belly and hunger for prescription drugs, mocked Obama's assertion, inanely postulating that it's not the overweight or physically unfit who are the biggest burden on health care, but the physically active, who, he says, sustain injuries that cost taxpayers millions each year. And they say laughter is the best medicine.

A few months ago I made a rare trip to my primary care physician. His office is a veritable hole in the wall, with a sign on the window of the front desk that reads, "Do not ask how long the wait is or how many people are ahead of you." He overbooks his schedule, no doubt to make as much money as he can; I waited two-and-a-half hours to see the doctor despite having scheduled an appointment. After a tirade about how changes in the system have forced him to refuse patients who don't have coverage or who simply can't afford to make their insurance co-payments, he informed me that it would likely be over a week before my HMO approved his referral for a CT Scan. In the meantime, he sent me for lab work.

When I received my blood results, I noticed that one of the tests my doctor ordered wasn't performed. I called his office to ask him about it, and was told that "everything is fine" and that if I wanted to talk to the doctor, I should make an appointment. I insisted but was again refused, so I hung up.

I eventually went for the CT Scan and received a call from my doctor's office several days later once again telling me that "everything is fine," but that the doctor wanted me to stop by and pick up a new script for additional lab work. After waiting for an hour and a half, he told me that one of the tests he ordered wasn't performed. I informed him that had he taken my call two weeks earlier, he would have known that already, and that perhaps the CT Scan, the necessity of which he fought with my insurance company about, might not have been necessary after all. He explained that he prefers to talk to his patients face to face and told me not to worry about the co-payment, which I had no intention of paying anyway. It occurred to me that, co-payment or not, he was planning to submit this "follow-up visit," consisting of a gratuitous thermometer in my mouth and a brief conversation that should have taken place over the phone, to my insurance company for reimbursement.

Judging by the overall conditions under which my doctor practices, his actions might simply be a necessity of survival—having been fought tooth and nail by the insurance companies to do what he told me loves to do: practice medicine. And as someone who despises how the health insurance industry operates, I can certainly empathize with his plight. But not when it's at the expense of his patients' financial and medical well-being. More importantly, I couldn't shake the feeling that I was being made an accessory to insurance fraud.

I've been following the health care reform debate closely since I began paying for my own policy out-of-pocket several years ago, and while I've heard lots of buzz terms being tossed around (efficiency, waste, choice, competition, public option), I've rarely heard anyone in the mainstream media discuss the role health care providers have played in the crisis. Even Obama, who received a tepid response from the American Medical Association last month, has been loathe to criticize doctors. And then I stumbled upon an article in The New Yorker (not exactly a bastion of the mainstream) by Atul Gawande, a surgeon at Brigham and Women's Hospital and a professor at Harvard University, that sets out to find an answer to why the health care costs in a poverty-stricken Texas bordertown are some of the highest in the nation despite having state-of-the-art technology and facilities.

One of the factors Gawande examines is the profit motive of providers, who enjoy kickbacks for admitting patients to hospitals and, presumably, referring them to specialists and other agencies. In some cases, doctors are even paid a percentage of the profits from tests and procedures performed at what are called physician-owned hospitals. Doctors in the small town in question were prone to "overutilization," ordering procedures that, among other things, serve as a preemptive defense against malpractice lawsuits, and performing unnecessary surgeries when lifestyle changes and pain management would be just as effective—and cheaper. It's possible that a significant number of "unnecessary" tests would rule out more serious conditions, and therefore reduce the number of more invasive (and expensive) procedures that may have been performed based on less accurate testing. But how many doctors who view their practice as a profit-based business feel compelled to order unnecessary tests simply to pay for the cost of running their business?

Doctors in the U.S. perform more operations than doctors in any other country in the world, and there's no evidence to suggest that we're any better off because of it. (The U.S. ranks 45th in life expectancy, below Cuba.) And the cost of certain procedures—like CT Scans, for instance—is also more expensive, but that doesn't mean the quality of care or the accuracy of the results is any better. Due to subsidies, the equipment required for a CT Scan reportedly costs 40% less in a third-world country like India than it does in the U.S., and the average cost of one contrast scan here could pay for dozens of similar tests in Mumbai. So what accounts for this discrepancy?

The U.S. is a nation filled with the best and brightest physicians and technicians who have attended some of the most respected and expensive universities in the world. The cost to our providers is bound to trickle down to their patients. But radiology isn't brain surgery; the cost of interpreting a CT Scan simply doesn't justify the exponential cost incongruities being shouldered by Americans. Technical and professional fees are part of the problem, but that doesn't explain how the cost of a test like a CT Scan varies so wildly in the U.S. (The fact that one has to "shop" for the best deal when it comes to potentially life-saving tests is obscene, but that's a whole other topic.)

One factor might be that the cost of treating the uninsured—or the underinsured, which was the subject of a front-page article in The New York Times last week—is built into the cost paid by those who can afford to pay. The radiology clinic where I had my CT Scan offered to drop off the contrast fluid I had to drink prior to my test and gave me a ride to and from the clinic on the day of my test. This was a service provided by the clinic and wasn't billed to me or my insurance (I know because I asked—twice). It was generous and helpful, especially since I'd never been there before and don't have a car, but they no doubt offer this "free" service to all of their patients, not just those who are insured. Someone has to pay for it. A country with 45 million uninsured is bound to see its health care costs skyrocket.

Universal coverage isn't feasible if large segments of the population are being priced out of the market. Blatant profligacy within the system, specifically of the variety Gawande has unearthed, means that prices won't be dropping any time soon. But ironically, it also means reform isn't a hopeless venture. Taking care of everyone doesn't mean the country has to go bankrupt or that we have to saddle our grandchildren with even more debt. If we're indeed wasting money, and that's recognized as a reality on both sides of the aisle, that means at least one buzz term, "efficiency," truly is the key to reform. Obama may be pointing one finger at the overweight, but as Gawande shrewdly observes, "the idea that there's plenty of fat in the system is proving deeply attractive." We just need to admit who the fat ones are.

Changing the culture is essential to solving the problem. Defensive medicine costs tens of billions each year. And doctors whose focus is not on patient care but on money—whether it's profit-motivated or simply a matter of survival—might not even realize they're part of the problem. The discussion draft of the House bill provides incentives for accountable care organizations, which are comprised of doctors and specialists who collaborate in networks—not for profit or kickbacks, but for results. These kinds of networks would purportedly discourage profiteering by changing the way doctors get paid through Medicare—paying physicians for results, not the quantity of service. Policymakers close to the bill say the details—how or if those changes are going to happen—haven't been worked out yet, but what Congress seems to have realized is that Medicare is a barometer for the entire health care industry. As Medicare goes, so goes the nation.

It's easy to blame one part of the system for the failure of the entire thing. But like the human body itself, health care is made up of the symbiotic relationship between separate but inextricably bound parts: providers, insurers, and patients. The House bill looks at the issue of reform from both sides: reforming delivery systems—how doctors are paid to create incentives for efficiency and quality—and adding a public plan to keep costs to consumers down. And while those goals might prove to be tricky (The Washington Post reported this week that a panicked health insurance industry is in full-on lobby mode, which means that even if a bill passes, it will likely be watered down), it's still only one part of the solution.

Legislating cultural change is an essential component to reform, and while that's likely to prove even more difficult, there has been some progress. At the beginning of the year, lawmakers introduced the Physician Payments Sunshine Act of 2009, a bipartisan bill that failed to make it through Congress two years ago but which, despite even stricter regulations, stands a better chance in the current economic and reform-happy climate. The legislation would amend the Social Security Act, requiring transparency in the relationship between physicians and pharmaceutical and biotechnology companies. The bill is currently under review, but even if it fails to pass a second time, the pressure has already forced companies like Pfizer and Merck to voluntarily disclose the amount of money they're spending on things like consulting gigs, speeches, meals, and gifts—and to whom.

Additionally, nonprofit organizations like Area Health Education Centers are taking steps to offset Pharma's influence on physicians. It's a little disturbing to think that your local doctor's office could be serving catered sandwiches for pharmaceutical reps who are hoping to peddle their latest inventions to the community via your family doctor, but that's exactly what's happening across the country. Doctors shouldn't have to choose between what's in the best interest of their patients and what's in the best interest of keeping their practices in business. And we shouldn't have to worry that our doctors aren't on our side.

Michael Jackson: 1958 - 2009

By: Eric Henderson and Sal Cinquemani On: 06/26/2009 12:54:58 In: Artists Comments: 5

Michael Jackson

Upon hearing of Michael Jackson's death yesterday, one of the first things that popped into my head was: "Have you seen my childhood?" I say that as naïvely and as free from cynicism as I can. At its best, pop music both clarifies and enriches receptive souls' personal experience. And the touchtone moments in pop culture exist as a simple purification of every individual's life experience. Speaking personally, the death of Michael Jackson will forever denote the moment I left my 20s behind; it comes literally days before I turn 30. It's a perfect parallel, in a sense. The arbitrary acknowledgement of my wonder years' passing will be forever intertwined with the death of the man who was never allowed a proper childhood, and who subsequently raged with all his creative might against the onset of adulthood. Jackson's music still serves as a crucible for our various compromises and self-imposed psychological barriers. It sounds carefree, but it's impossible to listen to without assessing its creator's hidden torment. Even the smoothest, catchiest, most disco-tastic singles in MJ's back catalog are a little obsessed. (Don't stop 'til you get enough? Got me working day and night?) Which is my own tortured way of saying it sounded great then, and it sounds great now. In the mid-'80s, I always thought of Michael Jackson and Prince as a perfect yin and yang of pop and R&B, the former representing good and the latter evil—or close to it. In retrospect, both were never more compelling (and downright terrifying) than when they confounded that syllogism. (Prince's "God" is as chillingly direct as Jackson's "In the Closet" is hauntingly abstruse.) Time's cruel joke: Now that I'm old enough to appreciate Jackson's artistic persona on its deeper levels, I only want back the simplicity of his showmanship. I want back the days when it wasn't the Eagles sitting atop the all-time list of best-selling albums. I want the Michael Jackson who somehow nailed flawless, effortless quadruple turns easing down the road in The Wiz while wearing size 37 scarecrow slippers. I want him back. Eric Henderson

Michael Jackson's Wikipedia page was updated within moments of the announcement of the glittery gloved one's passing. Twitter crashed harder than it did during the peak of last week's protests in Iran. Two of the major broadcast television networks suspended their primetime schedule to air specials about Jackson, while radio stations across the country cued up songs from his extensive catalogue of hits. One woman called in to New York's Power 105 in tears, repeating, "I loved Michael Jackson! I loved that man!" over and over, before threatening to throw herself in front of a car. You can hear his influence in the music of today's younger pop, R&B, and hip-hop stars, and his own songs, whether it's "Human Nature" or "Remember the Time," rarely sound conspicuous when sandwiched between the top radio hits of 2009. If the self-proclaimed and globally ordained King of Pop's career was in decline—or even over—at the time of his death, you'd never know it. To celebrate the very reason he mattered, still matters, and always will, we've compiled a list of our 10 favorite Michael Jackson singles and videos (in chronological order). Enjoy. Sal Cinquemani

When Marvin Gaye recorded a version of Leon Ware's plaintive long-distance love song, "I Wanna Be Where You Are," little could he have known it would just a few years later sound like comforting "I'll always love you" sentiments from beyond the grave. The gap was far longer in Jackson's case (he recorded it in 1972, one of his earliest singles without the Jackson 5), but again the song now aches with the foreknowledge of something lost:



After a glorious fake-out prelude of tentative, mumbling first-date banter, Jackson and producer Quincy Jones absolutely blow the roof off. Don't Stop 'Til You Get Enough" is declaration as explosive imperative, pop music's ultimate side one, track one:



Prevailing wisdom dictates that "Rock with You" and "Don't Stop 'Til You Get Enough" should be cited as Jacko's best disco-era tracks, but "Off the Wall" comes pretty damn close. And this one lyric seems to capture the often bizarre icon's too-short life: "Life ain't so bad at all if you live it off the wall."



The Jacksons's "Can You Feel It" wasn't the first time Michael Jackson blew his socio-musical aspirations out into Cinerama dimensions, but this stately slice of disco represents maybe his first successful stab at synthesizing social consciousness and million-dollar production values. It's the secular forerunner of "Man in the Mirror":



To quote Ed Gonzalez from our 100 Greatest Music Videos list: How fucking cool was Michael Jackson that he could light up a sidewalk with the tap of his foot in "Billie Jean"?



To quote again from that list, never before had a music video, a largely artless marketing tool up until that point, employed plot, costume, and cinema style as expansively as "Thriller":



As the leadoff single from the album that had the dirty job of following up Thriller, "I Just Can't Stop Loving You" seemed an unlikely candidate. It wasn't danceable. It wasn't immediately hooky. For Christ's sake, it was a duet! But aided immeasurably by the endlessly descending chords of a particularly melodramatic chorus, it's Jackson's finest moment as a adult heterosexual male recording artist:



A slow jam of the highest order, "Remember the Time" proved that even when the King of Pop's crown was starting to get a little rusty, his R&B was as smooth as ever:



The blockbuster-budget video, the Jam & Lewis crashes and clatters, the long-awaited collaboration with the only other Jackson who matters. All superfluous. "Scream" boils down to that solitary curse: "Stop fucking with me." Only Michael Jackson could, as late in the "Parental Advisory" game as 1995, make the word sound like a direct slap:



If there's one good thing to come from the sudden passing of the first black artist to get played on MTV, it's that the network is actually playing music videos again, at least temporarily. Specifically, they're playing Jackson's videos—all of them. Or almost all of them. Presumably, they haven't played either version of the controversial 1996 single "They Don't Care About Us." The first was directed by Spike Lee and was shot in a favela in Rio de Janeiro; the second was a less subtle statement about poverty, racism, and the prison system, juxtaposing images of the civil rights movement with Jackson shackled in a prison cell and performing among inmates in a prison cafeteria:



Human Rights Watch International Film Festival 2009: The Yes Men Fix the World

By: Bill Weber On: 06/24/2009 13:38:23 In: Festivals Comments: 0

The Yes Men Fix the World

Returning for a second feature-length tilt at gleefully executing anti-corporate hoaxes, Andy Bichlbaum and Mike Bonanno follow up the inflatable penis suit and feces-generated fast food of The Yes Men with a little more showbiz (staged comic interludes in their debris-filled "underground headquarters") to prank unsuspecting business conferees with fraudulent rollouts of a bulbous rubber survival cocoon (ostensibly from Halliburton) and a new energy source: candles made from the flesh of a gallant, industrially-poisoned Exxon janitor. Proving repeatedly that a passable wardrobe and camera-ready clichés can get them into any chair normally reserved for experts and bureaucrats, the Yes Men most satisfyingly bring temporary but unaccustomed chaos through a BBC News interview where Bichlbaum's offer of Dow Chemical billions to treat victims of the 1984 Bhopal chemical disaster sends the company's stock plunging; the post-catastrophic "SurvivaBall" garb draws straight-faced questions about marketability and long-term wear; and a New York Times print parody exploits Obama-victory ecstasy by trumpeting headlines of instant Iraq withdrawal and sweeping progressive reforms. (This climactic project, though accurately conceived and read as a "dream paper," may have dated fastest of all.)

Even more so than in the previous film, The Yes Men Fix the World indulges in faux-naïve disappointment that, after garnering priceless double-takes of white-collar audiences confronted with the "Golden Skeleton" of monetary human-life calculus or the hypothesis that global warming can be as positively transformative as the Black Plague was in clearing the decks for the Renaissance, the duo hasn't shamed The Man into changing his deregulated, market-dictated ways. Given that Bichlbaum and Bonanno aren't above funny cheap shots like green-screening Tom of Finland art behind a solemn Milton Friedman-school economist, their exposure of ossified free-market mindsets seems more in line with their skills than a call to activism against a global capitalist oligarchy. Careful to elicit blessings upon their deceptions from the downtrodden, be they health activists in Bhopal or the post-Katrina poor being squeezed out in money-mad New Orleans reconstruction plans, the Yes Men ultimately admit to "failure" to fix the world except in the pages of their utopian Times, but their true success comes in discovering a Gulf Coast-rehab expo where the only shelters being marketed are yurts from Kyrgyzstan, or in getting a climate-change skeptic to offer, "Cold-related deaths will decrease significantly."

[The Yes Men Fix the World premieres June 24 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Good Fortune

By: Bill Weber On: 06/23/2009 13:35:37 In: Festivals Comments: 0

Good Fortune

"You guys will go from last to first," Dominion Farms CEO Calvin Burgess condescendingly tells a crowd of Kenyans at an outdoor PR carnival in Good Fortune as he pumps up enthusiasm for his American company's project to turn a swath of the Yala Swamp into a $30 million rice farm. But Dominion's plan to flood 1100 acres of arable land and construct an irrigation dam takes little account of the area's farmers who are losing their homes and livelihood; they're a collateral nuisance. "My life is based on this soil...We don't want to become [Burgess's] laborers," says farmer and schoolteacher Jackson Omondi, one of three citizen protagonists in Landon Van Soest's documentary who object to the impact that purported anti-poverty programs, devised by foreign corporations or NGOs with the carefully negotiated participation of Kenya's government, will have on their lives. Are they short-sighted, unwilling to see that the status quo blocks "big-picture" progress in the modernization of Africa's continental economy? Perhaps, as a Dominion director sunnily puts it, the Yala farmers simply need to see that the submerging of their land provides a golden opportunity for "changing their careers into fishing and other pursuits."

Lacking any narrator or audible off-camera interrogators, van Soest's film is occasionally wanting in terms of contextual data and confirmation of the Kenyans' assertions (e.g. the link between Dominion's sprayed chemicals and the local incidence of miscarriages). But the crises and dilemmas in the three-part chronicle are informed by the familiar past failings of Western corporate culture and the Kenya regime's prioritization of profit—along with the nation's bloody post-election mayhem in 2007, seen here in the final reels. In the capital of Nairobi, where the Kibera slum neighborhood that's home to one million is being "upgraded" by a joint UN-government effort, a hairdresser threatened with eviction points to local high-rises that were similarly supposed to elevate quality of life for the poor, but were ultimately occupied by the upper class or abandoned amid embezzlement revelations. And in perhaps the most desperate segments, fishing communities on the shores of Lake Victoria are confronted not only by stocks critically depleted by a World Bank-funded export industry and environmental degradation, but the spread of AIDS as increasingly alienated men patronize prostitutes and expose their wives to HIV.

Not merely questioning if a corporate, Western model of aid to Africa can penetrate to the grassroots, Good Fortune sees those most egregiously treated as pawns by outsiders (of varying motives) and domestic powers-that-be as fully aware of their underdog status, and often bleakly resigned to the limits of resistance. "It's better to leave without a fight," sighs the Kibera salon owner, even as the film unexpectedly shows Western ingenuity receiving a near-karmic comeuppance in the Yala Swamp.

[Good Fortune premieres June 24 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Tapologo

By: Joseph Jon Lanthier On: 06/22/2009 13:02:28 In: Festivals Comments: 0

Tapologo

A stone's throw from the Impala Platinum mine in South Africa, Freedom Park is a shanty town hell inhabited by sub-Saharan migrant workers that lacks even the most rudimentary community developments (running water, agriculture), and possesses a makeshift economy existing primarily to serve the whims of sexual predators. As a result, roughly 50% of the female citizenry, all of whom are de facto prostitutes, has contracted HIV. The documentary Tapologo circuitously follows a collection of nurses—most of whom are rehabilitated sex workers with AIDS themselves—who collectively founded the Tapologo Hospice in Freedom Park under the wing of a small group of doctors-cum-missionaries from the United Kingdom.

The objective of the hospice seems, at first glance, rather defeatist: The women who man the small pharmacies and make house calls throughout the disease-riddled town are fully aware of the infected population's mortality rate, and in spite of attempts at prevention therapy (condom distribution, AIDS education sessions) the epidemic's grip on the community has not slackened. The dignity of their efforts, however, is aptly summed up by a visiting Irish priest: After an individual has contracted the virus, he observes, Christianly care is the only useful ecclesiastical reaction. The Tapologo nurses not only prolong and improve the quality of their patients' lives but of their own as well, and the smattering of oral histories in the film emphasize the medicinal properties of fraternal strength even in the face of moribund despair.

Structurally, the film would have benefited from pruning; much information is repeated out of necessity as we revisit the same characters multiple times and gradually piece together their autobiographies. And the attempt in the center of the documentary at representing a full day at the hospice with title cards heralding the start of each hour features far too many distractions—for example, cutaways to lengthy monologues from figures outside the facility—to properly capture the frenzied cadence of the profession. But the directors' judicious patience with their subjects allows them to capture some remarkable storytelling, and even more impressive are the silent montages cycling through five-second video portraits of the hospice's non-English speaking staff. Their worldly, fatigued stares are the most eloquent thing about Tapologo: They communicate the experience of having one foot in the grave but marching forward, regardless.

[Tapologo premieres June 23 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Mrs. Goundo's Daughter

By: Joseph Jon Lanthier On: 06/21/2009 13:15:15 In: Festivals Comments: 0

Mrs. Goundo's Daughter

Bestriding the line between global documentary and social exposé, Mrs. Goundo's Daughter lingers for one squeamish hour on the resilient African tradition of female genital mutilation (or FGM, as it is bureaucratically abbreviated). Juxtaposing interviews with the immigrant of the title—a Malian excision victim seeking asylum in the United States to protect her daughter from a similar fate—and footage captured in her homeland during FGM rituals, the film ponderously examines the practice's tribal significance.

The expected observations are repeated, ad nauseam, including not only vocal support of clitoridectomy as a device to mitigate the natural proclivity of women toward sexual perfidy, but step-by-step descriptions of the procedure itself as well—which up until a decade ago was performed en masse with a single blood-laden scalpel. This provides a wealth of teeth-gritting moments, but the filmmakers neglect to provide more nuanced context that might tourniquet their audience's befuddlement after the initial shock wears off. We're never told, for example, precisely how FGM proliferated so profusely in Islamic nations, so while it appears to possess an aura of sanctity comparable to male circumcision, the lack of historical detail recklessly demonizes its practitioners (both male and female) rather than discovering how they came to inherit the tradition.

Still, the facts of the ritual's steadfast observance are as culturally fascinating as they are tragic (for example, it's common for young girls to be abducted by relatives or neighbors and excised without their parents' knowledge or permission), and in its frequent conversations with female refugees, Mrs. Goundo's Daughter probes the subaltern core of Mali's feminine psychology. Victims of FGM need to convince themselves that they have been abused—by counting the number of weekly deaths from excision, or by recounting the resulting difficulty in childbirth, or by complaining that while husbands support FGM, they favor the sensation of a complete vulva. It occurs to none of these women that even the concept of mutilation may be inherently damaging or subjugating without the attached risks. What Malian society needs is a distaff system of corporeal demystification and celebration—only a culture saturated with intense yonic fear could view asexualizing violence as empowering.

[Mrs. Goundo's Daughter premieres June 21 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Look Into My Eyes

By: Nick Schager On: 06/20/2009 13:48:51 In: Festivals Comments: 0

Look Into My Eyes

The title of Naftaly Gliksberg's Look Into My Eyes is an overt reference to its climax, in which the director—outside the courtroom where Holocaust denier Horst Mahler is standing trial—compels one of Mahler's "followers" to stare into his eyes, an act the man doggedly avoids because "Jewish people are part of the devil." Yet moreover, the documentary's moniker functions as an articulation of Gliksberg's modus operandi of visiting an assortment of locales (some of which he has ties to) and candidly discussing prevailing attitudes about Jews and Israel.

Given that the director places himself squarely in the camera's gaze, as well as chooses certain extreme-case examples who deliver familiar over-the-top soundbites, the doc resembles Bill Maher's button-pushing nonfiction comedy Religulous. Whereas Maher approached his non-representational interviewees with condescension, however, Gliksberg proceeds with a mixture of curiosity, apprehension, and dismay, the latter becoming increasingly palpable during chats with people who profess fondness for Jews and then advocate ugly, clichéd stereotypes. A West Virginian big shot with the white supremacist National Alliance—whose anti-Semitism is of a predictable sort—proves far less chilling than a nearby church pastor who assures Gliksberg about his tolerance, only to then add that Israelis are a rude lot who only treat Christians well in order to earn their tourist money, and that by not following the 1914 Balfour Declaration the Jews brought the Holocaust upon themselves.

Still, by only cursorily concentrating on himself, the son of an Israeli rabbi who cast aside his orthodoxy (and his religious wife) upon moving to Paris in his early 20s, Gliksberg forgoes providing highly personal context that might have made up for the haphazard nature of his inquiry, which plucks out topics—the 1991 Crown Heights conflict between blacks and Jews, a notorious French comedian—seemingly at random. Though positioned more as one man's private investigation than as a definitive survey of current global anti-Semitism, the film somewhat falters on both counts, expressing its grief and horror over the persistence of irrational hate frankly and poignantly, but via an easy-target framework from which one can draw only superficial conclusions.

[Look Into My Eyes premieres June 21 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Afghan Star

By: Joseph Jon Lanthier On: 06/19/2009 13:22:02 In: Festivals Comments: 0

Afghan Star

Afghan Star sets out with a delectably postmodern agenda: Closely following four contestants in the eponymous television program, Afghanistan's burqa-busting answer to American Idol, the documentary compassionately argues that one region's pop detritus is another's ideological maturation. After NATO chased the Taliban out of their war torn, totalitarian playground at the urging of the U.S. in 2001, remaining inhabitants were faced with the perplexing novelty of freedom of speech—at least as far as the Qur'an would allow. Broadcasting companies were quickly organized but overcome with the awkwardness of rebuilding media outlets after nearly two generations of stifled silence. The solution was, naturally, to seek a preexisting entertainment model and adapt it for Islamic viewers, and since a flood of American imports had already captivated the celebrity-starved nation, Afghan Star was developed—not only as a source of euphonic escapism, but as a sly way of uniting Afghanistan's collection of perpetually embattled provinces (contestants on the show are drawn from as many diverse corners of the country as possible).

Director Havana Marking's social observations resonate most effectively when she concentrates on the titular TV show itself, and its widespread cult, much of which diagonally illuminates the political context of the populous. After years of enduring unrewarded labor and ubiquitous terrorism, even the most indigent and rural of citizens are obsessed with which member of the ragtag pool of singers on Afghan Star will go home next, especially since the population's own text message votes make the choices. And the performers themselves—despite appearing astoundingly aged in spite of their twentysomethingness—seem to represent the resurrection of what has been for the last 30 years a dormant Afghan culture: A conservative but nonetheless jubilant and even campy musical celebration of Middle-Eastern consciousness (connecting these dots for us, the film shows clips of hilariously kinetic mid-'80s music videos from Afghani TV, most of which sound and look like outtakes from "Addicted to Love"-era Robert Palmer).

There are also, however, reminders that Afghanistan doesn't need the Taliban to subjugate women—they can manage it well enough on their own. Setara, a youthful female contestant, doffs her head-wrap during a passionate number and dances with her hair freely jostling along to her hip rotations. The response from even the girl's fans is spontaneously brutal, with droves of Afghan Star viewers willing to uphold their Muslim taboos with the death penalty. This subplot is essential to understanding the warped, transitional state of Afghan psychology, but it causes the film to lose focus and ethical perspective: Stalling the pop competition's optimistic trajectory, the directors occasionally even sink so low as to use the uncertainty of the alleged heretic's fate for visceral tension.

This misfired episode isn't quite enough to sour the entire documentary, but it does effectively curdle one of its most admirable points: That the voting system of Afghan Star could be viewed as nascent democracy. As the final winner is announced and the end credits roll our thoughts turn not to Thomas Paine or Montesquieu, but the sadistically topsy-turvy republic of Shirley Jackson's The Lottery. Regardless of the governing method, Islamic nations will forever function within the autocratic grip of intransigent fatwas.

[Afghan Star premieres June 20 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: My Neighbor, My Killer

By: Andrew Schenker On: 06/18/2009 13:49:02 In: Festivals Comments: 0

My Neighbor, My Killer

Fast on the heels of Munyurangabo's brief New York run comes Anne Aghion's My Neighbor, My Killer, a documentary that, like Lee Isaac Chung's fictional film, examines the legacy of Rwanda's 1994 genocide. What the movies have in common is that, while directed by outsiders (Chung is Korean-American, Aghion French-American), both scrupulously avoid the glossy reductivism of higher-budget American productions that tend to render historical atrocity both overly familiar (because of recognizable genre tropes) and comfortably distant (because a lack of immediacy). While Chung uses local actors, films in the Kinyarwanda language, and confines the bulk of the action to a single local setting, Aghion deliberately avoids making concessions to viewers unfamiliar with the conflict and, with the exception of a few brief radio snippets, provides very little contextualizing information. Despite the films' weaknesses (in Munyurangabo, a last-minute plot development that seems to absolve the protagonist of having to kill, in My Neighbor a fragmented fly-on-the-wall perspective that, while illuminating, also risks a certain amount of confusion), what is at stake in the two projects is a new authenticity lacking from other Western treatments of the genocide, a respect for the Rwandan people and an understanding of the ways in which tragedy must give way to reconciliation in order for the devastated nation to continue.

Reconciliation is the watchword for the villagers in My Neighbor whether they like it or not. Aghion's video feature, her third project to treat the aftermath of the genocide, tracks the implementation of Gacaca, a unique judicial process instituted by the Rwandan government designed to force an understanding between victim and perpetrator, as it unfolds in a single village. A collection of filmed fragments taken over several years, My Neighbor begins with the release of several alleged war criminals from prison and their return to their native village where they live side-by-side with their victims. Then after eliding several years of (at least hypothetical) reintegration, Aghion films the villages holding open air trials in which townspeople stand up and directly confront the alleged murderers of their husbands and children.

Although the director takes a deliberately nonjudgmental approach, the trial process as it's presented seems of at least questionable efficacy. In the first stage, the returned prisoners mostly avoid contact with the victims and, in the second, mostly deny their direct involvement in atrocity. Along the way Aghion captures some revealing moments of conflict—a gathering in a makeshift bar in which victims sit beside an alleged perpetrator uneasily sharing a beer, the entire concluding trial sequence in which the words of the victims ring out with enough measured outrage to counter the defendants' weak denials—which speak more to the difficulty of reconciliation than to its possibility, or even desirability. If ultimately the work's fragments—like the Gacaca process itself—fail to fully cohere, then the project's privileged look into a unique experiment makes it at least valuable as a document in our ongoing understanding of the lasting implications of genocide.

[My Neighbor, My Killer premieres June 20 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Youth Producing Change

By: Eric Henderson On: 06/17/2009 13:38:22 In: Festivals Comments: 0

Youth Producing Change

A second collection of short films created by youth from every far-flung corner of the world and packaged for the Human Rights Watch International Film Festival, Youth Producing Change is almost self-evidently something of a grab bag. But even if the point is obviously to celebrate the intent more than the final product, it's always surprising to hear the state of world affairs as reflected by those who, at least as far as politicians are typically concerned, see more than they tell. The opening piece, I Live in Mozambique, plays a little like a brief addendum to Jean Rouch's Moi, un Noir. Admittedly, Rouch's first-person ethnography took place on the other side of the continent in the Ivory Coast, but both films share a vibrant sort of optimism, all the more impressive in the case of Mozambique's Alcides for the fact that he has seen both his parents die in the previous year to AIDS. His is a rare sort of optimism that can admit his brother collects discarded bottles so he can fill them with contaminated water and sell them. On the flip side in every possible sense is Aquafinito, an American student's exposé of the bottled water industry and its Chinatown-esque machinations against humanity's inherent right to have access to public water supplies. Though it comes off a tad privileged when held against the likes of Mozambique, the animated fable Leila, or, closer to home, In My Shoes (a stylish and all-too-brief dual-pronged portrait of teen homelessness in New York City), Aquafinito is likely still more informative and thorough than any investigative journalism you're likely to see from most American mass media today. Nevertheless, the anthology's true heart reveals itself in pieces such as Noe's Story and Sako, unfettered and determined self-portraits of children who have to fight for their right to be represented by what remains one of the most powerful forms of mass communication in the entire world.

[Youth Producing Change premieres June 19 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Back Home Tomorrow

By: Eric Henderson On: 06/16/2009 16:14:48 In: Festivals Comments: 0

Back Home Tomorrow

The documentary Back Home Tomorrow blazes out of the gates with a form/content double-shot—high-contrast, Meirellesian HD images capturing every spec of dirt and grue clinging to the petrified face and heaving torso of a seven-year-old Afghan boy injured after playing with an undetonated mine. "Call my father! I'm dying," he sobs, as premature awareness of his own mortality dawns incongruously on his cherubic face before directors Fabrizio Lazzaretti and Paolo Santolini show the right arm that now ends at the halfway point and the flaps of skin that used to be his left hand's fingers. The boy, Murtaza, is at the center of two parallel stories. The other involves Yagoub, a 15-year-old boy refugee from Khartoum whose medical crisis—he needs an expensive surgery or else his heart will continue to expand within his chest, killing him within a year's time—is presented against the imposing aftermath of the second Sudanese Civil War. Lazzaretti and Santolini frame Yagoub's struggle against his own suggestively symbolic heart muscle within scenes depicting his mother's resigned reaction to the price tag ($5,000, which may as well be a million...and, in fact, is, in Sudanese pounds) and his community's emphasis on highly physical, full-contact masculinity (the filmmakers dwell at length on an almost balletic wrestling match). Both Murtaza and Yagoub are victims of war; the former is trapped inside a hospital during a long and painful rehabilitation, while the latter is kept outside by the alternately prohibitive and exploitive costs of medical care. That said, their stories are unique enough that one wishes they'd each been given their own individual film. While it doesn't diminish the inherent emotional power of each boy's plight to put them through the gauntlet of crosscuts, there is enough disjoint to put the entire project's narrative thrust in jeopardy. Nonetheless, Lazzaretti and Santolini are diligent enough documentarians that they capture moments of moral clarity, such as when the weeping mother of a mine victim thumbprints her consent to the surgery, using a piece of her own anatomy to allow doctors permission to remove the same piece from her son.

[Back Home Tomorrow premieres June 19 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Remnants of a War

By: Bill Weber On: 06/15/2009 15:30:16 In: Festivals Comments: 0

Remnants of a War

"I should have a normal job," gripes a young Lebanese man to one of his teammates on a bomb-clearance squad in Remnants of a War, and the flat, unsentimental reply comes: "You talk like we're in Europe." In the wake of Israel's 33-day invasion of Lebanon in the summer of 2006 (in response to Hezbollah kidnappings of Israeli soldiers, and only six years after Israel had withdrawn forces that had occupied Lebanon since 1982), thousands of cluster munitions fired or dropped in the southern part of the country had left uncounted unexploded "bomblets" in orchards, homes, and roads. With casualties mounting after residents returned from exile in Beirut, only to be maimed or killed by a hidden "dud" that was stepped on or dislodged, private companies recruited citizens to assume the bulk of "de-mining" patrols from an overwhelmed United Nations disposal unit. The title of Jawad Metni's documentary refers doubly to the legacy of the bomblets' menace and the crippled economy that forces the film's trainees to turn to bomb clearance—it's postwar Lebanon's only growth industry. (One engaged couple works together on a bomb team in the hope that their marriage will finally come off when they've earned enough to buy a house, after seeing earlier savings eaten up by wartime relocation and the fizzling of their pre-bombardment careers.) Academics and Human Rights Watch analysts place the population's struggles into historical and geopolitical context, and despite perhaps an excess of atmospheric down-time dancing scenes, Metni foregrounds the ever-present threat the Lebanese are trying to erase by punctuating his footage with isolated, medium-long shots of the crack and puff of another munition being detonated by the de-miners in a verdant, sunny landscape. Remnants of a War's explicit questions linger: What would another occupation bring, and when will Israel and the U.S. join 111 nations in signing a cluster-bomb ban agreement?

[Remnants of a War premieres June 17 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: In the Holy Fire of Revolution

By: Lauren Wissot On: 06/14/2009 16:23:20 In: Festivals Comments: 0

In the Holy Fire of Revolution

On its surface, Masha Novikova's In the Holy Fire of Revolution, which follows the Russian chess champion and activist/politician Garry Kasparov as he and his comrades in The Other Russia movement wage a campaign battle against Vladimir Putin and his supporters, would suggest The War Room Russky-style. Unfortunately, the doc doesn't sizzle like its title, but merely fizzles out. Novikova, instead of digging deep into the heart of the former Soviet Union, is merely content to toe the party line, trotting out all the usual dissident suspects to needlessly remind us that Putin's Russia is a thug state. The main problem with Revolution is that it tells us nothing new, but merely shows us what anyone who's tuned in to any international media outlet since the turn of the century already knew. That Kasparov's contingent would hold their meetings in a crumbling, commie-drab building by candlelight since the electricity was cut off, and that a young mother working for the Kasparov side could be brutally attacked with a baseball bat, is sad, but not the least bit surprising or illuminating.

Not to mention the least bit cinematic—and trying to liven up the boring proceedings by interspersing footage of Kasparov's sedate chess matches with propagandistic rallies doesn't do much to help Novikova's cause. While white subtitles on a usually white background make the translation nearly impossible to discern, the straightforward interviews with Kasparov are even more frustrating. Here is a gregarious man every bit as media savvy as Vladimir Putin, who knows when to play the strongman and how to soothe an insulted war vet. And yet Kasparov's manipulation of his own image—revealed when he shows a photojournalist which poses work best—doesn't even occur until an hour and a half into the film! Though The Other Russia refers to the 85% of the population not benefiting economically from Putin's reign, Novikova's exclusive focus on Kasparov and his fight for this hardworking silent majority comes at the expense of the other 15% that could have given her doc the dramatic tension it sorely lacks.

Indeed, Kasparov's party's first clash with Putin's supporters doesn't happen until a full 45 minutes into the film. And Revolution only gets interesting when Kasparov begins to lose his chess player's cool, calling members of Putin's Young Guard "worthless" people with "vacant eyes." And speaking of youth, where is the Internet in all this political organizing? While Kasparov is forever complaining that state-run media keeps his message from getting heard, not once is anyone in The Other Russia shown attempting to organize young activists online. With such wild accusations of Kasparov as an "American pawn" and a "journalist for The Washington Post" being thrown by Putin's youth movement, there is no doubt that these "vacant-eyed" twentysomethings are tuning in and logging on. So if anemic activist filmmaking like this, as uninspired as the monotonous protests that probably make Putin chuckle, is any indication of Russian apathy, it's no wonder the chess champ lost to a master political player—who won with the same percentage of the total vote as the number of squares on a chessboard.

[In the Holy Fire of Revolution premieres June 15 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Kabuli Kid

By: Nick Schager On: 06/13/2009 13:40:01 In: Festivals Comments: 0

Kabuli Kid

Kabuli Kid boasts the neorealism of contemporary Iranian cinema (and its American practitioners, like Ramin Bahrani), a mode that lends its story authenticity even during excessively didactic moments. In a beaten-up Kabul where citizens bemoan the fallout of U.S. bombings with a resignation born from familiarity with conflict, taxi driver Khaled (Hadji Gul) picks up a woman wearing a blue veil, who then leaves her newborn son in his cab. Unable to find the missing mother, Khaled—who criticizes women for covering their faces, yet nonetheless treats his wife as a servant and openly wishes she had begat him sons instead of daughters—finds himself stuck with the infant. It's a scenario Afghan director Barmak Akram mines for neither cutesy humor nor undue mawkishness, the filmmaker delivering a story not about a man redeemed by an adorable cherub, but rather, about the grim realities of life in war-ravaged Kabul. Losing work and income because of his babysitting duties, the strain compounded by his father's complaints about his chosen job, Khaled goes to increasingly desperate and unpleasant ends to relieve himself of his newfound burden, attempting to pass off on others the problem that's landed in his lap.

The film's socio-political chatter frequently lacks subtlety, raising issues with a bluntness at odds with the otherwise patient, naturalistic atmosphere. If too eager to italicize its larger concerns, however, the film's attention to detail is redeeming, frankly capturing a national mood comprised of pride, bitterness, self-interest, and defeatism. The exploitative greed of Kabul's marketplace vendors operates hand-in-hand with the not-my-problem selfishness exhibited by social service workers, with Akram depicting his milieu and its inhabitants as struggling to face the obligations that arise from their complicated circumstances. Refusing to resort to bogus uplift, the director posits characters as recognizably flawed individuals, and his tale as one—ending with the articulation of a child's name—whose happy ending remains in question.

[Kabuli Kid premieres June 14 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Snow

By: Bill Weber On: 06/13/2009 13:38:03 In: Festivals Comments: 0

Snow

The desolate and benumbed shell of an eastern Bosnian village in 1997 is the setting for Snow, as a population of a dozen survivors of the Balkan strife—save for one elder, all women and children—wait in vain for their missing husbands and children to return. Young widow Alma (Zana Marjanovic), occupied with the daily work of preparing fruit and vegetables for difficult-to-reach markets, is seen in recurring sequences twisting her scarf slowly around her head, bathing her limbs hurriedly en route to morning prayer, attempting to crowd out her fresh trauma with the everyday. She and her fellow mourners are pushed to resolve their pain when a Serbian representative of foreign developers offers to buy their land, touching off existential confrontations within the community as well as in the hearts of these scarred mothers and wives, who venerate even the eyeglasses and disposable razors left behind by their lost mates. Director Aida Begic does well in establishing the women's dogged labor as grief put into memorial, kinetic action, as well as with the magical-realist figure of the village's sole, terrified young boy, whose rapidly growing hair and panicked dashes through the countryside are spurred by the terror of his nightmares. Less smooth is the heavy weight put on the visiting land-sale agents, whose final confrontation with the matriarchs leads to an awful revelation and the falling of the previously allusive snow. Alma's punishing, weak-hearted mother-in-law (Vesna Masic) unexpectedly rallies from illness to unleash her will to remain in her native place; told condescendingly, "You deserve better living conditions," she snaps, "Yeah!" and orders the land buyers about like lackeys. Snow finds unity of purpose in different responses to its villagers' tragic inheritance—the Muslim elder's "Allah sees it all," and Alma's visceral answer to what constitutes a normal existence: "Us."

[Snow premieres June 13 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: Crude

By: Fernando F. Croce On: 06/12/2009 16:03:05 In: Festivals Comments: 0

Crude

At the center of Joe Berlinger's Crude are distressing images of Ecuador's Amazonian soil and water turned sludgy and toxic from foreign oil drilling. Concisely and infuriatingly illustrating the link between ecological devastation and corporate colonialism, these scabrous views of rainforest-turned-waste-pits are the starting point for the veteran documentarian's tough-minded chronicle of a court case that has spun decades and showcased the most viscous effects of conglomerate interest. The protracted tug of war depicted is between Ecuadorean activists (led by lawyer Pablo Fajardo and environmentalist Luis Yanza) and Chevron over the contaminating effects of the oil company's maneuvers on the land. Despite 30,000 indigenous people acting as plaintiffs and Chevron's own estimation of 17 million gallons of spilled petrol, the class action lawsuit endures endless delays, judicial labyrinths, and prevaricating officials.

Following a still-unresolved case over the course of three years, Berlinger gives voice to both sides of the conflict. As personal accounts of birth defects and cancerous deaths contrast with Chevron spokespersons denying effects and passing blame, however, the outraged compassion in the filmmaker's reportage becomes evident. A polished and haunting work of humanistic journalism, the film is passionate enough to follow its subjects in the ground-level combat of street demonstrations and office showdowns, and astute enough to understand the important roles a Vanity Fair article or a Trudie Styler endorsement can play in a cause. Crude is both a tribute to human-rights tenacity and a sobering account of the multinational-Moloch greed that can keep justice in limbo.

[Crude premieres June 13 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

Human Rights Watch International Film Festival 2009: The Age of Stupid

By: Andrew Schenker On: 06/12/2009 14:51:49 In: Festivals Comments: 0

The Age of Stupid

Looking back from the vantage point of a devastated, CG-crafted future, Franny Armstrong's cautionary climate change tale The Age of Stupid outlines the present day ills that, in the film's hypothetical setting, effectively made the world uninhabitable by 2055. As the Sydney opera house burns and the Taj Mahal lies in ruins, Pete Postlethwaite sits in the global archives—a digital repository of all that's valuable in our vanished civilization—recording a jeremiad against our current age of willful ignorance. In between teary laments, the actor, playing some combination of last survivor and himself, introduces clips from the archive, documentary snippets from the present day that make up the bulk of the film's content.

Taking the form of individual profiles, these segments chronicle the collateral damage of global warming and its principal agent, the unending quest for oil (Iraqi children seeking refuge from the war in Jordan, a Nigerian village decimated by Shell's involvement in their area) as well as the efforts of a few activists to combat climate change, both locally and globally. But if Armstrong seems to endorse these gestures of individual activism, her film nonetheless registers a largely pessimistic attitude toward their efficacy, as in a lengthy segment chronicling the dogged efforts and eventual defeat of one man's project to install a wind powered farm in the English countryside. Only a global system of carbon rationing, a plan outlined in a voiceover interlude, seems to earn Armstrong's full endorsement as a means of averting the film's imagined apocalypse, but given the oil companies' stranglehold on world government that the director outlines throughout the movie, the implementation of such a program seems hopelessly quixotic.

Moving between macro-level interludes and micro-level portraits, framed by a worst case future scenario (though one that, per an introductory title, is "based on mainstream scientific projections"), Age of Stupid communicates something of the massive global impact of our careless, though officially encouraged, consumption as well as the human cost of such a program, even if Armstrong's outsized ambitions threaten to dissipate some of the movie's force. Still, while steeped in an inevitable negativity, her film is nothing if not rousing (though less through its sci-fi scare tactics and more via its portrait of the widespread damage already being inflicted on the planet), and if its mode is unapologetically didactic, then in a society in which 60 percent of the people believe, scientific evidence to the contrary, that man has no appreciable impact on climate change, then perhaps a round of didacticism is precisely what we need.

[The Age of Stupid premieres June 13 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

If at First You Don't Succeed, Try, Try a Gun

By: Sal Cinquemani On: 06/11/2009 19:11:59 In: Politics Comments: 2

George Tiller

A good friend of mine worked at Planned Parenthood on the West Coast a few years ago. Though she was and still is fiercely pro-choice, she eventually left the clinic because administering abortions, even early ones, was too emotionally and mentally taxing for her. It never occurred to me that her job might have put her in physical danger, or that the protesters she encountered daily (it was a conservative town, after all) might have had some sort of impact on her decision to leave. In fact, she never even mentioned the picket lines to me. I spoke to her last night and asked if she'd ever felt at risk while working at the clinic. She told me she always felt safe. She also asked me not to mention her name in this piece.

Of course, my friend worked at Planned Parenthood during the Bush administration, which enacted the first federal law criminalizing second-trimester abortions and which went so far as to define birth control as abortion. The pro-life movement was getting what it wanted, and according to the National Abortion Federation, the number of reported death threats, clinic bombings, and attempted murders of clinic employees decreased between 2001 and 2008.

That all changed when, after losing control of the House in 2006, the right lost both the Senate and the White House last November. Since then, there has been an uptick in rightwing extremist violence. Threats against abortion providers reportedly spiked in January and have continued to increase throughout the first half of the year, coming to national attention less than two weeks ago with the murder of Dr. George Tiller, a Kansas physician who performed legal late abortions and who was gunned down in his own church by Scott Roeder, a known member of the anti-abortion movement. Tiller became the first death at the hands of anti-abortion extremists in 11 years—and the eighth since Roe vs. Wade.

It's important to call Tiller's murder, and the thousands of other acts of violence, vandalism, burglaries, kidnappings, stalkings, threats, and mischief that have taken place in the name of the anti-abortion movement, what they are: acts of domestic terrorism. Indeed, Tiller's murder was a political act, as was the shooting of a security guard at the National Holocaust Museum in Washington, D.C. yesterday. James von Brunn is a white supremacist, an anti-Semite, and a Holocaust denier; he is also a convicted felon, which means the .22-caliber rifle he used to murder Stephen Tyrone Johns, who had worked at the museum for six years, was obtained illegally.

Both Roeder and von Brunn were seemingly lone wolves, but they are part of a larger movement of rightwing extremism that has emerged from the dark, shadowy corners of this country in recent months and which was accurately and prudently forecasted by the Department of Homeland Security's Office of Intelligence and Analysis earlier this year. The report, unambiguously titled "Rightwing Extremism: Current Economic and Political Climate Fueling Resurgence in Radicalization and Recruitment," cited a perfect storm of economic hard times, the election of a black president, the promise of social change, and the return of Iraq and Afghanistan war veterans susceptible to the recruitment of white-power militias, as grounds for the alert. It was eloquently referred to as a "piece of crap report" by the likes of this piece of crap blogger, and DHS Secretary Janet Napolitano was forced to issue an apologia of sorts—despite the fact that the study was started during the previous administration.

That Roeder and von Brunn may have been lone wolves does not absolve others in the ideological groups to which they belong from culpability. Anti-abortion organizations with which Roeder is affiliated are indeed responsible. Operation Rescue—whose founder, Randall Terry, claimed that the anti-abortion movement was not responsible for Tiller's murder and then in the same breath proclaimed that the doctor "reaped what he sowed"—claims that Roeder has never been a member, contributor, or volunteer for their organization. But convicted terrorist and current Operation Rescue senior policy advisor Cheryl Sullenger has admitted to having multiple phone conversations with Roeder about Dr. Tiller. According to Rachel Maddow, who has admirably refused to let the story die while most mainstream news outlets have, Operation Rescue kept tabs on Tiller both on its website and on Sullenger's Twitter account. And as is evidently the practice of many anti-abortion groups, the organization posted the addresses for both Tiller's private home and church on its website. His church. What other purpose would it serve to post that information other than to furnish activists and extremists—that is, would-be assassins—with the necessary information to commit their crimes?

And crimes are exactly what these people are committing. In a piece for Air America, "Dr. George Tiller Didn't Have to Die," Amy Goodman detailed Roeder's offenses, including gluing shut the doors of a nearby clinic twice during the week leading up to Tiller's death, and suggested that simple law enforcement could have prevented the gruesome murder. Both Goodman and Maddow have called attention to the federal Freedom of Access to Clinic Entrances Act (FACE), which makes blocking or damaging an abortion clinic's entrance a federal crime. FACE went largely unenforced under George W. Bush and clearly remains ineffective today.

Last night, Michigan representative Mike Rogers told Chris Matthews that crimes by fringe extremists like Roeder and von Brunn have "no connection to mainstream politics." But the rhetoric that propels, emboldens, and even creates these monsters comes directly from the mouths of the Republican establishment. Bill O'Reilly made repeated reference to "Tiller the Baby Killer" on his TV show, claiming that the doctor "execut[ed] babies about to be born," and compared his practice to the slaughter of the Jews in Nazi Germany. Von Brunn believes that Barack Obama isn't an American citizen, that—according to his own website—the president was "sent" to the United States to further the "Jew/Negro" agenda. In February, Alabama Senator Richard Shelby questioned Obama's citizenship, telling a local resident "I haven't seen any birth certificate. You have to be born in America to be president." And as recently as this week, the unofficial "Voice of the GOP," Rush Limbaugh, declared that the only thing Obama has in common with God is that "neither of them has a birth certificate."

This kind of incendiary race baiting and hate speech might be good entertainment, but it makes for risky politics. And it puts human lives at risk. Those on the left have been gleeful that the GOP is drumming itself out of the mainstream, but the right has been incessantly drumming a dangerously bigoted beat for months, propagating the kind of myths, lies, and conspiracy theories on which those on the outer fringes feed, breed, and kill.

PJ Harvey and John Parish: The Beacon Theatre, NYC - June 9, 2009

By: Ed Gonzalez On: 06/11/2009 18:43:05 In: Concerts Comments: 0

PJ Harvey

PJ Harvey

Human Rights Watch International Film Festival 2009: The Reckoning: The Battle for the International Criminal Court

By: Lauren Wissot On: 06/11/2009 15:22:35 In: Festivals Comments: 0

The Reckoning: The Battle for the International Criminal Court

"Without justice, people have no respect for each another," one victim of the atrocities in the Congo offers in Pamela Yates's The Reckoning: The Battle for the International Criminal Court. "If this is left unpunished, it will happen again," he adds. Opening the Human Rights Watch International Film Festival with a whimper rather than a bang (as did last year's underwhelming cinematic salvo), Yates's film follows ICC prosecutor Luis Moreno-Ocampo and his dedicated deputies as they seek to bring to trial the worst of the worst war criminals of our time. Unfortunately, the doc is no fascinatingly addictive character study a la Sin City Law writ large, but rather a clinical procedural better suited to classroom use than for theatrical release.

The problem with a dry, straightforward examination of the ICC, established in 2002, is that its daily workings, like that of any bureaucratic body, move at a snail's pace. Sure, traveling to Uganda to investigate the Lord's Resistance Army (one of the ICC's first cases), then to the Congo, Colombia, and finally Darfur, gives the film a global context, but simply talking to victims in those countries to gather evidence is not as visceral an experience as actually witnessing those crimes through a photojournalist's lens. A picture is worth a thousand words and Reckoning has more substantive words than compelling images. And this lack of artistry in the filmmaking is actually hurting Yates's cause. It's hard to see how many would be driven to log onto her "IJCentral social network for global justice," a link for which is given at the end of the film, merely by watching overworked prosecutors watch atrocity footage on computers at their sleek, modern desks. The effect is less disturbing than distancing.

As is the numerous scenes of those justice seekers sitting around tables pouring over the cases. Shots of monolithic government buildings seen while a description is given of the involvement of Colombia's top officials in the paramilitaries are uninventive. A scene of soldiers standing around (as the word "Paramilitary" superfluously appears onscreen) is as ho-hum as the oft-repeated historical footage of the Nuremberg Tribunal and of Argentina's trial of its Junta. Rather than grab us by the throats and hearts, Yates's unemotional doc has the effect of lulling us into complacency. Even the sad string score and soothing sound of the smooth narration—seemingly taken from a textbook, with lines like "This court would be shaped by the office of the prosecutor" spoken as if the narrator were addressing a middle school class—do nothing to make us want to learn more about this critical institution that faces as much apathy and antagonism from the global community as it does from the international baddies. If the best the director can do to represent the ICC is to cut from press conference speeches to boardroom meetings (between the ICC and NGOs, between the ICC and the communities seeking justice, between the ICC and the UN), it's doubtful the film will tilt the snubbing superpowers of Russia, China, and the United States into joining. Reckoning renders this crucial judiciary of last resort about as inspiring as a conference call.

[The Reckoning: The Battle for the International Criminal Court premieres June 12 at the Film Society of Lincoln Center as part of the Human Rights Watch International Film Festival 2009. Click here for screening information.]

"American" Excess

By: Sal Cinquemani On: 05/21/2009 13:03:29 In: Television Comments: 2

American Idol

Last night's American Idol finale was an exercise in excess, with award-show posturing complete with faux awards presented by host Ryan Seacrest and superstar guest performances, including Fergie—who awkwardly warbled through her hit "Big Girls Don't Cry" before being joined by her fellow Black Eyed Peas for a performance of their latest single, "Boom Boom Pow," a song that does the exact opposite of epitomizing a singing competition—and a seemingly dazed and confused Rod Stewart. The only thing missing was a dry-ice-and-fire-filled group performance of Queen's "We Are the Champions." Oh, wait, there it is.

I stopped paying attention to the conveyor belt of alternately mediocre-but-smartly-packaged and quirky-but-completely-unmarketable talent that is Idol around the time that viewers gifted themselves with Taylor Hicks, but it's clear the show is close to buckling under the weight of its over-bloated surfeit. In many ways, the finale was perfectly married to the season's purported frontrunner, 27-year-old neo-glam rocker Adam Lambert—he of the man-polish, eyeliner, jet-black emo hairdo, and heavy-metal shriek. Lambert was joined on stage at one point by Kiss for an over-the-top spectacle of a duet that involved, yes, more dry ice and fire.

So it was poetic, perhaps even cosmically auto-corrective, when "dark horse" Kris Allen—he of the unthreatening, boy-next-door good looks and multi-instrumental skills—upset Lambert for the win. Allen's Idol journey ended just as it began, with an endearing modesty and accessibility (even his reaction to winning was restrained, a striking contrast to Lambert's theatrical bombast) and an understated performance style that's focused on the music itself. And yet he held his own alongside country superstar Keith Urban during the finale, displaying a down-home authenticity that will likely be a hell of a lot more bankable in the real world than Lambert's melodramatic, sexually ambiguous (at least to the tween girls who voted for him) glam show.

While there are some who are quick to point to the media's apparently "coded" characterizations of Lambert to explain Allen's "surprise" win (am I not allowed to use the word "theatrical" without fear of being labeled a homophobe?), 12-year-old girls are unlikely to be swayed by a bunch of bloggers…or Simon Cowell. If last night's finale is any indication, the producers of Idol had been grooming the admittedly talented Lambert for the win, but America clearly had other ideas. Maybe now the show will take a cue and tone down the, uh, theatrics and get back to basics.

Have Pelosi's Chickens Come Home to Roost?

By: Sal Cinquemani On: 05/18/2009 21:08:19 In: Politics Comments: 0

Nancy Pelosi

Rush Limbaugh is calling for House Speaker Nancy Pelosi's resignation. On his radio show last week, the right-wing lightning rod babbled something about glass ceilings and equality—the kind of pseudo-progressive logic conservatives like to employ when attempting to disguise their utter contempt for a minority or opposition group (in this case, it's both). In other words, if Pelosi truly wants to prove she's worthy of a man's job, then she ought to act like a man—you know, like Richard Nixon—and resign. It's enough to make me rush to the speaker's defense. But I refuse to take the bait, and I suspect few others will either.

The right has been waiting to take Pelosi down since the Democrats took control of the House in 2006. The Republican Party was quick to pounce on the Speaker's allegation Friday that she was misled by the CIA on the issue of torture, with House Minority Leader John Boehner admonishing his counterpart for questioning the CIA, telling CNN's John King that we ought to instead pat intelligence agents on the back for a "job well done," once again twisting a Democrat's criticism of Bush administration officials into a slandering of the "troops." Not to be outdone, on Meet the Press RNC Chairman Michael Steele attempted to conflate Pelosi's situation with that of the president: "The question for me is does the president support Nancy Pelosi's version of what happened or the CIA director's version of what happened?"

But Pelosi's downfall would just be an added bonus for them. Republicans are betting that Pelosi's—and thereby other Democrats in Congress's—apparent complicity in the Bush administration's torture program will cause Dems to further shy away from pushing for an inquiry into those crimes. At the very least, they want the attention deflected from what the editorial page of The Wall Street Journal today called "a spectacle of demagogic accusation and blame." But the right's gotcha strategy—calling Pelosi out on her apparent hypocrisy—is likely to backfire, the most obvious consequence of this finger-pointing being an even more fervent call by the public for a thorough investigation into who knew what and when.

Republican partisans like Limbaugh continue to make the erroneous assumption that Democrats think like them. Those who voiced outrage over the Bush administration's policies didn't do so because George W. Bush was a Republican, or even because of the nepotism or hanging chad that led him to power. The majority of Americans fundamentally disagree with those policies, and in fact, believe them to be violations of domestic and international law. The biggest miscalculation Republicans have made is that those in the Democratic Party who seek justice and accountability on the issue of torture will blindly defend Pelosi, and by extension the criminal policies for which they're seeking answers.

If Pelosi's claims that the CIA misled Congress on the issue of torture are false, then perhaps Limbaugh is right that she should step down. Simply declassifying the notes from the CIA briefing in question will provide the answer. The larger questions, however, were posed by none other than Karl Rove in the WSJ last week. "If Mrs. Pelosi considers the enhanced interrogation techniques to be torture, didn't she have a responsibility to complain at the time, introduce legislation to end the practices, or attempt to deny funding for the CIA's use of them?" he asked with all of the ersatz incredulity of a trial lawyer. "If she knew what was going on and did nothing, does that make her an accessory to a crime of torture, as many Democrats are calling enhanced interrogation?" Actually, most Democrats are calling it what it is: torture. More importantly, the answer to both of Rove's questions is, unequivocally, YES.

If Pelosi was aware of the program, the fact that she didn't publicly protest doesn't make the chief architects of that program, nor the attorneys who were hired to justify the legality of the program, nor the CIA operatives who carried out the program, nor any other official—Republican or Democrat—who knew about the program, but who didn't attempt to stop it, any less accountable. They should all be investigated for their collusive involvement, tacit or otherwise, in one of the most embarrassing, dangerous, and irresponsible programs in our nation's history. In other words, I say throw Pelosi to the wolves if it means getting to the truth.

Even if Attorney General Eric Holder appoints a special prosecutor to investigate torture, high-level prosecutions are unlikely, so an independent congressional council—i.e. a "truth commission"—would at least shine a light into the dark corners of the Bush administration and Congress, and provide an official record that the U.S. attempted to enforce the law and rectify wrongs. That's exactly the "spectacle" to which the WSJ referred and which the right fears; to them, the pursuit of truth and justice on the issue of torture is a "tempest," with the author of the op-ed describing such a commission as "hearings intended to be little more than bear-baitings of the defeated Bush Administration." Bush was shamed, discredited, and maligned, but defeated? This same piece praises Barack Obama for his "difficult decisions" on reinstating Bush's military tribunals and releasing photos of tortured detainees, an indication that many of the previous administration's policies are continuing.

By colluding with the administration on—or simply turning a blind eye to—a torture program that defied the country's international obligations, many elected officials were attempting to preserve their careers at a time when voicing dissent might have resulted in dire political consequences. During her circus-like press conference on Friday, Pelosi repeatedly and clearly enunciated the same point: that the only way she believed it was possible to change course on issues like terrorism and torture was to focus on regaining congressional majorities and electing a Democratic president—which, she reminded us, she helped achieve. But the consequences of Pelosi's failure to completely drain the swamp, which I detailed in these very pages last summer, are becoming increasingly evident. As Rove said, "Mrs. Pelosi is hip-deep in dangerous waters, and they are rapidly rising."

Breakfast of Progressives: Cheerios and Breast Milk

By: Sal Cinquemani On: 05/14/2009 19:31:00 In: Politics Comments: 0

Cheerios

In 2007, the Department of Health and Human Services toned down an advertising campaign informing the public of the potential health risks of not breastfeeding babies. Naturally, the formula industry had a cow, and they lobbied hard against the ads and won. The campaign was watered down so as to have little impact on the breastfeeding rate in the United States, which, at 30%, lags behind Europe. The agency also decided not to promote a study which found that breastfeeding is, according to The Washington Post, "associated with fewer ear and gastrointestinal infections, as well as lower rates of diabetes, leukemia, obesity, asthma and sudden infant death syndrome." (If this seems like an odd issue for a young, single male to be championing, the HHS has reported that children who aren't breastfed are 40% more likely to suffer from Type 1 diabetes, a disease that afflicts both of my sisters.)

It helped, of course, that formula companies are part of the pharmaceutical industry, and that the administration in office at the time was the most amiable to Big Pharma in history—an administration that, it should be noted, took little to no measures to assist new mothers in its eight-year tenure. The Post described the formula industry's lobbying efforts as "a full-court press to reach top political appointees at HHS, using influential former government officials, now working for the industry, to act as go-betweens," including former chairman of the Republican National Committee Joseph A. Levitt. Political interference into public health and safety pales in comparison to the Bush administration's other known crimes, but the larger issue here sheds light on the right's ideological opposition to the new administration's desire to allow government to function as it was intended.

Right-wing loons like Michelle Malkin have been up in arms this week over the Food and Drug Administration's concerns over Cheerios's claims that it can lower cholesterol by four percent in six weeks, and that it can help fight against cancer. It's bad enough when foods claim to help reduce cholesterol because, as it usually states in tiny print, "a diet low in saturated fat and cholesterol may reduce the risk of heart disease" (yes, eating healthy foods is healthy), but there's nothing special about Cheerios. It's like the sidewalk taking credit for the increased health of avid walkers. General Mills might as well encourage parents to serve Cheerios with breast milk and then say the cereal provides children with vital immune system benefits.

The FDA is doing exactly what it was designed to do: protect consumers from misleading or unsubstantiated claims—something David Theroux of The Independent Institute calls one of Obama's "'progressive' (i.e., authoritarian) absurdities." In response to all the media coverage, General Mills has issued a statement saying that their claim that Cheerios can lower cholesterol by a certain percentage in a fixed period of time has been "featured on the box for more than two years," that "the science is not in question," and that the FDA is merely interested in how the information is presented. Critics of the FDA's move think it's silly, but how information is presented is key to good messaging—something the right has clearly forgotten.

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