It is always a difficult enterprise to take contemporaneous events and to present them in a documentary format that maintains the integrity of the documentary. “Taxi to the Dark Side,” it is clear, has a viewpoint that makes a firmly critical judgment on the part of the United States government and military in its use of torture during the conflicts in Afghanistan and Iraq. As a point of departure for the wider message, the film tells the story of rural Afghan taxi driver Dilawar, who in 2001 was kidnapped, arrested and detained at the U.S.’s Bagram Air Base. The atrocities of suffering and humiliation that are revealed in the case of Dilawar and others at the hands of the U.S. military personnel, is shocking and graphic to an extent that its legitimacy, while hard to accept, cannot be denied.
Despite the fact that the film does not offer an opposing viewpoint, it is hard to find the information presented anything but objective and horrifyingly honest. “Taxi to the Dark Side,” triumphs in that it humanizes and makes personal a story which otherwise could be kept foreign and distant. After viewing, there is nowhere to hide from the shame surrounding these events and there remains only the profound feeling of a guilty conscience and the guilt of our leaders.
Photographs of Dilawar and footage of his home and family reveal the story of a man who would otherwise be lost to history. His story, presented in the film is a reminder that the inhumane and unjust destruction of any one life is reason enough to claim war unjust and unnecessary. In a style that typifies recent documentary work but that makes verifiable the story it weaves, “Taxi to the Dark Side” employs interviews with the actual military personnel who were deployed at the various detainment camps and who carried out the torturous acts that occurred within them. This aspect of the film provides those accused of serious offenses to speak, as they do to their own defense, guilt, and to the ultimate responsibility of the United States military and government. While it is important to note that editing always plays a role in how words and messages are delivered, the testimony of these individuals reveals quite clearly their unpreparedness and the lack of moral judgment that is bred in the military today.
Footage of interviews and statements made by senior government and military officials previously viewed, is shown in a new and revealing light and in this context appears newly sinister and appallingly immoral. Interviews with the actual lawyers and legal counsel of the government and military agencies provides an object view of the illegal and inhuman actions taken by the highest leaders in disregarding the laws of justice. No interviews with these officials are presented in the film, yet this doesn’t seem a bias, for as we know actions speak louder than words.
In its brutal honesty, graphic images, and wide range of interviews “Taxi to the Dark Side” makes its case from too many sides to be deceptive or misleading. Some, even many may wish to deny the shocking brutality and disregard for human life but will only do so because the inherent truth and horror of these actions and events is too great to deny as “Taxi to the Dark Side,” takes a journey to bring injustice to light.
Monday, January 26, 2009
Tuesday, January 20, 2009
Humans Attack!!
In his Pitchfork Media article, Tom Ewing chronicles the history and development of "robotic" sound in popular music. Referring more generally to the use of sound and voice altering technology to give music a mechanical quality that distances the sound from the humans who make it. Ewing's contemporary motivation for the piece is the most recent Kanye West album, "808s and Heartbreak." Maintaining a light but confident sense of humor throughout, the columnist is able to applaud and criticize various attempts at the robotization of music from the last 30 or so years.
Ewing has done his research and supports all of this evidence with analysis of the each artists original intent for their specific breed of robot sound. He as well notes his own reactions to each example and the reactions of the listeners in general. The article is well rounded in that Ewing includes examples from different genres of music and makes connections between them, showing the evolving (or in the case of Britney Spears, devolving) style of robotic sounds as they become incorporated into more than just beats but into the message and emotional drive of the songs as well.
From Gary Numan in the 80s to an artist of today unknown to me, Janelle Monae, Ewing provides complete yet concise evidence for the conclusions he draws about Kanye. The article follows a typical but very well employed format of introducing the focus, providing supporting evidence, and then returning to the focus to conclude. Ewing poses his question not to the reader but himself and then thoroughly and wittily answers it. The style is informal and flows well. For the most part the vocabulary is easy to follow and Ewing does well to explain musical concepts that might be lost on some readers (like this one).
From a personal standpoint, I found myself engaged by Ewing as he takes a similar stance with the album as I do. He is pulled in by the robotic sounds, as they connect with a core understanding out rhythm and voice. He is intrigued by the music, even if like me, he does not want to fall into its mechanical trap.
"Gran Torino" Review, part deux
A second look at my Gran Torino review reveals some mistakes and some alright assessments. I should refrain from using the first person, especially since I threw it in at the end where it is unexpected. I definitely should provide more concrete examples of the poor script and acting scenarios that I criticize--there were certain lines that struck me as particularly bad and the inclusion of an example would back-up my argument. I use the words unconvincing and contrived about 32 times and while I still think they are the most appropriate way to describe the plot and performances, maybe I could show my disappointment through examples more than tell it repeatedly. I think I did a pretty good job (for the first review) of giving enough analysis and not too much summary, although this is an aspect I could improve.
My ledes are ok; they could be stronger and more attention-grabbing. My lede sentences fit contextually but are not strong enough introductions on their own. Overall, my paragraphs could be shorter and more concise. This would allow me more space to touch on aspects of the film that I have left out. My title is kind of cliche but I still like it. I would assign myself the grade B-.
My ledes are ok; they could be stronger and more attention-grabbing. My lede sentences fit contextually but are not strong enough introductions on their own. Overall, my paragraphs could be shorter and more concise. This would allow me more space to touch on aspects of the film that I have left out. My title is kind of cliche but I still like it. I would assign myself the grade B-.
Monday, January 19, 2009
"Live from Baghdad," Still Live in our Consciousness
With sensationalism overtaking the media it is refreshing to be reminded of journalistic integrity and the pursuit of the truth in relaying information. As old and new conflicts arise daily throughout the world, an example of past courage and selflessness in reporting war is depicted in the HBO production, “Live from Baghdad.” The story of the CNN crew who at the start of the Gulf War in 1991, are stationed in the Iraqi capital when the initial assault occurs, follows the anticipatory build-up to war and the highly-charged results of political divergence. Like the reporting of the journalists themselves, the movie aims to record with honesty the unfolding of events that still have relevance this very day.
The story focuses on CNN producer Robert Wiener, who at the movie’s opening requests the Iraq assignment to prove his worth to the company and for the chance to report a career-making story. From the beginning, “Live from Baghdad” moves with the no-second-to-lose pace of a breaking story, as the shot-to-shot editing shows. As Wiener, Michael Keaton assumes the believable role of the crass journalist who will employ any trick to get the story.
The rest of the crew is introduced through the photo page of passports and the typing of their names and titles across the screen. Once in Bagdad, the crew is introduced to the unending supply of bureaucratic roadblocks they will have to overcome in order to do their job.
Not only does the film show the back story of the people who report the news, it shows the stories that never make it to the news and the stories that are either intentionally or unintentionally told in order to misinform. The Iraqi government holding foreign occupants hostage is presented as willing on the part of the detainees. When the CNN crew reveals the true nature of the detainment and the danger posed to the hostages, the safety of the journalists is also put in jeopardy.
The other crew members, most notably Helena Bonham Carter in the role of Ingrid Formanek and Hamish Linklater as Richard Roth play supportive roles that make authentic the film’s perspective on this true story. While the movie is not free of typical Hollywood twists that increase the dramatic and emotional pull, the focus is the people who deliver the story, and as it is their goal to deliver the story with objective integrity, the focus truly is the story. While the hint of romance between Keaton and Carter may have been included to humanize the plot, it is not overly drawn-out, nor does it detract from the more compelling story of human and political conflict.
These reporters do not see themselves as heroes and that is what makes heroic the selfless work they do to find the truth and to capture it for benefit of the world. The inclusion of actual CNN images from the time and Arab music sets the scene and builds the tension testifies to the attempt for honest replication of these events.
What ultimately makes the movie worthwhile is that it doesn’t paint Iraq as the enemy, America as the savior, or CNN as the war hero. The focus remains that the work of non glorified individuals, seeking not fame or sensation, but truth, is the zenith of journalistic pursuit.
With active conflict in the region between the same parties still a constant event and with similar conflicts occurring simultaneously, it is important for us all to have a reminder of how important the truth is when assessing treacherous situations and in hopes of finding resolution.
The story focuses on CNN producer Robert Wiener, who at the movie’s opening requests the Iraq assignment to prove his worth to the company and for the chance to report a career-making story. From the beginning, “Live from Baghdad” moves with the no-second-to-lose pace of a breaking story, as the shot-to-shot editing shows. As Wiener, Michael Keaton assumes the believable role of the crass journalist who will employ any trick to get the story.
The rest of the crew is introduced through the photo page of passports and the typing of their names and titles across the screen. Once in Bagdad, the crew is introduced to the unending supply of bureaucratic roadblocks they will have to overcome in order to do their job.
Not only does the film show the back story of the people who report the news, it shows the stories that never make it to the news and the stories that are either intentionally or unintentionally told in order to misinform. The Iraqi government holding foreign occupants hostage is presented as willing on the part of the detainees. When the CNN crew reveals the true nature of the detainment and the danger posed to the hostages, the safety of the journalists is also put in jeopardy.
The other crew members, most notably Helena Bonham Carter in the role of Ingrid Formanek and Hamish Linklater as Richard Roth play supportive roles that make authentic the film’s perspective on this true story. While the movie is not free of typical Hollywood twists that increase the dramatic and emotional pull, the focus is the people who deliver the story, and as it is their goal to deliver the story with objective integrity, the focus truly is the story. While the hint of romance between Keaton and Carter may have been included to humanize the plot, it is not overly drawn-out, nor does it detract from the more compelling story of human and political conflict.
These reporters do not see themselves as heroes and that is what makes heroic the selfless work they do to find the truth and to capture it for benefit of the world. The inclusion of actual CNN images from the time and Arab music sets the scene and builds the tension testifies to the attempt for honest replication of these events.
What ultimately makes the movie worthwhile is that it doesn’t paint Iraq as the enemy, America as the savior, or CNN as the war hero. The focus remains that the work of non glorified individuals, seeking not fame or sensation, but truth, is the zenith of journalistic pursuit.
With active conflict in the region between the same parties still a constant event and with similar conflicts occurring simultaneously, it is important for us all to have a reminder of how important the truth is when assessing treacherous situations and in hopes of finding resolution.
Monday, January 12, 2009
Gran Torino Crashes, Burns
Clint Eastwood grunts his way to a predictable performance in the new film, also directed by him, Gran Torino. It is difficult to discern whether it is the script or the acting performances that are more lacking. The movie's premise would seem to be a good base for a compelling plot. Eastwood plays Walt Kowalski, a gruff, rigid retired auto plant worker and Korean War vet who continues to reside in a neighborhood that is now populated by minorities and immigrants. His bigoted opinion of these new neighbors is obvious. Eastwood lives in the past as even his ungrateful family fails to understand his ways.
When gang violence literally spills onto his front lawn, Walt is drawn into the lives of his Hmong neighbors who equally dislike him. After saving the life of teenager Thao, played by Bee Vang, Thao's family is grateful for Eastwood's bravery. Thao's older sister, Sue, played by Ahney Her, becomes Walt's closest acquaintance. As problems escalate, the plot follows predictable and entirely unconvincing scenes of gang violence and interaction. In scenes of assault and danger, Eastwood comes to the rescue like a deranged superhero in an after school special.
While the film aspires to show that commonality and friendship can be found even among the most unlikely people and that sacrifice and decency do still exist, these themes are relayed in such a contrived manner that it is difficult to find them compelling.
As repayment for previously attempting to steal his prized 1972 Gran Torino, Thao is put to work by Walt doing various tasks to better the neighborhood. The bond that forms between Walt and his two young neighbors becomes that of family and at the movie's climax, Walt sacrifices his own life to the gangs so that Thao and Sue can live without fear and with hope for the future. While the cinematography and all the visual elements of the film are believable, the plot and dialogue never match up. Eastwood's performance is undoubtedly the strongest of the cast; however it is a role that does not appear to be a great stretch.
The rest of the cast does a lackluster job of making this man's transformation seem probable. There are too many natural situations that are just too contrived, that fit too well into stereotypes. I was never fully engaged in the plot as I could only view these scenes as possible for a movie and not reality. With all of the things that just don't work for Gran Torino, it is only the green, 1972 hot rod that is smooth.
When gang violence literally spills onto his front lawn, Walt is drawn into the lives of his Hmong neighbors who equally dislike him. After saving the life of teenager Thao, played by Bee Vang, Thao's family is grateful for Eastwood's bravery. Thao's older sister, Sue, played by Ahney Her, becomes Walt's closest acquaintance. As problems escalate, the plot follows predictable and entirely unconvincing scenes of gang violence and interaction. In scenes of assault and danger, Eastwood comes to the rescue like a deranged superhero in an after school special.
While the film aspires to show that commonality and friendship can be found even among the most unlikely people and that sacrifice and decency do still exist, these themes are relayed in such a contrived manner that it is difficult to find them compelling.
As repayment for previously attempting to steal his prized 1972 Gran Torino, Thao is put to work by Walt doing various tasks to better the neighborhood. The bond that forms between Walt and his two young neighbors becomes that of family and at the movie's climax, Walt sacrifices his own life to the gangs so that Thao and Sue can live without fear and with hope for the future. While the cinematography and all the visual elements of the film are believable, the plot and dialogue never match up. Eastwood's performance is undoubtedly the strongest of the cast; however it is a role that does not appear to be a great stretch.
The rest of the cast does a lackluster job of making this man's transformation seem probable. There are too many natural situations that are just too contrived, that fit too well into stereotypes. I was never fully engaged in the plot as I could only view these scenes as possible for a movie and not reality. With all of the things that just don't work for Gran Torino, it is only the green, 1972 hot rod that is smooth.
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