Category Archives: Film

Disney Princesses and the right of the insulted to decide if it is an insult

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I am not an expert on Disney princesses, I don’t think that I have seen any of the princesses in a movie except for Cinderella (front row, second from the left). I am pretty sure that the redhead, second from the left in the top row, was originally a Pixar princess from Brave, and the princess on the far right might be Pocahontas. It is my understanding that at least some of the princesses – Cinderella and Snow White (where is she?) for sure – came from old  European fairy tales.

The European fairy tales, in turn, came from earlier folk tales that were rooted in the deep humus of the collective European past. According to Robert Bly, those classic fairy tales lay out stages of initiation into adulthood which we’ve entirely forgotten, that our ancestors apparently knew a lot about. However, the new Disney Princesses, and the fairy tales they are in, are not rooted in a deep wisdom, they are made to sell dolls or amusement park rides. Additionally, they do damage to susceptible little girls by setting an impossible standard of what a woman should look like (a Barbiesque caricature of European homogeny).

As a protest to this, an English artist, David Trumble, Disneyfied a group of women who he considered real feminist heroes. As I understand it, he thought that, by showing how the Disney treatment trivialized these very real, heroic, women, it showed how Disney trivialized all women by their depiction of Princesses. I drew this picture because I wanted to analyze how unnecessary it is to collapse a heroine into one specific mold, to give them all the same sparkly fashion, the same tiny figures, and the  same homogenized plastic smile.

David Trum Princesses

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But a funny thing happened, not everybody thought the Disneyifacation of real women was bad. Some women liked it, at Feminist Disney, one woman said Of course it’d be nice if there was more diversity (they have one less WOC than the actual disney princess lineup!), less western-centric, more modern women, and women who are not cis hetero, as well as disabled and/or fat women. But I thought it was a cool take. I am here for Princess Malala Yousafzai. One woman started complaining and then, sort of, turned around.  In an article in Women You Should Know, Marijayne Renny said, Sadly, (my daughter) was immediately drawn to the sparkly dresses, but on the flip side it made her ask questions about these women and she was genuinely excited to know each and every one of their back stories. 

I first ran into the Princesses in an article in Atlantic, Why Shouldn’t Gloria Steinem Be a Disney Princess?, whose title, more or less, is self explanatory. Disney Princesses are not something that I think about very much, but, when I do, they do seem somewhat pedophilic what with the big eyes and all. But I am not a woman and either is the artist who made these satirical images and that is the problem.

A couple of years ago, Ta-Nehisi Coates wrote a blog post on the backhanded apology to an insult that is actually a new insult, Oh, I’m sorry if you feel insulted by the way I said what I said, I didn’t mean to insult you. The assumption here is that the  person feeling insulted is wrong because the insulter didn’t mean to be insulting and that, somehow, that makes the insult non-op. Coates argued, and I agree, that the insulted party should have the right to feel insulted. I think that the reverse is the case here, it seems that Trumble felt women should be insulted when alot of them were not.

His drawings, designed to show how insulting Disney is, turned out to not say that to many women who don’t necessarily  regard Disney as insulting. Answering that, Trumble said, I feel like good satire shouldn’t be understood by everybody. Some people were angry at me because they thought I was reducing the women, which was obviously the point. But if it gets children interested in these real women and what they do, is it so bad? Leaving aside that I agree that good satire should be close enough to the truth that some people don’t see it as satire and it is is great if these cartoons end up making children, especially little girls, want to know the back stories of these remarkable women, a man shouldn’t be deciding if the original Princesses are objectionable.

As a postscript to this, there are now drawings and cups of the Princesses available at søciety6 for only $15.oo. They seem to me that they would make a good gift, but what do I know?

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El Paso and El Paso

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We saw The Councilor yesterday. It was, for me, incomprehensible much of the time, nihilistic, unrealistic, and gorgeous.

Not incomprehensible in that I didn’t know what was happening on the screen or who was doing what, but incomprehensible in that I didn’t know why. I finally gave up and decided that much of what happened was just there to look good. I could have lived with the incomprehensibleness, but the nihilism finally got me. The script was by Cormac McCarthy, so I should have expected the cynicism but I didn’t and it pretty much blindsided me.

Much of The Councilor – it is hard to tell how much, much of the time – supposedly takes place in and around El Paso Texas. I was stationed in El Paso and I recognized the landscape but it was different from any El Paso that I knew or, I am sure, even exists.

This movie El Paso is an El Paso where everybody calls a lawyer, Counselor, and the lawyer, a sometimes court appointed defense-council, drives a Bentley; this is an El Paso where the bad guy, played by Cameron Diaz, has pet cheetahs and lives in a staggeringly stunning house – and, by the way, has the most gorgeous, silver, fingernails I have ever seen on a human being and a cheetah pattern tattoo on her back and shoulder – this is an El Paso where people drive Ferraris and nobody seems to notice.

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The El Paso that I knew was a dry desert town where the military was a major employer and was so out-of-the-way that it bragged about being the headquarters of one Fortune 500 company. The El Paso I knew is the  in the excellent TV program The Bridge. The Bridge El Paso is a place where people drive two-year old SUVs and pickup trucks, where people would stop and gawk at a Ferrari.

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The irony here is that The Bridge is shot mostly in L.A. County – it is a landscape that Michele and I know as very Californian – but feels very El Paso-ish.

The second irony is that I walked out of The Councilor feeling assaulted, needlessly confused, and a little angry but I am still thinking about it the next day. Michele and I are still googling reviews and discussions. I wanted to see it because I like Ridley Scott as a director, I don’t always like his movies – although I usually do – but I always love the pictures he puts on the screen. In the end, the movie is alot like Cameron Diaz’s character, Malkina, unbelievable, breathtaking, and more memorable than she should be.

Still from The Counsellor, the new film from director Ridley Scott

Rush & Gravity

Rush5 Michele and I saw Rush a couple of weeks ago and it was very good. I wish it were a transcendental movie that I could fall all over myself recommending, but it wasn’t and I can’t. Ron Howard doesn’t make transcendent movies, but he does make consistently good to very good movies.

For me, it had the added benefit of being about Formula One and an  era of Formula One that I really don’t know much about.

When I was somewhere around eight to eleven, I had gone to a couple of races with my dad , but – in those days – the races were hard to see because they were held on city streets and we stood behind temporary fences and, often, trees. I remember a race in Golden Gate Park and one on the 17 Mile Drive at Pebble Beach and in both of them I could only see a short section of road and had almost no idea of what was going on. But the seed had been planted.

By the time I was a teenager, I had become car crazy and then sportscar crazy. That led to roadracing and the ultimate roadracing was Formula One. Not that we had much exposure to F1, as it is usually called now, but we could read about it – once a month about two months after the event – in Road and Track magazine. I followed it as close as a sixteen year old could follow anything in print and even had a picture of my hero, Sterling Moss, on by bedroom wall (much to the concern of my mother who didn’t understand and would have prefered I had a picture of somebody like Liz Taylor).

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MossLotusClimax19610806 When I was twenty, I saw my first Formula One race at Riverside  Raceway, but by my 30s I had drifted away from the fold and missed the era of Rush.  When I met Michele, I didn’t watch much TV and have no idea if F1 was on TV or not but, by the time we got a DVR, I could timeshift and watch F1 races live on Sunday morning. I fell in love with F1 all over again having missed the 70s and 80s.

Rush is a story of two men during that period, specifically the 1976 fight for the championship. The two guys are wildly different – probably more so than in real life – and, I am pretty sure, it is a movie anybody would enjoy.

Gravity, on the other hand, is brilliant. Don’t take my word for it, everybody thinks it is brilliant, Stephanie Zacharek at The Village Voice pretty much sums it up: Gravity is harrowing and comforting, intimate and glorious, the kind of movie that makes you feel more connected to the world rather than less. Peter Travers at Rolling Stone is even more effusive: The Mexican-born [ director ]Cuarón is a true visionary….he turns Gravity into a thing of transcendent beauty and terror. It’s more than a movie. It’s some kind of miracle.

If you you are going to see one movie this year, go to Gravity, if you are going to see more than one, you won’t go wrong with Rush.

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A couple of thoughts while going to the movies

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We saw Elysium over the weekend and I enjoyed it. As Anthony Lane says in The New Yorker, At last, a good big film….here is something angry and alive, at least until until we tried to make sense of it while driving home. Then it all sort of fell apart. Michele would say Wait a minute, why did they….and I would have no answer.

But during the movie, sitting in the dark, it is engrossing and believable. It is bright and fast and very, very, alive as well as Matt Damon being the perfect everyman for the part. One little bit that made me chuckle was the bad guy’s personal space shuttle was a Bugatti. And it had the gestalt of a Bugatti. As a matter of fact, one of the reasons that the movie worked so well, is that it felt so real, just like the director’s previous movie, District 9.

Going in, we passed a long line of people waiting to see Lee Daniels The Butler and going out, we saw a long line waiting to see Instructions not included, a movie I had never heard of. Elysium had a – probably – majority Hispanic cast and, I found out after I got home Instructions not included is a movie, in Spanish – or mostly Spanish – about guy from Acapulco. I read somewhere that Pacific Rim was filmed to cater to the Asian market. No wonder that the bigots are going crazy, they are losing.

One of the things that appeals to me about Elysium is the director, Neill Blomkamp. Not Neill Blomkamp, per se, but Neill Blomkamp the idea of what is good about Hollywood, or Southern California, if you prefer. A couple of years ago, he was nobody, he made a two minute movie, a four minute movie, after that a six minute movie, finally a fifteen minute movie – no kidding – then District 9.  District 9 was a hit and Hollywood gave him about $110,000,000 to make  Elysium. No where else, that I can think of, is that possible.

Before and after watching Elysium on the big screen, we watched Che on the little screen. Or, more accurately, I watched the first half of Che before Elysium and then I re-watched it with Michele. Che is by Steven Soderbergh, another guy who came out of nowhere. He made a fifteen minute film about sex to interest investors for his full length film Sex, Lies & Videotape (also about sex, duh!).

Sex, Lies & Videotape made about $24,741,700 on an investment of $1,200,000 and Soderbergh was off and running, cranking out an Ocean’s Eleven or Twelve every time he needed money to make a Bubble or a Che. Che is hugely ambitious and can be seen as either one four and an half hour film or two two hour films depending on how you want to watch it. I went for the bifurcated version and have only seen the first half so far. It is a a slow, almost zen meditation on guerrilla war. For a long time it seems to go nowhere and then I began to realize that it was subtly pulling me along a path that I hadn’t realized I was on.

The photography – in the jungle especially – is one of the main characters. Benicio Del Torro is Che and his performance is an understated tour de force.  I can not imagine two movies more different than Elysium and Che, they are both very worth seeing but, for me Che is the more powerful and memorable.

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Robert Rodriguez and Blackberry, coffee cups, and some summer movietts

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I haven’t posted in awhile, I sort of got lost in Summer Chaos. The post below is one I started in May, so I do not remember how I was going to fit in coffee cups, however, it is still current – only because it isn’t really topical – and still fun (at least for me).

Yesterday, a Blackberry Ad showed up on a webpage I was looking at.

As an aside, I find it endlessly fascinating what shows up in the  for rent areas of a webpage I am looking at. Now that Canon has a new EOS 5D3, I want to see if I can get a EOS5D2 cheaper, so I go to Amazon – No! – but 5D2’s follow me around for a week. I click on a picture of a very young woman on the left side of The Telegraph F1 page and women in bikinis stalk me for weeks. End side.

Back at the Blackberry ad, I noticed that it was directed by Robert Rodriguez – who I have liked since I first saw El Mariachi in 1992 – and decided to watch it. It was too long IMHO and I moved on but it got me thinking about famous directors making ads. I knew that alot of directors started their careers by making ads, but it never occurred to me that they often went the other way. They do, however, and these mini-movies are a great way to sample different director’s styles.

After he made Blade Runner, Apple hired director Ridley Scott to help launch their new product – the Apple Macintosh – and it became one of the most famous ads, ever.

If you want, Quirkiness, hire Wes Anderson. Add Jason Schwartzman. Throw in a Wilson brother and an obscure indie track and you’ve got your next Wes Anderson movie.

Why anybody would hire famed cinematic nutjob Terry Gilliam to shoot an ad is another matter. The ad in question is typical Gilliam, a dystopian tourney aboard a disused tanker.

Lastly and one of the best, directed by Michael Mann, is Lucky Star. It is 150 seconds of fakery. Not unusual for a commercial, but this one purports to be something entirely different. Shot as a trailer, it stars Benicio Del Toro as a fellow for whom luck comes naturally. He quickly attracts the interest of the US government, which gives him ample opportunity to outrun them in his sexy new Mercedes SL500.