It took me a long, long time to watch The Manchurian Candidate. It was one of 5 that DVD Sam loaned me, and I had watched the really terrible "I've wasted 90 minutes of my life" Bulletproof Monk. That was rather off-putting for further movie watching. I was assured that The Manchurian Candidate was a good movie, so it was the next in the collection that I watched. Tried to watch. It didn't help that the first attempt was when I was outrageously tired. I got maybe halfway, ish, and missed lots of things. It was many weeks before I had the mental energy, and the time, to sit down and watch it properly. The second time, I loved it! Having Denzel Washington, Liev Schreiber and Meryl Streep made it even better - such great actors. And so well-cast. I could not imagine anyone other that Meryl in her role, she was made for it.
This is a story of power, and manipulation, and trust, and getting what you want. No matter what. You often get a story of a parent doing what they can to promote their child. But when you add, in my opinion, obscene amounts of money, as well as influence in the powerful circles of the most powerful country in the world, this changes things. It changes things from promoting your kid to get the lead role in the school play, to promoting your kid to be the leader of the free world. And when big things are at stake, emotions can run high as morals disappear. How far would you go to have your child in the White House?
In some ways, this movie was a bit of an eye-opener. You know there are some people who believe in all those conspiracy theories? I'm not one of them. I am far more inclined to believe what I see and hear. Which is great for people who are wishing to manipulate my mind. And it made me wonder, is there a line dividing 'brainwashing' from 'for the greater good'?... Or does that depend on who is manipulating the media? How much can we actually believe? Of course, the political process in Australia is rather different from that of the U.S. but I still wonder how much goes on to manipulate what we as society see. (Which reminds me of the Paulo Coehlo novel, The Winner Stands Alone - a really good read, and another eye-opener).
And after all this manipulation, the ending is such a train crash. One of those you can vaguely predict, and then you can't look away when it is inevitable, then just have to keep watching to see all the gory mess. Feeling just a little bit horrified at the same time as feeling delight at the undoing of all the best-laid plans and trickery.
The other side of this story is war and science research. War has long been the catalyst for scientific discovery and engineering, some of it useful and productive, some of it a little scarier and morally questionable (for the armchair moralists, that is). The question here - the justification for the research - is whether we can 'free people from the terrible burden of an emotionally compromised past'. And if we can, should we? Now, I haven't been in a war. I haven't been at the frontline, or had family or a loved one serving my country and risking their life, or had someone I love return from a war horribly scarred physically or emotionally. I do have this firm belief, though, that we shouldn't try to erase our past. Our past is what shapes us, and our experiences are the only thing that really make us able to sympathise and empathise with others. All those painful episodes of my past and the problems of my current life are things that have and will help me be a better person. More understanding, more forgiving. At times, more fragile, but in the long run - I hope - stronger. So (back to the movie) hypnotising soldiers to believe the good story instead of the horrible reality (don't want to give out any spoilers here) is not, I believe, the right answer. Especially not making heroes out of pawns. And - according to the movie, anyway - the human body and brain cannot be taught to forget that much. No matter how much you try to suppress the bad stuff, it will return at some point whether you want it to or not. Better out that in, as they say.
Showing posts with label power. Show all posts
Showing posts with label power. Show all posts
Sunday, 12 May 2013
Thursday, 4 October 2012
Movie #24 - The Counterfeiters
I inadvertently borrowed two movies last week about fraud and prison (and both true stories). I watched I Love You Phillip Morris on Saturday, and The Counterfeiters on Sunday. Apart from the themes of fraud and prison, though, these two were nothing alike.
This is a brutal film. It's the story of Operation Bernhard, the largest counterfeiting operation in history, in which the Nazis attempted to flood foreign economies with counterfeit currency. They used prisoners to forge British pounds and US dollars ("But why are they using Jews?" - "I presume they will just shoot us when the war is over") and the film follows the story of Salomon 'Sally' Sorowitsch. Most of it is set in 1944-45.
On the one hand, this is a cushy gig. All the prisoners have been in other camps before this one, and are relieved by the soft beds, water in the showers, food to eat, and morale-boosting attempted by the man in charge of the top-secret operation (Herzog). To use their skills, instead of being forced into hard labour, is a blessing. However, by accepting this comfort, they are helping the Nazi campaign - and prolonging the war and all that that entails. They successfully forge the pound, but then one of the group (once a Communist printer) refuses to help the Nazis anymore, and sabotages his part of the dollar forgery. [Spoiler: this delays the counterfeit dollar, and once they actually do perfect the forgery, the war is over.]
This moral dilemma is the dramatic crux of the film. The communist is set on sabotage, but the others are keen to do as they are told (which really is a matter of life and death). In one scene, the doctor says to the printer: "So you decide that we get ourselves shot?" "It's the principle" replies the printer. "Nobody's prepared to die for a principle" - "That's why the Nazis' system works!" I found myself wanting them to succeed in their tasks (there is enough death as it is, before you get to the execution on principles) - but also wanting the printer to somehow win.
Without going through all my notes from watching this, I'll mention a few points. There were times I had to stop and cry, and I could hardly finish the coffee I'd started with the film. When Sorowitsch is arrested near the start (in 1936), you know it is the beginning of horror for him. And in all the scenes in the first part (also 1939), it is horrible watching - they had no idea what was in store for them, yet we know the history. Like Titanic, we know what's going to happen; like The Passion of the Christ, it doesn't shy away from the brutality of what happened. By the time the prisoners arrive in Sachsenhausen in 1944, they too know the horrors that may await them.
As we see so often, power in the wrong hands is terrible. But surviving the war was a matter of adaptation. This is apparent for nearly every character. You see the simple grin on an oafish face of an officer watching another beat a starving prisoner. You find out Herzog was formerly in the Communist party. You shut the windows in your building so you can't hear the atrocities occurring outside. You provide forged documents for your boss in return for medication for a fellow inmate.
The power of juxtaposition. I suspect partly this was a mind-game on the part of the Nazis, and sometimes you can see the confusion on the Jews' faces. The threat of being shot is followed immediately by the promise of a night's entertainment. Especially glaring though was the contrast seen by Sorowitsch when he visit's Herzog's house outside the camp. We leave the bleakness and misery of one setting and see the rural elegance outside the gates. For all that we know about the camps, sometimes we forget that those in the villages surrounding them had no idea what was going on. Herzog's wife wanted 'certain East Coast circles in America' to see him - "You've no idea of the dreadful propaganda being circulated about the camps!"
The power of words. This has actually come up a few times this week. If you tell someone they are unworthy, filthy, scum, lower class, an animal, so often they begin to believe it themselves. The words 'filthy Jew' were uttered so many times, it would be hard not to take note, hard not to begin to believe it. And if you hear that on a daily basis, and see slogans in large letters wherever you are, and are belittled in so many different ways by those who hold power over you, how could you fail to believe it?
The power of music. Music was the only thing that brought everyone, officers and prisoners, together. For 'Carnival 1945' the jokes all got laughs, but when a prisoner sang an aria from an Italian opera, it brought everyone (including me) to tears. And when the camp is being liberated, the counterfeiters put on a record, and one cadaverous man stops, listens, smiles - "We could hear your music sometimes" - so wistful, like this was the only joy he'd had for several years.
A horrifying time in our history. Yet seeing even the smallest acts of kindness in such a time - this gives me hope.
This is a brutal film. It's the story of Operation Bernhard, the largest counterfeiting operation in history, in which the Nazis attempted to flood foreign economies with counterfeit currency. They used prisoners to forge British pounds and US dollars ("But why are they using Jews?" - "I presume they will just shoot us when the war is over") and the film follows the story of Salomon 'Sally' Sorowitsch. Most of it is set in 1944-45.
On the one hand, this is a cushy gig. All the prisoners have been in other camps before this one, and are relieved by the soft beds, water in the showers, food to eat, and morale-boosting attempted by the man in charge of the top-secret operation (Herzog). To use their skills, instead of being forced into hard labour, is a blessing. However, by accepting this comfort, they are helping the Nazi campaign - and prolonging the war and all that that entails. They successfully forge the pound, but then one of the group (once a Communist printer) refuses to help the Nazis anymore, and sabotages his part of the dollar forgery. [Spoiler: this delays the counterfeit dollar, and once they actually do perfect the forgery, the war is over.]
This moral dilemma is the dramatic crux of the film. The communist is set on sabotage, but the others are keen to do as they are told (which really is a matter of life and death). In one scene, the doctor says to the printer: "So you decide that we get ourselves shot?" "It's the principle" replies the printer. "Nobody's prepared to die for a principle" - "That's why the Nazis' system works!" I found myself wanting them to succeed in their tasks (there is enough death as it is, before you get to the execution on principles) - but also wanting the printer to somehow win.
Without going through all my notes from watching this, I'll mention a few points. There were times I had to stop and cry, and I could hardly finish the coffee I'd started with the film. When Sorowitsch is arrested near the start (in 1936), you know it is the beginning of horror for him. And in all the scenes in the first part (also 1939), it is horrible watching - they had no idea what was in store for them, yet we know the history. Like Titanic, we know what's going to happen; like The Passion of the Christ, it doesn't shy away from the brutality of what happened. By the time the prisoners arrive in Sachsenhausen in 1944, they too know the horrors that may await them.
As we see so often, power in the wrong hands is terrible. But surviving the war was a matter of adaptation. This is apparent for nearly every character. You see the simple grin on an oafish face of an officer watching another beat a starving prisoner. You find out Herzog was formerly in the Communist party. You shut the windows in your building so you can't hear the atrocities occurring outside. You provide forged documents for your boss in return for medication for a fellow inmate.
The power of juxtaposition. I suspect partly this was a mind-game on the part of the Nazis, and sometimes you can see the confusion on the Jews' faces. The threat of being shot is followed immediately by the promise of a night's entertainment. Especially glaring though was the contrast seen by Sorowitsch when he visit's Herzog's house outside the camp. We leave the bleakness and misery of one setting and see the rural elegance outside the gates. For all that we know about the camps, sometimes we forget that those in the villages surrounding them had no idea what was going on. Herzog's wife wanted 'certain East Coast circles in America' to see him - "You've no idea of the dreadful propaganda being circulated about the camps!"
The power of words. This has actually come up a few times this week. If you tell someone they are unworthy, filthy, scum, lower class, an animal, so often they begin to believe it themselves. The words 'filthy Jew' were uttered so many times, it would be hard not to take note, hard not to begin to believe it. And if you hear that on a daily basis, and see slogans in large letters wherever you are, and are belittled in so many different ways by those who hold power over you, how could you fail to believe it?
The power of music. Music was the only thing that brought everyone, officers and prisoners, together. For 'Carnival 1945' the jokes all got laughs, but when a prisoner sang an aria from an Italian opera, it brought everyone (including me) to tears. And when the camp is being liberated, the counterfeiters put on a record, and one cadaverous man stops, listens, smiles - "We could hear your music sometimes" - so wistful, like this was the only joy he'd had for several years.
A horrifying time in our history. Yet seeing even the smallest acts of kindness in such a time - this gives me hope.
Monday, 11 June 2012
Movie #16 - Brotherhood of the Wolf
DVD Sam loaned me 5 movies earlier this year. A couple of weeks ago, he asked if I'd watched Brotherhood of the Wolf yet. Not yet... if he'd told me that there are a few stripped-down fight scenes, I would have watched it ages ago! At least now I have.
I'm not sure this is a movie I would watch again - although maybe if I saw it while slightly less exhausted it might make more sense. So, if you're hoping for an intelligent plot discussion or something, I apologise. It's not going to happen. Set in 18th century France, there is a lot of violence, and there are a few scenes in a brothel - if you have delicate sensibilities, find something else to watch. Especially if you get squeamish. I started watching at the start of dinner - mistake.
Some little things before I get into it. This was a dubbed version, and I put the subtitles on as well - weird. The subtitles corresponded in the same way Google Translate will correspond. There are some very funny bits, like the brothel madam indignant about the possibility of a scandal in her house. Or the description of how Florentine women get their men to sleep at home, by giving them poison in the morning and the antidote in the evening. I found the camera work a little annoying. There are some aspects I really enjoyed, like the close-ups of the puddles splashing, but the frequent slow motion in the middle of action was irritating. Not to mention the special effects of the Beast itself, which really dated the movie.
At one point, I heard phrases of music reminiscent of Dances with Wolves and it was only at that point I went "oh yeah - duh". Native American in this movie about wolves, so how could you resist? Haha. There were 2 other distinct musical flavours, a fairly ecclesiastical sort (similar to Allegri's Miserere), and a gypsy style like that found in Chocolat.
In fact, the underlying theme of the movie reminded me a lot of Chocolat: the power of the cultural norm. (It also corresponded, incidentally, with yesterday's sermon). Everyone is born into a society with a cultural norm. Those in power dictate what that idea of normal is, and class anyone who doesn't fit into that mould as inferior. When those ideas are challenged, our instinct is to fight. And in hindsight, that is often ridiculous. In this movie, the ideas were surrounding race (is a Native American really the same race? surely he is inferior, a savage - "you don't avenge a savage with Christian blood") and the Age of Reason (Catholic practices in a world blossoming with scientific knowledge). Some of the questions they asked were, to this 21st century view, laughable. I had to remind myself a couple of times that they really wouldn't have known these things, and we only find out by asking and experiencing. Compare that to now though, with the debates surrounding gay marriage - there is a photo doing the rounds of Facebook, showing a scene from a rally 50 years ago against inter-racial marriage, and a scene from a present-day protest against gay marriage, and a caption along the lines of Think How Ridiculous You'll Look in 50 Years.
And then, the atrocious things Christians do to maintain the status quo, or the Right Way, or to hold onto power. There is even a scene so like a KKK meeting, all these robed people hiding behind the anonymity of a mask, with strength in numbers - how many of them, if they sat down with the tracts they say they are upholding, would turn around and act and think differently? And if you are really in the right, why do you need to hide your face? Or even, the things we do in a fight or flight mood - in this case, if we think this beast is a wolf, let's go and kill all the wolves we can find. That way we're sure to get it, right? But how silly we look after a bit of waiting and learning when we discover it's not actually a wolf and all those animals have died for nothing (King Herod, anyone? witch hunts?).
I write this as a Christian but more, as a human. Much of what Christians have done in the name of our religion is indefensible. I think though that it's more that Christians have been in power for a good portion of history, and we are human and react in human ways. Without knowledge that what you are doing is actually wrong, but with a background of this is probably right, we'll tend to go with the probably.
Actually, I'll amend the theme of this movie: There is nothing to be feared, except fear itself.
And now for today's photo:
Funny story here. I put washing on the line on Saturday, which was a beautifully sunny day, if rather cool. I didn't have time to get the washing off the line between gym, blog, and heading off to a games night... It rained Saturday night. It rained on Sunday. It rained Sunday night, and it's been rainy and blustery all of today. Which is wonderful for the June long weekend, but not great for getting my washing dry. Now I have to work out what I can possibly wear to work tomorrow.
I'm not sure this is a movie I would watch again - although maybe if I saw it while slightly less exhausted it might make more sense. So, if you're hoping for an intelligent plot discussion or something, I apologise. It's not going to happen. Set in 18th century France, there is a lot of violence, and there are a few scenes in a brothel - if you have delicate sensibilities, find something else to watch. Especially if you get squeamish. I started watching at the start of dinner - mistake.
Some little things before I get into it. This was a dubbed version, and I put the subtitles on as well - weird. The subtitles corresponded in the same way Google Translate will correspond. There are some very funny bits, like the brothel madam indignant about the possibility of a scandal in her house. Or the description of how Florentine women get their men to sleep at home, by giving them poison in the morning and the antidote in the evening. I found the camera work a little annoying. There are some aspects I really enjoyed, like the close-ups of the puddles splashing, but the frequent slow motion in the middle of action was irritating. Not to mention the special effects of the Beast itself, which really dated the movie.
At one point, I heard phrases of music reminiscent of Dances with Wolves and it was only at that point I went "oh yeah - duh". Native American in this movie about wolves, so how could you resist? Haha. There were 2 other distinct musical flavours, a fairly ecclesiastical sort (similar to Allegri's Miserere), and a gypsy style like that found in Chocolat.
In fact, the underlying theme of the movie reminded me a lot of Chocolat: the power of the cultural norm. (It also corresponded, incidentally, with yesterday's sermon). Everyone is born into a society with a cultural norm. Those in power dictate what that idea of normal is, and class anyone who doesn't fit into that mould as inferior. When those ideas are challenged, our instinct is to fight. And in hindsight, that is often ridiculous. In this movie, the ideas were surrounding race (is a Native American really the same race? surely he is inferior, a savage - "you don't avenge a savage with Christian blood") and the Age of Reason (Catholic practices in a world blossoming with scientific knowledge). Some of the questions they asked were, to this 21st century view, laughable. I had to remind myself a couple of times that they really wouldn't have known these things, and we only find out by asking and experiencing. Compare that to now though, with the debates surrounding gay marriage - there is a photo doing the rounds of Facebook, showing a scene from a rally 50 years ago against inter-racial marriage, and a scene from a present-day protest against gay marriage, and a caption along the lines of Think How Ridiculous You'll Look in 50 Years.
And then, the atrocious things Christians do to maintain the status quo, or the Right Way, or to hold onto power. There is even a scene so like a KKK meeting, all these robed people hiding behind the anonymity of a mask, with strength in numbers - how many of them, if they sat down with the tracts they say they are upholding, would turn around and act and think differently? And if you are really in the right, why do you need to hide your face? Or even, the things we do in a fight or flight mood - in this case, if we think this beast is a wolf, let's go and kill all the wolves we can find. That way we're sure to get it, right? But how silly we look after a bit of waiting and learning when we discover it's not actually a wolf and all those animals have died for nothing (King Herod, anyone? witch hunts?).
I write this as a Christian but more, as a human. Much of what Christians have done in the name of our religion is indefensible. I think though that it's more that Christians have been in power for a good portion of history, and we are human and react in human ways. Without knowledge that what you are doing is actually wrong, but with a background of this is probably right, we'll tend to go with the probably.
Actually, I'll amend the theme of this movie: There is nothing to be feared, except fear itself.
And now for today's photo:
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