Darkness or Light?

One can contrast the epic new “Noah” movie with “El Cid” to see how America’s cultural psychology has changed in 50+ years. Like all movies today, “Noah” looks dark. The dark shadings of the costumes and cinematography match the story’s dark tone. Our civilization is going through a period of cultural despair. Values have been rejected. The future appears hopeless.

“El Cid” used darkness as counterpoint. As an opposite. That which must be fought. The bulk of the movie presents brightness—the gorgeous colors of nature. It’s a pleasure to view. “El Cid” is one of the most beautiful looking movies ever produced.

FAITH OR DESPAIR?

Anymore, that seems to be the choice. (Excluding mindless hedonists of course.) We’ve seen what happens to nations which have rejected faith. Russia—the remains of the Soviet Union—is a case in point.

Vladimir Putin is nothing if not a rationalist. He witnessed the fruits of socialism and atheism. Russia is a dying nation. He’s struggling to reverse this. In so doing, he recognizes the necessity of religion. The benefits of spiritual purpose—portrayed so well in “El Cid.” A belief. A cause. Something higher than the here and now.

Russia is trying to renew itself, to climb out of the deep well of despair—while we’re moving tragically in the other direction.

The Rebel

One of the strengths of El Cid is its structure—the way it builds in theme and intensity, first to the intermission; then, quickly, to the final mammoth conflict between the forces of evil versus good; of intolerance versus light.

Part of the narrative’s appeal is Rodrigo’s insistence on thinking beyond the narrow limits of his fellow Christians. He understands that they need to join forces with moderate Muslims, if they’re ever to unite the peninsula.

Rodrigo bucks the system throughout, at high cost—culminating in his forced exile. He’s joined in that exile by his estranged wife, Chimene, which brings the personal, emotional part of the drama to a peak. Anthony Mann’s handling of this is masterful—the couple’s encounter with each other on a snowy night: a mystical moment when viewed on a giant movie screen. The elements are so much part of the scene, intimations of destiny and fate, we’re given a subliminal glimpse of the spiritual, which will be evoked again at the very end of the film. Rodrigo’s journey as “the purest knight” is physical, part of the political conflicts of his day, but also spiritual, as he allows himself to be utilized by a force greater than himself: the Christian God.

After they spend a night together in a barn, Rodrigo and Chimene realize they’ve been joined by a small army of followers willing to share their banishment. This army rides off, to thrilling Miklos Rozsa music, and the intermission begins. The first act is as exciting as any movie ever made—exciting dramatically, visually, and emotionally. yet much more remains. The conflict with Ben Yussef, prepared for from the film’s first moments, will now move into higher gear—and Rodrigo’s life will reach its final purpose and end, as the movie achieves final unity.

The lines of narrative—physical, personal, political, spiritual—move in unison, toward interim climaxes in the first act, then toward the larger climax of a final, Armageddon-like battle, through which Rodrigo, “The Cid,” achieves apotheosis as hero.

The movie is greater than others not solely in its surface elements of cinematography and sound (including the score), but also in its superstructure of narrative, and through narrative, theme.

The film’s larger meaning is civilizational. El Cid is a story of the battle of Western civilization—the creation of the world we still live in. That struggle to hang on to our glorious heritage goes on.

Dream or Nightmare

When seen on a big movie screen, El Cid is transformed from a simple action epic into something more. Images become profoundly moving and profoundly disturbing.

El Cid expresses unconscious fears about the fight for goodness over its opposite. The death of the hero at the end is stunning. Does it represent the possible death of Western civilization itself?

Today this is a real-world question.

Life and Art

The conjunction of life and art: the burned Coptic Christian churches in Egypt are right out of the opening scenes of the 1961 movie EL CID.

Saving the Culture

THE WAY to save Western civilization is for both Europe and America, each in their own way, to embrace their cultural roots and historical heritage. For America, this means the mythic, artistic West.

Toward that end I’ve produced a new ebook, ABOUT WESTERN MOVIES, available now at Amazon’s Kindle and B&N’s Nook. Don’t wait to read it.

Coming Attraction

PRE-REVIEW OF “THE LONE RANGER” MOVIE

The big (only?) Western movie for 2013 is "The Lone Ranger." I've seen the trailer. The movie doesn't look promising.

Johnny Depp in white face. Is this a gag? Depp is a terrible choice for Tonto for numerous reasons. One being that he's the most overcivilized, foppish, overmannered pretentiously egoistical actor in Hollywood. Be ready for a stereotypical offbeat portrayal.

The movie itself will be hyperpaced and filled with special effects. The Western on speed, combined with Five Hour Energy.

The ideas look to be hypocritical and simplistic. A Custer-style Army officer is the bad guy. Expanding Capitalism is no doubt eviscerated. This from a movie produced by monster conglomerate Disney, and certain to be promoted by multi-national media conglomerates, with a bankable big name (Depp) paid many millions, and starring as Ranger, Armie Hammer, scion of the billion-dollar Armand Hammer empire. The story appears to be a celebration of primitivism, of the natural Native American way, while the movie itself is created in as high-tech a manner as possible, from advanced lenses to complicated computer-image graphics; hundreds of technicians everyplace, not a primitivist in sight. Least of all Mr. Depp, who's already back in glitzy sophisticated France tinkering with his wineries, more millions in the bank.

The most cynical movie ever made?

We'll see if it's entertaining. The popcorn pop images will move so fast no one will notice the ideas.

Media Distorting the Benghazi Story

So-called journalists from establishment media are in fact propagandists. Which means, they’re not seeking objective truth. They have a set narrative in mind when they begin to write—often but not always based in partisan politics. Everything in the article will comply with the predetermined narrative.

We see this from mainstream media about Wednesday’s Benghazi hearings. Perhaps the most distorted account of those hearings comes from esteemed Time writer Joe Klein. It’s not really an account, but more of a diatribe in defense of the Administration, with not a speck of objectivity, and scarcely any honesty.

 http://swampland.time.com/2013/05/08/benghazi-again/

Much of what Klein says is pure misdirection, away from the actual subject. For instance, the question of adequate funding provided to defend embassies and consulates. We should all be able to agree that there are adequate funds in the federal budget in general, and the State Department in particular, to move funds around, if necessary, to protect crisis points. Others have pointed out the lavish sums of money for embassies in safer places like Jordan. Or Moscow, for that matter. No money to protect a mission in the middle of a global hot spot? The idea is ridiculous.

Amid the constant mentions of, and apologies for, a YouTube video, by Obama, Hillary, and Susan Rice, did the President in fact call the 9/11 Benghazi attack an “act of terror”? Yes and no. In his Rose Garden remarks Obama mentioned “acts of terror” in general. Klein’s presentation is a half-truth that fits well with the slanted thrust of his article. See the matter discussed here:

http://www.forextv.com/forex-news-story/full-transcript-of-obama-s-rose-garden-speech-after-sept-11-benghazi-attack

More important than Joe Klein’s misdirections about the Benghazi hearings are his omissions, and his outright lies.

Note the caption under the photo on the page of a “protester.” The caption says, “A protester reacts . . . during a protest by an armed group said to have been protesting a film. . . .”

Two quick comments. 1.) Note the weapon. That’s a hell of a protest! 2.) “said” to have been protesting a film? “Said”—by whom?

Joe Klein and his Time editors seem not to have listened to the hearings the article is supposed to be about. In his testimony, Gregory Hicks said there was “No protest” at the consulate. Everyone involved in the 9/11 events—everyone—called it an attack. Hicks also dismissed the idea of an obscure YouTube video being the cause, calling it “a non-event in Libya.” If anyone was in a position to know, he was.

To confirm this, we have the email from Assistant Secretary for Near Eastern Affairs Beth Jones, quoted at the hearings (Klein and Time seem to have missed it), dated 9/12, the day after the attacks, in which this assistant to Hillary Clinton said, “—the group that conducted the attacks, Ansar al sharia, is affiliated with Islamic terrorists.”

Hmm. Doesn’t sound quite like the “local street gang” in Joe Klein’s depiction.

No mention in Joe Klein’s article of the stand down order, and the Administration’s failure to act—in particular, Hillary Clinton’s failure to act to protect her own people, once the battle began—which is always the first test of leadership.

No mention by Joe Klein of the outright lies by Hillary, Susan Rice, and even the President blaming the attack on the obscure video, with no evidence presented then, or now, least of all by Joe Klein, showing that said video had ANYTHING to do with the Benghazi attacks. An administration lied to the American public—saying what they surely knew were lies. They tried to cover-up their inaction and incompetence. Esteemed journalist Joe Klein is like Sergeant Schultz from the TV show “Hogan’s Heroes”: “I see nothing. NOTHING!”

I could go on. The bottom line is that this magazine, and its scoundrel of a propagandist, are considered “legitimate” media. One has to laugh about it, because the alternative is to cry over what’s happened to the press in this country.

Being Played

Hillary Clinton and President Obama have taken a huge risk in putting their faith in Egypt’s Mohamed Morsi. Is he a moderate? In any way a moderate? Or is he not, as he’s been demonstrating with his anti-democratic consolidation of power, anything BUT a moderate?

For all their high intelligence, Barack Obama and Hillary Clinton have been played. It’s embarrassing, and for the west, it’s tragedy.

Prophetic Scenes

On this 11th anniversary of 9/11, there's no getting around the opening scenes of the 1961 film "El Cid," with the threats of a Bin Laden-like fanatic followed by scenes of smoldering devastation.

About Movies Today

Today’s blockbuster movies are an insult to the audience. They mock the stupidity of today’s moviegoer. Fast, jerky editing where you can’t see what’s happening combined with sadistic in-your-face violence is something today’s brainwashed-by-MTV accept unquestioningly. One doesn’t have to be against artful editing or violence in film to state this.

Today’s blockbuster movies feed on the darkest and most degrading aspects of the human personality.

“El Cid” surely has its share of violence, but it’s part of an overarching historical, cultural, artistic framework and message. No film has ever had more beautiful cinematography. Unlike today’s “Dark Knight,” “Bourne,” et.al. movies one is allowed to actually see and appreciate the incredible camera shots. The presentation isn’t a tease or a scam.

I understand why Islamists have no respect for those who inhabit the West. I see why they consider us to be unthinking unblinking weak consumerist zombies without morals, character, principles, or sense—accepting of any nonsensical nihilistic art or idea if it’s properly packaged with the right amount of hype and glitz and is properly approved by the mendacious mandarins of the mainstream media.

Sick Culture?

In light of the Aurora, Colorado shootings during the showing of the latest Batman movie, we need to question what kind of culture America is handing the world. Has it become too bleak and dark, providing no counter example to death and violence; no way out?

Curiously, instead of seeing “The Dark Knight” last week, I went instead to see a showing of the 1963 flick “Bye Bye Birdie” in a movie house. In pure joy and fun the classic satirical musical is the polar opposite of “The Dark Knight.” Darkness needs on occasion to be balanced by light.

Better Culture

Western civilization can’t compete on the global level by denying the greatness of its past ideas and replacing them with disgraceful nonsense. The worlds of art and literature in the west in this postmodern age no longer hold glittering appeal, but instead, a kind of anti-appeal, celebrating every gross, sick, and evil aspect of mankind, as if to say to the rest of the world, “This is what to avoid.”

Breitbart

Andrew Breitbart stated often that his activities were in reaction to the all-encompassing intolerant secular Left that he found in Los Angeles, most specifically in Hollywood. How much of radical Islam is a reaction to that same aggressive secularism? It’s a question that should at least be asked. In life and nature, one extreme often leads to the opposite extreme.

The Big Screen!

I notice that "The Artist" is favored to win the Best Picture Oscar next week. It should-- the flick is a remarkable movie experience. But I wonder how much of that is due to seeing the film on a movie screen? So much of the movie's impact is due to effective use of close-ups. The surprises and juxtapositions wouldn't have nearly the impact otherwise.

Kudos

Kudos to Newsweek magazine for their February 13, 2012 cover story about Islamic crimes against Christians.

“Westward the Women”

In a recent post I mentioned the 1951 William Wellman movie “Westward the Women,” a neglected classic which provides a tremendous, and very emotional, film experience.

What I didn’t mention is that it’s likely the best movie about the trek west, the crossing by wagon train of the American continent. I know of no movie which better depicts how arduous that journey was.

In this day of political correctness the settling of the American continent is at best scorned; at worst presented as a criminal event. Anything but! This vast country sat virtually empty, its few million inhabitants living at a subsistence level. The natives’ short lives were short and brutal. Crossing the frontier was one of the great feats of human history. I drove to California and back, and was amazed by the distances, impressed by how difficult the crossing of the continent by the pioneers truly was. This tremendous movie conveys some of that.

Film or Digital?

Word is that standard movie theaters are converting to digital, that within a year or two, new movies will be available and screened only in that format. This should increase the value of, and need for, repertory movie theaters which show classic movies on film, the way they were meant to be shown. Nothing matches the film experience. Film as a medium is subliminally warmer, clearer, and more colorful than the digital format. “El Cid” shown on film exemplifies this, which is why I still plan on presenting, someday!, this greatest of all movies the way it’s supposed to be viewed.

Great Movie Couples

One of the compelling aspects of "El Cid" is that the two leads, Charlton Heston and Sophia Loren, in strength of personality are equally matched. A key aspect of the plot is that Chimene, daughter of a strong father, is looking for a strong mate. The contempt she shows the young king, for instance, is a sign that she holds men to an almost-impossible ideal. Indeed, in some ways she's the strongest character in the story, and is as strong a presence as Heston on the screen.
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What are the best movie couples? What makes a great on-screen pairing?

Clark Gable and Vivien Leigh as Rhett and Scarlett in "Gone With the Wind" might be thought of. Theirs is an interesting relationship. Rhett is physically dominant, while Scarlett dominates Rhett-- and everyone else in the film-- in other ways, through her mind and her will. It's obvious that Rhett is looking for a daughter-- someone he can spoil-- as much as a wife, and in effect says this. This is in part attributable to the age difference. We have a fascinating coupling, who balance each other out, but it's not a combination of equals.

I've selected three movies, past and more recent, where the chemistry between the leads is dynamic . I'd argue, because their equals. They try, but neither person in each of the three pairings gets the upper hand.

1.) "WESTWARD THE WOMEN." 1951. A hugely underrated film about a wagon train taking potential brides west to California. After encountering Indians, floods, and other disasters, the women end up virtually taking over. You'll never see a more "feminist" film! If you haven't seen it, do so. A true classic.

The leads are Robert Taylor and Denise Darcel, he playing the cowboy hired to get the wagon train to its destination, she one of the more improper ladies along. They clash often-- including a fantastic riding scene-- but in the end. . . .

2.) "NORTH BY NORTHWEST." 1959. Top-shelf Hitchcock involving spies and, interestingly, another cross country journey. Cary Grant trying to rescue cold and edgy Eva Marie Saint is nothing so much as a man going after his mate.

3.) "OUT OF SIGHT." 1998. Based on a Elmore Leonard novel, this able film is a about a U.S. Marshal, Jennifer Lopez, tracking down an escaped convict in the person of George Clooney. More travel! What is it about sending your characters out into the world? There are several key moments between the two in the film. For my money, the best movie either of them has made. The sparks are palpable.

What Are the Great Movies?

The only way to judge movies is in a movie theater, before a huge screen, experiencing the work fully. I've gone to a lot of "revival" houses and seen many of the best movies this way, from "The Third Man" to "Godfather II."

What's the ideal movie experience? Not only should every element come together artistically, from dialogue to image to sound and score, the artwork should assault you on many levels, intellectually and emotionally. The greatest movies, like all great art, reach down into your very soul and shake it, so you stumble from the darkness of the movie house, the world of imagination, back into reality wondering if you'll ever recover from what you've just heard and seen.

A Pertinent Quote

Here's a quote from Atheist Delusions by David Bentley Hart, page 230.

"There is something to be said, surely, for Nietzsche's prophecies regarding the 'Last Men.' At least, when one considers our culture's devotion to acquisition, celebrity, distraction, and therapy, it is hard not to think that perhaps our vision as a people has narrowed to the smaller preoccupations and desires of individuals, . . . it is hard not to lament the loss of cultural creativity that seems an inevitable concomitant of this secular beatitude. When one looks, for instance, at the crepuscular wasteland of modern Europe-- with its aging millions milling around the glorious remnants of an artistic and architectural legacy that no modern people could hope to rival, acting out the hideously prolonged satyr play at the end of the tragic cycle of European history-- it is hard to supress a feeling of morbid despair. This was Nietzsche's greatest fear: the loss of transcendent aspiration that could coax mighty works of cultural imagination out of a people."