Scene4 Magazine | letters to the editor

Stuff "poetic license." That's the term to describe when film or television producers take a book, or worse yet, historical facts, and play fast and loose with the truth to suit a lower purpose. In other words, appealing to my peers in middle-class suburbia who are the coveted demographic for said poetically licensed production because they have the damned cash to buy whatever it is they're hawking.

Yep. That's what it's called.

"Poetic license" is coming 'round the mountain once again, this time in HBO's upcoming movie Bury My Heart at Wounded Knee, based on the 1971 book by Dee Brown. To be aired Memorial Day weekend, the film has taken the life of Charles Eastman and seasoned and spiced it to make him McTastier.

And just who is Charles Eastman? Portrayed in the film by Adam Beach, he was the Santee political activist, Dartmouth-educated doctor and cofounder of the Boy Scouts who HBO thought, in their supreme wisdom, wasn't interesting enough even though he was a political activist, Dartmouth-educated doctor and cofounder of the Boy Scouts. Apparently, that wasn't sufficiently palatable, especially to mainstream audiences whose knowledge of Native America is limited to Little Big Horn, casinos and Russell Means.

Thankfully, no references to Russell were added, ditto for casinos probably 'cause the movie is set in the 19th century. So what's left? Huzzah--let's put Charles Eastman at the Battle of the Little Bighorn! So that's what HBO did. Forget the fact that the real Eastman was attending school hundreds of miles away in Nebraska at the time.

This is what y'all call "poetic license."

According to the New York Times, the network carefully considered its decision. Daniel Giat, who adapted Brown's book for the screenplay, recently said to a group of television writers "Everyone felt very strongly that we needed a white character or a part-white, part-Indian character to carry a contemporary white audience through this project."

At least that's the truth.

Of course, apologists tell us that it's the "bigger issue" that's paramount. That "poetic license" is standard practice in adaptations; therefore adding and cutting and fabricating is just dandy and a-okay as long as it remains intellectually honest.

Intellectually honest? Not when you have a real-life person engaging in a major battle he never fought in. Intellectual honesty is when you add dialogue and scenes to flesh out the story but remain faithful to the known facts. That ain't the case here. HBO IS FABRICATING HISTORY TO APPEAL TO WHITE FOLKS.

As Bury My Heart producer Dick Wolf was quoted in the Times article, "It is a dramatization, and we needed a protagonist."

Hey, let me share something with you. As a bona fide white person, I don't need made up history to swallow what actually happened. Believe me, we CAN handle the truth and the time has come for my fellow white folks in the media to acknowledge that.

So please o' please--stop already. This has nothing to do with "poetic license" and even more so, "intellectual honesty." This has everything to do with making the lead Native character a superhero Mr. And Ms. Mid-America could love. Think Little-Spidey-on-the-Prairie.

Not to take "poetic license" here, but I bet that wasn't Dee Brown's intention when he wrote his groundbreaking book 36 years ago. Nevertheless, I'm sure my hunch is helluva lot closer to the truth than Charles Eastman wielding a tomahawk against Custer's Seventh Cavalry along a dusty Montana creek.
Carole Quattro Levine

The producers have implied they didn't want to make an anti-government movie. It would've been too negative, too hard to sell. Instead they watered down Dee Brown's book to make it palatable to viewers. That may have been a marketable choice, but it sure wasn't a moral one. Wolf and company have said all the right things in published interviews. They may not even be aware that they softened Brown's emphasis. But a lack of conscious intent doesn't change the results. HBO's movie is prejudiced against Indians. To recap: According to "Bury My Heart," the Indians massacred the soldiers at Little Big Horn. The Army was merely emulating the tactics of the Sioux before them. Dawes had a noble plan to save the Indians. Sitting Bull cared more about his perks than his people. Modern life was too much for Indians such as Eastman to handle. The deaths of Sitting Bull and the Sioux at Wounded Knee were unfortunate mistakes. If that isn't an anti-Indian bias, I'm not sure what is. "Bury My Heart" takes a clear case of wrongdoing and muddles it. In this version of history, there are no good or bad guys. Flawed Americans, flawed Indians ... they're all the same. For the full review, go to Bury My Heart Review.
Rob Schmidt

I greatly enjoyed, and identified with, Lia Beachy's "Summer Camp." I've written three books of poetry, but I could have written six AND a volume of short stories if it weren't for "The Daily Show," "24," Turner Classic Movies and the Travel Channel! But if writers didn't watch Oprah, there'd be no Oprah to invite writers on her show. (And, by the way, thanks for her very kind words about my review of "Once." It's a movie everyone with any romance or music in their
souls should see.)
Miles Moore
read Lia Beachy's article

This is the best eulogy I've read and a perfect epitaph: "Above his brilliance as a theatre and film director is Bergman's writing." Thanks.
Phillip Goldsmith
read Arthur Meiselman's article

Hey - we need to get a campaign going to get this movie released. Maybe a petition and lots of emails. Gotta do it. Let's do a website or a myspace or youtube or something. Salem K. loves Jerry Lewis and so do I. It's gotta be a great movie!
Twobits
read Salem Kapsaski's article

I've always admired the traditions and achievements of Greek cinema and when I was in film school in NY I remember S. Kapsaskis' films and enjoyed them very much. It's too bad he made so few. This is a long overdue tribute to his work and to an illustrious father.
Everett
read Andrea Kapsaski's article

It seems to me that actors in movies spoke a lot better years ago than those today. I suppose in the "Golden Age" of talkies during the big studio system, there was a lot of training including in speech. Then along came the mumble guys and you're so right - the difference between English and American actors is like the difference between people who can sing songs and the ones who can only scream and shout.
Melanie Spyren
read Lia Beachy's article

Actually, Ray Istre comes late to the notion of a less-than-photogenic Jesus. The BBC did a piece five years or so ago wherein they reconstructed a possible Jesus from many different visual sources and came up with a short, solid, swarthy man. It raised much uproar about the "proper" way to depict Jesus -- offenses and umbrage were taken. Take a look yourself: http://news.bbc.co.uk/2/hi/entertainment/1243339.stm
Michael Bettencourt
read Les Marcott's article

I agree entirely. A recent poll named Marlon Brando as the greatest ever movie actor, yet I could barely understand a word the man said in any of his movies! Nowadays it is mainly American movies and TV series with which I have issues, though I have experienced similar problems with British shows, including theatre performances. There seems to be a tendency for many actors (and, presumably, their directors) to think that in order to maintain "pace" the lines have to be delivered at high speed. The resultant cacophony of mangled vowels and stifled consonants is not pleasant on the ears of the audience, who are left baffled as to what is being said (or should I say "mumbled"). "Pace" is about picking up cues (with due consideration of the demands and effects of the dramatic pause) and keeping the action moving, but not at the expense of presenting the dialogue in an understandable form of the language. It is perhaps indicative of the times in which we live, that in our regular lives we perceive that no-one has the time to listen to what we are saying, as we anticipate (and are all too often vindicated in that anticipation) that we will be interrupted before we reach the end of our sentence if we take so much as half a beat to grab a breath. Is it any wonder, then, that people gabble their words in order to circumvent the premature termination of their sentence by the expected rude interruption? The gabbling actor will simply claim that he is being "true to life" in his high-speed delivery of the lines. How many excellent writers, having agonised over their choice of words, and crafted their works with great skill and wit, are then sold short by this slovenly speech pattern which defies comprehension? Actors are supposed to be the interpreters of a story, and we need that story told with understandable dialogue as well as meaningful action.
Geoff Goble
read Lia Beachy's article

A fine and fitting tribute to a life well lived. Thanks Andrea.
Les Marcott
read Andrea Kapsaski's article

What do you mean no stinking badges? And I was all ready to go get a fake mustache, cause I can make those facial expressions...even tho I'm a GIRL, I figure I could be one of the MOST WAYWARD of Western Sons of Warren Oates..really Les, no girls in your club? You really think you could get away with that in today's world? I bet you are REALLY glad you decided against it now! I could fake tamborine playing in a band if ....if I drank enough.
I enjoyed the article Les, Warren Oates was one sexy dude.
Michele
read Les Marcott's article

Nice story, thanks, but I still don't know who the hell Joe Christ is.
tj
read Salem Kapsaski's article

Thank you for another excellent review. I truly enjoy your reviews every month, whether I have seen the films or not. They are perceptive and thoroughly entertaining. I hope when Roger Ebert finally steps down, they will look to you to replace him. You will be a more than worthy successor.
Brenda Balfour
read Miles Moore's article

By the way, I'll be very interested in reading your review of "American Gangster" which I hope you will do.
Brenda Balfour

Nice work Les. I remember this guy and did not notice that he was a bad actor, which might be saying that he was a great character actor. What is it that gets the cover of People Magazine? Maybe its the vengance of the great unknown actors to have the "pretty" and "Studly" get distracted by the media hounds?
Hummm...
Ray Istre
read Les Marcott's article

A most complex film for many. But I think this article gets to the heart of this epic film. It gently uncovers the layers of spiritual meaning, symbolic reference and breaks it down to its purest elements.

stan poulos

read Griselda Steiner's article

Freaks
I am part of the proverbial choir Andrea Kapsaski is preaching to in her recent article, Living in Los Angeles, I am surrounded by and bombarded with this region's collective consensus of what beauty is and it saddens me. Besides the stereotypes of peroxide blondes with big boobs, no butts, pouty lips and bones protruding from skin, there is the insidious overtone that if a woman doesn't have a similar look to a mass produced Barbie doll, a twisted plastic surgeon's version of Huxley's Gamma-Delta-Epsilon, she has no worth. Individuality, unique imperfections, character lines... these are not embraced by American culture. If only there would come a day when women are taken for who they are and not how they look, when skin color is no longer a divider, when people who don't fit societies "normal" aesthetic are made to feel part of the herd and not outside of it, and intelligent compassionate thought is cherished and praised over shallow physicality. Ah, a beautiful freak can dream!
Lia Beachy

read Andrea Kapsaski's article

Miles David Moore is probably the most intelligent film critic in our country. I am amazed at the overlapping concepts and arcs of meaning he can bridge from film to film, within one article.AND still adhere to theme. The articles show acute knowledge of art and a consummate literary skill. Moore's reviews and the New Yorker reviews are the only ones I'll bother with. And this current review I will reread with pleasure, just for the masterful turning of its language.
Grace Cavalieri

read Miles David Moore's article

Jeeja is exciting and beautiful. Hollywood better pick her up soon. Thanks for the great story about her and showing her to the world.
Mandee
read Janine Yasovant's article

So there is this Swedish lady who carried a feather across the globe to find the rightful owners of the sacred symbol? It is indeed a very touching story, despite the fact, that one person does not represent the entire Europe. Europe is a continent consisting of 48 countries (49 if you include Vatican City) and 230 spoken languages. And each of these countries has a history, a culture; they have TV, newspapers, schools and Universities. I don't know if the population in Sweden believes "that Native Americans don't even exist", buy maybe one shouldn't fall into clichés? Maybe Annika Banfield can plan a trip through Europe in the near future to explore all these "culturally starving Europeans" (this time without a feather, but an open mind) before returning to her Danish sweat lodge? Which reminds me, that Sweden and Denmark are two completely different countries.
Andrea Kapsaski
read Carole Quattro Levine's article

It's good to see the Swedes over there doing some good. Or, are they? When, I was first contacted by Paula Horn then introduced to Annika and Folke, the two Swedish filmmakers, it was with good intention to talk and get to know each other by phone and email. Then a contract was made by the Swedes stating that I had the rights to the movie in the U.S. No money was going to be made from it. There would be a Native version, as well as a Swedish version. Annika stated her only intention was too show it over in Europe to educate people on what not to do and I would have a say in the direction of the story. So far, the documentary has been shown in the U.S. but they left me out in any say. Broke the contract and disrespected the Minicojou Lakota people of the Cheyenne River Sioux Tribe. My name is Jerry Clown, descendant of Crazy Horse, co-producer of the award-winning documentary, "Riding with Ghosts" You are being fooled because they are exploiting themselves.
Jerry Clown
read Carole Quattro Levine's article

I don´t think this is the right forum for solving legal or economical issues. But the fact is that the producers of "Spirits for Sale" are getting increasingly tired of threats and slander, hearing about film festivals getting threatened and attempts to intimidate reputed spiritual leaders. All this done by one single man.
Jerry Clown was introduced by Paula Horne since he had promised to finance our film. We made an agreement with Mr. Clown. He promised to invest in the film, we promised that if he did so, he would be a co-producer with the rights to the film in the US. (Making one version for Natives and one for Europe has never been an option. There has been no discussions about making the film "for free". ) Mr. Clown never invested a cent but instead had us pay for him and his girlfriend during the two weeks he worked with us in SD. All the costs have been paid by me and the producer out of our own money. So obviously it was a disappointment when Mr. Clown broke the agreement. The "contract" Mr. Clown refers to is an application for money, written to a foundation for filmmakers. It states that Mr. Clown will be the co-producer if and when he invests in the film. It is not signed by the production company. We did not get any money from the foundation and Mr. Clown did not invest, thereby he is not a co-producer. I have an agreement with Chief Arvol Looking Horse of the Lakota Nation that my profit from the film will go back to him and to poor elders on the reservations in South Dakota. Mr. Clown knows this, yet tries to prevent us from selling it in the US by intimidating people and organizations. It is my obligation to stand up for the elders in SD and to keep my promise to Mr. Looking Horse.
We would like to thank Mr. Clown for his help during the shootings in SD. Credit has been given to him in the film. We kept our promise to Mr. Clown - to send him the finished film - and we have paid him for his work. Further more, in helping Mr Clown to make his own version of the subject, we supported him with 8h of filmed material. This material is still free for him to use by courtesy of the Swedish production company.
The attempts to discredit the film and the filmmakers also fall back on all the elders, spiritual leaders and traditionalists who have supported us in the making of this film.

Annika Banfield, co-producer
Folke Johansson, producer

read Carole Quattro Levine's article

Sometimes, I ask myself? Why why why? I remember a vision I had a time ago. One, where we can do justice for our people, give hope for our children. You know--a better tomorrow! One where we can remember yesteryear, where we can say, "we are making change slowly, but in small steps.." because, that's the way they work, the Otherside to this side! Its not I, or it's not you, or them....its Mitakuyase, our relatives who come and give us visions of the past, present and future. They are the ones who give us hope, courage, and the gifts to carry them out. The simple fact is that they are trying to tell us something. What? Well, these ways are sacred. These ways are powerful! They must be done without question the Right way, because they were made to be simple and yet done with love and compassion. Yet, we teach and promise and Promise to the eager, determined, vulnerable, the ones who will pay money, for what? So they can be Lakota, pray like Lakotas...be Lakotas...if that's the way it rolls..then what have we learned from them...some of them know better...but do they care...no....is it power and control which drives people to become self-proclaimed Medicine men overnight?. Like buying a pipe from Praire Edge in Rapid City...like saying buy me, then I will make you Lakota....is it the good feeling they get when someone is abused and abused in sweat or ceremony! Is it the White man, or who is the White man these days? I dont know who's a better man, the White man saying he's a Lakota Medicine Man...or i the Lakota man abusing our children in ceremonies and getting away with it. My many adventures and travels around the country have led me to witness--the butchering and mutilation of these sacred Lakota ways. I get a sick feeling, a very sad feeling of a vision for tomorrow. Like watching our relatives who lie there at Wounded Knee, knowing they were sacrificed to please the pride of the invaders. How many more people will be sacrificed on our reservations? How many more must suffer generations of the same cycle over and over of Genocide and abuse of our ways? So I must say this--it's time to take these ways back! When will we stand together as a nation of visionaries, healers, and protectors of this way of life? When will people know, or is the excuse they just dont know any better? I'm all about healing and being happy to live a beautiful life. So being a co-producer of "Spirits for sale!" my message is simple: dont sell these ways. Tunkasila is watching, always. The Swedes just dont know how it is. I jumped on board because it was exciting to actually put a part of my vision in the movie. We sat down at the bottom of Bear Butte and talked. This was never about fame or making money...it was about a vision that came from the heart....the vision that flowed thru my Minicojou blood, remembering my relatives on the other side...its why I push and promote the movie. I couldn't care less about a Swede carrying a feather to my res...what a story huh! To hand it to our White Buffalo calf keeper! Now, that made them famous, like saying look at us, the White people, who infiltrated the Cheyenne River. I hate to see what would happen if they gave her a turkey feather! Where might she travel...to the country Turkey? Maybe! All I can say is--go see the movie.
Jerry Clown
read Carole Quattro Levine's article
read other comments about "Spirits for Sale"

I like Miles Moore's reviews very much, some of the best articles published in Scene4. But with this one I think he's off-base, or should I say off-sides. Clooney has really grown as an actor and his comedy skills are outstanding, they carry the movie. It's Renee Zellweger that let's it all down. She has the timing of one of those punch doll toys, up and back, side to side and no stops in between. She just cannot be funny. And if she ever stops squinting into the camera, we might find out one day if she has eyes and not glassy little marbles.
Don Merkis
read Miles David Moore's article

Dear Mr. Merkis, Thank you for your comment on my review of "Leatherheads." I find it very gratifying that in general you find my reviews among the best articles in Scene4 . And I certainly don't expect you or anyone else to agree with everything (or anything) I say about any given movie. When you say, however, that I'm "off-sides" in my review of "Leatherheads," and then attribute to me statements that are very different from what I actually said, I'm mystified. By defending George Clooney's abilities as a comic actor, you seem to be claiming that I denigrated them. This is what I said: "As the likable con man aptly named Dodge, Clooney is far and away the most compelling reason to see `Leatherheads.'" I also compare him to Clark Gable and Cary Grant. I did find his direction wanting in some of the football scenes, but I had nothing but admiration for his acting, and expressed nothing but admiration. It's true I liked Renee Zellweger's performance more than you did. Nevertheless, when I say that she should stop scrunching up her face so much, I may be a little closer to your opinion of Zellweger than you suggest.
Miles David Moore
read Miles David Moore's article

I've been tired of teenagers and their problems for a long time since "teenagers" first appeared and I'm a lot older than Lia Beachy so I remember when children became adults and the transitions they made were called "rites of passage" and they were dragged into adulthood kicking and screaming as they had been for time immemorial and nobody gave a damn about this false and phony waystation called adolescence which never really existed until the movies. It's the hustlers and snake-oil sellers that created this creature and the billion-dollar market that rose alongside them. If "20 is now 10", as you say, and "14 going on 35" is the focus of it all, then let's make "50 is now 20" and "30 going on 60" and be done with it. Yes, adolescence is a trying time, for all of us and especially for those who are barraged with it and wouldn't know a pimple from a pisspot, or care.
Great bundle of commentaries, Lia.
Steve Rinstein
read Lia Beachy's article

A touching, embracing reminder of what, in the long run, counts: a sense of shared humanity and a shot of wisdom earned.

Ned Bobkoff

read Arthur Meiselman's article

It's a shame that most people only see great acting artists often in inconsequential movies and never see them as the shining stars they are and at their most brilliant on stage, in the theatre. Maggie Smith is as bright as they come and as magnificent as any who have ever trod the boards. I love her.

Orin Richards

read Lia Beachy's article

You're right on the mark, Mr. Moore, as always. This could have been a blockbuster indictment and a masterpiece of a movie if only, as you said, Stone didn't suffer from an "inability to trust the intelligence of his audience." Too bad he blew the opportunity. And your review of "Appaloosa" is beautiful. Thanks for that.

Tim Stein

read Miles David Moore's review

Well written, Thank you. Artist to artist, I must admit that some of the most talented people I've ever known, cut hair, drive cabs, bar-tend and wait tables. We cannot afford to live within the "starving artist" niche of glory days past. We eat, sleep, drink, dream and prepare for our art of choice, before work. Most do not have the monetary support to realise their dreams, due to life as it is. I believe if you love your art, in your soul and feel you may die without doing it, you are an artist.

Dione Emerson

read Lia Beachy's column

An excellent critique of Griffith's "Birth of a Nation" - probably one of the most balanced I have read. As a movie buff, a theatre arts educator and an African-American, I appreciate that the article acknowledged the filmmaker's art and his contributions to the industry. However, I also applaud the fact that the article does not use that as a reason to excuse the harmful, long-lasting blatant racism of the film. I was particularly interested in the examination of Griffith's process as a thinker versus those of Thomas Dixon and even President Woodrow Wilson. I find it more than a little ironic that February, Black History Month, should be the anniversary month for the release of this film. I wish it were possible next month to show the film in selected venues under the right circumstances so that we could see how far we have come as a country when it comes to racism and also (despite many achievements and recent events) how far we still have to go.

Sandra Camphor

read Miles David Moore's article

Excellent reviews. Ms. Steiner, in both her original 1970 review and the current anniversary review, captures the essence of the film's moral and ethical message. An insightful review with historical facts and information. Thank you for bringing this back to attention. Yes, history repeats itself and knowing this we must be ever vigilant of events throughout the world. I am drawn to see "Z" again, as soon as possible. The message should not be forgotten.

Yale Stenzler

read Griselda Steiner's article

The film made my cry and you made me cry. You're a special man Miles. I just wish you had seen that the great Sean Penn wasn't quite right for the role. I don't know who else could have played it better but I just felt he missed that something of a NY Jewish boy gone Gay and finding his mantra in the melting pot of SF. Still, you caught the whole scene beautifully.

Sarah Rogoff

read Miles David Moore's review

Excellent review. Haven't seen a better pov on this heroic and heartbreaking movie. As they say, you ought to be in pictures.

tdd

read Miles David Moore's review

No I agree with Miles Moore. Sean Penn's performance is one of his best. Like every great actor, he disappears into the character and gives us a Harvey Milk we can understand. Brolin was also impressive as Dan White, though he is far too good looking for the little pinched twinkie man.

Ben

read Miles David Moore's review

Funny how "Milk" just disappeared from the scene. So much other news I suppose and I guess it did well at the box office. Or maybe its story is just too touchy for audiences who are already very confused. Here today and gone tomorrow. At least you have a bold film critic who steps "out" and keeps his perspective. Nice.

Ben

read Miles David Moore's review

Thank you Scene4 and Griselda Steiner for reminding me of the power and beauty of cinema as well as the power and beauty of Costa-Gravas' filmmaking. "Z" was and is a shattering portrayal of government cruelty and injustice. It also was almost prophetic in what could have happened in the United States as recently as one year ago.

George Gee

read Griselda Steiner's article

Well Maestro. you've caught me again. To say you have a wry sense of humour is an egregious understatement. I didn't particularly like "Children of Men." It was too monochromatic for my taste, painted in one color-what you call "doom." Between "babbling" and "doom," I tried to find a wee bit of hope. But before futility, there you go, slipping it in when I'm not looking like a drop of lime in a dry, dry, dry martini, clever, selfish writer that you are.

Hizonner

read Arthur Meiselman's column

Excellent review! Michael Sheen is a better David Frost than David Frost! Though I think Frank Langella does a marvelous job and is a wonderful actor, he doesn't somehow quite get the physicality, the quirky way that Nixon moved as Anthony Hopkins did in his film. I missed that quality.

Terry Braitough

read Miles David Moore's review

Underwhelming? You're more than kind Mr. Moore. They should tie rusty cans to the tail of Tony Gilroy and put dunce caps on Clive Owen and Julia r-r-Roberts and drag them through Hollywood on a very sunny day. You should get a G. Globe or something golden for even bothering to sit through and review this waste of time and money. Is there a word like "nonwhelming?"

C. Gerrif

read Miles David Moore's review

As a mystery fan and a classic movie fan, I love Nick and Nora Charles. And, as Kathi Wolfe has noted, they have a wonderful marriage. For me though, it's not the sexy happy nature of their marriage that appeals. It's the fact that they're so much fun. You just know, it would be a blast to spend time with them.

Martha Gotwals

read Kathi Wolfe's article

Absolutely agree with Mr. Moore's insightful review and comparison of the two films. The original definitely has a superior script. And for me the first "Pelham" also had the actors, especially the great Robert Shaw who was one of the most underrated actors of his time and a brilliant writer too.

Terry Braitough

read Miles David Moore's review

Perhaps some day Cimino will release his director's cut with the full 5:25 version and then we might see a real film with his vision. I'm glad you are not a major film critic or the industry's "movie czar". I tremble at the thought of you ever reviewing a film of mine. So tell me, what is the great celluloid hope for films in the future?

Louis Laird

read Arthur Meiselman's column

Pixar!

AM

Bright Star is one of the best dramas I've seen all year! The cast was amazing, and the music haunting. Here's a great interview I found with Abbie Cornish talking about her character in the film, and how she turned to Keats' original poetry to answer questions during filming. You can find it here: clipser.com/watch_video/1375835. Jane Campion is truly one of the most influential female voices in film today, and I don't think anyone else could have captured the essence of Keats' story like her!

Lana Larekin

read Miles David Moore's review

What a joy to read movie reviews of this caliber. It's rare to agree with every word of a review, and here it's not the first time for me. Superb description of the film and all the actors. One small difference: I saw the open ending with great satisfaction. It seemed clear to me that our hero would not be able to go on as he had. To me the film was a message by the director to young and less young attachment-phobes among his male pals: be aware of what you are missing and the price you are paying by staying up in the air...

Renate Stendhal

read Miles David Moore's review

Somehow I get the strong impression that Mr. Meiselman doesn't like James Cameron and likes "Avatar" even less. Cameron is truly an "Animating Life Giver" and "Avatar" is a g*d-like creation that is creating g*d-like billions of dollars. Isn't that a miracle?

Perry Silverstein

read Arthur Meiselman's article

No, it's not a miracle, it's a wonder, a brilliantly merchandised video game. I don't dislike James Cameron. How could I? He's going to bring God on to the stage of my next production. It's called: "Time Out for Ginger" and it all takes place in an IPhone.

Mr. Meiselman

Show me God? In movie coinage: Show me the money! James Cameron and his blown-up super video game for the eternally 14-year-old in everyman: Steal a bit from all over the map -- the blue creatures with tails from the sci-fi novel "The Sparrow," the romance from poor old Pocahontas, the clunky war machinery from any Star War offspring, the title from Mother Meera or any serious spiritual tradition in India, the group rituals of arm-waving from Gurdjieff, the Goddess concept from the feminists (or was it Madonna?)... I could go on, but is it worth it? No wonder the silly cocktail is worth a lot of mullah!

Renate Stendhal

Who said "the simpler a work of art becomes, the more beautiful it is"? I'm glad someone still recognizes cinema at its purest and simplest. Thank you for that.

Aaron Klein

read Arthur Meiselman' column

You won't be impressed for long, I promise, when you put on those glasses. The effect is no big deal; less impressive than the I-Max next door -- at least in Avatar. The effect is that one gets used to it so fast it's hardly worth losing ink over it. The weirdness of foreground distortion reminds you every now and then, oh yes, this is 3-D, isn't it? Clumsy. Like filming a puppet stage and getting hit by the flat cardboard bushes at the stage edge. Bob Wilson on the theater stage used it (sparingly!) to much better effect than Cameron did. Anyway: Very enjoyable article on Oscar contenders and acting. I wonder if you would find Polanski's new Ghostwriter more adult (in the European way) and find some acting in it, too? I did.

Renate Stendhal

read Arthur Meiselman's column

What a hoot and at the same time kind of sad and scary. Thanks. I'll stick to watching.

Rad Bennett

read Les Marcott's column

Sharing the writer's thrill over the first Thai film to win at Cannes. It must be a welcome thrill for everbody back home after all the recent strife. Can't wait to see it.

Aaron Klein

read Janine Yasovant's article

Can't wait to see the film. Excellent review. Teenage awkwardness and the idea of not wanting to act stupid in front of one's peers, wanting to belong and yet not be seen. Brings back images of when I was a teenager and us girls danced around our handbags and were afraid to raise our arms. Even today, I'm fascinated by the way people transfer from a sitting position to the dance floor - the awkwardness of it all.

Irene Hendrick

read Renate Stendhal's article

Renate Stendhal's is a wonderful article that reads like a belated eulogy for Pina Bausch, linking 50s, 70s and today. At a time that researchers fear that present day youth -- who so readily make use of New Media -- are losing the ability to have face to face interaction and lack IRL communication skills, Stendhal suggests that the awkward gender division of the 50s is not just bound to return, but is back where it was or as a greater schism. Ironically,perhaps because of projects such as teens dancing a Bausch piece, this seems a breach easier to mend than the lack of mutual respect, seen in depiction of teens in TV shows and movies. Thank goodness for choreographers who use dance to bring young people together on and backstage and as audience in the auditorium. In Seattle, WA., DANCE This! organized by STG allows for similar positive experiences for young people, alternatives to what might be considered a modern day wasteland. Many thanks to Renate Stendhal and Scene4 for bringing this notion to the foreground! Can't wait to see the documentary.

Judith van Praag

read Renate Stendhal's article

"Emma takes one bite--and the movie suddenly comes into focus." It is so refreshing to read cinema reviews by a critic who not only understands the art and the industry but also can write with the "touch of a poet." Thank you Miles David Moore for your steady stream of collectible critiques. A book of them is coming, yes?

Reed Harrison

read Miles David Moore's reviews

Dear Mr. Harrison,
Thanks so much for your extremely kind words about my review of "I Am Love." In reply to your query about a possible book of my reviews, all I can say is, "From your lips to God's ear!" (Or, more to the point, a publisher's ear.)
Best always,

Miles David Moore

I enjoyed the review by Renate Stendhal, though have a different take on Black Swan. I walked away also being reminded of Cronenberg, but more of Aronofsky's other films--he has a penchant for characters inclined toward self-mutilation. Overall I was disappointed in this film. I didn't think it was silly (like your colleague), but wanted it to be better, more complex. Portman was simply too wimpy the whole time to be interesting to me--no dancer without a spine gets to be a principal--and though I know this was a function of her "dark" side containing all her power, it still made the movie and the performance less psychologically intriguing than I wanted it to be. Everything was, for me, a little too black and white. And as a feminist, the voyeuristic aspect really began to pall after a while. The whole thing seemed to be tailor-made for the male gaze (cat fights, the lesbian scene, the masturbation scene, the spectacle of one battered female body after another).

M. Dressler

read Renate Stendhal's review

There's going to be a new saying now-"Do A Charlie Sheen". It means "bomb" in any backwater jerk- town like Detroit.

PatT.

read Les Marcott's column

Several people I know feel the way I do:  Miles David Moore's movie reviews are the best around. I remember his  review of Polanski's "Ghost Writer" as if I had read it yesterday (well, I also agreed with every word in it). As for "Biutiful", I have not seen the film but read half a dozen reviews (including the New Yorker) trying to decide if it would be worth a one-hour drive to see it. I could not tell. Nothing in these reviews stirred my imagination. Switch to Scene4 and Miles David Moore, where the psychologically thoughtful, elegant writing instantly takes me into a visual, sensual "experience" of the film and connects me. I am told what that experience was like from the "inside", filtered through a critical perspective. There is enough information on every level to keep me reading with interest -- and make up my mind.

Renate Stendhal

read Miles David Moore's review

First, I feel incredibly pleased and gratified by Renate Stendhal's kind and generous letter about my reviews. To receive such praise from a writer of her stature is an honor indeed. Second, I loved Nathan Thomas' appreciation of the great Sir Derek Jacobi. I hope Mr. Thomas enjoyed Sir Derek's performance as Lear (I can't imagine otherwise). I myself have been fortunate enough to see Sir Derek four times in the flesh: on stage in "Cyrano de Bergerac," "Breaking the Code," and "A Voyage Round My Father," and as himself at a speaking engagement at The National Press Club. Sir Derek was as charming, witty and self-deprecating as one could wish. He spoke of just barely losing the role of Hannibal Lecter in "The Silence of the Lambs" to Anthony Hopkins: "Tony was brilliant, damn him, but I should have liked to have a go at it!" He also told the tale of being approached meanicngly by an extremely intimidating U.S. Customs official. The official's demand? "Show us your limp!"

Miles David Moore

read Nathan Thomas' article

Great review. Such a refreshing critic's look. So glad somebody got over their own hangups and gave this wonderful film the praise it deserves. Did you notice the shots behind the credits? Ferzan used a lot of things he didn't use in the film. It's almost like a short-story version.

Mark B.

read Arthur Meiselman's review

This movie is about so many things and I do agree with you it is a strong comment about the art of filmmaking. Ferzan Ozpetek deserves every honor he receives. How beautiful for him to receive the honor in Bangkok.

Alicia Martolli

read Arthur Meiselman's review

I also wanted to thank you for the story on the [Italian] film festival in Bangkok. Even with its commercial side it is a valuable idea. I hope they do this everywhere and other national film industries follow them and do the same thing. It can only help in this troubled world of ours.

Alicia Martolli

read Arthur Meiselman's article

I saw most of the offerings. They were good, and I agree with the reviewer and the previous poster that Moviemov is important and valuable. Yet I cannot resist commenting that the management needs to spend more time, more effort and more expense in making this event more important and more valuable to the one community that will guarantee their success--the press.

Devin Polik

read Arthur Meiselman's article

I enjoyed the article, it brought back fond memories of the film, which I've seen several times. As a martial artist, and traveller on the Path, I remember Billy Jack as being inspirational, and true to an enlightened mind.

Ronn Parker

read Les Marcott's column

This has to be a statement that reverberates with endless echos:
"In the meantime, I'll revisit some Isaac Asimov or Carl Sagan or Arthur C. Clarke, play Johann Strauss' "The Blue Danube" and think of the late, great Stanley Kubrick, sit down and actually watch Kubrick's masterpiece, 2001: A Space Odyssey or episodes of Star Trek: The Next Generation (where are you Jean-Luc Picard?) and keep the candle burning. Magic is out there, it's our imaginations that no longer exist. And this Alice will keep hoping mankind finds wonderland again."
Right on, Alice, right on.

Louis Laird

read Lia Beachy's column

Lia, by associating "magic" with the initial impact of the space program, which I remember in the beginning as an exhilarated hopefulness of the human capacity to imagine and achieve, I was touched once again by the impact of magic: scientific, theatrical or otherwise. Thanks for the recall.

Ned Bobkoff

read Lia Beachy's column

Thank you to Ned and Louis for the comments. Magic begets magic.

Lia Beachy

Add to your list, Paul Muni in Inherit the Wind. Muni was a prime example of a major acting talent who was nurtured and developed by what is historically the oldest, most productive acting training "method" -- working in rehearsal and on stage with successful actors and directors. He had no formal training, never took a class nor set foot in a studio. He learned from anyone who would talk to him, show him, work with him. Beginning as a child-actor in New York's Yiddish Theatre, Muni went on to become a "star" on Broadway and in Hollywood. He earned many awards including an Oscar. He was admired for his self-developed discipline and detailed character preparation and a strong influence on many other actors including Marlon Brando, who had one of his earliest stage experiences with Muni. For a "star", Muni was incredibly introverted and shy. He rarely gave an interview and was reputed to have never seen his performances on the screen for fear that he would lose his internal acting p.o.v. Inherit the Wind was a culminating performance in Muni's theatrical career. After the play's successful launch in 1955, Muni was forced out because of a cancerous tumor in his eye. Melvyn Douglas replaced him. Muni's eye was removed and the cancer stopped, and later in 1955, he returned to the Broadway hit. That night, when he first appeared on stage, the audience rose in unison as if rehearsed in a chorus of applause and cheering. Muni stopped at his entrance, looked at the audience, turned away, and delivered his first line. It was a stunning moment. Never to be forgotten, since I had the good fortune to be in the audience on that night.

Arthur Meiselman

read Nathan Thomas' column

Alan Bates in the title role of Simon Gray's BUTLEY turns in one of the greatest performances I've ever had the pleasure to view. I did not see Bates onstage in London or New York (where Clive Barnes called his 1972 performance "perhaps the single greatest he had ever seen on stage"). Fortunately, Ely Landau's American Film Theatre adapted it to film in 1974 (with Harold Pinter directing) and though unavailable for many years, it was released on DVD in 2003 and is now available on Netflix. I've watched it with awe a half dozen times. Bates, who said Ben Butley was a more demanding role than Hamlet, manages to play this charismatic English Professor, whose career, marriage, friendships are all crumbling, with wit, anger, pathos, and vindictiveness that one would think more appropriate to larger than life figures like Hamlet, Antony, or King Lear. I'm not sure how Gray's play would fare with any other actor; Bates brings it as close to tragedy as any 20th century drama I've seen.

David Alpaugh

read Nathan Thomas' column

Arthur's story of the great Paul Muni reminded me of an important omission -- the Marx Brothers. They honed their skills out on the vaudeville circuit and then wowed audiences in "I'll Say She Is," The Cocoanuts," and "Animal Crackers." Evidently to see them live was far funnier than seeing them on the screen. And more than that, they took ethnic humor out of the tenement and into the mainstream that led to, among other folks, Woody Allen's films.

Nathan Thomas

read Nathan Thomas' column

It's all very nice and reassuring that the Beverly Hills folk want to acknowledge the power of their product and use it to make the world healthier, happier and wise. That's not going to happen despite Jim Carrey's cute little aphorisms. The film industry is totally market-driven, always has been. The only difference between the sequel-franchise Hollywood of today and the so-called "Golden Days" is that back then the studio system allowed for the production of films, doomed to be box-office losers, that "should" be made. The moguls had a lot to feel guilty about, it was part of their heritage. Today, there are no moguls, no studio system, and not a stain of guilt anywhere. There's only the unabashed cult of celebrity and the unabated wallow of money. Good luck to the conferees at GATE, at least you're trying.

Laird

read Arthur Kanegis' article

I have to agree with Laird's view of the recent Gate2 conference in Los Angeles. It was another one of those self-serving, self-congratulatory, self-promoting confabs of the Hollywood movie club. The only way that American film is going to honestly promote positive, life-changing scenarios is when the U.S. finally establishes a nationally funded cinema like the U.K. and Canada and others. That's as likely to happen as the establishment of a national theater, a true national healthcare program, a non-ideological Supreme Court and a color-blind political system. One can only hope.

B. J. Davis

read Arthur Kanegis article

I would hope that Scene4, with its feminist orientation toward the arts and media, will explore and address the critical issue raised by Ashley Judd's conflict with the press and other media over their derogatory portrayal of her and women in general. This is a very important issue and I look forward to reading your views on it.

Sylvia Rathold

Miles Moore's review rightfully pinpoints the massive failure of this film: "misshapen, wrongheaded and vague". It's the script. I've just seen another Abi Morgan penner, "Shame" and it's the same vague meandering mess. And she's an award-winning playwright to boot. However does she come to write such porridge? And however do they come to ever produce it?

Pel Porter

read Miles David Moore's reviiew

I can't begin to tell you how important Nathan Thomas' words are regarding the gender-stricken "Method". Since acting and the creations of acting on the stage and on the screen have such a profound effect and influence on the behavior of persons and what they do with their lives and the lives of others,Thomas gets to the heart and core of it and opens it up. It needs to be dug into deeper and further.

Michael Aptrow

read Nathan Thomas' column