grahamdhallman Reviews

Nanking (2007)

Indisputable documentation filled with tremendous lessons essential to improving humanity

[10/10 · 4 February 2008]

Typically I wait a day to two before writing a review on a film in order to gain a deeper understanding and rationalization before reacting. In the case of this film, I'll make an exception to this practice.

I've studied genocide and violence at the university level and my awareness of the horrors that struck Nanking in Decemeber of 1937 are well beyond superficial. This film is an absolute must-view for those driven to bringer greater peace, justice, and truth to the world regardless of heritage.

Of course there will always be a swell of controversy among descendants of Japanese and Chinese heritage, which is an unquestionable shame, especially for those in the former group. The list of excuses, denials, and sophisticated cover-up I've often witnessed, firsthand, by many of my Japanese-American friends is disgusting. However, I am not interested in fueling a debate inspired by closeted nationalism, racial/ethnic pride, and partial history, the end results have so often led to circular frustration beyond comprehension. The evidence of the "Nanking Genocide (not massacre) is overwhelming and indisputable. These realities are clearly demonstrated throughout this emotionally paralyzing film. I would further declare that any person of Japanese lineage strong enough to view this film will undeniably depart with a shaken conscious.

Effectively, "Nanking" utilizes written, verbatim historical documentation, mostly from Western figures who were present during the swift and unforgettable tragedy of December 1937. People who thankfully recorded their experiences by pen and further confronted the horrors of the Japanese army with unbelievable courage. The pen is indeed mightier than the sword. Throughout this spirit-crushing reel, the historical dialogue is channeled via familiar Hollywood actors, and actual survivors of the genocide - all genuinely driven by objective, therapeutic, and moral-seeking resolve. While the dialogue strikes deep, archival footage is shown, a good deal of it pulled from Japanese sources - see end credits for reference. Also, without detail, you will be amazed at the number of ironies that unfold in "Nanking."

Tears built and inevitably rolled down my face many times throughout "Nanking" as I couldn't help but think of the numerous countries complicit in Nanking's spiral into hell, and the subsequent genocide's that have transpired since. One being Darfur, Sudan which continues at this very moment. Even more, the denial by people, especially with Japanese heritage, is just utterly perplexing and beyond tragic.

I'll refrain from further analysis and opinion only to suggest that you find courage in your moral capacity to spend roughly two hours of a day with a good friend or family member to see this film of monumental tragedy and courageous heroism. We cannot call ourselves human without facing the wickedness within. The soul requires to be wholly cleansed from time to time. Nanking has such effects/affects.

The Ugly American (1963)

A Timeless Historical, Political Thriller

[9/10 · 1 February 2008]

Sorry this review is aimed at a more academic influenced audience.

Like few political thrillers since or before, The Ugly American embodies, allegorically, the struggle of international politics and its often-concomitant socio-cultural impasses quite effectively. I further argue that the allegory in this film is so sophisticated, complex that even the informed citizen will wrestle with its multiple meanings upon first view. I suggest that viewers learn more about the early history of the Vietnam War, either before, or immediately after watching this film. The characters in this film fictitiously represent a handful of "actual" major figures during the early period of American's last major war, a whopping failure mind you. Disturbing, to say the least, are the film's quite accurate prognostication of the Vietnam War, and the growing consensus view of the developing world, its often justifiable antipathy towards American imperialism and aggression.

For those reviewers that have diminished the perpetual value of this film with less than 7 stars, you're naive and clearly fastidious. Let's not forget that this film was made in 1963, with the aim of striking mass culture. This mass appeal is clearly suggested in the awful and oriental theatrical trailer located under the "extras" menu of the DVD. By the way, the trailer is the lone, major blemish of this enduring, underrated classic. Thus, expectations for this film to sincerely honor the acclaimed Lederer, Burkin novel of the same name are simply not realistic, nor considerate when considering the release year and target audience. Even in the present, I would argue that mainstream Hollywood is reluctant to release a film on par with the political analysis of this novel without assigning the "indie tag" along with requisite, watered-down editing. So please refrain from critiquing this film along 2007 lines where independent films have a stronger influence than 1963 America. Also, bear in mind that the Cold War, and many of the globe's have-nots, were in the first stage of post-colonial disintegration: a world-wide phenomenon hardly critiqued, known beyond minority opinion. Further, post-colonial disintegration was mired in stubborn arrogance, manic-driven / close-minded policies, brutal wars (often proxy), and select special interests that favored the elites of top-tier nation-states, especially the Eagle and the Bear. Fairly stated, most Americans were detached from world issues at the time, but these same folks would soon lose their innocence and become more active, even revolutionary in the immediate years that followed The Ugly American.

Quite simply, The Ugly American presages the multiple diseases that have constricted American foreign policy the past 45 years. Our hubris, paranoia (Red Scare complex), conniving-cum-meddlesome ways via the omniscient, omnipotent Military Industrial Complex, severe disregard for greater cultural understanding, conscious-unconscious (i.e. our choice to become apathetic), denial, and detached general public are all on fine display throughout this film. Each time I view The Ugly American, several times now, I can't help but wonder why subsequent Presidents and their administrations, educators in general, and claimed foreign policy experts rarely cite this film as a model of "Do's" and "Don'ts" in foreign policy.

The Ugly American may be the only movie where Brando's knack for scene-stealing is quite challenged, perhaps outperformed, by his Asian co-stars: Eiji Okada, who plays revolutionary icon Deong, and Kukrit Pramoj, who plays Prime Minister Kwen Jsai. You will notice my claim in four scenes: two between Brando and Okada, and the other two between Brando and Pramoj. The polemics in these particular scenes are dramatic, impassioned, and seemingly reveal personal philosophy that can only be internally debated, at one time or another, during one's long-term personal struggles with politics and major social issues. You really get the sense that each character firmly believes their high stake positions. Also, the harum-scarum climates throughout The Ugly American reflect how most Americans felt about the the war in Vietnam, and Vietnamese culture in general, both then and now - matter of fact. As for the allegory noted above, the unforgettable scene that closes the Ugly American is just damning against the American mainstream - its sense of detachment from world affairs. Sadly the lessons from this scene firmly remain in the present.

Last Tango in Paris (1972)

Brando's Most Personal Performance

[10/10 · 25 January 2008]

There are definitely no "spoilers" here and little, if any, specifics regarding the film itself.

Excuse me as I assertively declare that Brando is THE preeminent actor since the advent of the silver screen. Yes, at times, much of the 1960's mind you, Brando did waste his talent on less passionate and engaging films. But let's give him some overdue deference for finding greater value and dedication in fighting social ills that came to dominate the mid to latter 60's. Further, if anyone thought Brando was spiraling into less meaning during the 60's, he did give us under-appreciated genius in at least two films: "The Ugly American" (1963), a film way, way ahead of its time that foreshadowed the Vietnam War, and the unforgettable "Burn" (1969) where he plays the plotting, racist colonial administrator - Sir William Walker - a character that absolutely foils Brando's pro Civil Rights stance and real life principles.

The everlasting qualities of "Last Tango" are monumental to say the least. Foremost, the film broke one of Hollywood's safely protected doors down and inserted erotica into the Hollywood mainstream, and further, it matter of fact(ly) stamped the power of psychoanalysis (profound in this case) on character development. Brando's performance (Paul) is complexly woven with insurmountable demons swirling with chaotic deliberation that stretch multiple dimensions of fine acting: emotion, intellect, sincere ad libitum, transcendence, etc.. If you've had the enlightened experience of viewing Turner Classic Movies' Brando biography, you then know that Bertolucci absolutely tapped Brando's vulnerabilities, many unquestionably personal. It would be four years before Brando would act again, and apparently he avoided Bertolucci for many years.

After the so-called facts of the time, consider the ensuing historical hypothetical. Brando was a year, maybe two at most removed from the timeless, universally acclaimed Vito Corleone performance when "Last Tango" surfaced. Because of Brando's less heralded filmography of the 1960's, and the forgettable Nightcomers (1971), many critics and contemporaries were beginning to write off his towering stature, mystique. Moreover, a wealth of new talent, many influenced by Brando, were on the rise: Redford, Hackman, DeNiro, Pacino, Hoffman, Voight, Nicholson, Duvall (I'm sure I've forgotten some). Yet Brando's "Paul" and "Vito Corleone" cemented an absolute second coming that none of the aforementioned have equally touched throughout their prolific careers. Thus when the above is considered, the time was ripe for Brando to reel off a roll of offers and multiple films on par with his creative bursts in the 50's and early 60's, a golden opportunity to sell out in his terms, minus excess controversy, which always seemed to follow Brando, in order to forever etch his place in the universe of acting. Thank Almighty it never happened. Who's Brando without the enigmatic controversy anyways? Personally, I fall under the minority consensus that Bertolucci's direction, indeed a grandeur accomplishment, smacked Brando square in the soul and siphoned him bare until "Apocalypse Now".

"Last Tango" strikes home to those of us who have, not by choice, dwelled in anguish, depression, unanswered questions, all capable of causing holistic inertia, an inertia susceptible only to primordial living where names and their respective histories mean less because the present becomes so vital and worth living for, and breaking taboos, convention, so liberating. I swear no spoiler intended here.

The clear giveaway to this film's dark intricacies and overstated immorality are the Frances Bacon paintings aptly used in the opening credits, an artist who clearly shared his deeply beautiful pain through the palette and brush. Thus for the well-informed culture connoisseur, it should take less than three minutes to surmise you're in for unforgettable film that will provoke for years to come, a film which requires multiple viewings, and personal life experiences before further understanding registers.

There Will Be Blood (2007)

Finally a PTA film with staying power

[9/10 · 23 January 2008]

I know there are film lovers out there who feel PTA's Magnolia and Boogie Nights are timeless classics. But I firmly disagree. At the end of the day, neither of these films stay with this viewer. Both films are just too psychoanalytical and melodramatic in the world of bourgeois whiteness for me. Who really cares about the underworld of porn, or the inner dynamic trials and tribulations of Simi Valley whites? Yet, both films, at times, demonstrated that PTA is capable of greatness: whether it be crafty dialog or taken for granted interconnectedness.

"There WIll Be Blood" absolutely changed my perception of PTA as the poster boy of white melodrama. The character development, direction, and relevant themes are mature and critically analyzed through outstanding performances from Daneil Day Lewis and Paul Dano. The movie does justice to Sinclair's "Oil" and casts a surgical shadow on the corrupt world of big oil business while concurrently fleshing out the dynamics of family, religion, and the American dream.

Lewis' performance as Daniel Plainview should win him an Oscar, though Tommy Lee Jones' performance (In the Valley of Elah) is nearly on par. What separates Lewis' from the rest of the Oscar competition is his seemingly complete immersion into the Plainview character: the inner demons, mannerisms (both subtle and grand), turn of the century accent, Midwestern roots, dark humor, and guilt make for an epic character filled with complexity and an underlying sense of principle. Sadly, Plainview's dark side prevails.

If there is one downer in this film, it's the Jonny Greenwood (Radiohead guitarist) soundtrack. It's overstated and often inappropriate, and yes I realize that most of you will disagree with me. I think the cast more than holds court justifying the haunting, opaque reality of this film and Sinclair's novel. Thus, let the actors set the tone Mr. Anderson. But then again, Radiohead, a too often whiny band, receives most of its upper tier distinction amongst none other than: bourgeois whites.

The Border (1982)

Fine film

[7/10 · 27 October 2007]

Whatever you do, don't take the more negative reviews of this film seriously if you consider yourself socially and culturally aware in an American sense, or a person interested in immigration issues - see Trevor Aclea's review "The Broken Promise Land", Nov. 2006. This kitty cat's review clearly demonstrates that where you live, in his case across the pond in that "country" called "Europe", can sometimes produce analysis that is so off target and devoid of cultural understanding, you just got to utter "what". Save us all from the armchair anthropology, or lack of, Mr. Aclea.

For Nicholson fans who are aware of his timely ability to freshen the palette, especially more than his contemporaries (DeNiro, Pacino, Hoffman, to name a few), a more subdued and ethically challenged protagonist is Nicholson's "Charlie Smith". THe film has numerous humanistic angles filled with critical social commentary that will remain timeless to film aficionados, students of social science, and culture hungry types interested in more real-life events (non-linear) versus entertainment driven plots filled with predictable formula.