Saturday, February 13, 2016

Movie Review: "Beasts of No Nation"


Beasts of No Nation (2015)

No Rating

4.5 Stars out of 5
Director                                                Cary Fukunaga
Writer                                                   Cary Fukunaga (screenplay), Uzodinma Iweala (book, 2005)

Agu                                                        Abraham Atta
Francis Weddey                                   Big Brother
Kobina Amissah-Sam                          Father
Idris Alba                                              Commandant
Emmanuel Nii Adom Quaye             Strika

 
Writer/Director Cary Fukunaga first gained public critical notice with his heartbreaking 2009 film, “Sin Nombre”, a story of a Honduran girl trying to immigrate to the United States. At about the same time, he was doing research on a brutal war in Sierra Leone, a war that employed child soldiers. He later came across Uzodinma Iweala’s book on the same subject, “Beast of No Nation”. In October of 2015, Fukunaga’s film of the same name was brought simultaneously to the public via release to theaters and on Netflix. This latter point was an unfortunate decision on Netflix’ part as it caused the four largest theater chains in America to boycott the film – and that is a shame. “Beasts of No Nation” is not a perfect film, and it certainly is a very difficult film to watch due its subject material, but it also a movie that of necessity uses violence to tell a story the world needs to know: the use of child soldiers.

Fukunaga begins his story in a seemingly disarming manner. His camera follows the family life of Agu (Abraham Atta), a twelve-ish year old boy living in an unnamed Central West African country. Agu lives with his parents, senile grandfather, beloved older brother and two younger siblings. His father and older brother are shown interacting with Agu in a variety of well-developed scenes designed to show just how much they love each other as a family. Agu is shown to be very precocious as he leads his fellows in games that demonstrate their camaraderie and intelligence. If one knows the background of this movie, one surely knows Fukunaga is using a kind of contrary for-shadowing of events to come. One of the last moments of this ideal set of events has Agu selling a TV set frame to a soldier from ECOMOG (Economic Community of Western States Monitory Group). It is a gentle scene that shows the concern the ECOMOG soldier has for the boy (and presumably for the nation he is helping to protect) and of the boy’s creativity – it might be the best scene in the movie, though the final scene is also simply brilliant and hopeful at the same time.

We know from Agu’s frank and childlike narration to the film that his country is at war. He and his family seem to live comfortably with this knowledge; they do until the inevitable happens, war comes to their village. Agu is able unlike some of this family to survive; it is left unclear as to else in his family might also have survived; we know that not all do so.

Agu’s desperate, world shaking escape into the jungle takes him from a form of modern Africa into a far different world, one more natural in the sense of the abundant plant life he walks through, and also in the sense that he now has no parent to guide and shield him, nor even water or food. He is driven to eat grass and insects. But worse awaits him. Agu is captured by the rebels that have been fighting Agu’s government, and from whom the ECOMOG troops had been trying to protect his village. The real horror of Agu’s predicament is now made painfully clear as the leader (Idris Elba) of the rebel battalion that has Agu begins a process of converting Agu from boy into killer. This process is filled with eye-averting violence and stomach-wrenching irony. Agu’s first exposure to his own role as killer has him murder a man seemingly innocent of the government’s treachery against its own people. Agu’s natural indecision about murder is contrasted with the man pleading for his life. Later in the movie after Agu’s heart has apparently been hardened, he first clings to a woman he believes is his mother only to callously shoot her later.

Agu’s acceptance into the battalion as a full member requires his acceptance of the battalion’s mindless brutality and of his commandant’s absolute authority. Agu and his mates yell out slogans as they march; slogans designed to prepare them for battle but also to continue their religious subservience to the commandant. Both Atta’s portrayal as Agu and Elba’s as the commandant are absolutely first rate performances. It is easy to praise young Atta’s command of his role as Agu as he gradually progresses from the aforementioned precocious village child to a frightened waif to brutal killer to child again as he reminisces about how his family loved him; and this latter part right after confessing that he should be thought a beast for what he has done. Elba’s performance is equally brilliant as he navigates the line between fatherly leader to Agu and the others, to practical military commander, to an egotist that has confused his military role with his assumed God-like role to his battalion.

This movie utilizes excellent writing in creating a story arc (one that does not surprise, admittedly), outstanding character definition and growth, and a morally compelling theme of the effects of war on the affected children. It is at times an excruciating film to watch, but it is story that Westerners need to see. They need to see the effects of their colonial practices in Africa; effects that included destroying the existing social order, erasing historical tribal boundaries, and doing so without installing a stable replacement. It is almost certainly true that the wars that have lately waged throughout Central West Africa and Central Africa have many causes, and likely not all the blame can be laid at doorstep of the West (I leave room for simple brutal humanity as well). That being said, it is the effects that must be dealt with now, origins aside, and the first step to dealing with the situation must come from greater awareness of those effects. “Beasts of No Nation” is a good introduction to such an awful topic.

Movie Review: "Pan"


Pan (2015)

PG

1.5 Stars out of 5
Director                                Joe Wright
Writer                                   Jason Fuchs
Cinematography                 John Mathieson, Seamus McGarvey

Hugh Jackman                     Captain Blackbeard
Levi Miller                            Peter Pan
Garrett Hedlund                 James Hook
Rooney Mara                      Tiger Lily
Adeel Aktar                         Smee
Kathy Burke                        Mother Barnabas
Amanda Seyfried               Mary

 
Director Joe Wright’s and Writer Jason Fuch’s 2015 “Pan” is so bad it screams for a critic to abuse the movie’s title – so, okay, I will do so. “Pan” has been panned by audience and critics alike. I will join the crowd and pan it myself. When I saw the advertisements for this movie, I was thrilled. It looked like it had great artwork, cinematography and an over the top performance by Hugh Jackman as Captain Hook; and to a great extent it does indeed have each of these elements. It even has a fine performance by Levi Miller as Peter Pan. What it also has is a complete misunderstanding of who this movie is intended for; from its anachronistic music, its exceptional use of violence, and it’s very rushed opening scenes, this movie failed almost from the beginning.

“Pan” is intended to be the prequel to J.M. Barrie’s 1904 play, “Peter Pan”. Barrie’s very popular play ran in London for nine years and inspired Barrie to publish a follow-up book in 1911 entitled “Peter and Wendy”. Peter's character is apparently inspired to some extent by the mythological Pan, but is unlike the lustful Pan, Peter is actually a childish boy who has decided to never grow up. He lives out his daydreams on the island of Neverland with fairies, mermaids, pirates, and American Indians. What would inspire Wright and Fuchs to write an origin tale about the central character in a wish-fulfillment story intended for children? Or worse yet, how could they lose a grip on the whimsy and wonder that underlay the original, and instead make use of Nirvana’s “Smells Like Teen Spirit” or the Ramones’ “Blitzkrieg Bob”. Great songs, yes, but a discordant emotional tone for a child’s movie; not to mention, what genre does this movie belong to anyway: musical? A worse move from a tone perspective is the unrelenting evil personified by Blackbeard and his pirates. Sure pirates can be portrayed as evil, but there is an appropriate level of violence, implied and actual that would have far better fit into this movie. The Wright/Fuchs team went far over-board in their choices for the piratical behavior. A good example of this would be Blackbeard’s first appearance. He struts onto the stage as his character would demand that he do so. He and his imprisoned miners (mostly children!) belt out “Smells Like Teen Spirit” creating an atmosphere of a surrealistic joint endeavor between the captive and their captor. But not just a joint endeavor, no to help enforce his rule, to further subjugate the minds of his slaves, Blackbeard proceeds to execute one of them to the cheers of the remaining  and for the moment, not executed workers. This bizarre scene could have worked well as a key moment in another, darker movie or video (I’m thinking of “The Wall” by Pink Floyd), but in a movie designed to show the origins of a child’s story, one set with fairies and children pretending to be animals, this was a big mistake. It was only the first of many.

This movie really seems more like a skeleton that was bedecked with CGI ornaments. They are surely there. Consider the elegance of a flying pirate ship as it flies over London (oddly chased by British Spitfires during the WWII German blitz) or the soon to follow scene of Peter tied to the ship with a rope but floating skyward/heavenward when the ship reaches low Earth orbit (!!? – what’s it doing in outer space?). These were artistically beautiful parts to the movie as were subsequent scenes of the approach to Neverland. Even the aerial scenes looking down into the mining pit have a kind of beauty. Did the art and cinematography director make this movie? The art is great, Blackbeard's costumes/hair are bizarrely diverting, but the story and its character development are deeply flawed.

The plot is simple enough: Peter is kidnapped, meets and fights with Blackbeard while making friends with Tiger Lilly and a young Captain Hook (both badly cast with the exotic Rooney Mara from “The Girl with a Dragon Tattoo”, and Garrett Hedlund as a cowboy-accented Hook), but the character definition let alone development is absent. The early scenes of Peter in an orphanage run by a woman (Katy Burke as Mother Barnabas) I can only presume is the female equivalent of Blackbeard are rushed and appear to have little to no purpose beyond leading to the aforementioned flying pirate ship scenes. We are led to believe that Peter has a head on his shoulders and a heart in his chest, but there is very little attempt to show these character features. The worse blow to Peter’s character portrayal in the movie is the ridiculous speed he is transformed from a realistically portrayed young boy by Miller to a sword-wielding leader of a rebellion against Blackbeard.

One might note my criticisms are over-wrought and over-thought for a movie intended for children; and if this had actually been a consistently-made movie for children, I would heartedly agree. We come then full circle: for whom was this movie intended. The music score would suggest angry and disaffected adolescents, the original subject material of Peter Pan would suggest young children, and the CGI artwork would suggest young adults (or old, as in my case) that love to see good CGI artwork of fantasy subject material. In a final analysis though, any parent that would like their children to see a movie entertaining for both kids and adults, will find that no matter whomever this movie was actually written and directed for, it certainly was not really made for anyone. This movie was a critical and commercial bomb, and should frankly be avoided by all.

Wednesday, February 10, 2016

Book Review: "Napoleon: A Life" by Andrew Roberts



 
Napoleon: A Life (2015)

3.5 Stars out of 5

Andrew Roberts

926 pages

Andrew Roberts describes himself as “extremely rightwing” in his politics. He is an Englishman with a degree in modern history. He has written 17 publications on historical events since 1991 and is best known for his 2009 “Storm of War”; a book-long analysis of where Hitler went wrong in WWII. Had I known this prior to reading his 2014 exhaustive biography on Napoleon Bonaparte, I would have thought to find a work that slanted Napoleon’s life towards a conservative Englishman’s point of view. And while it is certain Roberts admires Napoleon, he has managed to avoid creating an overly reactionary summary of his chosen topic. What the book does suffer from is a paucity of analysis and an overabundance of Napoleonic lists: his will bequeaths, his art decorations, the books in his library, and so forth. There is far too little critical examination of Napoleonic influence on France’s social institutions, on European law, on art and education, or even on modern military theory. Napoleon was an enormous influence on France and the Western World. An egotist to be certain; he wanted throughout his life to join in history his two most admired heroes, Alexander the Great and Julius Caesar. After reading this extensive summary of his achievements, should you choose to do so, you will unquestionably agree that he has indeed joined them. You will unfortunately also have to come to that conclusion (as I am sure you will) based on your own analysis of Roberts’ summary of Napoleon’s achievements, as he will provide close to no interpretation or summary of his own opinions on Napoleon’s position in history.

When modern Americans think of Napoleon, what do think of him, let alone know of him? Most likely they will have some comic image of a very short man, his right hand stuffed into his jacket, and some indication in his caricature of a fool or even a deranged man. Napoleon’s own contemporaries may have thought him unbalanced in the sense that they saw in him a man subsumed by his own notoriety and drive for glory. Perhaps they saw him as a dictator driven by his ego to sacrifice untold thousands of French soldiers as he sought to dominate Europe. It is certain the English saw him as a distinct threat to their growing hegemony. They knew he was not much of a threat on the sea, they knew they controlled it via the repeated victories by Admiral Lord Nelson. Their concerns lay rather with control of the continent. Indeed, the English saw so much risk inherent in an unbound Napoleon that they spent millions of English Pounds buying off Russia, Prussia, Austria (a country already consumed with hatred for Napoleon), Sweden and a host of smaller countries – all in an effort to isolate on land what they had already done at sea. But how did NapolĂ©on Bonaparte, the son of a minor Corsican noble, a child that never learned to speak anything but heavily accented French, rise to be emperor of post-revolutionary France, the primary threat to England and the terror of virtually all Europe. The answer lies in Robertson’s book, but you will have to look for it.

Napoleon was born in 1769 to a father lately arrived to Corsica from Tuscany and a mother that was devoted to him and learning. He was part of a large collection of brothers and sisters, all of whom would join him in his later imperial administration and royal machinations. His siblings though would prove at best, neutral allies, or at worst as in the case of his elder brother Joseph, a complete disaster. I would go so far as to say Joseph’s mishandling of Spain was one of the critical elements in Napoleon’s ultimate down fall. Young Napoleon showed considerable talent in math and this would lead him to the study of artillery once he reached the mainland and its military schools. He also displayed great interest in a personal study of classical history, focusing of course on the various military geniuses that had distinguished themselves. Alexander and Caesar would become life-long icons for him to emulate. Following his graduation from school, he did not look to have much promise as a military leader, or even as a reliable member of the Army. From the beginning he established a habit of year-long leaves from the French Army. One example (and not the only one) was when he chose to involve himself in a conflict on Corsica, a conflict that was with France herself. Eventually, he did return and was instrumental in brutally suppressing via cannon fire, mob action in Paris. This got him the attention of the government and command of the French Army of Italy, all by the age of 26. Needless to say, due to his youth and inexperience he was initially poorly regarded by those in his new command. However, he very quickly was able to demonstrate his military genius as he out-thought the Austrians (the military rulers of a fractured Italy) and proved to be an extremely able commander of men, as well as a great military tactician. His defeat of the Austrians would form in them and their Emperor, Francis I a life-long enmity, and would be the beginning of 60 major military battles with him winning all but a very few. Though of course, two of those losses, Leipzig and Waterloo would prove disastrous to him and France.

He returned to Paris a darling of the populace; of the populace, but not of the revolutionary government that had shortly followed the over-throw of Louis XIV, the Directorate. They decided it would better if he were somewhere far from Paris. As such, and to ostensibly frustrate English ambitions in India, they sent him to Egypt. On this trip in 1789 he would take 167 scholars, hundreds of books and thousands of soldiers. He would there continue his string of military victories as he defeated the Mameluks, the mercenary force ruling Egypt. He would also oversee the gathering of great amounts of scholarly work by his cadre of scientists (the Rosetta Stone was discovered on this expedition). And he would start to display his ruthless behavior when he felt the military situation warranted it. In this case, he would kill to the last man the defenders of Jaffa, and even his own men dying from the plague on the trip back to Egypt after the battles in Palestine were concluded. When he decided to make a precipitous return to Paris, a new controversy arose, as in leaving the field as he did, he left the majority of his men in Egypt in order to race back to France. His men would soon be defeated by the English as Admiral Nelson destroyed the Nile-based French fleet and over-ran French land forces. Napoleon though, managed a watery escape – this too would be a pattern: previously from the Corsican conflict, now from Egypt and later from Elba. Once in Paris, he decided to waste little time in orchestrating a coup d’Ă©tat, thus ending the Directorate’s rule and beginning his rule as 1st Consul. The consulship was ostensibly a republic ruled by Napoleon and two others. In fact, this became his start as a dictator as he quickly eliminated the authority of the two other consuls, leaving Napoleon in sole charge. Each Consul was allegedly elected by popular vote. However, here was an early example of Napoleon’s self-serving math. His facility with numbers which had served him so honorably in artillery school would now be employed less precisely in a career long pattern of lying about how many votes he received, in this case, >99%. He would continue this action in 1804 when he was “elected” to emperor, again with >98% of the votes. He had already given much evidence of his flexibility with numbers when he reported back to Paris on how many cannon he had taken from the Austrians, how many enemy killed or imprisoned, or how many French soldiers had been lost. The enemy’s losses were always grossly inflated, while his own losses severely minimized. He considered such Franco-centric numbers to be part of his military strategy to deceive and demoralize the enemy; that they helped foster his reputation was a convenient plus.

There is no doubt of Napoleon’s military genius. He formulated over twenty maxims of military strategy and tactics that are studied to this day in Western military schools. His actual battles are modeled and studied as well; even his losses such as Waterloo are studied carefully to see whether or not he erred in not following his own maxims. His normal performance was so far above the performance of his foes (Wellington was a distinct exception), that when he did fail as at Waterloo or Leipzig, military scholars first assume he did not follow his own dictums and then try to find out why. They simply do not assume his tactics were at fault. With respect to tactics, if this is an area of interest, you will find them reasonably summarized in Roberts’ book. A gross simplification of them could be summed as the following: never split your forces, keep them concentrated and focus them on the your enemy’s center; once you have your enemy in trouble, finish him off before you turn to another enemy force. He also introduced several techniques to enhance his army’s mobility and flexibility in turning to new threats. Lastly, as previously noted, Napoleon was a great believer in false information. In one of his greatest victories, Austerlitz, he did everything he could to convince the Austrians that his forces were in trouble. The Austrians took the bait and paid the ultimate price for it.

As one reads of Napoleon’s victories, it is hard not to conclude that a disproportionate amount of them were over the Austrians. Francis I would join his country to seven coalitions made up at one time or the other of Austrians, Prussians, Russians, and the English – but always the Austrians, and always the Austrians would pay the price. It is true, they were part of the forces that defeated Napoleon in France the first time in 1814 following Napoleon’s defeat in Leipzig at the hands of the Prussians and Russians in 1813 and then again for the last time in 1815 at Waterloo, this time at the hands of the English and the Prussians. The Austrians really never did learn their lesson from Napoleon. One might as well wonder what lessons Napoleon learned with respect to his two major defeats. It would have been nice if Roberts had devoted a chapter to summing up the forces and events that culminated in Napoleon’s downfall, but he does not. It is easy to see how under Napoleon’s brother Joseph’s incompetent rule of Spain, French land forces were pinned down and weakened by long term guerilla warfare by the Spanish and Portuguese (with considerable help from Wellington, again). These forces were not available to Napoleon when he marched to or from Moscow. He also dallied for far too long in his approach to and in his stay in Moscow, and thus got caught in a Polish winter during his retreat out of Russia that decimated his forces. Napoleon unquestionably created an enemy in Czar Alexander with Napoleon’s Continental System. This system was an attempt to thwart the English control of the seas but all it really did was ruin the Russian economy and impoverish a significant part of the French populace. Napoleon’s intent was to embargo all sea traffic involved with Great Britain, but in doing so he ruined everyone’s business interests: allies and enemies alike. Since Britain had near absolute control of the seas by 1814, Napoleon was forced to such extremes. In this case he chose very unwisely as he hurt his true allies and erstwhile allies like Czar Alexander as much as he hurt Britain. Another significant mistake Napoleon made was in his relations to the hitherto almost uninvolved Prussia; he created the Confederation of the Rhine by taking land from Prussia in the Treaty of Tilsit which humiliated them and created an enemy force on Prussia’s border. The treaty of Tilsit had been by Napoleon designed to make an ally of Russia at Prussia’s cost. What it did instead was create a furious enemy in Prussia, and an unreliable ally in Russia. It is truly ironic that so many of these themes would re-occur in post-WWI Europe.

The bottom-line then is Napoleon created the conditions and the enemies that would create the coalitions that formed to defeat him. Indeed, by the time of the 6th and 7th coalitions, the Allies regarded a complete removal of Napoleon as being almost the only goal that mattered. They weren’t defeating and subjugating France as much as defeating and subjugating Napoleon. Needless to say they did more to France than imprison Napoleon on Elba in 1814 and St Helena in 1815, they also slaughtered hundreds of thousands of French soldiers and in 1814 returned the French borders to those of 1791, borders that existed before Napoleon ever came to power.

France and Napoleon paid a dear price for his military exploits, but France was also the beneficiary of considerable social progress under Napoleon. The "Code of Napoleon" legal system was instituted and became a model for several European countries besides France and still exists in some countries up to the present. The structure of the French “states” into districts with a governance system based on meritocracy was instituted under Napoleon. A modern sewer system for Paris was created under Napoleon. A long list of such social accomplishments could be studied to clearly understand just what a force for good as well as bad Napoleon was. He was in many ways far more than his two heroes, Alexander and Caesar. He stands alone in history for a rich variety of reasons. He is a man well worth study. But I am sad to say, that unless lifeless language and long lists are your primary choices for studying history, or if you are looking for a professorial-level analysis of the geo-political, or even the military forces involved in the Napoleonic era, Roberts’ book is not the best choice to use in such a study.

Sunday, February 7, 2016

Documentary Review: "Jim: The James Foley Story"


Jim: The James Foley Story (2016)
4.5 Stars out of 5

Director                               Brian Oakes
Writer                                  Heather McDonald, Brian Oakes
Screenplay                          Chris Chuang
Cinematographer              Clair Popkin
Music (The Empty Chair)  Sting, J. Ralph

James Foley                        Murdered, 8/19/14
John Foley, Sr.                    Father
Diane Foley                        Mother
John Foley, Jr.                    Older brother
Michael Foley                    Younger Brother
Mark Foley                         Younger Brother
Katie Foley                         Younger Sister
Philip Balboni                    Global Post Editor, employer
Fellow Prisoners               John Cantlie (English, still being held), Daniel Rye Ottosen (Danish,    
                                             ransomed), Didier Francoise and Nicholas Henin (French, ransomed),
                                             Steven Sotloff (American, murdered 9/2/14)

 
James Foley, an American photo-journalist was beheaded by ISIS on August 19, 2014. “Jim: The James Foley Story” written (along with Heather McDonald and Chris Chuang) and directed by childhood friend Brian Oakes was a Sun Dance Festival “Audience Award” winner at this year’s Sun Dance Festival. HBO premiered it on television on February 6, 2016. Foley had been kidnapped in Idlib, Syria on Thanksgiving Day, nearly two years before his death at the hands of ISIS. One of the more unusual aspects of his tragic story is that he had already endured a previous imprisonment in Libya in 2011 by a different group of Islamic terrorists where he had been covering the rebellion against Muammar Gaddafi. He was freed in the Libyan case but the various attempts (including an armed rescue mission, not discussed in the movie) by the US government failed to free him in Syria. That Oaks deeply admires, perhaps even loves Foley and his family seems abundantly clear in his movie. An unanswered or even asked question is what Oakes and the Foley family thinks of the efforts to free Foley by the US government. There is some discussion by Foley’s colleagues on the issue of journalists in war zones. However, this movie is really more a memorial to the driven and beloved Foley than a documentary-styled examination of the issues surrounding his imprisonment, his death, or the role of the US government in overseas kidnapping cases such as his.

The movie follows a time worn process often followed in older documentaries of interviewing a series of talking heads; though to Oakes’ credit he overlays their comments with images from the two war zones in question as well as family home videos of James and his siblings when all were small children. Oakes is able to bring three different layers of conversations into the film that help explain Foley’s personality from his family’s point of view; his dedication to the people and events along the front lines as seen by his fellow journalists; and finally his life in ISIS’s hands from three of his fellow prisoners’ experiences – most notably, Danish photographer Daniel Rye Ottosen. At one point, there were eighteen to nineteen men placed in a single ISIS cell in Raqaa, Syria. These other prisoners were all foreign journalists from England, Denmark, France, Russia, and Spain; and at least two from America.  The three that spend a good time of the film’s length describing life in prison were Ottosen and two Frenchmen, Didier Francoise and Nicholas Henin. Ottosen, Foley’s father John Sr. and two of Foley’s brothers, John Jr. and Michael provide emotionally compelling family testimony.

During several discussions, John Jr. finds it hard to maintain his composure as he discusses James’ decision to initially and even more unbelievingly to return to the war zones of Libya and Syria. John’s perspective is largely oriented towards James’ happiness, indeed his survival. This stands in stark contrast to comments by John and others that indicate so clearly James’ irresistible desire to help the people caught up in the brutality of war. Michael is better able to remain composed but is just as uncomprehending over James’ decisions to repeatedly expose himself to life threatening situations. However, I found the Dane Ottosen’s comments the most instructive of the film. To be sure, the Foley’s family’s remembrances and emotional state were largely the most affecting, but it was Ottosen that gave insight into life as a prisoner of ISIS and of Foley’s near saint-like behavior towards his fellow prisoners. Foley was a man that had already been imprisoned for a year by someone (it still is not clear who) prior to his transfer to ISIS control in Raqaa, and upon being introduced to his new cell mates almost immediately offers some of his clothing to another prisoner, one evidently in desperate need of warmth. His compassion for his those in his cell certainly did not end there. Multiple examples are given in the film of Foley never losing his composure despite being singled out by ISIS for being an American and for having a brother (John Jr.) having been in the American military; or other examples such as one of him comforting a prisoner (Ottosen again) experiencing depression as he awaits his release and this at time when it appears Foley knows with certainty that he himself will never be released.

The movie does a great job of establishing Foley as a modern saint, and while this may sound like hyperbole, it is not. What the movie does not examine very well at all is the questionable wisdom of having unarmed civilians (i.e. the journalists in question) in a war zone. When Foley was captured in Libya he had been embedded with local Libyan rebel forces and was somewhat protected, but when he was in Syria, he operated with only a driver and translator. What kind of rationale drives such people as Foley to enter the world’s most dangerous locations with little more than a bullet-proof vest, a helmet and a camera? That it seems self-evidently illogical is inescapable to me. I am strongly tempted to place such decisions to enter the war zone, no matter the intentions, in a category hardly different from BASE jumpers, winter hikers of Mt. Hood, or Niagara Falls tight rope walkers. Yes, these people (like the journalists) have the right to risk their own lives. And yes, the journalists are not simply adrenaline junkies (though this does appear to be part of their decision process – as commented on by at least one of the film’s surviving journalists), the journalists do serve a great public good. It is just that I find my compassion for these imprisoned journalists tempered somewhat by the fact that they have taken inordinate risks with their lives. Their videos of the oppressed and murdered victims of ISIS are important to the world. however, the lives of the journalists are just as important. I cannot equate the risks the journalists take with the value of their videos.

The film is an outstanding tribute to James Foley. It is constructed beautifully and when taken solely as a tribute and not as a wide ranging documentary (on imprisoned journalists, on America’s fractured policy of retrieving our captured journalists, on the people of the war zones, or even of other captured journalists), then this is a beautiful commentary on a man; a man that could be confused with a saint. As long as the movie is regarded as a tribute, there are few issues with the film that I could find. I did finish the movie wondering what was the youngest Foley (Mark) brother’s  views on James, and even more to the point, what became of the Englishman captured with James Foley, John Cantlie. As I searched for Cantlie’s status, I learned to my surprise and dismay that he remains to this day a prisoner of ISIS. I also learned of a second American held and murdered shortly after Foley by ISIS, Steven Sotloff. Indeed, it was Sotloff’s beheading that finally proved too much for President Barak Obama. Following the Sotloff atrocity, America began bombing in earnest those parts of Syria and Iraq under ISIS control.

This is an excellent movie, one well worth watching. I cannot blame the film’s makers for focusing exclusively on James Foley; the title certainly gave fair warning. It is a good film and I do recommend it. I also recommend you bring some tissues; you’ll need them as the moving is powerfully wrenching as you experience some of the Foley family pain.

Saturday, February 6, 2016

Book Review: "Age of Iron" by J.M. Coetzee


Age of Iron (1990)

5 Stars out of 5

J.M. Coetzee

198 pages

J.M. Coetzee had prior to the publication of “Age of Iron” (1990) written five novels. This South African academic had already won his first Booker Prize in 1983 for “The Life and Times of Michael K”. Coetzee would go on to win another Booker Prize for “Disgrace” in 1999 (the first ever to receive two Booker prizes) and a Nobel Prize for Literature in 2003. The Nobel committee commented at the time on Coetzee’s use of the “involvement of the outsider” along with his “well-crafted composition, pregnant dialog and analytical brilliance” in his work. All of these elements are to be found in “Age of Iron” along with Coetzee’s life-long focus on violence as it is manifested in the imperialistic and colonialist mentality of the Western World.

Coetzee explores his concerns about the plight of those that cannot defend themselves via the use of allegorical techniques in many of his novels; “Age of Iron” continues this pattern. The novel is superficially a long letter from a dying South African white woman, Mrs. Curren to her long-departed daughter in America. She has just learned from her doctors that her losing battle with cancer is nearing its end. After she returns home from the doctor's office, she spots a homeless man lying in the alley behind her house. She invites the dirty and drunken Mr. Vercueil into her home and into her life. Initially distant in mind and position, Mrs. Curren slowly proceeds to open herself emotionally and philosophically to Vercueil. She is a former Classics teacher, he a former seaman. She talks incessantly (but not unwisely), he hardly at all. From a symbolic sense, she may represent the silent, liberal wings of apartheid South Africa (the years of this story are 1986 to 1989 – five years before the end of Apartheid), while Vercueil may be the equally silent, but indifferent wing of that same society. These are the guilty people of South Africa; not guilty of actively suppressing the majority black people. No, not guilty of active suppression; they are the ones guilty of tolerating and turning their silent gazes away and thus allowing the system to flourish far longer than it ever should have.

Mrs. Curren employs within her household a housekeeper, Florence, Florence is a black South African and the mother of two little girls and an adolescent boy, Bheki. Bheki is away to school as the “Age of Iron” opens. He soon comes home with a boy we later learn is named John. Bheki and John represent the black youth of course, but also as the reader progresses are shown to be the “Iron” of the book’s title. The boys are caught up in the growing violence of the times, and will act in several ways to propel Mrs. Curren’s personal evolution. As the boys situation becomes more dire with respect to the police, Mrs. Curren’s eyes begin to open to the situation of the blacks with whom she “shares” her country. That she and her white compatriots don’t really share the country has long been known to her, but just what the whites do share with blacks is only now becoming all too dreadfully clear to her. Yet as she still fails to fully understand the narrowness of black South Africans' choices or the world they inhabit, she continues to argue against the movement towards violence these two young men appear to be making. Early in her dawning awareness of the black world her housekeeper lives in, she asks Florence, how can she ignore the danger Bheki is in? Florence responds “that the children are like iron, we are proud of them.” Her answer seems to be for a different question and is completely incomprehensible to Mrs. Curren.

As the violence ramps up and Mrs. Curren continues her various arguments with the black people she meets, she slowly begins to realize another fact: her opinions don’t matter because she is a woman; worse, an old woman; and most worst of all, an old white woman. The use by Coetzee of this image is one he has commented on outside his books: the sense that the black people in South Africa live in a land invisible to him. It is equally interesting to me that Coetzee as a man has chosen to inhabit the mind of a woman in “Age of Iron”. It seems another attempt by him as he tries to imagine the inner life of a woman, another attempt to understand yet another group of the historically disenfranchised segments of society.

Coetzee is also well known for occasionally incorporating his own life into his allegories. His mother, a woman of German ancestry and a school teacher might be a model for Mrs. Curren. Vercueil’s model then would presumably be Coetzee’s Afrikaner father. Whether his father was as silent as the fictional Vercueil is not known to me, though others have commented that Coetzee himself is notorious for his taciturnity. Coetzee is also known to be a teetotaler and a vegan; not good models for the alcoholic Vercueil. Whether Coetzee has brought his family’s superficialities into this story or not is really not the main thrust of the book Rather it is whether or not he has brought in the attitudes and value systems of the Afrikaners he grew up with is the real point of the book. To judge by comments made by Coetzee following the publication of some of this other novels, it is clear he feels passionate about the plight of those that cannot defend themselves.

Coetzee has also publically stated that "there is only one true myth, the myth of the survivor on a desert island”. Coetzee went so far as to have one of his characters state his desire for solitude and to stand outside history by declaring “I don’t like accomplices. God let me be alone.” Wondering about these hermitic thoughts of Coetzee makes me really wonder at the origins for the fervor Coetzee clearly feels for the powerless. The theme in “Age of Iron” of a bridgeless chasm between white and black, of the world the blacks live in that is so foreign to the whites that it seems incomprehensively alien suggests compassion and empathy that are terribly foreign to that desert island-loving author. Yet, go into this theme he does with “Age of Iron”, and while it seems like a choice that is an obvious one for a South African (or American) to dig into, there are but only a very few cases in literature that anyone has delved into it as elegantly as Coetzee does.

J.M. Coetzee has written as of 2016 twelve novels and four fictionalized memoirs, most including the theme of the indifferent or clueless powerful in contrast to the powerless. He first tried his deft hand on these topics in 1974 with “Dusklands” where he draws implied parallels between America’s war in Viet Nam and South Africa’s actions in 18th Century Africa. He displayed his growing artistic genius with the tale of the deformed Michael K in 1983’s “The Life and Times of Michael K”. In each of these novels as with “Age of Iron”, Coetzee has found a way to explore his chosen theme with new, insightful literary techniques. While the heart of Coetzee’s work may well lie in a concern over the helpless, the art of Coetzee’s work lies in the clever construction and elegant language used in his writing. “Age of Iron” is an excellent introduction to him, his themes and subject choices. I strongly recommend it to anyone interested in the oppressed, how oppression can be active or passive, and in stories told at a very rarefied level of subtlety in style and language.