Where are the voices of anger?

We are living in turbulent times my friends.  Most of us live under a cloud of uncertainty - an omnipresent gloom that permeates every waking moment.  How will I pay my rent?  Keep my house? Find a job?  What happens if I get sick?  What kind of a world will my kids live in?  How will our country move forward into these uncertain times without fracturing into a million splinter groups of special interests, each with voices raised in hyperbole and hysteria.

And throughout all this upheaval, what has the medium of cinema had to say about all this?

I'm waiting...

In the 60's and 70's, the turmoil of society was reflected in its cinema.

Movies like Easy Rider, Woodstock, Bonnie & Clyde, The Graduate, Dr Strangelove, Straw Dogs, Taxi Driver, Midnight Cowboy, and Night of the Living Dead represented their times with bold, revolutionary statements, new directions, and a cold hard look at societies' issues.

Vietnam had fractured the country, but starting with MASH in 1970, filmmakers were already attempting to deal with the horrors of war and its effects on our country. 

Then came Coppola's brilliant love letter to chaos and darkness, Apocalypse Now, and eventually, more mainstream efforts like The Deer Hunter, Coming Home, Platoon and Born Under the Fourth of July.


In 1976, Paddy Chayefsky and Sidney Lumet seemed to speak for a whole nation with their brilliant satire, Network:

"I'm mad as hell and I'm not going to take it anymore!" 

In the 80's and 90's a new wave if independent cinema burst in the scene.

Movies like Sex, Lies & Videotape, Do The Right Thing, Slackers, Clerks, Drugstore Cowboy, Stranger Than Paradise all reflected the new attitudes of their era.

In 1999 two films, American Beauty and Fight Club presented very different, but uniquely bold, amazing and heartfelt visions of modern-day existential malaise.

They challenged their viewers to take a closer look at their materialistic priorities.


And then, it all seemed to stop.

Since Sept 11, 2001 this country has gone through multiple ongoing traumas, yet through it all, the filmmakers of today have been incredibly absent from engaging in an intelligent discourse with society that should be helping us all process an unprecedented amount of conflict, upheaval and crisis:

- coping in a post 9/11 world: terrorism; 2 wars waging for a decade; the loss of basic rights under the Patriot Act.

- economic collapse: massive unemployment; foreclosures.

- environmental calamity: global climate change; industrial pollution and devastating oil spills.

- major shifts in the workplace: outsourcing; longer hours; lower wages; increased productivity at the cost of leisure time; 24/7 intrusion of work into our private lives.

- runaway development of advancing technology that outpaces our ability to understand its effects.

- non-stop consumption of images, data and trivial information, with little to no time to actually process any of it.

- a completely dysfunctional government.

- inequal wealth distribution and a vanishing middle class.

- corruption by wall street and corporate interests.

- a major national shift away from being the world's superpower to just another player.

- a nation of repeated violence and tragedy - mass killings - rampage killings, murder/suicides.

- a mass media that fans the flames of ignorance and hatred.

- an oppressive, permeating undercurrent of paranoia that a nightmare apocalypse is just around the corner - 2012, Doomsday, The End of Times.

What have our current filmmakers had to say about these unprecedented turbulent times?  Art can be a crucially important vehicle by which society processes confusing, disruptive and complex new ideas and situations.

While there have been many very good documentaries that have addressed some of these complex issues, I believe that narrative films can do even more to help a society work through its traumas, as cinema works at the subconscious level of myth and archetype. 

I can honestly think of only a couple narrative movies that have attempted to deal with any of these issues: the academy award winning The Hurt Locker and the excellent Up in the Air.

There may be more, but even with these two fine films, neither was really a rallying cry for a generation - neither became a national speaking point, or a prism by which society could direct and clarify its arguments.

I'm still waiting...

I don't necessarily expect Hollywood to be making these kinds of films.  It's just not in their nature (or economic interests) to do so.  But where the hell are the indie voices of indignation, frustration and revolution?

Television seems to have done somewhat better in this regard.  There have been a number of excellent series that have dealt with many of today's pressing issues.

Shows like Rescue Me, Boardwalk Empire, Treme, The Wire, Breaking Bad, The Walking Dead, Louie and Generation Kill represent the times we are living in and the turmoil we all face.

yes, I know Boardwalk Empire is set in the 20's - it is clearly an allegory for today's corrupt political system and economic disparity

But Cinema, that great medium of dream and drama, where are you when we need you the most?  Please prove me wrong - please present me with challenging, revolutionary ideas and visions that reflect our troubled times.  Please shock me with outrageous dramatic representations of war, political corruption, economic upheaval and personal tragedy.

And then please give me stories of hope, compassion and humanities' capacity to do good.

Please tell me it's going to be okay.

So I can sleep at night.

Best TV Shows of the Decade

I decided to skip over the Top 10s of the year and go right for the big daddy - the Best of the Decade.

First up - Television.

 This last decade of TV represents for me, the golden age of television.  Simply put, it is the best television has ever produced:




The Wire - The best. Ever. David Simon's brutally honest dystopian vision is the gold standard.









 





The Sopranos - The one that started it all - and relaunched Journey's career.

















 
Breaking Bad - Fearless. Bold. Funny. Visionary. Brutal.















Mad Men - Tone-perfect subtle portrayal of the pivot point of a decade and a man's journey to find his authentic self.
















Deadwood -  David Milch's foul-mouthed Shakespearean western is a multi-layered tour-de-force.

Band of Brothers - Epic portrayal of the realities of war in the mid-century.

Dexter - Puts all those CSI clone shows to shame.  Michael C. Hall carries the show with nothing but subtle facial expressions.














 
Curb Your Enthusiasm - Seinfeld synthesized into a crack-like addictive journey into Larry David's warped vision of ultimate social discomfort and humiliation.















Battlestar Gallactica - Sci-Fi told on an epic scale while maintaining its focus on character.

Rescue Me - Foul-mouthed.  Daring.  Brutally honest.  Went head-first into post 9-11 territory that no one else with a sane mind would touch.  Thank you Dennis Leary.















These brilliant and revolutionary shows easily match up against the best television of any decade - perhaps even the best narrative dramas of any medium.  If will be interesting to see if the next decade can live up to these achievements.  Clearly the most creative minds are now working in television - where the showrunners (usually writers) can maintain control of their vision.

Not one of these shows was produced by traditional network television.  And no one cares anymore - the era of the networks is dead.  My children couldn't tell a network from cable or pay tv or YouTube or hulu or Netflix.  It is all simply visual storytelling that comes to them from a box in our home - or on a mobile device on the go.  The revolution is already over.

The best of the rest:

Six Feet Under
The Office
Rome
Entourage
Generation Kill
Friday Night Lights
30 Rock
True Blood
Survivor
The Daily Show With John Stewart
Lost

Next up:  Best Horror Movies of the Decade

Winter's Bone - a triumphant win of silence over car crashes

Winter's Bone is a movie that Hollywood could never produce.

They just couldn't.

It is a quiet, studied examination of the scorched aftermath of meth, and the determined spirit of one young woman who tirelessly fights for those she loves.

It tells the tale of a community ravaged by drugs, the dysfunction of the police to do anything about it, and the folks who are just barely hanging on. It is the type of storyline that you could easily imagine being one of the threads of HBO's The Wire, but this time, instead of a bombed out Baltimore slum, the story takes place in the cold Ozark mountains.

Director Debra Granik does a brilliant job letting her tale unfold naturally.  The cinema verite style allows the viewer to enter this world as a documentary viewer might - taking in the sights, gently getting a feel for these characters, until at around the eleven minute mark the plot point that propels the narrative is finally revealed.

17-year-old Ree Dolly, forced to look after her two younger siblings and her incapacitated mother, discovers that her wayward meth-cooking father is due to appear in court soon and has put the house up for collateral for his bail bond.  If he fails to appear in court, they stand to lose everything. Meager as it is, their house and property are the only thing holding this shattered family together.  Ree desperately tries to track her dad down through a series of tense encounters with the local community - most of whom are somehow related.  Round these parts it seems almost everyone is kinfolk.

If taken out of its rural surroundings and placed in a dark, nighttime urban environment, Winter's Bone could easily be seen as a classic Film Noir thriller.  Our protagonist stands alone trying to unravel a mystery while dangerous unknown forces thwart her at every turn.  She is met with indifference at best, and violence at worst and inevitably comes face to face with the shocking reality of what has become of her father, and what she must do to carry on.

A great movie of determination and will, Winter's Bone is not for those who need a car crash every five minutes to keep them awake.  Sit down, settle in and let the movie work through you.  Jennifer Lawrence's performance as Bree is both effortless and spellbinding and she absolutely deserves an Academy Award nomination, as does Debra Granik for her amazing pitch perfect direction.  I hope it will also receive a nod for best adapted screenplay as well, from the novel by Daniel Woodrell.  Granik and screenwriter Anne Rosellini do a tremendous job of letting scenes breathe and displaying the classic screenwriting ethos of "show,  don't tell".

Be sure to check out Winter's Bone - it may even soon be re-released into the theaters again when the Oscar buzz hits the beginning of next year.

4 stars! (out of 5)

The New Golden Age of Television

Interesting blog post by Keith Balmer about the cornucopia of amazing television shows in recent years. 

He echoes what I have been feeling - anyone who says there's nothing good on tv has been living with their head in the sand for the past ten years.

This is as good as it gets folks - set your DVRs, rent 'em from Netflix, catch 'em on Hulu - do yourself a favor and bask in the sunlight of this golden era of tv: Breaking Bad, Treme, The Pacific, Justified, Modern Family, Lost, Parenthood, and soon the new season of Mad Men.

This is by no means a definitive list, there are many other great shows out there.

And then go back and catch up on The Sopranos, Six Feet Under, Rescue Me, Deadwood, Dexter, Battlestar Gallactica, Rome, Brotherhood, Curb Your Enthusiasm, Generation Kill, Weeds, True Blood, and of course, The Wire.

You'll be glad you did...

David Simon's Treme on HBO - why television is kicking Hollwood's ass

For those of you who never watched The Wire - shame on you.
Shame, shame, shame.

I'm forever puzzled by people saying there's nothing good on tv.  We are living in a golden era of television with the last ten years providing us with some of the finest shows ever produced.

The Sopranos started it all and raised the bar all those who followed:  Six Feet Under, Deadwood, Dexter, Battlestar Galactica, Lost, The Office, Rescue Me, Mad Med, Breaking Bad - I could go on and on.

While Hollywood continued to focus on big-budget spectacle, television became a nurturing haven for brilliant writers.  The long-format of a broadcast season allowed writers to delve into controversial topics and breathe nuance and complexity into their characters.

I'd take this year's Breaking Bad or Mad Men over any of the Oscar nominated films of this year.  And as much as I like and admire The Hurt Locker, I have to say that Generation Kill did a far better job of shedding a light on the horrors and contradictions of modern-day war.

Which brings us to The Wire, which I consider to be the finest television series ever produced.  David Simon created a masterpiece of institutional dysfunction and the people who bang their heads against it every day.  Whether you're a cop, a senator, a teacher, a drug-dealer, an addict, a student, a journalist, or just someone trying to make it through the day, the overwhelming reality is that society is broken and those who try to swim against the tide get crushed.

And now Simon has a new series on HBO that only he could tackle - the intricate social, racial, artistic and political gumbo that is a post-Katrina New Orleans.

When Treme premieres in April, do yourself a favor - watch it.