On the other side of the Padilla coin, a terrorist who has been tried and convicted has been walking free…until now. 80-year-old Klansman Edgar Ray Killen is rejailed after it was discovered he had been lying about being wheelchair-bound. “‘It’s interesting,’ said Susan Glisson, the director of the William Winter Institute for Racial Reconciliation at the University of Mississippi. ‘Forty-one years ago the police department was involved in a conspiracy to murder these three young men. The fact that members of that same police department are now involved in putting Mr. Killen back in jail is indicative of how far this community has come.'”
Month: September 2005
Ex Parte Padilla.
Striking a blow against those terrorist conspirators who orchestrated the Fourth Amendment, a federal court headed by conservative Supreme Court contender Michael Luttig declares that US citizens can be held indefinitely without charges. ” For his part, Attorney General Alberto Gonzales, another big-time Court contender, “hailed the ruling as reaffirming ‘the president’s critical authority to detain enemy combatants who take up arms on behalf of al Qaeda.’ Oh, yes, they will destroy this village in order to save it.
Way down on Highway 61.
“As we pulled up in front of the Rollingstone Feed & Grain store, the first-take bootleg album version of the song blasted by chance from the car’s CD player. ‘Coincidence?’ Doc said, hinting that the unseen hand was mine, ‘or science?'” Bob fan Steve Dougherty ventures down Highway 61 in search of Dylanalia.
More TRMPAC trouble.
Yet another investigative front into the corruption of the DeLay ring opened up Thursday with the indictment of TRMPAC for $120,000 in illegal campaign contributions. Although DeLay himself wasn’t indicted, D.A. Ronald Earle “said at a news conference that he was hampered in bringing charges by a provision of the election law that gives him direct authority only over residents of Travis County.“
Daemonlover.
“I’m thinking that it’s just a movie about a little girl who’s looking for a family, so it’s still just all about emotions. It doesn’t matter how big or small it is, you still have to turn up with a camera and some actors and try to make it convincing for an audience.” Shopgirl director Anand Tucker talks briefly about His Dark Materials, his next project.
“Trent Lott’s House”…over and over again.
“We finally cleaned up public housing in New Orleans. We couldn’t do it, but God did.” Seemingly devoid of the empathy enzyme in any case, many key Republicans — not just Dennis Hastert and Barbara Bush — seem to be having trouble mustering up a way to discuss Katrina that doesn’t reflect their party’s general lack of Christian compassion. When meeting with young New Orleans evacuees at the Astrodome, Boss DeLay “likened their stay to being at camp and asked, ‘Now, tell me the truth, boys, is this kind of fun?’” Meanwhile, Rick Santorum blames Katrina on…the National Weather Service (to help out his donors at Accuweather).
Endless Summer (of the Gods).
“[B]elievers in science are now wondering how the rejection of Darwinian evolution, once presumed to be discredited, keeps returning to claim a place in high-school biology classrooms and in popular thinking. The answer is that we’re in thrall to the powerful legend of the Scopes trial. For anti-Darwinist beliefs aren’t returning; they’ve just never gone away.” Slate‘s David Greenberg invokes the misunderstood legacy of the Scopes trial to explain the persistence of creationist thought among Americans today.
Grimm Fandango.
So, what’s good? Well, as you might expect, the best parts of the film are the Gilliamesque visual flourishes. When the movie involves enchanted forests or sleeping beauties or malevolent mirrors or little red riding…capes, Gilliam is in his element, and his kid-in-a-candy-store enthusiasm is infectious. If you’re a aficionado of the guy, these moments almost make the film worthwhile on their own…almost. Art direction aside, however, the effects often have a real budget FX-house look to them. (Memo to the studios: CGI and werewolves don’t ever seem to mix — cf. this, Underworld, American Werewolf in Paris, etc.) If your tale involves a man-wolf of any kind whatsoever, use an old-school make-up guy like Rick Baker or Rob Bottin.)
And, the story…oof. For what it’s worth, Matt Damon (Will) and Heath Ledger (Jakob) both acquit themselves admirably as the brothers/ghostbusters, and Damon in particular has a gleam in his eye that suggests he’d make an even worse movie if it meant he could continue to hang around the Gilliamverse. But the Brothers Grimm are cursed with a grafted-on fraternal backstory — Will wants to protect Jakob, Jakob wants Will to believe in him — that feels artificial from the start and forces them to spit out increasingly unwieldy chunks of character development as the movie progresses.
Worse, scenes just happen one after another with no feeling of narrative development at all. The brothers are in a dungeon, no…the forest, no…the dungeon again, and so on. The brilliant Jonathan Pryce is wasted in a subplot involving a French general that never makes one iota of sense. (Mackenzie Crook, a.k.a. Gareth from The Office, is also wasted, in more ways than one.) And Pryce’s henchman, the usually amiable Peter Stormare, singlehandledly ruins every scene he’s in with a grotesquely hammy performance of Olympian proportions — seriously, he makes Anthony Hopkins in Bram Stoker’s Dracula seem like Ralph Fiennes in The Constant Gardener. Conversely, the film could have used a good deal more of Monica Bellucci’s evil queen (but, to be fair, most films, and most endeavors in life, could stand to use more Monica Bellucci…the world would be a happier place for it.)
Ultimately, the Brothers Grimm is less grim than it is sadly pedestrian, and it has to be counted as a occasionally diverting swing-and-a-miss for Gilliam. But, I’d say that’s more due to the weakness of the material here than it is Gilliam, who shows flashes of his usual mojo. As such, I still have high hopes for Tideland, which, thankfully, is right around the corner.
King of the Hill.
Ok, I know I was hating on a possible Ant-Man film only yesterday, but that’s before word got out that Shaun of the Dead writer-director and self-professed Ant-Man fan Edgar Wright was rumored to be helming the project. I take it all back (well, at least on the Ant-Man front.)
Man of Constant Sorrow.
Next up on the Labor Day bill was Fernando Meirelles’ well-received The Constant Gardener, starring Ralph Fiennes and Rachel Weisz in a sort-of action-romance-thriller-edutainment about the extreme shadiness of the Pharmaceutical Trust’s clinical trials in Africa. (Or, put another way, it’s The Limey meets Hotel Rwanda meets The Bourne Supremacy meets The Girl in the Cafe.) At its best, The Constant Gardener is a compelling travelogue and a resonant Soderberghian love story, anchored by a great performance by Fiennes and solid supporting work by Weisz, Bill Nighy, and others. (By the way, nothing screams “English conspiracy” quite like the presence of Gerard McSorley, who plays a pharmaceutical tough here. Between him and Pete Postlethwaite flitting in and out, this occasionally seemed like In the Name of the Father transported to Kenya.) But, Gardener also suffers some of the defects of Meirelles’ earlier film, City of God, namely an overreliance on shaky hand-held camera work and a plot that strains credulity often enough to detract from the overall experience.
So the upshot is this: Fiennes, the titular gardener, is a kindly and reclusive British diplomat in Kenya with an ill-defined job and a young new activist wife (Weisz), whom he met-cute (well, sorta) at a lecture he gave back in England and married after a whirlwind romance. When Weisz is found murdered on a desolate, unforgiving stretch of African road beside her colleague and possible lover (Hubert Kounde), Fiennes is forced to abandon the orderly and carefully tended confines of his mental garden and embark on a quest to discover both why she was killed and how she lived. Along the way, he finds that large pharmaceutical companies, the nemeses of his slain wife, have been rigging clinical trials and, worse, hiding the fatal side effects of their drugs by erasing the existence of poverty-stricken Kenyans who were administered them (How these fatal side effects were supposed to go over once these drugs went on the market is left unexplained.) Whatsmore, he soon finds his superiors at the embassy (Danny Huston, Nighy) have been steadfastly looking the other way, and that the global reach of Big Pharma isn’t above using strongarm tactics to ensure the truth never gets out…
The Constant Gardener is expertly acted and expertly put together, and it’s deserves the high praise it’s been getting — it’s easily one of the better films of this year so far. Nevertheless, I had nagging problems with the movie. For one, while I have no doubt that Big Pharma is up to many grievous misdoings in Africa (and elsewhere) in the name of the almighty buck, and I wouldn’t be surprised in the slightest if they have unctuous corporate flaks cooking books and crossing the palms of anybody it might help them to buy off, I had trouble believing that they were this kind of shady, with a seemingly universal intelligence capability and more agents than SMERSH. (Also, while I’m sure this type of trial-tinkering probably happens, the real pharmaceutical conspiracy — as others have noted — is how companies simply ignore medical crises in the developing world and attempt to ban the use of generic drugs in devastated areas.)
Also, while I could see how Fiennes’ character might be this clueless about his wife’s life-work if he had seemed more distracted during her lifetime, as played he’d have to be willfully oblivious to miss what’s going on. (Perhaps his almost-disturbing passivity is the point — the script seems to say as much at times — but I still felt it rang false.) Add an overdose of shakicam work (don’t sit too close) and some rather pointless action sequences (the late second act car chase, the bandit attack) and The Constant Gardener falls out of the top echelon of all-time-great films. But, in an otherwise down year for movies, Gardener is an adult, intelligent thriller and a believable romance that’s well above the mean and well worth catching.
