The Politics of The Dark Knight

The Dark Knight has been the centerpiece of this Summer's slate of blockbusters. I found it to be surprising intense and cynical for a superhero movie. That said, it was a damn good superhero movie and one worth retrospection. I had some particular thoughts about the political side of the film outlined in a sketch below.

THERE ARE SPOILERS (that, and the unacquainted won't understand what the hell I am talking about. Just see the damn movie already.)



When comic book adaptations come to mind, I've been more disposed to think of the smarmy excesses of Robert Downey, Jr.'s Iron Man or the big, bright CGI cluttered vision of New York in the recent Spiderman series. With The Dark Knight (and like minded forerunner Batman Begins), Christopher Nolan and crew seem hellbent on creating a gritty comic universe, a more realistic reflection of the modern metropolis.

The idea of 'realism' in big screen comic stories is slippery territory. What The Dark Knight has created is a lavish allegory on politics and American manias. Batman is cast- strangely enough for a subterranean, anti-hero- as a conservative superman. Conservatism might be the last tag that comes to mind when thinking of Bruce Wayne and his alter ego but it seems an apt description in Nolan's world.

For one, Batman's dependance on and faith in technology to vanquish his foes is a reminder of America's own technologic and militaristic ventures. 20th century America is bound to be remembered for innovations (often dubious) like the Manhattan Project and the U2 spy plane. This is a nonpartisan fixation but has been marked by distinctly conservative projects like the Regan era Strategic Defense Initiative.

Nolan's Dark Knight takes Batman's traditional utility belt a step further with an endless bevy of vague technological implements that are dispensed with the convenience of plot. If it seems like a bad guy has got Bats on the ropes, then our hero is likely to bust out some obscure device to turn the tables. Batman's cutting edge gear is juxtaposed with the Joker's ramshackle assortment of goods; cell phone rigged bombs and moth eaten suits wired with grenades. A scene late into the movie has Joker in full nurse garb bashing away at a fickle detonator. With Batman cast as conservative hero, this is the perfect image of contrast. Joker is a sexual and political subversive playing with his homemade tech goods.

The film is most aware of this conservative/radical dialectic when Batman employs an experimental radar system to track down the Joker. He creates a city-spanning network that opens up the possibility of spying on any or all of the denizens of Gotham City. This moral dilemma calls to mind the privacy issue in America sparked by Patriot Act. Batman takes advantage of the system despite the resistance of his technological consultant, Lucius Fox. Although the film closes with the destruction of the spy network, a compromise has been made. In the face of defeat, Batman (and in this allegory, America) has suspended morality for the sake of control. While The Dark Knight closes suspended in air, just like the Joker, it does seem to resolve the issue of Batman's heroism with Jim Gordon's epilogue. With Batman re-anointed Gotham's rebel savior, it appears the film endorses his (our) moral lapse.

The French Crime Wave at the Film Forum

I'm not the biggest fan of French New Wave Cinema. However, for a reason I can't fully express in words, I do love Jean-Pierre Melville. Since seeing Le Samourai, I've been religiously watching all of his films that have been released by Criterion (and two more are coming out in October, by the way). His films, although not the greatest, have an extremely interesting and certain appeal to me which ranks him as one of the most interesting filmmakers in my constantly changing list of "favorite directors". So, when I saw that the Film Forum is going to show a few Melville's, I thought that I should share the information.

"The French Crime Wave" event started yesterday and will run until September 11th, which is more than enough time to catch some great films. The Melville films that are going to be screened are Le Cercle Rouge (which is one of my favorite Melville's), Bob le Flambeur, Le Doulos (which comes out on Criterion in October), and Un Flic (which is out of print on DVD).

However, if you are not a big fan of Melville, do not fear. There are tons of other great flicks to check out from New Wave directors such as Truffaut, Godard, Clouzot, and many others!

To see the full program, click HERE!

Madame Kawakita

Wow, I haven't update this thing in a while! Well, I have about one more month of summer left and just when I thought, all the film events were coming to a close in NY, I found one more!

Check it out:

The Film Society of Lincoln Center will pay tribute to “film ambassador” Kashiko Kawakita, on the centenary of her birth, with the film series Japanese Screen Classics: In Honor of Madame Kawakita. Kawakita, who helped establish the Japan Film Library Council, to preserve prints of the finest works of Japanese cinema, and who sat on twenty-six film-festival juries around the world during her lifetime, died in 1993. Beginning this Wednesday, July 30, and running through August 14, the program will feature twenty-four essential films from Japan, all by directors who have won the prestigious Kawakita Award, including Akira Kurosawa, Seijun Suzuki, Kaneto Shindo, Shohei Imamura, and Kon Ichikawa. 

(From the Criterion Collection website)

CLICK THE LINK BELOW FOR MORE DETAILS!!

http://www.filmlinc.com/wrt/onsale/kawakita.html

Asian American International Film Festival

The AAIFF, sponsored by the Asian Society and Asian Cinevision, will begin starting July 10th until July 19th. 

There seems to be many interesting films being screened this year so if you are interested, click here for the full program.

NAKADAI and NOGAMI

Yesterday, Taylor and I went to go see Seppuku (Harakiri) at the Film Forum, which was followed by a Q&A session with the star of the film, Tatsuya Nakadai. There were many great questions. I can't remember all of them but here are a few:

Q:"How much of the film was improvised/ad lib and how much was it scripted?"

A: "Everything was scripted. None of it was improvised."

Q: "How do you feel about the messages of Harakiri?"

A: "Concerning bushido and authority, I feel that every individual should be free to choose how one lives. When I was brought up, I was told that we must give our lives to the Emperor, which of course is not the case today. Nowadays, we are all free to choose how we think which is a great thing."

Q: "How was the film received in Japan?"

A: "The film met with a decent amount of praise in Japan, but the funniest part was at Cannes. During the screening, apparently, at least 10 french ladies fainted at the harakiri scene and so the director and I thought that the film was doomed. However, after the screening, we were met with so much praise that the Japanese media thought that we would win the Grand Prix. I specifically remember going to several interviews being asked how I felt about winning the Grand Prix when the winner wasn't even announced yet. In the end, Luchino Visconti's The Leopard, ended up winning it. At the dinner party, I saw Visconti and Alain Delon celebrating at the other table and we were sort of huddling together in jealousy at our table. It was quite funny."

I also had the great opportunity to ask my own question:

"So I heard a story that during the shooting for this film that you and Rentaro Mikuni had an argument regarding projection of voice. Mikuni, being a film actor, argued that he didn't need to speak loud because the mic was right in front of him but you, being from theatre, argued that you can't respond if you can't hear his lines. Director, Masaki Kobayashi, finally stepped in and stopped shooting for 3 days until you two came to a resolution. Is that true?"

A:"That is absolutely true. During the scenes where we are speaking, the distance was just like where you and I are standing (app. 20 ft.) so it was difficult for me to hear him if he didn't speak loudly. We got into an argument and so the director told us to resolve our conflict and stopped shooting for three days. I can't imagine that happening today in the U.S., or in Japan for that matter, but back then we had lots of time to spare."

So apparently, my question was pretty interesting and a man from the Japan Foundation pulled me to the side and gave me an invitation to a special screening of Ran followed by a reception with Nakadai and Nogami, which was to be held the next day.

Before the screening, however, Nakadai and Nogami visited the Japanese bookstore, Kinokunia (located across the street from Bryant Park), for a book signing. 

Mr. Nakadai signing my Criterion DVD inserts for Harakiri and Ran.

Ms. Nogami signing my copy of her book. She's drawing the Seven Samurai flag t-shirt I was wearing today (or rather yesterday seeing that's it's 1 AM)

After the book signing, I hurried off to the Japan Society and saw Ran again and was blown away. It's really something to see on the big screen. Mr. Nakadai said a few words after the show and then we hurried on to the reception.

Ms. Nogami and I at the reception following Ran.

Mr. Nakadai and I.

Well there are two more chances that I'll see them. One on Tuesday for Nakadai's lecture at 8:20 PM at the Film Forum, and one the next day for Nogami's lecture at 6:30 at the Japan Society. I don't know if tickets are still available but if they are, you should definitely go and check them out!!

50 Years with Akira Kurosawa

Legendary director, Akira Kurosawa's, script supervisor will be coming to New York City on Wednesday the 25th of June to lecture about Kurosawa and the inner workings of his creative mind. Nogami stood by Kurosawa from Rashomon to Madadayo and has been through the ups as well as the downs with the master filmmaker. It's definitely worth checking out and a must if you are a Kurosawa fan.

Click here to buy tickets or to find out more.

Nogami on the far right with actor Toshiro Mifune

in the middle and Kurosawa at the bottom.

Werner Herzog in NYC

Today, I had the great privilege of seeing Jonathan Demme interview Werner Herzog at the Times Center. Demme has created many great movies including the classic Silence of the Lambs and Philadelphia which both won oscars. Herzog is an international phenomena, who has made the legendary Aguirre, the Wrath of God and has recently finished his documentary, Encounters at the End of the World. 

To give you a little sense of what Herzog's past was like, he grew up in the remote mountains of Bavaria, Germany and saw no film, TV, or radio during his childhood. He started traveling on foot at the age of 14 and made his first film when he was 19 (by stealing a camera). Despite this, he is one of the most interesting (and great) filmmakers today.

Like the Gondry interview, I did record the whole conversation so if anybody is interested, please let me know. 

Demme and Herzog started out by discussing a letter Roger Ebert has sent to Herzog expressing his admiration toward his works (which could be found on Ebert's site), then transitioned into some aspects of Aguirre, particularly the river scene after the people descend the mountain. Herzog explained how he had his DP hold the shot of the river to get a sense of the rage and anger of the water, which will ultimately be the demise of the soldiers. He also talked about filmmaking in general and his take on sound in his films. He also went on to speak about various other things (such as his relationship with Rainer Werner Fassbinder) but what I found the most interesting was when he talked about what makes a filmmaker. 

"You have to know the heart of men. If you don't, you are not a filmmaker". 

-Werner Herzog

I think that's very true, especially for young student filmmakers, like myself, who may get too absorbed in the technical aspects that they forget what is most important: the connection with the audience. I could be speaking for myself, but sometimes I feel that I lose that connection with people or I'm not connecting enough. I don't know if everybody knows the "heart of men" but I think it's something many filmmakers (or at least I) should be aware of. 

On a different note, some of you may have already heard the news but two guys climbed the New York Times building today. Right before the Herzog interview, I was waiting for my good friend Nestor, when spider-man started scaling the wall in front of my eyes. It was quite a feat.

Crazy things happen when Herzog is around...

While we're still on the topic...

Professor Ramin Bahrani was featured again, this time on a bi-weekly podcast I listen to called "filmschool". They interview independent filmmakers and various indie festival officials about the making of their films and some significant news in the industry. You can listen to the podcast by subscribing to it on iTunes or you can download the Bahrani episode by clicking here.

They also interviewed Hunter alumnus director Guy Moshe about his first film Holly. That could be downloaded here.

Bahrani's Favorite Criterions

Professor Ramin Bahrani of Hunter College shared some of his favorite Criterion Collection DVDs in the most recent newsletter. If I remember correctly, last semester he taught screenwriting. Anyway, check it out:

My Top Ten Criterions*
Ramin Bahrani
Writer-director Ramin Bahrani’s first two feature films, Man Push Cart (2005) and Chop Shop (2007) have won awards and acclaim all over the world, from Venice to Cannes to the U.S. Chop Shop also won Bahrani the Someone to Watch Independent Spirit Award in 2008. Bahrani is currently in postproduction on his third feature, Goodbye Solo.

1. Nanook of the North Robert Flaherty

Robert Flaherty set his camera down and had the audacity and humanity to step back. I like Man of Aran even better. Without these films there would not have been La terra trema, Rome Open City, Bicycle Thieves, Where Is the Friend’s House?, Il posto . . . Such simple and moving storytelling, and so profoundly in touch with what it means to be human in this world. He has forever erased the line between fiction and documentary. What is left, fabricated or not, is a visual poem that challenges how we live and how we see, and all the while accepting life for what it is.


2. Mama Roma Pier Paolo Pasolini

Pasolini was murdered for a reason: he was a real artist with something to say that too many people did not want to hear. Nobody brings as much love and anger, and challenges and questions, as PPP. His films explode with life and energy, politics, religion, doubt, devotion, humor, and irony, and force you to rethink everything in your life and outside your life. Each frame is a revolution and a dare to the viewer. Bertolucci said, “You can tell when Pasolini puts the pen down and picks up the camera.” Which other filmmakers can claim that this quote would be true of them? A devastating majority of films are just filmed screenplays. Pasolini belongs to the rare group of artists who make films. Empty yourself, wash your eyes and ears, and for the first time really watch and listen to what the master has to say.


3. The Flowers of St. Francis Roberto Rossellini 

My favorite from Rossellini. A sublime call to us all to be good, even at our own expense. Ten times more subversive and inspiring than any in the long list of meaningless yet much-lauded films made about the “lessons” of war, injustice, and inhumanity. This is the film everyone should have been watching in the last eight years. Fellini’s humor and Rossellini’s ironic wit are at their very best here. The monks are brilliant in their roles. A must-see gem.


4. Il posto Ermanno Olmi
A great Italian film from the often ignored Olmi (please also see The Tree of Wooden Clogs). The scenes between young Domenico and Antonietta are so real you will think you have witnessed them yourself while standing outside a café window. Wonderful mix of humor and sadness, and of lightness in the face of the eternal meaninglessness of society’s damning labyrinth. The scenes go by so effortlessly, yet by the end you’re profoundly moved without understanding how Olmi has done it.


5. Umberto D. Vittorio De Sica

I first saw this as a college student at one of the city’s repertory cinemas, in the early nineties, and will never forget it. One of the most simple and moving films ever made about man not losing his dignity in the face of our eternal fate and society’s greed. How to stay alive and human when you are no longer useful to our indifferent world? How to maintain hope when all that is left is to turn into the dust from which we came?


6. L’avventura Michelanglo Antonini

Every director should have a respect for the frame, and here Antonioni reminds us of that lesson shot after shot. He shocked Cannes but without being exploitative, which is more than most enfants terribles in Cannes’ history can claim. Antonioni shocked by being a ruefully disturbing mirror into the souls of his generation. Sandro’s empty desires, and Claudia’s blind and desperate search for meaning and connection in the deadly silence of life, are as true to our times as to when the film was made. Monica Vitti astounds with her beauty and her mystery, and Antonioni’s courage to explain nothing but allow us to feel and question everything is a testament to his brilliance.


7. Au hasard Balthazar Robert Bresson 

One lesson after another from the master to all his students. A film that makes you ashamed to be part of the human race, and then fills you with the courage to be better.


8. Scenes from a Marriage (full TV version) Ingmar Bergman

A great first-date movie! Well . . . perhaps not. I have never seen a more truthful and honest account of human relationships. Shockingly simple in its creation, once again proving how hard it is to be simple and how it is usually much more profound. Bergman keeps cutting away to reveal more, not less. He has done the difficult and dirty work for us. Watch and accept the truth about our relationships, and then, like all of mankind, try to avoid your fate.


9. Nights of Cabria Federico Fellini 

Along with La dolce vita and I vitelloni, my favorite from Fellini. So much love and hope in the face of the bastards who seem to run this world. Masina is brilliant and PPP’s dialogues and understanding of the “wretched of the earth” are perhaps Fellini’s good karma for the gifts he brought Rossellini in The Flowers of St. Francis seven years prior. Daring, loving, and painful. Thank you for not ending this one at the sea, but instead on the road, with trees, music, tears, and smiles—a real carnival in the face of death.


10. Seven Samurai Akira Kurosawa

Lessons one through one hundred in how to write, shoot, direct, and edit a film. Sit down and enjoy.

*Taken from the Criterion Collection Website

31st Annual Hunter Film Festival Results

The Film and Media Society of Hunter College hosted the 31st Annual Hunter College Film Festival last weekend which screened many different and interesting films. The categories were documentary, production 1, production 2, produced on video, cinematography, and production seminar with a total of approximately 25 films.

Here are the results:

DOCUMENTARY:

STREET SUPREME - dir. MICAH BOCHART

PRODUCTION 1:

TELEVATORS - dir. NATHAN SCHRADER

PRODUCTION 2:

DISCONNECTED - dir. AMIR ADELAR MINDER

PRODUCED ON VIDEO:

SLEEP WALKER - dir. DAIGORO HIRAHATA

EXPERIMENTAL:

"CHARLIE ROSE" BY SAMUEL BECKETT - dir. ANDREW FILIPPONE JR.

CINEMATOGRAPHY:

ANDREW'S GUN - dir. TERESA SONEBORG

There were also a few seminar films but sadly I do not remember all the director's names. My program was used as a voting sheet.

SEMINAR:

KILL ME A SON - WINNER

TATI FROM 4 TO 7

UNKNOWN MELODY

DIONAEA