Saturday, August 11, 2018

Movie Review: BlacKkKlansman

Spike Lee brings to the forefront a crisis going on in our present day world since Trump became president with the film BlacKkKlansman. It is something you can feel is brewing and it bubbles over much later in the film.

Lee is known for tipping us off with opening credits, and in BlacKkKlansman he begins with a clip from a tragic scene in Gone with the Wind as Scarlet O'Hara runs through the dirt and railroad tracks surrounded by thousands of the wounded civil war soldiers.

The camera pulls away and the film cuts to a b/w 8mm, racist-laden, PSA with a pro-segregationist, a Dr. Kennebrew Beauregard, dramatically portrayed by Alec Baldwin. He seems to be rehearsing a voiceover for this film with repeated false starts. Lee distinctly has Baldwin facing the camera, breaking the fourth wall, and showing Beauregard's character flaws. Also, we're seeing a side of racism against what is now thought of as revolutionary: the Little Rock Nine. Our lesson in this moment is to remind us about the struggle of desegregation of blacks and whites in schools; a short history lesson of what occurred three years following the 1954 Brown vs. Board of Education Supreme Court ruling that stated separate public schools for blacks and whites is unconstitutional.

Next the story arrives in Colorado Springs, CO, which is actually filmed on location in Ossining NY. The story takes place in the early 1970s, but the book from which this movie is based was about events that took place in 1979. In one scene there is a "elect Richard Nixon" poster, therefore moving this timeline back about 7 years. This is, perhaps, Lee's choice to connect the KKK to Nixon's 1968 and 1972 campaigns, mainly reminding us of Nixon's "Southern Strategy" for supporting States' Rights, and that the Republican party continued to use this strategy through the last presidential election.  (Read further about the strategy.)

The story of Ron Stallworth (John David Washington) begins with his job interview for the Colorado Springs Police Dept. While he is working in the records room, he meets a fellow cop that calls him a racist derogatory term. The harassment from this cop is an angle that adds to the tension whenever he cop reappears in the film.

Eventually Stallworth is recruited into the undercover detective work and is asked to attend a Black Panther meeting at a local college. He meets Patrice Dumas (Laura Harrier), the president of the Black Student Union. She is created by Spike Lee to represent the black women of the black power movement.    The speaker at the student union is Stokely Carmichael, aka Kwame Toure, who created the phrase Black Power. Stallworth finds himself in a crowd chanting along for empowerment. In this scene, director Spike Lee gives several of the students in the audience close ups under spotlight -- distinctly three at a time framing just their head and shoulders --while Carmichael tells them that they're beautiful. Dumas meets later on with Stallworth and she questions his role in being there, asking in a less-than-welcoming way if he's the police. She is skeptical; the police's reputation is to shoot innocent black people.

Lee uses opportunities in all of his films to create positive moments within black culture; anything that resonates with socializing, dancing, and singing together. Songs such as "Oh Happy Day," and "Too Late to Turn Back Now," are well known songs with the former released in 1969 and the latter in 1972. The songs were part of the soul, rhythm and blues soundtracks furthering a movement that empowered African Americans in their unified fight against segregation and suppression.

Taking the undercover work to a new level, Stallworth discovers that the Klu Klux Klan are recruiting through a newspaper ad, and leaves a message in a white voice, not which is from actual true story, so it furthers his disguise and adds a bit of humor to Lee's version. In the process of leaving a message, which is on an answering machine, he uses his real name. Stallworth speaking with KKK leader by phone uses his savvy vocal inflections to pretend he hates blacks and Jews, convincingly enough that they want a face-to-face meeting with him. Fellow detective Flip Zimmerman (Adam Driver) plays the white Stallworth. Zimmerman executes the task and wins most of the local group over. Adam Driver displays a blend of vulnerability and heroism for this role, and should be considered for nominations as supporting actor.


To play a klan member as an actor, it is probably one of the most difficult to accept roles that the cast will ever experience, but they genuinely appear as fully realized characters; as calculating, conniving propagandists, and lowlife idiots. Spike Lee also doesn't hesitate to let us see how the klan wives are in it for the crusade despite being shut out from their meetings. We see later they're there to do the messy work that their cowardly husbands won't do. Women early on were instrumental in empowering the Klan, and had their "Ladies of the Invisible Empire" gatherings.

Topher Grace is at first unrecognizable, and as the KKK's Grand Wizard, David Duke, he adeptly plays a naive, but oppressive, hatred-gushing, media-savvy racist. We're at a point in time in which Duke is devising a route to gaining political leadership.

Without plot spoiling, there are two speeches that the film offers in parallel to each other. It is so vivid in which every moment is imbued with a sense of horror. KKK members chanting the "America First" phrase, which was resurrected at the most recent presidential campaign stops. Spike Lee wants us to feel we are experiencing history that is repeating itself; a mirror in a sense. His most effective key moments are how he uses the camera as a witness in klan initiation rituals, like the secret handshake, and their viewing parties for watching a horrific 1915 D.W. Griffith film, The Birth of a Nation

All throughout BlacKkKlansman is the dramatic score by Terence Blanchard, known for working on over 22 projects by Spike Lee, he orchestrates music not hidden in the background. The score flourishes in the foreground and keeps the scenes from feeling flat.

One song of note is an unreleased track by Prince in the end credits, "Mary Don't You Weep," and Spike Lee says "Prince wanted me to have that song, I don’t care what nobody says. My brother Prince wanted me to have that song. For this film. There’s no other explanation to me. This cassette is in the back of the vaults. In Paisley Park. And all of a sudden, out of nowhere, it’s discovered? Nah-ah. That ain’t an accident [laughs]!"

While the Stallworth story wraps up, Lee transports us to a present day reflection of a painful reminder of what occurred a year ago in Charlottesville, VA. The rise of neo-nazis is happening not just in the U.S. but in several countries in Europe. He doesn't hold back on the footage including present day David Duke attributing his cause to the words of Trump.

The end footage of the violence in Charlottesville beckons us to stay alert and don't let the hate speech or violence win. Don't be complacent while innocent people are wrongfully targeted, are falsely accused of criminal behavior, and often are murdered. Heather Heyer is one of thousands of victims dying in a fight against the rise of hatred.

Further viewing: Jordan Peele on his producer role of BlacKkKlansman.


How you can fight the hate:
https://www.aclu.org/issues/racial-justice
https://www.indivisible.org/
https://www.splcenter.org/
https://www.humanrightsfirst.org/

Saturday, August 04, 2018

Movie Review: Ingrid Goes West

If you watched Ingrid Goes West and never once checked your social media accounts, then you don't have the addiction to constantly check social media and, most importantly, you are nothing like the obsessive compulsive character portrayed by Aubrey Plaza.

No other movie has given Aubrey Plaza the opportunity to be so vulnerable like in her role as Ingrid Thorburn in Ingrid Goes West. From the start it is clear that this movie is about a young woman who goes off course in her life when she fanatically tries to be someone she isn't; manipulates her way into the life of someone she found on Instagram to follow and for which to be influenced on what to wear, what to eat, etc. 

The only real honest person in Ingrid's life comes with the friendship she forms with her landlord, Dan Pinto, played by O'Shea Jackson, Jr. He's got a thing for Batman. It is a great angle for him to play with in other aspects of the story involving Ingrid's critical compulsive behavior. Together their antics are less heroic and more mischievous, but he lightens the tragic side of the mentally ill aspect of Ingrid's personality.

Ingrid Goes West shows us how people with their vapid personalities prefer to surround themselves with others like them. In the case of the character of Ingrid, she tries to blend in and be a part of the popular scene, justifies her existence by wining approval and friendship with the most empty-minded social media "influencer," Taylor Sloane.

Elizabeth Olsen plays Taylor Sloane and does an expert portrayal of someone who wants to surround themselves with every new product or trend to post to their page. Poses with the best, verbally declares everything is the best, but without "everything" she literally is no one, nothing.

Unfortunately, if it is not obvious, Ingrid fails to gain more actual, and much needed, close friends nor does she have truly enjoyable emotional experiences by stalking her favorite "manufactured" social media personality. Someone like Taylor Sloane is attractive to others who are unpopular and desire human connections. For the isolated person like Ingrid, sometimes social media interaction is anxiety inducing at its worst. In one instance, Ingrid demonstrates a level of being self-conscious about posting comments, is compelled to get it right to gain her "like" or a reply to the comment. She doesn't want to come off too needy or too quirky, but she wants Taylor to respond so she asks a harmless question while being encouraging. Taylor's response, of course, is life changing to Ingrid to the point where she insinuates herself into Taylor's life at the highest degree of desperation to win her over.

Ingrid Goes West offers an example of how society struggles to never relinquish a grip on their, ironically, "smart" gadgets, and how people avoid facing their true "selfie". However, is abstinence the only answer to our social media madness? What if you're at the point of posting your final vlog and you get a "like" in response, can you still cut yourself off?

Take your "selfie" on a break to explore this:

Techcrunch come up with 9 reasons social media stalking feels so right. -- ask yourself now, are you a stalker? If so, do you have the right equipment? 
Facebook and Instagram announced that they have put into place tools for those that want to know how long they've been using the apps. However some psychologists say that this is not going to reduce or stop the addiction. "'If one is addicted to maximizing ‘likes,’ it seems that these tools are a bit like suggesting to an alcoholic that he/she set an alarm to go off after the first drink or a few drinks — not effective at all,' she said." 
"To use the new tools on Facebook and Instagram, users will need to find them on a settings page and take the time to opt in, which will most likely be a barrier to many people, experts said."
The concept of social media stalking addressed in Ingrid Goes West is exactly why I won't activate a data plan on my cell phone or I'd otherwise fall into the trap of checking into social media no matter where I am. I'm not at all on social media to be an influencer. I typically choose who I follow and don't react by clicking "follow" on any strangers who follow me.  
We all have seen those friends on Facebook aka "crackbook" who post selfies on a regular basis. What is this constant need for attention? We've all learned in the past year that the addiction to social media is built in with each like providing a dopamine hit, from Sean Parker, the founding president of Facebook, "'The thought process that went into building these applications, Facebook being the first of them … was all about: ‘How do we consume as much of your time and conscious attention as possible?’ That means that we need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever. And that’s going to get you to contribute more content and that’s going to get you … more likes and comments,' he said." 
[Ingrid Goes West Spoilers]
Favorite lines:

  • "Maybe its good to be alone once in a while." 
  • "If you don't have anyone to share anything with then what's the point of living."
Noted connection to a real world experience:
  • Best moment of satire--an inside joke for people who have dined at the vegan affirmation-laden Cafe Gratitude--in the film is a place called the Grateful Kitchen. The vegan cafes are only in SoCal, but just make sure you don't end up at Cafe Attitude.

Read more about the actor's and director's view of social media.

Do you want more movie reviews that offer a comparative insight into our contemporary world? Let me know in the comments.

Sunday, May 14, 2017

Keeping Up With the Favorites: Blixa Bargeld & Einstürzende Neubauten

Back in 1998, the Korner interviewed unconventional singer/composer Blixa Bargeld (Einstürzende Neubauten, Nick Cave and the Bad Seeds) around the time the album Ende Neu was released. He was in a terrible mood having learned that a representative handling the travel at Nothing Records didn't put him in a better class than coach class on a flight from Los Angeles to Germany. However, Blixa was quite accommodating for the interview and didn't let that upset be a distraction. Nothing Records was licensing Ende Neu for domestic release, but the album originally was released by Mute Records in 1996.

There is not much in book form exclusively about Einstürzende Neubauten, but back in 2011, this book by Jennifer Shyrane, Blixa Bargeld and Einstürzende Neubauten: German Experimental Music: 'Evading do-re-mi' was published and it is one of those well-written academically in-depth ebooks and print rarities. Find it if you can. Blixa provides the Preface to the book. You may only find portions of it on Google.

Fast forward to 2017, let's look at what is happening with the band Einstürzende Neubauten. They were the opening band on January 21, 2017 at the new concert hall, Elbphilharmonie, in Hamburg, Germany. See the video below:


As of this weekend, Blixa was spotted by V. Vale of RE/Search on a plane from Berlin to Copenhagen. Einstürzende Neubauten are performing live in Europe what they call their "greatest hits" from the last 37 years. Here is a review from the May 12 show (if using Chrome, you can translate it). They opened with "The Garden" from Ende Neu.

The formation of the band is covered in this MetalKult interview with Blixa Bargeld about the formation of Einstürzende Neubauten.

Dangerous Minds interviewed Blixa in 2012 about his art show, "Life Patterns."

And just this past April, Blixa was interviewed by Profil.At in which he states he has no relationship with a record label or the music industry, "I have so little to do with industry that it does not concern me personally. Other people take care of my business, and after I do not have a record deal, I'm not guilty of any business. In this respect I can do what I want." Of course, one of those non-music things he does do is cook risotto.


Just in today, photos from their O2 Forum show in Kentish Town, London on May 4, 2017.