How All Movies (Even Sex Doll Films) Are Like Restaurants & Why That’s So Important
“I ordered the fried mushrooms. You’ve got to try them—they’re fabulous.”
“No thanks, I don’t eat mushrooms.”
“Why not? “
“I don’t know…I’ve never had one.”
“What?! How can you not like something that you’ve never had?”
“I don’t know; I just don’t.”
People do it all the time; they form opinions about all types of things…people, food, neighborhoods, films…often without any experience. They just glance at the menu and think…“not today,” “never,” “that sounds gross,” or any number of other ways to reject what’s available. But the fact of the matter is that each restaurant that you’ll ever visit has a specialty. With that in mind, if you don’t try something that a restaurant is famous for, you could be missing out on something great. Think about it. We all have our favorite places of where to get certain foods, and why? Because we were brave enough to try it in the first place. For instance, when I want Chinese food I know exactly what number I need to call (it’s a carry-out only place). When I just want pizza I go to one restaurant, but if I’m in the mood for pizza and wings…then I head in a completely different direction. Don’t you do something similar?
Film isn’t much different. Just like your favorite restaurant, each film that gets made does so with a particular specialty in mind. Some films have amazing special effects that can look so real even when you know they’re not. Others may have exceptionally romantic love stories, which bring you heartache until the main characters are able to find each other again. A film may help by educating viewers to understand (even a glimpse) of the horrors of war. Another may only be an excellent reference of how a director may shoot another upcoming project. But just like that restaurant appetizer that you’re unsure if you should order, each film has something that they do well that you should experience…at least once.
A prime example of this is the 2008 MGM film, Lars and the Real Girl. Lars, as you can most likely gather from the cover art, is played by Ryan Gosling—someone whom I am gaining a little more respect for professionally with each film that he makes. But you may be asking, “What is he sitting on in that image?” Well…there’s no other way to say this, so…that’s the box that the “Real Girl” arrived in. That’s right…Bianca, Lars’s “girlfriend” for the majority of the film, is a “real doll.” And just in case you don’t know, which I’m going to wager that a bunch of you do not, real dolls are a modern and ultra-realistic take on (the now) old-fashioned blow-up sex dolls.
At this point, I’m sure that there are quite a number of people whom are exceptionally uncomfortable with the premise of this film. If it makes you feel any better, I would also say that is certainly expected. In fact, I would practically promise you that you’re also not alone—no one wants to watch some man (even if it is Ryan Gosling) have sex with a girl made of rubber, silicone and artificial hair. I can’t even imagine trying to pitch this movie to my grandmother (we watched a pretty large amount of motion pictures together when I was growing up). But just like the mushrooms…by not giving this film a chance you’re making a big mistake.
Contrary to what you may be imagining Lars never gets, as Olivia Newton John would say, “physical” with Bianca. After the shock and discomfort wears off you realize that the film is about something else entirely…. It is about how, without the help of the ones that we love, that many of the horrors of this world could easily consume any of us. The film also does an exceptional job of showing people how we should all be treating each other, because you never know what someone may be going through when you mock them.
Lars is often shown with what looks like a knitted blue-gray scarf around his neck. After a brief conversation with his sister-in-law Karin (Emily Mortimer) we learn that it is not a scarf—it is in fact the baby blanket that his mother made for him. That is, before she died during childbirth twenty-seven years ago. We also learn very early on that his father died in the recent past, as it is later said, “of a broken heart.”
With that knowledge, quite a few things become all too clear. Lars spends so much time by himself because of the guilt and depression that he carries around with him every day. Through his birth he feels that he took away his own mother. Lars feels that he stole his brother Gus’s (Paul Schneider) mother. He has guilt over causing the death of his father’s wife. Above all else, Lars is certain that it is his fault. In fact, when these brothers inherited their parents’ house, Lars almost immediately moved into the garage as if to say, ‘I don’t deserve to live here with you.’
Shortly after the viewer is informed through dialogue that Karin is pregnant, Bianca arrives. And then the entire world is upside down. Everyone in Lars’s world is nearly frozen in shock, whereas Lars appears as if someone has finally plugged him in after years of being unable to reach a power source.
After their first meeting Gus is nothing short of terrified that his brother has gone, “nuts.” Gus and Karin use a ruse of arranging an appointment for Bianca as a way to get Lars to see their small-town doctor/psychotherapist, Dagmar (Patricia Clarkson) the very next morning. During their consultation, Lars stays with Bianca and the viewer gets to witness the interchange that occurs between Gus, Karin and Dagmar. Here it becomes clear that Gus is far more concerned with what the public’s perception of him will be than what he can do to help the mental health of his brother.
“Everyone is going to laugh at him,” Gus said.
“And you,” Dagmar responded.
Dagmar uses hour-long weekly sessions with Bianca, to secretly help Lars. After Bianca’s “special treatments” she must rest and it is during this time that Dagmar counsels Lars. As each week goes by the we learn more about Bianca, which in turn, means that we’re also learning more about Lars, “[Bianca’s Parents] died when she was a baby…” he said, “…but she doesn’t feel sorry for herself or anything. She just wants to be normal and have everyone treat her normal.” Lars also tells Dagmar that Bianca is unable to have children (which means unlike Karin, Bianca is safe). It is with that information that the story begins to change. Lars mentions to Dagmar about how dangerous bringing a child into the world is, so that it is probably for the best that Bianca is unable to have children.
And that’s when it all makes sense. This episode…this delusion…that Lars is suffering from is all out of his fear that something will happen to Karin. Why? Because she’s pregnant and bringing a baby into the world is “dangerous” and he is afraid that Gus will have to experience more loss than he’s already had to. When Lars’s mother died, and Gus left (a few years later until after their father died), Lars had never had anyone to help him work through his fears that had consumed him since his childhood. As the delivery of Karin and Gus’s baby grew closer, Lars’s mind was no longer able to handle his fear and so he created the delusion of Bianca so that he wouldn’t be alone.
Between each of Dagmar’s sessions are scenes showing that Bianca is getting a little more accepted in their small town. We see her at the beauty shop with the girls. She is at church on Sunday morning with a hymnal in her pose-able hands. Bianca even visits the Pediatric ward of the local hospital. Why do the folks in this small town go along with this absurdity? They go along with it because small towns are some of the last places left where you can still find people doing things for each other, for no reason other than out of love. People in small towns know the stories of the people in the next house and even the house down the road. These are the people that bring casseroles when families lose a loved one, or offer a shoulder when other tragedies strike. The people in this town know that Lars is “a good boy” who has had a very hard life. Many of them are more than willing to do all that they can to see that he is able to find even a modicum of happiness (an example that many of us would do well to take note of, I might add).
There’s a scene in the film when Lars asks Gus about when you can know you’re a man. Gus, probably by accident tells us, “You grow up when you decide to do right, and not what’s right for you—what’s right for everybody, even when it hurts.”
Many may not find it surprising that a ‘sex doll film’ has a message of love—but it is surely not the love message you were expecting. As I stated earlier…like a restaurant, each film has a specialty. Even though the leading lady in Lars and the Real Girl may be made of silicone, this film illustrates positive messages of mental health, family, honor, respect, community, compassion, hope, and love in ways that few other films are able to hold a candle to. But then again, you’d only know that if you were willing to try the mushrooms.
“You’ll Understand [All Too Well] When You Get Older”
The Cinemark Movies 10 on Burbank road wasn’t terribly full that winter night of 1999. Nevertheless, once the film ended the 50 or so people that were sharing a dark room for a screening of American Beauty didn’t move a muscle or say a word until at least ¾ of the credits had scrolled by. It was one of maybe 5 times in my life that I have witnessed this type of public reaction to a film. Slowly we all filed out, throwing all of our popcorn buckets, drained Cherry Cokes, and empty Goobers boxes into the proper receptacles. I remember walking slowly behind a gentleman and following him all the way to the men’s room. He was, most likely, about 50 years old.
Because all men know that there are unwritten rules about talking to men that you don’t know at urinals, once I reached the sink I asked, “So what did you think of the film?”
The stranger gave a short response without making any eye contact, “I didn’t like it.”
“May I ask why?” I enquired.
“I go to the movies to escape,” he said, “and that was just too real for me.”
“Fair enough.”
Obviously his words stuck with me. I mean, here we are about twelve years later, and I still remember them. But make no mistake; my view regarding his opinion has changed over the years.
On that night and for quite a while afterward, I was honestly a little creeped out by the stranger’s remarks. I remember thinking to myself…so does that mean that all “old men” just walk around fantasizing about high school girls? Gross. Are they not able to make the mental connection that the young women that they are attracted to are the same ages as their own children? Double gross. Do they not realize that this makes them appear publicly as “perverts?” Triple gross.
I didn’t realize, like Jane and Ricky, just how young, and naïve some of my opinions were. I did not, at that time, have enough life experience to see the full perspective on many of the film’s situations.
American Beauty--Dreamworks Entertainment
Somehow…someway…mom and dad were right. It’s like they knew when they told me over and over again, “You’ll understand when you get older,” that some type of magic buzzer of awareness would go off in my head sometime during my late 20s/early 30s.
Even though it is not talked about often in the media, many if not all men gauge their degree of self-worth on the sexual appraisals they receive. Tell them they have a small penis—they feel worthless. Say that you didn’t have an orgasm—they feel useless. Regularly find reasons to avoid intercourse (headaches, exhaustion, “it’s Tuesday,” and more)—they feel cast away. Choose to display that you no longer find your mate attractive anymore—they will be devastated. And the list of potential examples could go on and on.
One scene from American Beauty explains quite a bit about the current status of Lester and Carolyn Burham’s relationship. It is the perfect scene that backs up Lester’s earlier statement of, “She wasn’t always like this. She used to be happy…we used to be happy.” The scene takes place directly after Carolyn (Annette Bening) catches Lester (Kevin Spacey) masturbating while he thinks she’s asleep.
“Lester I will not live like this…this is not a marriage!”
“This hasn’t been a marriage for years, but you were happy as long as I kept my mouth shut.”
“Don’t you mess with me mister, I will divorce you so fast it will make your head spin.”
“On what grounds? I’m not a drunk. I don’t fuck other women. I don’t mistreat you. I’ve never hit you. I don’t even try to touch you since you’ve made it so abundantly clear just how unnecessary you consider me to be. But I did support you when you got your [real estate] license and some people would think that entitles me to half of what’s yours.”
“Oohhhh.”
“So…turn out the light when you come back to bed.”
American Beauty--Dreamworks Entertainment
Lester’s smile reveals how relieved his character is to finally say these things. But this scene also teaches us something else that is very important. Lester stepped aside for a significant amount of time and put Carolyn’s needs and/or career aspirations ahead of his own. We learn that Lester supported Carolyn while she was getting her real estate license. It appears that he gave her space so that she could focus on her career, and by doing so it changed her.
We get a deeper look at this as Carolyn and Lester enter a local realtor business function. At the event we hear her explain to her husband, “My business is selling an image, and part of my job is to live that image.” And suddenly for the viewer a number of things make more sense…the appearance of their house, the difference in the quality levels of the cars that they drive, and more. As time goes on it becomes more and more clear that Carolyn feels that Lester doesn’t contribute to her “image” in a positive way. In fact, she even instructs him in front of one of her colleagues, “Honey, don’t be weird.” You can even see with how the shot is framed (on a small flight of stairs) so that Lester is even being devalued visually. He is positioned as the lowest person on these stairs, next our vision ascends to Carolyn, and then finally to Buddy “The Real Estate King” Kane (Peter Gallagher) at the top.
After becoming a successful businesswoman, Carolyn began to fail to see Lester as a strong and powerful male figure in her life. When it comes to physical attraction, it is no secret that many women are attracted to successful, powerful, or at the very least confident men; Carolyn Burham shows that she is no different when she tells Buddy, “I am in complete awe of you.”
American Beauty--Dreamworks Entertainment
“There happens to be a lot about me that you don’t know, Mr. Smarty Man,” Carolyn says to her husband in one scene. Yeah, no shit. Having her secret affair allows her to find romantic, emotional, and sexual fulfillment from 9-to-5 while at the same time she is able to keep up her façade of a marriage that maintains her “image of success” every evening. Carolyn is living a double-life that illustrates what Lester says later in the film, which is:
“Our marriage is just for show—a commercial for how normal we are. But we’re anything but.”
American Beauty--Dreamworks Entertainment
Once her infidelities are discovered, Lester boldly and correctly tells her, “No-no. You don’t get to tell me what to do…ever…again.” At this point Lester decides that he is going to change his life. He determines that he has been hiding behind his own depression and that he is going to take better care of himself. He begins working out, lifting weights, running. He realizes that if his wife is no longer attracted to him that someone else will be.
That brings us to Lester’s fantasy-based attraction for his daughter’s friend, Angela Hayes (Mena Suvari). Does Lester look at Angela in such a sexual way because he’s a pervert or a pedophile? Not in my opinion. He looks at her that way, because she looks at him in the flirtatious manner that his wife used to. Angela interacts with him in the same way that he, in fact, wishes that his wife still did. Angela looks at Lester the same way that Carolyn now views Buddy. After so much neglect, Angela could’ve been any woman of any age and Lester would’ve reacted the same way. He just wanted to feel alive again through physical human interaction.
At this point you may be asking, “Tim is there something that you want to tell us? Why do you understand this so much?” And the truth is that 12 years ago when I watched this film, I looked at the world from a perspective not so different from Ricky—I was buying time, and was doing what I was told until I could get out on my own—a feeling shared by many-a-teenager. But nevertheless the motion picture did have an effect on me and ever since I have been trying to see the world as Ricky did. At times I am so direct with people by telling them exactly how I feel that it makes them uncomfortable. And like Jane they say, “He’s just so confident. That can’t be real.” But I’ve learned that an unabridged level of truth in all of one’s relationships is paramount to maintaining those life-connections.
No longer a 19-year-old, I am now a man in his 30s with a wife, son, (another child on the way), a mortgage, and more. So mom, dad, you were right…I am older. I do understand. I have now been around enough people in this world to know why this film was, as that stranger put it, “too real.” But just as the last line of the film says if you have no idea what I’m talking about, “don’t worry…you will someday.”
I was not there that day….
I was not there that day…. I did not have any friends, colleagues, or loved ones in the World Trade Center Buildings, the Pentagon, or in Shanksville, Pennsylvania…. I cannot justly put the horrors of that day into words. This is in no way some type of firsthand account. Ten years later I still can’t even begin to understand the existence of the type of hatred that brought about the historical events that are being remembered on this day.
I will not tell you “my story” about that day. Where I was, what my thoughts were, or what I experienced that day is not important. It does not matter, and there’s no need for it to be read or heard by a larger audience. Period. What I can tell you, on this the 11th day of September 2011 is that this blog site is largely devoted to film. Because of that fact, I will take this opportunity to tell you that you should watch one of the most powerful films that I’ve ever seen: 9/11.
In this film, two French filmmakers set out in May of 2001 to begin a documentary about becoming a New York City firefighter. That’s right, I said May of 2001. And so throughout the summer these filmmakers followed a particular firefighter through the academy, to his firehouse assignment, and waited for his first fire so that they could finish their documentary. Firefighter Benatatos was assigned to a house long before September. But every time that he was on duty, it seemed that the firehouse wouldn’t get any calls that involved real fires. Sure there was a gas leak here, a car accident there, but no significant blaze that these filmmakers could end their film on. As the days went on it would feel like they were waiting for something bigger. The date of that first fire would be the morning of September 11, 2001. Their film would instantly have a much larger purpose than they originally intended. Their film about one firefighter would now be a much larger piece about the events of that day, events that many news crews running cameras that day wouldn’t see.
What makes this film stand out amongst all of the different films, footage, and documentaries that exist about that day?
-It contains the ONLY KNOWN FOOTAGE of the first plane hitting the World Trade Center.
-It contains footage from inside the towers that day.
-It also contains footage from inside the plaza after the towers started to collapse.
It aired for the first time on CBS one year after the events of that September morning. My now wife (she was my “girlfriend” at that time) and I watched it and both of us became overcome with emotion several times throughout the film. It is filled with vivid and disturbing imagery that preserves the true horror of that day. After its completion, the host of the TV special, Robert DeNiro announced that the documentary would be available for sale and that the profits would all go to benefit the families of the victims of 9/11.
I immediately left for the store and purchased it that night.
CBS plans to air it again tonight, ten years after we were attacked by our own planes, on our own soil. It will be an update…a look back paired with a “where are they now” type of thing, I’m sure. I can’t speak to what they will be airing tonight, as of course, I haven’t seen it.
But I do know, that someday, my children will ask my wife and me about that day. They will ask us if we were scared, what it was like, or what we were thinking. The will ask us other questions about what happened afterwards, and how that 2001 day led to a tomorrow that isn’t here quite yet. When they’re old enough, I’ll pull out this film. We can all watch it together, and discuss that no matter how memorable these images are that love is always the most powerful message anyone can deliver.
See this film, if you have any way at all to do so.
God Bless All Whom Have Been Touched By This Day. And God Bless America.
“No, You Hake a Tike!” and Other Nuggets of Wisdom
I became a Dennis Leary fan in junior high immediately after listening to the No Cure for Cancer cassette for the first time (yes, I realize that I wrote cassette and that it dates me by doing so). But truthfully, there are only a few times that I can remember laughing that hard that didn’t require some type of tickle-torture. It would be my enjoyment of Leary’s comedy that would lead me to pursue his other projects…films such as The Ref, and Judgement Night, TV appearances, and more.
So…it probably goes without saying that when Rescue Me premiered on the FX television network back in July of 2004 that I was interested before it even began. Plus, with the popularity of shows like Law & Order, CSI, and others paired with my enjoyment of films like Backdraft I was intrigued by the possibilities of a firefighter television drama. (And personally having a father and grandfather who spent time fighting fires as well as my prior interest in pursuing a degree in fire sciences didn’t hurt its chances either….) But in my opinion, the creators of the show made a very wise move, they realized that in a world where 9/11 was still trying to scab over, the wisest thing to give television audiences was good old fashion comedy (with an occasional pyrotechnic or dramatic twist).
Any (good) cast, regardless if it is for a film, a Broadway play, television show, or even a short story functions very much like a human body. There is usually a head (or star) which in this case would obviously be Leary. Then there are arms which primarily exist just to interact with other things and/or serve as comic relief (Mike Silletti played by Michael Lombardi & Sean Garrity played by Steven Pasquale). Just like any good body, a valuable cast also has legs which take us to the different paths in life that we could encounter (Janet Gavin played by Andrea Roth & Sheila Keefe played by Callie Thorne). But anyone with even a moderate understanding of anatomy knows it is the spine that makes the majority of actions possible. The spine holds the body upright, is directly connected to the brain, and is what allows other parts of the body to function as they should.
“You coming Tommy, it’s a fire and we’re all invited?!”
The spine of Rescue Me, and the primary reason why I have continued to watch the show over these last seven years, is the character Lieutenant Kenny Shea, a.k.a. “Lou,” played by the immensely talented and hilarious John Scurti.
The more I see of the show, and the closer I look, the more I am convinced that Lou is the perfect character. Lou has many different dynamic levels to his personality and the show’s writers have used them with the perfect sense of balance. Just as you would need your spine to walk up a flight of stairs, or throw a baseball, the many sides of Lou’s persona have facilitated the forward motion of Rescue Me’s storylines over the last seven years. Whether it is a need for sensitivity, wisdom, sarcasm, vengeance, defeat, or just plain old friendship…Lou is the person you want answering the call…and Rescue Me’s team of writers have made that abundantly clear.
“You know I can’t believe this kid. He gets asked to do 3-ways. He’s got a mother-daughter-combo-plate going. You know, I never thought I’d say this, but when I die, I’d like to come back as your penis.”
Make no mistake, the majority of Lou’s actions are driven by his many impulses. Lou not only loves his pursuit of cupcakes, cigars, and copulation he makes the world around him aware that those are the things he lives for. Lou says what he wants (and often what we all wish we could) say; he does what he wants to do. It seems that in this fictional world of the firehouse for 62 truck, Lou is able to live in a world that appears to have significantly fewer social boundaries compared to the everyday world that many of us call home. But the important thing is that when Lou sees something he wants, he goes after it.
After taking a bite of a piece of chocolate pizza, “I have just seen the face of God.“
There have also been many moments over the last seven years that Lou has also been a beacon of wisdom for the characters of Rescue Me. Like the show, the wisdom Lou has provided has ranged in its level of seriousness from ways to successfully pull of various schemes, to counseling fellow firefighters about rashes, to issues with alcoholism, divorce, gender roles and more. But in other moments, when the writing staff takes those few lines to comment on life and it’s many gifts or issues it is often Lou whom gets the privilege of delivering such monologues, like the following clip for example:
All comedy aside, Lou‘s character has also been used to discuss some serious issues. After the Vietnam war ended, it began to be acknowledged more and more often that the horrific events that our soldiers witnessed through war left scars on them that would take years to heal long after the bullets stopped flying. After 343 brave New York City Firefighters gave their lives at Ground Zero that September morning, it became more common than ever to view our emergency personnel as heroes. But if you asked people on the street if they associated the word fragile with their heroes you can guess what the answer would be. But again, the writers again used Lou to comment on society. The Lou we’re introduced to in season one of Rescue Me is one that secretly writes poetry that he hides from his fellow crew members. Why does he write it? Lou uses metaphors and similes in order to help his character cope with some of the horrific images he witnessed in downtown New York that day. From someone who was living in Ohio, far from those events that shocked the world that day, this was the first time that I was aware of anyone discussing, post 9/11, that many of these firefighters that were heroes that day, may also need a little saving from what they have witnessed.
Speaking about acupuncture: “Yeah I almost had that procedure done. They wanted to put needles in my eyeballs. But instead of acupuncture, they called it marriage.”
Why am I giving Lou (and in a way John Scurti) so much love? Well, now that this week’s episode has aired there are only two episodes left of this fantastic series. Was it raunchy at times? Yeah. Did it push the envelope, even for a cable series? Definitely. But it has been worth every episode. If you haven’t watched this show over the last seven years, all the prior seasons are already available on DVD. The final season is released on Blu Ray and DVD on September 13, 2011. The point is that I entered the fictional NYFD company of 62 truck as a Leary fan…but I’m leaving a Scurti fan, and I think you will too.
Last Friday, Harry Potter and the Deathly Hallows Part 2 opened to audiences around the world. But its screening caused a buzz that had nothing to do with wizards or muggles. That hype was because the first teaser for Christopher Nolan’s final Batman film, The Dark Knight Rises, premiered before it. This is my short analysis of what Mr. Nolan has shown us to get our minds swirling.
The official trailer can be viewed now at http://thedarkknightrises.com
Here’s a step by step breakdown of what we see in this trailer:
-The trailer starts with the same billowing blue explosion-like flames that appeared at the beginning of The Dark Knight behind the Warner Bros. and Legendary Pictures logos.
-Then the words “Every hero has a journey” appear on screen.
-Next we hear the Liam Neeson/Ra’s Al Ghul’s quote from Batman Begins, “If you make yourself more than just a man…” as Bruce Wayne heads towards the glaciers from that film.
-Then the words “Every journey has an end” appear on screen.
-Ra’s quote continues, “If you devote yourself to an ideal, then you become something else entirely…a legend, Mr. Wayne, a legend,” while we see images of Bruce standing in the Batcave followed by Batman riding the Batpod (the final image of The Dark Knight film).
-Then we see our first glimpse of new footage. Commissioner Gordon appears in a hospital bed speaking to someone off screen. His breath and speech appear to be labored, and his first words are, “We were in this together, and then you were gone…” followed by the shot of Gordon destroying the Bat-signal at the end of The Dark Knight.
-Gordon continues, “And now this evil rises.” Then there is an image of what appears to be someone climbing out of an old well, “The Batman must come back,” as we are shown Bane doing push-ups in a prison cell.
-Bruce’s voice comes from off screen, “What if he doesn’t exist anymore?”
-Gordon responds, “He must,” as we see an image of Bane’s face that shakes into brief focus, “He must.”
-Then the camera zooms into the center of the film’s poster image to reveal the title, The Dark Knight Rises.
-This is followed by a brief scene depicting Batman backing up like an intimidated fighter as a huge Bane is seen moving towards him.
-The screen then goes black and the words, “The epic conclusion to the dark knight legend,” appear followed by the expected “Summer 2012.”
So, what does this tell us? What jumps out at me almost immediately is the fact that it appears that Gordon now knows that Bruce is Batman. Or does he? Well we do know that the voice we hear is Bruce’s because it doesn’t have that mouth-full-of-sharp-marbles sound that Bale’s Batman has been known for in this franchise. But is it really Bruce sitting there, or is Nolan screwing with us with audio from different scenes spliced together? For a while I tried to reason it out and thought could he be talking to the mayor, or one of his lead detectives? But the more and more I thought about it, since this is Nolan’s last bat-flick I think it is completely reasonable that Gordon could discover this information.
Then there’s the person climbing out of the well followed by Bane doing push-ups in a jail cell. My suspicion is that these two images were paired together to intentionally confuse. I believe that it is in fact Bruce Wayne that is crawling out of that well, and that it is the same well he fell down as a child. Nolan has stated that this film will bring this trilogy full circle, “Why do we fall Bruce…so that we can learn to pick ourselves up.” When a trilogy is completed it is often the messages from the first film that are reinforced with higher meaning to close the series. The last time we saw Bruce emerge from this well he was being carried by his father, it makes complete sense that he would now be forced to emerge on his own. By showing a flash of Hardy doing push-ups behind bars it shows me that they are running with the popular Bane back-story of being a prison inmate that was experimented on while incarcerated. Many will want to mistakenly connect these two images as two takes of the same person.
Next, the zooming into the poster image/title screen tells us what we already know about this third and final Nolan bat-flick…that Gotham, just like Bruce, must fall so that it can learn what it needs to pick itself up. That is why the camera appears to be rising while the city is falling, in my opinion.
Finally, we see what appears to be about 2-3 seconds of the middle of Batman getting his ass kicked by Bane. This is why I think we are shown the scene of Bruce having to climb out the well. I believe that Bane discovers the Batcave, beats Bruce on his own turf and through the process the entrance back into Wayne Manor is destroyed…so in order to get help he must emerge from the well he once plummeted down (out of the Batsuit in case he is spotted). It is just a theory, but who knows. It may not be the Batcave since you can see someone else in the shot in the right background (or this is an early production shot and hasn’t been fully edited yet and that person in the background will be removed later.
The thing that worries me the most is what appears in print. “The epic conclusion to the Dark Knight legend.” One of my main concerns ever since word got out that Tom Hardy would be playing Bane is that they would pursue the Knightfall storyline (where Bane breaks Batman’s back). Nolan has insisted before production began, and now in print during his first teaser trailer that this will be the last Batman movie. Is this because when the credits roll there will no longer be a Batman? Only time will tell. Either way, the trailer did exactly what a “teaser” is supposed to do…it’s getting us to ask questions, discuss the film, and get excited for what’s to come. And that’s exactly what I am…excited for the build-up that is coming over the next 368 days. Trust team Nolan, it looks like they’re already off to an amazing start, and still have over a year to go.
What are your thoughts after watching the trailer? I’d love to hear what you think in the comments section below. And as always, thanks for reading.
Today marks the 235th anniversary of our Country’s Declaration of Independence. But, it is also the anniversary of the first time that our citizens willingly walked through the door towards global conflict. It would show the world just what these individuals calling themselves “Americans” would do to uphold their ideals of liberty and freedom.
Whether the bloodshed is fact or fiction, nowadays we nearly always expect to find a camera lens or an Anderson Cooper type in a foxhole or on the battlefield. This is most often the case because we have become increasingly more voyeuristic each day. Unfortunately, it is the capturing of the extremes of humanity…the greatest love or even the greatest violence that has the highest potential to stand out and grab our full attention.
As the son of a Vietnam Veteran, I would say that I have a delicate relationship with war. Like any son should be, I am and will always be curious about my father’s experiences. This inquisitive position regarding my father’s tour serves two means. The first is to learn about the events that shaped him into the heroic man that he has been in my life. The second is to take that same knowledge and use it to choose paths that assist me in avoiding some of the anguish that he has experienced.
On many occasions I have asked my father about the year that he spent in Vietnam. The stories he tells are mostly about the off-duty time that he spent with his friend Mark—not the stories one would expect to hear—about the death, the bloodshed or the loss of fellow soldiers. I already knew that his tour wasn’t all sunshine and roses, the items that returned home with him easily tell that story. A necklace made of bullets that all jammed in his weapon, some handmade enemy weapons, and more. The darkest story that he would be willing to tell would be about his trip home…as one of the few live passengers in a coffin plane headed back to the states.
Not until I reached my thirties would I understand how strong the desire to protect one’s son could be. It isn’t that he doesn’t have those gory and awful stories to tell. It’s that many soldiers whom are fortunate enough to make it home hope that their sons (or daughters) won’t have to see or experience such things. So needless to say, I haven’t learned about the horrors of war because my father fought to spare me from it.
But that hasn’t stopped my curiosity.
Other than the love a well told story, another reason that I gravitate towards the world of film is because I am a very visual person. I often crave knowledge and understanding but I am in tune well enough with my sense of self to know that I comprehend a great deal more when I can see it. Because of this, it most likely goes without saying that if there is a war film out there…I have probably seen it. Films depicting the conflicts during the Middle Ages, the American Revolutionary War, the American Civil War, World War I, World War II, the Vietnam War, the Persian Gulf War and even more have all spent time being aired on my home theater system so that I can study the interaction, the losses, the victories, and defeats. And after them all one stands out as being what I can imagine as the purest, most realistic depiction of war.
Saving Private Ryan
Now, I will openly acknowledge the fact that my father did not serve in World War II, the war that this film depicts. But regardless of what continent or country it takes place on, the main elements of any war remain the same. I sit here on our Country’s Independence Day realizing that it would be a film that would show me the horrors that my father as well as so many other fathers have fought to protect their children from.
The violence. The image above depicts a soldier who has had his arm blown off in an explosion on the beaches of Normandy. He is in a state of shock and even while heavy gun fire and further explosions occur all around him he stands, in plain sight, looking for his severed limb—numbed by the malice all around him. This entire battle scene will remain engrained into my memory for most certainly as long as I live. Yet when Spielberg said, “Cut” the dead and wounded were able to stand and walk off set, unharmed. I can only imagine what seeing such horrors actually happen feet or even inches away would be like, and hope that I never have to experience such things.
The desire for revenge. After seeing your brothers killed right in front of you it is reasonable to assume that one’s goals could shift and change. After Germans kill unarmed Medic Irvin Wade (Giovanni Ribisi) it becomes abundantly clear that Capt. John H. Miller’s (Tom Hanks) men are going to take the life of a German who has surrendered, purely out of a desire for revenge. After losing friends in nearly every outbreak of gunfire, it seems completely possible for a desire to seek vengeance to surface in many.
Not every man is able to fearlessly charge up the hill into certain death. That takes a special type of person. Upham (Jeremy Davies) depicts this element perfectly in the film. Any person who had machine guns firing and bombs exploding all around them would have reason to hide. Preservation of self is in fact the first instinct that many individuals feel when in danger. That’s why someone who is drowning will pull you under in order to save him/herself. The fact that this film depicts this side of the battle landscape illustrates what a complete picture it tries to show.
In the photo above, Wade is discussing regret from his childhood. He recalls how many times when he was younger his mother would return home and he would pretend to be asleep. He knew that all she wanted was to know how his day was and yet he would play opossum. Now on the other side of the globe and unsure whether or not he’ll be able to correct this mistake, he struggles with regret. Often when individuals face death they reflect on what they wish they could do better if given the chance. How many soldiers, like Wade, left home to never have the chance to correct the mistakes made before the war.
As I’ve said, wars have been fought since the dawn of time. But I believe that it is Saving Private Ryan that shows those whom have not fought for freedom the most accurate (fictional) pictures of war that have ever been depicted. I feel that too often we forget what others have had to witness and do for our freedom. Seeing it depicted in this way makes me that much more grateful that my father and thousands of other Americans have fought to protect me from such evils. And I believe, that all those whom live in this country should, on this day, July 4th and on every other day take Captain John Miller’s last words to heart. He whispered to Private Ryan,
“Earn this.”
And so I ask, are you living in a way that honors those whom have died for you? Are you living in way that shows that you are grateful for your freedom? When was the last time that you thanked a veteran? Are you attempting to earn the gift of liberty that you’ve been given. Take a moment to reflect today in between all the hot dogs, cold beer, and fireworks. Because if you remember the fireworks that you’ll see today, which are the most recognized symbol of this holiday, are to represent “the rocket’s red glare” that the living witnessed during the war for our freedom.
When should a hero, or even a villain for that matter, ride off into the sunset and never been seen or heard from again? Is there a specific time, or age? If our heroes linger too long, do they become less heroic? Or, is it dependent on the individual character that is being portrayed? Here are my thoughts.
When standing in line at their local cinema many men gravitate towards action/adventure films. Why? Because this genre consistently shows what a large percentage of them want to see: attractive women, explosions, and a heroic figure that because he saves the day/planet will therefore be adored by said attractive women. They often don’t require much thought from their audience, and also don’t always have interwoven themes with deeper meanings…but then again, they’re not supposed to. They commonly aren’t nominated for Oscars like their more artsy counterparts either, but they nearly always achieve their end goal…to entertain.
At the end of this past April a news story broke regarding Arnold Schwarzenegger’s plans for life after being the “Govenator” of California. No, I’m not referring to the article talking about him fathering a child outside of his marriage to Maria Shriver. It was an article about his desire to play a T800 (also known as the Terminator) again in another installment in one of the biggest, most successful movie franchises of all time. In fairness…this role has, in my opinion, given more fame to Arnold than any of his other cinematic endeavors. But I feel that by reprising this role, he would be making a mistake that would tarnish the character took his fame to the next level. The thought process detailed below had led me to believe that it is the character that dictates when our heroes should walk away, not just the age of the actors portraying them. Allow me to explain.
To begin, the important question becomes who could you compare Arnold to? Who has taken on similar movie roles over the years? Who is in a similar place in their career…but I didn’t have to look far. Enter Sylvester Stallone. Take a look at these numbers:
Sylvester Stallone
Born: July 6, 1946
Age as of famous franchise film release dates:
Rocky: (12/3/1976) 30 years old
Rocky II: (6/15/1979) 32 years old
Rocky III: (5/28/1982) 35 years old
Rocky IV: (11/27/1985) 39 years old
Rocky V: (11/16/1990) 44 years old
Rocky Balboa: (12/20/2006) 60 years old
Arnold Schwarzenegger
Born: July 30, 1947
Age as of famous franchise film release dates:
The Terminator: (10/26/1984) 37 years old
Terminator 2: Judgement Day: (7/3/1991) 43 years old
Terminator 3: Rise of the Machines: (7/2/2003) 55 years old
Estimated release date of untitled Terminator project: (7/3/2013) 65 years old
So here we have two famous men. They are roughly the same age (born one year and 24 days apart). They both have landed lead roles in multiple action film franchises (Stallone: Rocky, Rambo, and more) (Schwarzenegger: Terminator, Conan, and more). Both are known for their muscular physiques (even though Arnold is taller than Sylvester). Both actors have also attempted in recent years to reprise the roles that made them famous. But, what sets them apart?
When I went to see Rocky Balboa at my local theater, I was fully prepared to laugh as though it were a comedy. I didn’t see how the story was going to allow for a 60-year-old man to be a feasible contender against a current Heavyweight Champion…Rocky, or no Rocky. But when the credits rolled, and I stood up from my seat I realized that the film wasn’t about claiming that Rocky was still the same fighter that he was 30 years prior. It was impossible for him to be…he is a man who is now over 30 years older than when we first watched him step into the ring with Apollo Creed. It was about honoring the character, and giving the franchise a chance to end on high note—not the wet fart trombone sound that was Rocky V.
So throughout the film there were countless references to Rocky’s age as if to blatantly say to the audience, “we see his wrinkles too.” It was noted that he was older than the people coming into his restaurant. He was older than people he’d speak with at his local pub. He was older than the “champ” he’d face in the ring. Make no mistake…the writers made it abundantly clear that if this franchise’s main character was anything in this sixth installment, he was old.
Now, let’s take a minute to look at Arnold’s most famous character, the T800. Unlike Mr. Balboa, the T800 is a cybernetic organism, or more specifically, “living tissue over a metal endoskeleton.” But it is also important to note that the T800 was not one of a kind…SkyNet/Cyberdyne Systems made thousands, if not millions of them. For those who don’t know, in the first film the T800 was sent back in time with orders to “terminate” Sarah Connor. In the second film the leaders of the resistance were able to somehow reprogram a T800 and send it back in time to protect John Connor, the only son of Sarah, who would one day lead the human resistance against the machines. Film 3 becomes another instance of sending yet another reprogrammed T800 back to the past to protect John. That’s where I believe the problem begins.
To be clear, Arnold plays a cyborg, not a man. To see an older version of this model of cyborg in each Terminator film, in my opinion, is a mistake. If SkyNet is continually making these killing machines, then seeing ones with age spots, wrinkles, and poorly dyed hair would be the equivalent of Ford still making ’92 Escorts, but intentionally having each one leave the factory with a little more rust creeping up from the rocker panels. An aged Arnold playing the T800 in each film ruins the image of the character simply because he wants to continue acting and refuses to be loyal to the same character that made him an international star.
Now a boxer who is 30 years older, and wants to see if he still has some “gas left in the tank” feels nostalgic. But, a robot that is three decades older, to me, feels as though it should be shut down and never rebooted.
Some may read this and think that I’m pandering ageism. I disagree. To reiterate, my point is about being able to still be faithful to the character over time. Another quick example is Indiana Jones. When the fourth movie of that famous franchise premiered a few years ago, many moviegoers such as myself, were excited to see Harrison Ford don the fedora once more. When Indiana Jones and the Kingdom of the Crystal Skull didn’t perform as well as predicted, some critics stated that Harrison was too old to still carry the franchise. I disagree. It had nothing to do with age. It was Spielberg’s need to bring his inescapable obsession with aliens into this franchise that ruined it. In fact, the older I get the more I’m surprised that there weren’t aliens in Schindler’s List and The Color Purple. Or were there?
Are there heroes or villains that you think should walk away because they are no longer able to remain faithful to their characters? Let me know, in the comments below. Or, if you don’t have your own, tell me what you think of my hypothesis that Arnold should terminate himself from the franchise. And, as always, thanks for reading.
