The Art of Power and House of Cards

Art of Power - Thomas Jefferson

All too will bear in mind this sacred principle, that though the will of the majority is in all cases to prevail, that will, to be rightful, must be reasonable; that the minority possess their equal rights, which equal laws must protect, and to violate would be oppression. Let us then, fellow citizens, unite with one heart and one mind, let us restore to social intercourse that harmony and affection without which liberty, and even life itself, are but dreary things. And let us reflect that having banished from our land that religious intolerance under which mankind so long bled and suffered, we have yet gained little if we countenance a political intolerance, as despotic, as wicked, and capable of as bitter and bloody persecutions…but every difference of opinion is not a difference of principle. We have called by different names brethren of the same principle. We are all republicans: we are all federalists. If there be any among us who would wish to dissolve this Union, or to change its republican form, let them stand undisturbed as monuments of the safety with which error of opinion may be tolerated, where reason is left free to combat it.  – Thomas Jefferson, 1st inaugural address, 1801

Such measured, unifying, moderate words from the same man who also remarked of his political rivals, the Federalists and Monarchists, “Their leaders are a hospital of incurables and as such are entitled to be protected and taken care of as other insane persons are.”  Sounds like big government socialism to me!  Taking care of the insane, indeed!

These are but a few of the engaging, enlightening, entertaining, astounding words taken straight from Jefferson in John Meacham’s masterful biography, Thomas Jefferson: The Art of Power.

I swear to god by the end of this magnificent tome where Meacham describes Jefferson’s granddaughter in a dreamlike state wandering the vast empty rooms of Monticello following her grandfather’s death, I too was swept up in an all encompassing reverie where Terrence Malick was directing the story of Jefferson’s life and the images from Jefferson’s earliest memory of being lifted upon a pillow to a slave on horseback to his final moments with yet another slave dedicated at his bedside - all of his life - flashed before me in a cacophonous stream-of-consciousness scored by Micheal Nyman.

This biography is that intimate…that transportive…full of excerpts from letters, diaries, reports both second and first hand from those closest to him, from family and friends, from foreign diplomats, from rivals and scoundrels, even from his own slaves.  Continue reading

The Quick Spin on Pi, Sugar Man, America and Sleaze

Ah, to dine on filmlandia’s smorgasbord and taste the world!  Behold, the treasures and the trash recently uncovered by the Spin that took us to India, the High Seas, South Africa, Detroit, Middle America and the backwoods swamps of the Deep South.

In Theaters:

Stunning visuals make a trip to the theater worthwhile in Life of Pi.

Stunning visuals make a trip to the theater worthwhile in Life of Pi.

Salty Sweet Pi: I was finally able to catch a screening of the much ballyhooed Life of Pi (in 3D no less, which no joke, is used brilliantly in this film and rises far above its typical gimmick status) which means Haneke’s sure to depress Amour is the only Best Picture Oscar nominee I have yet to see.  Adapted from an international best-seller I never bothered with, Ang Lee’s film is a sure-fire visual stunner featuring some of the best use of 3D ever (I especially loved the opening credits and the sinking of the ship sequences).  You’d have to be blind not be enthralled for two hours, but sadly the film is left adrift by surface level discussions on religion and an all too twee ”parable/fable” ending.  Continue reading

Weird Films I Have Seen

Three weeks…three really weird films from Netflix focused on three (or more) psychologically disturbed women.

Where do I even begin?  Let’s start from the beginning.

The Skin I Live In - Pedro Almodovar

Remember the episode of Seinfeld where George was dating the woman who looked like Jerry and Kramer was far too eager to diagnose the “perverse sexual amalgam” and “George’s man-love for a she-Jerry?”  Ah, funny stuff, right?  Good times.  Good times.  Pedro Almodovar’s The Skin I Live In is kinda like that episode of Seinfeld only imagine George is a renowned plastic surgeon (played by Antonio Banderas) with a deeply personal motivation for creating the perfect skin-graft for burn victims and his girlfriend is the man who raped his suicidal daughter whom against which he holds a fetishistic vendetta.  Wait…what?  No…that’s not right. 

Pedro Almodovar’s The Skin I Live In is like David Lynch’s Lost Highway re-imagined by a hysterical Spanish woman with a gender-identity crisis.  Yeah…that’s it…that’s the ticket.  Or maybe not. Continue reading

Elizabeth R You Free for Dinner?

Okay, Caveman, what will it be tonight? Bison steaks?

 

Would her Majesty care for a spot of tea after whuppin' Spain's Armada-Ass?

 

Go ahead and smile, Mr. Greene, I'll pour the scotch.

 
The concept is simple: You can go back in time and meet ten people (either in their prime or near their deathbed) and share one meal with them where you can ask them anything, and they have to give you honest answers. Who would it be? Who would you want to separate the myth from the fact and finally set the record straight? Whose head would you want to crawl inside and find what made them tick? Who do you admire and just want to spend some time with shooting the breeze?

The idea for this sprang from an unlikely place. To make a short story long….it all started with that damnable Netflix!

With a dearth of interesting new titles to fill my Netflix queue, I’ve relied on their recommendation algorithm to unearth previous works unbeknownst to me. Thus into my instant queue popped Elizabeth R – a 6-part BBC/Masterpiece Theater miniseries from 1971 starring Glenda Jackson in the title role. Continue reading

The Importance of Order in Your Netflix Queue

It’s one of the greatest questions of modern times – is the order in which you place films in your Netflix queue victim to the luck of the drawl or is there a definitive art to this endeavor?

It is what it is, folks!

Sometimes I place movies in my queue I feel I need to watch just to say I watched them (even an amateur film critic like myself has to keep up with the latest releases no matter how bad I know they will be) or that I know will be gleefully awful (hello to you, my laugh-out-loud friend, Hobo With a Shotgun).  But for the most part, I’m pretty selective in my choices and I try to find a balance in how I order my queue so that I have a steady and proportional stream of “I know these will suck” entries mixed with highly anticipated new releases and classics I’ve been long overdue to uncover.

Lately I’ve been struck with a series of disappointments that serendipitously found their way to the top of my queue. Continue reading

Bad Movie Marathon

Twas the stars and my Netflix queue aligned this weekend as the Hurri-Rain-Pocalypse pimp-slapped the East Coast (thanks El Nino!) and delivered to my mailbox were no less than three monumentally bad movies to pass the time as flood waters receded.  One of these films was so awful, it reached that rarified pantheon where film buffs bestow upon special movies the title of “So Bad it’s Good.”  In fact, I dare say, it might be the perfect “Bad Movie” and one that had me entertained and laughing for its entire 2 hour 38 minute run time.  Good Citizens of Filmlandia …I give you…Roland Emmerich’s DUN-DUN-DUH 2012!

"Umm...kids...I don't think we're going to make it to the Gap's End of the World Super Sales Spectacular this weekend."

2012:  Every German director has their fetish.  Continue reading