The Hidden Fortress

The Hidden Fortress is a great action comedy movie that puts all others to shame. It’s scandalous that today’s audiences have to tolerate clichéd Lethal Weapon-type dialogue and excessive explosions; this film shows that a director can do both well, along with the usual Akira Kurosawa theme of how does one act morally in an immoral world.

Is the ultimate goal profit or the greater good? Each character tries to discover this during the film.  Is the ultimate goal DVD sales, audience enjoyment, or greater a work that stands out as one of the greatest of all time?  Kurosawa accomplishes all three.

Action and comedy are perfectly balanced. When this film was made, Kurosawa had already proven his ability to conceive great action sequences, build suspense over the course of a film, create emotional close shots between characters, and manipulate light and shadow expertly. In this work, he displays that he can write and direct humourous comedy scenes. He also permits the audience to infer certain details, rather than dumbing down the plot to the lowest common denominator.

The story is told from the point of view of a hapless duo (Tahei and Matashichi) engender audience sympathy despite their crooked nature because of their hilarious exchanges. The protagonists continually argue with each other yet each is enitrely dependent on the other. Those scoundrels walk the line between complete cowardice, utter idiocy, and giddy greed. They move from one misadventure to another following a selfish quest to profit by any means necessary during an ongoing war.

I believe that Kurosawa pioneered the idea of screen wipes as a transition from one scene to another. Unlike George Lucas, he makes the wipe part of the scene, allowing the briefest snapshots (such as when the two jackanapes are pursued for stealing rice) to make the film more dynamic. The score suits the action beautifully. The scene when a mob of destitute prisoners of war escape and overwhelm the organized Samurai army is a great example of Kurosawa’s grand vision, as is the sword fight on horseback.

Tahei and Matashichi follow a general (Toshirô Mifune) and a princess through enemy lines, although they are unaware of their stature at the time. The beggars initially join the gang and face danger for the promise of gold but at the end receive self-satisfaction because they contributed to a good cause, despite the lack of reward.

This film should be screen at the Bloor Cinema; I think the audience would feel comfortable laughing at the many light-hearted moments. Although I complimented Mifune during a previous post for his great range, he seems to find a way to work the same laugh into every film. The Hidden Fortress is highly recommended (and totally ridiculous). ****

Red Beard

Akira Kurosawa’s last black and white film, Red Beard, follows a storyline similar to Bernard Émond’s La Donation. The themes are similar, although the Japanese work develops more slowly and is more lyrical. A doctor with aspirations of serving Japan’s royal court is sent to a small clinic in a poor village. Unlike Dr. Dion, who chose to accept a one month posting in Normétal, Dr. Yasumoto is tricked into reporting to the iconic Dr. Niide (a.k.a. “Red Beard”) and initially refuses the position. Over time, he comes to respect Red Beard, his pragmatic viewpoint, and his effective manner of dealing with patients.

The deliberate camera work is patient and affords many opportunities for symbolism. The backdrop for the opening credits is the rooftops of the clinic and the town, showing how society looks down on the poor. Kurosawa often lights the scene so the shadows of the doctors, nurses, and patients are visible. It’s as if their physical bodies are complemented by their spiritual souls. As he does in all of his films, the weather represents when the plot becomes complicated in addition to the conflict inside Dr. Yamoto. Snow falls to show when his conscience is clear.

Everyone in the film comes from a different background, some with skeletons - literally - in the closet. Everyone has a second chance to redeem themselves. Life may not be fair but one can only carry on and do their best. Red Beard’s devotion to the citizens of the small town convinces Dr. Yamoto to change his career path; although he understands that he will have no money and no honour, he still wishes to serve the poor. Seeing the progress of the ill patients inspires him to help more.

To me, the most memorable moment is when the doctors make a house call to a girls with syphilis. The family and neighbours refuse to send her to the clinic. Red Beard bluntly tells them: “A bad doctor can kill you. I won’t kill you but I will break some arms and legs.” The men subsequently step outside and the doctor gives the intransigent strangers a thorough beating to straighten them out. Then he orders his two interns to bandage the injured and find a cart to carry the seriously wounded to the clinic. “I might have gone too far,” Red Beard reflects.

The film develops characters slowly and consistently. There are comedic moments, emotional scenes, and even though it is not The Seven Samurai, a clever action sequence.  Similar to how Torn Curtain was the end of an amazing filmmaking partnership (Hitchcock and Hermann), Red Beard is the last time that Kurosawa worked with Toshirô Mifune. Mifune played so many iconic roles (the businessman, the beggar, the bandit) yet he always altered his performance so that he was not merely portraying an archetype. In this film, he could have made Red Beard the stereotypical mentor but his gruff but sensitive mannerism and steely eyes (Christian Bale could learn from this) shaped a truly memorable character.

Double Bill at the Bloor Cinema, Part I: Late Hitchcock

One of the prominent aspects Vertigo and Psycho, as with all Alfred Hitchcock films, is the musical scores by Bernard Hermann. It’s not so much the intensity of the music during climatic moments - although that aspect is present as well - but the many other scenes when a more low-key score builds the tension and foreshadows what is to occur later.  For every scene at the top of a church bell tower or in a shower, there are several scene on the roads of California that serve as rising action. The audience knows something is about the go wrong but they are left in suspense, adding significance to the event when it occurs. Hermann’s music is beautiful, yet very tense.

It is unfortunate that the prints that were screened at the Bloor Cinema were of poor quality and there were issues with the contrast in both films. This was especially critical in Psycho’s where the shades of grey that help define Hitchcock’s world view were not present and were replaced with muddled black darkness.

Hitchcock showed great originality in his camera shots. One really gets the impression that they are an observer of the desperate scheme which is about to go awry. Shots from above at the Mission San Juan Bautista show the aftermath of the two falls from the tower and close shots show the fear and terror of each victim at the Bates Motel. (On a side note, both films feature a number of scenes showing James Stewart and Janet Leigh driving, using rear projection to show what is happening on the road behind them. Chase scenes become slow and methodical, yet still as engrossing because one can see how the protagonist is reacting to their surroundings.)  The camera angles, such as the zoom in Vertigo and the shot of the door creaking open in Psycho helped make the films unforgettable.

Hitchcock’s films are not violent but succeed in providing the same overall effect by showing the outcome in great detail. The audience never sees Kim Novak’s body hit the rooftop tiles and Janet Leigh is never stabbed on camera but the reaction of James Stewart and the destruction of shower and bathroom provide more than enough detail.

It is also a trick that modern directors should learn. It’s not what blows up or how many people are killed but how one makes each act of violence important by creating suspense, developing a relationship between the actors and the audience, and employing wit as the plot unfolds.

Obviously, both films display the dangers of obsession, showing how a character can loose themselves and their values when they stretch an idea to its absolute limit.  But that has been discussed in numerous essays that are far more sophisticated than what is posted here.

Pizzeria Libretto, Part II

My third and fourth visits to Pizza Libretto proved to be a mixed bag, less satisfying than the first two trips. One pizza, the Pingue Prosciutto, was a complete waste. The tomato sauce was overwhelmed the rest of the pizza. The finely sliced ham could not be tasted due to the potent tomato taste. They could have served cured Iberian pork and nobody would have noticed; one might as well have ordered the Margherita pie. Chile oil or thicker slices of prosciutto would have enhanced this pizza.

The Sardines pizza boasts a variety of flavours. At times, it was somewhat salty, due to the olives and the cured fish, but mostly it was a delicious combination of textures and ingredients. Chile oil spiced everything up and gave the tomato sauce greater depth. The sardines were not too fishy and balanced the fresh herbs well. I would recommend this pizza highly yet my favourite Libretto remains the Duck Confit and Bosc Pear combination.

Skills We Should Teach More, Part II: The Mental Side of Passing

The ballhandler sees a teammate down court and throws a chest pass to his outside shoulder. The defender, having read the point guard’s eyes, closes the gap and times his jump to steal the ball. The opponent goes the other way and scores, finishing an and-1. A bad pass led to two points, a team foul, and a baseline inbounds.

During N.F.L. Kickoff Weekend, commentators prattled endlessly about the need for quarterbacks to estimate the distance between the defender and the receiver. One speculated that newly unretired Brett Favre would incorrectly evaluate the strength of his aging throwing arm and force a pass into a dangerous, not understanding that the risk of such a play had risen as his skills have fallen as his career advanced.

The same principles are present in basketball: correct spatial visualization, accurate risk-reward analysis, and the execution of correct passing techniques under pressure.

• Is there a defender in the way? Call the player’s name or make eye contact. Tell the teammate to pivot and seal or cut and come to the ball. Ask the receiver to give a target. Make an entry pass to change the passing angle or reverse the ball and attack the other side.
• Is there a defender nearby? Pivot, ball-fake, or head-fake to keep the opponent off-balance. Put some mustard on the pass so that it can’t be intercepted. Assess whether the offensive capabilities of the receiver on that spot of the floor balance the risk of a dangerous pass.
• Is there a defender pressuring the ball? Stay calm. Pivot around the defence and step into the pass. Choose the right pass for the right situation. Keep the dribble alive until you can run another play. Hold it as a last resort and wait for an opportunity to hand it off.

Coaches should devote more time to these skills. During scrimmages, they should stop the run when somebody obviously ballhawks and teach the team how this can be avoided. Players should learn all of the options available in a given predicament. The little things, like ball-fakes (along with moving the head and especially the eyes), half-a-second hesitation dribbles to read the defence, and pivoting belong in practices.

It is a fallacy to teach players that any pass to a teammate is an equally valid option. Coaches should be frank and pragmatic about the strengths and weaknesses of each team member so everyone knows the best option and what type of pass is appropriate.

It’s a more difficult task to teach players how to improvise and make good choices. Dehydration and fatigue reduce decision-making skills. The Israeli army incorporates math exercises at the end of training, effective teachers drill students under the pressure of time; coaches should do likewise and simulate pressure with game-like situations.

T.I.F.F. 2009, Part V: The Disappearance of Alice Creed

The Disappearance of Alice Creed is an atypical film, a kidnapping film made from the perspective of the kidnappers; sort of a “Low” version of High and Low. There are only three characters: Alice, Danny, and Vic. A compelling script by talented screenwriter (and first-time director) J Blakeson creates audience sympathy for all of the characters, especially Danny the protagonist who is a tragic hero.  There are no scenes involving the police or the victim’s family, so it is not known how close the authorities were to solving the case. Blakeson simply shows the victim and her two captors, who see the plot more as a scheme to raise a great deal of money without hurting anyone.

Of course - as usual - things don’t go entirely as planned.

The film was made on location on the Isle of Man (lingering question: how would the kidnappers have gotten themselves and the money off the island?) and most scenes take place in an apartment. Blakeson told the audience afterwards that he wanted to keep costs low so that he could make the film no matter what and it led to a very interesting plot structure. Several twists kept the audience off-balance. Yet, these “reveals” seem entirely logical and thicken the plot in a reasonable manner.

This film shows how the creation of suspense is a matter of mood and subtlety, not meaningless explosions. The Disappearance of Alice Creed withholds information at times, foreshadows later development, and continuously ratchets up the suspense level. It is a film that Alfred Hitchcock might have made in his later years. Once hooked after the unconventional introduction, the viewer is hooked and wants to know how the story will unfold.

Mirrors provide a symbolic way for the characters to look at themselves and try to understand what they are doing and what they have become. There is a broken mirror in the apartment, showing how the characters have completely lost their way, a mirror in the bathroom where Danny can look himself in the eyes as he worries about the plot, and the rear view mirror of the getaway car, where one character looks at the audience (and themselves) before driving off and beginning a new life. ***½

T.I.F.F. 2009, Part IV: Face

Face (also known as Visage for the French translation) would have significantly benefited from a Q & A session, which was cancelled because the director could not make it to Toronto. Speaking to him would have answered the two meaningful questions in the minds of audience members: “What just happened?” and “Did they ever recapture that escaped stag?” This film should not have been selected for the festival and should not have been green lit by a studio for numerous reasons.

Firstly, the film wastes excellent cinematography. Close shots where characters were reflected in mirrors or windows, long fixed shots that showed a character moving down the stairs or through a hallway, and shots that showed a character questioning themselves as the world, for example a highway interchange or the traffic along le Jardin des Tuileries, carries on around them. These camera angles were visually stunning and wasted in a film that will not get significant distribution anywhere.

Secondly, the director hammers the audience over the head with overt symbolism. Characters duct tape mirrors, chant rhymically in a cemetery, and share a bizarre love scene in a meat locker. The first scene depicts a failed meeting with the director and his producer in a coffee shop. They never connect, just as the film never connects with its goal to explore how one discovers their own identity.

There is also an attempt to break down the fourth wall and make Face self-referential. The main character is a Taiwanese director attempting to make a film in Paris. I think that this proved to be a distraction from the main themes of the film.

Lastly, the screenplay is poor. Some images are absurd, such as a kitchen sink accident reminiscent of the Welch House Flood of ’99 or opera characters whose opulent costumes cannot fit in the tight spaces of the real world. I think that the point is that we are always struggling through life, trying to find ourselves. People may handle obstacles differently, perhaps by trying to hide or attempting to deny the truth, but they musts move forward regardless. In the end, humanity is driven by the passions that provide the most significant moments in life.

But I really have no idea. Maybe the director simply wanted to tell the world that canned tomatoes and plastic wrap are not used nearly enough as sexual devices. 0

T.I.F.F. 2009, Part III: La Donation

Bernard Émond’s final film in his tragedy about the three theological virtues, La Donation, attempts to find a secular meaning for the philosophy. Even if one is a non-believer, like M. Émond, he would like them to use nearly two thousand years of teachings in order to do well for themselves and others. La Donation follows Jeanne Dion as she first moves to the small town of Normétal in Abitibi in order to replace an old doctor named Yves Rainville for a month and later documents her decision about whether or not to stay after he suddenly dies.

Since the forestry and mining industries left, Normétal has been deserted, shrinking in population from over three thousand to under nine hundred. Though he first moved to the town as a company doctor, Dr. Rainville decided to stay because he became attached to his patients, who are scattered across the region. Dr. Dion does not know if she can work in the same situation, as watching very bad events befall her patients affects her emotionally.

M. Émond told the Q and A that although he understands that cinema is fake, he tries to create very real situations. The entire film was shot on location - apparently several lighting problems were created by the northern environment (and resolved) - so it showcases the solitary beauty of Abitibi, along with the solitary desperation of the town and its citizens.

Eventually, Dr. Dion becomes enamored with the natural milieu and begins to see changes among her patients. Though there still may be occasional steps back, she chooses to move forward with her life. Charity, defined as a voluntary and selfless gift to others, is a virtue that anyone, religious or not, can follow in order to better themselves and the community around them.

Émond uses many still shots in order to focus on the calm skies, clear waters, and dense forest in the background and the slow pace of life. He spent several months in Normétal and wants to show the beauty that it still retains to his audience. The country is sparse; characters often take time to reflect upon their surroundings and themselves. Trees first cleared by the logging industry have grown back and abandoned mines have been covered up. As one character says, “even after a while, the wilderness has won.” ****

T.I.F.F. 2009, Part II: Leaves of Grass

Leaves of Grass may be the best movie that I have seen out of the 2009 crop to date. On the surface, it is very similar in style to the Coen brothers in that it features average characters who find themselves in dangerous situations which force them to confront their morals, bizarre supporting characters, and black humour including scenes of absurd violence but it is more than that. Tim Blake Nelson wrote an excellent screenplay and directed the film admirably.

Edward Norton plays both feature roles, a professor of classical philosophy in Rhode Island and his twin brother who grows marijuana in Oklahoma. Norton was very focused during filming and is comfortable with the challenge of performing a scene with himself. His mannerisms as the conservative Bill Kincaid are humourous and elicited many laughs from the audience.

The film is entitled Leaves of Grass because of the Walt Whitman book of poetry and slang term for marijuana. Brady Kincaid owns a massive grow-op in a small town named Little Dixie and his solution to his equally massive debt is to trick his brother to come visit him, under the pretense that he had been murdered by a crossbow arrow. When Bill comes home, he realizes that he has been duped but agrees to stay for the weekend in order to see his mother one last time.

Bill also meets Janet, a local high school teacher and poet. It is fitting that he favourite poet is Whitman, whose style she emulated with her poetry. The modern poet who broke convention is the one who convinces the classical thinker to change his philosophy on life. Gradually, throughout the movie, Bill becomes more tolerant of his family and hometown.

Hilarious cameos help make the movie. Richard Dreyfuss plays a villain who is admired by the Jewish community for his charitable donations but a brutal drug lord behind the scenes and Josh Pais portrays a neurotic, spastic orthodontist. Based on the reaction of the audience, Leaves of Grass is a worthy contender for the People’s Choice award at T.I.F.F. this year.****

T.I.F.F. 2009, Part I: Les Herbes Folles

Les Herbes Folles is an odd film. The first part of the film is replete with deadpan humour and bizarre situations. The second half of the film channels a bit of Pierrot le Fou and tries to leave the audience guessing. Director Alain Resnais leaves the audience guessing, providing a Hollywood ending followed by the “real” ending five minutes later. Two random strangers are connected by a lost wallet and become infatuated with each other. There is a sense that Georges, who found the wallet, is hiding something but it is never totally revealed, only suggested. Marguerite initially wants nothing to do with him but later cannot keep Georges out her mind.

Non-sequiturs jar the audience concentration throughout the film and there is frequent use of symbolism. A broken fly along with an out of control plane, a man repainting his house as he tries to renovate himself. Some moments are absurd, like a party in the police station keeping officers from their duties or a dentist wilfully causing patients pain. The world is a random, crazy place.

The audience plays the role of observer, due to overhead shots or shots filming people from behind. The camera pans from one corner of the room to another and it is obvious several minutes have elapsed. The narrator shows the thoughts of the characters, their doubts, and second thoughts, instead of being an all-knowing voice. I think that these directorial strategies were instrumental in grabbing the attention of the audience and helping them relate to the characters. **½

Why Are You Trying Out for the High School Team?

Not to criticize daily physical activity, nor playing for fun, nor a lifetime of good health. Not to demean those who shoot hoops in the school yard or play pick-up with friends, nor those who swim run, or play another sport to keep fit. Seeking instead to address those wishing to tryout for the next level (high school, Ontario Basketball, AAU, university or college) and excel. Anyone considering that step should ask themselves one question:

Why am I doing this? Anyone can see the fans at the game more clearly than the name on the jersey.  Anyone can play for individual glory. Anyone can take unlimited shots. Anyone can quit when it starts to hurt. But nobody should play at the next level if they can’t play:

• For the Name on the Front of the Jersey: To make four years in high school mean something more. To represent your teammates and your peers with pride. To play team defence. To create memories. To participate in something greater than oneself.
• For Teammates: To make friends for life. To be the first to pick a teammate up off the floor. To make a pass as the clock winds down because it was the right thing to do. To achieve something together that was impossible individually. To help defensively. To take charges. To set screens. To be positive.  To encourage.
• For Improvement: To set goals and accomplish them. To improve. To encounter obstacles and overcome them. To avenge earlier defeats in the playoffs. To practice hard daily. To acquire skills, both physical and mental, and use them on and off the court. To train.
• For Self-Actualization: To be the best. To think. To anticipate the next play. To focus. To stay calm under pressure. To challenge the opponent’s best player. To stop the ball. To be tough. To fight through screens. To rebound. To hit the floor.  To compete.

It is a privilege to play for any team. Canadians like Jermaine Anderson love to play for their country. Sometimes the twelfth man is the staunchest teammate. Players have dreamt for years about being on the court when it matters. Even those on the bench are essential to making any good team better.

It matters whenever any team plays, any collection of players selected because of their skill, strength, speed, and - most significantly - their soul. That team and those players are important. Anyone can be one-dimensional but elite teams and elite players are those who develop all aspects of the game.

Even if this is not the year that you are playing varsity or it is not the month when the season officially begins, it can still be the day to start training. The day to set personal standards. What will you accept from yourself? Everyday, student-athletes can make a difference. Anyone who can’t meet that challenge doesn’t belong on an elite team.
 
Michael Jordan was inducted into the Basketball Hall of Fame yesterday and chose David Thompson to introduce him. He didn’t chose Dean Smith, Scottie Pippen, Magic Johnson, or Phil Jackson but a player who inspired him when he was younger. Jordan saw Thompson succeed in college and as a professional but he also saw him fail. It was the manner than Thompson overcame his drug addiction and knee injuries that inspired Jordan to become so determined.

This entire entry may seem clichéd but the crux of the message is this: elite players separate themselves from the masses not because of athletic gifts or a single event but by the choices and habits they display on a daily basis.

Caplansky's Deli

The first sandwich that I ordered at Caplansky’s new deli was a little underwhelming. I was expecting more flavour from the smoked meat (medium) and it was a little dry, especially when served with the house mustard made with whole mustard seeds. It was superior to a run of the mill sandwich shop but a letdown relative to the deli’s reputation. The fries were excellent, the oil had been recently changed and hand-cut potatoes were well-seasoned.

On my second visit, I ordered the breakfast special and the smoked beef bacon was delicious. It was smoky and just a little crispy but still savoury. The fact that it was beef bacon was stunning; you wouldn’t notice if it wasn’t explained on the menu. The eggs, latkes, and toast were prepared as ordered but the coffee was ordinary. Still, it would be a great meal at any time of the day.

Caplansky’s has moved to College and Spadina, into a bright and airy location. Many restaurants have exposed brick walls and the decor - framed restaurant reviews - was self-serving. Still, it’s nice to be able to look out the window and pay one tab at the end of a meal. It can’t be overlooked that you are dining in a convenient restaurant in a venue that seems suitable for dining, not loan sharks and backgammon games. The deli serves local beer, like No. 9 Indian Pale Ale and Denison Wheat Beer at reasonable prices.

Four Forgotten Alfred Hitchcock Films

Rebecca moves slowly but picks up speed as it progresses. It is one of the first films that Alfred Hitchcock made after crossing the Atlantic and the only one which won him a Best Picture Oscar. Shot along the Côte d’Azur in black in white, it lacks the brightness and clarity of To Catch a Thief, which was filmed in Technicolor.

The film features tight angles that focus on the leads, Laurence Olivier and Joan Fontaine and wide, chaotic shots that emphasize how the Second Mrs. de Winter and Mrs. Danvers are losing their heads. At this point, Hitchcock had not perfected his style but nevertheless he successfully hides a twist ending from the audience. ***

The Wrong Man casts Henry Fonda as a musician who is wrongly accused of armed robbery. To me, the film contains several plot holes, diverges briefly along a spurious emotional storyline, and concludes with a deus ex machina plot device. Occasionally, Fonda plays characters that are so naïve that it is no wonder that they have been victimized. Perhaps it takes a western for him to become a character that can stand up for himself.

The film is shot entire on location in New York City, perhaps inspiring the Nouvelle Vague but it drags, one of the first examples that Hitchcock was losing his touch. He redeemed himself briefly with Vertigo, North by Northwest, and Psycho but more of his later work is like this film than those three.

The mastery of camera angles remains and the black and white footage shows how every situation is comprised of shades of grey. Even honest citizens are powerless to escape seemingly hopeless circumstances. Still, this film could use more action and less talking. **½

Under Capricorn proved to be more than I could handle. Whether it was Joseph Cotten in a lead role or ninety minutes of “suspense” before anything occurred, I did not enjoy this film. It proved to be a colourful period piece but I would not recommend it

There is a strong class system in 1830 Australia. The unspoken rule is that nobody is to ask about another person’s past: whether they have been in jail, how they got to Australia, what they did in a previous life. Prejudices abound and society separates itself based on biases. The ultimate penalty for a worker is to be “pink-slipped” and forced back into the lowest common denominator: the unemployed and those who have recently been released from prison. As usual, the protagonist may not be who he seems and the love interest is experiencing mental troubles. Of course, like Rebecca, it will all come to a head at the grand ball when everyone’s secrets will be revealed.

Like the recent James Bond films starring Daniel Craig which lack an explosive brawl in the dinning car where tables are overturned and windows shattered, Under Capricorn is lacking something.*½

Torn Curtain is typical of Hitchock’s later work: tension builds slowly and consistently. Hitchcock wanted Cary Grant, his favourite actor, to play one more role for him but Grant refused, having recently retired. The director cast Paul Newman in one of his first major roles and his understated performance is far more appropriate than the Roger O. Thornton type of roles played by Grant; initially it seems as if he is defecting but there is a twist as usual. Newman’s eyes, portraying a conflicted scientist, are integral to the emotion of the film.

One scene, as Newman attempts to lose the East German security agent who is trailing him in an empty museum is spellbinding simply because of the cadence of the two footsteps in the empty building. Another low-key scene engages the audience merely because a bus of defectors is gradually pursued by both the army and the regularly scheduled bus. Like The Man Who Knew Too Much a performance is used to build tension.

One could say that openings like the one for Torn Curtain which shows images from the film and the fire from a rocket launch grab the attention of the audience, a precursor to James Bond credit sequences. Throughout the film, simple directorial choices - and Hitchcock trademarks - make a big difference. ***

Skills We Should Teach More, Part I: What Should the Point Guard Do After Passing the Ball?

What should the point guard do when they have made a wing entry pass and instigated the half-court offence?

Sit in quiet contemplation: if one’s role is to handle the ball, what are they without it? Are they still a player or merely an observer? Does giving up the rock entail giving up one’s self? Is their performance a result of their effort or the position in which they have been placed? Atlas was still a man (actually a Titan) before the world was placed on his shoulders and retains his identity despite his onerous burden.

Cut through the key and...

• ...post-up: useful against a smaller opponent and when using one or two “go to moves.”
• ...fill the near corner: crowds the wing if they intent to penetrate but provides an immediate outlet and possible high percentage shot if the player currently holding the ball cannot create their own shot.
• ...fill the weak-side corner: a thoughtful choice if they wing will be penetrating and drawing a help-side defender.
• ...set a screen: the low exchange or the flex cut may provide a post with a half-second of freedom from their defender and room to operate.
• ...curl around to the weak-side wing: this initiates a perimeter rotation away from the ball and may lead to a scoring opportunity (shot, pass, dribble) if the ballhandler can get into the paint or makes a skip pass.  The point guard can use the weak-side post and run a circle cut.
• ...give and go: an aggressive manoeuvre if the defence is not playing closely and a an option that can be used in any offence. A U.C.L.A. screen could involve the high post player in the action.

Screen away and set a...

• ...shuffle screen: the opposite wing can enter the high post and curl towards the hoop for a quick pass.  A simple away screen enables a different player to come to the top of the key and facilitates the ball reversal.
• ...downscreen the help-side defender: if there is a penetration, this will lead to a wide open shot when the wing kicks the ball to the shooter. The action also permits a post who can shoot or another forward with scoring potential to come to the top of the key and execute their best skill.
• ...backscreen: the point guard would need to fake a cut into the paint for a step or two before coming back to the perimetre to back-screen the weak-side wing.  The defence might be caught off-guard and the athletic wing could receive a lob pass.

Participate in a swift ball reversal: if the point stays at the top and receives a reversal pass from the wing, they must not hesitate to make a decision. The first look should be inside, to see if the strong-side post has sealed their defender with a drop-step. The next look would be to the weak side to determine if any shooters are immediately open. If the point was comfortable with their offence, they could attempt a fake (jab-step, shot-fake, head-fake) and attack but I think that the prompt reversal opens up so many more options.

Fake a cut and return to the top of the key: suitable if the point guard is a skilled player who is tightly defended. They may have lost their dribble or need a quick break from their manic defender in order to reposition and better attack the defence.

Use a flare screen: this will open up the court for the point should they receive a skip pass. The screen will also be in a good position should they choose to roll or pop after setting the screen.

Swiftly cut behind the ballhandler and receive a hand-off: if the point guard can create their shot succinctly, this hand-off screen may provide all the space that they need. When the wing rolls to the basket, they can seal the defender and create a good passing lane to the block.

Set a ballscreen: I don’t care for this play because it does not create a mismatch. When a big sets the ballscreen, the other players normally have cleared out and formed a weak-side triangle. If the two defenders cannot handle the screen, a help-side defender must rotate, opening up an opportunity for the perimetre players. When a guard sets the screen, there is no mismatch if the opponent switches the screen and the screener is most likely to N.B.A. roll. A big can roll to the hoop or slip the screen, two high percentage options.

Get back on defence and stop any run-outs: at least the point guard won’t be in the way and should give the team a head start on defence.

Walk towards the ball or stand in place without being ready: two horrendous choices, displayed in the worst pick-up games, which badly clog the half-court offence. Any of the other above options would help the team more.

There are dozens of options for the point guard after they have passed. If a point guard does not have the nerve or intensity to force the action with a rapid and aggressive play, they should not be on the court.  Even though they do not have the ball, it is still an opportunity for the point guard to take leadership.

Sisyphus and The Way I See It #76

According to a Starbucks’ cup that I read recently:

“The irony of commitment is that it’s deeply liberating -- in work, in play, in love. The act frees you from the tyranny of your internal critic, from the fear that likes to dress itself up and parade around a rational hesitation. To commit is to remove your head as the barrier to your life.”

On the subject of the Greek myth of Sisyphus, Albert Camus wrote:

“Je laisse Sisyphe au bas de la montagne! On retrouve toujours son fardeau. Mais Sisyphe enseigne la fidélité supérieure qui nie les dieux et soulève les rochers. Lui aussi que tout est bien. Cet univers désormais sans maître ne lui paraît ni futile. Chacun des grains de cetter pierre, chaque éclat minéral de cetter montagne pleine de nuit, à lui seul forme un monde. La lute elle-même vers les sommets suffit à remplir un cœur d’homme. Il faut imaginer Sisyphe heureux.”

So who’s right? The coffee shop or the Nobel prize winner? Qui dit la verité? Both messages are very similar, yet one is likely to garner more attention. Based on how our society has been watered down, it seems more people pay attention to the international conglomerate. Rather than contemplate Camus’ essays, they read a partially developed statement, think for as longs as it takes to finish the cup, and believe that they are making a difference.

Sisyphus commits to pushing the rock up a mountain so others won’t die: a self-less act. It seems that he has no alternatives, as he has committed to a life of endless toil. Yet he shouldn’t kill himself because he can still do better. He improves himself and is happy as a result.

There lies the problem with the coffee cup, it doesn’t acknowledge that the physical and mental are not separate, but complementary. Self-evaluation and analysis by the internal critic is not tyrannical but nurturing.  Commitment on the basis of somatic urges cannot defeat the fear of failure. It remains in any domain where the participant cares about the outcome. Understanding and managing the fear is the only way to control it.

“A la fin d’une vie, l’homme s’aperçoit qu’il a passé des années à s’assurer d’une seule vérité.”

If Sisyphus was merely present on the hill and pushed the stone up casually, he would still demonstrate commitment yet it is uncertain whether he would be happy. Only by defeating obstacles on a daily basis , intellectually, and overcoming absurdity will he guarantee personal satisfaction.

Flame and Citron

Flame and Citron is a Danish film chronicling the exploits of two members of the Copenhagen resistance movement during World War II. I watched the film alone in an empty cinema but the work deserves far more credit and recognition than it has received. Aside from the fact that the piece is very historically accurate - in terms of costumes and locations - it requires the viewer to ask sophisticated questions of themselves.

Flame and Citron are the code names of two hitmen who are working underground against the Nazi regime in Denmark. It is uncertain whether they are merely assassins who should be apprehended or freedom fighters who should be glorified. They know that there is an informant in their group but they are doubtful about his or her identity. They could be the target that they are ordered to kill or they could be the man at the top of the organization who is using them to eliminate his rivals.

Questions of moral relativism abound. It is akin to what Robert McNamara said during The Fog of War that had the Allies lost World War II, he would have been tried for war crimes for the fire bombing of Tokyo. Flame and Citron are eventually awarded United States Medals of Honor but that may be simply because they fought for the winning side.

I am slightly weary of watching historical films with an ending that is already known but the conclusion is still tense. The outcome is definite but it does not quell the debate about whether the actions of the two men were legitimate or murderous. That responsibility lies with the audience.