BrockBlog

Judgment at Nuremberg

2009-01-05T11:38:00.000-05:00

Based on the post-WWII trials of Nazi officials, Judgment at Nuremberg features Spencer Tracy as the lead judge of the tribunal, one of the last roles of his career. The film is certainly a grand spectacle: the formal tribunal is brought to life by a group of skilled actors and accompanied by an epic soundtrack. The film is not exciting because of action sequences but tense because of a number of emotional monologues and confrontations between characters. Tracy’s performance is a highlight as he portrays Dan Haywood, a retired judge charged with deciding culpability among a group of justices who supported the Nazi regime.

Haywood faces a fundamental question that all jurists and rule-makers must ask themselves: what is wrong and what is right in each situation? Scenes from the tribunal show the brutal nature of World War II and Nazi concentration camps but Haywood’s conversations with regular Germans show that they are regular people with their own values. It quickly becomes apparent that not all of the defendants are identical and that they all made their choices for different reasons.

Some argued that the turnaround created by Hitler’s policies was worth the sacrifice of human lives. Others felt that it was important that they perform their duties in accordance with military tradition. A few based their support of Hitler on their aversion to Communism.

Did the judges know the ultimate outcome of their verdicts? How can one person judge another from an entirely different perspective who acted under extreme pressure? One of the defendants, Dr. Ernst Janning had a distinguished career and was considered to be the most skilled German jurist. However, he was now on trial for decisions made under Hitler’s rule that advanced the National Socialist regime.

The U.S. Army prosecutor had been working at the tribunal for two years; after reviewing the same brutal evidence over and over again, he had become very certain of his argument. The German lawyer assigned to the defendants used logical arguments and American legal history to make a compelling case. The primary defendant, played by Burt Lancaster retained his dignity throughout most of the proceedings but eventually exploded in a burst of emotion. Haywood won the respect of all parties by navigating through all of the evidence impartially and attempting to consider as many points of view as possible.

Understanding Media

2009-01-04T22:48:00.004-05:00

Recently, CNN has revamped the format of their programmes to include more subtitles. Immediately after a guest says something, it is posted in the bar at the bottom of the screen. According to Marshall McLuhan in Understanding Media, this will turn television into a slightly cooler medium and require greater audience participation to keep up with the addition information that they are offered. Highlighting the key point - along with the visual medium - will increase audience retention of that specific information relative to a written article or radio broadcast. However, the phrases are so superficial and pedantic that the viewer will learn nothing; Mr. McLuhan would predict that the audience won’t pay as much attention to the speaker explaining the details and focus on keeping up with the statements on screen.

While it makes a great number of predictions about media as an extension of man’s self, the book is a little long. Some anecdotal evidence is interesting but esoteric and not germane to McLuhan’s argument. On the other hand, the work is very thorough and breaks down many components of daily life, ranging from radio and telephone to games, automobiles, and weapons.

The seminal argument is that it’s not what is on the news that that is important, but how the fact that people are communicating in new ways which is changing how modern life is structured. What becomes unfortunate is that the book (a hot medium) will likely scare away many prospective readers who have been conditioned to receive their information in little bunches as opposed to seeking it out and processing it themselves. So McLuhan may put forth correct theories but less and less people will be aware of them and understanding the effect on their daily lives.

Gran Torino

2008-12-28T22:32:00.002-05:00

Clint Eastwood stars and directs this low-key film which ranges from sarcastic to sappy and manages to be meaningful without becoming too melodramatic. Gran Torino is the epilogue of the life of Walt Kowalski, played by Eastwood (sort of like a retired Dirty Harry at times) who fought in Korea and worked for forty years at the nearby Ford plant. After his wife died, he begins to connect with the Hmong family living next door and helps them out when they have trouble with a local gang.

At times, the film is not plausible yet the audience enjoyed the film. Walt’s offensive jokes drew laughs, in an “I can’t believe he just said that” sort of way. The plot was perfunctory at times but Eastwood’s performance drew many viewers in. Whether it was lending tools or lending his car - a 1970s mint condition Gran Torino that becomes the focal point of the film - Walt grows as a person, moving from intolerant to accepting to helpful.

Times when Walt mentors his neighbour Tao so that he has the skills to work instead of joining a gang are the highlights of the film, not the clichéd confrontations. It is funny when Walt throws his son out of his house for suggesting a retirement home but the moment when Walt finally opens his mind after seventy years and sees things a in different light makes the film stand out.

The Wrestler

2008-12-27T21:32:00.005-05:00

The Wrestler seems to be a series of compelling character studies instead of an amazing story. Mickey Rourke, possibly playing himself - either a washed-up actor or professional boxer - is the centerpiece of the film. Darren Aronofsky’s decision to use hand-held cameras and authentic locations add to the realism of the film but I would have strongly preferred for his screenplay to tie up a few more loose ends. Does Randy “the Ram” die in the ring? Does his daughter forgive him? What about Cassidy the stripper?

“The people who you pass on the way up are the same ones who you will meet on the way down.” Twenty years after main eventing national wrestling events, Randy “the Ram” Robinson finds himself starring in same-time local shows at the American Legion Hall. Randy has trouble finding his identity: he seems to value his action figure and video game personas more than his real self. A dismal failure away from the ring, he decides to focus on what he enjoys: the wrestling ring.

Health concerns crop up, he becomes closer to a stripper named Cassidy, and he tries to reconnect with his daughter. Randy experiences some success and some disappointment as he approaches a twenty year rematch with his arch-nemesis the Ayatollah. He can’t decide whether to go through with the match or whether to finally call it quits.

I thought that The Wrestler does an excellent job of portraying the wrestlers as real people, with real emotions. A bespectacled Necro Butcher doesn’t want to run the ropes because of his knees; yet in the ring he staples a dollar bill to his forehead. Tommy Rotten and Ron Killings are concerned about reaching the next level; Bob a.ka. the Ayatollah goes from a businessman who owns several used car dealerships to “the Beast from the Middle East” in a matter of moments.

The Killers ask in their new album, “Are we human or are we dancer?” The Wrestler doesn’t answer that question but it does impart the importance of living with yourself and being satisfied with your lifestyle.

It’s a Wonderful Life

2008-12-23T23:20:00.000-05:00

The Bloor Cinema held a complimentary screening of It’s a Wonderful Life for members last week; it’s another tribute to what can be done with steady direction, good chemistry between cast members, and a sensible screenplay.

Ranked thirty-second among I.M.D.B.’s top films, I never found it particularly great. At times, it seems to drag. Viewing the film in a full theatre erased some of those complaints as the film really has a lot of humourous lines. Certain scenes may be slightly old-fashioned (the scenes in Slap Shot don’t age well but it’s still an excellent comedy) but the messages that one person’s life touches dozens of other people and that an individual should remain true to their standards and values are still salient.

Older Films

2008-12-21T22:30:00.001-05:00

Today, although it is rarely aired on television and rarely screened at cinemas, 12 Angry Men is an excellent film that highlights many of the faults in modern filmmaking (even in modern culture).

The strengths of the film are tremendous performances and a meaningful script. Henry Fonda’s Juror #8 is clear-headed and well-spoken, using salient logical points to make his argument. Other Jurors have superficial biases or deeper internal conflicts and are gradually won over due to a sensible line of reasoning. Thanks to the individual actors, the viewer can see how each member of the jury must deliberate within themselves before the group can render a verdict.

Writer Reginald Rose wrote a compelling script with many intense dialogues between different characters. Questions range from the basic facts to more complicated moral issues. Director Sidney Lumet employs a number of tight-angle shots to show the tension on the jurors’ faces. If remade today, the film would likely fail since it requires the audience to pay attention for more than ninety minutes. The contributions of the actors, Rose, and Lumet make the 1957 film a joy to watch.

Unfortunately, modern media doesn’t have the patience to create an urbane piece of art. Movies and television are repetitive; most films seem to share the same screenplay and reality shows have replaced significant programs. 12 Angry Men - like other older films - is simple but sophisticated. There should always be incentive for artists to take the high road and improve popular culture.

Toronto Stories

2008-12-19T14:18:00.002-05:00

Toronto Stories begins with a series of diverse people passing through customs and ends with a wide-angle shot of a homeless man crossing the street and entering the dense maze of downtown. The link between these two diverse scenes (the personalities of the travelers and the soulless nature of the city) is a mysterious boy of unknown origin who does not speak English. Alongside the tapestry of tales of people moving on and doing their best in their different lives, there is a thread that asks how the city would be perceived by a newcomer who knew nothing about Toronto or its citizens.

The myriad of stories is arranged chronologically: two adventurous pre-teens, two stories of young adults in their early and late 20s, and an older homeless man who has been on the ropes since his son died in a swimming accident. The characters showcase the many types of compassion in a large city like Toronto and personify alternate ways of coping with adversity, such as resistance, recovery, or a stubborn refusal to change. Early in the film, the two kids find a homeless person sleeping and think that he is a monster but as the audience gets to know Henry, who seems to be a recalcitrant drug-addict at first, we see that he is a complex person trying to cope with his own tragic.

The writing and performances are uneven, given that the four separate stories have different writers. I thought that the film could have used a fifth story explaining how the boy figured into the equation. At the end of the fourth story, he is able to communicate via an interpreter so it would have been interesting to see him try to settle in Toronto.

There were some loose ends in each story that were not tied up; more contact between the storylines could have created a sense of Six Degrees of Separation, or better displayed the drama occurring in each story. For example, in the first story, a man jumps from a bridge with no apparent explanation. Had the explanation appeared in another story, it would have created a neat relationship.

The film was enjoyable, but not excellent. For example, just off the top of my head: other superior films, such as A History of Violence or No Country for Old Men, feature average everyday characters going about their lives and trying to make a difference.

Doubt

2008-12-16T09:46:00.005-05:00

Contradictions and contrasts abound throughout Doubt: good and evil, summer and winter, certainty and doubt. Largely due to the captivating performances of Meryl Streep and Philip Seymour Hoffman, the audience experiences similar opposite emotions. Who is in the right: Streep’s stern Sister Aloysius or Hoffman’s relaxed Father Flynn? As the seasons change, so does the apparent truth.

“What’s this? The wind is so … peripatetic this year,” comments Sister Aloysius early in the film. Later, as Father Flynn arrives in the parish with new ideas, the school principal fights back, criticizing the priest regarding matters ranging from his close relationship with students to his use of a ballpoint pen. Sister Aloysius claims she is certain that Father Flynn has been molesting children, despite the lack of concrete evidence.

The nun’s success in her crusade inspires deeper doubts: Aloysius was forced to lie to force Father Flynn out of the parish and despite his wrong doing (in her eyes), he was promoted in the church. Along with Sister James, Aloysius must confront doubts regarding her faith and purpose in life. It’s not that writer/director John Patrick Shanley encourages viewers to question their existence but his screenplay maintains an atmosphere where nobody is certain, even after the film is finished.

Direction is conservative, repeatedly battering audience members with traditional symbolism, like the weather representing post-Vatican II change in the church and a faulty overhead light signifying the seemingly all-knowing and all-seeing principal. Of course, a traditional film based on a play requires patient blocking and patient cinematography. The peaceful school setting in the middle of bustling New York City is very appropriate.

Doubt relies on a compelling screenplay and charismatic performances to stand out. Hoffman is shown in more widescreen shots, using body language and facial expressions to relate to others. Streep is filmed in tight shots, her body hidden by a traditional habit. She must rely on vocal inflections and her eyes to make a connection with the audience. As mentioned in many revues, she excels. If the rest of the filmed matched the performances of the three principal characters, Doubt would be the best film of 2008.

Player Development, Part II

2008-12-15T23:30:00.002-05:00

The Toronto Raptors held a career forum last week at the Air Canada Centre. A panel of various employees represented different aspects of the organization: concessions, sponsorships, ticketing, facilities, and other jobs. Whilst the speakers were genuine in their desire to inspire the many high school students in attendance, they largely failed.

The seminar was a complete contrast from the hullabaloo of an Association game, which was a bit of a surprise, like seeing all the McDonald’s employees in line at Harvey’s in Union Station before the game. The Raptors promised an interactive and interesting event and fell quite short.

The speakers droned on (to a degree) about what they do each game day. The ticketing manager bragged about courtside seats that she had secured for a Torontonian at a Lakers game. When I attended the Raptors-Pacers game later that evening, it became apparent that many students had not attended a live game before. Discussing the luxury services offered by the company furthered the disconnect with their audience.

For example, a video documenting a game day at the A.C.C. would have supplemented the verbal explanations nicely. The footage would have permitted the students to visualize what the speakers described. Also, the speakers did not discuss how they obtained their jobs. The mantra “maybe someday you’ll be up here giving the speeches” was often repeated but few details were given about the education, experiences, and choices required for a career in sports.

In his book, Understanding Media, Marshall McLuhan cites the case of a high school principal in a destitute neighbourhood in New York City who gave each student a photo of themselves. The school also installed multiple mirrors in each classroom. Given the ability to see themselves as they learned, the students increased their academic performance.

The students didn’t believe what the teacher was saying about their habits until they saw it themselves. On the court, a coach may tell a player that he is fundamentally unsound, does not contribute to the team, or makes bad decisions but if this contrasts with the player’s self-image, he won’t buy it. A tirade may have the same effect as giving the player a dissertation to read.

If a player is good enough, and experiences some success - however superficial - they will begin to think of themselves as an excellent player. There are enough cheerleaders and hangers-on to reinforce that view. Why confront the truth, which is negative and entails hours of work to change, when one can look on the bright side.

The level of discourse has generally fallen recently; the successful politician is the one who lowers himself and communicates at the level of the voting public. Likewise, a coach must show the player simply and surely how his performance affects the team, for example using video of games or practices. Chris Bosh may not realize his body language and actions with his mouthguard leaving the huddle Monday night are unprofessional but hopefully he would be regretful if shown the behaviour later.

A player on the Varsity team or an alumnus can serve as a role model for how to get things done. Also, teaching a player how to critically watch the game provides examples of great performances. Encouraging players to develop an athlete’s vision can be a critical component of mental training before games and practices.

Coaches can’t simply demonstrate the drill like it is part of a lecture. They must connect with players so that all team members see themselves executing the skill correctly, in the context of a winning team with good chemistry.

The Class

2008-12-05T00:01:00.002-05:00

For teachers, Laurent Cantet’s Palme d’Or winning film, Entre les murs, is a mirror on their daily lives. For others, it’s a window into a public school system that has changed a great deal during the past twenty years.

François Marin teaches the French language to junior high students in the 20th Arrondissement in Paris. Over the course of the year, both teachers and students face many trials and tribulations. At the end, almost everyone admits that they have learned something and they all get along during a staff-student soccer match. However, the year is not a success for all, such as a student expelled for violent behaviour and another who wishes to drop out.

Debates occur frequently: in class, in the staff room, and during meeting. The protagonist must separate François from M. Marin for his own personal health and sanity. The film questions how important decisions are made in schools and whether they best serve the student: how should students be rewarded (and penalized)? Do the needs of the many (the class) outweigh the needs of the few (the student)? Doubt is cast on the relevance of the curriculum and whether anyone really knows anything (“If I claim to be a wise man, it surely means that I don’t know”). Students continually debate the matter of which African country has the best soccer team.

How can teachers best serve students? Youth require some combination of the curriculum, along with communication, critical thinking, analysis, socialization, self-control, organization, and countless other skills. Can it be taught in a single year, or over the course of thirteen years? As the characters find out at the end of the film, there are things more important than what happens between the walls of the classroom.

John Wooden said that teachers should never get angry with students who test them but they should always remain fair and firm. M. Marin does his best but even the best teachers at the school slip from time to time and need help. During the school year, both students and teachers make significant personal improvements.

The film is very realistic, posing as a documentary. It may run a little long but the story successfully creates drama and comedic out of mundane school moments. The screenplay is accurate, depicting many moments that may seem absurd when shown on the big screen but occur daily in school around the globe. The large cast performs very well and the audience develops a rapport with the teachers and the students, even those who disrupt the class. Cantet and writer François Bégaudeau ask relevant questions about the school system and its future direction.

One student struggles with writing but can succeed by communicating in other ways. Unfortunately, due to his self-control problems, he takes a step backwards. After expulsion, it is hoped the student will succeed at his new school but his fate remains unknown.

High and Low

2008-12-04T09:39:00.005-05:00

Nothing blew up. Nobody fell off of a roof in Vienna. Numerous scenes unfolded without any dialogue. Yet Akira Kurosawa successfully crafted a film in 1963 that surpasses most modern action films.

The plot revolved around a kidnapping mystery, which was revealed gradually as the villain and his persistent police pursuers matched wits. Scenes with hardly any action were incredibly tense, as a result of the actors’ performances, the film’s pacing, and the simple score. There was a connection between the characters and the audience which made a two and half hour film fly by.

Kingo Gondo, played by Toshiro Mifune, was a wealthy industrialist who was attempting to take over the National Shoes company. His family lived in a luxurious house atop a hill; although they overlooked the city’s slums, there was no empathy for those who toiled below. Gondo prides himself as a tireless executive but it is only when everything is taken from him that he realizes what is really important in life.

Kurosawa’s steady head was critical throughout the film. The story needed to be filmed in black and white in order to juxtapose the decrepit slums with the house on the hill, the air-conditioned comfort of Gondo’s living room with the heat of the summer, and the unselfish act of the protagonist with the sheer evil of the kidnapper -- and the subtle, scheming evil of Gondo’s boardroom colleagues. Colour would have cheapened the contrast and unnecessary music would have clouded the rudimentary soundtrack.

A kidnapper snatches Gondo’s son, only to discover later that it is the chauffeur’s child. The ransom demand would ruin Gondo and he must choose his priorities: save a life and send his family down to the slums or take over the shoe company and acquire greater wealth. During the decision process, blocking highlights Gondo’s insecurities as other characters turn their back to him and remain still. Mifune shows a wide range of emotions and turns Gondo from a despicable corporate figure to a caring family man.

In business life, Gondo would open the doors of his mansion and gaze down at the bustling city. The chaos of a million bustling lives, totally removed from him, seemed to provide solace. After paying the ransom, Gondo begins to take pride in common tasks, such as mowing the lawn in the scorching heat. He loses his house and position but is happy to be president of a small shoe company trying to expand.

High and Low is named after the Japanese term for heaven and hell. The city is a metaphor for these two places: a cool, comfortable house filled with beautiful people above a searing hot, filthy garbage dump filled with drug addicts and criminals. Only an individual, who makes his own decisions, can successfully navigate between the two worlds. Gondo may have lost his visual perspective overlooking the city but he gained a new moral perspective.

Whether Gondo is right is of no consequence. The value of a human life remains highly subjective: the son of a middle-class chauffeur is saved but three drug addicts die and a criminal receives the death sentence. The newspapers are sympathetic to the plight of a wealthy man but shed no tears for the countless victims who live in “Dope Alley.” Gondo realizes that he can’t live life alone but he still chooses with whom he will socialize. The detective takes more satisfaction in outsmarting the kidnapper than preventing the loss of more life. Reality is not black and white but a grey area that evolves constantly.

Another Way to Die

2008-12-02T22:39:00.004-05:00

A door left open: Bo Schembechler said “prepare, prepare, prepare.” John Wooden said that “failing to prepare is preparing to fail.” You can’t get upset on the court or in life when you are let down by something you should have foreseen and prepared for.

A woman walking by: In every life, short-term pleasure can’t overcome long-term pain. Treat the source, not the symptoms. Correct the player’s attitude so that they buy-in and become willing to correct their technique.

A man on your side: Another inch of your life sacrificed for your brother. If it impedes productivity, deal with it immediately; otherwise avoid getting caught up in the paperwork. Coaches should remember that they need to get paid too. The team can only go so far. In the hospital, there is plenty of paperwork so you won’t miss it.

A look in the eye: Essentially, John Wooden’s “Pyramid of Success” is nothing but a set of very high standards. If you compromise your own standards, looking at yourself in the mirror every morning becomes the most unbearable part of each day.

A phone on the table: Finding passion on your own is immensely difficult. Not everyone is interested in pushing the boundaries of quality. Finding coaches and players who share the same philosophy is critical.

Someone that you think that you can trust: Undeserved self-satisfaction is the timeless rival of self-actualization. If you are doing something interesting, challenging yourself, why bother? There are so many tiers in sport. Anyone can win a game at some level but not everyone can reach their potential.

Another way to die: Toiling through routine, repeating the same mistakes, wondering why we’re here; we’ve all been in one situation or another. When a person ceases to better themselves, they stagnate and die. Even little steps, made each class, prep period, practice, and game in the hopes of making a substantive change over an entire term or season can forestall a slow and ignominious death.

Talent Myopia

2008-11-19T15:45:00.005-05:00

In 1960, Theodore Levitt published Marketing Myopia, a seminal article for the Harvard Business Review that highlighted how a narrow understanding and a refusal to accept change doomed a number of business empires. Companies ranging from electric street car manufacturers that didn't understand the effect of the automotive industry to dry cleaners who did not cope with the development of new synthetic fabrics were criticized. The same problems also manifest themselves away from the business world, on the basketball court, where players get caught up with their own abilities and misunderstand their role in the sport.

Self-Deceiving Cycle: There is a certain groupthink among today’s ballers, ideas and opinions taken as given, facts ignored, despite all common sense. They follow the hoop culture vicariously via NBA.com but don’t follow the example of their role models. They watch an And1 mix tape and assume that they have the all the skills they need. E.O. Wilson once said that “Blind faith, no matter how passionately expressed, will not suffice. Science for its part will test relentlessly every assumption about the human condition.”

The Cycle develops as players forget how their heroes made the Association, ignoring examples like Steve Nash shooting free throws in the rain on Vancouver Island and disregarding the countless others who wanted to be him but failed in a blaze of glory. From where they are now, focusing only on their narrow range of skills and not the entire game, it might serve them well to read the signposts.

Production Pressure: It can’t be denied that young players are pressured by countless others. There’s pressure to keep the baskets coming at the Bantam level, rather than shoot correctly (irrespective of the outcome). There’s pressure to win by any means necessary rather than do it the right way (you don’t get paid for winning club games). There’s pressure to talk about Brandon Roy’s three-point buzzer beater against Houston, rather than the player who allowed him to get open (Travis Outlaw set the screen). There’s pressure achieve the coach’s definition of success, rather than John Wooden’s (As Coach Wooden would say, you can’t shoot if you can’t move and get open). Coaches should pressure players to improve, not just perform.

Population Myth: Some excellent student-athletes have always been recruited because they standout at their level. There are countless youth teams but very few professional leagues, and very few professional leagues that pay well. It’s hard to make a living playing ball. Agents serve dozens of clients and most of them are not Scott Boras.

Sooner or later, the number of buyers will shrink and the number of sellers will remain the same. Coaches will not only assess players on their physical abilities but their mental and social abilities as well. Some players will reach a certain point based on talent alone but others will be held back. Some players will less talent will surpass them because they play the game well.

Student-athletes must accept that they are basketball players, not ball handlers or scorers and learn the about the entire game: accept advice, rebound, set screens, give help, take leadership, move the ball, pass and cut, etc… Even Trajan Langdon is getting paid to play basketball these days.

Quantum of Solace

2008-11-15T14:16:00.005-05:00

When a franchise becomes over-extended, it becomes a parody of itself. It reflects incredibly poorly upon Quantum of Solace that the most memorable moment of the film is a reference to an earlier James Bond story: like Auric Goldfinger covered Jill Masterson in gold, Dominic Greene covered another one of Bond’s failed loves with crude. (Similar to how Halle Barry’s emergence from the ocean is more a nod to Ursula Andress and Doctor No than a part of Die Another Day.)

The visual is striking because of the earlier scene that it parodies; Agent Fields appeared far too briefly for the audience to form any connection with her and her death is more or less meaningless in a film where many characters wind up like her.

The problem is symbolic of the film’s faults. If the explosions would slow down for a second, the audience could better relate to Bond and his desire for revenge after Casino Royale. Sean Connery and Roger Moore’s Bonds tried to unravel the mystery of S.P.E.C.T.R.E., Daniel Craig’s protagonist is charged with exposing the Quantum criminal syndicate, led by Mr. White. Although Bond is focused on revenge in this film, the screenwriters missed the point that the story is supposed to be a mystery.

For the film to be truly excellent, there are two alternatives. The first option is that the audience connects emotionally with Bond and wants him to avenge his lover. When Bond succeeds, the audience realizes that his passion has misguided him; despite achieving his goal, he gains less than “a quantum of solace” and continues as the tragic hero that Ian Fleming designed. Or Bond gradually uncovers clues that lead him towards Quantum, permitting the audience to become familiar with the characters and increasing the desire to see the resolution.

Either way, there is not enough exploratory dialogue and dramatic scenes for the audience to connect with Bond and get a better idea of the criminal organization that he is trailing. Quantum of Solace is a cool medium that requires extensive audience participation to make sense of and fill in the blanks.

Nonetheless, the film is well directed. Marc Foster makes some interesting dialogues. When there is a shoot-out at the opera house, cutting the sound puts the viewer in Bond’s perspective. The shots fired, breaking glass, and crashing tables would become so overwhelming that his body would ignore them in order to get out of the building alive.

Quantum of Solace offers some interesting political commentary. Over the years, Bond films have featured villains endeavouring to control the gold markets, the media, and now the water supply. In this movie, alliances shift more quickly. Countries don’t seem to care if they must do business with a criminal if it meets their needs.

When Bond tells “M” that oil isn’t the motive for this situation, she asks him if he is sure and shows him Fields’ body. It’s not that she is covered in crude that is the message, it is the fact that Quantum can get to anyone, anywhere. Like Mr. White says, they have people everywhere. The message from the murder is that Quantum is the organization in control.

Apparently, Daniel Craig will complete at least a trilogy as James Bond. He performs well as a character who is supposed to be largely disconnected from his emotions. There are some intense actions scenes which are more or less consistent, although done to excess. Craig performs many of his own stunts and his character shows the scars of a life as a spy.

Screenwriting in the Bond franchise remains a concern. Although one of the screenwriter in the last two movies possesses an Oscar, there were serious flaws in Quantum of Solace. This is the second movie in the past three Bond films where 007 has been suspended and stripped of his “00” status, forced to regain the trust of “M” and her organization.

How many time musts Bond team up with a woman out to kill the same man that he is investigating? Aren’t there other ways to meet people? Surely, there a new directions to take the next film and hopefully the final chapter of the Quantum mystery will prove more satisfying.

Fun

2008-11-13T15:30:00.003-05:00

First concert in a while Tuesday night. Saw The Hold Steady at the Phoenx. Last time that I was at that club, Beck was playing and people were worried about Y2K. Last time that I was at a show, Oasis were touring Don’t Believe the Truth at the Molson Amphitheatre.

It was more or less enjoyable, a reminder to do so more often. It was similar to seeing Birds of Wales at the Mod Club, another band suggested by a friend. The Hold Steady turned out to be a band that I like (of course, any rock band that plays chords like that loudly is fun to listen to), although the countless spoken word lyrics became a tad excessive.

I should go out more. I can’t let my entertainment be limited to “Oh. My. God. House just kissed Cuddy.” Hopefully, Quantum of Solace doesn’t disappoint tomorrow either.

Synecdoche, New York

2008-11-10T21:03:00.006-05:00

“The visible world is no longer a reality and the unseen world no longer a dream.” - W.B. Yeats
Synecdoche, New York, starring Philip Seymour Hoffman and directed by Charlie Kaufman opened to mixed reviews this past weekend. I thought it was a good film.

Kaufman’s directorial debut delves into death, divorce, and decay. The protagonist, Caden Cotard, a struggling director in Schenectady, New York reads the obituaries of different friends in the newspaper as September turns into November in a single morning. Eventually, Caden’s wife leaves him and he becomes paranoid about his health. He receives an apparently unlimited grant which permits him to move to New York City and stage a play of his life, which becomes a play of a play, and more.

Surrealism reigns and space and time become compressed; eventually seventeen years pass. Cast members leave, others arrive, and eventually his ex-wife, daughter, and lover are dead (she died of smoke inhalation after moving into a burning house, put on the market by a “motivated seller”). Caden can no longer take the strain of directing and swaps roles with one of his actors.

During one of the many funerals, a priest announces that everyone is insignificant in an absolute sense. Compared to the life of the universe, a person is alive for less than a mere fraction of a second, spending eons waiting to be born and the rest of time being dead. Yet, a person can discover moments of significance in a relative sense, as Caden discovers when he finally accepts the overtures of Hazel, who was front of house for his productions in Schenectady and assistant director after the company moved to New York.

People are largely interchangeable, as shown by the actors who star in Caden’s play - and the play within it - and the performances of Hoffman and the rest of the cast. The character is as real as any person in the theatre. It doesn’t matter if you are Caden, the first Brock in a series, the twentieth one, or the only one. Eventually, one of the Prisoners leaves the Cave and doesn’t know what to make of it, like Dave in 2001: A Space Odessey.

Caden’s life does not work out as he had planned and he spends a great deal of time cleaning. He’s worried that he is dying, progressing from a fear of death in a few days, to a death in several months, to death in many years.

Years later, Caden makes peace with the mother of the actress with whom he traded places. Since people are peers of one another, this moment provides sufficient satisfaction to the director. He lets most of his worries go moments and finally enjoys life for a moment. Then he dies.

The Best and Brightest

2008-11-09T22:14:00.004-05:00

“Those who do not read history are doomed to repeat it,” according to George Santayana. According to David Halberstam’s book, The Best and the Brightest - which exposes how the Kennedy and Johnson cabinets of the 1960s handled Vietnam - it may not be so simple. John F. Kennedy’s administration had lofty goals: some of the most educated men in the country sought to redefine the role of the United States on the world stage. Some sought to curtail the arms race, others sought to establish a new, modern “Great Society” back home. Despite their best intentions and their amazingly bright minds, they failed miserably. Although the scholars had many good ideas, they lacked the aptitudes to implement them properly.

“The charts look good,” said Walt Rostow, National Security Advisor to Lyndon B. Johnson, in 1967. Yet despite that claim, the situation in Vietnam was worsening. Those making decisions didn’t have the proper statistics and consequently made incorrect choices. Many Far East experts had been purged from the State department and few individuals with experience in Southeast Asia remained to analyze the events.

Some information was false due to incompetence, other information ignored because decisions makers didn’t want to acknowledge what was happening. The United States viewed the war quantitively (believing their shear numbers advantage would win), rather than qualitively (and acknowledge that the Viet Cong was employing a different type of warfare). Some information was even falsified in order to avoid excessive media coverage. Ironically, when Johnson’s team lied about the true cost of the war, it wasn’t that the country couldn’t afford the higher figure but the fact that he had lie that helped bring him down.

“He’s my intellectual,” said Johnson about Rostow. Johnson was somewhat paranoid about Kennedy’s appointees and how they treated him. Advisors were hired based on the opinions, not their ability to understand a situation. Robert McNamara, the Secretary of Defense, was fired because he opposed an escalation of the bombing in North Vietnam. Aides were reluctant to bring their superiors information that might seem negative or pessimistic.

Throughout the administration, there was widespread refusal to admit wrong and accept weaknesses. Once the conflict escalated, the United States felt reluctant to withdraw because they didn’t want the world to think they were conceding defeat to a Communist country. There was also a reluctance to change and alter a course of action once it had been understand.

To me, a surprising fact was that many of the cabinet came from families that had advised the president a generation before (and some families continued to advise a generation later). Although they claimed not to be political, personal grudges and mistrust permeated the administration.

“The only difference between the Kennedy assassination and mine is that I am alive and it has been more tortuous,” complained Johnson during the 1968 primary season. Halberstam has written a detailed history of the Kennedy and Johnson administrations. The book covers how people achieved their positions at the time and what happened after it all fell apart. It was not one decision that led to the disaster in Vietnam but many small choices, some made repeatedly.

“All men dream; but not equally. Those who dream by night in the dusty recesses of their minds Awake to find that it was vanity; But the dreamers of day are dangerous men. That they may act their dreams with open eyes to make it possible,” recited T.E. Lawrence after World War I. The 660 page chronicle is incredibly fascinating and sometimes depressing. Any leader can learn from this text and improve themselves and their team. Any person could read this, or Lawrence’s Seven Pillars of Wisdom, and wonder how the same mistakes are made over and over again, even today.

The Audacity of Whatever

2008-11-06T17:07:00.003-05:00

Now that Barack Obama has finally become President of the United States, he must put his plans into motions. Grand ideals must transform into nuts and bolts, a campaign of change into possibly a deficit budget.

Hyperbole has become acceptable discourse in politics. Rather than debate the details of Stéphane Dion’s carbon tax and how it would be implemented, Stephen Harper called exaggerated the policy and called Dion another tax and spend Liberal (if a government is going to tax, it should be a consumption tax). Rather than introduce his own policies, John McCain tossed key words like Socialist at Obama. Superficial discussions and ad-hominem attacks triumphed, like they do in everyday like.

Franklin D. Roosevelt and Lyndon B. Johnson won two huge victories for the Democratic Party. Both enjoyed a honeymoon with the American public and both Houses of Congress and pushed through as much legislation as they could. Roosevelt over-stepped his authority and tried to expand the Supreme Court; Johnson was slowly overcome by the Vietnam issue. Neither finished their campaign of change.

It’s possible to work hand, take care of the little things, break the cycle, and exceed the expectations of others but difficult. Obama needs to do as he promised: ignore politics and make decisions based on their merits, use the information that’s available to make his country more educated, and be willing to change his mind if it’s necessary to take the best course of action. Reverse the political trend and put self-actualizaiton over self-importance.

What Just Happened?

2008-11-03T12:19:00.012-05:00

“Indeed,” remarked the cinema patrons as they left Robert DeNiro’s latest film What Just Happened? “Was that a comedy or a drama?” said one. “I have no clue,” replied another. “Just keep walking,” urged a third.

Did a comedy happen? Or a drama? I was hoping that an absurd series of events would parody Hollywood like Get Shorty. Or maybe a disaffected protagonist grinding his way through a series of soulless setbacks, like directory Barry Levinson’s T.V. series Homicide and Oz. If not that, then two leading actors bantering back and forth and satirizing their field, like another Levinson-DeNiro collaboration Wag the Dog.

Instead, it seems as if nothing happened. Ninety minutes were used to set up two reasonably funny jokes. The worst crime a comedy can commit is to not be funny.

DeNiro’s Ben, a famous film producer, drives mindlessly through the lights and freeways of Los Angeles, a plane leaves without him, and his ex-wife re-upholsters his favourite chair. Ben takes ecstasy and is only slightly more confused and disoriented than when he is sober. Levinson bashes the audience over the head with symbolism like he was using a hammer.

An important plotline is whether Bruce Willis, a star in Ben’s next picture, will shave his lumberjack beard. In the end, he shaves half of it and the production crew applauds. Did he mean to yank their chains and shave the rest or was it a blunt metaphor that meaningless compromises are now accepted and congratulated? “You didn’t do anything worthwhile, but at least you put forth a token effort and are no longer a complete disgrace.”

I.M.D.B. gave this film 8.1 stars out of ten. At least the actors and crew tried. It was an evening of entertainment but nothing more. Entirely overrated, perhaps like the Hollywood lifestyle, the film manages to teach a brief lesson as it concludes: as Ben’s life collapses around him, he manages to find more self-satisfaction and peace of mind than he ever did during his successful years.

Basketball Relativism

2008-11-02T22:18:00.002-05:00

Seeking to avoid the tendency to move players around like Stratego pieces but still recognizing that the basketball season is like a game of Labyrinth. Balancing the motivation of a group of student-athletes towards meaningful goals while encouraging them when they falter. Generating elite performance from the team on the court and inspiring personal improvement away from it.

Coaching becomes much more challenging than diagramming a sideout play down two with two seconds left on the clock.

As a moderate Platonist, I try to avoid moral relativism. I think that there are standards of success, of good performance, that shouldn’t be shunned. But then what is success? John Wooden defines it as “the peace of minds that comes from the self-satisfaction of knowing you did your best to be the best you are capable of becoming.” Rick Pitino says that “success is a choice.” Certainly their records convey empower their words with a degree of credibility. I definitely think that every team member should be constantly striving to improve themselves, including the coach.

For a coach to provide extrinsic motivation that is as powerful as a player’s own intrinsic motivation, the player must share the coach’s ideals to a point. If a coach holds one concept of success close to his heart and the player another, conflict erupts. A common error is assuming that one’s personal views are the only reasonable view and that they are very common; therefore, anyone who takes an opposing viewpoint is wrong and expressing an absurd viewpoint.

So when a player confronts a coach (metaphorically, not physically), the coach should evaluate the viewpoint that led to the conflict. Players are people, after all. To live a personally satisfying life, the coach should never sacrifice his personal values but to experience a collectively satisfying season, the coach should be willing to change.

Beyond wins and losses, success could mean instilling individual pride in group accomplishments, promoting attendance and punctuality, inspiring student-athletes to do better in class. With younger students, even small steps should be encouraged and although it is a struggle for coaches, they should congratulate the progress, slow as it may be.

“It is not the purpose of war to annihilate those who provoke it, but to cause them to mend their ways.”
- Polybius

Player Development, Part I

2008-10-13T19:29:00.003-05:00

Today, Ettore Messina held a clinic at the University of Toronto regarding the development of the young post player. I thought that it was a very insightful presentation and included some technical elements which are not usually covered in North American coaching literature.

First of all, Messina spoke of developing trust with players. I agree with his point that players will respect you once you prove that you can help them improve. To me, it’s highly logical and creates relationships based on respect, not the one-sided interactions that have become prevalent in schools and teams in North America. As I am focusing on my personal connections this season, I will try to keep this intuitive point in mind.

Coaches must give athletes opportunities to succeed, in order to build confidence and build relationships between coaches and players and between teammates. When an athlete succeeds at a simple task, they feel confident about trying something more difficult. When players see that coaches are helping them, they buy into the system. When a guard sees that a post is helping them defensively, they will trust them by passing them the pass at the other end.

Messina also discussed the instruction of specific skills to make things easier for players. Skills should be challenging at first but not impossible. During the Summer Olympics, Mark Tewksbury stated that Canada should have specific skill benchmarks for athletes at all levels (for example, how well should a fifteen year old swimmer be able to perform the dolphin kick) and Messina’s coaching philosophy supports Tewksbury’s claim. Both athletes and coaches are responsible for making consistent progress and keeping standards realistically high.

Body of Lies

2008-10-12T21:29:00.003-05:00

Body of Lies is unfortunately less than the sum of its parts. Fortunately, it’s made with a number of top quality parts (Ridley Scott, Russell Crowe, and Leonardo DiCaprio) so it’s still a very entertaining story. Crowe has worked with director Scott in previous films such as American Gangster and Gladiator and they always do well together. Body of Lies is much closer in quality, scale, and significance to the more recent American Gangster than the Academy Award winning Gladiator.

It is still a film that is worth seeing.

I am tired of films with taglines such as “Trust No One”, overly enthusiastic editing that confuses the storyline, and excessive use of technology as a plot device. It becomes clichéd, like trailers that attempt to pique interest by making the film seem incomprehensible. Reviews of the film criticized the use of cellphones but it was necessary in order to connect Crowe and DiCaprio. The two were positioned on opposite sides of the world and would not have been able to see each other personally often. (Even Al Pacino and Robert DeNiro had to interact via telephones in Heat.) I thought that it was also important to symbolize how Crowe’s Ed Hoffman was losing his grip on his personal life at the expense of his career: real-life interactions replaced by a cellphone headset.

The ensemble cast carries their share of the load. Body of Lies includes some very intense scenes that were made possible because of tremendous performances. Crowe punctuated several scenes with a memorable glance over his thick glasses.

DiCaprio’s Roger Ferris was trying to balance the priorities in his life, struggling to prevent himself from being physically and mentally destroyed. Ferris’s love interest, Aisha helped him save himself, both when he received a rabies shot at the hospital where she worked but when they fell in love later. On the other hand, the story wrapped itself up far too neatly. The plot was complicated and I found it implausible that all the loose ends were seemingly tied up.

Body of Lies means to show how the United States has lost its way in the war on terror. Hoffman says that the terrorists have simplified their existence and see the conflict as fighting “men from the future.” Jordanian intelligence chief Hani Salaam says that “the U.S. cannot keep a secret because they are a democracy.” In the end, it is Salaam’s basic methodology that surpasses the sophisticated technology and size of the C.I.A..

Scott’s contribution is fairly limited. There are some clever jump cuts that enhance the disjointed nature of the screenplay. He also captures some of the action in epic helicopter shots, showing how the audience is only watching this story from far, far away.

Relationships and Individuals

2008-10-10T13:39:00.005-05:00

Coaching is often described as relationship building, bridging people together. When two random squads play the team with superior talent, the players most physically and mentally ready to play, will win. Sometimes, the talent comes pre-packaged, hence the importance of recruiting and motivation in short-term scenarios.

When a coach possesses the luxury of time, what attributes become necessary? Does relationship-building remain paramount? When is it necessary to know the game and develop talent? Where do high standards fit in? A sophisticated project requires a sophisticated approach.

The Canadian National Soccer Team faces turmoil because certain key players were dismissed for reasons not germane to the pursuit of the World Cup. The players felt that they deserved a personal call from the Head Coach informing them of recent personnel moves; the coach felt that they shouldn’t have spoken out. Consequently, Canada will miss another World Cup and faces a dilatory qualification schedule remaining.

In a program, I think that it is important to develop talent. Players and coaches must improve continuously throughout the year. Student-athletes should take their responsibilities seriously and undertake the challenge of self-actualization; coaches should assign specific tasks to keep things simple and keep the team focused. Everyone should devise high standards and hold themselves to them, pushing each other to get better at game intensity.

It is not solely the teacher or the coaches job to make the class interesting or the practice fun. School or basketball shouldn’t be all work but individuals needs to find their own motivation. If it isn’t inside, it’s hard for someone to jam it in from the outside. Interest and fun can come from success, improvement, and Maslow’s self-satisfaction from being the best you can be.

If a coach can engender this sort of motivation, they can overcome a lack of relationship-building skill. An expert high performance coach can serve these players well, but they must want to be served. It is a relationship founded on respect.

Burnt After Reading

2008-09-30T21:17:00.002-05:00

Several individuals counseled me to avoid the Coen Brothers’ film Burn After Reading on account of poor reviews but I found that these opinions strengthened my resolve. After viewing the black comedy, I did not find myself to be disappointed, nor did the rest of the audience at the Varsity Cinemas. The film lacks the drama and tension of “No Country for Old Men” but provides numerous laughs, thanks to an absurd screenplay and ridiculous performances.

Borrowing (or perhaps “adapting) shocking scenes from Pulp Fiction and Fargo, Burn After Reading is fairly violent. I found J.K. Simmons deadpan character to be a substantial improvement over his portrayal or Emil Skoda and Juno’s dad. It allowed viewers to take a step-back and laugh at events that would otherwise be tragic. George Clooney, Brad Pitt, and John Malkovich excellently fill the roles of a sleazebag, idiot, and bitter alcoholic respectively.

I was perturbed by the lack of political satire. I feel that the Washington D.C. setting was not fully utilized. On one hand, I would like to see the Coens tackled a presidential election but on the other hand, they probably wouldn’t be as bizarre as the real election has proven to be, along with the reactions of the American public and world media. Burn After Reading won't win an Academy Award, but it falls somewhere between Raising Arizona and The Big Lebowski on the Coen Scale.

The Dark Knight and The Graduate

2008-09-08T20:42:00.004-05:00

Over the weekend I watched two films, The Dark Knight in IMAX and The Graduate on DVD. Directors Christopher Nolan and Mike Nichols created two excellent films but only one of the two is truly an all-time great (despite what IMDB’s All-Time Ratings indicate at the moment).

On the six-storey IMAX screen, The Dark Knight is spectacular. Panoramic shots are crystal clear and one can appreciate the scale of Gotham City. The monologues and dialogues are even more intense; the size of the presentation does great justice to the performances of Heath Ledger, Gary Oldman, and Aaron Eckhart.

But the screen and sound system also prove how overpowering the action sequences are. The chase scene lacks special continuity (more obvious after a second viewing) and many of the brawls blend together and fade away. The “Magical Pencil Trick” is the most subtle, violent, and memorable scene, and nothing was crashed or detonated. Older films show how tension can be created - often more effectively - with a light touch. Nolan knows this, as it is the detailed characters that make audiences care about the film, until they are blown away by the next explosion.

Many of the camera angles employed in The Dark Knight were pioneered by earlier films like The Graduate. Even forty years later, the camera work in that film is still exquisite. Shots like those around the swimming pool, the municipal bus, and airport remain captivating after multiple viewings. The performances are very realistic, especially Dustin Hoffman’s disenfranchised title role. Benjamin’s Braddock’s Aston Martin scenes are quieter and all-around better than the massive chase and crash in The Dark Knight.

Although, Nolan did make a very exciting picture using a lot of techniques inspired by Nichols -- and a 180 million dollar budget. The Dark Night is a tad overrated and despite many staunch supporters, is far less enjoyable than the subtle Graduate.