I’m pretty darn sure after seeing the trailer that I want to see this movie, but there’s one little fillip, one name that gets briefly dropped, that really makes me wonder what’s going to happen. It isn’t explained in the clip, unfortunately, it’s just there, so I’ll have to cough up $5 to find out.
Does anybody care about them anymore? I didn’t watch it at all, and I also missed most of the nominated movies this year. We had the winner, No Country for Old Men, playing in town a few weeks ago, unfortunately coinciding with an exceptionally heavy work week for me, and I couldn’t find time to see. There Will Be Blood is playing at the Morris Theatre this week, and I may have to squeeze in a few hours to check it out…but not because Day-Lewis won an award.
Isn’t that what it’s about, anyway? If we’re going to take off 3 hours or more for some entertainment, it makes more sense to go see the movie than to watch a tedious show about the movies.
I’m a big fan of modern Scandinavian folk music, and am often listening to great bands like Sorten Muld and Hedningarna. I don’t know the language, though, so I’m usually just grooving on the sound … so it’s greatly appreciated when a Swede translates a Hedningarna song for me. And, as it turns out, this particular song is very appropriate to blogging.
This is my favorite Roy Zimmerman song (so far). It just portrays perfectly the contradictory, weird mess of a country we live in.
While it had its moments, and was based on a provocative and interesting series, I wasn’t that impressed with The Golden Compass movie adaptation. Still, I’m disappointed that the decision has been made that the subsequent books will not be filmed. It apparently did very poor box office in the US, so it isn’t a surprise, I suppose.
I have to compare it to the Narnia movie, though. The Lion, the Witch, and the Wardrobe was a great gilded turd, an awful piece of poor storytelling and suspension-of-disbelief shattering illogic, with nice cgi. The Golden Compass had a story that was given short shrift in the movie, was kind of a mangled mess, but was better than C.S. Lewis’s fairy tale for the inane; it also had better and more imaginative graphics. Which one of those series is going to be inflicted on us many times over, though? The one with the comfortable Christian themes, of course. It had a guaranteed undiscerning and credulous audience.
(hat tip to RBH)
Sad news…Vampira has died. She was very young for a vampire, only 86, and there’s no word on whether it was a stake or sunlight that ended her long career as one of the rare Finnish vampires (real name: Maila Syrjäniemi). You may recall her from her important role in Plan 9 from Outer Space.
It’s the last sad whimper to the lingering death of an old tradition. When I was a young’un, there were horror hosts everywhere—you knew that if you turned on the TV anywhere at about 11 on a Friday or Saturday night, there’d be somebody in a Halloween costume introducing some old black-and-white horror movie. It was campy, it was predictable, the movies tended to be awful (although when one of the old Universal classics with Karloff or Chaney, or anything with Vincent Price, was scheduled, I made a special effort to watch it), and it was always fun. Rmember those cheap Japanese monster movies? Roger Corman’s low-budget rip-offs of Edgar Allen Poe titles, with content completely divorced from anything Poe ever wrote? That phenomenal wave of British horror coming out of Hammer Studios? Them, The Incredible Shrinking Man, The Amazing Colossal Man, The Blob—all that 50s paranoia about nuclear bombs?
Many of us godless people still identify as cultural Christians because that was the background of our upbringing, but I think my late night inoculations with classic horror and sci-fi movies had a deeper, more long-lasting influence on my life than those boring, unentertaining, unengaging Sunday mornings spent in church pews. I am a cultural Frankenstein, Jekyll, Moreau, Morbius, Pretorius, Phibes, and even Vampira — and they were all the more important as shapers of my perspective because there was no pretense that they were real, and because their portrayals were open to criticism and mockery.
I saw the new Will Smith movie, I Am Legend, last night. In short, it was far worse than I expected, with a drawn out and rather boring beginning (Smith is lonely, everyone is dead except for his dog. Got it), and the ending felt like a stapled-on feel-good absurdity that didn’t follow from the premise—and is only a happy ending if your dream of paradise is an armed camp of Christians. The only virtue I’d heard about the story is that the hero is openly atheist … but that was a disappointment, too, because I discovered he was the wrong kind of atheist.
Atheists in the movies aren’t that common. Most seem to be cast as amoral opportunists — the villains. They are rarely cast as the hero, and when they are there is only one atheist stereotype allowed in that role, and Will Smith filled it perfectly.
The acceptable atheist is the one who has faced so much tragedy, whose life has been damaged by cruel fate to such a degree that his declaration that there is no god is understandable. He is a failed Job; he’s portrayed not as an actual contented atheist, but as someone who has broken under the burden a god has placed on him, and is therefore a sympathetic figure, and also is implicitly endorsing the audience’s beliefs about god. Job without god, after all, is just a deluded loser.
That’s the standard trope: the atheist is a broken man, a nihilist, a cynic, someone who has come to his disbelief as a consequence of a devastating emotional experience. This is the kind of atheist theists are comfortable with — but it’s not the kind of atheists the New Atheistswann are, and especially not the scientific branch. We don’t fit into their unthinking convention, which is probably why they stuck us with the label “new”.
There are atheists who look on a tragedy and cry, “There is no god,” in despair. But we are atheists who look on beauty and complexity and awesome immensity and shout out, “There is no god!” and we are glad.
That’s the distinction we’ve got to get across. We are fulfilled, happy atheists who rejoice in the superfluity of the old myths. We generally don’t have a tragic backstory — quite the contrary, we’ve come to our conclusions because we have found natural explanations satisfying and promising.
wann: who are not “new”.
Roy has this nice inclusive Christma-Hanu-Rama-Ka-Dona-Kwanzaa song for the season, but notice: no mention of squidmas. Time to riot in the streets! Tear down some embassies! Defenestrate folkies!
I think you all need to go to RoyZimmerman.com and sign up for his mailing list so you can track his War on Squidmas.
