Some time ago, I passed on information about a new feature film called The Ledge (2011) that had an atheist character as the lead. The film was written and directed by Matthew Chapman, who happens to be the great-great-grandson of Charles Darwin. I finally had a chance to see it over the weekend and I have to confess that it was a big disappointment. Even though I wanted to like it, the film has so many flaws that I simply cannot recommend it anyone.

The story begins with a person standing on the ledge of a high building and threatening to jump, and consists of flashbacks as he and the police officer assigned to talk him down exchange their personal histories.

The main problem is that it is overwritten. The script is too preachy and tries to hit too many obvious points in the religion/atheism debate. It is not subtle. Furthermore, the story is highly implausible and three of the main lead characters (the atheist, the Christian, and the Christian’s wife) are unsympathetic and their portrayals (by Charlie Hunnam, Patrick Wilson, and Liv Tyler respectively) are leaden.

The one redeeming feature in the film is Terrence Howard as the police officer who tries to talk the atheist off the ledge. He has more acting skills than the other lead actors combined and the subplot involving his character was more interesting than the main story.

I think that the best way to deal with religion in films is with humor. Religious beliefs are so preposterous and the history of religions so bizarre that it makes for ripe pickings for comedians. Monty Python’s Life of Brian and Ricky Gervais’s The Invention of Lying are good examples of how to do it.

Maybe a serious film that deals with atheism well will come along someday.

A long time ago, I read what was described as one of the most amazing tracking shots in film, starting at a great height and ending up underwater. (A tracking shot is a long single take with the camera moving.) It sounded incredible but I did not think I would ever see it because I did not know the name of the film and besides in those days the only way to see a film was in theaters and if you missed it on its first run you were pretty much out of luck unless they showed it again at a film festival.

For some reason, I recalled the tracking shot description a few days ago and, thanks to the internet, was able to find it. It occurs at the beginning of the 1964 Soviet Union-Cuba joint production Soy Cuba (I Am Cuba). Here it is, with the shot beginning at the 2:10 mark.

It turns out that the same film has in my opinion an even more incredible tracking shot that begins at the 1:40 mark of the clip below.

You watch in amazement and wonder “How the hell did they do that?”

It is good to remember that this film was made in the days when equipment was nowhere near as sophisticated as it is today and there was no post-production computer wizardry. These were real virtuoso performances by the director and cinematographer, that required exquisite timing by everyone involved. This is why I am far more impressed with the special effects in old films like this and 2001: A Space Odyssey than in, say, The Matrix.

James Garner is one of my favorite actors. As a child, I was a devoted fan of his TV western series Maverick in which he played a nattily dressed gambler who, while not a coward, would go to great lengths to avoid a fight that might mess up his clothes. His later TV series like the The Rockford Files and his films built on his image of the friendly, easy-going guy who finds himself in situations that he would rather avoid but deals with it anyway. That personality was what made me like him.

So I enjoyed reading the review of his memoir in The Atlantic. As the review says:

He really is like the men he plays onscreen, even unto the modest requirements symbolized by the humble trailer that serves Jim Rockford for a residence. He is thoughtful, honest, and fundamentally gentle, although he has knocked men down when riled. On the evidence given here, one doesn’t doubt that they asked for it. One doesn’t doubt this guy at all.

One of Garner’s great charms is that he seems like a really nice guy but it is almost impossible to know if the private personas of famous people match their public image. But the boyfriend of a friend of mine is a character actor who has acted in many films and gets the ‘below the title’ credit assigned to character actors who have significant roles. He is the kind of actor you recognize on the screen as having seen before but cannot easily recall the specific film. When I met him once he mentioned a film that he was working on with Garner and I asked about him and he replied that Garner in real life was even nicer than his public image.

Given that so many of one’s childhood favorites later turn out to have feet of clay, it was nice in this case to have a childhood impression reinforced.

Here’s the trailer for one of his films, Support Your Local Sheriff

I just saw Hot Coffee, an excellent and disturbing award-winning documentary about the concerted effort by big corporations that, under the banner of ‘tort reform’, seek to deprive people of their right to sue them for the damage they inflict. See the film’s website for more information and for the interview that director Susan Saladoff had with Stephen Colbert, that I also linked to earlier.

Here’s the trailer for the film.

The film takes its title from the famous case in which Stella Liebeck, an elderly woman, sued McDonalds because of the injuries she suffered when she spilled their hot coffee over her legs. A jury awarded her $160,000 in damages and $2.7 million in punitive damages. McDonalds and other big corporations exploited this case to create a vast mythology about ‘jackpot justice’ in which they alleged that people filed frivolous lawsuits against big corporations and doctors in the hope that they would strike it rich, and that the cost of defending against these charges and paying the judgments was passed on to the rest of us. The corporations successfully appealed to the crocodile mentality in people that resents what seems like undeserved good fortune to people who are just like them but in which they do not share, and the case became the punch line for comedians.

The corporations have used that case to steadily encroach on the rights of people by instituting caps on damages, forcing binding arbitration on people so that they cannot sue in court but must have their case decided by an arbitrator who is picked by the very corporation that harmed them, and pouring money into judicial races so that any convictions that people obtain are overturned by higher courts and the laws depriving people of their day in court are ruled constitutional. The film shows how the oligarchy works, creating a pseudo-legal system that is friendly to business and government and conspires against ordinary people.

The documentary starts by exposing the central myths of the hot coffee case, which was that it involved a doddering old woman who spilled coffee on herself while stupidly drinking while driving. In actual fact, Liebeck was an active and robust woman who had just retired a couple of months earlier and was the passenger in the car that was parked in the lot when the event occurred. But what was shocking to me was the scale of the burns suffered by the woman. They were horrendous and required major skin grafts. The photos of the injury were horrifying and I had to turn away. What was worse, McDonalds had received many previous complaints about their hot coffee but had done nothing.

The idea of having some caps on damages seems reasonable to most people because of the perception that juries are emotional idiots who pick some number out of a hat out of excessive sympathy for the victim. The film examines a case in which a child (one of a pair of twins) was born with brain damage because of medical malpractice by a doctor who had had previous problems. The jury award carefully took into account the amount of money the family would need to provide a lifetime of care to their child but this amount was arbitrarily reduced because of the caps laws passed by the state legislature, which means that Medicaid (i.e., taxpayers) will have to foot part of the bill while the doctors and hospitals escape the full consequences.

In the case of the damage caused by binding arbitration, the film looked at the case of a young woman who was gang raped by her fellow Halliburton employees in Iraq and then when she complained was locked in a storage trailer and was released only because her father in the US got their congressman involved. But she could not sue Halliburton for damages because her employment contract had a binding arbitration clause that she was unaware of and she had to fight hard just to get her case heard in court.

The film says that many of the contracts we now enter into, such as with our credit card companies, include such clauses in the fine print, when we originally sign up or in the modifications to our agreements that we get in the mail and which hardly anyone reads. Arbitrators overwhelmingly rule in favor of the companies. It is not hard to see why. The arbitrators are picked and paid by the company and make their living by deciding these cases and those who rule against the companies find that they rarely get asked again. As Upton Sinclair said, “It is difficult to get a man to understand something when his salary depends upon his not understanding it.”

The film also examines the case of how business interests pour money into electing judges who will be sympathetic to them, in particular waging a relentless campaign to defeat a Mississippi Supreme Court judge who was deemed to be not subservient enough.

The filmmakers interviewed some of the jurors in the hot coffee case and they explained how they weighed the evidence and arrived at their verdict and the size of the judgment. Rather than being stupid people who picked a large number at random, they carefully weighed how much blame should be borne by the woman and how much by McDonalds and what punitive damages would be appropriate to send McDonalds the message that they had acted irresponsibly by cavalierly ignoring the warnings about its product. They settled on two days worth of coffee sales revenue.

I have been called for jury duty several times and although I have never been picked for an actual case, I have spent a lot of time in the jury poolroom talking with my fellow potential jurors. These are just ordinary people from all walks of life and for some of whom it was a real hardship to serve on a jury because they lost wages. But I was impressed at how seriously they took their task and they confirmed my belief that I would much rather put my fate in the hands of a jury of my peers than in those of an arbitrator or judge, however well-educated or experienced they are.

I recently saw the film The Room (2003). This is a film that got brutally panned in reviews and I watched it fully expecting it would be terrible. Why subject myself to such a waste of time? Because it belongs in that rare category of films that are so bad that they are good. As one person said, The Room is the Citizen Kane of bad films, so awful that it has developed a cult following, with special midnight screenings for the faithful who anticipate every scene, throwing plastic spoons and footballs at appropriate moments, and yelling out key pieces of dialogue.
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Tomorrow (November 5th) is Guy Fawkes day. The mask used to represent him in the film V for Vendetta, has become the symbol of those who fight oppressive governments and systems. I predicted back in 2006 when it was released that it would become a cult classic, and I am particularly glad to see that come true.

(Image courtesy of reader Norm.)

Stephen Colbert interviews Susan Saladoff, the creator of the documentary with the above name, that challenges the myth put out by the corporate industry and its pliant media allies that trivial lawsuits are out of control and that people need to be limited in their ability to take big corporations to court.

Here is the trailer for the documentary.

If I walk into a room where someone is watching a film on TV, I can always tell immediately whether the film is a recent one or from a few decades ago, even without clues about the actors. But I would not have been able to explain how I knew this.

It turns out that it is due to the fact that films now look different in the color palette that they use. In earlier days the colors in films were more natural and often quite lush and vibrant and ranged over all the hues. Photographing color is tricky and apparently directors in days gone by paid close attention to the colors that appeared on screen to prevent any jarring effects. But with modern films, it is possible to manipulate color in the post-production phase and thus less attention is paid to this aspect of filmmaking photography.

The trend in modern color films is to drain the colors out and impose a kind of subdued bluish tint. This article gives examples of the change. Look at the stills from some old and new films and you will see immediately what I mean.

Why did this happen? This article explains that with the ability to digitize film and manipulate its color, film makers have during the post-production phase deliberately set about to created the somewhat drab look that is now so ubiquitous.

You see, flesh tones exist mostly in the orange range and when you look to the opposite end of the color wheel from that, where does one land? Why looky here, we have our old friend Mr. Teal. And anyone who has ever taken color theory 101 knows that if you take two complementary colors and put them next to each other, they will “pop”, and sometimes even vibrate. So, since people (flesh-tones) exist in almost every frame of every movie ever made, what could be better than applying complementary color theory to make people seem to “pop” from the background. I mean, people are really important, aren’t they?

And so we now have this teal-orange dominance in modern films. Although I had not read these articles when I posted the item about old and new film trailers, those two trailers illustrate this point quite nicely.

It is interesting to see how trailers have changed over time. I recall a few decades ago, they would have fairly long sequences but with a loud, urgent, voice-over narration in the annoying style of old newsreels. Take this one for The Bridge on the River Kwai (1957).

These days that obnoxious narrator is gone, to be replaced by an occasional and more subdued voiceover. But now the trailers have annoying rapid-fire cuts that last for very short times. The goal these days seems to be to show a fraction of every scene of the entire film in the hope that at least something will appeal to the audience. I have got into the habit of playing a game in which I try to identify which bit comes from the climactic scene of the film. Here’s a trailer for one of the Pirates of the Caribbean films.

No doubt these trailers are the products of extensive market research but I wonder if showing a few scenes in more depth in the old style (but without the old narrator) might engage the viewer and cause them to want to see the film more than these scattershot montages.

I just watched this film for the umpteenth time.