(My latest book God vs. Darwin: The War Between Evolution and Creationism in the Classroom has just been released and is now available through the usual outlets. You can order it from Amazon, Barnes and Noble, the publishers Rowman & Littlefield, and also through your local bookstores. For more on the book, see here. You can also listen to the podcast of the interview on WCPN 90.3 about the book.)

I realized that I hadn’t discussed a film that deals with evolution and intelligent design (ID), topics that are central to this blog, so here is my long overdue review.

Frankly, Expelled is a mess. The film is polemical but that is not the problem. There is nothing wrong with having a point of view and making the case for it. The creators of Expelled have a story to tell of a scientific community (especially biologists) acting like a totalitarian cabal that demands Darwinian orthodoxy from all scientists and expels heretics from their midst, by denying them tenure, rejecting their papers, and firing them. All those who would even dare to whisper that evolution may be wrong and that there is a possibility that a designer is at work in life processes are victimized, ostracized, and expelled from the academy.

To tell this story, the narrator Ben Stein basically tries to copy Michael Moore’s patented shtick of the bemused Everyman, just a simple guy who has a childlike belief in truth and justice, trying to figure out what’s going on, and constantly being surprised at all the chicanery and bad intentions that he stumbles across almost by accident. In Stein’s case, he acts like a naïf who assumes that scientists were open to every possibility and every alternative theory and he is shocked, just shocked, at the extent they are willing to go to suppress ideas that they see as contradicting Darwin, and the appalling lengths they will go to destroy the people who are brave enough to do so.

Stein starts off by speaking to five scientists and a journalist who say their careers were destroyed because they criticized aspects of evolution and spoke in favor of intelligent design. I am not going to examine the validity of these claims since they have already been scrutinized here, but will instead focus on the filmic aspects.

The major difference between Moore and Stein is that Moore has a deft touch with comedy. He knows how to make people laugh by inserting verbal, visual, and musical gags that can startle the viewer into laughter while at the same time making an important and serious point. With his huge bulk, disheveled appearance, and trademark baseball cap, Moore comes across as a big lug, a doofus, a regular guy confronting the rich and powerful.

Stein, by contrast, looks throughout the film like an undertaker having a bad day. He seems to never crack a smile and speaks in a monotone. We see a lot of him walking everywhere in a dark suit and sneakers, with an inflectionless voiceover narration, and interviewing people with a dour expression.

The filmmakers have all the subtlety of a sledgehammer and the word ‘overkill’ is not in their vocabulary. The tone is set right at the beginning, with stark black and white images of the Berlin Wall going up as dismayed onlookers watch helplessly. The Berlin Wall is a central metaphor throughout the film. (The scientific community wants to prevent the free flow of ideas, just like the Communists, get it?)

From then on, we get repeated black and white stock film footage of Nazi and Communist soldiers marching in formation (the scientific community marching in lockstep, get it?). We also see lots of footage from what seems like old school education filmstrips and newsreels and films, with the grimacing, scowling faces of old wrinkled people (the hidebound nature of the scientific old guard, get it?) and slapstick comedy (the childish arguments against intelligent design, get it?).

And then there is Hitler. There is always Hitler. Religious people never seem to get enough of Hitler. They seem to think he is an argument against evolution and atheism even though Hitler was a Catholic and his entire program of mass extermination was carried out by a nation of presumably devout Catholics and Lutherans. We see images of Nazi death camps and hear much about their eugenics program. The claim is made that the theory of evolution leads in a straight line to eugenics, which in turn leads to not only the atrocities of the Nazi concentration camps but also to euthanasia and abortion. In other words, when you accept evolution, you embrace a culture of death. The scientific community apparently just loves the thought of killing people in huge numbers. Oh, and Stalin appears in the film too but Pol Pot does not. He must have ended up on the cutting room floor.

The heavy-handed allusions last right up to the end. The film concludes with clips of Reagan making his famous speech calling for the Berlin wall to be torn down, juxtaposed with cuts to Stein concluding a speech to some college students, exhorting them to break free of the chains of scientific orthodoxy and fight for freedom. As the students stand and cheer Stein at the end of his speech, the film cuts away to the Berlin wall being brought down by young people. The take-home message is clear: Stein=Reagan and Evolutionists=Berlin wall. The self-aggrandizement is so painfully obvious as to be cringe-inducing.

The film was interesting to me in that it gave me a glimpse of some of the people in this debate whom I had not seen before. Evolutionist (and atheist) P. Z. Myers, author of the blog Pharyngula that has a pugnacious, take-no-prisoners writing style, comes across as low-key, soft-spoken, and mild-mannered. Mathematician David Berlinski, an apologist for intelligent design, comes across as smug, supercilious, condescending, and thoroughly unpleasant.

Richard Dawkins is of course the person the ID people hate and he gets a lot of questioning from Stein, mainly to highlight the fact that he thinks evolution and science tend to support and encourage atheism. Stein goes to great pains to get Dawkins, perhaps the world’s most famous atheist, to explicitly say that he does not believe in any god. In fact, after Dawkins has made it quite clear that he thinks the idea of god is absurd, Stein starts listing the gods of the various religions individually by name, asking him if he believes in each. Dawkins’s expression clearly signals that it is beginning to dawn on him that he may be talking to an idiot. He asks, “How could I? Why would I? Why would you even need to ask? Any god, anywhere, would be completely incompatible with anything I’ve said.”

Stein spends a lot of time in the film talking about the origin of life and the fact that we do not as yet have a good theory of how the first self-replicating molecule and the first cell appeared, even though neither the theory of evolution nor intelligent design has anything to say about this question. The reason is, of course, that religious people’s last resort is to insert god as an explanation for whatever question science has not yet answered, and the origin of life and the origin of the cosmos is their Little Big Horn, their last stand. But even here, they will meet the same fate as Custer.

One of the chief negatives about ID is that it is a useless theory that does not make any predictions or provide the basis for any research program. The film did not provide any either, because there is none. In the DVD edition though, it promised a bonus segment dealing with the practical applications of ID. This I had to see. It lasted a little less than three minutes and dealt with just two items: a neurosurgeon who looked at how engineers designed buffer systems and used that idea to understand how blood pressure to the brain is modulated, and another person who said that he thought a part of a cancer cell looked like a turbine (which is of course designed) and used that idea in his research.

That was truly pathetic. Scientists borrow ideas from other areas all the time. The fact that you got an idea from something that was designed and used it to understand the workings of a biological system is not evidence for the truth of ID. Doing science means postulating mechanisms that enable one to predict new outcomes and do experiments to test hypotheses. After all these years and all that money, ID still has not done any of that basic science and this is the truth that they cannot hide from.

ID is rejected by the scientific community because it has failed as science, not because of any grand conspiracy to keep it from exposing the weakness of evolution. This film is, at the end, a confession of this failure.

POST SCRIPT: Obama’s disingenuousness

In his State of the Union address, Obama said the following concerning the current health care reform plan being discussed by Congress, whose weaknesses I have discussed here and here:

“[I]f anyone from either party has a better approach that will bring down premiums, bring down the deficit, cover the uninsured, strengthen Medicare for seniors, and stop insurance company abuses, let me know. Let me know. Let me know. I’m eager to see it.”

Really? He hasn’t heard of the single payer option, the Medicare-for-all option, and the public option? All of these things would achieve all his goals and have been widely discussed. It was he and his cronies in Congress who went out of their way to make sure that they were never seriously considered.

To pretend that he is open to better ideas is simply a flat out lie. He sold out to the health industry and all his fine words cannot hide that ugly truth.

Rashomon is the classic 1950 film by the then unknown but later highly acclaimed Japanese director Akira Kurosawa, that first brought him to the attention of the western film world. It won the Golden Lion at the Venice Film Festival and an honorary Academy Award (Oscar) for the most outstanding foreign language film released in 1951.

The story is set in 11th century Japan and is about the death of an aristocratic man and the rape of his wife by a notorious bandit in a secluded grove in a remote area of Japan. The events are told in a series of flashbacks, by a bewildered woodcutter and a priest to a cynical thief they meet while huddled for shelter in an abandoned and dilapidated building during a fierce rainstorm.
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(My latest book God vs. Darwin: The War Between Evolution and Creationism in the Classroom has just been released and is now available through the usual outlets. You can order it from Amazon, Barnes and Noble, the publishers Rowman & Littlefield, and also through your local bookstores. For more on the book, see here.)

I finally managed to get to see Michael Moore’s new film Capitalism: A Love Story after travel and other duties prevented me from seeing it as soon as it came out. I am sorry that I waited so long. It is a film that must be seen. Unlike most feature films where once you have seen the trailer you pretty much know what the entire film is about, the trailers and what you read in articles and in mainstream media commentary about Moore’s film capture only a tiny slice of it. The film is much richer.
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Next week marks the 40th anniversary of the Woodstock folk festival. I was not in the US at that time and my only encounter with it was reading about it in the newspapers and seeing the documentary when it came to Sri Lanka some time after 1970. Since Sri Lanka did not have TV until 1977 (we skipped the entire black-and-white age and went straight into color) documentaries like this were the only means by which we could see rock musicians playing, so the film was quite an experience.

Even if I had been living in the US I would not have gone to the festival. My parents would never have agreed to let me go, besides which I was too strait-laced and would not have relished the drug use and the thought of camping out in a muddy field with filthy toilets.

But the film was fun to watch then, both for the music and to vicariously experience hippies having a good time.

I watched the film again last week. There is a new director’s cut that has added 40 minutes more so that the film, already long, now runs to almost four hours.

I did not enjoy the film that much the second time around. It seemed to drag. Some of the musical sets, especially the one by Jimi Hendrix, went on way too long for my tastes and I was never a fan of his style of guitar virtuosity to begin with. This is a common problem with ‘director’s cut’ versions of films. They are too self-indulgent. My lowered enjoyment is also probably because the experience of rock concerts is not the same when you are old.

But I thought that that I would share those moments that still had magic.

Richie Havens got the festival off to an electrifying start with his Freedom/Motherless Child.

A favorite moment in the film was a very young Arlo Guthrie singing Coming into Los Angeles, and using the quaintly dated slang of that time when he talks to the concertgoers.

Country Joe McDonald and the Fish singing the Vietnam protest Feel like I’m fixing to die rag was also another high point.

One of the oddest acts was a very brief song by the 50’s nostalgia group Sha Na Na, which seemed totally out of place.

Their campy performance reminded me strongly of the Village People who came along about a decade later.

I have posted this last clip before, of Joe Cocker’s rendering of the Beatles’ A little help from my friends, a gentle song sung by Ringo Starr, which Cocker turned into an over-the top, weird, air-guitar-playing, frenzied, incoherent performance that looked like he was having some kind of seizure. Throughout it, you kept wondering what the hell he was singing since the lyrics seemed to have only a passing resemblance to the original.

Some helpful soul has now provided captions for Cocker’s words.

It all makes sense now. Or maybe not.

(As is my custom this time of year, I am taking some time off from writing new posts and instead reposting some old favorites (often edited and updated) for the benefit of those who missed them the first time around or have forgotten them. The POST SCRIPTS will generally be new. New posts will start again on Monday, January 5, 2009. Today’s post originally appeared in October 2007.)
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The American Film Institute recently ranked the top ten films in each of ten genres. All such ‘best of’ rankings are, of course, just for fun and meant to provoke vigorous debate about films that did not make the cut as well as the unworthy ones that did. They are not meant to be taken more seriously than that. I was puzzled, however, as to why comedies were not included as a separate genre, the closest category being the vaguer ‘romantic comedies.’ The omission of musicals as a genre was also puzzling. Maybe those lists will come out later.
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For a very brief time in my life, about one week actually, I got hooked on daytime TV soap operas.

It happened in December of 1978. I had received a phone call that my father had died suddenly of a heart attack back in Sri Lanka. I was in graduate school in the US, far away from my family, and thus away from the kinds of support networks and rituals that help one get through such times of grief. I could not concentrate on my studies or reading or other things to distract my mind so turned for solace to watching TV all day, as so many do in such situations when seeking escapism through mindless activity.

In those pre-internet and early cable days, your TV choices were largely limited to just the three networks CBS, NBC, and ABC and during the day all three served up a diet of talk shows, game shows, and soap operas. Although I wasn’t at all interested at first, quite soon I was quite absorbed in the various stories that made up the soaps. For those not familiar with the genre, these daytime soap operas involve multiple intersecting story lines involving quite a large cast of characters of usually middle class or rich people, with a few low-lifes thrown in to spice things up. The tales involve love, jealousy, intrigue, adultery, murder, larceny, backstabbing, lying, cheating, and other strong human characteristics.

These programs can be quite addictive and develop faithful followings as can be seen from the longevity of soaps like Days of Our Lives, All My Children, The Young and the Restless and As the World Turns, all of which have lasted over three decades.

Although I stopped watching after a week, these shows gave me a greater appreciation for the riotously funny weekly prime-time sitcom Soap, which was a parody of the daytime soaps, and ran for four seasons during the years 1977-1981.

The basic story of Soap was that of the intersecting lives of two families, the Tates and the Campbells, where the two mothers Jessica Tate and Mary Campbell were sisters. The best way to describe Soap is as daytime soap opera on steroids. Where the daytime soaps stories proceeded excruciatingly slowly, with long pregnant pauses in the dialogue, lengthy meaningful looks, and dragged-out plot developments, Soap went at break-neck speed with plot twists occurring in rapid-fire succession. All the standard complex plotlines of the daytime soaps were present and then made even more extreme in Soap by adding outlandish things like UFOs, alien abductions, demon-possessions, guerillas, gangsters, blackmail, kidnappings, exorcisms, brainwashing by a religious cult (led by the Reverend Sun whose followers were called “the Sunnies”!) and so on. Storylines that would be sufficient for a full season on the regular soaps were crammed into just a few episodes of Soap. This breathless pace was compressed into weekly half-hour programs, each episode beginning in classic soap style with a voice-over announcer saying what had happened in previous episodes, and ending with a dramatic cliff-hanger, followed by the announcer hyping up the suspense for the episodes to come.

What really made Soap one of the funniest TV programs was clever writing coupled with one of the best ensemble casts ever put together, easily triumphing over those of the more-heralded Seinfeld or Friends casts. Katherine Helmond as the ditzy Jessica (whom men found irresistible) and Cathryn Damon as Mary were the anchors that held the two families (and the show) together as increasingly bizarre things happened all around them. Some of the funniest scenes were when the two were sitting around a kitchen table, each trying to bring the other up-to-date on the latest bizarre happenings in their families and, in a perverse way, competing to top each other’s stories.

Richard Mulligan as Bert Campbell (Mary’s working class husband) was superb in his physical comedy, his body and face seemingly made of rubber, responding spasmodically to his nervous energy. Billy Crystal (a newcomer then) appeared as Jodie (Mary’s son) in what may be the first portrayal of a gay person on TV that got laughs out of being gay while remaining a sympathetic character and avoiding becoming a caricature. Robert Guillaume as Benson, the sardonic back-talking butler for the rich Tates, was another actor who managed to take what might have become a stereotypical role (black servant of a rich white family) and infuse it with dignity and humor. In fact Crystal and Guillaume were perhaps the most sensible (or at least the least eccentric) of the entire Tate-Campbell menagerie.

Perhaps the most eccentric character was Bert’s son Chuck who always went around with his ventriloquist dummy Bob. Chuck acted like Bob was a real person and would hold conversations with him while Bob would insult everyone and leer at women. The humor arose because other members of the family also sometimes ended up treating Bob as a real person and speak and argue and get angry with him, while not holding Chuck responsible for Bob’s words. (It is an interesting thing to speculate as to what you would do if someone you knew acted like Chuck did. In order to spare his feelings, wouldn’t you also treat his dummy like a real person, even if you felt ridiculous doing so?) In one such scene, Chuck plans to go out on a date leaving Bob behind but Bob harangues him until Chuck agrees to take him along. When they both finally leave, Mary asks Bert (who have both been watching this) whether they shouldn’t get professional help for Chuck, to which Bert replies, “Chuck doesn’t need professional help, he should just learn to discipline Bob more.”

The reason for these fond reminiscences is that I just discovered that these old programs are now available on DVD and I have been watching them again. There is always a danger in doing these kinds of trips down nostalgia lane because one’s memories of old books, films and TV programs often make them seem better than they actually were. I was a little fearful that Soap would disappoint were but it passed the test handily. It is still laugh-out-loud funny.

The added bonus to watching on DVD is the absence of commercials. I also noticed how the opening and closing credits were more leisurely than they are now, allowing one to actually read the names of the actors and crew without distracting sidebar promos for other shows. The running time of each half-hour episode then was also 24 minutes and 30 seconds. I suspect that nowadays this has been reduced to allow for more commercial breaks.

There were other good TV comedies at that time, like M*A*S*H and Newhart, but I would not seek out DVDs of them the way I did with Soap.

Soap was a comedy classic and if you get the chance you should see it. And make sure you watch it in sequence.

POST SCRIPT: Class politics

Here’s another provocative clip from the 1998 film Bulworth (strong language advisory).

There are some things that really annoy me when watching a film (or play).

The most annoying are when people act idiotically, not at all the way that normal people would. I described one such annoying plot device case earlier when I pleaded for no more daft women!
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I like comedies. And within that genre of films, I particularly like parodies. The best ones are those that are based on clichés of particular genres or specific stories that are well known, since a successful parody depends crucially on the ability of the audience to immediately recognize allusions to the original
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