In watching Oh! Calcutta!, I started thinking about the effect on film quality of the abundance of sex, nudity, profanity, and violence in films that are released these days. I personally find violence the most distasteful of all of these things and will avoid films that are advertised to have excessive amounts of it. When judging a film, the question for me is always whether these elements are essential to the film or, if not and are just added to attract audiences, the film would still be worth watching without those elements, or at least a substantial part of them. A good judge of whether this is the case is what I remember about a film long after I have seen it. If I find it hard to remember if there was any sex or nudity or violence or profanity, it means that the film stands on its own.
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I have been using the Case film library to catch up on some old films that I had always meant to see but missed when they first came out, either because they were made before I was born or because they did not make it to Sri Lanka.

I saw two Warren Beatty films, the comedy Shampoo (1975) where he plays a Beverly Hills hairdresser who sleeps with all his clients, and the drama Reds (1981), based on the life of a radical and idealistic American journalist John Reed, whose eyewitness account of the Russian Revolution was told in the book Ten Days that Shook the World.

I like Warren Beatty and find his films always enjoyable, but as I watched these two older films it struck me that although the settings and stories of his films differ considerably, he is always pretty much playing the same character, an appealing and well-meaning person who is never quite in control of his own life’s direction but instead is buffeted by the events and people around him. This is true whether he is playing a gangster in the drama Bonnie and Clyde (1967), an old West entrepreneur in the drama McCabe and Mrs. Miller (1971), a football quarterback in the comedy Heaven Can Wait, a disillusioned politician in the comedy Bulworth (1998), a hairdresser in Shampoo, or a World War I-era radical journalist in Reds.

Perhaps he stepped outside these characterizations in the films I have not seen but since these are his best-known films, his cinematic persona seems pretty much set. Of all these films, Heaven Can Wait is my favorite, a very good comedy that has, as a bonus, a fine turn by one of the great actors, James Mason.

I also watched the Alfred Hitchcock film Foreign Correspondent (1940). Although I am a fan of Hitchcock and have seen nearly all of his directorial works, I did not think this one of his better films. It may be that I am not a fan of overtly propagandistic films and this film had elements of that. It was filmed in 1940, after World War II had started in Europe and prior to the US entering it. The film clearly aimed at getting Americans to be more alarmed about the state of affairs in Europe but the way it did this was a little too ham-handed. The opening scene which is a paean to the work of foreign correspondents and the closing scene in which the correspondent in London appeals to Americans for action while the lights around him go dark because of the bombing, were both too obvious for my taste. And even the closing credits just after that scene had the Star-Spangled Banner as the soundtrack.

There is nothing wrong with art having a political message and one could argue that all art is political. In fact, I like political films a lot and have already written about my enjoyment of The Manchurian Candidate (the original one, not the ghastly remake) and V for Vendetta. Reds is another political film that I found quite enjoyable,

But the problem I had with Foreign Correspondent is that the politics is not well done. To be fair, though, it was only at the very end that Hitchcock got preachy but that was enough to leave a sour aftertaste.

The final film I watched recently in my old-films binge was Oh! Calcutta! (1972). This was a filmed version of a musical comedy sketch revue that featured a lot of nudity and sexual content and created a sensation when it was first staged in the late 60s. Of course, such plays and films would never be shown in Sri Lanka, which created a great sense of curiosity there about it, so I finally decided to see it.

The film is awful. I found the music uninspiring (even though the credits included John Lennon and Peter (“PDQ Bach”) Schickele), the comedy was only mildly funny and that too in parts, and the dances were just ok. In short, it was clear to me that the claim to fame of this production was that it was pushing the envelope of sex and nudity of that time. Now, much of it comes off as just crude, and there is little sense of shock anymore.

POST SCRIPT: Battle in Najaf

The reports of the battle that took place over the weekend in Najaf have some strange aspects to it. Initial reports say that Iraqi forces supported by US tanks and helicopter gunships killed 250 militants in a fierce battle that lasted many hours. There seemed to be very few casualties on the US and Iraq side. Some Initial reports describe the dead as ‘militants’, members of a Sunni apocalyptic cult that was seeking to kill prominent Shiite clerics in that city. Others argue that it was a Shiite group. The invaluable Juan Cole tries to disentangle the conflicting narratives.

Why an armed militant group would take on the Iraqi military in a relatively open area as a date palm orchard where they could be easily picked off by the supporting helicopter gunships seems puzzling. There seems to be a whole lot of confusion about who the dead were and what they represented.

In any conflict, I tend to view with great suspicion any reports of ‘fierce’ long battles in which one side sustains huge numbers of casualties and the other side next to nothing. These kinds of lopsided death tolls usually are signs that the side with low casualties is hiding their losses or that mostly civilians were killed, even though there may have been actual militants also among them. Initial reports of battles almost always come from the official military, which has a vested interest in minimizing civilian deaths. I usually suspend judgment on such stories until reporters and medical personnel and human rights workers are able to reach the areas and provide independent and relatively unbiased reports.

Meanwhile, some idea of the methods used by the Iraqi security forces in patrolling Baghdad, and their relationship to the US forces, can be obtained from watching this British TV report. It contains some rough scenes but sadly we have become accustomed to seeing dead and wounded, and people being assaulted. (Thanks to Glenn Greenwald.)

Despite the heading on this blog, I realized that I had not been writing about films for quite a while. The reason is simple: I had not been seeing films over the past few months. This was because I was reading a lot of books as part of serving on the Common Reading Book Selection Committee. This is Case’s committee to select the book that will be sent to all incoming students in the summer of 2007 and the selected book also forms part of the basis for orientation, fall convocation, and the First seminars.

This is a great committee to serve on because you get together with other students, staff, and faculty, all of whom love to read and talk about books. In serving on this committee over the past few years, I have been introduced to a lot of great books that I might not have read otherwise. This year saw a particularly good selection which I will write about once the final choice is made. But because the books were so good, I found it hard to tear myself away to my other love: films.
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(Because I am taking a break from blogging for the holiday, this is a repost from April 4, 2006, slightly edited.)

Evan Hunter, who was the screenwriter on Alfred Hitchcock’s 1963 film The Birds recalled an incident that occurred when he was discussing the screenplay with the director.

I don’t know if you recall the movie. There’s a scene where after this massive bird attack on the house Mitch, the male character, is asleep in a chair and Melanie hears something. She takes a flashlight and she goes up to investigate, and this leads to the big scene in the attic where all the birds attack her. I was telling [Hitchcock] about this scene and he was listening very intently, and then he said, “Let me see if I understand this correctly. There has been a massive attack on the house and they have boarded it up and Mitch is asleep and she hears a sound and she goes to investigate?” I said, “Well, yes,” and he said, “Is she daft? Why doesn’t she wake him up?”

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In many ways the monopoly media in the US reflects the monopolistic political system that exists here. For all the talk about being a two-party system, there is very little difference between the parties. This is not to say that they are identical, but we cannot understand how the media reflects the political system if we have an exaggerated idea of the differences between the Democratic and Republican parties.

It is more accurate to say that what exists in the US is not a two-party state but a single pro-war/pro-business party with two factions. The two parties share a common interest in promoting business interests and the interests of the well-to-do over that of the people in general and workers in particular. This pro-business attitude by both parties extends to both parties being pro-war because wars are, almost always (especially in the short run), good for business, especially certain kinds of businesses, those famously warned of by President Eisenhower when he referred to the ‘military industrial complex.’ It is interesting to note that he raised this issue in his farewell address in 1961 just three days he was due to leave office after completing two terms. In other words, he knew how things really worked but could not speak the truth until he was able to avoid any political repercussions.

Once one understands the pro-business nature of both major parties, it becomes easy to understand why our elected representatives have opposed things like single-payer health insurance plans (because these would go against the interests of the insurance companies), why they have opposed exploration of alternative fuel sources (because they go against the interests of the oil industries), why they have opposed better fuel standards for cars (because they go against the auto industry), and why they oppose raising the minimum wage (because it raises the cost of business)..

But for the purposes of analyzing the media, the most important fact is that the government has steadily allowed increasing monopoly ownership of the media, by removing the restrictions that used to exist limiting the number of television station and radio stations and newspapers that a single corporate entity could own in a single market. What we now have is a situation where just six big corporations dominate the media landscape. See this chart for how this interlocking web of interests operates. And since many of the same people populate the boards of these corporations, the homogeneity of the media is enhanced even more. Furthermore, these media conglomerates have strong ties to other business sectors. For example, one media giant is General Electric, which is also a powerhouse in the defense contracting industry, and thus directly benefits from wars.

So the media is closely intertwined with a wide network of business interests. These news media conglomerates are generous contributors to politicians who promote their interests. Only a very quixotic politician will speak out against them. Most of our elected legislators are more beholden to these interests that underwrite their campaigns and can lavishly entertain them, than they are to the voters who put them in office. The popular idea that these media giants became what they are because of free-market competition is a myth. As media analyst Robert McChesney says:

This concentrated, conglomerated and profit-driven media system is hardly the result of “free enterprise.” These giant companies are the recipients of enormous direct and indirect subsidies and/or government-granted monopoly franchises. They include: monopoly licenses to radio and TV frequencies, cable and satellite TV monopoly franchises, magazine postal subsidies and copyright, to mention a few. For these firms the most important competition may well be in Washington, getting the cushy subsidies and licenses. These policies, worth tens of billions annually, are generally made in our name but without our informed consent. That is the heart of the problem, and it points us to the solution: informed public participation on media policy-making.

One should not make the mistake of assuming that individual journalists are aware of all of these ties and consciously write in ways that avoid offending powerful interests. A few unprincipled careerists may do so but I suspect they are fairly rare. It is very hard for most people to believe in one thing and, on a daily basis, to conform to a culture that requires adhering to a completely opposite set of values. Doing so is perhaps a sure path to a mental breakdown.

One should also not assume that there exists a direct line of orders coming down from high to journalists as to what the news should be. In other words, it is not as if the CEO of General Electric tells the head of NBC to tell the head of the news division to tell the executive producer of NBC Nightly News to tell anchor Brian Williams that he should promote a new war with Iran because General Electric’s aircraft engines division needs to make more profits.

Fox News is one organization that actually does try to direct journalists in such brazen ways. It is no secret that Rupert Murdoch, the head of Fox’s parent company News Corporation takes a keen interest that the editorial content of his media empire serve his own business and political interests. There was some embarrassment in 2003 when a former staffer at Fox revealed that every day, Roger Ailes, the head of Fox News Channel (FNC), would send out a Daily Memo that told the journalists what they should cover and how they should cover it.

Editorially, the FNC newsroom is under the constant control and vigilance of management. The pressure ranges from subtle to direct
. . .
[T]he roots of FNC’s day-to-day on-air bias are actual and direct. They come in the form of an executive memo distributed electronically each morning, addressing what stories will be covered and, often, suggesting how they should be covered. To the newsroom personnel responsible for the channel’s daytime programming, The Memo is the bible. If, on any given day, you notice that the Fox anchors seem to be trying to drive a particular point home, you can bet The Memo is behind it.

Fox’s operation is a very crude propaganda model. Some countries, especially those with a totalitarian structure have used it but it is rarely effective in the long run because the news consumer quickly catches on to what is going on and starts to discount the news or look for alternative, even underground, sources. In the US, because of the obviousness of Fox’s actions, some people already realize that Fox News is determinedly pushing an agenda, though many still accept at face value its “fair and balanced” slogan.

A more sophisticated propaganda model is one in which everyone involved in the media, including journalists, believes they are reporting impartially without fear or favor, while at the same time serving the corporate interests of the owners of their media. The real success of a good propaganda model, such as exists in the US, is when people do not realize that this is what is in place but think that the news they get from the mainstream media is objective.

Next in the series: How a sophisticated propaganda model is created and operates.

I don’t normally post on the weekends but last night I saw the film V for Vendetta and it blew me away. It is a brilliant political thriller with disturbing parallels to what is currently going on in the US. It kept me completely absorbed.

I’ll write more about it next week but this is just to urge people to see it before it ends its run.