Art 14 | unobtrusive lucidity

The Proof of Bad Writing

Just a couple of quick thoughts, delayed by Blogger’s recent outage.

We were watching Bones last night. I think the writers may actually be pulling that show back from the train-wreck that they permitted it to become. After we finished the most recent episode, Hulu sort of automatically plays episodes of similar programs. This time it chose to play Body of Proof, which is essentially a cheap attempt to copy Bones. Apparently, television networks simply copy the success of others if they can’t come up with anything original (read: most of the time). I don’t recommend Body of Proof: it’s written poorly, the characters are stereotyped, and the directing…well, the directing…

I looked up from reading whatever it was I was reading in the middle of the show, because it had digressed into background noise for me. The scene that was taking place when I looked up involved the protagonist talking to a child in a living room. Her partner enters the scene behind her, standing next to the front door of the home, and tells the protagonist that they have to leave. She acknowledges her partner, says goodbye to the child, and then exits the scene…off to the viewer’s left, leaving her partner standing beside the front door behind her. The show promptly cut to the next scene.

What???

That sparked some conversation in our living room. I feel bad for the actors. I feel bad for them because I can’t tell how good they are, and, if I never see them cast in anything else, I’ll never know, and always have a bad impression of them. I’ve worked in a lot of live performances in my life, and, although most of that time has not been on stage, I’ve learned some important things. An actor can be incredibly gifted, but if they’re working under poor direction…and especially if they’re working under poor direction of a poor script…they’re going to look like they don’t know what they’re doing.

There are other examples, though, of actors that have saved projects with just a little extra help. I’ll use The Happening as an example. The Happening is the only screenplay I’ve seen from Shyamalan that wasn’t outstanding…all of his other films have been superb. The Happening was, however, well directed, and gave the actors, especially Zooey Deschanel and Mark Wahlberg, an opportunity to work with the screenplay in a way that breathed some sort of life into it. Deschanel, in particular, literally transformed some of the scenes with facial expressions alone. The film wouldn’t have survived without their excellent performances, and the direction that permitted them to develop those performances.

My issue with Body of Proof is that it has neither. The direction is poor, and the writing is forced, contrived, and even melodramatic at times. The actors, as a result, appear clueless. Here’s to hoping I manage to see these actors in something else sometime…I’d love to see what their abilities truly are.

A Review of “Thor”

I’m a comic book, super-hero geek.

Try to hide your surprise at this revelation.

When I saw the trailer for Thor, my initial reaction was that it looked really sharp. The plot? I figured it could go in either a really good, or a really bad, direction. My weekend was made very happy by the fact that the former was true.

From an acting perspective, the major actors all turned in excellent performances. Chris Hemsworth captured the character of the cocky immortal who needs to learn his lesson well, and I was impressed with his physical mastery of the character and the fact that he brought a good range to the performance. I have no recollection of Hemsworth from Star Trek or his other work, so this was essentially his debut performance for me. I was impressed.

I found myself equally impressed with Natalie Portman’s performance. While she perhaps didn’t bring as much range to her performance as Hemsworth, she breathed life into her scenes with fantastic facial expressions, which are a tell-tale sign of good acting. This was a pleasant surprise for me, because casting Portman opposite any actor playing Thor seemed a remarkably odd choice at first blush. The screenwriters, of course, took some liberties with Portman’s character, Jane Foster, but this should ultimately be expected with film adaptations, and will be a problem only for the most devout of comic book purists. Even then, the chemistry between the two actors will likely salvage any contrarian opinion.

From a plot perspective, the story stays true to Marvel’s immortal character who is modeled after the thunder god of Norse mythology. His reckless love of warfare finds him unfit to inherit his father’s Asgardian throne, and places him in the position to uncover his brother, Loki’s, nefarious plots, while he grows as a person (helped along, of course, by Jane Foster). Character development runs light in Thor, but the viewer doesn’t miss it so much because this is epic, sweeping story telling, of the sort that is all about plot and little about characterization. In short, this film isn’t meant to develop deep characters, it is meant to introduce the audience to an epic hero.

And, in that, it is successful. The lead-in to the upcoming Avengers film is quite blatant, and certainly left me wanting more. Long-term comics fans will like to know that the movie also briefly introduces Hawkeye…just enough to get you interested, of course (and the child in the row in front of me asking his father, “When’s Hawkeye coming back?” made the moment for me, in any case). I found interesting that the end credits close with the proclamation that “Thor will Return in the Avengers,” sort of reminiscent of the old James Bond films.

The epic, sweeping storytelling is, of course, a visual feast. Nothing pleases a comic book fan more than when the super-hero on the screen looks like the super-hero on the page, and, in that regard, Hemsworth could not have been cast, or costumed, better. My only hesitation is that Mjolnir is designed perhaps a bit too much like the image from the page, because it felt like a prop at times, almost breaking the illusion. This especially occurred when others attempted in vain to lift the hammer, and I found myself thinking, “it looks like cardboard.” The only other significant visual discrepancy I found was the semi-Celtic design left in the ground when Asgardians arrive in our realm. The design has no explanation, other than to look interesting. I suppose that, if that was its only purpose, it succeeded.

These minor issues notwithstanding, the combat sequences were well choreographed but not overbearing, and the balance between live action and CG was superb and without distinction as you watch the film. In fact, I would say the action sequences featuring Thor in battle are visually perfect, complete with the spinning hammer and slinging, hammer-propelled flight. In this, you won’t be disappointed.

The finishing touch on this particular super-hero film is that parents will not feel uncomfortable taking their children for any reason. There is, in my mind, absolutely no objectionable content here for parents to concern themselves about, and that is important for a film about a mainstream super-hero such as this. Important, and a delicate balance to strike if the film is to do the character justice.

And it does.

Thor opened this weekend. If you grew up loving Marvel comics, as I did, or if you have just recently become enamored with their films or publications, you’ll want to see this movie. Certainly, it is one of Marvel’s best film adaptations to date.

Photo Attribution: popculturegeek

How Critical Is Our Story

I love when I hear an amazing new perspective on something, a fresh way of seeing things that would never have occurred to me otherwise, or at least not anytime soon.

I listened to a podcast this week with Dana Gioia, in which he discussed the importance of arts education in the U.S. I’m always ultra-sensitive to this subject. It seems that, whenever I hear education or education reform discussed in the U.S., the emphasis is always placed on science, math, and technology. All of these disciplines and areas of expertise are very important, and I don’t claim that they’re not. I’m troubled, though…perpetually troubled…that so little emphasis is given to arts education. Most public schools have obligatory music programs (the marching band, after all, is a staple of half-time shows), and an old Broadway musical is often performed at the end of the year. In general, however, if a school board had to cut a position and the choice fell between a visual arts instructor or a physical science teacher…well, you and I both know who is most likely to be brushing up their vita.

For our empirical data-driven, evidence-based culture, there is hard data to quantify the increased odds of success in various aspects of life that connect with a history of music education. Theatre holds huge opportunities for learning team-work, teaching acceptance and self-esteem. The visual arts or photography hone visual acuity in huge ways. The list could go on. I’m struck by how we complain about the distress of our youth culture…or the distress of the adults in our culture, for that matter…while not investing in the artistic experiences that make us better as people.

Gioia connects this personal development with literature, as well. He talks about the importance of everyone growing up with a basic understanding of story and plot, and how they move. His assertion of this alludes to the fact that our lives are stories, and that the hopelessness and desperation that drive depression and extreme acts of self-harm, for example, are easily attributed to no longer being able to see a plausible and successful direction for one’s own story. Knowing that there are always a myriad of possibilities for every story gives the reader hope that the protagonist will still make it through…likewise in our own stories.

And this is to say nothing about the ability to effectively communicate our thoughts respectfully to each other.

This is more of the interdisciplinary thought process of which I’ve grown so enamored…the Burkian principle that every discipline serves as a lens through which every other discipline can be viewed and understood. I look forward, hopefully not in naivete, to when we weigh the arts (and humanities in general) as heavily in our support as the disciplines that make us financially and vocationally competitive with the rest of the world, because we realize that the humanities make us more mature as human beings, which makes us better able to use the skills that make us competitive vocationally.

Gioia spoke more eloquently of the interdisciplinary understanding of our lives and human condition than I have heard in some time. His call for an emphasis in arts education is something that all of us would do well to heed with whatever circles of influence in which we may find ourselves.

Helping Fellow Artists

It’s very important for the creative community to support each other, especially in the Internet era. Since at least the Renaissance, the arts have functioned primarily on a patronage system: those with money who appreciated the arts financially supported the work of artists in whom they believed. Some of what we consider to be the greatest works of art in human history have been funded or commissioned by patrons. Our economic structure doesn’t really support creative projects, in the sense that many artists struggle to find finances to support projects that they are passionate about…and which often have something important to contribute to our culture. Of course, some artistic mediums are more expensive than others. Film and music recording happen to be among them.

And it just so happens that I know an artist in each of these mediums who are trying to fund important projects.

There are some platforms out there that work on the patronage system. The concept is that artists post their projects, and contributors who find themselves attracted to a project make a contribution to support the work. A lot of people who have only a couple of dollars to spare and who like a project can fund it to completion…and, of course, the artist gives a special “thank you” of some sort to support those who contribute.

I think these sites are great ideas, and I am seriously considering using one of them myself at some point in the future to cover some research expenses for a novel. Currently, though, I’d love for you to check out my friends’ projects, and see if you might be interested in tossing in something to help them create their passions.

John is trying fund a film entitled The Happiest Place on Earth. I’ve been privileged to read the script at various stages of its evolution, and I believe in the project, because it has something important to say. You can find his project on IndieGoGo.

Renee has an EP under her belt, and needs to finance the studio time for a full album, What I Need, this summer. I’ve been there through the development of many of her songs (and the stories behind them), and, honestly, I just like her vocals. You can find her project on Kickstarter.

No more solicitations for now, I promise! Have a great weekend!

A Second Viewing of the Third Watch

Sometimes, its amazing what you see when you look at something the second time.

Or watch something the second time, as the case may be. Several years ago, a television series called Third Watch grabbed my attention. In case you’ve never become familiar with the series, it was a drama based on the lives of police officers, firefighters, and EMTs working the third watch (the evening shift) in New York City. This was really good television, capturing what first responders deal with each day, and how it impacts their personal lives. The show appeared before September 11th…that is, it aired from 1999, before programs about first responders were as fashionable. It continued through, and long after, September 11th, going on to win a Peabody Award, among other critical acclaim.

I think that I was attracted to the show because I briefly entertained the idea that I wanted to work in law enforcement when I finished college (go ahead…laugh). While law enforcement has rightfully held its place as an interest and not a career choice for me, I’ve always had a soft spot for police dramas. They’re sort of a guilty pleasure. I recognized Third Watch, from when I first enjoyed the series until it tragically ended while I was in grad school in 2005, as great drama, and well acted.

I was either too busy to see the depth of the writing, or else my rhetorical skills just weren’t developed well for television viewing, in the show’s early years. I recently re-discovered the show through Netflix, and began watching season 2 again. There’s some fascinating writing at play, here.

The over-arching theme of the program, at least in its beginning, was everyone’s need for a hero. From the opening credit music (a techno piece called “Keep Hope Alive” by The Crystal Method), the viewer is set up to realize his/her need for a hero, for someone to come to their rescue when the worst occurs. We are then introduced to the real-life heroes of the first responders, those who risk their own safety to help those they don’t know. The heroism is depicted is well-shot, edge-of-your-seat action sequences that come from nowhere and end just as abruptly…just as though we were experiencing them in real life. The first responders sweep in and save the day, and we see their camaraderie develop as they have to deal with what they’ve experienced. We see this camaraderie grow even more when they don’t manage to save the day, despite their best efforts.

Season 2, however, opens with a series of episodes dedicated to specific characters. In these episodes, we are walked through how each character’s personal struggles and flaws have a reciprocal effect on how they do their jobs, and what their jobs do to them. We see a paramedic who gets into trouble because he can’t reconcile an ideal with the reality of racism he sees (and sometimes imposes over reality) around him. We see a police officer who can’t make ends meet financially, and lies to her husband and her partner to cover an abortion because of her fear that she can’t afford another child. We see a police officer haunted by his deceased father’s infidelity, and a paramedic who stands precariously on the edge of instability in her longing to put her failed marriage back together.

These episodes are interesting, because they present the heroes as not only very human, but sometimes very questionable in their motivations. Later in season 2, in an episode called “Know Thyself,” one of the police officers tells another, “Sometimes the things that make you a good cop make you a bad person.” The heroes we turn to in our time of need, those who we rely on to make us safe, are unable to be heroes out of any sort of pure benevolence. Even when they are close to the ideal, their own lives are crumbling when they are not “in costume,” as it were, as heroes. Thus, Third Watch assumes a theme similar in many ways to The Watchmen, in that we are presented with a sort of anti-hero; each doing their best, but hopelessly tainted by the very evil they fight.

The episodes dealing with individual characters’ struggles move into a gripping episode early in season 2 called “After Hours.” In the beginning of the episode, the characters have arrived on the scene of a fiery car accident, seconds too late to prevent the vehicle from exploding and all of its occupants dying. Despite their hidden grief, life moves on, and the shift ends. After the shift, groups of them (characters we haven’t previously seen spend time together outside of work) go out, some for coffee and some for alcohol, in an effort to cope with what they have seen. One gets hopelessly intoxicated, one tries to sleep with another, one drives recklessly through the streets in his muscle car, returning to the scene of the accident. All of them encounter teenagers in their outings. The teenagers help them in some cases, and in other cases they lead them into situations that they are able to affect positively (two of the off-duty police officers are able to intervene in a mugging while walking a girl unsuccessful in catching a bus home through the park). One officer, who is about to resign after what he has seen tonight, walks a teenager home, and encounters a man he saved from committing suicide who thanks him and tells him that he has a successful life now. Others see redeeming things about themselves. All end up back at the scene of the accident, and go to watch the sun rise on the beach, standing by each other in their time of need. Ultimately, through flashback, the viewer realizes that the teenagers that the characters have encountered are the ghosts of the people who died in the car accident earlier that night…four high school students driving intoxicated to their homecoming.

After seeing the characters presented as hopelessly flawed human beings who are attempting to somehow be heroes to others, the viewer is now presented with an image of grace for their flaws…just as they fail in their heroism, even as the characters struggle to forgive themselves (two of them insist to each other, “We got there as fast as we could.”). The ghosts of those they couldn’t save come back, as though to recognize that the characters did their best, and help them to recognize why they do what they do, even leading them to further acts of heroism. The episode closes with a song called “Give Me Strength” by Over the Rhine, asking for “strength to find the road that’s lost in me,” and “time to heal and build myself a dream.” The lyrics seem to embody both the voices of those saved by the heroes, and the cries of the heroes themselves.

Third Watch presents a idealistic image of a hero…almost of a super hero…in modern society: those who risk literally everything to routinely go out in search of evil, and attempt to protect its potential victims. In doing so, they lose themselves, unable to live a full life because of the sacrifices they make for others, and often unable to even protect themselves from the very evil they battle.

What’s so fascinating about Third Watch is its gritty exploration of the spiritual truth that we all find ourselves in need of a hero, and we all take that hero for granted. We also see than no human being is capable of the superhuman heroism that we will all long for at some point in our lives…that we are looking for a hero who is more than human. Third Watch brings the best of super-hero fiction and places it in the context of the daily lives of first responders.

There’s so much more to this series than I saw the first time through.