"Emancipate yourselves from mental slavery; none but ourselves can free our minds." - Bob Marley
Guardian UK

Road Movies That Dodge the Ditch

April 28, 2008

Film Blog.gif

Read my latest UK film blog entry at Guardian Unlimited.

Now Playing

Standard Operating Procedure

(dir. Errol Morris)

April 28, 2008

Standard Operating (1, shrunk).jpg

If you wanted to summarize the sins of the George W. Bush administration in one succinct phrase, “moral bankruptcy” would have to be the front-runner. By now, that particular disorder has virtually crippled the American spirit. The fact that Bush, Cheney, Rumsfeld, Rice, and their endless string of yes-men have managed their crimes against humanity, even in the rare instances when those crimes have been revealed, suggests that most of us have either been systematically scared into lockstep by the terror-public relations complex, or were too stupid from the get-go to really care what’s been done to our country. And that’s exactly how the White House wants it.

In his infuriating, only partially successful documentary, “Standard Operating Procedure,” Errol Morris makes a convincing argument that people are liable to accept virtually any horror if they’ve been told it’s the cost that has to be paid to maintain our “freedom”...and that goes double for stressed-out, not especially deep-thinking soldiers.

Morris examines the horrendous photographs that were taken by theoretically valiant members of our military while they “softened up” prisoners at Abu Ghraib, the key detention center in Iraq. Through talking-head interviews with the very personnel who appear in those photos, Morris tells us a great deal more about what went on behind the walls of Abu Ghraib than, say, Anderson Cooper ever did. But if you’re familiar with Morris’ best work, and are waiting for him to climb the chain of command, you’ll be deeply disappointed.

Surely, you remember the Abu Ghraib photos: Muslim men being degraded, psychologically tortured, sexually humiliated, and dehumanized for the enjoyment of a handful of general-issue assholes who seemed to have found their true calling in a no-holds-barred war zone.

Morris argues that the complete truth isn’t always held within the frame of a photograph, no matter how graphic the photo may be, and he’s right about that. The problem with “Standard Operating Procedure,” though, regardless of how much it reveals about the twisted culture of Abu Ghraib, is that Morris never really investigates who was responsible for allowing these acts to happen.

No one above the rank of staff sergeant served any time for the offenses, and only a damned fool (or a Fox News commentator, if there’s a difference) would think that a bunch of grunts could manage such obscenely theatrical feats without the higher-ups knowing about it.

Morris, rather than picking apart the evidence with the same detective work that freed an innocent man from death row (as he did with his groundbreaking 1988 documentary, “The Thin Blue Line”), simply settles for being appalled by the obvious scapegoating of a bunch of over-zealous numskulls.

The “bad apples” are bad, all right, although every single one of them implies there was nothing they could have done to free themselves from their “duty.” They were just taking orders, you see, even if no one ever really received an order.

That’s the central riddle of the picture, the conundrum that Morris never answers. The recruits who participated felt they were preparing the prisoners to be transferred to secret interrogators, who then got down to the real dirty business. But exactly who decided these young men and women needed to divest themselves of simple compassion in order to be American soldiers? It’s no fun getting shot at. But shouldn’t moral courage count for something?

As you might expect, the soldiers don’t come across as snarling monsters. One or two of them seem relatively appalled by what went down at the prison, and some of them seem dumbfounded that special ops could perform hideous acts behind closed doors with no official supervision. We know now, of course, that lack of supervision is the entire point— the less anyone knows, the less chance there is that our brutishness will be revealed. But, even then, a couple of these subjects can give you the willies.

Morris seems to think that Specialist Sabrina Harman, rather than being a criminal, is some sort of unsung heroine for taking the photos that exposed the operation. Harman, for her part, insists she was sickened by what she saw, and recorded the events to assure that people found out what was happening.

But in the photos featuring Harman, she’s repeatedly smiling like an embarrassed schoolgirl while delivering a wholly unlikely “thumbs-up” to the camera. She strikes this exact pose while lingering over a prisoner who’s been beaten to death by his interrogators, and is lying on a cell floor, packed in ice.

It seems far more likely that Harman was trying to cover her own ass while enjoying activities that, back in the real world, would sever her ties with everyone she knows. Unless, of course, they, too, don’t give a damn about guilty Iraqis.

Lyndie England (shrunk).jpg

The real kicker, though, is Lynndie England, the young woman who gained instant infamy by holding a leash while a naked Iraqi prisoner groveled on the floor in front of her.

The deadness in England’s eyes, and the monotone recitation while she describes the events, suggests that she’s never quite comprehended the problem, and she’s tired of talking about it. More often than not, she claims, she was just standing around watching the fun, and was captured posing with the grotesque aftermath.

In England’s opinion, she was just a dumb kid who fell in love with a man - reservist Charles Graner, a genuinely sick son-of-a-bitch who appeared to be a ring leader of sorts, and is currently serving 10 years in prison for his enthusiasms - and was blinded by it.

She even waves away the significance of that famous photo. If you look at the picture, she notes, there’s slack in the leash. The media kept saying she was “dragging” the prisoner, and that simply isn’t true. How could a woman her size possibly drag a man across the floor?

Yeah. She’s a real prize.

The unfortunate truth of all this - aside from the fact that it actually happened, and is almost certainly still happening in some clandestine hellhole out there, with the leader of the free world’s full approval - is that the contemptible “anti-terror” debacle that’s been orchestrated by the Bush administration is carried out by men and women who aren’t allowed to question orders.

One would suspect that these men and women joined the military out of some sense of duty, out of a feeling that they would be serving a greater good by giving up their personal identities. Little did they suspect, however, that far uglier identities would be awaiting them, and that they’d be such willing participants in the eradication of what makes them human.

The questions, then, are endless. How do we win the hearts and minds of the enemy when our own hearts and minds are capable of being so dreadfully corrupted? How deeply does the rot have to nestle in America’s collective soul before it’s there for good? And how in God's name did it ever come to this?

This is how we answer 9-11?

Paul Tatara

The Windmills Of My Mind

A Completely Bizarre Thing That Actually Happened

April 28, 2008

The other day, in a grocery store in upstate New York, my friend, Sarah, received an impromptu, 10-minute Shiatsu massage from Frank Serpico. Not Al Pacino playing Frank Serpico. The actual Frank Serpico.

Here's a picture of Frank Serpico:

serpico_frank_320x240.jpg

I don't have a picture of Sarah on my computer, so here's a picture of a back:

Back X-Ray (shrunk).jpg

In a related story, I was once at a restaurant in Santa Monica with Woody Harrelson, and he insisted that I eat mashed potatoes off of his plate. I don't have time to dig up pictures.

Paul Tatara

The Windmills Of My Mind

Download It #5: Paul McCartney & Wings

April 24, 2008

I’ve been on one of my recurring Beatle kicks lately, and, this time around, that includes listening to a lot of Paul McCartney’s solo stuff. There’s no doubt that McCartney’s apparently limitless commitment to cheesy affectations, and a recurring laziness in his lyrics, is off-putting to a lot of people, and it should be. But if you divorce yourself from the cutesy-poo photo-ops, and ignore the weaker songs - every artist writes them, folks - it’s easy to re-realize that this guy is a genius. He’s just done everything he can to make us forget it.

John & Paul (could work size).jpg

By now, it’s obvious that John Lennon’s murder and ascension to media sainthood has altered the view that McCartney was an equal partner in the most influential of all rock & roll songwriting teams. The Cliffs Notes version is that John supplied the Beatle-bile, and Paul the sugary goop. You know— Mr. Charm was forever hamstringing the surly intellectual.

That, however, is a vast over-simplification. The fact of the matter is, McCartney could, and sporadically still can, rock with the best of them, and his gift for melody is unmatched in the music’s history.

Yes, he’s written a lot of inexcusably fey drivel over the years (“Honey Pie,” “Your Mother Should Know,” “Maxwell’s Silver Hammer,” and roughly 33% of what he recorded with Wings.) But Paul was responsible for just as many rockers as John was, and McCartney’s (“I Saw Her Standing There,” “Paperback Writer,” and “Get Back,” to name just three) arguably showed more wit.

And, lest we forget, Paul delivered several of the group’s classic R&B covers in a hoarse Little Richard voice that seemed to originate somewhere down around his toes. Hell, it was even McCartney, and not George Harrison, who played that spectacular, finger-in-the-socket guitar break on “Taxman.”

John got more press, especially during his “stoned wise-ass” phase. But Paul was a full partner in the organization.

                                                ***

Paul:Wings (shrunk).jpg

Although McCartney’s post-Beatles work practically defined Seventies rock radio, its easy to see why Britain’s punks later railed against him. There’s a sheen of lifeless professionalism to many Wings tracks that badly undercuts McCartney’s rock & roll pedigree. But there are scores of dazzling tunes from the period that exemplify his joy in making music, even if, again, he often acted like a showbiz doofus to sell more albums.

But cut him some slack. It’s hard not to be self-conscious when every person on the planet is checking to see if you’ve still got the goods, so he took the least painful route by becoming a straight-ahead rock star, someone who looks cool while he plays his guitar. And he did it with more aplomb than could have been expected, given that he’d be forever judged against a version of himself that helped reconfigure the music, fashion, and politics of a truly revolutionary era. You try climbing down from Mt. Rushmore.

Here's a prime example of Paul shaking off the weight of history and simply rocking out in a wildly catchy manner:


                                                ***

Right or wrong, “Band on the Run” is now widely accepted as McCartney’s finest solo album, and its strongest songs - the title tune, “Jet,” “Helen Wheels,” and “Let Me Roll It” - are among his hardest rocking. Still in thrall of Abbey Road’s habitual experimentation, he mated his gift for writing mini-suites and old-fashioned barn burners with a glistening production style that owed more to T. Rex and David Bowie than it did the Beatles.

In effect, he was glam without the sparkles, tights, and platform boots. How he managed to dodge that one is anybody’s guess.

"Band on the Run"

"Uncle Albert/Admiral Halsey"

Notice that, after the Beatles split, McCartney continued to churn out tracks that were simultaneously off-the-wall and thoroughly engaging. Not an easy trick. One could argue that “Band on the Run” is the single most disjointed tune to ever reach the American top 10...unless you count 1971’s “Uncle Albert/Admiral Halsey.” That one not only fades in and out of two completely different melody lines, but contains an unfathomable string of wacky lyrics that suggest Dylan on laughing gas.

It may not be the kind of thing that frightens parents, but within the realm of commercial record-making, McCartney was still breaking down barriers...or, at least, barreling through the breach that he and Lennon created. He had every right to go there.

If you cherry-pick it, Wings-period McCartney offers up roots numbers and powerful ballads that are very much in keeping with his best 1960s work. Rockers like “Hi Hi Hi” and “Junior’s Farm” are every bit as forceful as “Back in the USSR,” if not as coyly political. And the heartfelt devotional, “Maybe I’m Amazed,” ranks with Lennon’s “Instant Karma” and Harrison’s “What is Life” as a supremely moving example of post-Beatle liberation.

McCartney's best Seventies tunes are packed with vibrant aural and melodic invention, and feature the most absurdly imaginative bass playing you’ll ever hear. And it might surprise people who dismiss him as a total lightweight that he came to grips with his Beatle past in full public view.

"Too Many People"

"Tug of War"

“Too Many People,” for example, is a properly scathing indictment of Lennon’s disdain for the amazing journey the Beatles took together, and “Tug of War,” with its lush orchestral accompaniment, is a deeply moving post-mortem on his love-hate relationship with Lennon. Love, it would seem, won out.

Still, I’d argue that the key track from McCartney’s gold-minting period is the oft-denigrated “Silly Love Songs.” Bouncing along with appealing self-deprecation, it’s the most succinct and earnest defense of identity that any rock star has ever recorded. And, once again, the bass line is simply mind-boggling.

"Silly Love Songs"

Why people constantly take McCartney to task for this remarkably engaging creation is beyond me. This is what he did, and he did it better than anybody else. You can’t exactly fault a confectioner for making great candy. Far from being a depressing document of a significant artist’s decline, Paul McCartney’s output during the Seventies actually reveals an enormously talented man who had had his fill of carrying banners.

Dylan backed off considerably after his near-fatal motorcycle wreck, and Lennon tossed it all away to raise his son. But McCartney started writing nonsense scorchers and silly love songs. Download them, clear your head, and listen to them again. After all these years, you may finally realize there’s nothing wrong with that.

“Band on the Run,” “Jet,” “Helen Wheels,” “Let Me Roll It,” “Uncle Albert/Admiral Halsey,” “Hi, Hi, Hi,” “Junior’s Farm,” “Maybe I’m Amazed,” “Too Many People,” “Tug of War,” and “Silly Love Songs” by Paul McCartney (and sometimes Wings). Album: “Wingspan: Hits and History” (2001).

Paul Tatara

RSS Feed