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Showing posts with label Books. Show all posts
Showing posts with label Books. Show all posts

Friday, July 15, 2011

Copa America 2011: Mexico

Entry #4 for the Copa America 2011 Book & Film Festival.

Book: The Underdogs by Mariano Azuela


Mariano Azuela’s book gives a ground level view of the Mexican Revolution, a landmark historical event that continues to be a source of inspiration for literature and cinema. Revolutions are often messy and sometimes very bloody. Over time, the graphic details of a revolution are softened in favour of the legacy of the revolution and impact it had for the nation and its citizens. Azuela’s book, originally published in 1915, etches out such vivid characters and situations that ensures one will never forget the blood and sacrifice that went into the revolution. The book uses the character of Demetrio Macias as an anchor to depict the revolution and blood letting that occurred. At the start of the book, Demetrio is just a peaceful man but he is thrust into the struggle after his house is burnt down.

“Why didn’t you kill ‘em?”
“Their hour hasn’t struck yet.”
They went out together; she bore the child in her arms. At the door, they separated, moving off in different directions.
The moon peopled the mountain with vague shadows. As he advanced at every turn of his way Demetrio could see the poignant, sharp silhouette of a woman pushing forward painfully, bearing a child in her arms.
When, after many hours of climbing, he gazed back, huge flames shot up from the depths of the canyon by the river. It was his house, blazing....

The above lines come just four pages into The Underdogs and the book does not ease up after that but dives deeper and deeper into the eye of the storm. The Underdogs paints a stark picture of how some people break free from their principles when dealing with survival, poverty or power. The book is made up of quickly paced short chapters akin to scenes in a film. The words are carefully chosen and properly convey the sentiments of the characters without ever feeling dramatic or un-needed. Azuela’s book is a combination of his personal experiences and fictional recreation based on accounts he heard from soldiers and people effected by the revolution. The end result is a work that depicts many powerful scenarios that stay long in the memory.

Film: Duck Season (2004, Fernando Eimbcke)


Best friends Flama (Daniel Miranda) and Moko (Diego Cataño) have a fun afternoon planned out involving video games and pizza. Their video game duel is first interrupted by the young girl next door, Rita (Danny Perea), who wants to borrow the oven for some baking. The boys let her in and resume their gaming only to get hungry. They order pizza from a shop that promises the pizza will be free if it is not delivered under 30 minutes. The delivery man Ulises (Enrique Arreola) manages to arrive a shade under 30 minutes but the boys don’t open the door and count down the seconds until the 30 minutes are up. They then refuse to pay because they claim Ulises missed his deadline. Ulises refuses to leave until he has been paid and a showdown emerges between him and the two boys. Eventually the stalemate is broken when it is agreed the pizza money fate will be decided by a soccer video game. The game is in on the verge of completion when the electricity goes out, something which even disrupts Rita’s baking, a baking task that never seems to end. The four lay around on the couch and new friendships are developed and their personalities are altered due to the presence of some marijuana brownies. Ulises is not happy in his job and not pleased with the direction his life has taken and the brownies only help bring him clarity.

Fernando Eimbcke’s film is shot in Mexico but it has a universal theme and could take place in any city where a combination of video games, pop, pizza and hormones has the power to alter an otherwise average day. The film also raises some other issues, merely by its absence such as the issue of parenting and how it has an effect on young children. The film’s title comes from a painting of ducks in the living room and as per picture, the lives of the four characters undergoes a migration of sorts even though neither of them physically leave the apartment.

Copa America 2011 Campaign

The Mexican team that arrived at Copa America was not the goal scoring machine that won the Gold Cup but instead a younger team, with many talented prospects. A combination of a doping and off-field scandal left Mexico without more than half their senior squad so an U-23 Olympic level team took to the field in Argentina. For such an inexperienced squad, Mexico looked dangerous at times in their 2-1, 1-0 and 1-0 losses to Chile, Peru and Uruguay respectively. Still, a lot is expected from the Mexican national team no matter which age level team takes part because of the immense following of the game in Mexico and also because of the skillful talented players that are present. So it was surprizing to see Mexico finish not only bottom of Group C but also as the only team who did not earn a single point at Copa America. The three games surely provided a valuable lesson for the young players, some of whom will most likely play a part in the senior team’s qualifying campaign for the 2014 World Cup in Brazil.

Thursday, July 14, 2011

Copa America 2011: Bolivia

Entry #3 for the Copa America 2011 Book & Film Festival.

Book: Aurora by Giancarla de Quiroga


Giancarla De Quiroga’s Aurora uses a cinderella like romance story as a springboard to examine political and social changes that played a part in the Bolivian revolution of 1952. The wealthy landowner Alberto returns from Europe to find no shortage of suitors seeking to marry him. However, he ignores all the flashy girls and is instead smitten by young innocent Aurora at a party. He seeks her out and wants her to run away with him without getting married. At first, the thought of running away without marriage terrifies Aurora who proclaims it a sin. But her feelings for Alberto take over and she leaves her life behind to join Alberto at his hacienda. Their love blossoms and allows them to weather economic hardships to turn the hacienda into a profit making enterprise by using the land to grow and sell vegetables. At the peak of the hacienda’s profitable ways, Alberto starts to get disenchanted with his Bolivian life and yearns to return to France where he thinks his true joy resides. He wants to sell all his land and begins to neglect his surroundings just as Aurora opens her eyes to life around her. She begins to teach the native Indian peasants and workers to read and her act is in direct defiance to Alberto and society. Alberto’s health gets progressively worse but he is preoccupied only with escaping to France. Their love is on the verge of extinction but things take a dramatic turn when the revolution reaches their land forcing them to turn to each other for safety.

The book mirrors the political and economic change in Bolivian rural life from the 1930’s until the early 1950’s with the emergence of peasant uprisings. By placing the character of Aurora as a teacher of the peasants, De Quiroga has created a character that is in tune with the suffering and needs of the workers. On the other hand, the detached Alberto represents a rich land owner oblivious to the needs of his workers. Even when the truth about the worker’s condition is revealed to Alberto, he ignores facts and turns the other way. Eventually, his ignorant ways result in a fiery finale.

Film: Cocalero (2007, Alejandro Landes)


Bolivian films are not frequently seen in international cinematic circles but that does not mean that Bolivia is absent in cinema. In fact, the last few years have seen plenty of documentaries set up shop in Bolivia centered around Cochabamba (regarding water & privatization) or the Potosi mines while many books and articles have mentioned either the changing political face of Bolivia or coca leaves farming. So it seems very appropriate to view a film that manages to cover both political and coca discussions. Alejandro Landes’ Cocalero highlights the rise of Evo Morales and sheds light on the grass-roots movement that supported his election. The debate about coca leaves and farming is certainly forefront in the film as is the clash between the different classes in Bolivian society. As per the film, media bias certainly fueled hatred and fear of Morales. Landes’ camera does not shy away from depicting some of this bias and even shows some of the abuse heaped on Morales in the cities. Such documentation helps show the fine line between a person been treated as a hero by some and a villain by others. Basically, if a political candidate does not have the same governing principles as a group of people, he is demonized and represented as evil by the group.

Note: Interestingly, the film follows Morales to Mar del Plata for a conference attended by both Hugo Chavez and Diego Maradona. This is the same conference that Emir Kusturica filmed for the 2008 documentary Maradona by Kusturica. No doubt there were hundreds of cameras at the conference but it is fascinating that footage of one event shot from two different angles have been used in two separate films. In a sense, Landes' & Kusturica's films form a documentary version of the film Vantage Point.

Copa America 2011 Campaign

Bolivia started the Copa America in incredible fashion by holding hosts and favourites Argentina to a 1-1 draw. The tie gave Bolivia a reasonable chance of making the Quarter-finals especially since their second game was going to be against the U-23 Costa Rican team which only had 5 overage players. Surprizingly, Bolivia were brought crashing down to earth. Not only did they lose 2-0 to Costa Rica but also had two players sent off in a largely one-sided game where Costa Rica ran circles around Bolivia. Costa Rica found plenty of space behind Bolivia’s non-existent defense and could have had more than just their two goals. Bolivia’s elimination was complete even before the 30 minute mark in their final game with Colombia when Bolivia’s defensive weakness were exposed by Colombia as they raced to a 2-0 lead. A neat through ball by Colombia found Falcao behind the entire Bolivian line and he duly finished the chance in the 14th minute. He tucked away a penalty in the 28th minute after another defensive mix-up forced Bolivia to concede a penalty. In fact, Colombia did not have to exert themselves too much in the first half as Bolivia’s only chances to get a goal appeared to be via set-pieces. Overall, Bolivia could not muster a decent response and Colombia calmly progressed to the Quarter-Finals as Group A winners, while Bolivia finished bottom of their group.

Note: Evo Morales is a soccer fan as evidenced by Oliver Stone’s South of the Border so it was not surprizing to see him in the stands for Bolivia’s game against Colombia.

Saturday, March 12, 2011

Copa America 2011: Venezuela

Entry #2 of the 2011 Copa America Film & Book Festival.

Book: Chronicles of a Nomad by A.A. Alvarez
Film: El Don (2006, José Ramón Novoa)
Bonus Film: Araya (1959, Margot Benacerraf)

Chronicles of a Nomad sheds a light on certain aspects of Venezuelan life in the late 1980's and early 90's such as corruption, political power games, the rise of Hugo Chavez and the banking crisis. Also, the book lays out the cultural jolt that an immigrant experiences upon arriving in a new nation by describing travels across three countries -- Venezuela, US and Greece. However, this self-published work could have certainly benefited from an independent editor who would have made some obvious corrections, helped trim some excess and provided a tighter framework. Example: another pair of eyes would certainly have caught the missing 'not' in the following line of a chapter's opening paragraph:

After Al Gore was elected president of the United States and George W. Bush entered the oval office, it started to rain on our little parade and apparently the country’s sweet economy was made of sugar; and it started to dissolve very rapidly.


El Don is the story about a person’s rise to power and eventual downfall due to political and criminal elements. A proper description of the film is marred by the fact that the DVD copy of the film was without any English subtitles. Still, I was able to grasp bits of the overall structure due to the presence of familiar cinematic characters in the form of omnipresent television reporters, gangsters, and corrupt policemen and politicians. The presence of subtitles would not have elevated the film to a higher rating as the low budget production contains substandard technical aspects (cinematography, sound, editing) and melodramatic acting.

The most memorable aspect of El Don is the presence of Édgar Ramírez who turned in one of the best performances of 2010 in Carlos. Ramírez does not have the main role in El Don but plays Alvaro, a young sidekick with an easy going appearance. Alvaro, who has long hair, wears blue jeans and is always chewing gum, is an ocean away from the smooth talking well dressed Carlos. It is only near the end of El Don that Ramirez's character shows a strong yet negative side in one scene thereby allowing one to draw a faint line from El Don to Carlos. Of course, Édgar Ramírez did not jump to Carlos directly from El Don but instead had multiple roles in films such as The Bourne Ultimatum, Vantage Point, Che: part One before landing up in Carlos.

Margot Benacerraf's Araya depicts the struggles and rhythms of workers who toiled for centuries working in salt mines in the Northern part of Venezuela. This 1959 black and white film contains many beautiful images but unfortunately they are ruined by non-stop narration, which ends up getting repetitive because the filmmaker chose to not let a few minutes go by in silence. The audience is always kept at a distance because at no point do we ever hear the workers talk in their own voices. The film could have certainly benefited from less narration and more use of local sounds and voices, thereby letting the audience get a closer look at the workers.

Comments

Normally one points to certain mistakes made by a filmmaker or an author when one comes across a disappointing work. However, in this case, I feel a bit guilty in the disappointing film and book picked. This is because I wanted to pick entries that represented each country very well in this Copa America spotlight. Also, since the Venezuelan soccer team usually finishes bottom of their group, I had hoped to find a book and film that ensured Venezuela had a decent showing. As things stand, both the Venezuelan book and film are on course to finish bottom in the 2011 Copa America Film & Book festival. One cannot imagine the Venezuelan soccer team to do much better in Argentina at the Copa America as they are in Group B alongside Brazil, Paraguay and Ecuador.

Thursday, February 24, 2011

Copa America 2011: Colombia

The first entry of the 2011 Copa America Film & Book Festival.

All countries are far too complex to be reduced to a single word label but that is exactly what normally happens as most nations are often tagged with a single word. One reason for such quick labels is that most nations are ignored in their moments of silence but only given headline space when a war, disease, crisis or a revolution occurs. So naturally, a single word then gets associated with a nation in times of such an event or crisis. Yet, it is in moments of peace that one can truly grasp what a nation is about because at moments of tragedy, a single event/incident overshadows everything else at work in the nation. In the case of Colombia, these single word labels are either "war" or "drugs", two common associations with the South American country. However, there is much more to Colombia than just these two labels but one would not know that going by the quick headlines published in major publications around the world.

A primary goal for the 2011 Copa America festival was to pick a film that gave a richer look at Colombia and moved past this quick label of "war" or "drugs". For the book selection, the idea was to move beyond a different label altogether. When it comes to Colombian literature, the label of "Magic Realism" jumps out. It is true that magic realism was once highly popular but Colombian literature is far more diverse than just "Magic Realism". For example, the McOndo movement was started in contrast to magic realism and sought to portray a true reality of everyday life in the Latin nations. Both Magic Realism and McOndo have common roots in portraying the everyday life yet each movement takes a different route -- magic realism softens the harshness of reality with a mythical element while McOndo does not want to have any filters in its presentation. So when it came to selecting a book from Colombia, the choice was to pick a book about the harsh reality in the vein of McOndo. As it turns out, both film and book choices still have war in the horizon but their treatment ensures the focus is more on the human story as opposed to letting humans be a mere statistic.

Book: The Armies by Evelio Rosero
Film: Crab Trap (2009, Oscar Ruiz Navia)
Bonus Film: The Wind Journeys (2009, Ciro Guerra)


The Armies is about the nerve racking impact on people effected by a constant state of war. The everyday lives of residents are disrupted as disappearances/abductions of loved ones or neighbors can occur at any moment while those left behind try to maintain an illusion of normality. The story may be set in Colombia but could easily apply to a handful of nations across Latin America, Africa or Asia where people live in a constant state of fear. Human nature tries to find a reason for an ongoing war or violent state of a nation. For example, if a person is taken from their house by guerrillas, then neighbors assume reasons for such an abduction because in their view the kidnapping cannot be random. People believe there must be a valid explanation for a kidnapping and that the missing person must have done something or was involved in a negative trade. If no theory can be found to explain the abduction, then a new set of logic is applied. By always trying to find a theory to explain violence ensures that a person is always on edge and constantly attempting to reason things out. In essence, a person is always playing chess in their mind and their internal decisions lead to outward choices such as deciding when to leave the house, which path to take, etc.

The Armies puts forward some of the frenzied decision making that takes place in a person's mind and what the consequences of constantly thinking and living in fear does to a person. Evelio Rosero's background as a journalist certainly helps in crafting a realistic portrayal of people trapped in an endless cycle of uncertainty.

Oscar Ruiz Navia's impressive debut feature Crab Trap is about Daniel's (Rodrigo Velez) need to escape from his old life. His journey takes him to the beach town of La Barra where he just needs a boat to leave Colombia. However, he has to wait for the town's fishermen to return from sea to get an available boat. In the meantime, he eats, sleeps and wanders around town. Sometimes he sleeps by himself and on other occasions with the only available woman around. There are some scattered clues given to Daniel's need to escape but not knowing the reason does not take away from the film's calm and tranquil mood. The peace and quiet of the beach is interrupted frequently by Paisa who enjoys playing loud rap music from his music system. Paisa wants to drive away the locals so he can annex the land and develop a hotel/resort to attract tourists. So his methods from playing loud music to blocking access to an open beach lead him in constant conflict with the locals but Daniel tries best to stay away.

The leisurely paced film ensures that all relevant details, including the visuals and sounds of the ocean or rap songs blaring from a music system, filter onto the screen thereby allowing the viewers to get a sense of the landscape. Nothing about the beach suggests Colombia but news reports on a television set convey that the militants are not far away. The location of the small town is fascinating as in order to arrive at the town a person has to go through a forest. In a sense, the town represents the end of the line for anyone traveling through Colombia. The open sea represents a possibility to jump off to far away lands but in reality the sea only leads people to exit but does not provide an entry point for people wanting to make their first stop in Colombia. One can imagine La Barra's way of living as frozen in time until the forest is cleared and roads built to allow tourists to make their way to the beach or until the war manages to directly touch the inhabitants.

Michael Guillen's excellent interview with Oscar Ruiz Navia is essential reading about the film.

The bonus film entry ends up being another journey through a vast Colombian landscape rarely seen on screen. After his wife's death, Ignacio (Marciano Martinez) wants to return the accordion he has played for most of his life back to his mentor and be freed from the burden of possessing such a powerful devilish instrument. A young teenager Fermin (Yull Nunez) tags along with Ignacio much to Ignacio's displeasure. Fermin wants to be a musician and seeks to be Ignacio's pupil although Ignacio would prefer to be alone and not bothered. Fermin is persistent and continues to shadow Ignacio.

The reluctant master and eager pupil encounter a series of intriguing encounters centered around the hypnotic and magical power of music, be it an accordian duel or a drum initiation blessed with a lizard's blood.
One of the film's most incredible scenes involve a knife duel to the death with Ignacio required to play the music until one man dies. The families of both men are present on opposing sides and it is a gut wrenching moment for both families to witness one (or both) loved one's killing.
The film's visuals and mood echoes Brazilian cinema such as The Middle of the World, Behind the Sun, Central Station, and House of Sand because in the last decade, Brazilian cinema has portrayed journeys across a hot and vast land in search of parental love or friendship. Yet, these stories and journeys are not restricted to Brazil alone or to South America for that matter. The tales could easily be set in any continent. What The Wind Journeys does is garnish the journey tale with a few Colombian ingredients to add some local flavour and differentiate it from other such stories set around the world.

The Wind Journeys is certainly worth a look but overall a tad disappointing compared to the other Brazilian films mentioned above. One reason for the disappointment is that the reserved character of Ignacio prevents any relevant emotional attachment to the film as a whole. Only near the end when Ignacio reaches the conclusion of his journey to his mentor's home do some emotions fill the screen. In fact, the emotional strength of the ending combined with the visuals of a hut on a white sanded beach shares some similarity to the House of Sand.

Tuesday, November 30, 2010

Arrival City

Arrival City: The final migration and our next world by Doug Saunders

The word slum or favela comes with a preconceived notion of overcrowded shacks, garbage pile-ups, crime and poverty mostly because of television/cinematic images and magazine stories. But who are the people living in these locations and where do they come from? How is their average day spent? How much distance do they travel for their everyday jobs? A 10 second clip on a news channel, where the camera merely pans across the landscape, won't give much answers.

Doug Saunders rightly points out that words such as slum and favela do not highlight the true nature of these locations. Instead, he prefers the word arrival city which properly conveys the dynamic nature of such locations where people are constantly arriving from villages or leaving for middle class neighborhoods. Such ‘arrival cities’, which exist mostly on the outskirts of a city or are hidden within a city's core, serve as a transition point for the new migrants in their attempt to carve out a better life. These locations are not the migrants final destination as may be incorrectly inferred by the stagnant image portrayed by the word slum. In fact, people make an arrival city their first stop because it is the easiest way to establish a footprint in a vast metropolis. The migrants share a common dream that once they save up enough money, they can then move to a better neighborhood and own their own apartment or house. Ofcourse, as a certain percentage of migrants leave an arrival city, another group move in to take their place.

Saunders’ Arrival City paints a vibrant picture about some of the people who have taken the brave step of leaving their village behind for starting life in a new city. He also perfectly illustrates the emotional and financial two-way connection between the arrival city and the village. It is safe to assume that an arrival city will always have a relationship with the vast city’s core but in reality, the arrival city is also tied to the rural homes of the migrants. This relationship between a village and arrival city is similar to that between an immigrant's new nation and their homeland. An immigrant or a migrant is more closer to their homeland and village respectively and often send financial help back home to their family while trying their best to save enough money for moving up the hierarchy in their new metropolis setting. However, the migrants everyday lives can either be nurtured or ruined by state/national government policies and attitudes. This is where Saunders’ book really stands out as he does not merely list individual stories but offers examples of where proper government policies ensure that citizens living in an arrival city can be successfully integrated within a city’s/nation’s fabric.

Arrival City covers many individual cities and villages across five continents and constructs a complete picture right from the creation of the early arrival cities to the current global locations. Ofcourse, one would not expect any less from a fine journalist like Doug Saunders. His columns always offer an intelligent balanced perspective on global issues and are a huge reason why I continue to read The Globe and Mail. Three years ago, I wrote him an email which ended with the following words:

I do hope you have a book planned for the future with a collection of your articles or other writing that you have done during your travels.

Thankfully, that book has now arrived and is one of the most relevant books published in the last few years. I can now put Doug Saunders in the same bracket as Ryszard Kapuściński, Robert D. Kaplan and Eduardo Galeano as journalists whose words are a window into the larger world out there.

Interestingly, 3.5 years ago I was inspired by an article on Iranian cinema by Doug Saunders to do my own mini spotlight on Iranian film. So it seems appropriate that his book should form an inspiration for another cinematic spotlight. However, given the breadth and depth of material covered in Arrival City, it will not be a simple 5-6 film spotlight. Even if I picked a single film from each country covered in the book, it would mean a minimum of 15 titles to cover China, India, Bangladesh, Brazil, England, Germany, Turkey, USA, Canada, Kenya, Columbia, Holland, Iran, Poland and Spain. However, a proper arrival city film spotlight would require at least 2-3 titles per country. An easy solution would be to reference films I have already seen pertaining to some of the book material and only watch new films to fill in the gaps.

Monday, November 15, 2010

2011 Copa America Film & Book Festival

An updated summary of the books and films selected for the 2011 Copa America Spotlight in lieu of the recently made draw for the South American soccer tournament:

Group A: Argentina, Colombia, Costa Rica, Bolivia
Group B: Brazil, Paraguay, Ecuador, Venezuela
Group C: Uruguay, Chile, Mexico, Peru

** Note: Costa Rica have officially replaced Japan at the Copa. However, I will still have a book and film representing Japan.

Books

Argentina: Hopscotch by Julio Cortázar
Brazil: Zero by Ignácio de Loyola Brandão
Bolivia: Aurora by Giancarla de Quiroga
Chile: The Secret Holy War of Santiago De Chile by Marco Antonio de la Parra
Colombia: The Armies by Evelio Rosero
Costa Rica: Cocori by Joaquin Guteierrez
Ecuador: The Ecuador Reader, edited by Carlos De La Torre, ***
Japan: Kafka on the Shore by Haruki Murakami
Mexico: The Underdogs by Mariano Azuela
Paraguay: I, The Supreme by Augusto Roa Bastos
Peru: Conversations in the Cathedral by Mario Vargas Llosa
Uruguay: Body Snatcher by Juan Carlos Onetti, ***
Venezuela: Chronicles of a Nomad by A.A. Alvarez

*** Note (May 9, 2011): these two were new replacement entries after English translated copies of the following two original choices were not readily available.
Ecuador: Huasipungo by Jorge Icaza
Uruguay: The Shipyard by Juan Carlos Onetti

Films

Argentina: Crane World (1999, Pablo Trapero)
Bolivia: Cocalero (2007, Alejandro Landes)
Brazil: Black God White Devil (1964, Glauber Rocha)
Chile: Tony Manero (2008, Pablo Larraín)
Colombia: Crab Trap (2009, Oscar Ruiz Navia)
Costa Rica: Cold Water of the Sea (2010, Paz Fabrega)
Ecuador: Cronicas (2004, Sebastián Cordero)
Japan: Tokyo Sonata (2008, Kiyoshi Kurosawa)
Mexico: Duck Season (2004, Fernando Eimbcke)
Paraguay: Noche Adentro (2009, Pablo Lamar, 17 min)
Peru: Milk of Sorrow (2009, Claudia Llosa)
Uruguay: A Useful Life (2010, Federico Veiroj)
Venezuela: El Don (2006, José Ramón Novoa)



[Update May 9, 2011]

Substitute / Bonus Films

I will be watching an additional number of South American films to compliment some of the above titles. This will mean at most one title from each country.

Argentina: Lion's Den (2008, Pablo Trapero)
Colombia: The Wind Journeys (2009, Ciro Guerra)
Ecuador: Ratas, ratones, rateros (1999, Sebastián Cordero)
Paraguay: I Hear Your Scream (2008, Pablo Lamar, 11 min)
Peru: Madeinusa (2006, Claudia Llosa)
Venezuela: Araya (1959, Margot Benacerraf)

Two films for Ecuador have been added courtesy of Michael C. and Pacze Moj.


The three countries missing films are Ecuador, Paraguay and Japan. There are no shortage of Japanese titles but it is the Paraguayan entry that will most likely be the last title to be picked. The one readily available Paraguayan film is Paraguayan Hammock but I already used that for the 2010 World Cup Movie Festival so I want to pick a new Paraguayan film but currently nothing appears to be on the horizon. If I am still stuck for a title come June 2011, then I will go with Paraguayan Hammock.

All entries should be judged prior to the soccer tournament's kick-off on July 1, 2011. So that means all books have to be read and all films have to be seen by June 30, 2011.

Monday, September 20, 2010

TIFF 2010

My first ever visit to tiff was a completely enjoyable experience. Even though the trip was only for 4 days, I managed to view a respectable number of films and caught up with friends and family while enjoying Toronto's many wonderful cafes, bookstores and food joints.

Film x 8

Gorbaciòf: The Cashier who Liked Gambling (2010, Italy, Stefano Incerti)
Guest (2010, Spain, José Luis Guerín)
Red Nights (2009, Hong Kong/France, Julien Carbon/Laurent Courtiaud)
The Butcher, the Chef and the Swordsman (2010, China co-production, Wuershan)
Essential Killing (2010, Poland co-production, Jerzy Skolimowski)
Viva Riva! (2010, Congo co-production, Djo Munga)
Block-C (1994, Turkey, Zeki Demirkubuz)
Oki’s Movie (2010, South Korea, Hong Sang-soo)

Fatigue was a big reason in why I had to halt my tally at only 8 films.

I arrived in Toronto on Thursday afternoon with no sleep after an early morning flight. I still managed to make my first film, the 3 pm showing of Gorbaciòf, less than 2 hours after landing at the airport. The day only got longer after that as I managed to see 3 more films, including the midnight feature The Butcher, the Chef and the Swordsman. I got back to the hotel around 2:30 am Friday but was awake at 7:30 am in order to make my 9 am show of Essential Killing. I only saw 3 films on Friday as I had plans to meet with family for dinner on Friday night.

However, I was drained after seeing 7 films with less than 6 hours sleep over a 2 day period. So I decided to skip seeing any films on Saturday and only saw one more show on Sunday morning.

Cafes

The Seattle based coffee chain that dominates downtown Vancouver and Calgary is also omnipresent in downtown Toronto, especially near all the film festival venues. But with a little bit of effort, I managed to find some excellent cafes and avoid the big chain altogether.

Dark Horse Espresso
Green Beanery
Coffee Culture

Books, Comics

Another goal on this trip was to finally visit all the bookstores on my shortlist.

Of Swallows, their deeds and the Winter below
Book City
World's Biggest Bookstore -- I was not aware that this was owned by Chapters/Indigo but the diverse selection of books/DVD set it apart from the regular Chapters/Indigo stores.
BMV
The Beguiling -- Girish describes this comic book store perfectly:

"If you're an indie comics aficionado, leave your credit card at home and take a budgeted amount of cash. You've been warned. "

It is indeed quite easy to spend money here. I came across some amazing stuff such as an anthology of Swedish comics, Independent Canadian & American titles, Italian comics and some Japanese titles that I have wanted for a while. I had to force myself to leave the store before I spent too much money.

Food & Beer

One of my fondest memories from a previous trip to Toronto almost a decade ago was going to Marche in downtown for some amazing food. So I was quite eager to visit it again. I am absolutely delighted to say that the food is still quite incredible.


Beer Markt came highly recommended because of the huge number of beers they serve (100+). The selection is indeed very impressive and I came across a very good stout (Dragon Stout from Jamaica) that I had never heard of previously.

More films? Sure

There is no time for film withdrawal to set in because CIFF starts in a few days. Atleast the prospect of seeing some great films slightly offsets the negative sentiment of constant rain and a bit of snow that is already gathering on the city streets.

Monday, November 23, 2009

Man sitting on a chair looks at a goat....

One can now easily find copies of Jon Ronson’s book The Men Who Stare At Goats in Canadian bookstores but that was not the case 4 years ago.  In 2005, there was no movie deal and the book was largely unknown in North America.  I had not heard of the book when I first came across it in a London bookstore.  I found the title amusing and picked up the book.  After reading a few pages, I was still not sure what to make of it but I decided to take a chance on it.  It turned out to be money well spent as Jon Ronson’s book was a quick and delightful read.  Ofcourse, the most surprizing aspect about the book was that it was supposed to be true.  The topic of psychic soldiers was something one would have found in The X-Files or things that one believed would take place in Area 51 but here was a book giving names and details. Hmmm.

Another jaw dropping aspect about the book were the segments which were tied to the Iraq war, such as using the "I love You" Barney song as a torture technique. As part of this method, the Iraqi prisoners were locked away in a shipping container and strobe lights were used in conjunction with the words of the purple dinosaur repeated over a period of 24 hours.   Jon Ronson’s book was the first account I had read about such a torture technique but in the last few years other sources (books, newspaper articles) have talked about this and other torture methods meant to break prisoners.

I still have to see the movie but going by the trailers it looks to have ensured maximum humour by incorporating some of these bizarre and strange aspects from the book.  Going back to the title, it is about a master sergeant who stopped a goat’s heart from beating just by concentrating.  When I mentioned this to a friend, he referred me to the following video about fainting goats.


Now, this video does raise an interesting question. Was the original goat in the book a fainting one? Did that goat fake death? Or maybe the goat dropped dead out of boredom?  Ofcourse, all it took was one dead goat for a legend to be born :)

Here are some quotes from the book:

Glenn leant forward in his chair. 'You've gone from the front door to the back door. How many chairs are in my house?'

There was a silence.

'You probably can't tell me how many chairs are in my house,' said Glenn.

I started to look around.

'A super soldier wouldn't need to look,' he said. 'He would just know.'

'A super soldier?' I asked.

'A super soldier,' said Glenn. 'A Jedi Warrior. He would know where all the lights are. He would know where all the power outlets are. Most people are poor observers. They haven't got a clue about what's really happening around them.'

'What's a Jedi Warrior?' I asked.

'You're looking at one,' said Glenn.

In the mid-1980s, he told me, Special Forces undertook a secret initiative, codenamed Project Jedi, to create super soldiers - soldiers with super powers. One such power was the ability to walk into a room and instantly be aware of every detail; that was level one.

'What was the level about that?' I asked.

'Level two,' he said. 'Intuition. Is there some way we can develop you so you make correct decisions? Somebody runs up to you and says, "There's a fork in the road. Do we turn left or do we turn right?" And you go' -Glenn snapped his fingers - 'We go right!"'

'What was the level about that?' I asked.

'Invisibility,' said Glenn.

'Actual invisibility', I asked.

'At first,' said Glenn. 'But after a while we adapted it to just finding a way of not being seen.'

'In what way?' I asked.

'By understanding the linkage between observation and reality, you learn to dance with invisibility,' said Glenn. 'If you're not observed, you are invisible. You only exist if someone sees you.'

'So, like camouflage?' I asked.

'No,' signed Glenn.

'How good are you at invisibility?' I asked.

'Well,' said Glenn, 'I've got red hair and blue eyes, so people tend to remember me. But I get by. I'm alive today.'

'What was the level about invisibility?' I asked.

'Uh,' said Glenn. He paused for a moment. Then he said, 'We had a master sergeant who could stop the heart of a goat.'

There was a silence. Glenn raised an eyebrow.

'Just by...'I said.

'Just by wanting the goat's heart to stop,' said Glenn.


Quotes from Pages 14-15, 2004 Picador edition.

'A Warrior Monk,' said Jim, 'is someone who has the presence of a monk, the service and the dedication of the monk and the absolute skill and precision of the warrior.'

Quote from Page 44, 2004 Picador edition.

"The Bucha Effect"

It all began in the 1950s, Sid told me, when helicopters started falling out of the sky, just crashing for no apparent reason, and the pilots who survived couldn't explain it. They had just been flying around as normal and then suddenly they felt nauseous and dizzy and debilitated and they lost control of their helicopters and they went down.

So a Dr Bucha was called in to solve the mystery.

'What Dr Bucha found,' said Sid, 'was that the rotor-blades were strobing the sunlight and when it reached the approximation of human brainwave frequence it was interfering with the brain's ability to send correct information to the rest of the body.'

As a result of Dr Bucha's findings, new safety measures were introduced, such as tinted glass and helmet visors and so on.

'Believe me,' said Sid Heal, 'there are easier ways of doing sleep deprivation than going to all those great lengths. Barney music? Flashing lights? Sleep deprivation may be a part of it, but it's got to have some deeper hidden effect. My guess is that this is the Bucha effect. My guess is that they're going for the amygdala.'

Quotes from Pages 157-158, 2004 Picador edition.

Tuesday, August 11, 2009

Drafting a journey in pictures...



Graphic novels are certainly being used in brilliant and fascinating ways nowadays. Case in point, The Photographer. This is an interesting mix of real photos (black and white with one color picture), comic-book art and excerpts from a diary to convey the true story of Didier Lefevre who traveled to Afghanistan in 1986 to follow Doctors Without Borders. Didier's photos are rich and beautiful. And reading his travelogue/non-fiction work in the form of a graphic novel complete with his photos makes for a very rewarding experience.

note: one of the best pictures in the collection (page 74) is not available on the website and features Didier capturing a raft just leaving shore with two passengers and a donkey as passengers.

Sunday, April 26, 2009

The lost art of editing



At the core of Rushdie’s Shalimar the Clown lies a simple story of love and revenge. 4 characters -- a husband, a wife, a lover and a child. India, America. Kashmir and California. Pachigam, Los Angeles. Side trips in France, England, Philippines, North Africa and indirect involvements of Pakistan and Afghanistan. A story leads into another story into another. As one yarn starts to unspool, it reveals a bigger yarn hidden away. Pop cultural references, film talk, politics, hindi and kashimiri words freely mingling with the English language, all the sort of stuff one would expect from a Rushdie novel really. Science, religion, history, myth, fiction and reality, all out in the open. The pain of love, the cycle of fate, the anguish of rituals and even a documented manual about how terrorism takes root. Each page is infused with description of global places and habits, be it Indian or Eastern European. The world is a mirror and the mirror converges into this tale.

Overall, I do think that Shalimar the Clown is an extraordinary book but does it really have to be 649 pages long? Do we really need to know everything about the characters? Where does editing come into play? If each film director had their way, I am sure some would opt to have their films 3-4 hours long as they would love each minute of what they captured on film. But surely they have to make the tough decision to leave some footage on the cutting table. Same with writers. They have to make choices. But does a writer’s reputation mean he or she can get away whatever they want to write? In a review of Umberto Eco’s Foucault's Pendulum, Rushdie had the following to say:

“The plot of Foucault's Pendulum (which begins on page 367 page of this 629 page book) is surprizingly uncomplicated.” (from Imaginary Homelands)

It does seem that Rushdie takes a dig at Eco by specifying when he thinks the plot truly begins. In a way, he is right as the first few hundred pages of Foucault's Pendulum which describe the history of the Templars really add nothing to the story and could have been cut. But Rushdie is guilty of padding the pages like Eco did. The big difference is that Eco padded his book at the start while Rushdie lays the plot out quickly to begin with and after getting our attention drifts into back-stories. Not that the drifting isn’t interesting, but it wasn’t really needed. Atleast in my opinion. Ofcourse, there are plenty of writers out there who write longer books than Rushdie does as they go about capturing every detail about their character’s lives, clothing and other preferences that add nothing to the story. Yet, those author’s fan base would not complain as every word is probably cherished.

So does the same apply for film? Are there people who would prefer to see a 4+ hour film by their favourite film director because each minute is a work of art? I once got a lot of flak for daring to suggest that Tarantino should have edited Kill Bill 2 as some fans of his work were offended by the thought that I dared question the "master" himself. In fact, I am sure these fans would have loved every minute of Death Proof even though it contains dialogues which add nothing but merely pass the time until the inevitable car crashes take place.

Is editing only reserved for new writers and directors then? Do acclaimed writers and film directors have full right to do as they please? This might be a topic that would divide critics and fans. Or it might just be a personal preference.

Friday, April 10, 2009

fade to white...and then pitch dark....





It was almost ten years ago that I first heard about Jose Saramago’s book Blindness. By then, I had read his The History of the Siege of Lisbon. Even though the core concept of ..Siege of Lisbon was interesting (how adding a single word in a novel could alter the historic meaning), I was baffled by Saramago’s writing style which consisted of sentences spanning multiple pages and not separated by any periods. Plus there were no quotes for a conversation between characters as their words were separated by commas. This meant that I could not stop at just any place in the middle of my reading and had to continue on for another 50 pages or so before a natural stoppage appeared. In a way, this style is good because it ensures that the reader is fully engaged and forced to read each word slowly lest they lose track of things. But on the other hand, this style does make for an exhausting read. Shortly after I finished reading the book, Saramago won the Nobel Prize in Literature and his other books gained popularity. And Blindness was a title that popped up quite a bit in conversations with friends. It turned out that the book’s popularity spread in an infectious manner, just like the blindness disease in the book, and most people around me swore of the book’s greatness and urged me to read it. Unfortunately, since I was exhausted after reading The History of the Siege of Lisbon I was not in any mood to tackle another book written with endless sentences.

And that was that. Then three years earlier, I found Blindness in a book sale and decided to finally buy it. Unfortunately after repeated tries, I couldn’t make it past page 150. I had hoped to finish the book before Fernando Meirelles’ film version was released but I gave up and decided to watch the film instead. Oddly, the first 30 minutes of the film were quite painful to view as having known the story, there was no mystery and everything appeared quite superficial and poorly done. The film did eventually become interesting when the dark savage human nature was exposed. Still, I was left with mixed feelings regarding the film. Reading the book, one can conjure up their own visual path while objectively following the character's plight. But the problem with the film adaptation is Fernando Meirelles’ attempts to impose a visual style (example: having multiple shots of the blurred white vision the characters have) thereby wanting the audiences to experience the characters disorientation. As a result, the film is caught between a visual style which does not integrate well with the depiction of the characters. I felt the strongest aspect of the film is near the end when the visual style is temporarily suspended and we observe the savage humans at work. We observe how morality can be easily dropped within a mob when individuals either find comfort & a safe haven in their group or get a fake sense of power when encouraged by a thug. In a way, the latter part of the film makes for a character study to observe humans at their worst akin to Philip George Zimbardo’s Stanford prison experiment documented in his book The Lucifer Effect. But even if the visual style of Blindness was dropped in the editing room and the film became a pure character study, it would still pale in comparison to the intense German film The Experiment. While The Experiment is based on Mario Giordano’s book, it is loosely inspired by the Stanford prison experiment and shows how humans either conform or rebel against roles they are thrown in.

Saramago does not explain the blindness disease in the book because he is more interested in studying the human condition. In that regard the blindness is a hook to get people isolated together so that Saramago can conduct his Stanford prison like experiment. Although, Saramago’s experiment is not a study of pure blindness as the characters contain a woman who can see and a man who was born blind thereby making him more aware of situations around him. Not having finished the book, I can’t comment on how rich his story is but besides the visual style, there is nothing original in the film – the characters act as one would expect them to given the situations. There are some who take a power role and demand things from others while some easily become the victims. Then there are the rebels who want to fight. Sure one can say aspects of the story hold up a mirror to our society when some rules are taken away. But these aspects could be studied in other ways and not by infecting characters with a mysterious blindness.

It was by pure coincidence that after I finished watching Blindness I saw Errol Morris’ documentary Standard Operating Procedure. Morris’ film looks at the incidents of abuse that took place at Abu Ghraib and is a real life horrific case study in the manner of the Stanford prison experiment. In fact, Philip George Zimbardo talks about Abu Ghraib in his book The Lucifer Effect because he was asked to testify in the courts regarding one of the soldiers involved in those sick acts.

Standard Operating Procedure is a visually sharp film that allows the audience to make up their own minds regarding the incidents. Morris ensures his camera lingers on the soldier’s faces a bit longer than usual and lets them naturally open up. There are plenty of instances where Morris shifts his camera’s position (either to the left or right) as the soldiers talk thereby ensuring we take the soldiers words with a grain of salt – did the soldiers act on their own? Or were they just following orders?

The outcry from the prison pictures ensured that the soldiers who were seen doing things in the pictures were the only ones accused. But Morris shows that there were other personnel standing outside the frame who were also guilty but were spared. And no one seems to be talking about the setup of the prison and the interrogation procedures as they contributed to the abuse. This is where Philip George Zimbardo's work is important as he talks about the environmental conditions that play a factor in tranforming people from good to evil behaviour. But people don't want to listen to that either. They just want to get rid of the "bad apples" so that they can get on with their happy lives. Blindness & The Lucifer Effect do show how most people can become those "bad apples" given the circumstances but our current society is more interested in blaming individuals rather than studying the overall situations that cause individuals to act in certain ways.

Blindness and Standard Operating Procedure do make a dark double bill of sorts – they depict humanity at its worst and the combined crimes from both films range from rape, sexual abuse to murder. In Blindness everyday people mutate into villains while in Standard Operating Procedure it is the military that resorts to evil.

Ratings out of 10
  • Blindness: 6.5

  • Standard Operating Procedure: 9



  • On another note: the events in Abu Ghraib are predicted in Jon Ronson’s hilarious yet dark book Men who Stare at Goats, a soon to be made film. In Men who Stare at Goats we learn about some of the techniques used to disorient Iraqi prisoners so that they would talk. In one case, the prisoners were trapped in dark shipping containers with strobe lights keeping them awake along with loud blaring music of the Barney song (yes the purple dinosaur) repeatedly played. What kind of demented torture technique is this? But this is just a minor torture technique as opposed to the other truly sick ones that have been going on for decades yet the public is blissfully unaware. So when the Abu Ghraib pictures came out, people just wanted closure by punishing those in the pictures as opposed to questioning the entire setup that has encouraged such acts for decades.

    Thursday, December 04, 2008

    Black Friday Revisited

    'Are you aware that there are sixty crore Hindus in India? Can you finish them all? Do you think that the United Nations will keep quiet? What about India’s mentor, Russia?'

    The discussion continued, occasionally very heated, as various options were raised.

    Shaikh Ahmed spoke up eventually. 'But can't we scare the Indian government and the Hindus into submission? The best thing to do will be to turn the tables on the Hindus. If we can intimidate Hindus in such a manner that in the future they will not in their wildest dreams try to subjugate the Muslims..'

    This thought seemed to appeal to all present, and heads began to bob in agreement. Taufiq clapped his hands and said it was a superb idea. But once again silence descended on the room.

    Tiger spoke up. 'Bombay is the pride of India, its financial nerve centre. It is also the place where Muslims suffered the most during the riots. Why not display our might and power there? Any attack on Bombay will have international repercussions. The government will be shaken. The world leaders will be shocked. Let us plan to take over Bombay. We can capture Mantralaya, the municipal corporation building and the airport, hold political leaders hostage and cripple the economy. We will draw international attention to the downtrodden Muslims of the country. We will...'

    Dossa, who sounded impatient and irritated, interrupted, 'But how can you do it? From where will the money come?'

    'Money is no problem,' Taufiq interjected. 'But do you think it can do done successfully?'

    'With proper planning the CIA has toppled governments and taken over countries. We have to only disrupt one city. I already have a network. We need to fine-tune it further and rope in some committed young people to execute the job,' Tiger said.

    Suddenly the room was electrified. The glum faces lit up. The discussion grew animated.


    -- pages 38-39, Black Friday: The True story of the Bombay Bomb Blasts by S. Hussain Zaidi.

    The above words could have taken place a few months ago but they were spoken almost 16 years ago in December 1992 as highlighted by S. Hussain’s extremely well researched and engaging book, Black Friday. The planning of a terrorist operation in Bombay, executed by multiple bombings on March 12 1993, was fueled by the violence that took place in the aftermath of the Babri Masjid mosque demolition.

    The Babri Masjid at Ayodhya had been a bone of contention between Hindus and Muslims for over five hundred years, since the time when Babur’s general Mir Bagi had destroyed a temple there in 1528 to build a mosque he named after his master. For many Hindus the mosque was reputed to be built at the birthplace of Rama, an avatar of Vishnu, and hence a sacred site. The antiquity of the mosque had given it similar sanctity for many Muslims.

    Things were at relative peace until the existence of the Masjid was used by some right wing Hindu political parties, especially the Bharatiya Janata Party (BJP), to further their cause. The BJP wanted to demolish the Masjid and construct a temple in its place. The mosque was demolished on December 6 1992 and unleashed a wave of riots and violence across the country. "The worst incidents took place in Bombay, Ahmedabad, Banaras and Jaipur. There was widespread violence in Maharashtra, Gujarat, Uttar Pradesh, Hyderabad, Bangalore, Bidar, and Gulbarga."

    The demolition of the mosque caused a lot of anger in the Muslim world and directly led to the bombings on March 12, 1993. Black Friday (both the film and book) shows that even though there were outside forces who were involved in the planning of the bombing, none of it would have been possible without the smuggling underworld network established by Dawood Ibrahim & Tiger Memon.

    There were initial steps in the complex operation: first, to secure the arms and armaments and transport them to Bombay, and second, to recruit Muslim youths from Bombay and train them to cary out the bombings.

    The weapons, including AK-56s, RDX and grenades, were smuggled into Bombay via the same complex network used for smuggling goods, so that meant local thugs and corrupt policemen were in on the take. Although, most people involved in the smuggling of the RDX had no idea what was being smuggled. Some were satisfied with the answer that the goods were something to avenge the blood of their Muslim brothers while others quietly looked the other way.

    The golden aphorism of the underworld is that anything that is known to more than two people is no longer a secret. There are hundreds of informers or khabris in Bombay. They straddle the two worlds of the underworld gangs and the law enforcement agencies.

    Almost all the people recruited or involved only knew that Tiger Memon was involved in the planning; they had no idea of the foreign groups who poured money into the operation. Tiger conducted the planning meetings himself and was responsible for the initial list of the targets as per Badshah Khan’s confession:

    Tiger bhai announced that the targets had been selected and finalized. 'The first targets are the Air-India building at Nariman Point; the Bharat Petroleum oil refinery at Chembur; the share market at Fort; and the gold market at Zaveri Bazaar. Then there are five five-star hotels: the Sea Rock, the two Centaurs, Oberoi Sheraton and Taj Mahal; the top film theatres: the Metro, Regal, Excelsior, Sterling and Plaza; Shiv Sena Bhavan at Dadar; the BMC building at VT; Sahar International Airport; the RPO at Worli; and Mantralaya.'


    The final list was shortened after one terrorist recruit was caught by the police. Fearing that he might reveal the operation to the police, Tiger Memon decided to carry out the attack within three days of the recruit’s arrest. Anurag Kashyap’s film version of Black Friday actually begins with the arrest of this recruit. In the end, few targets such as the oil refinery were dropped because of the difficulty in planning for the quick attack (the book highlights the planning in detail). It was shocking to read that the Taj, Oberoi and the Metro cinema were in that initial list as all three locations were targeted last week.

    As for the training, the book does an excellent job in showing how the recruits were transported across India to Dubai and eventually to Pakistan where they were trained on how to use the Kalashnikovs and the RDX, among other weapons. A lot of the training details are rendered first hand from the confession of Badshah Khan. One can only imagine that similar camps were used this time around to train the terrorists.

    One of the most remarkable aspects of the book is documenting the investigation process that resulted in the aftermath of the bombings. Because of the clues left around (the Maruti van with weapons and RDX, the unexploded scooters), police were able to quickly get some leads and chase some names down. Although, the entire process of convicting the criminals took months, with the court trial lasting almost 13 years. In fact, the release of Anurag Kashyap’s film version of Black Friday was delayed by the Indian courts for almost two years because they felt his film would influence the bombing trial.

    The film

    In January 2007, Anurag Kashyap’s Black Friday was finally released. Although it is hard to know how many people in India saw it. In North America, the film got a limited release and was easily missed. Only 5 reviews are listed on Metacritic. Although, Matt Zoller Seitz included the film as his #1 best film of 2007. Kirk Honeycutt's review was very positive:

    Anurag Kashyap's "Black Friday" is a superb and devastating piece of cinema that with justification can be compared favorably to Gillo Pontocorvo's classic "The Battle of Algiers" in its dispassionate yet sweeping journalistic inquiry into cataclysmic social and political events. While the events described may seem remote to some American viewers, our current encounter with modern-day terrorism gives "Black Friday" a clarion immediacy.

    Kirk is right about the relevance of the film, although I do believe the film’s structure might make people feel distanced from the film, as highlighted by the review of Variety’s Derek Elley who commented that the "well-cast pic will appeal to specialized auds already tuned into the subject-matter but has limited theatrical chances offshore."

    The film is not easy to watch as it does not spoon feed elements for the audience but good cinema does require or even demands its audience to pay attention. Even though Black Friday does throw around a dizzying amount of names and characters, one can still grasp the overall framework of the terrorist operations by watching the film without reading the book. Although reading the book enhances the experience as it allows one to navigate the topography of the film, meaning one can easily place each character and each dialogue in context. In fact, I found myself knowing exactly who each character was and their relevance to the case just by observing the scene. In that regard, the film does an excellent job of extracting enough detail from the book.

    The film stands brilliantly on its own as it a case study of how terrorist operations are planned, executed and even investigated by the police. Plus, we get an insight into how terrorists go about recruiting young men and even training them. Even though the film is firmly rooted in the Bombay blasts, one can imagine similar structure and planning has gone on with other terrorist activities around the world.

    Black Friday answers many questions about international terrorism:

  • Where does the money for terrorist activities come from? -- In case of the Bombay attacks, it was a combination of international terrorist organizations, many of them who had no previous connections to India. The organizations were able to pool money for the sole purpose of revenge.


  • How are men recruited for terrorist activities? -- Angry young men are found willing to die for their cause via local connections. If the recruits are local men, all the better because they know the terrain the best.


  • Where do the weapons come from? -- Money is one thing but getting weapons is the key. In the book and film, it is clearly shown that the guns and grenades were obtained from Pakistan. Investigation revealed that the grenades used were manufactured from an old Austrian machine bought by Pakistan in the 1970s.


  • How are the recruits trained? -- There are only a few places on the planet where young terrorists can be trained. It is essential to find a place where the government will not interfere when loud bombs and machine gun fire takes place in isolated country-sides or mountains. The films shows the training sites to be in Pakistan, but Afghanistan would apply equally.


  • How are weapons smuggled in the country? -- No outside force can cause havoc in a city without local help. In the case of the Bombay blasts in 1993, it was the local network established by Dawood Ibrahim and Tiger Memon that allowed the weapons to make their way into the country.



  • Kashyap’s film is not only relevant but also responsible in trying to objectively show the events without taking sides. We see how the terrorists plan their operation while also seeing how the police can abuse their power in the goal of finding the truth. There is one element that Kashyap has included in the film to illustrate this point. Devoting a few minutes to the case of Rajesh Rajkumar Khurana adds nothing to the overall terrorist plan but it shows how an innocent man was wrongly arrested and intimidated. Khurana spent only a night in jail but during that night, some of the local police men showed that they were willing to rape arrested women to get information. Khurana was taunted that if he did not provide information, his wife would suffer the same fate. The next day after Khurana was released, he went home and shot his family, including his wife, their 3 year old son and 2 year old daughter, and drove them in a car, before shooting himself. Khurana was completely innocent, a fact later admitted by the police. This segment forms one of the most haunting scenes in the film. What goes through a man’s mind that he shoots his young children and calmly puts them in a car before taking his own life? In another instance in the film, inspector Rakesh Maria (Kay Kay Menon) is asked by a reporter about the human rights violation in arresting innocents. Maria responds by saying that what about the human right violations of the innocents that were blown by the bombs? The film shows the difficulty of working within law and order to find justice but also raises questions of ethics and honesty.

    A running time of 150 minutes may appear long but considering how much material the film covers, it is easily understandable. When I first saw the film almost two years ago, I found the film quite engaging and even included it in my top films of 2007. Although, I had found myself questioning the length of certain segments, for example why so much time was spent on showing Badshah Khan’s journey across India, Bombay-Delhi-Rampur (Uttar Pradesh)-Jaipur & Tonk (Rajasthan) to Calcutta. Reading the book now, I can understand the relevance of including every scene in the movie. Badshah Khan was the only arrested terrorist that gave a detailed account of the training, planning and execution. Without his testimony, a lot of the elements might not have fit into place for the investigation. And the film shows that the length of time spent by him traveling across India only increased his frustration and convinced him to testify to the police.

    Technically, the film is perfect as the camera angles are smart and switch perfectly between close-ups (only showing the eyes of certain characters in some situations) and long shots. In fact, at times there is so much action packed in a single frame that one cannot remove their eyes from the action. Plenty of scenes are filmed with amazing realism that one forgets that this is scripted cinema. The arguments between Badshah Khan and his gang come to mind when Khan learns that his passport has been burned. The camera spends enough time on the action as we see the argument swell up, almost boil over and then cool down. Kashyap also includes actual documentary footage of the attacks, speeches and even the demolition of the mosque seamlessly within his film.

    Overall comments:

    Dismissing the film by saying that it only applies to audiences who are familiar with the Bombay blast trial is akin to saying that the Godfather films are only of interest to people who know about the American Italian mafia or that Gomorra will only make sense for audiences who have read about the Naples Mafia or that Johnny To’s Election films are meant for audiences familiar with the Hong Kong Triads. Black Friday is much more than just a study of the Bombay Blasts; it is unlike any other film to come out of the cinematic world in the last decade. It is a precious cinematic treasure that is an essential guide to understanding the dynamics of global terrorism.

    Black Friday (2005, Anurag Kashyap): 10/10
    Note: all quotes are taken from S. Hussain Zaidi’s insightful book.

    Sunday, November 16, 2008

    A taste of global film festivals

    Kenneth Turan’s Sundance to Sarajevo is an insightful look at the diverse and rich world of international film festivals. While Turan covers popular festivals such as Cannes and Sundance, the real joy lies in the chapters dedicated to the FESPACO (Burkina Faso), Midnight Sun (Finland) and Pordenone (Italy) film festivals. Of the trio, I had never heard of the Midnight Sun and Pordenone festivals but the chapters covering them left the most impression.

  • Midnight Sun film festival

  • The Kaurismäki brothers were co-founders of this unique festival in Sodankylä where films are shown throughout the night because the sun doesn’t set for the duration of the festival. The first time I learnt of a place in Finland where the sun never sets was in Julio Medem’s wonderful film The Lovers of the Artic Circle. As Kenneth Turan points out, Julio got the idea for the segment in the film after he visited the Midnight Sun Festival. Overall, the concept of watching films right through the night is enticing but ofcourse how can one consider it night when the sun is still shining brightly at 4 am when some screenings end?

  • Pordenone Silent Film Festival

  • This is quite a remarkable film festival which not only brings together silent film buffs but also film collectors. Turan writes about how a majority of the silent films were almost destroyed when sound films started arriving but thankfully some individuals saved a majority of these films and kept them for their personal collections. Every year some of these personal collections are being released to the general public with Pordenone being the common meeting ground to discover precious gems and keep the heritage of silent films alive. Also, there is a section in the festival where unknown films are shown in the hope that someone can recognize them. One year in this section Sergio Leone was pleasantly surprized to discover a lost film starring his father Andrea.

    This Pordenone chapter really gave me a new appreciation for silents films especially the following paragraphs which talks about the complex issues in running these films:

    For though there is a uniform sound projection speed of 24 frames per second, nothing of the kind exists for silent films, largely because they were shot by cinematographers who hand-cranked their cameras. They speeded up or slowed down the movement from film to film and even within frames from 16 frames per second to 20-something per second as the action dictated.

    Making things even more complicated is that footage was often supposed to be projected faster than it was hot, ensuring that stunts looked crisper and slapstick funnier. Speeds also varied with decades, and projecting D.W Griffith’s ambitious 1916 epic Intolerance at the late silent speed of 24 frames per second instead of the intended 16 to 18 makes it play like comedy, while showing 1929’s gently romantic Sunrise at 16 frames per second instead of the intended 24 has the unfortunate tendency, says Kevin Brownlow, "to put audiences to sleep."

    Though modern silent projectionists don’t generally change the tempo within films, they must have a knowledge of what the standard frames-per-second count was in each of the films they show plus the ability to work with today’s breed of variable speed projectors. The aim remains what it was in 1911, when a practitioner wrote that the ideal projectionist is someone who "'renders' a film, if he is a real operator, exactly as does the musician render a piece of music, in that, within limits the action of a scene being portrayed depends entirely on his judgement."


    Turan spends the second last chapter in the book talking about a failed French film festival which gives a look at the complexities of running a festival and also sheds some lights on the efforts of the French government to promote their cinema. And in the final chapter, Turan talks about his experiences serving on the jury of the Montreal film festival. This was a very delightful behind the scenes look at how film festival awards are given out, a process that hardly ever gets any press.

    It is good to know that there are great films being shown in most parts of the world, albeit via film festivals. Ideally, good cinema should be shown week in week out, but until big studios stronghold over the world’s theaters is not loosened, film festivals are still the best way for a majority of the planet’s population to view true cinema.

    Note: About half of the book's chapters are available online via Google Books. Unfortunately, the sections on the Midnight Sun Festival and Pordenone are not online.

    Thursday, May 22, 2008

    Oil & Africa: Three Books

  • Untapped: The Scramble for Africa's Oil by John Ghazvinian

  • Poisoned Wells: The Dirty Politics of African Oil by Nicholas Shaxson

  • The Wonga Coup by Adam Roberts


  • In the film Blood Diamond when Danny Archer (Leonardo DiCaprio) is traveling in search of the coveted pink diamond along with Solomon Vandy (Djimon Hounsou), they encounter a lone villager in a deserted village. Terrified of Danny, the villager asks Solomon if he can ask the white man to not shoot him. Solomon smiles and tells the villager to not worry and replies that just like the other white men, Danny is also crazy for diamonds. The villager then gravely looks at Solomon and says that thankfully oil has not been discovered in their land, otherwise they will "have real problems."

    Equating discovery of oil with "problems" is one of the most accurate assessments, especially in today's time. Although it did not have to be this way. The Oil crisis of 1973, which showed the political power of oil for the first time, should have led the West to try harder for alternate sources of energy and cut down their dependence on oil. But nothing came of it. In America & Canada, the cars got bigger, the suburbs were spread out even more, public transportation suffered and the firm dependence on oil was set in stone. In North America, virtually every item is manufactured or assembled in nations with cheap labour and as a result, ships with giant containers float through the ocean everyday carrying precious goods. Food, clothing, electronics, etc are now all depended on oil to get them through international waters. If the price of oil goes up, then every single industry feels the rising cost.

    Unfortunately, this dependence on oil cannot be changed over-night. Alternative energy sources will take time, so in the meantime the scramble is on to find the next source of oil. While en route to Nigeria for starting the research for his book Untapped John Ghazvinian engages in a conversation with the airline ticket operator who inquires if John's trip to Lagos is for business or pleasure. After John mentions that he is going to Africa because of his book on oil, the operator is surprized to learn that there is oil in Africa. Just as John is explaining the abundant resources present there, the operator cuts him off by saying that they need to get the oil from somewhere.

    As John outlines that his journey to Africa is a journey to that "somewhere" to find out more about this source of oil which will help satisfy America's need. Both Untapped and Poisoned Wells cover mostly the same African countries (Nigeria, Gabon, Republic of Congo, Angola, Equatorial Guinea, Chad, Sao Tome and Principe) and overlap on similar material but their presentation style is different. Untapped follows the author from one country to another in each chapter, while in Poisoned Wells Nicholas Shaxson structures each chapter around a pivotal character's influence on an African nation's fortunes. While both books start off in Nigeria, Africa's most well known oil producer, Nicholas Shaxson talks about the musician Fela Kuti and uses the musician's voice to reflect upon Nigeria. Both books end while talking about the growing influence of China in Africa -- while John spends an entire chapter on China, Nicholas spends just the last page.

    Both authors admit that they changed their views from what they saw and learned. Initially when it came to oil, Nicholas Shaxson's anger was "...directed principally at African rulers or the oil companies from whose oily treats the rulers suckle." But after learning some of the dark plots which surround oil, his "revulsion is now directed less toward these actors and more in two other directions: first, towards oil itself -- the dirty, corrosive substance-- and, second, toward the system--the global financial architecture. In this regards, Shaxson offers some solutions which would decouple this awful cycle of oil, power & money which allows the crimes in Africa to continue.

    What is impressive about both books is the research the authors spent in trying to unravel how each African nation got to their current problems while trying to understand the complicated economic impacts that oil has on a nation. One of the most interesting aspects was the discussion of the negative influence oil had on a country.

    Oil is found, a few get rich, the rest get poor

    Some call it the oil curse but it is better known as "Dutch Disease". John Ghazvinian discusses this in good detail in Chapter 2 of Untapped. Essentially, when a country starts exporting a coveted natural resource (such as oil), it gets an influx of foreign currency (dollars, euros) as opposed to getting paid in its own currency. This artificially inflates its own local currency and makes it look like the country is swimming in money. With foreign money comes foreign imports and things that were locally produced are now replaced by foreign goods. As a result, the local economy suffers and industries such as agriculture are left behind. People are rendered jobless and in search of a better life, they head to the city in droves. Since there is no place to live in the city, they end up dwelling in make shift slums and find cheap labour.

    "And, in what is probably the bitterest irony of all, thanks to the collapse of the agricultural sector, life in the big cities becomes increasingly reliant on expensive foreign food, which is largely out of reach to these new arrivals from the hinterland, who find themselves dependent on government handouts and international food aid. In short, given a sudden infusion of foreign currency, a country that was once a regional breadbasket and net exporter of food can quickly turn into one that is unable to feed itself." Chapter 2, Pages 96/97 Untapped by John Ghazvinian

    This theory refers to developing countries but I believe the new money that oil generates in any city or country can cause immediate inflation and a mad rush for expensive foreign goods unless a nation can control the wealth generated by a resource. Nicholas Shaxson mentions the rare example of Norway who have learned how to properly handle their oil money whereas plenty of other nations indulge in personal glory and wasteful spending. At the end of the day, oil is a finite resource and one day it will run out. Nations that do not properly plan to use the oil money could find themselves in deep trouble when the oozing black liquid vanishes.

    Note: In his excellent book Planet of Slums, Mike Davis looks at the increasing amount of slums cropping up around the world. The urban growth of Lagos in the last few decades has been staggering and the timeline of the city's urban growth + increase in slum dwelling coincides with the glory years of Nigeria's oil boom in the 1970's.

    New oil vs New methods to get old oil

    John Ghazvinian highlights the fact that African oil is not a new phenomenon. "In reality, sub-Saharan Africa has been supplying a healthy flow of crude oil to the international market for decades. Nigeria made its first shipments of oil in 1958, two years before it had even declared independence from Britain, and the lush tropical forests of Central Africa have been drilled by French companies since the early 1950s." Untapped

    But previously, African oil was deemed too expensive to drill and explore. Plus the low price of oil in the 1980's did not make the African crude seem very appealing. But the following factors made oil companies look at African oil differently:

  • Changing political climate from late 1990s onwards


  • Oil companies want cheap oil and would like it without any relative difficulty. But since the mid 1990s onwards, plenty of oil producing countries became not so friendly places to get oil from. The crisis in Nigeria in the mid 90's is attributed towards causing oil to jump to $50 a barrel for the first time in history. And since 1990, the Middle East has been transformed drastically in terms of the political climate. Also recently, Venezuela has been trying to assert its political muscle using oil.

  • New offshore Drilling techniques


  • The Gulf of Mexico saw some major improvements in offshore drilling in the 1990s when new technologies could allow companies to drill upto a depth of 5,000 feet into the ocean to get oil. Suddenly, oil buried deep beneath the Gulf of Guinea was viable again.

  • Rising oil prices


  • The record profit of oil companies with the rising oil prices allowed them to start spending more money in research to get out of the ground or ocean faster.

    Given the above combination, the oil beneath the Gulf of Guinea seemed too good to pass up. Since the oil is buried in the ocean, it is free from some of the political problems faced on land in Nigeria -- the oil can be loaded directly onto ships heading for the U.S or Europe and this would avoid any problems while transporting the oil through troubled borders and armed gun-men wanting their share of the profits. The new oil rush in the African waters is just starting.

    My country, no, your country, but under my watchful eye

    Even though the colonial powers have officially left Africa, they cannot let go of their former colonies. Nicholas Shaxson examines some of these situations and highlights the French as one of the culprits in trying to maintain a hold on its colonies. In some cases, foreign nations are on friendly terms with a dictator because it suits their needs while in some cases, it is better for them if an elected leader is removed. The story of Equatorial Guinea's coup attempts might not be well known but they make for some fascinating reading.

    The Wonga Coup by Adam Roberts reads like a thriller probably because the events surrounding the two coup attempts were spawned from a fictional writer. It is alleged that the mastermind behind the first coup attempt in 1973 was the famous writer Frederick Forsyth. In 1973, these allegations were just rumours. But in 1974, when Forsyth’s novel The Dogs of War came out the rumours were turned towards suspicion. The story of the novel mirrors in almost exact detail what happened in the 1973 coup. Recently obtained material in 2005 might implicate Forsyth. When Adam Roberts interviewed Forsyth in 2006, Forsyth did not confirm or deny the rumours but said that Roberts can make up his own mind. Forsyth did confirm that in 1973 he went undercover in South Africa to collect information on coups and mercenaries. He claims that some of his data was mistakenly believed to a diary of a coup plot. One thing that can be confirmed is that the people involved in the second coup in 2004 used Forsyth's book The Dogs of War as a blueprint. Forsyth actually finds it amusing that his book was used as a plan and jokes that strange ideas can be hatched over beer.

    The influence of beer

    Adam Roberts begins The Wonga Coup by mentioning how the idea of the 2004 coup was first talked over plenty of beer. Also the idea's funding also lay in beer money as the architect of the coup, Simon Mann, came from a family which made money from a brewing company. The Polish writer Ryszard Kapuscinski often talked about the importance of a cold beer in Africa to combat the oppressive heat. One lasting image of Africa's portrayal features foreign expats, spies, mercenaries sitting in a bar sipping cold beer while discussing their political or financial plans. Even in Blood Diamond Danny Archer (DiCaprio) explains the African situation to Maddy (Jennifer Connelly) with the following words in a bar:"“over there it is bling bling, but here it is bling bang..".

    In the early years of Iraq's invasion, plenty of journalists wrote about experiences of drinking beer in hotel lobbies while waiting for the next big explosion or story to chase. In most cases, beer was used to pass the time before the next big story arrived but in the case of Equatorial Guinea, consumption of beer by a group of mercenaries may have led to a coup's origins.

    The full story, please!!!!

    When the media reports about crime in Africa, we are only told the obvious things -- who killed whom and in some cases by what weapon. Sometimes, some reports talk about how the weapons arrived in Africa in the first place but in most cases, the full story is never given. There are no weapons being manufactured in Africa, so they must have come from some nation. Did the foreign nation trade weapons for African oil? Why do nations continue to deal with rogue states? Oil, diamonds are obvious reasons, but what else? Who were the middlemen who conducted the weapons trade? Which nations did they come from? Are these weapons traders like Nicolas Cage’s character from Lord of War?

    If a Western nation's spy or former military officer is involved in an African nation's coup, then can the Western nation quietly deny involvement? What about Oil companies? In Untapped John Ghazvinian talks to some oil company representatives and engages them on the African situation. He gets some honest answers and some usual run of the mill answers about how foreign oil companies are not to blame for Africa's problems.

    The truth is that the world needs oil. It has to come from "somewhere". Oil companies will rush wherever they can sense oil and money to be made. In quite a few cases as mentioned in Untapped & Poisoned Wells, Western Oil companies made deals directly with dictators/rebels to get at the oil. So then is oil the problem? Is oil blinding all reason? Yes and a little no. Oil has become a problem today because the global economy is tied to it. But more than 70 years ago, that was not the case when gold was the universal currency. In the future, when all the oil has run out, then a new resource might take its place.

    For now, until there is oil under the ground in some part of the world, the following will always happen:
  • Elections will be rigged

  • Governments will be toppled

  • Wars will be waged

  • Money will change hands



  • And Finally....

    There Will be Blood!