Thursday, October 07, 2004

A Day to Listen to the Velvet Underground

I am only 33 years old, but today marks the end of my first six years without a mom. That is an awkward sentence, but it best captures my sentiments. I am not an orphan, I still have a father. In fact, he should be receiving his Halloween card shortly. Yet a part of me is still very much missing, a large part. October 7th, 1998...10,7,98...those numbers loom large and ominous in my heart and this is the first year I am not completely overwhelmed by them.

My wife and I have intimate conversations often, it is one of the joys of marriage, and she and I were discussing death the other day. Her grandmother had just died at the age of 92. My wife explained it this way, "When someone dies, the world feels a little less complete. Bird songs aren't as joyful, and sunrises are slightly less beautiful." Displaying, as she often does, the magnificence of unedited, awkward, and spontaneous verbal poetry. She was also correct. C.S. Lewis opens his book A Grief Observed with another observation about death:

No one ever told me that grief felt so like fear. I am not afraid, but the sensation is like being afraid. The same fluttering in the stomach, the same restlessness, the yawning. I keep on swallowing.


I still feel this way, not everyday...today.

There are two things that are still difficult for me to do six years after my mom died when I was 27 (she was 46).

I have a hard time remembering truly happy moments with her...on command. Happy moments enter my consciousness at random moments and seldom on the anniversary of her death. Glimpses of her nymph-like smile...brief auditory illusions of her laughter enter my mind. But the majority of my memories are neither happy nor sad, they are the memories of everyday activities, evening dinners and the question which ever looms over the head of a teenager, "Have you finished your homework?" I remember watching videotapes with her on many occation, though none as awkward as the time we watched The Hunger, just the two of us and an erotic vampire film. I remember feeling both uncomfortable being aroused by the film, in my mom's presence, while at the same time finding the situation hilarious. This moment just came to mind. There are many more like it, I just can't remember them on demand. In all honesty, I remember my mom as a happy person, a person who added joy to the world. Which is why I have my other difficulty.

I can't understand my mom's addiction, and eventual death due to how it ravaged her body, to heroin. I try, by reading/watching/listening to and about other addicts. I know the narrative of my mom's addictive cycle, I can see each step of her hopeless journey. That's not what I can't understand. I know the things that led to her addiction. What I can't understand is the overwhelming power of it, how addiction stole my mom from me...day by day. Oddly, some really shallow things help. They are a poor substitute for true knowledge, and seem trite when I think hard on them, but they help. These things include the music of the Velvet Underground (in particular, you guessed it, Heroin) and Iggy Pop, the films Permanent Midnight (which I saw just after her death) and Trainspotting, the book and film versions of Razor's Edge, and the writings of C.S. Lewis among other things.

I am the only member of my immediate family I know of who believes in God. I was raised secularly. Strange as it sounds my mom found comfort, though she was baffled by it, in my belief. She once asked if I believed, expecting me (the first college student in my family) to laugh at the absurdity of the question. I told her I did and her response lingers with me to this day, "Really?" Her eyes looked at me...proud, confused, unbelieving, yet hopeful. I never was able to tell her that hope was what faith was all about ("Faith is the realization of what is hoped for and evidence of things not seen" Hebrews 11:1). It isn't about "knowledge," little of life is about actual knowledge. This is why Socrates asked us to know ourselves, that is a difficult enough task. Let alone the ability to acquire actual knowledge of something else.

I was notified of my mom's death by answering machine. A series of messages of an ever-worsening condition. Siezures...followed by emergency medical action, my wife and I later read the medical records to piece together a timeline, to see if there was an heroic effort to save my mom. There was. It is not the best way to be notified of death, answering machine, I think it is the worst. I also wish that my mom had been buried not cremated, I would have liked to have had the chance to speak, to say my own words. Instead, I will share the two poems I think best capture the way I feel. One is gender confused (for my situation not its own) and the other is written from an older generation to a younger one, but they will have to do.

The first is by W.H. Auden (and yes it's the poem from Four Weddings and a Funeral but that is such a lovely scene.

Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.


The second is by Wordsworth:

SURPRISED by joy--impatient as the Wind
I turned to share the transport--Oh! with whom
But Thee, deep buried in the silent tomb,
That spot which no vicissitude can find?
Love, faithful love, recalled thee to my mind--
But how could I forget thee? Through what power,
Even for the least division of an hour,
Have I been so beguiled as to be blind
To my most grievous loss?--That thought's return
Was the worst pang that sorrow ever bore,
Save one, one only, when I stood forlorn,
Knowing my heart's best treasure was no more;
That neither present time, nor years unborn
Could to my sight that heavenly face restore.

Tuesday, October 05, 2004

"Reality" vs. Scripted TV

The other day in the office I asked Fritz, "Hey...What do you think the 1980's would have thought about modern reality television shows?"

His answer was quick, humorous, and to the point, "Isn't that what The Running Man is all about?"

This immediately brought to mind the brilliant 1990 video game Smash TV. A game that is now available for Gen-X nostalgistas on the Play Station 2 as part of a compilation game disk.

I think to a certain extent Fritz hit the nail on the head, especially when it comes to shows like Fear Factor and Survivor, but there are also the mean versions of Cable Classics. What do I mean by this? Well, cable is semi-famous for its off-kilter shows like Trading Spaces and This Old House or even semi-biography series about "real life" situations. These shows have become the The Swan,Big Brother and The Apprentice type television shows when a competative element is added to the existing formula. Shows like Extreme Makeover: Home Edition are just a natural extension of the older cable shows. Think Bob Vila with a sledgehammer, actually doing the work and not leaving it all up to his various sidekicks.

When it comes to reality TV, I have fairly strong opinions about what I enjoy or don't enjoy. I don't tend to enjoy the shows that substitute "meanness" for "dramatic conflict." I prefer shows like The Great Race over Survivor. Nobody gets voted off the Race. That doesn't mean there aren't "villains" or "b*%ches" on Race, but the conflict is the Race itself and not who is getting voted off this week. Maybe that is why it keeps winning Emmys. Even if its ratings are lower than Survivor. I also like the better versions of the "real life" biopics. So I like Blow Out the short run show about Jonathan Antin's new hair salon, or the first The Restaurant before they brought in a "villain" for the second season. Starting up and running a business are difficult enough to create natural conflict. You don't need to insert artificial conflicts into the environment.

So far MOST reality TV is drama based, hence all my comments regarding conflict. We'll ignore America's Funniest Home Videos and the other reality "comedy" shows. Being dramas these shows need some sort of conflict to drive the narrative and keep audience interest. That's why there are the "alliances, politics, and b*%ches/b@$tards" in many of these shows. Without these tropes these shows would be like watching marmots eat, sleep, and breed (which explains why Big Brother is so dull). What strikes me as funny though is that in "reality" TV the conflicts seem more artificial than in "scripted" TV.

I watch a ton of scripted television. From Boston Legal to Scrubs to the new LAX my evenings are filled with drama and comedy, and sometimes the rare adventure tale. Add to these shows the two to three movies I see in theaters each week and you have quite a full schedule, but I can read and watch a 22 or 44 minute show. I love scripted television, and the central requirement of scripted shows is, obviously, writers. This is why I am keeping a close eye on the WGA and their reactions to reality TV.

Some comentators worry that if the WGA strikes that reality TV will be able to fill the time and completely satisfy the pallete of the audience. But I think is a non-issue. Even if true, for the sake of argument, one of the things the WGA is fighting for are reality TV writer's rights as well. Reality TV writer? Yes, reality TV writers. They are an underpaid, and underappreciated group of individuals who do more than just come up with "concepts." They also help structure events and competitions to maximize dramatic stress on the shows. Besides, once reality TV dominates (which I am sure it will for a time) the salaries will eventually have to rise. Right now the networks are getting a kind of old school studio deal (cheap and controllable labor), but that won't last. Sure, everyone wants to be a star and get their 15 minutes of fame, but the people who make that fame are going to want their share of the proceeds. The more the shows make, and they make a lot, the more leverage the employees will have in negotiations. Especially since I don't watch shows for producers to rake in all the money. Not that there is anything wrong with producers making a ton of money, I do in fact actually watch some TV based solely on the producer. It is just that the higher the descrepency the more leverage the unions will have to create a RTVGA (Reality Television Guild of America) or pull the employees into existing union structures. Once this happens and reality costs go up to the levels of scripted TV we will see more balance.

What concerns me is not the long-term picture, which I am optimistic about, rather the short-term. There are a lot of talented, and not so young, writers out there and a lot of developing but rough young writers out there. I worry about how long the situation will last and then how good the new writers will be. Few writers are born comedy/dramatic geniuses. After all, if I remember correctly, one of Seinfeld's most embarrassing moments is that he was fired from Alf.

Friday, September 24, 2004

Russ Meyer In Memoriam

Those of you who know me, know that I love movies. Those of you who know me well, know that my friend Jay is in my opinion the world's greatest source of B-Movie information. Jay is a veritable imdb in his own right. I think his parents were wise in naming him John Ford, his knowledge of film deserves the title. Were he a member of this small community, I am certain he would have written some wonderfully droll prose regarding the life and films of Russ Meyer. Alas, he is a busy man and has yet to join our community of friends, and it is up to me to fill his all to proficient shoes.

Loving movies is easy, loving bad movies is not. This is not because of any difficulty in watching the films themselves, they are often products of sophisticated (even sometimes brilliant) talent. The skill level of bad movies often surpasses what some consider worth watching. No what makes loving bad movies hard is your friends. Most of my friends have a hard time understanding my enjoyment of AIP or Hammer films. And God save me when I venture into Sexploitation territory. I very much enjoy, but as the above caveat should make clear have nowhere near the sophistication of Jay when it comes to the genre, watching a good Sexploitation film. "Why?" you ask, "After all, Christian you are a Graduate Student in Political Theory. Surely you are more intelligent than to enjoy such sexist trash!" Why? To be honest, it is the innocence of such films that continually brings me back. When these films are being exploitative, they are often making fun of exploitation at the same time. When they aren't, it is still usually in the name of farce or satire (I can't remember which is appropriate in this case). In Sexploitation, nowhere to be seen is the grim reality of a Taxi Driver Jodi Foster prostitute. These films are meant to be fun...dammit.

Which brings me to Russ Meyer, who died last Saturday at the age of 82 suffering from dementia and succumbing to pneumonia. The internet movie database describes his career as follows:

Meyer found fame with his 1959 filmmaking debut The Immortal Mr. Teas, a movie that changed the standard "nudie film" format by working in an actual plot – as well as the amazingly endowed women that would become his trademark. In essence creating a new film genre, Meyer cemented his reputation (and his legacy) in the 60s with cult classics like Faster Pussycat! Kill! Kill! And Vixen, which poured on violence as well as healthy doses of sex antics. It was the latter film's success that attracted the interest of 20th Century Fox, which signed him to helm the 1970 major studio release Beyond the Valley of the Dolls, which was scripted by film critic Roger Ebert ; a year later he made his most mainstream film, The Seven Minutes, which featured then-wife Edy Williams . With the advent of hard-core pornography (Meyer's films were titillating but never explicit) and the demise of drive-ins, Meyer found his career success waning...


My friend Jay introduced me to Meyer with Faster Pussycat! Kill! Kill! a fun and sexy version of anIn Cold Blood story (after all these are killers for a thrill) with a twist that the "victims" aren't as helpless as they otherwise might be. I loved the film and found it funny, sophisticated, and in an over-the-top way appropriate for the genre well acted. Today, if Tarantino were doing the project, it would be graphic and cold and missing something (much like his Bride is less appealling than the women in Switchblade Sisters). But how does Meyer-friend and screenwriter Roger Ebert describe the women in this film?

Meyer's extraordinary women are of course fascinating to those with breast fetishes, but look a little longer and you will notice that the breasts are not always presented as centers of desire. Instead, they're weapons used to intimidate men.


Tura Satana's character is the "Bride" of her day, bad kung fu and all.

It is no mistake that a majority of the discussion here is about Meyer's Pussycat it was one of his most popular films, along with the Roger Ebert scripted Beyond the Valley of the Dolls. Meyer made many other films, including an awkward version of Fanny Hill. Of course the "master" of the Sexploitation film would attempt that piece, but as the IMDB article points out his work was not pornographic in its eroticism and at it's best the women were intimidating rather than desirable. In his Fanny, the narrative isn't as expicit as the source, nor is the lead as intimidating as his usual female fair. Thus the awkwardness.

I don't think that it was an accident that one of his last films, though not his last, had a title combining two of his cult classics Beneath the Valley of the Ultra-Vixens. and was once again a partnership with Roger Ebert. It always seemed to me that Meyer made films because he liked it and I wish more filmmakers made movies just for the fun of it.

Thursday, August 19, 2004

Movies about RPGs




As you all have figured out by now, I am one of those crazy types who spends weekends in muggy rooms "adventuring" in worlds beyond imagination. That's right...I play role playing games. Worse than that, I am a hardcore fan of Dungeons and Dragons, especially the newest edition (3.5). I have been running the same campaign now for almost 4 years and the characters are getting ready for the "earth shattering" finale.

It has long been a ritual in my gaming group (started by Rob, Josh, and me about 5 years ago) to have new players watch the awful how to play RPGs film "Dragonstrike" which accompanied a D&D intro game of the same name.





I also recommend that my players watch the following films at some time in their lives because they capture the feel of RPGs, not high fantasy, but RPG fantasy. The kind of meaningless collaborative storytelling that happens when you have no editors and people just want to have a good time. The movies are: Krull, Ladyhawke, Lord of the Rings (animated), Sword and the Sorcerer, Hawk the Slayer, and of course Conan the Barbarian. In addition I have a full set of the episodes of the Dungeons and Dragons cartoon as well.

Recently, a company called Dead Gentleman Productions made a movie called "The Gamers" and it has been a huge success in the gaming community. It has all kinds of in jokes about RPG sessions, like what happens to PCs when their players don't show up for a session (or they show up late and leave early). But I didn't think the film was very good. The acting is aweful, the special effects lame, and the story well that actually felt like a module. Not a good module, but it still felt like a module. On the other hand, one of Jody's students at USC (she was his TA) made a film with a similar concept also called...you guessed it "The Gamers". This time though, the acting was better, the special effects were better, and the story? Well, it still felt like a module, but it was fun. What made this movie better was the actual fact that the characters (the main ones not their PC counterparts) actually have dialogue hinting at relationships beyond what we see in the film. We have kids from different backgrounds here. Oh, and the 3D graphics rendered church is pretty cool too. I recommend that you check out the website and watch the longer trailer. Neither of the films had a budget, one is 15 minutes long (you can't see it or buy it unless you can get it from Phil Broste himself which is worth trying to do) and the other is 90 minutes. One is made by someone who loves gaming, but isn't sooooo cooooool that he has to poke fun at it. The other one is made by gaming geeks who want to be cool and so throw in a lot of negative stereotypes. It's still fun though.

But I recommend Promoting Broste's USC film. I have seen the whole thing and I would rather have the world think this is what gamers are like rather than the Trekkies presentation the Dead Gentlemen give us.