Monday, October 31, 2011

EXECUTION

             A Pulitzer Prize, causing astonishment, shifting the views of a whole country, evoking outrage, conjuring sympathy for the “bad guy”, inducing disgust; a single moment in time is rarely this powerful. The only question left is how did Eddie Adams manage to snap a photo of such a climatic point in a situation that only lasted a milli-second? This of course is the photo: General Nguyen Ngoc Loan executing a Viet Cong. It is simple title that says it all, nothing elaborate nor something to ponder upon, contrary to the effect the photo has on it’s spectators.
               Adams won a Pulitzer Prize for Spot News Photography because of the influence it had at the time. The photo sparked outrage and fueled the anti-Vietnam war protests going on at the time. Strangely enough Adams regretted the impact the photo had saying:

               “Still photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths ... What the photograph didn't say was, 'What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American soldiers?”

                 So what distinguishes a sterling photo from an icon? One is contingent upon quality, the other its effect on audiences. However, what makes a photo a masterpiece is an integration of both aspects. Qualities that this work does possess. Whether the photo was well focused or Eddy Adam was skillful at dodging and burning, the contrast is laudable. At first glance the main focal point is the gun and victim due to it’s sharp contrasts.
                 Already up there with such photos as In the Heights and Flag Raising on Mount Suribachi, General Nguyen Ngoc Loan executing a Viet Cong is also comparable to works such as Edvard Munch’sThe Scream and Michelangelo’s David in the partnership it holds between quality, recognition, stimulation and representation of the times. The photo might only represent two decades in American history but its concept of the brutality of war are timeless and universal. Although this piece should be put into context, intense sensations are conjured without background knowledge. All from a single frozen piece of time.

APPAULING

             With crab fountains, hind leg walking lizards, flying fish, bubble people, zombies, mussel people, nun pigs, ice skating creatures, bird people, and more, Bosch’s Garden of Earthly delights has one thinking if he was on drugs back while painting this in the beginning of the 14th century. In a time where artists were painting biblical scenes, Jesus and mother Marry, Bosch decides to take the notions of heaven, earth and hell to the chopping block and butchers it with a knife of obscurity and absurdness.
            The triptych is painted in oil on a wooden square that has 2 rectangular panels that unhinge to reveal the artwork. The unopened front is a bleak depiction of earth before animals were created. God is on the top left and above him is an inscribed quote from Psalm 33 reading "Ipse dixit, et facta sunt: ipse mandávit, et creáta sunt"—For he spake and it was done; he commanded, and it stood fast. Inside, each panel has a simply depiction of heaven, earth or hell, when viewed left to right. Makes sense. But upon further inspection the painting falls into a pit of ridiculousness, the further you go the more abject things get. The painting leaves the spectator wondering why heaven contains black pools, why the girl on earth has flowers up her heinie and why is there a tree house man. Sure Bosch exhibits great painting capability and fits an abound amount of objects in this work, however it seems like a cluster of eye candy approaching the title of Kitsch as opposed to avant-garde.
            No black people in hell, huge ears that are holstering a knife, people pouring into an egg, 3 headed peacock-birds, the list of nonsensical rubbish continues on and on; these appalling images could fill pages. Inspecting this painting will be the only way to envision this chaos, which I do recommend to look into if one would like to chuckle at what a perverted PeeWee Herman would paint if he had artistic abilities. It is just hard to believe that art historians think this was painted for a wedding.

Monday, October 17, 2011

Black Dogs. more like Street Dogs

           Breaking into houses, garages, cars and stealing valuables after someone bought a stereo from you or let you into their home sounds like a normal “come up” on some cash for teenagers Patrick, Keith, Alex and Pete. These kids are probably not your average rebellious teen.
           Black dogs gets underway by instantly hit the reader with a controversial music opinion, as the narrator, who we later find out is named Patrick, almost instantaneously begins with “the greatest band in the work: Black Sabbath.” The reader then learns that Patrick is visiting his home town after he “skipped town,” but other then that nothing is revealed. Subsequently we meet Frenchy... ugh... Pete, who is an avid music enthusiast and artist that works at a record store. Another friend, Alex, is mentioned to be returning home, however the details of this affair are kept away from the readers prying eyes. Instead the pair drive to pick up their other friend Keith, who turns out being a car stereo instillation specialist at a shop where the owner also hires him to “uninstall(s) them in the middle of night” for a cut of the profit. After this touching piece of information and a heartwarming story of breaking, entering and stealing, one realizes that these guys are not the type you want your kids around; they are probably up to no good. The fact that you find out Alex is returning from jail exacerbates the suspicion.
            The third chapter derails completely, enough to make any passenger confused. After the seemingly random story, the story jumps to Alex’s coming back from jail party. His family is introduced and it becomes clear where all the criminal behavior stems from. While Patrick is waiting for Alex he begins to mingle with Danny, Alex’s uncle, who is the lowest of the low in the family. Not only that, but we also learn that it is Danny who is apparently responsible for Alex’s ordeal. This is where the pieces of the story begin to resemble a picture as things start to be explained and the featured scheme is established. “I want to rob Led Zeppelin” Patrick utters.
             Once again the story decides to derail in chapter 6, but not to worry, phrases and plot pieces are mentioned, disappear and reappear later on. This being comparable to a magic show. Chapter three’s relevance is elucidated and we find out how Alex ended up in jail and why Patrick skipped town; a slapstick scenario involving an albino snake.
            The wheels of the plan begin to turn after Frenchy successfully receives attention from Richard Cole, Led Zeppelin’s manager. All gears begin to move but one, as a super rare guitar is now a necessary.
            From there that is about the only thing that results remotely as planned. The group’s plate piles up as the story takes off from there. It starts off with the robbery of a pawnshop that is owned by a bloodthirsty, bible reading biker gang gone wrong. However things do not look any better at the carnival, where a huge (and hilarious) fight breaks out. Over and above, police are added into the equation, things never seem in the right place, trouble with “the New York fucking Giants” ensues, betrayal lurks and a desperate attorney general makes an odd request. By the time of the climax, their plate looks more like a buffet.
            Although Black Dogs constantly rambles and references rock and roll, the book will fill the needs of any admirer of action stuffed books, the kind that look like your momma’s Thanksgiving turkey stuffed to near explosion. From the first page, everything slowly creeps in, with the plot not all being hidden behind door number one. Every chapter ties together well, even when something seems out of place. The chapters do not just conclude with the completion of a thought, but instead opening a door to another, and when you start that new chapter, it is hard to stop.
           A health mix of talk and action keeps one enticed in the quick read rather then thinking ahead, keeping the reader from having those pesky “that was so predictable” moments. The overall writing was plain and simple but worked well with the story, action scenes read quick and remained intense, while chatter read smooth and easily understandable. Even though there was a lack of embellishments that “showed” the story rather then telling it, there were parts that evoked clear visuals. The line “A long tattooed finger pointed right to me, the skull ring glistening in the neon lights” shoot out. Other lines such as “the future is uncertain and the end is always near” really set the mood.
            Black Dogs was certainly an enthralling page turner that holds on to you till the end like a Hendrix solo. Jason Buhrmester did a grant job of slowly building the story up, uncovering bits and pieces at a time, thus evoking a sense that the reader is a new addition to the group of friends. Nonetheless the end you left saying that “these low life mother fuckers deserve to be in jail.”

Monday, October 10, 2011

Top Floor Left Wing Film Review

Between a rock and a hard place.  

          There has always been a job where people hate you and Francois just happens to have one of those jobs, a bailiff. As he starts out his day in the Persian projects of France, collecting money, possessions and evicting unprofitable residents. In his first assignment of the day he runs into Mohand, a middle aged man who sent his payment in late, which is unknown to Francois. With the help of the police, the ostentatious Francois attempts to push his way into the apartment to collect profitable items so the void of absent rent money can be filled. With all the previous ruckus, Mohand's disconnected teen son, Salem, has woken up and in a sudden display of paroxysm, grabs Francois as a hostage and pushes the door closed behind him. The audience is left clueless; just like the police, Salem's father and Francois. Even thought Mohand is averse to the idea, the decisions are made by the gun wielding Salem. From here the serious story ensues into an inextricable but mirth situation.
            This drama/comedy takes an enticingly heated situation and submerges it in a tank of comic relief that blurs the line between drama and comedy. Whether this was done suitably is up to ones personal preference, but it left me thinking that the writer/director just did not have enough material for a full length drama so they decided to throw in a barrage of one liners that did leave me laughing. From color code jokes to marriage quips the story never becomes too serious, which seems to be the problem. The only thing that kept Top Floor Left Wing from falling into a 3 Stooges ordeal are the progressions of the characters and scenes.            
            The story does do an excellent job unfolding a series of bizarre situations and relationships. An example being the stand off itself, which goes through multiple stages, each with a beginning and climax leading up to the next level. The uncovering and development of each of the 3 main characters (diligent performance by Salem's actor) in such a tense situation made sure one is constantly hooked, if the jokes or plot had not been doing their job. The most engrossing being the transformation of the father and son's relations.        
            As the plot progressed, everything began to fall into place with an elegance that does not expose every little detail at once but instead unearthing a fossil at a time, with more beneath and then ending hysterically. The movie lets you choose a favorite character rather then focusing on one, a sense that is exacerbated by the fact that the movie does a great job of following multiple characters; from Salem, to Mohand, to Francois and the police chief. This was done by cuts and steady pans that felt natural, unlike the jumpiness of the show 24.            
            Top Floor Left Wing had its moments but had me leaving the theater wanting something more powerful and memorable. French socioeconomically and race issues undertone the whole movie but do not turn into anything more and come off as more of a fictional setting then an actual problem. In addition, the extraneous female police officer character and the occasional superfluous scene just has you saying “hu?” The jokes were undoubtedly humorous, but they were so abundant that I could not take anything too seriously. If Top Floor left Wing were made just a little differently, it would have a lasting impact rather then the “ehh” it currently holds.
Just like the characters, this keeps one between a rock and a hard place.
7 out of 10