October 2006 - Posts

Film Review: Saw III

You think you've seen suffering? You haven't seen anything yet." - Jigsaw to Dr. Lynn

Well, the series continues with another set of ingenius, highly elaborate schemes meant to arouse a perverse excitement in the torture of Jigsaw's prisoners, victims of their own depravity. This time, Jigsaw has gone from his greatly debilitated health in Saw II to near death as he wastes away on a hospital bed in a make-shift hospital room within his lair. He looks terrible in Saw III. His eyes are sunken into his head, his skin is of a crinkly, paper-thin white complexion, and his voice has lost nearly all of its force. He speaks mostly in whispers. Despite this, he has not lost his mental faculties. With the help of his new apprentice, Amanda, he continues to "teach" his victims lessons on life by submitting them to cruel physical and psychological torture.

This time, he's created perhaps his most subtle and elaborate scheme yet. It provides some unique and interesting twists and turns with definite potential for a fourth film. At times, the plot feels a little too contrived - particularly some moments at the end of the movie. They depend on characters making decisions that no real person would make. Any sane person would think at least a little before doing something so rash and violent as what some of these people do. Why slice a man's throat open if he hasn't done anything to hurt you and could potentially save your life? Why think about it for even an instant before incinerating some toys to find the key that could save someone's life? You can't be that attached to toys, can you? Well, unless it's Buzz Lightyear - that I can understand.

The real reason people go to see movies like Saw and Hostel is to see graphic violence delivered in deliciously creative modes. Hostel's greatest moments (despite being an atrociously bad movie) are when we see a victim's ankles sliced open and when we see a man using a blowtorch to mutilate a woman's face. These are truly mind-bending acts of reprehensible (but, as I constantly have to remind myself, fictitious) cruelty. Does Saw III deliver in the creative violence department? I've heard opinions on exact opposite sides of the spectrum. Two friends have said, "This wasn't all that violent." Two other friends, whom I saw it with at a different time, said, "This was really violent." I tend to think that there is more graphic violence in this movie than the previous movies and Hostel. During the previous Saw movies and Hostel, I could at least keep my eyes open for the entire movie, though it made me feel sick to my stomach. During Saw III, I kept my eyes open the first time, but couldn't bear to see certain scenes the second time. The opening scene is one example of many. It starts where Saw II left off, with the detective from Saw II chained in the famous bathroom from the original Saw. Though it is pitch black, there is one flashlight just out of his reach. He manages to drag it towards himself with his boot. With it, he first sees the sawed-off foot on the other side of the room, then the dead bodies of the two men who died in the room in the original Saw, and finally the saw near his feet. He realizes what it's for but can't bear to use it. Instead, he grabs the porcelain cover from the toilet and lifts it above his head, bringing it down on his foot. Agan and again, he smashes his foot, breaking the bones inside, reducing his foot to a limp, bloody pulp. With one final effort, he grabs his foot and bends it backwards till it gives a wet snap. His foot then slips easily out of the cuff. In the theater, we see, hear, and feel every second of it.

Despite Saw III having more violent violence, simply because it's violent doesn't mean it is more disturbing on a psychological level. I recovered pretty quickly after this movie. It was more graphic violence than before, but it seemed less meaningful this time. During Saw and Saw II, I felt what Jigsaw wanted his victims to feel - a desperation for and acute appreciation of life, happiness, and all that is good in the world. In this one, perhaps because Amanda was carrying out these games, I didn't feel it. Instead, I felt sickened.

In my eyes, this movie cements Jigsaw's status as one of the greatest characters in the horror genre. He is such a genius, so charismatic, and so wicked but also so human that one can't help but admire him. Though this movie is not as great as either of its predecessors, it continues the tradition of crowd-pleasing horror that we have come to expect from Saw.

A Brief History of Rock and Layla

Britain is the place where rock and roll went to find its wings.

It began, though, in the United States. Two events were the catalyst for rock and roll in the U.S. - the adoption of the electric guitar and the creation of the rhythm of rock and roll. Both things occured in and because of the Black music community. In the early 1950's, the Jazz movement in the Black community had fragmented into many new styles and varieties. Eddie Durham and Charlie Christian, both Black jazz musicians, began experimenting with a new instrument that had been created to try to amplify the sounds of an acoustic guitar. This instrument was, of course, the electric guitar. They brought the instrument to the attention of a national audience. As for the creation of the rhythm, that can be credited, in large part, to Rosetta Tharpe, an enormously influential Black singer, songwriter and recording artist who pioneered a new era of Gospel. In order to bring her music to a secular audience, she began infusing her music with a "witty, idiosyncratic style" characterized by what we now call a rock accompaniment. She wrote one of the first rock album. Her popularity served to spread the rock movement in the South where it eventually found a large following in artists like Chuck Berry, Little Richard, and Elvis Presley. Indeed, one of Little Richard's, Elvis Presley's, and Johnny Cash's greatest musical influences was Rosetta Tharpe.


Rosetta Tharpe, one of the first rock and roll artists, pictured above


So, American history is steeped in the sounds of rock and roll. How then, is it that we have lost our edge? How is it that it has been essentially exported to other countries where it is flourishing, while in ours it has taken a back seat to pop and rap? One only has to look at the Billboard charts to see that they are now inundated by pop, rap, and hip hop. Is it because the great musical talent that created this most exciting of genres has taken its talents to these other genres? Is R&B the only remnant of this great American industry? Are we as Americans, heaven forbid, tired of rock and roll?


Led Zeppelin, one of many British rock groups that invaded the U.S. in the 60's, pictured above


The rock movement of the 50's greatly impacted the people of Great Britain. They saw in our fast-paced, highly rhythmic, honky-tonk bluesy music the potential for music unlike anything heard before. It wasn't long (actually 1958)before Cliff Richard formed his rock band and became a superstar - the first rock star in Britain. It was only four years later, in 1962, that the Rolling Stones were formed. The Brits pretty much took over after that. The British rock invasion of the U.S. began in 1964 and it really hasn't stopped. The greatest musicians in modern history, the Beatles, pretty much cemented the power and influence of British rock in the U.S. Along with them came the Rolling Stones, the Yardbirds, and The Who. Britain's influence on the world rock scene and on the American rock scene remains unabated. Through the decades bands and people such as (to name a very select few) The Clash, The Police, the Sex Pistols, Pink Floyd, The Ramones, Black Sabbath, Led Zeppelin, Eric Clapton, Blur, Oasis, Robbie Williams, Franz Ferdinand, and Coldplay have taken rock to new levels of creativity, inventing new sounds that continue to expand the definition of "rock."


The Beatles, the most famous band in British history, pictured above


This isn't to say that Americans have been sitting back and letting the British do all the work. Some of the greatest of all time come from America: Madonna, Hendrix, Springsteen, the Beach Boys, Tom Petty, Bob Dylan (for chrissakes), and Simon & Garfunkel, to name a few. Our light shines brightly, but it seems like it is reaching its twilight. I could be wrong, but with the increasing popularity of rap (some of which is good, no doubt) and pop (also has good qualities), the remants of our rock and roll past are being swallowed up. R&B has been our modern day connection to the rock and roll of the past. It is now reaching the point where it is no longer differentiable from hip hop/rap. And with the advent of reggaeton, I don't know in what direction we are going. I just know that I feel uneasy about the destination.


One of the bands of the 90's that continued the tradition of great British contribution to rock and roll, pictured above


With all that said, I now reach the entire point of my post, the reason for slogging through this mess of historical facts. No doubt one of the greatest rockers is Eric Clapton. Part of his genius is his ability to transcend genres more than the average "genre-transcender." It is how one of the definitive love songs of rock and roll "Layla" managed to peak three times in three separate decades - by redefining itself completely, becoming a new experience each time. It perfectly illustrates the musical genius of Eric Clapton.

Below are two videos, both of Layla. The first is the original ballad in its full hard rock glory. The iconic opening melodic phrase is just the launching point for a thrilling 7 minute musical adventure that includes a 1+ minute guitar solo, and a massive piano coda. The second video is the greatly reworked version for his Unplugged concert. I've listened to Unplugged albums before and while the songs sound different, it is usually because they are being played acoustically and very little is done to change the song outside of perhaps a longer intro/outro or an extra instrumental solo. This version of "Layla" is completely different from the original. It is hardly the same song at all. Indeed, the Unplugged version is much shorter as the piano coda was removed. More than that, though, is the heavy jazz influence. It is no longer a hard rock song. It is classy, smooth jazz. As such, it sounds incredible. The guitar solo is particularly moving. The lyrics connect at a much deeper level in this version because the mood of the song more accurately reflects the quiet introspective nature of a man "down on his knees." At the same time, it can be argued that in the original the lyrics are written out of desperation, which fits with the intense, over-the-top, hard rock version in the first video.

In both forms, Eric Clapton's "Layla" is one of my favorite songs of all time.

Version 1 - Layla Original

Version 2 - Layla Unplugged

Film Review: The Nightmare Before Christmas (in 3-D!)

I'm excited. After taking a long break from writing film reviews, I've begun writing again. Why did I stop? Because I hadn't seen any new movies lately. Really. That seems odd to me, considering that for the longest time, I'd watched at least one new film per week. For the past two months or so, I haven't seen any new films. And this review isn't even about a new film. It's about a well-established classic film that is being re-released in theaters across America in 3-D animation. Soon enough though, I'll get back in the habit (Saw 3 comes out Friday!) Anyway, despite the fact that I'm reviewing an old film, it's good to come back to writing reviews. My past several posts have been political in nature, and I'm tired of politics. It's time for a rest. Though mid-terms are coming up. Bah. It seems I've also written about music recently. I'm into music these days. It takes my mind off of things.

I've been to 3-D movies before, mostly at Six Flags Over Texas. They always seemed gimmicky to me because I could simply take the glasses off and the magic was gone. At least with two dimensional movies, the magic emanated from the screen and not from a prop. With this 3-D release of "The Nightmare Before Christmas," however, the 3-D aspect of it works. The reason for that is quite simple. With other animated movies, you are watching animation that is two-dimensional converted to three dimensions. It doesn't intuitively make any sense. But with this movie, which is made with clay figures, the animation is already 3-dimensional, it just had to be converted to two dimensions to be shown on a flat screen. Now it's being converted back to its original format. So instead of seeing Jack as a stick figure with a circular head, you see Jack as a wiry but fully-formed body with a spherical head. In addition, the way the 3-D is used here, things don't just pop out of the screen, they pop into the screen. That is, you can see a background, a mid-ground, and a foreground. It gives the illusion that you are sitting in front of an actual mini-stage where all of these clay puppets are moving around and acting on their own. It's a bizarre but thrilling feeling.

As for the movie itself, if you have not heard of "The Nightmare Before Christmas," it is based on characters and story by Tim Burton, the director of the original Batman movie and "Edward Scissorhands." He's known for his dark sense of humor and love for the macabre. His treatment of the material in "The Nightmare Before Christmas" is no different. It stars Jack Skellington as the Pumpkin King, a tall, thin skeleton with an at times menacing but usually jovial demeanor. He has an innate talent for scaring people, perfect for someone who is in charge of Halloween. However, he soon becomes tired of it and after wandering in the woods, he finds a portal to Christmastown. Enchanted by the notion of Christmas, he captures Santa Claus and takes his place. With the help of everyone in Halloweentown he assembles a completely new set of reindeer, sleigh, costume, and toys. Only his close friend Sally sees the danger of trying to be something you are not.

Aside from the innovation of stop-motion animation, the characters in this film are wonderfully complex and deep. One of the most touching moments in the film is when Jack is furiously pondering the reason behind Christmas and he hears rapping on his window. He looks outside and Sally is waving at him from below. Hanging from a rope is a bucket holding a bottle of wine and a plate of food. He looks inside, smiles and looks back down. She's gone. In that moment we see what Christmas is about. Meanwhile, Sally is sitting behind the stone wall beyond Jack's house, hands clasped around her chest, thinking of Jack and smiling. You can sense the great affection she feels for Jack.

What moves people? Many times it's words. Many times it's music. How sensical it is, then, to combine the two. "The Nightmare Before Christmas" does just that. Beautiful poetry:
Oh, somewhere deep inside of these bones
An emptiness began to grow
There's something out there, far from my home
A longing that I've never known
Is coupled with melodies of the highest caliber, as only Danny Elfman can deliver. This is the beauty of musicals. They do something that no ordinary film can do: they combine the best modes of expression in this world, music and literature, into one medium. There are naysayers; people who say musicals take them out of the experience or makes the dialogue feel forced. In some cases, this is true. It is true of any medium, however, that there are bad works. But after one takes the time to watch musicals and comes to understand them, they can be a source of many strong emotions. One just has to look for musicals that are well-written in both musical composition and dialogue. "The Nightmare Before Christmas" is one such musical.

My Three Favorite Beatles Songs - now with links

For a limited time, I've decided to provide a link to my three favorite Beatles songs.

1. "Something" written and sung by George Harrison
The brilliance of this song lies in its sheer simplicity. 6 notes, a drum roll, and a whole lot of passion. George's voice exudes sexiness out of every pore. It has got to be one of the hottest love songs ever.
2. "Octopus's Garden" written and sung by Ringo Starr
What is most delightful about this song is the story behind the song. It makes this song a truly extrasensory experience. Every time I listen to it, I feel as if the world has been lifted from my shoulders, as if I'm completely safe and secure, and that nothing bad has ever happened and nothing bad will ever happen. Naive, yes, but being at peace feels so good. So read the following story, then listen to the song, and be at peace.

The idea for the song came about when Ringo was on a boating trip with his family in Sardinia in 1968. The boat's captain offered him an octopus lunch, but he turned it down. It was then that the captain began to tell him everything he knew about octopuses, and how they travel along the sea bed looking for shiny objects and stones with which to build gardens. Ringo once said that hearing about octopuses spending their days collecting shiny objects at the bottom of the sea was one of the happiest things he'd heard of. Wanting to write a song on it, Ringo decided to write this song.
3. "Here Comes the Sun" written and sung by George Harrison
It starts with such a humble, good-natured melody plucked on an acoustic guitar's strings. The impish "doo-dum-doo-doo" encourages one to smile. And then the drums brought up by the bass extend the full and enveloping heat of the sun to those of us who have just been through the "cold and lonely winter." This song just makes me smile and smile. I can feel the warmth of the sun on my back and my "little darling" arm in arm by my side.

My Favorite Song Ever

A friend asked me this summer what was the best song I had ever heard in my life. Immediately, a torrent of melodies cascaded into my head. From the sweet vibrations of strings in unison of Mozart's concertos and Utada's sweet serenades to the pounding drum solos of Mana's drummer, Alex, and the hard-hitting metal chords of Metallica's guitars to the classic rock sounds of Hendrix, Clapton, Guns N' Roses, and the Rolling Stones and the rich, warm country twang of legends like Diamond Rio, Reba McEntire, Dolly Parton, Conway Twitty, and Johnny Cash. From this flood of melodies, two emerged that set themselves apart from even the best quite completely: the last movement of Mozart's Symphony No. 41 and Led Zeppelin's Stairway to Heaven. However, I couldn't decide which was better.

The last movement of Symphony No. 41 (K. 551) is extraordinary. It moves me tremendously. It makes me swell with pride for humanity. For our ability to create such wondrous music. However, it doesn't make me cry. Stairway to Heaven does. I feel as if God himself is in the room. Perhaps this video can elucidate that feeling to you.

http://youtube.com/watch?v=h9WLfiRTRyw

The Three Best Beatles Songs

How is it that John and Paul wrote 80 percent of the band's songs, yet the three best Beatles songs were written by George and Ringo?
If you don't know which three I'm talking about, well of course I'm talking about:
1. Something by George
2. Octopus's Garden by Ringo
3. Here Comes The Sun by George
The only songs written by John and Paul that compare are, respectively, "I am the Walrus," and "Maxwell's Silver Hammer."

Turning Twenty

I turned twenty a couple of days ago. I usually ignore my birthday because I see no reason for it to be a celebration. So I'm one day older than the day before, big deal. I did receive a few presents and random celebrations of the day, for which I was grateful. It's nice to have friends that remember better than you that you have a birthday. But today, I was sitting in the fifth floor Athena cluster of the Student Center doing homework, and I glanced at my hands. I noticed a wrinkle on my index finger that hadn't been there before. I looked more closely at it. It was a neat, little crack that disappeared whenever I pulled the skin back a little. It reappeared when I released the skin around it. I began to look at the rest of my hand. There were several wrinkles on it that I know hadn't been there before. I don't make a habit of checking my body for wrinkles - I'm not that vain - but I do occasionally look at it if I'm washing it or putting on lotion. In any case, there it was. That little wrinkle and many more that hadn't been there. It then hit me that bodies age. I'd always known that it happened. People were always saying, value your youth because it'll be gone before you know it. And I knew it, knew it better than most. I'm pretty good about thinking every day how lucky I am that my body is so youthful and resilient. So at an intellectual level, I'd known that my body would age eventually. But not until I saw those wrinkles did I realize at a gut level that it was going to happen - soon, if not already. And I'm going to have to deal with it for the rest of my life. I'll always have to get up and see an older face every morning. Every morning an older face. And every year, a commemoration of the past 365 days of ageing. God, I love birthdays!

P.S. To cheer myself up, I put this picture up of Jessica Simpson. I think she's really beautiful. I also chose the picture because Jessica Simpson is the epitome of youth and virility, and one day she too will become an old spinster.

Reclusive mathematician

Back in 2000, the Clay Mathematics Institute of Cambridge, MA established its Millenium Prize Problems, seven problems in mathematics that have eluded solution for decades and are considered the most important unsolved mysteries in mathematics, their solutions having far-reaching implications in branches of mathematics such as number theory and topology. One of the oldest problems is the Poincare conjecture, which states that any three-dimensional object with no holes can always be reduced to a perfect sphere. This problem was first posited by the great French mathematician Henri Poincare in a 1904 paper.

Flash forward to 2003. Out of Russia come reports of a proof for the Poincare conjecture. As the rumors spread through the community, excitement grows. Amid this storm, a mathematician named Grigori Perelman emerges. He comes to the United States, selecting seven universities: the Massachusetts Institute of Technology, Princeton University, State University of New York at Stony Brook, Columbia University and Harvard University, at which to explain his proof, before disappearing back to Russia, this time for good.

In his absence, mathematicians worked diligently to confirm the veracity of his proof. In August 2006, it was annouced that the proof was valid, upon which time Perelman was awarded the Fields Medal, the highest honor that can be bestowed on a mathematician. He declined the award, and no one has really heard much from him since. A friend of his has told the media that Perelman has quit doing mathematics and is living with his mother.



Manifestos

These are two of the most interesting manifestos of women's rights I've read so far:

"Because woman's work is never done and is underpaid or unpaid or boring or repetitious and we're the first to get fired and what we look like is more important than what we do and if we get raped it's our fault and if we get beaten we must have provoked it and if we raise our voices we're nagging bitches and if we enjoy sex we're nymphos and if we don't we're frigid and if we love women it's because we can't get a "real" man and if we ask our doctor too many questions we're neurotic and/or pushy and if we expect childcare we're selfish and if we stand up for our rights we're aggressive and "unfeminine" and if we don't we're typical weak females and if we want to get married we're out to trap a man and if we don't we're unnatural and because we still can't get an adequate safe contraceptive but men can walk on the moon and if we can't cope or don't want a pregnancy we're made to feel guilty about abortion and...for lots and lots of other reasons we are part of the women's liberation movement."

-- from NOW: National Organization for Women

The one below I like more because it discusses both sexes and how discrimination against women inherently discriminates against men at the same time.

"For every girl who is tired of acting weak when she is strong, there is a boy tired of appearing strong when he feels vulnerable. For every boy who is burdened with the constant expectation of knowing everything, there is a girl tired of people not trusting her intelligence. For every girl who is tired of being called over-sensitive, there is a boy who fears to be gentle, to weep. For every boy for whom competition is the only way to prove his masculinity, there is a girl who is called unfeminine when she competes. For every girl who throws out her E-Z-Bake oven, there is a boy who wishes to find one. For every boy struggling not to let advertising dictate his desires, there is a girl facing the ad industry's attacks on her self-esteem. For every girl who takes a step toward her liberation, there is a boy who finds the way to freedom a little easier."

-- Nancy R. Smith