By Jason Apuzzo. I just wanted LFM readers to know that due to some exciting new developments in my non-Libertas career, I won’t presently have time to review Super 8. I will try to catch up with the film at some point down the line, and will otherwise attempt to be back up and running normally next week.
In the meantime, feel free to comment below to register your own reactions to the film.
Posted on June 11th, 2011 12:20pm.
By David Ross. My daughter and I heard the Tokens’ “Wimoweh” somewhere or other; this led to Ladysmith Black Mambazo; this in turn led to Miriam Makeba, and ever since we’ve been listening to Makeba day in and out, with no weariness – indeed with ever deepening respect – on the adult side. My daughter wanted to be an ‘African singer’ last Halloween, but we talked her down from this ledge of potential racist scandal, and she wound up going as a ‘Chinese princess.’
Let me offer a simple conviction: during the 1960s Miriam Makeba was one of the very greatest vernacular artists in the world, in a category with the likes of James Brown, Ray Charles, John Coltrane, Miles Davis, Jimi Hendrix, Charles Mingus, and Thelonius Monk. She might be reasonably compared to Aretha Franklin or Sarah Vaughan, but on the whole she was their superior, combining the former’s soaring voice with the latter’s genius for phrasing, and endowing everything she did with a palpable personal charm. As a politically resonant Third World artist combining native and American idioms, the obvious – and fair – comparison is to Bob Marley.
Here (see above) is a tremendous clip associated with Makeba’s appearance in Stockholm in 1966. The concert is available as a DVD import titled Miriam Makeba Live at Bern’s Salonger (I purchased mine from Amazon.co.uk), but the film does not include this sequence. I gather that Makeba appeared on TV in support of the concert proper. The clip features two tremendous songs and some comments on the arch-nastiness of the racial politics of South Africa, with Makeba herself utterly fetching in her duality of girlishness and loftiness. This second clip, a bossa nova delight from the live appearance at Bern’s Salonger, highlights Makeba’s remarkable versatility. This third clip drives home her capacity for massive, earth-shaking grooves.
Enjoy this material while you can. YouTube has lately been stripped of Makeba material.
The core of Makeba’s sixties output is available on three CD sets that repackage seven of her albums. These sets are a must for anyone with a serious interest in twentieth-century music, as indispensible as Live at the Apollo and Kind of Blue.
Posted on June 11th, 2011 at 9:23am.
By Joe Bendel. It was a scene somewhat reminiscent of the kindertransport, the World Jewish Relief’s coordinated effort to relocate Jewish children in British foster homes. Yet these were Finnish children, packed off to Swedish host families, in advance of the invading Soviet would-be conquerors. Decades later, several of the surviving relocated youngsters record their experiences for posterity in Erja Dammert’s documentary War Children, which screens today as part of DocPoint’s tenth anniversary celebration in New York.
It is a testament to the Finnish people that they were able to withstand the forces of Soviet domination. In 1939, though, Finland’s future as a free and democratic country was far from certain. For their own safety, scores of Finnish parents sent their sons and daughters off to temporary refuge in ever-neutral Sweden. Such painful decisions are difficult to explain to children, though. Evidently, in several cases they did not even try, simply packing up their sleeping young ones and depositing them on outbound trains.
Not surprisingly, the young Finns typically experienced difficult transition periods, particularly since few if any of the children spoke Swedish. Yet, eventually many acclimated quite well to their hosts’ higher standards of living. Naturally, they also formed emotional bonds with their foster parents. Indeed, for many of the younger children, their Swedish surrogates largely supplanted the memories of their legal Finnish parents.
Though not as elegantly crafted as the thematically related Y in Vyborg, War Children is unfailingly sensitive and respectful in its approach to its subject matter. Broadway patrons will also notice certain parallels between the former Finnish refugee children’s stories and The People in the Picture, Donna Murphy’s new musical running through June 19th at the Roundabout’s Studio 54 Theater. Of course, it is important to stress that the Finns were not facing the same genocidal threat as European Jewry, but rather the everyday indiscriminate brutality of the Soviets.
DocPoint features a diverse slate, but some of its best selections open an intimate window into Finland’s unique WWII experience, hitherto largely overlooked by American media and scholarship. Indeed, War Children is a very strong film, while Vyborg is even more so. Both are definitely recommended during DocPoint’s 2011 New York tour. War Children screens today (6/11) at Scandinavia House.
Posted on June 11th, 2011 at 9:22am.
By Jason Apuzzo. The first official image has come out from Paramount of Sacha Baron Cohen as a Saddam Hussein-style despot in Cohen’s forthcoming comedy, The Dictator. The official, cheeky description of this project is that it tells “the heroic story of a dictator who risked his life to ensure that democracy would never come to the country he so lovingly oppressed. It is inspired by the best selling novel, Zabibah and The King, by Saddam Hussein.” Perfect!
Cohen is very hit-and-miss to me in terms of his comedy, but he’s obviously quite talented and when he hits he’s almost at Peter Sellers’ level. Anyway, this could really be fabulous if it’s done properly …
Posted on June 9th, 2011 at 1:45pm.
By Joe Bendel. They were part of the Finnish Greatest Generation. In the notorious Winter War and the subsequent Continuation War, small democratic Finland went toe-to-toe with the Soviet Empire, putting the Allied forces in a difficult diplomatic position. Prominent Finnish husband and wife architects documented the physical destruction of the war and the emotional toll it caused in the letters and Super-8 films director Pia Andell edited and molded into the compelling documentary Y in Vyborg, which screens today as part of DocPoint’s tenth anniversary celebration in New York.
Ragnar Ypyä, or “Y” as he was simply known, had a bustling architectural firm in the eastern border city of Vyborg. Martta (or “Mirri”) Ypyä complimented her husband as a near perfect draftsmen. Together they raised a family and led prosperous, professionally rewarding lives, until the Soviet bombs started falling.
During the Winter War, Finland was fighting an Axis-aligned power. However, when the Continuation War began, Stalin had since joined with the Allies, while Germany provided limited support to Finland. Yet the Finns were still fighting to protect their independence and democratic system of government, while the Communist forces were still fighting a war of imperial conquest. Though Vyborg largely focuses on the personal, the grit and resolve of the Finnish people comes through forcefully. So does the constant stress and frustration expressed by the Ypyäs as they struggled with their involuntary separation and numerous privations during the war years. Continue reading The Soviet War against Finland: LFM Reviews Y in Vyborg
By Jason Apuzzo. • So the fantastic news from yesterday is that the Angelina Jolie anti-communist thriller Salt, which we loved here at LFM, is likely to get a sequel. Deadline broke the story yesterday that Sony is moving forward on the project, with Jolie returning to star and Kurt Wimmer returing to write the screenplay. It’s not clear at the moment whether Phillip Noyce will be returning to direct, which is a key issue in my opinion – as Noyce is an old pro who really guides such projects masterfully. But nonetheless this is fabulous news, as Hollywood currently now has its own full-fledged communist-hunting franchise up and running. What could be better?
As LFM readers will recall, we were very enthusiastic over this film last year, not because the film was a masterpiece, but because it represented a return to the classic, Cold War anti-communist ethos that has been missing not only from mainstream Hollywood cinema – but also from the broader culture. Salt as much as any film was the reason we began doing Cold War Updates! – although other projects like MGM’s new Red Dawn (which we’d privately seen, way in advance) or Mao’s Last Dancer contributed to this Cold War Update! series being created, as well.
As we know, the communist threat has very much shifted from West to East, with China and North Korea emerging as potent threats to America – but Salt dwells on what has always been a great subject for spy cinema, which is the threat of communist infiltration here at home. (Specifically, Salt deals with Russian communist sleeper agents here in America left over from the Cold War, who are ultimately intent on returning Russia to its Soviet past.) Nowadays one might well ask whether communists need to even bother hiding themselves, anymore … incidentally, have I ever mentioned to Libertas readers that Van Jones is an old acquaintance of mine, and of Libertas contributor David Ross? … but perhaps that’s a story for another day.
What’s even more remarkable about the Salt ‘franchise’ – if we can call it that now – is that it’s emerging without the help of Fox News, talk radio, or the conservative blogosphere, all of whom appear curiously unaware of this film – even though Jolie is easily the biggest female star in the world, besides being daughter to Jon Voight. What gives? I often hear conservatives complain about ‘films that Hollywood won’t talk about’ or films that Hollywood is somehow trying to ‘suppress’ – such as Atlas Shrugged or American Carol, or a seemingly endless parade of conserva-documentaries – but box office hits like Salt (nearly $300 million worldwide) or even superb indie dramas like Mao’s Last Dancer ($22 million worldwide) or Peter Weir’s The Way Back ($20 million worldwide) seem to now be the films conservatives themselves won’t talk about.
Why is that? Is it because they’re not made by the ‘right’ people?
• The next Bond film (James Bond #23) now has a UK release date of October 12th, 2012 (the U.S. release is Nov. 9th), and rumors are swirling that the next Bond girl may be Naomie Harris.
Just for fun, by the way, I’d like to float an idea out there: that with Michael Bay concluding his work on the Transformers series, that the Brocollis consider giving him the Bond franchise … and Michael Fassbender the role of 007. Wouldn’t this be great? Feel free to comment below on the idea. You never know, after all, who might be reading this site.
• A boffo new trailer for the Call of Duty 3: Modern Warfare game is out, a game that will continue the Call of Duty storyline of a Russian invasion of America … this time involving Russian sponsorship of worldwide terror-attacks. The trailer is really something – absolutely epic in the scope of the villains’ all-out assault on the Western world – so be sure to check it out above.
You can also read this highly spoilerific summary of the game’s storyline, and you can catch some great footage of gameplay. This thing just looks superb, and quite intense. Continue reading Cold War Update!: Angelina Jolie to Hunt Communists in New Salt Franchise + ‘X-Men’ Fallout and The New ‘Call of Duty’!