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Mt. Holz Science Fiction Society
Club Notice - 11/05/99 -- Vol. 18, No. 19
Chair/Librarian: Mark Leeper, 732-817-5619, mleeper@lucent.com
Factotum: Evelyn Leeper, 732-332-6218, eleeper@lucent.com
Distinguished Heinlein Apologist: Rob Mitchell, robmitchell@lucent.com
HO Chair Emeritus: John Jetzt, jetzt@lucent.com
HO Librarian Emeritus: Nick Sauer, njs@lucent.com
Back issues at http://www.geocities.com/Athens/4824
All material copyright by author unless otherwise noted.
The Science Fiction Association of Bergen County meets on the
second Saturday of every month in Upper Saddle River; call
201-447-3652 for details. The Denver Area Science Fiction
Association meets 7:30 PM on the third Saturday of every month at
Southwest State Bank, 1380 S. Federal Blvd.
===================================================================
1. It has been my impression over the last decade that many popular
films have been pushing a political agenda. Films have taken the
easy road of bowing to political pressure and take a stance that is
anti-white-male. What struck me as interesting was the film
PLEASANTVILLE. In this film the white male power structure is the
target for their standing in the way of society's sexual awakening.
We have a town of people who are discovering their true natures,
including their sexuality. In the metaphor of the film they are
going from monochrome to color. But standing in the way is the
white male power structure who, from the safety of a bowling alley,
are controlling the town and using their power to retard the town's
sexual self-discovery.
Now what struck me as odd is that in so many other films the
complaint is that the white males are too lascivious. They are the
ones on the voyage of sexual self-discovery and everyone else
stands against them. And in both sets of conflict, it is the white
males who are in the wrong. White males are damned if they do and
damned if they don't. In these enlightened times they have
replaced Jews as the universal scapegoats. Jews to did and do face
similar contradictory stereotypes. They are said to be cheap and
at the same time they are said to spend their money like water. It
does not matter what behavior they have, they are criticized for
it.
This article actually comes out of an observation I made when I saw
the trailer for the then upcoming film CRIMSON TIDE. It was clear
from the description that it would be about a conflict between two
US Navy men aboard an atomic submarine. One was to be played by
Denzel Washington and one by Gene Hackman. I turned to Evelyn and
said I bet I knew which one was the villain. How did I know? When
was the last time you saw Denzel Washington play a negative role?
The closest he has come was in MALCOLM X in which he was a petty
criminal who reformed.
We have come to assume that when there is a conflict crossing
gender lines the male will be portrayed as being in the wrong.
When conflicts cross race lines, it will be the white who is in the
wrong. To some extent in the nineties it is also true that youth
will be right against older people. At least that is my gut
feeling.
The first question we might ask is whether this is really
important. Who does it hurt if white males are being used more as
villains. Does it rally hurt white male if in the imaginary world
of cinema they are made to be villains? I think the answer is yes.
Life tends to follow art. As has been proven many times this
century cinema is a very effective propaganda medium. The
propaganda films of both sides in World War II are still studied
today for their persuasive power. Secondarily It also hurts female
and minority actors. Frequently the most interesting roles in
films are villains. To restrict minorities from playing major
villains is not good for the actors.
However, we frequently hear just the opposite complaint that women
and minorities are not portrayed favorably in films. Probably what
we should do is actually look at popular films and see how women
and minorities are portrayed. Next week we will look at some major
films and collect some data. [-mrl]
===================================================================
2. MR. CANTON AND LADY ROSE (a film review by Mark R. Leeper):
Capsule: Jackie Chan's own favorite from among
his own movies turns out to be a really strange
curiosity. It is a remake of the Frank Capra
comedy LADY FOR A DAY done with a little
nominal martial arts. The problem is that Chan
does little of real value that was not in the
original film. He merely brings his familiar
plot to new audiences. And the LADY FOR A DAY
plot is getting a little tired. Still it is
amazing this adaptation was attempted at all.
Rating: 6 (0 to 10), high +1 (-4 to +4).
Jackie Chan is a Hong Kong martial artist with a sense of humor.
His films are already quite popular in the US. This film (also
known as THE CHINESE GODFATHER) is reportedly his favorite of all
his films and it is also a genuine cinematic curiosity. While
there are some martial arts sequences, for the most part it is a
remake of an old Frank Capra film that Capra himself remade. The
films from Capra are LADY FOR A DAY and A POCKET FULL OF MIRACLES.
This is so unlikely a story for Chan to want to remake as a martial
arts film it had to be seen. Chan plays a sort of country bumpkin
from Canton whose martial arts temporarily save the life of a crime
lord. In spite of Chan's efforts however the crime lord dies of a
natural death. As he is dying he names Chan as his successor.
Chan attributes his success to having just bought a rose from an
elderly street vendor. Chan decides to go ahead and take the role
as gang boss put pushes the new gang into legitimate enterprises
including opening a new night club. Whenever he needs luck he buys
a rose from the same street vendor. From here the story is a very
much LADY FOR A DAY. Most scenes are directly borrowed from the
Capra. The rose vendor has convinced her daughter that the family
is affluent. The daughter has a wealthy fiance whose family wants
to meet the bride-to-be's mother. They would never consent to the
marriage if they knew the mother-in-law was a lowly street vendor.
Chan learns of the rose vendor's problem and determines to carry
out an elaborate ruse to make his friend appear to be the society
woman she has pretended to be. Before he is done he has
traditional enemies cooperating in his good deed. The alternate
title THE CHINESE GODFATHER is an allusion not to the crime
elements but to the young couple saying they want Chan to be the
godfather of their first child.
Chan takes the opportunity to make this film even more different
from his usual fare. Included is an extended tracking shot that
took three days to film. While it does not stand up to the
tracking shots of THE PLAYER and TOUCH OF EVIL, it is remarkable
that it is present. Also for the night club scenes he has a lavish
singing production number. It took tremendous chutzpah to pass off
this sentimental comedy to audiences who had come for an action
film, but the result could be Chan's most unusual film and it
certainly seems to be unique in the martial arts genre. The one
complaint is that this is territory that has so frequently been
visited. Capra, of course, did the story twice. But also with a
few substitutions the plot was reused for LA CAGE AUX FOLLES and
THE BIRDCAGE. I rate this film a +6 on the 0 to 10 scale and a
high +1 on the -4 to +4 scale. [-mrl]
Mark Leeper
HO 1K-644 732-817-5619
mleeper@lucent.com
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