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Sunday, March 29, 2015

CitizenFour (4/5 Stars)



They are watching you. Well maybe not watching right this moment. But in the future, if you ever became a person of interest for whatever reason, they could go back in their files and find everything you’ve done all the way up to this point. It has all been recorded and handed over to the government surveillance through secret court orders. This is no conspiracy theory. It is a fact of the times we live in. And we know this because of a hero, ex-NSA contractor Edward Snowden who provided journalists, Laura Poitras and Glenn Greenwald, in the summer of 2013 the internal classified documents of the NSA to prove it. 

“CitizenFour” recently won the Oscar for Best Documentary. This is not a particularly great documentary in terms of craft or creativity, but it is the most important in terms of sheer newsworthiness. That week in June when all the stories were leaked and Snowden came out as the whistleblower is going to be in history books. This movie shows the entire week from beginning to end all in a Hong Kong hotel room. Someone needs to put a plaque right next to door commemorating the event. I suspect it will become a cult tourist destination. It is on my list if I ever go back to Hong Kong.

To truly appreciate what Snowden did it is best to understand how he went about doing it. To do this I suggest watching Alex Gibney’s documentary “We Steal Secrets: The Story of Wikileaks,” which concerns the whistleblowing of Julian Assange and Bradley Manning. Those two were rank amateurs way over their heads compared to the competence and eloquence of Greenwald, Poitras, and Snowden. Unlike the Wikileaks whistleblowing which just flopped a bunch of sensitive material on the internet for all to see, Snowden took special care to make sure the documents he was revealing put nobody from the intelligence community in physical danger. It was an overview of programs not an outing of personnel. Secondly, Snowden took responsibility in a heroic way. He kept his girlfriend, family, and co-workers out of his plans. He coordinated with journalists with good reputations. And he was determined to not be anonymous like Bradley Manning. The documents were leaked in Glen Greenwald’s and Laura Poitra’s newspapers throughout the week in deliberate sequencing and then Snowden was revealed at the end. In this way the story was always about the secret surveillance, the news cycle gave utmost attention to each reveal, and just when the story was about to switch over to who was doing this and why, Snowden came out and made the mystery a moot point. It was a brilliant strategy and a true thrill to sit in that hotel room with them and watch very smart people plot the strategy for important historical things in real time. Edward Snowden comes off as good a person someone can come off as in this movie. Where he really shines is in his aptitude in discussing all the programs and the power and capabilities of the technology in them. He knows his stuff and he knows that he is tapping Leviathan on the shoulder and asking for a fight. But he has thought this through. His motives are pure. His actions are important. And the journalists he has allied with are the best in the business. Contrast that with the disturbed loose cannon that was Bradley Manning and the overconfident narcissism of Julian Assange and you have a master’s class on how to and how not to be a whistleblower. Did anyone say double feature partytime?

The subject of the NSA for anyone who has the experience of reading a Bamford book is especially taxing to the mind. It is a story of complex technology and large warehouses and confusing cryptology. It is almost impossible to stay awake during these stories without wanting to latch onto a personality. (This is generally the public’s large problem with this national security problem. One of Snowden’s main points is not in the government’s actions towards specific people [although 1.2 million people are identified as being on the ‘terrorist’ watchlist] but the capabilities that the government has set up. Imagine he says if the people in charge really wanted to do really bad things. They could very well do it quite easily. There is nowhere to hide and the checks and balances in the system are a complete joke. [The secret FISA court only denied less than 1% of all requests from the intelligence community for search warrants. That is what you call a rubberstamp.]) To that end Poitras does a rather keen thing in narrating the story in the first person when dealing with her experience with Snowden. The way she describes being put on a ‘watchlist’ for being a journalist who talked about these things is rather chilling. Unfortunately (and rather oddly) we never actually see Poitras during the documentary. Why she chose to narrate in the first person (putting herself into the story) without putting herself on the screen is an odd choice. She is missed.

Remember that Steven Spielberg movie, “Minority Report,” starring Tom Cruise. It was about a future police state that had achieved a zero murder rate by using precogs to predict murders and stop them before they happened. The movie took the stance that this type of surveillance and its effects was not worth the loss of privacy. Really? A zero murder rate? Not worth the loss of privacy. It was an odd position I thought to take. What I felt was really wrong about the future police state was that the people who were stopped from committing the crimes were still punished for them. They were warehoused in an enforced deep sleep that seemed to me to be even worse than solitary confinement. That, I felt, was the real problem. After all (and I speak to this as one who has studied city planning from a security viewpoint) surveillance really does work as a way to reduce crime. This does not necessarily mean that city streets need a police presence. (In fact, a strong police presence can actually make a street feel less safe.) But they do need “eyes on the street,” that is to say a safe street is one that is constantly populated by people in the neighborhood. A city that organizes itself to make sure that ordinary people are going about their business at all times of the day and night on that street makes a safe street. In this way I support surveillance to deter crime. The odd thing about NSA surveillance is that it is secret. How is secret surveillance a deterent to crime? It isn’t. What’s more, the way we punish criminals is also generally a secret. We have Supermax prisons in the middle of nowhere that incarcerate prisoners for very long periods of time in solitary confinement. You have to dig down deep in order to find anything about these places. That is not a deterent to crime either. Combine that with the erosion of the 4th Amendment in the War on Drugs, idiotic minimum sentences for low-level crimes, and three strikes laws. Now take what we just learned in Ferguson, Missouri, where it was found that the local police force (looking like the fucking army with assault rifles, riot gear, and tanks) was acting like a tax collector and you start seeing the State less as an agent of law and order and more of a co-conspirantant in a business model preying on people not protecting them.

For the longest time Americans have been dangerously complicit and complacent to these happeninings because the main victims are a marginalized group of people, poor blacks. It is time to put an end to this for everybody. The present civil rights violations are not confined to race. As Snowden points out, anybody who gains power has the ability to use this against anyone. Transparent surveillance is one thing. Perhaps it would be for the best if the Internet were a public space with less anonymity. But secret surveillance is another thing entirely. Combine that with a justice system weakened consistently by forever wars, we have the largest threat to American freedom today.




Thursday, March 5, 2015

Whiplash (4/5 Stars)





Good Job

I could not be more impressed by a second feature and a first real budget (still low budget but still a budget) movie. The writer is Damien Chazelle. He is my age (OMFG) and his movie is absolutely killer. It is the sort of thing that registers a new cinematic presence in the neighborhood of greatness in your mind. I am excited for future movies from this kid. Let me explain: It is not too unusual for a very young person to give a great performance or write a very good screenplay or even to direct a good movie (take Ryan Coogler’s “Fruitvale Station” from last year). It’s unusual but not unheard of unusual. But the standout great thing about “Whiplash” is not any of these things. It is the editing. And Editing like Cinematography is a technical old-man-who-knows-how-to-work-machines job. Those other jobs can lean on the crutch of great inspiration or raw talent. Editing is a craft. Editing requires discipline and experience. And the editing that one experiences in “Whiplash” is so intricate, precise, and correct that to see a 28-year-old lead a team that does it is extraordinary. We need to give this Damien Chazelle some serious money and let him do whatever the fuck he wants next time around. The kid’s got rhythm.

“Whiplash” is a low budget movie. It has a protagonist (Jazz Drummer protégé played by Miles Teller) an antagonist (his sadistic/inspiring teacher played by J.K. Simmons) and two supporting characters: his easy going father and a girlfriend. The movie takes place in a series of rooms and concert halls and some country roads. The plot concerns the protagonist’s search for greatness in jazz drumming, his attempts to impress a teacher who is ideologically opposed to ever being impressed, and his ultimate confrontation and jazz drum battle with him. Now there is that on paper but on the screen you are watching what feels like an action blockbuster. This is pulled off by a focused screenplay, two great performances by Teller and Simmons and as I mentioned before extraordinary editing.

Jazz Drumming? Who gives a shit right? I knew nothing about it before seeing this movie (except of course for the Buddy Rich tapes). Well the presentation of a thing makes a world of difference. I am reminded of watching Bob Fosse’s “All That Jazz” and being turned off by the philandering reckless play director until the movie proved through choreography that he was a genius. There’s nothing like great art to diminish the distasteful eccentricities of the artist. So it is in “Whiplash.”Miles Teller really wants to be one of the greatest jazz drummers ever like Buddy Rich or Charlie Parker. His teacher mercilessly abuses him (not unlike the drill instructor in “Full Metal Jacket.”) There is yelling, slapping, throwing chairs, and sadistic mind fucking going all around. Miles practices until his hands start bleeding. He blows off his father. He breaks up with his girlfriend in order to focus more on his music. Why would Miles Teller go through this? Well fuck it’s the music. It’s great. And it fills the scenes with gorgeous suspense and hideous beauty. And the camera direction and editing seamlessly intertwine the pieces into the overall experience. The movie makes it plausible that greatness in this medium is worth experiencing terrible shit.

By making it plausible the movie opens a real discussion of whether greatness is worth destroying yourself in general. Miles has two father figures. His dad, easy going and unconditional in his love, is not particularly great at anything and requires nothing from his son. Then there is his teacher who demands and demands and demands and demands and who articulates that the most harmful words in the human language are “Good Job.” Well, is J.K. Simmons a good teacher? I have an opinion on that. I do not necessarily believe that yelling, slapping, or throwing chairs is bad leadership. I do have a problem with the manipulation and the lying. At one point in the movie the teacher confronts a student who is on-pitch with the accusation that they are off-pitch. The teacher knows that the student is on pitch. He also must know that in his strict disciplitarian camp of a classroom that the student cannot talk back or correct the teacher. And yet his excuse for his behavior when the student is dismissed is “well, he wasn’t off pitch but should have known that he wasn’t and that is worse.” So what is the point of his behavior? It is a perfect Catch-22 for the student. They will either get excoriated for differing from the teacher or get excoriated for being off pitch. There is no point is the answer. It is stupid and the teacher is a coward to only yell louder when he is called out on it. So “Full Metal Jacket” guy: all good in my book. I like him. The teacher in this movie: not so much. One kind of yelling toughens up a pupil, the other fucks with their mind. And if the teacher is not there to mold the mind, if he insists like in this movie that the perfect pupil will ultimately disregard his teaching than what is the point of the teacher at all.

Or to put it another way: What is the point of teachers when it comes to Greatness. If it can’t be taught then perhaps the best teacher is but an intelligent obstacle.

Or did I just persuade myself the other way….