Click on the title below for full article.
The Chicken Doves
Elected to end the war, Democrats have surrendered to Bush on Iraq and betrayed the peace movement for their own political ends
by Matt Taibbi
Click on the title below for full article.
The Chicken Doves
Elected to end the war, Democrats have surrendered to Bush on Iraq and betrayed the peace movement for their own political ends
by Matt Taibbi
Due to writer’s strike Homer Simpson writes George Bush’s State of the Union: “Iraq – check, economy – check, mmmmmm – stimulus package.”
(From the home answering machine of Sup. Tom Ammiano on Jan. 29, 2008) B3
By Vanessa Carr
This Friday and Saturday nights, the internationally traveling “Yo! What Happened to Peace?” art show comes to San Francisco’s Jack Hanley Gallery. Started in 2003 in Tokyo by curator John Carr in response to the invasion of Afghanistan and Iraq, the Los Angeles-based show has been traveling to cities around the globe, most recently Stockholm and London.
![]()
The San Francisco show, which opened last night, is a selection from the show’s total body of 250 handmade prints — mostly silkscreens, linocuts, and woodcuts — contributed by 130 artists worldwide with influences ranging from punk rock and hip hop graphics to the Chicano Poster Movement of the 1960s and ‘70s.
A pro-peace, anti-war art show in San Francisco may seem about as novel as a Charlton Heston fanatic at a gun convention, but “Yo! What Happened to Peace” should not be dismissed with a been-there-done-that yawn.
![]()
While some of the pieces fall victim to tired “Fuck Bush” iconography, the majority of the work represents political printmaking at its best: exceptional graphic design, intense colors, expert production, and sharp political commentary.
› amanda@sfbg.com
GREEN CITY Amid the much-hyped speculation about whom Democratic and Republican party voters will choose as their respective presidential nominees this year, California members of the Green Party will vote for their representative Feb. 5.
Candidates Jared Ball, Kent Hesplay, Jesse Johnson Jr., Cynthia McKinney, and Kat Swift met for their only planned debate Jan. 13 at Herbst Theatre in San Francisco, addressing a near-capacity crowd and laying out platforms that are decidedly more aggressive in tackling environmental and social problems than any proposed by the major-party candidates.
The candidates echoed one another on plans for immediate withdrawal from Iraq and shifting funding from the Pentagon into domestic programs for education, health care, and jobs. All professed grave concern about the environment, with Johnson calling the coal-mining method of mountaintop removal "ground zero for climate change."
By the end of the debate, Ball, a Baltimore hip-hop artist and professor in communications studies, fully endorsed McKinney, a former Democratic congressperson from Georgia. He emphasized that his greatest desire was for a strong national movement of people of all races, places, and income levels to continue what he called "incomplete revolutions" in the civil, labor, and women’s rights movements.
McKinney received the longest, most sustained standing ovation of the evening when she said, "Please unite the party. We can’t do it divided." She said the Greens represent the best hope of bringing together the large percentage of the country that’s spurned membership in both the Democratic and Republican parties. "I’ve never seen anything like I’ve seen in the Green Party," she said. "Please come together."
Also on hand not participating in the debate but taking questions afterward was Ralph Nader, a presidential candidate in 1996, 2000, and 2004, who hasn’t yet ruled out another run this year. Some Greens and other high-profile figures are urging him not to run and expressing concern that he’s become a polarizing figure who could hurt the party. Nader addressed the issue of party unity by saying, "I have very little to offer about how to unite the Green Party internally."
But he told the Guardian that if powerful institutional forces collude to limit his or the Green Party nominee’s access to the ballot, as he charges they did in 2004, he might run to highlight the need for greater political participation, saying, "I’ll be deciding within the next month." Nader has sued the Democratic Party, the John KerryJohn Edwards campaign, the Service Employees International Union, and a number of law firms and political action committees for allegedly conspiring to prevent him from running for president in 2004.
"Ballot access is a major civil liberties issue," Nader said. "Without voters’ rights, candidates’ rights don’t mean anything."
Yet the five announced candidates and Green Party activists on hand all seemed ready to rally around a new nominee for 2008, even as questions remain about whether the party should pool its energy and resources for national races or focus on state and municipal elections. Greens represent less than 3 percent of San Francisco’s registered voters and are outnumbered by Republicans four to one. Statewide, Greens amount to less than 1 percent. However, nearly 20 percent of California voters and 30 percent in San Francisco decline to state any party affiliation.
"I’m not sure yet that running a presidential candidate helps to grow the party, based on the experiences of the last several presidential attempts, especially in contrast to us focusing on races that can be won locally," Sup. Ross Mirkarimi, a Green who helped found the party in California, told the Guardian outside the debate. When asked if a national Green Party candidate trickles down attention and funding to the grassroots races, he said, "The theory is that it does. There isn’t any concrete evidence that it has coattails."
Since the Nader runs, Greens are wary of being tagged as presidential spoilers, but when that question was posed to this year’s prospects, they denied that it accurately portrays the voting landscape. As McKinney said, "When you’ve got a million black people who go to the polls … and nobody counts their votes … then don’t you dare call the Green Party spoilers."
Editors note: An earlier version of this story erroneously reported that Ralph Nader was the Green Party candidate for president in 2004. Nader ran as an independent. The Greens nominated David Cobb.

The author’s son, munching on the contents of a care package sent to troops in Iraq.
Today, my son turns 21 in Iraq, where he is serving in the US Army. Happy 21st Birthday, son!
And, in an odd case of history repeating itself, I’m reminded that, three decades ago, I turned 21 across the border from Iraq, in Iran.
I wasn’t in the military, at the time, but a student visiting my soon-to-be in-laws in Teheran, who unbeknownst to any of us, were soon to become permanent exiles from Iran, after the revolution hit, the following year, in 1979.
On the occasion of my 21st birthday, celebrated with vast platters of delectable Iranian food, there were mutterings that the Shah was in dire jeopardy of being overthrown.
The prospect raised hope amongst my leftist Iranian student friends that their country would become more equitable, whilst stirring dire concern among more conservative members of Iran’s older generations that total anarchy would ensue, if the Shah were to fall.
We all know now that the Shah did fall, that anarchy of sorts did ensue—and that for women, the results of the Iranian revolution were a truly mixed bag. But as we drove in Spring 1978, from Iran’s arid capital Teheran, through the Alborz mountains to Damavand, a dormant volcano that is the highest point in Iran, and from there to the jungle-like shores of the Caspian Sea, I little imagined that this beautiful and widely diverse country was about to trade places with the U.S.S.R, as bogey man of the Western world.
And there was no way in the world that I could have posited a future in which my, then unborn, son would end up serving in Iraq, while his US Commander in Chief made threatening noises about Iran, which is where half my son’s ancestors come from.

The author’s son, ironically known as Casper by his buddies since he’s the only man in his unit who actually looks white, in a choke hold with one of his buddies over Christmas,in Iraq.
Call me naïve, but at 21, I blithely imagined that my generation was living at a time of consciousness-raising, to use a very 70s term, in terms of increased understanding of the Other, be it other races, cultures, genders, sexual orientations, or even worlds.
But life has a way of turning out unexpectedly. And it’s oddly sobering to be sitting here, in San Francisco, where so many cultural mores and sexual taboos have been overturned, on the day of the Michigan primary, wondering if Americans will allow Bush, and whoever becomes the next President of the US, to continue whipping up Iranophobia, when it’s not clear who exactly we would send to fight an expanded war in the Middle East.

Casper and his buddy Cisco on duty in Iraq.
And when it’s clear to anyone who has been watching that geopolitical region for the last three decades that the US and other western powers, including my native country, England, tend to back whichever Middle Eastern country is most likely to help secure their interests, be it access to oil, land, money, sea or airways, or other resources, regardless of that Middle Eastern country’s record on human rights or religious or political freedom.
Hence our backing, first of the Shah of Iran, then of Saddam Hussein of Iraq, when we needed someone to fire Scud missiles at a postrevolutionary Iran, and now of the royal family of Saudi Arabia, which happens to control the world’s largest oil reserves and to whom Bush has just announced that he will sell 900 smart bombs, allegedly to help keep Iran in check.
So, as I sit here on January 15, 2008, which would have been Rev. Martin Luther King’s 78th birthday, if he hadn’t been assassinated in April 1968, is it naïve to hope that America, as well as my son, is about to come safely of age in this crazy war-racked world?
That this nation whose birth involved genocide of its native peoples, slavery of several subsequent generations of African Americans, and the continuing exploitation of workers who cross the border illegally from Mexico, is about to elect a man of color or a white woman, and start steering a path that will be sustainable, not just for its own citizens, but for the entire world?
Perhaps it is naive of me, indeed. But here’s to hope, anyway, with a “H,” including the hope that the next US President will chose not to pursue a preemptive path in dealing with the Middle East, but a course that will bring peace to all the inhabitants of a planet whose biggest challenge will be to try and sustain life as we know it, in face of climate change and the vast changes that is likely to bring to the Earth over the course of the next 1,000 years.


The most recent issue of the New York Review of Books has a fascinating piece by Michael Massing on a blog run by Iraqi journalists that work for McClatchy Newspapers, one of the few outfits that has kept a Mideast bureau despite its fall into the black hole of massive media consolidation.
Inside Iraq consists of intense, personal accounts of day-to-day life for these Iraqi journalists, who mask their identities in order to avoid the death threats that many Iraqis receive for helping Americans. The blog posts include fears of being gunned down by Americans for driving to close to convoys as they travel to and from work, intense encounters with American and Iraqi soldiers randomly searching their homes, their cars, the details of their lives, what it’s like living without electricity for hours on end, day after day. (While here we whine way at PG&E…) All the essential details of life in Iraq that have been irrevocably altered by the war.
It’s scary, tense reading, and puts a real face on and beating heart in this war, which is sorely lacking from so much media coverage, as Massing points out in his article.
Apropos for today’s New Hampshire primary, a Jan. 3 post includes a plea to Americans to choose our next candidate wisely: “…Your choice will determine the main lines for our life … Yes your choice will change our life for good or for bad,” writes Jenan.
We hear you. I hope.
B3 note: Good for George McGovern. Good for the Washington Post for running this important timely commentary
in its Sunday edition. Question: how many other papers will run it?
The McGovern piece reminds me of a major political point: that a big reason the Pelosi Democrats in
Washington have so cravenly caved in to the Bush initiatives, on the war and much else, is because Pelosi wrongheadly pulled the impeachment issue off the table before the last election. This meant, among other things, that the Democrats at the first bugle lost their most important bit of muscle and leverage. The result has been disastrous and the war is now surging.
It’s good that Cindy Sheehan is running against Pelosi and will force these issues into the public arena. Maybe, just maybe, Pelosi will be forced to debate Sheehan and will be forced in the November election to conduct a real campaign for the first time in her home territory to keep her Speaker of the House post.
Personal note about McGovern: he comes from South Dakota, a state so conservative that it has outlawed abortions. Its eastern border is l7 miles or so from my northwestern Iowa hometown of Rock Rapids. I have followed him closely through the years. I still marvel that a liberal of his force and eloquence could represent South Dakota for so many years in Congress. Imagine if he were the Speaker of the House.
Why I Believe Bush Must Go
By George McGovern
The Washington Post
Sunday 06 January 2008
Nixon was bad. These guys are worse.
As we enter the eighth year of the Bush-Cheney administration, I have
belatedly and painfully concluded that the only honorable course for me is
to urge the impeachment of the president and the vice president.
After the 1972 presidential election, I stood clear of calls to impeach
President Richard M. Nixon for his misconduct during the campaign.
I thought that my joining the impeachment effort would be seen as an
expression of personal vengeance toward the president who had defeated me.
Today I have made a different choice.
Of course, there seems to be little bipartisan support for impeachment.
The political scene is marked by narrow and sometimes superficial
partisanship, especially among Republicans, and a lack of courage and
statesmanship on the part of too many Democratic politicians. So the
chances of a bipartisan impeachment and conviction are not promising.
But what are the facts?
Bush and Cheney are clearly guilty of numerous impeachable offenses.
They have repeatedly violated the Constitution.
They have transgressed national and international law.
They have lied to the American people time after time.
Their conduct and their barbaric policies have reduced our beloved country
to a historic low in the eyes of people around the world.
These are truly “high crimes and misdemeanors,” to use the constitutional
standard.
From the beginning, the Bush-Cheney team’s assumption of power was the
product of questionable elections that probably should have been officially
challenged – perhaps even by a congressional investigation.
In a more fundamental sense, American democracy has been derailed
throughout the Bush-Cheney regime.
The dominant commitment of the administration has been a murderous,
illegal, nonsensical war against Iraq.
That irresponsible venture has killed almost 4,000 Americans, left many
times that number mentally or physically crippled, claimed the lives of an
estimated 600,000 Iraqis (according to a careful October 2006 study from
the Johns Hopkins Bloomberg School of Public Health) and laid waste their
country.
The financial cost to the United States is now $250 million a day and is
expected to exceed a total of $1 trillion, most of which we have borrowed
from the Chinese and others as our national debt has now climbed above $9
trillion – by far the highest in our national history.
All of this has been done without the declaration of war from Congress that
the Constitution clearly requires, in defiance of the U.N. Charter and in
violation of international law.
This reckless disregard for life and property, as well as constitutional
law, has been accompanied by the abuse of prisoners, including systematic
torture, in direct violation of the Geneva Conventions of 1949.
I have not been heavily involved in singing the praises of the Nixon
administration.
But the case for impeaching Bush and Cheney is far stronger than was the
case against Nixon and Vice President Spiro T. Agnew after the 1972 election.
The nation would be much more secure and productive under a Nixon
presidency than with Bush. Indeed, has any administration in our national
history been so damaging as the Bush-Cheney era?
How could a once-admired, great nation fall into such a quagmire of
killing, immorality and lawlessness?
It happened in part because the Bush-Cheney team repeatedly deceived
Congress, the press and the public into believing that Saddam Hussein had
nuclear arms and other horrifying banned weapons that were an “imminent
threat” to the United States.
The administration also led the public to believe that Iraq was involved in
the 9/11 attacks – another blatant falsehood. Many times in recent years, I
have recalled Jefferson’s observation: “Indeed I tremble for my country
when I reflect that God is just.”
The basic strategy of the administration has been to encourage a climate of
fear, letting it exploit the 2001 al-Qaeda attacks not only to justify the
invasion of Iraq but also to excuse such dangerous misbehavior as the
illegal tapping of our telephones by government agents.
The same fear-mongering has led government spokesmen and cooperative
members of the press to imply that we are at war with the entire Arab and
Muslim world – more than a billion people.
Another shocking perversion has been the shipping of prisoners scooped off
the streets of Afghanistan to Guantanamo Bay, Cuba, and other countries
without benefit of our time-tested laws of habeas corpus.
Although the president was advised by the intelligence agencies last August
that Iran had no program to develop nuclear weapons, he continued to lie to
the country and the world.
This is the same strategy of deception that brought us into war in the
Arabian Desert and could lead us into an unjustified invasion of Iran.
I can say with some professional knowledge and experience that if Bush
invades yet another Muslim oil state, it would mark the end of U.S.
influence in the crucial Middle East for decades.
Ironically, while Bush and Cheney made counterterrorism the battle cry of
their administration, their policies – especially the war in Iraq – have
increased the terrorist threat and reduced the security of the United States.
Consider the difference between the policies of the first President Bush
and those of his son.
When the Iraqi army marched into Kuwait in August 1990, President George
H.W. Bush gathered the support of the entire world, including the United
Nations, the European Union and most of the Arab League, to quickly expel
Iraqi forces from Kuwait.
The Saudis and Japanese paid most of the cost.
Instead of getting bogged down in a costly occupation, the administration
established a policy of containing the Baathist regime with international
arms inspectors, no-fly zones and economic sanctions.
Iraq was left as a stable country with little or no capacity to threaten
others.
Today, after five years of clumsy, mistaken policies and U.S. military
occupation, Iraq has become a breeding ground of terrorism and bloody civil
strife.
It is no secret that former president Bush, his secretary of state, James
A. Baker III, and his national security adviser, Gen. Brent Scowcroft, all
opposed the 2003 invasion and occupation of Iraq.
In addition to the shocking breakdown of presidential legal and moral
responsibility, there is the scandalous neglect and mishandling of the
Hurricane Katrina catastrophe.
The veteran CNN commentator Jack Cafferty condenses it to a sentence: “I
have never ever seen anything as badly bungled and poorly handled as this
situation in New Orleans.”
Any impeachment proceeding must include a careful and critical look at the
collapse of presidential leadership in response to perhaps the worst
natural disaster in U.S. history.
Impeachment is unlikely, of course.
But we must still urge Congress to act.
Impeachment, quite simply, is the procedure written into the Constitution
to deal with presidents who violate the Constitution and the laws of the land.
It is also a way to signal to the American people and the world that some
of us feel strongly enough about the present drift of our country to
support the impeachment of the false prophets who have led us astray.
This, I believe, is the rightful course for an American patriot.
As former representative Elizabeth Holtzman, who played a key role in the
Nixon impeachment proceedings, wrote two years ago, “it wasn’t until the
most recent revelations that President Bush directed the wiretapping of
hundreds, possibly thousands, of Americans, in violation of the Foreign
Intelligence Surveillance Act (FISA) – and argued that, as Commander in
Chief, he had the right in the interests of national security to override
our country’s laws – that I felt the same sinking feeling in my stomach as
I did during Watergate…
A President, any President, who maintains that he is above the law – and
repeatedly violates the law – thereby commits high crimes and misdemeanors.”
I believe we have a chance to heal the wounds the nation has suffered in
the opening decade of the 21st century.
This recovery may take a generation and will depend on the election of a
series of rational presidents and Congresses.
At age 85, I won’t be around to witness the completion of the difficult
rebuilding of our sorely damaged country, but I’d like to hold on long
enough to see the healing begin.
There has never been a day in my adult life when I would not have
sacrificed that life to save the United States from genuine danger, such as
the ones we faced when I served as a bomber pilot in World War II.
We must be a great nation because from time to time, we make gigantic
blunders, but so far, we have survived and recovered.
› annalee@techsploitation.com
TECHSPLOITATION War changes everything, including technology. We are roughly six years into what the George W. Bush administration calls the war on terror and what hundreds of thousands of soldiers know as the occupation of Iraq. Gizmos that a decade ago would have been viewed entirely as communications tools and toys are now potential surveillance and killing machines.
Don’t believe me? Consider how much the Web has changed. Referred to naively 10 years ago by Bill Clinton and Co. as the friendly, welcoming "information superhighway," the Web is now the National Security Agency’s surveillance playground. Last year a whistle-blower at AT&T revealed that every bit of Internet traffic routed by AT&T was also being routed through an NSA surveillance system. Millions of innocent people’s private Internet information, including online purchases and e-mail, was being watched without warrants.
Cuddly consumer robots epitomized by Sony’s Aibo robot dog have changed too. The company that makes adorable Roomba vacuum robots, iRobot, just announced a huge deal with the United States military to make reconnaissance and killing robots called PackBots for use in combat zones. Already, 50 PackBots have been deployed in Iraq and Afghanistan. These are the ground versions of crewless aerial vehicles, remote-controlled spy planes that can also shoot weapons.
Tech security expert Bruce Schneier describes technology as having "dual uses": one for peacetime and one for war. The Wii video game console, for example, is great for transutf8g physical movements into movements onscreen. That makes the Wii great for party games in which you swing your arms to move dancing penguins on the screen. It also makes a great interface for remote-controlled guns in a combat robot. Just move your arm to aim.
In a time of war you can’t enjoy a party game without thinking about your game console being used to kill people. I realize that sounds melodramatic, but looked at pragmatically it’s quite simply true.
Once you realize that every form of technology has a dual use, it becomes much easier to argue for ways of limiting the uses that aren’t ethical or legal. Consider that a roboticized antiaircraft cannon (similar to the PackBot) turned on its operators during a field exercise in South Africa in October 2007, killing nine people before it ran out of ammo. The software error that led this robot to slaughter friendly soldiers is no different from errors that make your Roomba crash. What do we draw from this analogy? Perhaps robots that are perfectly legal as vacuums should be illegal on the battlefield. Perhaps no weapon should ever be completely autonomous like the Roomba.
Questions like these led me and my colleagues at Computer Professionals for Social Responsibility to put together a conference at Stanford University on the topic of technology in wartime, focusing especially on ethics and the law. Coming up on Jan. 26, the conference will be a day packed with talks and panels about everything from dual-use technology (Schneier will be a keynote speaker) to what happens when robots commit war crimes. We’ll also hear from people who are appropriating military technologies for human rights causes the very technologies that let military spies hide online also help human rights workers and dissidents shield themselves while still getting out their subversive messages.
We’ll also have a panel on so-called cyberterrorism, or destructive hacks aimed at taking down a nation’s tech infrastructure. But should fears of cyberterror lead to total government surveillance of the Internet? Cindy Cohn, the Electronic Frontier Foundation’s legal director, will talk about how the NSA used AT&T to spy on US citizens and the suit the EFF has brought against AT&T for vioutf8g its customers’ privacy rights.
If you want to find out how to change the way militaries are appropriating consumer tech or just want to learn more about how war is changing the way we use technology, come to Stanford on Jan. 26 for the conference. It’s open to the public, and you can register at www.technologyinwartime.org. The cost of admission gets a you free lunch and a T-shirt, as well as a chance to talk to some of the smartest people in the field. See you there!
Annalee Newitz is a surly media nerd who wants smart defense to replace buggy offense.
OPINION A major difference between Rep. Nancy Pelosi’s values and my values surfaced last month.
On Friday, Dec. 14, I learned that since 2002, Pelosi has been a silent partner in the George W. Bush regime’s torture policy. As a Bay Area resident for the past 15 years, I can say with confidence that the use of torture is not a San Francisco value.
According to a Dec. 9 Washington Post article, Pelosi was one of four members of Congress to witness a "virtual tour" of secret CIA detention sites. Officials have described the briefings as "detailed and graphic." The article, by Joby Warrick and Jan Eggen, revealed that the House Intelligence Committee received 30 briefings on the CIA’s torture chambers and the "harsh techniques interrogators had devised to try to make their prisoners talk."
In 2003, Congressperson Jane Harman (D-Calif.), who was also present during the briefings, filed a letter of protest over the interrogation program. After the Democrats won control of the House in 2006, Pelosi passed over Harman, who was in line for chair of the Intelligence Committee, instead naming Silvestre Reyes (D-Texas) to the position. Harman, who publicly voiced her discontent at her demotion, was punished for speaking out when Pelosi would not.
Pelosi and I both know that the use of torture is outlawed under both the US Army Field Manual and the Geneva Conventions. I have chosen to speak out against the Bush administration’s use of torture. Pelosi has chosen to remain silent.
Through her complicity and her actions, Pelosi continues to support an illegal policy that harms our soldiers in the field and is counterproductive to winning the hearts and minds of the Arab and Muslim world. Even committed warmonger Sen. John McCain (R-Ariz.) realizes that the use of torture as a tool to garner information is a flawed and inhumane strategy.
Pelosi has used her position as Speaker of the House to protect the criminal Bush regime, and although she has pledged to hold the president accountable for the Iraq war, she continues to give him the money, and therefore the means, to wage it.
San Franciscan values are good values. We want every person to be guaranteed the very same basic human rights that Pelosi and her wealthy cronies enjoy: peace, shelter, nutritious and plentiful food, health care, education, and the right to live free from torture. I would add the right to marry whomever one loves regardless of gender or orientation.
The neocon hatemongers have tried to make the word liberal an obscenity. Fox News jester Bill O’Reilly has publicly stated that al Qaeda can "go ahead" and "blow up" San Francisco. We cannot allow our values to be marginalized and ridiculed any longer. Our values must spread across this nation because we care about people and we care about true freedom and real representative democracy.
Pelosi abdicated her role as defender of our values and needs years ago, but especially so when she countenanced torture and refused to impeach the Bush regime when San Franciscans voted overwhelmingly in a referendum for impeachment.
The choice is simple and clear in California’s District 8. If you want San Francisco values represented in Congress, vote for me in November. If you support torture and war crimes, then vote for Pelosi. *
Cindy Sheehan
Antiwar activist Cindy Sheehan is running for Congress as an independent.
I feel like I’ve only seen about 10 films this year, so my list would basically be No Country For Old Men, I’m Not There, and Beowulf (two of those movies were painful, they were so aesthetically pleasing guess which ones). But I’m going to say Paranoid Park was a huge influence on me this year. The risks it took and its loose narrative and utter disregard for convention were extremely inspiring. I saw it in Toronto at a press screening, among all the jabbering sales agents and distribution reps, and it still managed to drop my jaw despite the guy next to me answering his phone midway through, telling the guy on the other line how "half baked" the movie was. Afterward I talked to a fellow aspiring filmmaker about the film, and he told me how much he disliked it because he thought it was a "mess." Exactly. It feels like a rough cut, only not a work in progress, but that’s the point. Perhaps that’s why I identified with it so much. Besides, maybe a little messiness is not such a bad thing to embrace right now.
Richard Wong is the director and producer of Colma: The Musical.
James Benning’s Ten Skies at New York’s invaluable Anthology Film Archives: with a description like a parody of avant-garde impenetrability ("Ten shots of the sky feature length"), it sounds daunting. Instead, it was an experience of mysterious joy that brought me back to why movies are entertaining and why seeing them can be so communal. After a few restless, fidgety minutes, both audience and film hit a groove so sublime that I kept laughing with pleasure. Each sky has its revelations and dramas, each viewer "makes" their own film, but in a shared hallucination that filmmakers and venues rarely allow, much less encourage. Sure, we’ve all seen the sky before, but when’s the last time you fell in so deeply and for so long, undistracted yet free to drift, stunned by both the thing itself and the amazing mirror of moving pictures? And I love that Benning says it’s a political film, "the opposite of war."
Jem Cohen (www.jemcohenfilms.com) is the director of Instrument, Benjamin Smoke, Chain, Building a Broken Mousetrap, and other films.
So glad I live in Berlin as an expat, far away from icky, tired Los Ang, that sad, pathetic film industry towne. When I worked for the Sundance Film Festival in programming I watched what seemed like a zillion of the same kinds of films. This year I created (with the art kollective Cheap) the Cheap Gossip Studio installation as part of the Berlin Film Festival. It was housed in the atrium of the Kino Arsenal. Film historian Marc Siegel brought Callie Angel out to show some rare, seldom-screened Andy Warhol films, as well as Jerry Tartaglia, who restored Jack Smith’s noted oeuvre. I even got to meet my sexy feminist heroine, Jackie Reynal of the Zanzibar movement, and Phillip Garrel, who brought his delicious young thrombone of a son, the actor Louis Garrel.
During the year, I started a new monthly performative series at Kino Arsenal called "Rising Stars, Falling Stars." It featured experimental silent classics from filmmakers like Louis Delluc, Man Ray, and the grandmama of the avant-garde, Germaine Deluc.
A lot of filmmakers send me rough cuts of their new films hoping I will write something on my blog, which gets a million readers a day. I just saw Bruce La Bruce’s allegorical zombie flick Otto; or Up with Dead People, and it’s beyond brilliant, and I am not saying that just because I have starred in Bruce’s other films Super 8 1/2 and Hustler White or because he directed my latest performance piece, Cheap Blacky. I am harsh on my filmmaker friends. I told Bruce that he shouldn’t act in his own movies anymore, just like Woody Allen and Spike Lee shouldn’t act in theirs. I even scolded Todd Haynes that Far From Heaven was overrated, but I adored Velvet Goldmine and his latest, I’m Not There. (Though I can’t stand Cate Blanchett; after seeing her as Queen Elizabeth yet again all I could say was, "Glenda Jackson, Glenda Jackson.")
I watched Superbad twice with the 14-year-old twins of my Cheap Blacky costar Susanne Sachsee, and I even got off on the ‘roid rage of Gerard Butler in the epic 300. No one does brittle white lady like my Tales of the City costar Laura Linney in The Savages. Tony Leung is so elegant and sensuous in Lust, Caution that everyone will want a Chinese boyfriend as the hot new fashion accessory this year. And if Sweeney Todd doesn’t bring back the musical genre, nothing will.
Vaginal Davis (www.vaginaldavis.com), who now lives in exile in Berlin, will be in the Bay Area on March 29, 2008, for the opening of her installation Present Penicative at the Yerba Buena Center for the Arts; it will also feature her performances "Bilitis A Lesbian Separatist Feminist State" and "Colonize Me."
DENNIS HARVEY’S ALPHABETICAL DOCUMENTARY TOP 10
1. Absolute Wilson (Katharina Otto-Bernstein, US/Germany)
2. All in This Tea (Les Blank, US)
3. King Corn (Aaron Wolf, US)
4. The King of Kong: A Fistful of Quarters (Seth Gordon, US)
5. Manufactured Landscapes (Jennifer Baichwal, Canada)
6. My Kid Could Paint That (Ami Bar-Lev, US)
7. No End in Sight (Charles Ferguson, US)
8. Protagonist (Jessica Yu, US)
9. Romántico (Mark Becker, US)
10. Zoo (Robinson Devor, US)
All thanks to the Internet Movie Database, without which we would remain in blessed ignorance.
Brad McGuire’s 20 Hole Weekend
5 Guy Cream Pie 29
Abominable Black Man 8
Ahh Shit! White Mama 4
Anal Chic
Apple Bottom Snow Bunnies
Be Here Now
Blondes have More Squirt!
Bore My Asshole 3
Bring’um Young 23
Campus Pizza
Catch Her in the Eye
Even More Bang for Your Buck
Go Fuck Yourself
I Scored a Soccer Mom 3
Old Geezers, Young Teasers
Seduced by a Cougar 4
Swallow My Children
Thanks for the Mammaries
Trantasm
You’ve Got a Mother Thing Coming
Dennis Harvey is a Guardian contributor.
1. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, Romania). This debut feature possesses a nonjudgmental flow reminiscent of a Dardenne brothers film as it follows two young women who negotiate for an illegal abortion during the final days of Nicolae Ceausescu’s Communist regime.
2. Eastern Promises (David Cronenberg, UK/Canada/US). Uncovering the layers of human identity has been a career-long, disturbing theme of Cronenberg’s. But with his most recent films he’s figured out how to deconstruct our psychotic and schizophrenic patriarchal society in a minimal, confrontational manner.
3. Cassandra’s Dream (Woody Allen, US/UK). This minimasterpiece follows the downward spiral of two nice, middle-class brothers (Ewan McGregor and Colin Farrell), both of whom loosen their moral codes just to better their lifestyles. Striking camera work (by Vilmos Zsigmond) encloses the characters in an unrelenting nightmare.
4. "Made in America," The Sopranos (David Chase, US). Forever you’ll be able to bust out the statement "What did you think of the end of The Sopranos?" and people will get all lit up.
5. Margot at the Wedding (Noah Baumbach, US). Thanks to audacious writing and powerful acting (especially by Jennifer Jason Leigh), the bittersweet sincerity is pitch-perfect.
6. Californication, season 1 (various directors, US). David Duchovny is alive and hilarious. Creator Tom Kapinos cuts right through our progressive relationship era, devilishly developing each character over 12 episodes. This is heavy-duty stuff mixed with dirty, dirty sex.
7. Year of the Dog (Mike White, US). White brings heartfelt storytelling to his directorial debut.
8. Manufactured Landscapes (Jennifer Baichwal, Canada)
9. The Hills Have Eyes 2 (Martin Weisz, US). This Wes Cravenproduced Iraq war allegory deserves more attention than Brian De Palma’s patronizing Redacted.
10. Hostel 2 (Eli Roth, US). Baddie Roth again makes social commentary on America’s xenophobic world colonization by torturing the pathetic children of the apathetic parents who make our lovely world go round.
11. Silent Light (Carlos Reygadas, Mexico/France/Netherlands/Germany). Reygadas updates the transcendental religious overtones of Carl Theodor Dreyer by way of a Mennonite community.
12. At Long Last Love (Peter Bogdanovich, US). Never released on VHS or DVD, this throwback to the musicals of Ernst Lubitsch featuring Burt Reynolds, Cybill Shepherd, Madeline Kahn, and Eileen Brennan was dismissed and despised on its only theatrical release in 1975. All of the Cole Porter musical numbers were filmed live, with the actors using their own voices. Not only are these numbers brilliantly executed (inspiring realistic musicals like Lars von Trier’s Dancer in the Dark), but the film also attains the rapid-fire interaction and casual kookiness of late ’30s screwball comedies. Did critics really overlook the fact that this is clever cheekiness? It’s a true treasure that serves as a ’70s time capsule and should inspire future filmmakers to take their chances all the way. It may have taken 32 years, but your time has come, Mr. Bogdanovich. Thank you.
Jesse Hawthorne Ficks teaches film history at the Academy of Art University and curates Midnites for Maniacs (www.midnitesformaniacs.com) at the Castro Theatre.
0. The 70th anniversary memorial of the Nanjing Massacre in Nanjing, China, and especially survivor Xia Shuqin’s reaction to her re-created wartime house, where most of her family was raped and killed by Japanese soldiers.
1. The passing of House Resolution 121 (the "Comfort Women" resolution) on C-Span, July 30.
2. Yasukuni (Li Ying, China/Japan). The power of the shrine isn’t fully captured, but this is the closest an outsider has come to doing so that I’ve seen. All captured on a Japanese mini-DV video camera, in American NTSC.
3. Nanking (Bill Guttentag and Dan Sturman, US). AOL + Iris Chang = Woody Harrelson and the Nanjing Massacre.
4. A Shot at Love with Tila Tequila (various, US). The alpha and omega of Asian America. For those with the required assets and skills, Playboy and the Internet can make you, regardless of race, a bisexual American celebrity the end and a new beginning for all the so-called angry Asian Americans.
5. Summer Special Olympics in Shanghai, China. Globalization was transformed into music by Kenny G during the opening ceremony.
6. Pride: The Moment of Destiny, or Puraido: Unmei no Toki (Shunya Ito, Japan). Finally found a good DVD copy of this, in Canada of all places. This could also be called Tojo: The Hero.
7. Inside the Brookhaven Obesity Clinic (various, US). Pride and Prejudice for the heavyset, on the Learning Channel.
8. Major League Eating’s Thanksgiving Chowdown (various, US). The purest American professional sport and the fall of Japan’s greatest hero, Takeru Kobayashi, on Spike TV.
9. Mock Up on Mu, in progress (Craig Baldwin, US)
10. Blockade (Sergey Loznitsa, Russia)
The works of San Francisco filmmaker James T. Hong (www.zukunftsmusik.com) include Behold the Asian: How One Becomes What One Is, The Form of the Good, Taipei 101: A Travelogue of Symptoms, 731: Two Versions of Hell, and This Shall Be a Sign.
1. Black Book (Paul Verhoeven, Netherlands/Germany/Belgium)
2. Brand upon the Brain! (Guy Maddin, Canada/US)
3. Eastern Promises (David Cronenberg, UK/Canada/US)
4. I Don’t Want to Sleep Alone (Tsai Ming-liang, Malaysia/China/Taiwan/France/Austria)
5. I’m Not There (Todd Haynes, US)
6. In Between Days (So Yong Kim, South Korea/US/Canada)
7. Makeshift 2007 grindhouse double feature: The Hills Have Eyes 2 (Martin Weisz, US) and Black Snake Moan (Craig Brewer, US)
8. The Wire, season four (various, US)
9. Woman on the Beach (Hong Sang-soo, South Korea)
10. Zodiac (David Fincher, US)
Jonathan L. Knapp is a Guardian contributor.
In addition to bringing some very good movies to the screen, 2007 was also a really good year for bad films. But among them all, these are the ones I feel had lack of intelligence, conservatism, and conventionality on a whole different level:
1. Hitman (Xavier Gens, France/US)
2. Good Luck Chuck (Mark Helfrich, US/Canada)
3. License to Wed (Ken Kwapis, US)
4. The Brothers Solomon (Bob Odenkirk, US)
5. Hot Rod (Akiva Schaffer, US)
6. P.S. I Love You (Richard LaGravenese, US)
7. The Final Season (David M. Evans, US)
8. The Water Horse: Legend of the Deep (Jay Russell, UK/US)
9. The Perfect Holiday (Lance Rivera, US)
10. P2 (Franck Khalfoun, US)
Maria Komodore is a Guardian contributor.
With a very special mention and heavy props for the fantastic TV doc series Nimrod Nation.
1. Manda Bala (Send a Bullet) (Jason Kohn, Brazil/US)
2. Lake of Fire (Tony Kaye, US)
3. Summercamp (Bradley Beesley and Sarah Price, US)
4. This Filthy World (Jeff Garlin, US)
5. A Man Named Pearl (Scott Galloway and Brent Pierson, US)
6. King Corn (Aaron Wolf, US)
7. An Audience of One (Mike Jacobs, US)
8. Crazy Love (Dan Klores and Fisher Stevens, US)
9. Big Rig (Doug Pray, US)
10. Off the Grid: Life on the Mesa (Jeremy Stulberg and Randy Stulberg, US)
San Francisco filmmakers Chris Metzler and Jeff Springer codirected the award-winning documentary Plagues and Pleasures on the Salton Sea (www.saltonseadocumentary.com).
Go Go Tales was filmed at Cinecittà, so I had a location like I did in the ’60s. Cinecittà was thrilling. When the film premiered in Cannes, you would have thought I was the lead from the reviews. What’s her name in the New York Times gave it a wonderful review that got picked up by the International Herald Tribune.
Abel [Ferrara] got mad at Burt Young, who played my husband, and cut him out of the film. Be that as it may, we still managed to keep that story together The irony is that the rap that I do [at the end of the movie] was ad-libbed at 10 o’clock on the last night of filming. I give my all and know that something good will happen.
From what I hear, [Bernardo] Bertolucci is the one who chooses the film from Italy that gets into the New York Film Festival. Because they were renovating Alice Tully Hall, Go Go Tales had one of its screenings at the Jazz Center. It was exciting to look out my apartment window and see the lines of people outside [Frederick P.] Rose Hall waiting to see the movie. People even came to the 4 p.m. Sunday screening. At 4 p.m. on a Sunday they should have been out to tea instead of at that film!
Two-time Academy Award nominee Sylvia Miles has starred in Midnight Cowboy, Andy Warhol’s Heat, Evil Under the Sun, She-Devil, and Abel Ferrara’s soon to be released Go Go Tales.
1. The Edge of Heaven (Fatih Akim, Germany/Turkey)
2. 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, Romania)
3. The Lives of Others (Florian Henckel von Donnersmarck, Germany)
4. Eastern Promises (David Cronenberg, UK/Canada/US)
5. Le Dernier des Fous (Laurent Achard, France)
6. The Duchess of Langeais (Jacques Rivette, France/Italy)
7. Persepolis (Vincent Paronnaud and Marjane Satrapi, France/US)
8. Water Lilies (Céline Sciamma, France)
9. La Graine et le Mulet (Abdel Kechiche, France)
10. Love Songs (Christophe Honoré, France)
Actor-director Jacques Nolot’s latest film, Before I Forget John Waters’s second-favorite film of 2007 will be released theatrically in 2008.
I have no shortage of rants about the sad state of cinema. Of the 25,000-plus films released each year, it’s impossible to keep track or be aware of anything above the overrated Oscar contenders or mindless mainstream crap that floods the market. Anything slightly worthwhile not on this list would be a smaller independent (foreign or documentary) film, such as Larry Fessenden’s The Last Winter or The Life of Reilly.
1. Paris, Je T’Aime (various, France/Liechtenstein)
2. No Country for Old Men (Ethan Coen and Joel Coen, US)
3. Notes on a Scandal (Richard Eyre, UK)
4. Sicko (Michael Moore, US)
5. Rescue Dawn (Werner Herzog, US)
6. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, US)
7. Goya’s Ghosts (Milos Forman, US/Spain)
8. Ratatouille (Brad Bird, US)
9. The King of Kong: A Fistful of Quarters (Seth Gordon, US)
10. Death Proof, driving sequences only! (Quentin Tarantino, US)
Damon Packard (www.myspace.com/choogo) is the director of SpaceDisco One, Reflections of Evil, and other films.
1. Bug (William Friedkin, US)
2. The Kingdom trailer (Peter Berg, US; editors Colby Parker Jr. and Kevin Stitt)
3. Fengming: A Chinese Memoir (Wang Bing, China)
4. Silent Light (Carlos Reygadas, Mexico/France/Netherlands/Germany)
5. Into the Wild (Sean Penn, US)
6. An Engineer’s Assistant (Tsuchimoto Noriaki, Japan)
7. Saw IV (Darren Lynn Bousman, US)
8. "Made in America," The Sopranos (David Chase, US)
9. The Pastor and the Hobo (Phil Chambliss, US)
10. You and I, Horizontal (Anthony McCall, UK)
11. Kara Tai in the Front and the Back (Bangbros.com, US)
Joel Shepard is the film and video curator at the Yerba Buena Center for the Arts.
1. Following Sean (Ralph Arlyck, US). Thirty years after making a legendary short film about Sean, the lawless four-year-old son of Haight-Ashbury hippies, filmmaker Arlyck reconnects with his subjects. The result is the most complicated study of baby boomers and their kin ever made.
2. Artist Statement (Daniel Barrow, Canada). Winnipeg artist Barrow uses an old-school overhead projector and layers of transparent drawings to create manual animations with music and live narration. His second US performance brought to life his imaginative, queer, literary, and delicate personal manifesto.
3. Syndromes and a Century (Apichatpong Weerasethakul, Thailand/France/Austria). Apichatpong’s latest radical narrative film focuses on a rural Thai hospital and its inhabitants. Among its meditative episodes is an unresolved love story between a female physician and an orchid farmer.
4. Real Housewives of Orange Country (various directors, US). Bravo’s reality television program about a contrived community of rich middle-aged women living in Coto de Caza is unexpectedly compelling. Because their lives are so boring, there’s nothing left to explore in this show except their complex emotions.
5. Zodiac (David Fincher, US). Crushworthy Jake Gyllenhaal, genius cinematography from legend-to-be Harris Savides, and incredible reconstructions of a beautiful and scary San Francisco in the 1970s.
Matt Wolf (www.mattwolf.info ) is the director of Wild Combination: A Portrait of Arthur Russell (premiering at the 2008 Berlin Film Festival) and Smalltown Boys.
› cheryl@sfbg.com
Ah, 2007: as of this writing, the five top-grossing movies of the year were three-quels (Spider-Man 3, Shrek the Third, and Pirates of the Caribbean: At World’s End), a chunk of Harry Potter’s golden calf (Harry Potter and the Order of the Phoenix), and the world’s flashiest ad for eBay (Transformers). That the biggest box office hit (Spidey raked in more than $336 million) was also the biggest disappointment is only fitting in a year that was characterized by new heights of hype. Did anyone really like 300 beyond its campy and mockable aspects, or did they just think they liked it because the Internet told them to?
I’ll admit I’m crabby, but I’m a victim of hype as much as anyone else. (The trailer for Iron Man and hell, even just the poster art for Indiana Jones and the Kingdom of the Crystal Skull are making me greet 2008 with giddy anticipation.) I probably saw more than 300 movies (including 300) this year, many from the Tinseltown factory a place that saps originality, force-feeds us things like fat suits and the Rock, and still leaves us frantically panting for more. And when I say us, I mean me. But although the overriding trend for 2007’s mainstream movies was mediocrity and there’s a feeling as December ends that the past 12 months were full of a whole lotta nothing, there were also some thematic similarities worth noting. (Note: there might be some spoilers here, so if you’ve been eagerly awaiting Death Sentence‘s cable debut, you’ve been warned.)
BUNS IN THE OVEN As I noted in my Juno review ("Birth of a Sensation: Ellen Page and Juno," 12/12/07), that film, combined with Waitress and Knocked Up, made 2007 the year the ever-popular celebrity-baby trend jumped from the pages of US Weekly to the big screen. In Waitress an unhappily married small-town gal is impregnated by her surly hubby; she soon falls for the hunky new guy in town, who happens to be her doctor. In Knocked Up a hot, mysteriously single TV reporter decides she’ll pop out the kid of a one-night stand she can barely stand to look in the eye. And in Juno a tart-tongued high schooler in a family way after an experimental dalliance with her best friend plucks her kid’s adoptive parents from the PennySaver. Each of these films have unique moments: Keri Russell’s Waitress postbirth epiphany; Knocked Up‘s awkward baby-on-board sex scene; and Juno‘s simple acknowledgement of the fact that abortion is a safe, legal option for women who find themselves unprepared for motherhood. By contrast, check out Romanian import 4 Months, 3 Weeks and 2 Days, opening in early February 2008. A harrowing look at the illegal abortion trade in that country’s Communist 1980s, it well earned the top prize at the 2007 Cannes Film Festival and contains nary a hamburger phone.
WESTERNS First the pirate movie made a comeback, and now we’ve got all kinds of westerns filling up our eyeholes including the year’s best film, No Country for Old Men, a contemporary spin on the genre that imagines the Wild West as not just a place but a state of mind. More cut-and-dried was 3:10 to Yuma, which featured good guys, bad guys, shoot-outs, stagecoach robberies, and some seriously old-school hat fetishizing. Harder to classify: The Assassination of Jesse James by the Coward Robert Ford, a hypnotic, arty, lengthy study of the western myth from within the myth. The title characters portrayed in great turns by Brad Pitt and Casey Affleck are neither heroes nor villains, but rather men with guns and very few morals, those they have applying to loyalty, decency, and respect for human life. In short, fascinating.
SCREAMING FOR VENGEANCE It’s true, I’m a Charles Bronson fanatic who has often and loudly praised the wonders of the Death Wish films, including my personal favorite, Death Wish 3. So I anticipated the double-decker revenge sandwich of Death Sentence and The Brave One with a certain gruesome glee. Too bad neither movie really rocked it. Death Sentence directed by Saw‘s James Wan and starring Kevin Bacon went the distance by offing women and (oh god, no!) children. The Brave One offers a few pleasures, namely that scene on the subway in which Jodie Foster pops a guy for, basically, getting up in her face. Mostly, though, both films spent way too much time showing how their protagonists felt after committing acts of violence: fear, guilt, elation, excitement, or otherwise.
True vengeance films don’t bother with that shit they start with a grievous act (in Death Wish 3 it’s the senseless killing of Bronson’s military buddy, whose biggest crime is living in a crummy neighborhood overrun with cartoonish gang members) and move right into the payback’s-a-bitch phase. Cops who secretly support the good work of heavily armed vigilantes are also a traditional staple; I don’t think Terrence Howard’s sad-eyed, Foster-followin’ Brave One detective really qualified. I can see updating the vengeance film for these more sensitive times, but wait, no I can’t. Vengeance films with morals bad. Who needs ’em?
OH YEAH, THAT WAR THING You know when you turn on the news, and you see that story that was on yesterday, and last week, and last year too, about that business going on in Iraq? Wait, you don’t watch the news? Nah, neither do moviegoers, who didn’t give two poops about movies with Iraq war themes (I’m including everything from In the Valley of Elah to The Hills Have Eyes 2 here). I suppose if Blades of Glory can’t heal a broken nation, neither can Paul Haggis.
HORROR IS DEAD I almost forgot about The Hills Have Eyes 2 until I typed it above. There was no singular horror sensation this year, or even a really good sleeper, like 2006’s The Descent. Other releases that underwhelmed the horrorati: 1408, Resident Evil: Extinction, 30 Days of Night, Halloween, The Reaping, Vacancy, 28 Weeks Later, and Saw IV (already in the works: Saw V). As usual, the best horror films were in limited release (The Last Winter) or foreign spooky Spanish thriller The Orphanage, which pays homage to Poltergeist among others (including The Others), hits theaters Dec. 28.
THE MAGIC NUMBER? This was the year of third sequels, some already mentioned above, of which only The Bourne Ultimatum did anything interesting. The slate for 2008 is pretty much locked in this time next year, Avatar! and it’s choked with a fair amount of sequels. Batman, Hellboy, Harry Potter, the Mummy, Indiana Jones, James Bond, Rambo, the Narnia kids, and the Star Trek crew are all poised to lead you back into butter-flavored temptation. Now, I don’t think the fact that a film is a sequel automatically means it will suck: I’m willing to sit through just about anything, because no matter how much crap I see, or how many films start off great and veer horribly off course (here’s lookin’ at you, I Am Legend), I never give up hope for the movies. And if that makes me no better than one of 300‘s digitally enhanced Spartans facing certain doom, so be it. See you next year! *
CHERYL EDDY’S TOP 10
1. No Country for Old Men (Ethan Coen and Joel Coen, US)
2. Grindhouse (Robert Rodriguez, Eli Roth, Quentin Tarantino, Edgar Wright, and Rob Zombie, US)
3. Persepolis (Vincent Paronnaud and Marjane Satrapi, France/US)
4. I’m Not There (Todd Haynes, US)
5. Zodiac (David Fincher, US)
6. Superbad (Greg Mottola, US)
7. The Wizard of Gore (Herschell Gordon Lewis, US, 1970) with Lewis in person, Clay Theatre, Nov. 2
8. Mister Lonely (Harmony Korine, UK)
9. Control (Anton Corbijn, UK/US/Australia/Japan) and Joy Division (Grant Gee, UK, 2006)
10. SpaceDisco One (Damon Packard, US)
› kimberly@sfbg.com
Oh! What a lovely war! At least that’s the overall tone of the most popular movies reflecting our current conflict, surge, or however we’re marketing it this week as it conveniently combusts so far from all of the happy $3.50 a gallon gas-guzzling Best Buy shoppers, out of ear- and eyeshot on the other side of the world.
Moviegoers have been avoiding Iraq’s realities in droves this much the producers of The Kingdom, Lions for Lambs, In the Valley of Elah, Redacted, and others can attest. This year Americans liked their war with a good dose of comic book fantasy and clearly fictitious spectacle, their tongues teasing the CGI-enhanced teat, preferably attached to the too perfectly uniform six-pack abs on one of those hunka-hunka-burning-Spartan tough-love monkeys in 300.
While Grindhouse‘s bio-experiment rogue troops were banished to fiscal limbo, Hollywood blockbusters like 300, Transformers, and even Beowulf stemming from comics, toys, and cartoons and steeped in the stuff of a distended childhood turned out to be the only way Americans would swallow warfare. Fusing digital animation and live actors to produce spectacles that would have made Cecil B. DeMille reach for his next merchandising tie-in, those hit movies tacitly acknowledged the war we’re in and offered candy-colored, action-packed escapism for the inner fanboy and fangirl. Six years into the war on terror, we can’t feel good about imminent outright victory; hell, even the most fervent right-winger realizes, in his or her reptilian back brain and in the dark of the multiplex, that the real-life shoot-’em-ups are depressingly, futilely, infuriatingly misguided. But we still want our war to be a great ride despite the fact that ambiguous reality finds a way of inserting itself into the metal-crushing, knuckle-skating mise-en-scène.
Picking up the air of suicide-mission doom suffusing 2006 Oscar contender Letters from Iwo Jima, 300 started the year with blood-spattered, heroic fatalism. Like Beowulf and even the tongue-in-cheek Transformers, the Zack Snyderdirected epic, based on a graphic novel by draconian edge maven Frank Miller (Batman: The Dark Knight Returns), self-consciously frames its narrative and its uses as propaganda from the start by revealing the bard or narrator telling the tale. Here the story is recounted for the distinct purpose of leading the Spartans into battle against the Persians.
Miller may have penned the original comic in the late ’90s, yet it’s hard to read 300 as anything more than emotionally skilled, cinematically compelling, and blatantly racist support for a US invasion of the country most associated with ancient Persia, Iran little surprise that Javad Shangari, a cultural adviser to Iranian leader Mahmoud Ahmadinejad, described 300 as being "part of a comprehensive U.S. psychological warfare aimed at Iranian culture," according to Variety. Certainly, stereotyping is nothing new in the realm of the sword and the sandal, and 300‘s Spartan heroes are pale faced and peppered with accents from throughout the United Kingdom (though not the evilly aristocratic upper-crusty tones pushed by Romans of yore) a case for multiculturalism and inclusiveness they ain’t.
The film, however, firmly positions these "free" people versus the dark-skinned "slaves" of the Orient, holding their noble defenses against the dusky masses. According to 300, it may be futile to battle the hordes of the Persian empire tellingly, an imperial array of warriors from Asia and the Middle East that resembles a mindlessly blood-thirsty "It’s a Small World After All" but dying a good death and fighting for one’s supposed freedom is the right and noble path to take. Freedom is a word that’s bandied about repeatedly here and in Transformers, but it’s obviously the privilege of a select Darwinian few.
Snyder resorts to the ignorant and offensive tact of visually equating the forces of evil and darkness with the dark skins of the Persian forces. And the empire’s pierced, proud, and power-hungry leader Xerxes (Rodrigo Santoro) painted as perverse and ensconced in a polymorphic harem comes off as a fetishy freak next to the Spartans’ King Leonidas (Gerard Butler) and Queen Gorgo (Lena Headey), who are fiercely straight (judging from Leonidas’s odd and likely historically inaccurate disparagement of bookish Athenian "boy lovers") and, by implication, straight shooting and Spartan-soldier tough. Which isn’t to say there aren’t vulnerabilities in the Spartan armor: Leonidas and his too meticulously CGI-embellished troops live and die by standards that doom the weak and disabled, and when a rejected Spartan hunchback is denied entry into their ranks, the scene is set for their final destruction, one that rhymes with that of Toshiro Mifune’s Japanese Macbeth in Akira Kurosawa’s 1957 Throne of Blood.
Able-bodied elite fighting forces take an even more artificial turn with Transformers. Though its production was aided and abetted by the US armed forces, preening military hardware in displays that rival those of the alien robots, the movie nonetheless exhibits a conflicted relationship with warfare that reflects the mood in the country. At moments its scenes precisely echo the visuals of those ubiquitous "Army of One" recruitment commercials; at others it reveals a wariness of its very exhibitionism. It’s no marvel that director Michael Bay (Pearl Harbor, Armageddon) can ape those ads as adeptly as a ‘bot can mimic a sports car: in early 2006 he wrote on the MichaelBay.com forum, "The military looks like it is going to support the film, which is a big deal in giving the movie scope and credibility. The Pentagon has always been great with me because I make our military look good."
In keeping with that two-way support system and setting Transformers clearly in the Persian Gulf, Bay applies a veneer of salable heroism to his scenes of military machinery in action by battling the nefarious Decepticons and hastily dabs a quick layer of humanism on an identifiable, multilingual, and diverse clutch of everyday grunts. Jon Voigt’s defense secretary makes his share of wrong moves, but he’s no Donald Rumsfeld. This is likely Bay’s most successful film, thanks to the self-mocking humor of the script, which extols the bond between "man and machine." After all, he knows and we know Transformers is all about toys our hardware versus their hardware and what makes them go, a.k.a. energy whether it’s the magical, Energizer Bunny envy-inducing all-spark cube or that oil the film’s military is battling over when it isn’t strafing robots.
The question is, who is to be trusted? Intriguingly, the Decepticons hide in plain sight on Earth by assuming the guise of US Air Force jets, Army tanks, and police cars, while the good Autobots change into civilian big wheelers, trucks, and cars. If a car makes a man, the machines in Transformers are giving out conflicted signals. *
KIMBERLY CHUN’S POP TOPS
•<\!s>Most valuable hair: Javier Bardem’s do in No Country for Old Men (Ethan Coen and Joel Coen, US)
•<\!s>Most versatile player: Christian Bale in I’m Not There (Todd Haynes, US), Rescue Dawn (Werner Herzog, US), and 3:10 to Yuma (James Mangold, US)
•<\!s>Thug life: Eastern Promises (David Cronenberg, UK/Canada/US) and American Gangster (Ridley Scott, US)
•<\!s>Horrific kicks and sick twists: Grindhouse (Robert Rodriguez, Quentin Tarantino, et al., US), Black Sheep (Jonathan King, New Zealand), Hot Fuzz (Edgar Wright, UK/France), The Host (Bong Joon-ho, South Korea), Sicko (Michael Moore, US),
•<\!s>Geek love: Rocket Science (Jeffrey Blitz, US), Eagle vs. Shark (Taika Waititi, New Zealand), Superbad (Greg Mottola, US)
•<\!s>Little love: Control (Anton Corbijn, UK/US/Australia/Japan), Broken English (Zoe Cassavetes, US)
The economy: Apocalypse Now or at least soon. Iraq: No End in Sight. Israel: "Putting Out Fire with Gasoline (Theme from Cat People)." China, in its role as the principal backer of our colossal national debt: I Spit on Your Grave. Our president: National Lampoon’s Permanent Vacation.
In 2007, as life increasingly resembled lurid or delusional fiction, movies stepped up to the social-responsibility plate and started presenting a franker version of reality.
That is, the movies nobody saw.
The ones everyone did see, in quantifiable box office terms, were Spider-Man 3, Shrek the Third, the third Bourne and Pirates flicks, a fifth Harry Potter, and … Transformers. In other words, movies whose major reference points are other movies, comic books, and video games. (The Bourne films are refreshingly low-CGI, but they offer only a pretense of institutional critique.) If most multiplex patrons’ level of caring or knowledge about international and domestic politics was turned into a film, it could be titled Whatever-Man 3.
The summer that silly season of things blowing up and boob jokes is likely to spread even wider across the calendar henceforth, because this fall and winter offered serious year-end awards-bait stuff, and nobody wanted it.
Europeans have branded this the best year for United States cinema in a long time. But the ambitious, uncompromising two-and-a-half-hour-plus dramas released late in the year 1970s ambling-epic throwbacks such as The Assassination of Jesse James by the Coward Robert Ford, Into the Wild, and There Will Be Blood are against-the-wind efforts. Even intelligent dramas wrapped in easy-access thriller form, like Eastern Promises, Michael Clayton, Zodiac, Rescue Dawn, and Gone Baby Gone, have attracted few takers. (You could deem the long, self-important American Gangster an exception, were it not so derivative. Check out Larry Cohen’s 1973 Black Caesar.)
Commercially speaking, this fall’s glut of somber dramas including Before the Devil Knows You’re Dead, Things We Lost in the Fire, Reservation Road, We Own the Night, and Lions for Lambs collapsed like a row of dominoes. Their failure was variously blamed on an overcrowded marketplace and being pushed prematurely off screens by the latest CGI extravaganzas. Several of them just weren’t good, but even the best expired quickly.
Two films likely to face off for Academy Awards, No Country for Old Men and Atonement, have drawn larger numbers, though in their different ways neither has much to say about the world we live in now. No Country turns a minor Cormac McCarthy novel into a major Coen brothers effort that’s still just a great genre piece at the end of the day. Atonement turns a brilliant Ian McEwan novel into a sumptuous Merchant-Ivory-like affair, muffling the book’s bitter heart.
Every movie that did try to wrestle with our extremely precarious, morally compromised place in the scheme of things basically tanked. Maybe that’s less surprising than the fact that so many filmmakers actually got to make works dealing in one way or another with the current American realpolitik, if only on the relatively neutral, empathetic trickle-down level of grieving military spouses (Grace Is Gone), traumatized soldiers readjusting to civilian life (Home of the Brave), or World Trade Center widowers (Reign Over Me).
The Crash crowd shunned scenarist Paul Haggis’s much better (though not politically daring or even pointed) second film as director, In the Valley of Elah. It fictionalizes a real-life case (Iraq vet Richard Davis’s 2003 murder), as did Brian De Palma’s Redacted, drawn from a 2006 incident in which several US soldiers gang-raped a 14-year-old Iraqi girl and then killed her entire family. An atrocious movie because of its ill-chosen mockumentary form, loutish tone, and garbled message, Redacted ironically attracted widespread notice due to the loud protestations of Bill O’Reilly and other conservative pundits who proclaimed it treasonous. They didn’t say it was fraudulent as Republican saint Ronald Reagan once told us, "Facts are stupid things."
Despite the lure of Angelina Jolie and the publicity stumping of her producerspouselove slave Brad Pitt, Michael Winterbottom’s more overtly fact-based A Mighty Heart about kidnapped Wall Street Journal reporter Daniel Pearl’s murder by Pakistani jihadists got no audience love. Ditto Rendition, with America’s sweetheart Reese Witherspoon as another agitating spouse with a missing husband, this one an Egyptian-born US citizen imprisoned and tortured by the CIA on dubious terrorism charges.
That the year’s better feel-bad dramas didn’t take off despite their star power is disappointing, if not unexpected. But it truly depresses that Charles Ferguson’s No End in Sight, the year’s best documentary and arguably best movie, period failed to break out despite universal raves. This engrossing, incendiary, genuinely balanced chronicle of how the George W. Bush administration destroyed and betrayed Iraq and probably doomed everyone to a general fucked-up-ness only global warming might trump doesn’t even bother indicting the reasons we attacked in the first place. It’s busy enough simply detailing the arrogance and ineptitude that have turned our supposed reconstruction of the nation into a lit match hovering beside the tinder of pissed-off former allies worldwide.
No End in Sight should have been a must-see that marshaled voter-taxpayer opposition to the freaks in the seats of power. It should at least have ignited as much enthusiastic outrage as An Inconvenient Truth and Fahrenheit 9/11. But it was an intended bombshell that landed like a softball on Astroturf.
There are a few more politically charged movies in the pipeline, notably director Kimberly Peirce’s first feature since Boys Don’t Cry, Stop Loss. But given the commercial cold shoulder such films have received lately, what can we expect from a postwriters’ strike Hollywood that will be looking to restore its brief income slowdown as safely as possible? Gems like Norbit, Because I Said So, Bratz, Good Luck Chuck, Daddy Day Camp, National Treasure: Book of Secrets, Halloween, I Now Pronounce You Chuck and Larry, License to Wed, Saw IV, and Wild Hogs not to mention the three- to fivequels. Even when those movies bombed, they landed softly enough (often redeemed by profitable DVD releases) to affirm the wisdom of sticking to strict formulas.
Escapism: good. Wholesale obliviousness: better. Will there be a 2010 equivalent to 2007’s finest narrative flick, The Assassination of Jesse James (estimated cost: $30 million; domestic gross: $3 million, despite a career-best Brad Pitt)? Not likely.
DENNIS HARVEY’S ALPHABETICAL NARRATIVE TOP 10
1. Adam’s Apples (Anders Thomas Jensen, Denmark)
2. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, US)
3. Colma: The Musical (Richard Wong, US)
4. Gone Baby Gone (Ben Affleck, US)
5. Grindhouse (Robert Rodriguez, Quentin Tarantino, et al., US)
6. Lars and the Real Girl (Craig Gillespie, US)
7. The Last Winter (Larry Fessenden, US/Iceland)
8. Margot at the Wedding (Noah Baumbach, US)
9. Michael Clayton (Tony Gilroy, US)
10. Ten Canoes (Rolf de Heer, Australia)
› a&eletters@sfbg.com
Though it’s been pronounced dead so often and for so many years, the western lived again in 2007, sprouting like a gnarly weed through a cracked desert shelf. These new-millennium westerns, however, are a little tougher, a little wiser, and more prone to fits of sadness and moments of darkness.
It is said that most, if not all, American presidents since 1952 have screened High Noon (1952), one of the old model westerns, at the White House, and some have claimed it as their favorite movie. Our current cowboy president probably loves it more than all of his predecessors did, and it’s as likely as not that he watched it at least once during the past 12 months. No doubt he, like the other commanders in chief, saw himself in the movie, alone and standing strong against terrible odds with no help at all from cowards and city-bred folk.
Fifty years ago Delmer Daves directed the original 3:10 to Yuma very much in the mode of High Noon, with a single-minded hero, Dan Evans, standing up for a purpose against all reason and despite everyone urging him to quit. He will, come hell or high water, transport the bandit Ben Wade to the title train on time. James Mangold’s new remake sticks close to the original but also departs in significant ways. This time a third character figures prominently in the action, Ben Wade’s right-hand man Charlie Prince (Ben Foster), a pale, small fellow with a sadistic swagger and a penchant for exploding into wildly inappropriate violence.
It’s fairly easy to read Charlie’s devotion to his boss (Russell Crowe) as a kind of desperate man love. It’s Charlie who makes the film’s ending something quite different from the original’s hopeful turn. Mangold’s skillful storytelling means it’s possible to enjoy the film purely on the level of a bread-and-butter western, but he also quietly suggests the United States’ headfirst march into the quagmire of Iraq.
Similarly, Jesse James has graced all kinds of classic westerns, but never quite like in Andrew Dominik’s The Assassination of Jesse James by the Coward Robert Ford. This James is no longer a hero of the people fighting greedy railroad men but now merely a lost celebrity both fascinated by the limelight and weary of its glare. The film deliberately turns up its nose at gunplay and action and instead focuses on the rotting final months of the legend’s life, when the cancerous Ford (a perfectly sniveling Casey Affleck) enters. It plays out like a long, slow chess game, easing through its 160 minutes with a kind of watchful caution.
A typical scene has James (Brad Pitt) sizing up his colleagues from across a table, reading their fears and desires through their eyes and twitches. When the title moment comes, it plays like a transfer of fates, with James deliberately passing on the mantle to his young admirer. But the mantle quickly strangles, and Ford spends the rest of his days forever attached to and defined by that one moment, hated and hounded. This is a western that arrives in David Lynchian territory after having passed through Terrence Malick land, and the cowboy’s heroism and self-reliance have dried up along the way.
If Yuma and Jesse James are more comfortable for being based in the past, then No Country for Old Men is something a good deal darker: it’s a modern-day western masterpiece, set in the 1980s, with horses and cowboy hats. It pries open the end of the West and finds despair. The hunter (Josh Brolin) and the killer (Javier Bardem) are both cynical products of the Vietnam War, relentless in their thinking and planning and unable to trust or rest. The sheriff (Tommy Lee Jones) is the linchpin, the old man whose country no longer belongs to him and who can’t comprehend what happened to it. It’s because of westerns like these, which examine the genre like grim ghosts presiding over their own autopsies, that so many have pronounced the genre dead over the years.
Even if the cowboy president didn’t fit into this new strain of western in 2007, he did appear either directly or as a kind of offscreen presence in a far different kind of film. One could make a case for these as mutant westerns, featuring a bunch of Dan Evanses trying to bring their Ben Wades to the train against all odds and reason: Sicko, No End in Sight, Operation Homecoming: Writing the Wartime Experience, The Kingdom, Rendition, Lions for Lambs, In the Valley of Elah, Redacted, and Grace Is Gone. If you look hard enough, you can even see him in the margins of Paul Thomas Anderson’s bizarre, oil-soaked quasi western, There Will Be Blood.
It’s doubtful that any of these movies will be screened at the White House soon. No, the year’s most likely cowboy to push through those swinging doors is none other than Sam Elliot in The Golden Compass, a traditional cowpoke in an unfamiliar setting, complete with "howdy"s and "I reckon"s, uttered among a swirling sea of CGI. More than the other cowboys, the current president could recognize and identify with him: conventional, simple, and perhaps a bit lost. *
JEFFREY M. ANDERSON’S TOP 10
1. Inland Empire (David Lynch, France/Poland/US)
2. The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik, US)
3. No Country for Old Men (Ethan Coen and Joel Coen, US)
4. Before the Devil Knows You’re Dead (Sidney Lumet, US)
5. Offside (Jafar Panahi, Iran)
6. Private Fears in Public Places (Alain Resnais, France/Italy)
7. Eastern Promises (David Cronenberg, UK/Canada/US)
8. The Host (Bong Joon-ho, South Korea)
9. Bug (William Friedkin, US)
10. I’m Not There (Todd Haynes, US)
Runners up: 12:08 East of Bucharest (Corneliu Porumboiu, Romania), Into Great Silence (Philip Gröning, France/Switzerland/Germany), Hot Fuzz (Edgar Wright, UK/France), Death Proof (extended version) (Quentin Tarantino, US), Triad Election and Exiled (Johnny To, Hong Kong)

Well, Dennis Kucinich had a good excuse for missing the kick-off of his “Peace Train” presidential campaign in San Francisco – the untimely death of his brother, Perry.
The media, however, didn’t have an excused absence. Despite the lack of Dennis, over 200 people turned up last Friday night to hear the Nation’s John Nichols, writer Michael Parenti, Code Pink’s Medea Benjamin, Bill Simpich from the Iraq Moratorium, and Kucinich scheduler, Amy Vossbrinck, laud the Ohio congressman and his bid for the White House.
While all of the speakers had interesting points to make, Parenti made the really obvious one that had to be in the backs of all the minds sitting in the audience – that no one’s paying attention to Kucinich’s campaign. “Candidates used to hide how much money they had. Now they brag,” said Parenti, and the more money they have, the more “serious” their candidacies. But, said Parenti, it’s the newscasters that really call the shots. “The media makes these designations. They say these are the leading candidates.”
Here is a report from Carolyn Schmidt, a grassroots observer in Cedar Rapids, Iowa. She filed this report late Wednesday, Dec. 26, 2007.
Cedar Rapids, Iowa–We don’t know a whole lot since the candidates had no public appearances on Christmas Eve or Christmas Day, but they’ve kept their faces in front of us. Chris Dodd, of course, as you may know moved his whole family to Iowa for the caucus campaigning, so he and the family were pictured in the CR Gazette wrapping gifts for Iowa soldiers overseas. Hillary cleverly showed herself putting tags on gifts to go under the tree. The tags read “Health Care,” “Pre-K education,” “Iraq Exit Strategy,” etc.
Every poll seems to show Hillary and Obama neck and neck, although Obama came out slightly ahead on a survey of people agreeing with candidates on specific issues.
And now we need l00,000 people to get Congress to reverse the FCC of George W. Bush to reverse the commission’s sellout to the Big Media who supported us going into Iraq and are now helping keep us there
By Bruce B. Brugmann
(Scroll down to sign a protest letter to Congress and the New York Times story)
As expected, FCC Chairman Kevin Martin and his two Republican colleagues approved new rules that will unleash yet another flood oer media consolidation across the country. As expected, the Big Media is either blacking out or minimalizing the story, with the notable exception of the New York Times which ran an opposing editorial in Monday’s edition and a strong story online today. (See below).
As Robert McChesney, the president of Free Press, a valiant media reform group puts it in an action alert,
“This is about whether we will have access to the information that democracy requires. it is about whether or not we’ll have real news and local voices on radio, trelevision, and in the newspaper in your town. It’s about whether the public airwaves will represent our nation’s diversity.”
Or, let me add, a city’s diversity, such as San Francsico. Remember the Will and Willie show on the Quake on Clear Channel, a highly valuable show that was killed brutally with no explanation because it didn’t have high enough ratings and wasn’t able to go national? That’s but one local example of this dreadful phenomenon. There are some good people on the liberal Quake on Clear Channel (Thom Hartman, Big Ed Schulz, Randi Rhodes, Rachel Matteo, et al), but none of them bring a San Francisco perspective to the show, even though the city is one of the most liberal and civilized cities in tthe world and has the Speaker of the House and two California Senators (Diane Feinstein in the city, Barbara Boxer in Marin).
McChesney rolls the drums and points out that in 2003 the FCC tried to do the same thing, but millions of people demanded that Congress reject the FCC’s rules. And they did, thanks in large part to McChesney’s group. And it’s ttime to do it again. Sign the open letter to Congress, as suggested in the alert below. B3
Read the New York Times article here.

Dear Charles,
It happened. A few minutes ago, FCC Chairman Kevin Martin and his two fellow GOP commissioners approved new rules that will unleash a flood of media consolidation across America. The rules will further consolidate local media markets — taking away independent voices in cities already woefully short on local news and investigative journalism.
In 2003, the FCC tried to do the same thing, but millions of people demanded that Congress reject the FCC’s rules. And they did. It’s time to do it again.
We need 100,000 people to get Congress to reverse the FCC’s rules right now.
Sign Our Open Letter to Congress
Then get three of your friends to do the same.
This is about whether we will have access to the information that democracy requires. It is about whether or not we’ll have real news and local voices on radio, television and in the newspaper in your town. It’s about whether the public airwaves will represent our nation’s diversity.
Just yesterday — spurred by your calls and letters — 26 senators from both parties sent a letter to the FCC Chairman promising “to revoke and nullify the proposed rule” if the FCC voted to lift the longstanding ban on “newspaper-broadcast cross-ownership.” But Chairman Martin did it anyway.
Congress has the power to throw out these rules — and if 100,000 people demand it, they’ll have to listen.
Take action now and spread the word.
Some say that nobody listens to letters like this. Well they definitely do, and it’s a way you can truly help the cause with just a few clicks. Sign on now — and get your friends to do the same.
Your actions are making a difference. Let’s keep up the pressure. And stay tuned — this fight is far from over.
Thanks for bringing us this far,
Robert McChesney
President
Free Press
www.freepress.net
P.S. Spread the word: Recruit three new friends to sign on to this letter and send the message to Congress.
P.P.S. Read Senator John Kerry’s blog post on today’s decision on the Free Press Action Network.
——————————————————————————–
View more information about this campaign at: www.action.freepress.net/campaign/sbmopenletter
Tell your friends about this campaign at: www.action.freepress.net/campaign/sbmopenletter/forward
If you received this message from a friend, you can click here to become a Free Press activist.

Cindy Sheehan, who turned the loss of her son Casey in Iraq into a major national antiwar campaign, became a lighting rod for right-wing attacks, then stepped down from her leadership role, exhausted and somewhat bitter, is back on the scene — and running for Congress in San Francisco.
She came by the Guardian office this week and talked at length about her new political challenge. She realizes it’s not going to be easy taking on Nancy Pelosi, the speaker of the House, the head of the local Democratic Party power structure and a champion fundraiser with essentially unlimited access to cash. But while Pelosi has been building up her power base in Washington, she’s often forgotten her base back home — and I hope Sheehan can push her not only on the war but on the Presidio privatization and its impacts nationwide.
You can listen to the full interview below.