American Gangster lives up to its name, but that’s not necessarily setting the bar very high. If you were to leave the cinema ten minutes before the film’s end, you’d come away with the sense that you’d just watched some outstanding performances in a well-executed piece that reeks of 1970s nostalgia. When you watch it to the end though, you walk out with the impression that both the screenwriter Steve Zaillian and director Ridley Scott missed a huge opportunity to make a much greater movie. Though there are far worse ways to pass two hours and forty minutes, the lack of originality of the premise results in a film that’s not terribly inventive.
(**Warning: Some minor spoilers are contained below.)
At its most basic level, this movie contains two tales. One details the rise of Frank Lucas (powerfully portrayed here by Denzel Washington) from Southern boy to Harlem drug kingpin, followed by his inevitable downfall. The other narrative trails Russell Crowe as Detective Richie Roberts, who sets out to catch Lucas, and ultimately blows apart a ring of widespread corruption within the NYPD.
The plot misses the mark several times, failing to explore what would seem to be the most compelling aspects of this true story. The tale of a drug dealer climbing to the top in a poverty stricken neighborhood is not novel, nor is chronicling it in film. But there are some things that we learn only at the very end of the film, bullet-points style, that could seemingly have made a much more intriguing focus for this movie. In addition, here’s a pretty stunning argument that’s just barely made by the film: Lucas’ success in smuggling copious amounts of heroin into the U.S. from Vietnam and amassing a fortune selling it on the streets of Harlem had less to do with his ability to outsmart the law, and more do with the fact that white cops in the late ’60s simply could not believe an African American could be this clever. Therefore, what could’ve been a springboard to examine the greater race-relations issue is instead left to a few passing remarks. By failing to explore the shortsightedness of the police, Lucas’ accomplishments are unnecessarily glorified. But, haven’t enough movies about crime splendor already been made?
Alas, while two and a half hours of this film are devoted to showing how Lucas smuggled the drugs into the country, started a business, and spent the proceeds, the account of Lucas and Roberts’ eventual collaboration is assigned a half-hearted ten minute montage to close the film. The two phenomenal lead actors deliver stunning performances, but their characters are never in the same room until the final minutes of the movie. That’s a real shame, because what passes between them in a few brief scenes is some of the finest acting seen onscreen in the last decade.
Perhaps Zaillian and Scott were just setting out to present Lucas the Drug Dealer, and if so they succeed, but there’s a much more interesting story here that remains untold. Everything but the last ten minutes of this movie has been done before. It was called Scarface, and it was a better film.
Thursday December 06th 2007, 11:51 am
Filed under: Podcasts
Posted by: Melanie
A bout with throat cancer robbed him of the ability to sing for a time, but thankfully, Levon Helm has returned to recording. The battle scars are audible — it’s not quite the same voice that sang “The Weight” and “The Night They Drove Old Dixie Down” — but somehow, that just manages to suffuse the music on his new solo record, Dirt Farmer, with a superb sense of authenticity. Julia Clarke will tell you more in this edition of the Songlines podcast.
Have plans for New Year’s Eve? Well, Levon is doing one of his famous Midnight Rambles that night. We wouldn’t be surprised if some great guests are along for the ride. Get the details here.
The year is nearly over and that means it’s time for the new the Shining Heads Poll! If you’ve done it before you know the drill. If you’re a first timer, well, let’s just say we promise not to ask for your Top 10 album list. But we will inquire about music, politics, sex, sports, movies, books and the amazing individuals who make up the wonderful word of Adult Rock. Some questions are serious but most are intended to be fun. All of your answers will remain private.
We want to thank all the folks who submitted ideas this year, especially: Bruce Warren, Dan Reed, Mark Abuzzahab, Darrell Anderson, Jamie Canfield, Jenni Sperandeo, Dave Sloan, Spider Glenn, Drew Murray, Matt Ittigson, Sam Scholl and Ira Gordon.
When you have ten minutes or so, take the Poll. Results will be posted in the New Year.
After the band lost their major label deal in 2002, former Del Amitri lead singer and songwriter Justin Currie did some soul searching. He traveled to Spain, got stoned, listened to romantic Italian music, and realized that he had no desire to keep making the same albums over and over again. He got obsessed with the idea of making a record of intimacy and immediacy, and returned to Scotland with a lot of songs percolating under the surface. With no commercial pressures or deadlines, he took the time to develop and record what would become his first solo album, What Is Love For?, in an organic manner. He was inspired by other deeply personal albums that he loves: “I had four major reference points. Curtis Mayfield’s Curtis, John Lennon’s Plastic Ono Band album, Neil Young’s After the Gold Rush, and Nina Simone and Piano. Of course, I didn’t expect to make an album anywhere near those masterpieces. I just hope that it’s honest and truthful.” Hear samples of some of the record’s tracks in this edition of the Songlines podcast.
On Chesil Beach by Ian McEwan
Though McEwan calls this work a novel, not a short story, it is a brief work, with a plot that’s both focused and sublime. McEwan has long been and remains one of the most descriptive writers in the language and can take simple events and draw them in such perfect detail that they do more than ring true: instead, we feel like they might be our own. This tale deals with a man and woman who meet in the uptight England of the early ’60s (before the Beatles, Carnaby Street and sexual revolution had transformed the culture into something we recognize today). Their wooing is stilted and uncomfortable and most of the action takes place on their climactic wedding night. It is both hilarious and tragic. I loved it.
Eddie Vedder and Sean Penn vaguely recall first meeting each other “backstage at some kind of multi-artist concert.” But their proper introduction came when Tim Robbins hooked them up to collaborate on some music for the 1995 film Dead Man Walking. Later, they worked together on I Am Sam. They’ve talked about several projects since then, but it wasn’t until Penn showed Vedder a rough cut of his new film, Into the Wild, until they knew what their next project would be. (Into the Wild is based on the 1996 book of the same name by Jon Krakauer, which tells the true story of Christopher McCandless, a young man who cut ties with his family and took off for Alaska with plans to live off the land and the kindness of strangers.) Everything immediately fell into place. Vedder reflects on his songwriting process: “It was startling how easy it was for me to get into his head. I found it to be uncomfortable how easy it was, because I thought I’d grown up. I think all this stuff was right under the surface for me, barely.” Julia Clarke has more in this edition of the Songlines podcast.
Benjamin Franklin: An American Life by Walter Isaacson
This is a terrific biography of one of the first true American Renaissance men. Franklin was a prolific writer, a successful printer, a renowned scientist, an effective satirist and humorist, and his work in foreign service before we actually had a Foreign Service helped pave the way for this new nation’s success.
If most of what you know about Franklin comes from tepidly-written schoolbooks, you probably don’t have a grasp on the scope of his accomplishments. This biography brings him to life. He was so far ahead of his time that, if he were to be dropped by a time machine into New York City this weekend, I’m confident he’d be comfortable within an hour. His relaxed views on religion (he believed in a benevolent God who rewarded good deeds and hard work as opposed to the more prevalent Puritan view that featured holy omnipotence and its predetermined menu of pain and suffering) seems remarkably brave given the fire and brimstone of his time. He was a pragmatist, constantly organizing and designing: clubs, associations, libraries, lightening rods, fireplaces, etc. all to the betterment of a growing middle class. Isaacson tells this story chronologically, complete with all Franklin’s strengths and shortcomings. Like so many men who achieve greatness, he was sadly estranged from his son, William, who supported the British during the revolution. His doting wife, Deborah, remained behind in Philadelphia while her husband was overseas, initially to win French favor in helping to defeat the British in the War of Independence and remaining afterward to negotiate the peace (with the much younger John Adams and Thomas Jefferson); he was away for 16 of the final 17 years of her life.
Isaacson points out in closing that Franklin’s reputation has been reevaluated by every generation to suit their own needs and biases. His stock has again risen in this time of political and religious unrest and global climate change. His story brings into relief our desperation as we search for leaders who have but a portion of his worldliness, intelligence and talent. Anyone who loves American history will enjoy reading about one of our country’s greatest men.
Like sand through the hourglass, gone are “The Days of Our Lives.†Fox’s “’Til Death†has officially parted, and before we know it “Lost†will be living up to its name.
In case you hadn’t heard, the Writers Guild of America has instituted a strike. Members are demanding rightful compensation for money made through DVD sales and the internet downloads of their efforts, and until their demands are met, they’re not writing. In the land of money and television, it all sounds fair enough in theory. But striking? Could there be a more un-American course of action? Think of a country that doesn’t like to work, and who comes to mind first: our sojourn-loving adversaries, the French, or we hardworking Americans?
A major cultural revolution is afoot! It’s simply taken for granted each summer that French lorry drivers will take a break from the job to block up roads and ports, and deny many a poor European two out of their eight or so weeks of annual vacation. But we Americans generously give back a massive 1.6 million years of unused vacation time to our employers every year. Not only has an American industry taken a leaf out of the enemy’s book, they’ve turned it into a crappy made-for-TV adaptation and transmitted it right into the center of our broken hearts by depriving us of our late night shows and doctor dramas with hip indie soundtracks!
What will I do on Thursday nights without the long agonized glances exchanged between Grey’s Anatomy’s Derek and Meredith (Deredith) as The Fray play on in the background?
Presidential hopeful Stephen Colbert could be rendered as verbally incompetent as our own real-life president. Hell, “The Word†will probably be just that: one word. David Letterman meanwhile will be left with his proverbial trousers down reading his grocery list in lieu of the “Top Ten.” Canned ham anyone?
From the green statue that greets our nation’s visitors, to the delicious side order of crispy fried potatoes we’re offered with every burger, the Francofication of America is spiraling out of control! Before you know it, we’ll be pouring maple syrup on our crepes in the morning, ordering a Royale with Cheese at McDonald’s, and our very own president will succeed in his courageous effort to set a record for vacation days taken while in office. Or has he already?
But fear not, there is hope. Through their most unpatriotic action, the WGA are inadvertently upholding another great American pastime: reality television. Ladies and gentlemen take solace, America’s most questionable contribution to popular culture needs no scripted lines!
While more refined, scripted shows go the way of the French, America’s appetite for “reality†shows may finally be satiated in the coming months. Face it, no matter how great the script, Fear Factor’s contestants wouldn’t be able to read their lines with a mouthful of cockroaches anyway. And what comedy writer could possibly beat Sharon Osborne lobbing a ham over the wall into the neighbor’s yard? The absence of scripts has allowed Jessica Simpson to mistake an aquatic vertebrate for domesticated foul, and gave viewers hope when Danny Bonaduce attempted suicide. (Then snatched it away when he failed.)
Alas, it’s true that one of Celebreality’s deities has this week suffered somewhat of a setback, and that’s The Dog. Duane “Dog” Chapman, bounty hunter to the less fortunate, is notably absent from our ever-shrinking nightly TV roster after some publicized comments that would make Don Imus himself cringe. But worry not, he’ll no doubt have a Kumbaya session with Al Sharpton, take a long vacation, and return refreshed in 2008 for a new season which will feature the mullet-wielding 18-time criminal offender boldly risking his toned physique to chase down similarly-minded criminals in return for large sums of money. Vive le fromage!
Friday November 09th 2007, 5:38 pm
Filed under: Americana
Posted by: Melanie
We’ve tallied up the votes from the Music Meeting at this year’s Americana Conference and we’re please to present them to you.
We played 14 songs from more than 700 submitted. Voters were asked to give each a score between 0 and 10.
Here’s how they stacked up:
ALL VOTERS
The Steeldrivers
8.05
“Blue Side of the Mountainâ€
Thad Cockrell
7.62
“A Country of My Ownâ€
Kathleen Edwards
7.27
“I Make the Dough, You Get the Gloryâ€
Eric Lindell
6.84
“Lay Back Downâ€
Cross Canadian Ragweed
6.7
“Smoke Anotherâ€
Marah
6.68
“Angels of Destructionâ€
Caroline Herring
6.63
“Paper Gownâ€
Drive-By Truckers
6.62
“Two Daughters and a Beautiful Wifeâ€
The Wrights
6.34
“A Love Like Thatâ€
Kathy Mattea
6.33
“Coal Tattooâ€
The Waifs
6.23
“How Many Milesâ€
Gary Louris
5.71
“True Blueâ€
Mando Saenz
4.78
“Pocket of Redâ€
Shawn Mullins
4.59
“All In My Headâ€
RADIO ONLY
The Steeldrivers
8.57
“Blue Side of the Mountainâ€
Thad Cockrell
7.71
“A Country of My Ownâ€
Drive-By Truckers
7.56
“Two Daughters and a Beautiful Wifeâ€
Kathleen Edwards
7.44
“I Make the Dough, You Get the Gloryâ€
Cross Canadian Ragweed
7.33
“Smoke Anotherâ€
The Wrights
7
“A Love Like Thatâ€
Caroline Herring
6.89
“Paper Gownâ€
Eric Lindell
6.89
“Lay Back Downâ€
Kathy Mattea
6.86
“Coal Tattooâ€
Marah
6.25
“Angels of Destructionâ€
Gary Louris
5.89
“True Blueâ€
The Waifs
5.8
“How Many Milesâ€
Mando Saenz
4.63
“Pocket of Redâ€
Shawn Mullins
3.33
“All In My Headâ€
Thanks to everyone who sent music for consideration. Our choices were, of course, subjective and meant to represent the wide color of sound and style that is Americana music.
We urge everyone to listen to all of these releases if they arrive in your world.
Thanks to everyone who came and participated and offered observations both humorous and insightful.
