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7/10
The Demon of the Other
21 July 2012
Warning: Spoilers
I grew up fearing a demon. I wasn't alone. Many of us learned, whether in school or through the news, that this demon was out to get us. The demon was different than us. They didn't believe the same as we did. They wanted to hurt us, hurt us so much that they had these horrible weapons pointed in our direction. The demon was called the United Union of Soviet Socialist Republics.

A specter of nuclear war hovered right outside my young mind. I didn't know why the USSR was the demon. No one ever took the time to actually teach me anything at all about the USSR. I just knew I was supposed to be scared. I also knew that I wasn't supposed to like "those" people.

My knowledge of the USSR? Minimal. Really none. My eighth grade history teacher, known for coming to class in a Elizabethan period outfit, skipped the lesson on the Soviet Union to "punish" us. He was mad, for some reason now faded from my memory, and refused to teach us. "This will be important stuff to you some day," the teacher said. "You'll be sorry you didn't get the lesson. We'll sit here in silence today."

Yeah. My public school wasn't the most progressive experience. I've come a long way from Center Junior High School. Hopefully they too have come a long way.

We have new demons to fear now. The process, however, is still the same. The xenophobia and ignorance is still the same. Children raised in the world since the World Trade Center came down have been taught by fearful adults to enact xenophobic fears toward people in Muslim countries--and people of the Muslim faith who are our neighbors in our own country.

The cycle continues. Someday a new demon will rise and replace our fear of Muslim people. When we turn our eyes away from the Muslim world they too, might turn their eyes away from us. They'll grow fearful of another demon as shall we.

We seem to be unable to find our way out of this cycle of fearing that which is different.

You can find this same xenophobia in the movie Trinity and Beyond: The Atomic Bomb Movie. Narrated by William Shatner, Trinity offers up stunning visual imagery of the destructiveness of the weaponry. It provides an engrossing and terrifying spectacle of destruction. The movie fails to question why the bomb was really developed. Maybe the horror is enough. The demon unleashed from the atom speaks for itself.

I wish the documentary moved beyond "othering" those outside of the United States. The same tired old xenophobia is laced through the movie. The bomb was developed, as suggested in the movie, to end a terrible war with Japan. It also makes allusions to needed to protect ourselves against the danger of another more ominous other, the Soviet Union. The most haunting image of all was at the end of the documentary. Horses raced onto a mock battle field, faces and eyes covered with gas masks. Riding the horses were similarly masked human soldiers. When the mask was removed we saw the rise of a new other--the Chinese tested their own nuclear bomb.

The horrifying cycle continues. German. Japanese. Soviet. Chinese. Muslim. We can't seem to find a way to see the other as part of ourselves.

See http://irreverentpsychologist.blogspot.com/2012/07/demons-of-sixth- grade-red-circles-of.html for more
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Tiger Eyes (2012)
8/10
Relationships lost and found
22 April 2012
Tiger Eyes, a young adult book written by Judy Blume in 1981 and the first of her movies to be brought to the big screen, is about a young girl trying to cope with the murder of her father. Her son, Lawrence Blume wrote the screen play and directed the film. Willia Holland stars as Davey and Tatanka Means stars as Wolf, the young man who who helps Davey find strength from loss.

Despite the Boston International Film Festival playing an unfinished version of the film that lacked surround sound and the rich deep and moody color the directer intended, the movie was lushly filmed and used the landscape surrounding Los Almos New Mexico as a silent-yet-powerful character in the film.

What is rendered on the screen is a spare yet moving meditation on the solitude of grief and the redemptive power of connection. The film holds a few masterful moments that telegraph to our hearts and minds the experience of grief. Close to the beginning of the movie we are presented with a character's wish to rise up in a hot air balloon and never come down. Shortly thereafter Davey is alone, cradled by a New Mexico canyon, and calls out for her now dead father. The aloneness an isolation of death and loss are hauntingly personified in these two scenes.

The separation and isolation build in the movie and come to a sharp point before pivoting in a Native American ceremony with Wolf (Tatanka Means) and his father Willie Ortiz (Russell Means, Tatanka's real-life father). The ceremony teaches us that no one is left alone in this universe and that it is vital that we are not alone as we are social beings. Wolf's father says "if a person feels disconnected, he or she might fail." The movie starts to unwind itself and carry us to the ending as relationships move from contraction to expansion toward an emotionally satisfying ending. No one fails.

Blume's books are dense. She packs in many different facets of the young adult experience. The movie adaptation of Tiger Eyes is no different. In 92 minutes we are exposed to death, grief, teen drinking, teen relationships and dating, rebellion, angst, and more. I found myself wishing for a simpler more spare story line. The other issues presented in the movie, while important and well done, distracted me from the elegant beauty of relationships lost and found.

I think, perhaps, my wish of a more spare movie reflects my more adult tastes. I got to thinking about how young adults interact with media-- short bits of information. I wonder if that was Lawrence Blume's intention of the movie--to present short bits of information to a young adult audience in their own language. If that's the case, it was pure genius.

more: http://irreverentpsychologist.blogspot.com/2012/04/relationships- lost-and-found-tiger-eyes.html
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