my review: biutiful

ah javier bardem… i love him. he’s one of the great actors of the world. his face is indelible, a monument, a colossal stamp on the human species. yet as an actor he’s hardly a towering icon – he’s emotionally nimble, vulnerable, transparent. in “the sea inside” i was constantly reminded of the physical force of his presence and awestruck at how he had succeeded in taming it, containing it. an incredible feat.

in biutiful, we are treated to many different sides of javier bardem/uxbal – he’s a small-time go-between involved in every aspect of barcelona’s criminal underbelly, he’s a devoted father, he’s still in love with his bipolar ex-wife, he can commune with the dead, he tries to be a good human being (however quaint that might sound these days). oh yeah, he’s also dying of cancer. in his characteristic style, alejandro gonzález iñárritu gives us multiple threads that r all woven into one dynamic tapestry. characters and storylines abound, some more developed than others, yet uxbal ties everything together.

day by day, he jumps thru hoops in order to survive. he is surrounded by people who r equally trapped by their own circumstances. it’s a mean and miserable side of life where deprivation can turn morality into a luxury. it is grating to watch after a while. one wishes for less – fewer, longer shots, less hectic editing, fewer side characters and sundry drama, more quiet, more time for uxbal to articulate his essence fully, uninterruptedly.

but there r some beautiful moments in the film – when damaged people manage to connect deeply, when a father comforts his son in the dark, when a grown man sees his 20 year-old embalmed father for the first time, when a man confronts his own death and shares that certainty with his young daughter. there is such truth at these moments, such raw emotion, such honest physicality. the movie is shot handheld for the most part. the colors r grim with sudden bursts of radiance. the film has an impeccable artistic look. and javier bardem is magnificent.

watch trailer here.

A Jihad for Love 1/8

a heartfelt documentary by parvez sharma about muslims struggling to come to terms with their homosexuality, within the context of their faith. the film is shot in india, pakistan, iran, turkey, egypt, south africa and france. it is sensitive, full of intimate emotion and subtle cinematography – all rare in the documentary form. the entire film can be watched on youtube.

Pakistan: A Hard Country by Anatol Lieven – review by Pankaj Mishra

Anatol Lieven’s clear-sighted study asks if Pakistan has lost control of its international narrative

Pakistan, Anatol Lieven writes in his new book, is “divided, disorganised, economically backward, corrupt, violent, unjust, often savagely oppressive towards the poor and women, and home to extremely dangerous forms of extremism and terrorism”. It is easy to conclude, as many have, from this roll call of infirmities that Pakistan is basically Afghanistan or Somalia with nuclear weapons. Or is this a dangerously false perception, a product of wholly defective assumptions?

Certainly, an unblinkered vision of South Asia would feature a country whose fanatically ideological government in 1998 conducted nuclear tests, threatened its neighbour with all-out war and, four years later, presided over the massacre of 2,000 members of a religious minority. Long embattled against secessionist insurgencies on its western and eastern borders, the “flailing” state of this country now struggles to contain a militant movement in its heartland. It is also where thousands of women are killed every year for failing to bring sufficient dowry and nearly 200,000 farmers have committed suicide in the previous decade.

Needless to say, the country described above is not Pakistan but India, which, long feared to be near collapse, has revamped its old western image through what the American writer David Rieff calls the most “successful national re-branding” and “cleverest PR campaign” by a political and business establishment since “Cool Britannia” in the 1990s. Pakistan, on the other hand, seems to have lost all control over its international narrative.

Western governments have coerced and bribed the Pakistani military into extensive wars against their own citizens; tens of thousands of Pakistanis have now died (the greatest toll yet of the “war on terror”), and innumerable numbers have been displaced, in the backlash to the doomed western effort to exterminate a proper noun. Yet Pakistan arouses unrelenting hostility and disdain in the west; it lies exposed to every geopolitical pundit armed with the words “failing” or “failed state”.

Such intellectual shoddiness has far-reaching consequences in the real world: for instance, the disastrous stigmatisation of “AfPak” has shrunk a large and complex country to its border with Afghanistan, presently a site of almost weekly massacres by the CIA’s drones.

Pakistan’s numerous writers, historians, economists and scientists frequently challenge the dehumanising discourse about their country. But so manifold and obdurate are the clichés that you periodically need a whole book to shatter them. Lieven’s Pakistan: A Hard Country is one such blow for clarity and sobriety.

Lieven is more than aware of the many challenges Pakistan confronts; in fact, he adds climate change to the daunting list, and he is worried that Pakistan may indeed fall apart if the United States continues to pursue its misbegotten war in the region, thereby risking a catastrophic mutiny in the military, the country’s most efficient institution. But Lieven is more interested in why Pakistan is also “in many ways surprisingly tough and resilient as a state and a society” and how the country, like India, has for decades mocked its obituaries which have been written obsessively by the west.

Briskly, Lieven identifies Pakistan’s many centrifugal and centripetal forces: “Much of Pakistan is a highly conservative, archaic, even sometimes inert and somnolent mass of different societies.” He describes its regional variations: the restive Pashtuns in the west, the tensions between Sindhis and migrants from India in Sindh, the layered power structures of Punjab, and the tribal complexities of Balochistan. He discusses at length the varieties of South Asian Islam, and their political and social roles in Pakistani society.

Some of Lieven’s cliché-busting seems straightforward enough. Islamist politics, he demonstrates, are extremely weak in Pakistan, even if they provoke hysterical headlines in the west. Secularists may see popular allegiance to Islam as one of the biggest problems. But, as Lieven rightly says, “the cults of the saints, and the Sufi orders and Barelvi theology which underpin them, are an immense obstacle to the spread of Taliban and sectarian extremism, and of Islamist politics in general.”

From afar, a majority of Pakistanis appear fanatically anti-American while also being hopelessly infatuated with Sharia. Lieven shows that, as in Latin America, anti-Americanism in Pakistan is characterised less by racial or religious supremacism than by a political bitterness about a supposed ally that is perceived to be ruthlessly pursuing its own interests while claiming virtue for its blackest deeds. And if many Pakistanis seem to prefer Islamic or tribal legal codes, it is not because they love stoning women to death but because the modern institutions of the police and judiciary inherited from the British are shockingly corrupt, not to mention profoundly ill-suited to a poor country.

As one of Lieven’s intelligent interlocutors in Pakistan points out, many ordinary people dislike the Anglo-Saxon legal system partly because it offers no compensation: “Yes, they say, the law has hanged my brother’s killer, but now who is to support my dead brother’s family (who, by the way, have ruined themselves bribing the legal system to get the killer punished)?”

Lieven, a reporter for the Times in Pakistan in the late 1980s, has supplemented his early experience of the country with extensive recent travels, including to a village of Taliban sympathisers in the North West Frontier, and conversations with an impressive cross-section of Pakistan’s population: farmers, businessmen, landowners, spies, judges, clerics, politicians, soldiers and jihadis. He commands a cosmopolitan range of reference – Irish tribes, Peronism, South Korean dictatorships, and Indian caste violence – as he probes into “the reality of Pakistan’s social, economic and cultural power structures”.

Approaching his subject as a trained anthropologist would, Lieven describes how Pakistan, though nominally a modern nation state, is still largely governed by the “traditions of overriding loyalty to family, clan and religion”. There is hardly an institution in Pakistan that is immune to “the rules of behavior that these loyalties enjoin”. These persisting ties of patronage and kinship, which are reminiscent of pre-modern Europe, indicate that the work of creating impersonal modern institutions and turning Pakistanis into citizens of a nation state – a long and brutal process in Europe, as Eugen Weber and others have shown – has barely begun.

This also means that, as Lieven writes, “very few of the words we commonly use in describing the Pakistani state and political system mean what we think they mean, and often they mean something quite different.” Democratically elected leaders can be considerably less honest and more authoritarian than military despots since all of Pakistan’s “democratic” political parties are “congeries of landlords, clan chieftains and urban bosses seeking state patronage for themselves and their followers and vowing allegiance to particular national individuals and dynasties”. (With some exceptions, this is also true of India’s intensely competitive, and often very violent, electoral politics; it explains why 128 of the 543 members of the last Indian parliament faced criminal charges, ranging from murder to human trafficking, and why armies of sycophants still trail the Nehru-Gandhi dynasty).

Lieven’s book is refreshingly free of the condescension that many western writers, conditioned to see their own societies as the apogees of civilisation, bring to Asian countries, assessing them solely in terms of how far they have approximated western political and economic institutions and practices. He won’t dismiss Pakistan’s prospects for stability, or its capacity to muddle along like the rest of us, simply because, unlike India, it has failed to satisfactorily resemble a European democracy or nation state. Rather, he insists on the long and unconventional historical view. “Modern democracy,” he points out, “is a quite recent western innovation. In the past European societies were in many ways close to that of Pakistan today – and indeed modern Europe has generated far more dreadful atrocities than anything Islam or South Asia has yet achieved.”

Busy exploding banalities about Pakistan, Lieven develops some blind spots of his own; they include a more generous view of the Pakistani military than is warranted. He doesn’t make clear if Pakistan’s security establishment can abandon its highly lucrative, and duplicitous, arrangement with the United States, or withdraw its support for murderous assaults on Indian civilians.

Still, Lieven overturns many prejudices, and gives general readers plenty of fresh concepts with which to think about a routinely misrepresented country. Transcending its self-defined parameters, his book makes you reflect rewardingly, too, about how other old, pluralist and only superficially modern societies in the region work. “Pakistan is in fact a great deal more like India – or India like Pakistan – than either country would wish to admit,” Lieven writes, and there is hardly a chapter in which he doesn’t draw, with bracing accuracy, examples from the socioeconomic actuality of Pakistan’s big neighbour. Easily the foremost contemporary survey of “collapsing” Pakistan, Lieven’s book also contains some of the most clear-sighted accounts of “rising” India.

Pankaj Mishra’s Temptations of the West is published by Picador.

Be With Me – film review

saw this film from singapore. interesting but didn’t quick click for me. i would have preferred more focus on the main character, a real-life woman who went deaf and then completely blind but managed to become a teacher. i like what the reviewer says about cyber relationships: “Be With Me looks askance at cyber styles of instant communication, with abbreviated words and phrases, in which a relationship can be erased by pressing delete.” More here.

my review: white meadows – a film by mohammad rasoulof

just saw iranian film “white meadows”. directed by mohammad rasoulof and edited by jafar panahi, the introduction itself was sensational as both men have been arrested by the iranian govt. the film is described as an allegorical poem rooted in persian literature and contemporary politics. the cinematography is stunning. the film was shot on the salt islands of lake urmia. scenes are bare, mostly devoid of color or texture, and stark in their black and white contrast. men and women dressed in black, moving quietly across still, panoramic shots reminded me of shirin neshat’s video work.

we go on a journey with rahmat, a professional tear collector, who travels from salt island to salt island, listening to people’s heartaches and collecting their tears. the visualization of the expression of grief and ritualistic human endeavors aimed at resolving it, living with it, are poetic indeed. in one village, people take turns whispering their sorrowful secrets into small glass jars and shutting them tight. after they have their tears gathered by rahmat into a small glass vial, all the jars weighed down by guilt, pain and remorse are attached to the body of a man small enough to climb down the well. he happens to be a dwarf who was recently married. he is asked to leave the jars at the bottom of the well and climb back up before sunrise. the man is apprehensive about being able to move that fast but he accepts his fate. when he is unable to resurface on time, the rope is cut condemning him to death, to the lamentation of his young wife. rahmat encounters many such stories.

altho i appreciate the symbolic import of each fable and i am not one to complain about abstraction, i was disappointed by many of the stereotypical images used by rasoulof. the stoning of a young lover, the ceremonial sacrifice of an underage virgin, the torture of dissenters – these are not ground-breaking allegories but mainstream platitudes that the west is already v cozy with. they don’t tell us anything new about iran, but reinforce the propagandist summation of iran as cruel, mysterious, incomprehensible. the reaction i heard most often in the theater, throughout the film, was “jeez” – an expression of shock and self-righteous dismay. any fox news report on iran can produce that reaction, any time of the day.

of course i am all for freedom of speech, especially artistic expression. rasoulof’s film is visually complex and humane. yet i fear the reaction of many magnanimous americans who might be tempted to think that we have something to teach other cultures. and another question: when do we get to see an allegorical film about american oppression and ritualistic sacrifice? symbols could include images of scalping and branding people, waterboarding and dark pools of thick sticky oil. any takers?

Poetry – a film by Lee Chang-dong

saw a terrific korean film called “poetry.” it’s about women being much put-upon, it’s about how the finest, tenderest of human feelings cannot find expression in a world that doesn’t care, it’s about lives that become irreversibly intertwined, it’s about finding one’s voice.

this is a subtle film – it’s quiet and lyrical, yet full of violence – violence we don’t see but can read as subtext. what struck me most is how women r so socially imposed upon – it’s something we accept, irrespective of culture.

ingmar bergman’s “scenes from a marriage”

saw bergman’s “scenes from a marriage” last night. it’s like an immensely charged chamber play with two brilliant actors (liv ullmann and erland josephson). it navigates the ups and downs of love and marriage with a directness, a brutality not often seen in film. rather than evade contradictions and strive for black and white platitudes, the film is a journey in which two people grow, in a relationship that spans two decades. they r confused and imperfect – they can be cruel, self-abasing but also incredibly touching. just like in real life. hey, who said marriage was boring?

the house of mirth

finished reading edith wharton’s “the house of mirth” in florida. as i had just read “the age of innocence,” i can’t help but compare the two books. i found “age” to be more polished in a sense – a perfectly proportioned work of art, meticulously observed, beautifully crafted. “the house of mirth” has more abandon to it and requires more emotional engagement. rather than having the luxury of observing a society constrained by arbitrary conventions, we are thrown headlong into the stuffy parlors of new york’s elite and we can’t help but live lily bart’s struggles as she tries to make her way around the serpentine maze of hypocritical upper class etiquette. lily’s gradual fall from grace is difficult to experience as it underlines the paltry set of choices available to women in societies where they are mostly meant to be ornamental. this frustration is further heightened by lily’s doomed relationship with lawrence seldon, the only man who makes her feel like a complete human being. the sense of suffocation that one feels throughout the book changes to much sadness as we reach the final denouement of lily’s tragic fate.

joan holden’s play “nickel and dimed”

jan 24, 2011: just attended a reading of joan holden’s play “nickel and dimed” at geva theater. the play is based on barbara ehrenreich’s book in which she says provocatively: “when someone works for less pay than she can live on – when, for example, she goes hungry so that you can eat more cheaply and conveniently – then she has made a great sacrifice for you, she has made you a gift of some part of her abilities, her health, and her life. the working poor, as they are approvingly termed, are in fact the major philanthropists of our society. they neglect their own children so that the children of others will be cared for; they live in substandard housing so that other homes will be shiny and perfect; they endure privation so that inflation will be low and stock prices high. to be a member of the working poor is to be an anonymous donor, a nameless benefactor, to everyone else.”

i found the play depressing – there is a hopelessness that comes from the constant, exhausting struggle for survival among america’s working poor. it’s difficult to witness. but i was more depressed by many in the audience who, in the post play discussion, expressed their disenchantment with unions. unions can be run competently or not, but the benefits of organizing workers in order to offer them some protection in a ruthless corporate work environment is a no-brainer. we need a strong movement for economic justice which can articulate all of this. the present situation is unacceptable, untenable.

“nickel and dimed” by barbara ehrenreich

The King’s Speech

watched “the king’s speech” last night – most excellent. loved the script – v subtle and witty. colin firth is masterful of course and the interplay b/w him and geoffrey rush is delightful. both brilliant actors. great musical score too. wish they made more movies like that.

Scene from “Close-Up”

kiarostami’s “close-up” is ingenious. the story unfolds as seen thru the eyes of diff characters and the audience is allowed to piece together their own understanding of what happened based on info gleaned from diff perspectives/locations/times. that’s not how films r usually structured. throughout the movie, there is this tug and pull b/w truth or lie, real or unreal, culprit or victim. v reminiscent of life.

my review: “the age of innocence” by edith wharton

edith wharton’s “the age of innocence” was a joy to read – the language is sumptuous, her focus relentless. she fleshes out her characters so that they stand out in sharp relief yet she never weighs down her writing with irrelevant fluff.

i love the clarity with which she explores newland archer’s innermost thoughts. we recognize the split b/w how he views the world or the people around him and how he mostly behaves in accordance with good social programming. that disconnect is made all the more dramatic by how the story is located in upper-crust new york society, at the end of the 19th century. everything had to be done just so, based on a litany of what often seemed like preposterous rules related to good form and good taste. in this complex milieu we are regaled with a private tour of archer’s mind.

wharton’s keen assessment and description of late 19th century new york society:

“in reality they all lived in a kind of hieroglyphic world, where the real thing was never said or done or even thought, but only represented by a set of arbitrary signs…”

wharton is not shy about exposing the need for old new york to be more british than the british. it’s reminiscent of the kalaa sahib phenomenon in the indian subcontinent. such is the destiny of all colonies perhaps. it’s also fascinating to see how new york has changed, from a time when family scandals could be tolerated (albeit with much aggravation) but NOT “business irregularities,” to wall street having become the essence of financial chicanery.

wharton’s sensitive articulation of what goes on in the human mind:

“but when he had gone the brief round of her he returned discouraged by the thought that all this frankness and innocence were only an artificial product. untrained nature was not frank and innocent; it was full of the twists and defenses of an instinctive guile. and he felt himself oppressed by this creation of factitious purity, so cunningly manufactured by a conspiracy of mothers and aunts and grandmothers and long-dead ancestresses, because it was supposed to be what he wanted, what he had a right to, in order that he might exercise his lordly pleasure in smashing it like an image made of snow.”

“since there had been no farther communication b/w them, and he had built w/i himself a kind of sanctuary in which she throned among his secret thoughts and longings. little by little it became the scene of his real life, of his only rational activities… outside it, in the scene of his actual life, he moved with a growing sense of unreality and insufficiency, blundering against familiar prejudices and traditional points of view as an absent-minded man goes on bumping into the furniture of his own room.”

“their long years together had shown him that it did not so much matter if marriage was a dull duty, as long as it kept the dignity of a duty; lapsing from that it became a mere battle of ugly appetites.”

finally, wharton’s mastery of language:

“archer hung a moment on a thin thread of memory, but it snapped and floated off with the disappearing face, apparently that of some foreign business man looking doubly foreign in such a setting.”

“archer reddened to the temples, but dared not move or speak: it was as if her words had been some rare butterfly that the least motion might drive off on startled wings, but that might gather a flock about it if it were left undisturbed.”

the film:

the first time i saw martin scorsese’s “the age of innocence,” many years ago, i came away with the feeling that it lacked heart. i saw it again a couple of days ago, after reading the book, and it all made sense. scorsese’s film is a visually lush, impeccably choreographed tableau, complete with narration (by joanne woodward). like the book, the film highlights the precedence of form over substance, of artificial perfection over uneven reality, of meaningful looks over “unpleasant” words and actions. it’s apt.

poster girl

saw “poster girl” on monday, at nazareth college. the doc is about iraq veteran robynn murray and the challenges she faces after coming back from the war. she is dealing with PTSD, the VA system, and coming to terms with her experiences in iraq. both director sara nesson and robynn murray were in attendance. robynn is involved with IVAW and the combat paper project. she is incredibly courageous and honest. in answer to a question she talked about being sexually assaulted while still in training to go to iraq. she reported the assault but it was pretty much ignored. with everything else that she is struggling with, this added a whole new layer of complexity to her story. too bad it was not included in the film. one out of three women get raped or sexually assaulted in the military. wonder how we’re supposed to protect the rights of afghan women. more about the film here.

poster girl