When I think of Irish history and the travails of the Irish people, I can’t help but want to repurpose what Porfirio Díaz allegedly said about Mexico: “So far from God, so close to Britain.”
The history of English, and later British, rule in that green isle is suffused with cruelty. Ireland has been described as Britain’s “laboratory of empire”. Ben Kiernan, author of Blood and Soil: a Global History of Genocide and Extermination from Sparta to Darfur (2007), and the chair of the Genocide Studies Department at Yale, argues that there was a certain genocidal logic in Ireland that preceded what the British, and later Americans, did to the indigenous peoples of North America and Australasia.
The most infamous British atrocity is the Great Irish Famine, sometimes called the Irish Potato Famine, which lasted from 1845 to 1852. Black ’47 takes place in what is said to be the worst year of this catastrophe.
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The historiography of the Israeli-Palestinian conflict is fraught at the best of times: a decades-long slog between two different peoples, each with ties to a small strip of land between the Jordan River and the Mediterranean. Benny Morris, an Israeli historian and a rather controversial one, titled his history of the conflict Righteous Victims (1999). Despite some polarizing remarks, I think Morris made a very clever decision in never specifying who exactly the victims are.
Saree Makdisi, in Palestine Inside Out (2008), argues the conflict is fundamentally about land. This may be true, but the reason each side wants the land so much is because of a sense of victimhood. The Zionists who founded the modern state of Israel had been targeted by centuries of antisemitism that culminated in the Holocaust. The Arabs of Palestine had been marginalized by the Zionists and by the British Mandate, culminating in what they call al-Nakba, or the Catastrophe; the expulsion of so many Arabs from the land that became the State of Israel.
You can see this in the dueling concepts of who is allowed to “return” to the land. The Israelis promote a “law of return” allowing anyone of Jewish heritage to gain Israeli citizenship. The Palestinians demand a “right of return” for the descendants of the refugees who were driven out by the barrels of Haganah, Irgun and Lehi guns.
Continue reading “Kedma”
They don’t make movies like Otto Preminger’s Exodus anymore. It’s one of those epic historical dramas with bombastic soundtracks that make me regret being born in a time when only Star Wars has such scores. (Listen here.)
It runs in the ballpark of three and a half hours, so it’s by no means an easy watch. Making it even less easy is the controversial subject matter: the founding of the modern state of Israel.
As a story, the film works magnificently. It earns its behemoth runtime. No scene is wasted, and the story naturally takes that time. It feels properly epic; about a people who have survived the unspeakable and their odyssey to find a new home.
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I was looking forward to Wonder Woman 1984. The last movie was amazing. Gal Gadot is perfect for the role. And this one would be set in the 1980s!
Sadly, it disappoints on all fronts.
Unlike 2017’s Wonder Woman, the plot of this movie is discombobulated. The main villain, played by Pedro Pascal of The Mandalorian fame, is a cartoonish version of Donald Trump. His sidekick, played by Kristen Wiig, is even more predictable.
There is a detour to Egypt that is almost entirely irrelevant to the plot. As is the opening act on Woman Woman’s home island, Themyscira. Action scenes go on for too long. Wonder Woman attains not one, but two new powers. Dialogue is often puerile. Gadot is given little to work with.
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If I had to describe ’71 in a single sentence, I’d say “Black Hawk Down in Northern Ireland”. It has the same inciting incident: a soldier is cut off from his unit in a foreign land and has to survive surrounded by enemies. But that is where the similarities end.
For one, it is made clear to our protagonist (Jack O’Connell), after he goes through boot camp, that he is not leaving the country. This soldier is British, and he is being sent to Belfast, a city engaged in low-scale civil war between Catholics and Protestants. In an attempt to placate a riot, he is lost in the chaos and has to navigate a complex world of sectarian tensions and conflicting paramilitaries.
Almost immediately, the movie slams you with the reality of the saying, as Orwell did, “Those who ‘abjure’ violence can do so only because others are committing violence on their behalf.” One generally thinks of the United Kingdom after World War II as a peaceful country; indeed, one book I’ve read about the subject is entitled The People’s Peace, by Kenneth O. Morgan (1990). But even on that windswept island, there was war: pubs in Guildford and Birmingham were bombed by the IRA, to give but two examples.
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Studio Ghibli is known for its whimsical fantasy movies, featuring fantastic creatures (literally) and colorful characters.
But the studio is also really good at producing calm, slice-of-life films featuring nothing other than regular human beings.
Kokuriko-zaka Kara (From Up on Poppy Hill) is such a movie, following the lives of high schoolers in 1968 Yokohama, Japan, who are trying to save their run-down and decrepit club house from demolition while dealing with personal problems in the aftermath of World War II and the Korean War.
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Old war movies are frequently smeared as jingoistic and morally simplistic. There is also the reckoning with François Truffaut, who argued no movie can ever truly be antiwar.
But the history enthusiast in me always finds something to enjoy in these movies, where heroic Americans, Britons and Allies (almost always from the Anglosphere) in awe-inspiring tanks and sleek propeller planes fight the good fight against cruel Nazis and Imperial Japanese.
Nor are these films as uncritical as they are sometimes made out to be. The Bridge on the River Kwai (1957), The Bridge at Remagen (1969) and even bits of The Guns of Navarone (1961) show the sheer cruel madness of war.
It is in this context that we must consider Red Tails, the 2012 movie about the Tuskegee Airmen, the African American fighter pilots who battled both American racism and German military might in Italy.
It does much the same things as The Great Escape (1963) or The Guns of Navarone, where Americans are heroes and Germans are villains, with the twist of race relations woven into the plot as any movie about the Tuskegee Airmen must. In this, it is far more nuanced morality-wise than the stereotypical old war movie, moving it more into the territory of The Bridge of Remagen and showing that American racism deeply affected the war effort, both in Europe and at home.
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I must admit that when I heard Martin Scorsese had made a kid-friendly film, I was taken aback, given his pedigree of Taxi Driver (1976), Goodfellas (1990) and most recently The Irishman (2019). It seemed like something out of character for the man, and so it was in the spirit of curiosity, more than anything else, that I watched Hugo on Netflix.
I was enthralled the entire time. My doubts were entirely misplaced.
First and foremost, this feels like a Scorsese movie even without the grit and mobsters. It has his trademark tracking shots, one through Gare Montparnasse in Paris, and it’s gorgeous. It has his way of using music that I can’t quite put my finger on, but is undoubtedly filled with a certain je ne sais quoi that shows how much the man loves the medium. More generally, it has the craftsmanship that Scorsese excels at.
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Mortal Engines has one good idea: put cities on wheels. The rest of the movie is a succession of clichés.
Humanity has nearly destroyed itself in the equivalent of a global nuclear war. What remains of Western civilization are bandits and imperialists. In the East, peace-loving people thrive behind the protection of an enormous wall. Angry girl Hester Shaw (Hera Hilmar) eventually mellows and falls in love with well-intended but naive boy Tom Natsworthy (Robert Sheehan), who together avert doomsday at the last minute.
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The second Fantastic Beasts and Where to Find them movie, The Crimes of Grindelwald, takes us to Paris in 1927 at the height of the Jazz Age.
As the title suggests, the movie continues to feature the plans of Gellert Grindelwald (Johnny Depp), the greatest dark wizard of his time. While he is featured, their paths cross and we do see him plot, the movie equally revolves around the personal adventures of Newt (Eddie Redmayne), his friends and other characters, separately from what Grindelwald is getting up to.
If you haven’t seen the first Fantastic Beasts movie but are familiar with Harry Potter, you might be a tiny bit confused at some points, but not so much that you can’t follow the storyline. If you are wholly unfamiliar with the Wizarding World universe, however, the movie be more confusing. But I wouldn’t say you won’t be able to enjoy it.
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