Happy Fourth of July!

In between barbecues and fireworks, sports and speeches, beer and brats, there's going to be time for some movies.  Here's a few:

Mr. Smith Goes to Washington:  Can you believe that this movie was controversial when it came out in 1939?  Because it actually dared to talk about corruption in politics?  (Pearls clutched across the nation!)  Only Jimmy Stewart could have played this part - and what a great one it is.  The filibuster scene alone is worth watching.

"I guess this is just another lost cause Mr. Paine. All you people don't know about lost causes. Mr. Paine does. He said once they were the only causes worth fighting for and he fought for them once. For the only reason any man ever fights for them. Because of just one plain simple rule. Love thy neighbor. And in this world today of great hatred a man who knows that rule has a great trust. You know that rule Mr. Paine and I loved you for it just as my father did. And you know that you fight harder for the lost causes than for any others. Yes you'd even die for them. Like a man we both knew Mr. Paine. You think I'm licked. You all think I'm licked. Well I'm not licked. And I'm gonna stay right here and fight for this lost cause. Even if this room gets filled with lies like these. And the Taylors and all their armies come marching into this place. Somebody will listen to me."

And speaking of corruption in politics, another great movie is 1962's Advise & Consent, starring Henry Fonda, Charles Laughton, Walter Pidgeon, Gene Tierney, and a host of other Hollywood celebrities.  Communism, homosexuality, and womanizing all feature in the various forms of blackmail, backbiting, demagoguery and political intrigue that revolve around the President's choice of Secretary of State.

Fred Van Ackerman:  [sniveling over being shunned]  What I did was for the good of the country.
Bob Munson:  Fortunately, our country always manages to survive patriots like you.

Of course, the Fourth of July is about the birth of our country - but strangely enough, I find most movies about the American Revolution pretty... bad...  (Think about Mel Gibson's The Patriot and Al Pacino's Revolution.)  So how about watching 1776?  A musical take on the Revolution and the Convention, it'll have to do until Hamilton comes out.

"I have come to the conclusion that one useless man is called a disgrace; that two are called a law firm, and that three or more become a Congress! And by God, I have had this Congress! For ten years, King George and his Parliament have gulled, cullied, and diddled these colonies with their illegal taxes! Stamp Acts, Townshend Acts, Sugar Acts, Tea Acts! And when we dared stand up like men, they have stopped our trade, seized our ships, blockaded our ports, burned our towns, and spilled our BLOOD! And still, this Congress refuses to grant ANY of my proposals on independence, even so much as the courtesty of open debate! Good God, what in hell are you waiting for?" 

            - John Adams in 1776

But July 4th is also about war.  

America has been making up for some time for the way Vietnam veterans were treated when they came back from the war.  But wars haven't stopped; if anything, conditions continue to degrade, and a soldier's lot has become one of perpetual deployments, wars with no exit strategy or even long-term goals, devastating injuries to mind and body, and a Congress that never seems to want to spend money on them once they're home.  There are a few "fun" movies about war - but here are a few movies that keep in mind the real price:

Black Hawk Down
Born on the Fourth of July

Full Metal Jacket

The Hurt Locker
Johnny Got His Gun
Platoon

“I do not say that children at war do not die like men, if they have to die. To their everlasting honor and our everlasting shame, they do die like men, thus making possible the manly jubilation of patriotic holidays. But they are murdered children all the same.” 

― Kurt Vonnegut, Cat's Cradle

“Society can give its young men almost any job and they'll figure how to do it. They'll suffer for it and die for it and watch their friends die for it, but in the end, it will get done. That only means that society should be careful about what it asks for. ... Soldiers themselves are reluctant to evaluate the costs of war, but someone must. That evaluation, ongoing and unadulterated by politics, may be the one thing a country absolutely owes the soldiers who defend its borders.”
― Sebastian Junger, War

BUT let's get back to fireworks and fun.  And if it's fun you want, then you need Presidents and aliens:

Most fun movies about Presidents, from Dave to Independence Day, and, of course, Mars Attacks!  

Fun quiz:  Which quote is from which movie?

(1)  President:  I don't understand, where does all this come from? How do you get funding for something like this?

       "You don't actually think they spend $20,000 on a hammer, $30,000 on a toilet seat, do you?"

(2)  What is with [the] President lately? I mean has this guy been having too many "Happy Meals"? I mean geez!

   (3) I'll tell you one thing, they ain't gettin' the TV.

   (4) President:  What? Oh, you mean the press conference. I had a couple of ideas that I wanted to share with the country.

   (5) President: I want the people to know that they still have 2 out of 3 branches of the government working for them, and that ain't bad.


There's also Seven Days in May, Abraham Lincoln Vampire Hunter, and Dr. Strangelove.

Or you could do the Lincoln cycle - Raymond Massey's Abe Lincoln in Illinois, Henry Fonda's Young Mr. Lincoln, and Daniel Day Lewis' pitch-perfect Lincoln:

Lincoln: Abolishing slavery by constitutional provisions settles the fate for all coming time. Not only of the millions now in bondage, but of unborn millions to come. Two votes stand in its way. These votes must be procured.
Seward:  We need two yeses. Three abstentions. Four yeses and one more abstention and the amendment will pass.
Lincoln:  You've got a night and a day and a night; several perfectly good hours! Now get the hell out of here and get them!
Ashley:  Yes. But how?
Lincoln:  Buzzard's guts, man! I am the President of the United States of America! Clothed in immense power! You will procure me these votes.

It's a shame that there haven't been nearly as many good movies about the other Presidents on Mount Rushmore.  The best are probably Ken Burns' documentary on Thomas Jefferson, the first 3 episodes of The Roosevelts:  An Intimate History for Teddy Roosevelt, and the 1984 miniseries George Washington (starring Barry Bostwick).

“If freedom of speech is taken away, then dumb and silent we may be led, like sheep to the slaughter.”
― George Washington

“As Mankind becomes more liberal, they will be more apt to allow that all those who conduct themselves as worthy members of the community are equally entitled to the protections of civil government. I hope ever to see America among the foremost nations of justice and liberality.” 

― George Washington

“We in America do not have government by the majority. We have government by the majority who participate.”
― Thomas Jefferson

“If a nation expects to be ignorant and free, in a state of civilization, it expects what never was and never will be.”
― Thomas Jefferson

“Patriotism means to stand by the country. It does not mean to stand by the president or any other public official, save exactly to the degree in which he himself stands by the country. It is patriotic to support him insofar as he efficiently serves the country. It is unpatriotic not to oppose him to the exact extent that by inefficiency or otherwise he fails in his duty to stand by the country. In either event, it is unpatriotic not to tell the truth, whether about the president or anyone else.”

― Theodore Roosevelt

“Politeness [is] a sign of dignity, not subservience.” 

― Theodore Roosevelt

“Jazz is democracy in music.”

― Wynton Marsalis

Happy Fourth of July from South Dakota!

“And so, my fellow Americans: ask not what your country can do for you—ask what you can do for your country.”

-- John F. Kennedy

John Ford's PRISONER OF SHARK ISLAND

I had another subject in mind, but then I spotted this coming up on Turner Classic Movies. I couldn't let it slip past unnoticed.

The Prisoner of Shark Island is a lesser-known John Ford, from 1936. It came out after The Lost Patrol and The Informer, and the three pictures he made with Will Rogers. Ford was already established, in other words. He'd won his first directing Oscar for The Informer.  At this point, he probably didn't have to take work he didn't want to, and he didn't suffer much interference. He made Shark Island by choice. Ford said more than once, "It's a job of work," meaning he did what he did for a living, but it's plain his heart was in it.

Shark Island is about Dr. Samuel Mudd, who gets caught up in the conspiracy panic that followed Lincoln's assassination. There was, in fact, a plot, targeting Secretary of State Seward and Vice President Johnson as well as Lincoln, but only John Wilkes Booth got his part right. The others made a hash of it. This didn't keep

four of them from being hanged. Booth himself was shot and killed eleven days after Lincoln's death, but his first night on the run he stopped at a local Maryland doctor's - Dr. Mudd - and the doctor set his broken leg. This was enough to buy Mudd a treason conviction and a life sentence. Was he involved? It's never been established, but Shark Island plays on your sympathies, the innocent man being framed, justice denied.

Let's get the two most serious weak points out of the way. First off, Warner Baxter plays the lead. Big in the silents, made the transition to talkies, but a little overwrought. Admittedly, the acting style goes with the period, and you can get past it. It's a lot harder to get past the second thing, which dates even more badly, and that's the racism. I never thought of Ford as being particularly racist - although a fair number of American Indians might disagree with me - and while he's of course a product of his times, and Hollywood has historically been disrespectful of black people (along with the Chinese, and Mexicans, and plenty of others), Ford is often subversive with his black characters. Stepin Fetchit, in Steamboat Round the Bend, plays it very sly and saucy. His relationship with Will Rogers could be described as two bickering old ladies, Lucy and Ethel. Unhappily, the same can't be said of Ernest Whitman as Buck in Shark Island. Still, it strikes me as an extremely difficult part for a black actor to play without falling into

caricature, and Buck comes perilously close. The real problem is that these attitudes aren't peripheral, they're built into the narrative structure. Buck isn't just comic relief. He's integral to the story, he's a major piece of the action, and he has to walk a very fine line between pretending to Tom it up and demeaning himself. I'm a white guy. I can't step into Ernest Whitman's shoes, or get inside his skin. Maybe he simply figured it was a job of work. I'd like to think he did the best he could by a part that didn't give him much wiggle room - and I wish I could say the script or the director helped him make up for it. Not.

How about what's right with the picture? For openers, Bert Glennon's cinematography. It's the first of eight movies he made with Ford (including Drums Along the Mohawk, Ford's first color feature), and it has one of the most breathtaking pulled-focus shots I've ever seen. Ford's known for not calling attention to himself, or using obtrusive effects. He seems to prefer a static frame, but he moves the camera when he wants to. You see plenty of mobility in his tracking shots. I don't remember a single example of zoom, though. Ford's camera is always the human POV. When he breaks stride, it's doubly startling.

Here's the set-up for the defining moment. Booth slips through the door into the back of Lincoln's box at the theater. You hear the laugh line from the play on-stage, "You sockdologizing old man-trap." Booth shoots the president, and jumps from the box to the stage, but his foot gets tangled in the flag draped from the box. He calls out, "Sic semper tyrannis," and limps off. Lincoln, mortally wounded, is slumped back in his chair. The camera holds. It's a medium shot, Lincoln's upper body and shoulders, his face in three-quarter profile. A curtain falls across, in front of his face. It's lace or embroidery, so you still see Lincoln behind it, slightly blurred. Then he comes into focus, but the embroidered curtain creates a pointillist effect, fragmenting his image, breaking it down into dots, like an engraving. Your eye needs to catch up, and reconstruct him. In that one brief image, Lincoln passes from life into history, leaving a retinal memory. It happens while you're watching.

I first saw Prisoner of Shark Island late one night on a UHF channel, just a programmer they used to fill a time slot. It was some years later that I got to see it in a theater, a Ford revival series at the Orson Welles Cinema in Cambridge - a labor of love, they actually screened something like forty of his pictures over a couple of weeks, and I didn't miss too many. Shark Island drew a capacity crowd, a lot of them film students who hadn't seen it before, and more than a few who were unacquainted with Ford except for the big-ticket movies. Shark Island starts out on a note of low comedy, a joke about the number of kids Buck has, with its obvious racial slant, and Buck asking his mule what the mule thinks, which isn't any too subtle, either. Remember, we're talking about wiseass college kids here, everybody goofing and groaning and poking fun at the picture's dated political attitudes, and when Booth slinks on-screen, practically twirling his mustaches, you've still got people laughing at the exaggerated histrionics of it all. But then. Booth steps forward. He shoots Lincoln. Lincoln sinks back. The curtain falls. Everybody in that movie theater went dead silent. Literally. There wasn't a murmur. Not an embarrassed giggle, not even a gasp. Nothing but absolute, stunned shock.

Okay, the gravity of the event. And maybe these kids were of an age to remember the Kennedy assassination. But there's more to it. Because after Lincoln's murder, the movie goes on to show the courts-martial. You heard that right. The conspirators were tried by military tribunal and without constitutional protections. We see them hooded and shackled during the trial. We see them hanged. The hysteria isn't soft-pedaled, and if the Grassy Knoll is any part of your vocabulary, you feel a familiar dread.

I don't think Shark Island is supposed to be taken as some kind of allegory about the Red Scare or the rise of Fascism or anything like. It's meant to be a rousing yarn, and no more. There is a shark-infested moat, too, but since we're in the Dry Tortugas, that's gilding the lily. And the Yellow Fever epidemic, and the mutiny, no reason to doubt. Dr. Mudd was later pardoned. Whether he was in on the plot has never been decided one way or the other.

TCM is showing The Prisoner of Shark Island on Tuesday, January 31st, at 10:45 PM. Program your DVR's. It's also available on the Ford at Fox boxed DVD set, a collection of Ford's pictures that gives good weight for the money.

Abe Lincoln's Mystery

Abe Lincoln: rail splitter, a riverboat crewman, an inventor, a country lawyer, a congressman, a poet, a president, the great emancipator… and murder mystery author.

Tomorrow is Presidents Day in celebration of our great presidents, Abraham Lincoln (12^th Feb), George Washington (22^nd Feb), and in some states, Thomas Jefferson (13^th Apr). To honor them, SleuthSayers brings you a murder mystery written by our 16^th president. (Bet you didn’t see that coming.)

We normally picture the lawyerish Lincoln involved in contracts and torts, bailments and agreements, the dry essence of civil law. The man also practised criminal law. He’s particularly recognized for winning what became known as the Almanac Case, in which he looked up the position of the moon in lunar tables to discredit a witness.

Earlier, Lincoln wrote “A Remarkable Case of Arrest for Murder” back when he was still a country lawyer. To be candid, it’s not a murder mystery in the expected sense, but based upon an actual 1841 case in which Lincoln defended one of three brothers accused of murder.

His client didn’t pay him, so Honest Abe monetized the experience in a different way… by selling a story about it. Fortunately, he went on to other pursuits and the rest, as they say, is history.

Unlike traditional murder mysteries, the story doesn’t contain the customary dénouement. It’s written as a puzzling happenstance without a true resolution.

Some contend Wilkie Collins’ charming 1873 novella, The Dead Alive (a.k.a John Jago’s Ghost) suggests a solution for Lincoln’s story, but in fact Collins based his tale on another American true crime story known as the Boorn Brothers murder case.

• In April 1846, The Quincy Whig published Lincoln’s story under the title “A Remarkable Case of Arrest for Murder.”
• In March 1952, Ellery Queen's Mystery Magazine retitled and republished the story as “The Trailor Murder Mystery.”

Now, from the Presidential of the United States…