→ August 24, 2011
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The Immortal Life of Henrietta Lacks.

I mentioned this on Twitter earlier, but The Wire: The Complete Series on DVD is just $73 today on amazon through that link. Disclaimer: I don’t own it, because I’m buying episodes to watch on my iPad (which will cost me more in the long run, actually).

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Rebecca Skloot’s The Immortal Life of Henrietta Lacks (currently just $8 in paperback on amazon) is, by far, the best nonfiction book I’ve read since The Ballad of the Whiskey Robber, weaving together a scientific breakthrough, a personal tragedy, and Skloot’s own difficult effort in gathering the information required to write the book into a single compelling narrative that succeeds despite the lack of a definitive resolution or even clear “good” and “bad” sides to the central conflict.

Henrietta Lacks was a poor African-American woman who died very young of cervical cancer in 1951, after receiving radiation treatments at Johns Hopkins that started too late to save her very aggressive form of the disease. A researcher at the school had been trying for some time to grow a long-lasting culture of human cells without success, but the sample he took from Lacks’ cancer turned out to be, as the book’s title implies, immortal, launching a scientific revolution that is partially responsible for many medical miracles we take for granted today – and a commercial revolution from the sale of these “HeLa” cells that has paid her descendents a grand total of zero dollars.

In 1951, there were no laws on medical privacy nor were there laws or even good guidelines on informing patients about what might happen to tissues or fluids collected from them during treatment; a doctor or hospital could use extra samples for research and the patient wouldn’t even know about it, let alone require compensation. A lengthy medical case decided in 1990, Moore v. Regents of the University of California, would later establish that the patient has no right to financial remuneration from such usage (unless, of course, he established those rights in advance, such as by patenting any unique genes*), but in Lacks’ era there were no such rules, nor even understanding that these biological samples could have substantial financial value. (The researcher in the Moore case, David Golde, comes off as particularly sleazy in Skloot’s retelling. He took his own life in 2004.)

*This part resonated a little more strongly with me, as my daughter and I do share a unique mutation that causes an inborn error of metabolism called 3MCC, in which the third step in the breakdown of the essential amino acid leucine produces the “wrong” waste product. (The disease isn’t unique, but our mutation had not been seen before. We’re special like that.) I’m largely asymptomatic beyond an inability to build muscle mass, but my daughter has been hospitalized once for a metabolic crisis and has now been a vegetarian for almost three years to avoid excessive protein intake. I’m still trying to get an answer from Children’s Hospital in Boston on their policies in this area.

What’s worse in this case, however, is that Lacks’ family – widower, siblings, and children – were completely unaware that her tissues had been taken, were being used in research, or had generated millions of dollars in value for others. The family, still poor, still mostly uneducated, and without health insurance, learned about HeLa in the 1970s, and it created a mixture of emotions ranging from fear to anger to wonder (including whether their mother could “feel” what was being done to these cells) that opens up windows on to racial inequalities, , medical ethics debates, and the conflict between public good and privacy rights.

Skloot herself worked on this book for nearly a decade, largely because the Lacks family, scarred by past media attention and con artists looking to latch on to their plight, resisted her efforts to interview them for the book. She eventually forged a strong friendship with Henrietta’s daughter Deborah, a fascinating woman whose emotional growth was probably stunted by losing her mother at such a young age yet who abounds with manic energy that drives her (and Skloot) forward on the research path. Deborah never seems to think of the compensation question, but simply wants to learn about her mother and about what has happened to her cells, perhaps to create a connection that was denied to her when her mother died.

The Lacks family gives the book the narrative structure it needs – the rise of HeLa cells from their origins to a major scientific breakthrough would make for a nice pamphlet, but doesn’t have the drama to drive a work of narrative non-fiction. Following the Lacks family’s struggles from losing Henrietta, from media coverage of the HeLa cells, and from their outrage at how their mother’s cells were used without consent, compensation, or even the correct name (she was often referred to as “Helen Lane” in medical journals), makes the book so powerful. The book requires no knowledge of science beyond a high school biology class, as Skloot provides sufficient explanation of cell structure and replication for anyone to follow along, and her presentation of the ethical issues involved is extremely balanced and surprisingly dispassionate for someone who became very close to the human subjects of her research. As easy as it is to react to the Lacks saga by arguing that her family should at least have been paid after the fact, Skloot points out through her story that it’s not even clear who would pay her (the oncologist who harvested the cells didn’t profit personally from them), and that many of the leaps made through the use of HeLa cells for testing, like Jonas Salk’s polio vaccine, relied in no small part on the easy availability of these cells. It’s as complicated as any good story should be, informative, emotionally involving without resorting to sentimentality, and gives you enough of both sides to make you angry and make you question your own outrage as you read.

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→ August 23, 2011
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Inception.

Inception is Eternal Sunshine of the Spotless Mind meets Ocean’s Eleven with a few sequences directed by Michael Bay – in other words, a heist movie that involves sneaking into someone else’s dreams, but with lots of guns and blowing shit up. The first two parts are clever and pretty tightly done, but the movie’s gradual devolution as the heist progresses, combined with a hero/antihero protagonist, cut off the film’s upside for me.

Dom Cobb, played by Leonardo DiCaprio, is an expert “extractor,” a mercenary spy who can infiltrate the dreams of other people and extract critical information. Cobb and his partner in crime, Arthur (an impressive turn by Joseph Gordon-Levitt) employ a dream-within-a-dream trick as their specialty but fail to extract information from Saito, a Japanese executive who then hires them for the biggest job of their careers – an “inception,” or planting a new idea in the target’s mind rather than extracting an existing one. Cobb returns to his father-in-law, who originally trained him in the field, to hire a new dream architect, (Ellen Page, largely wasted as a prop whose “architect” skills come up once in the final heist), and then travels to Kenya to add a chemist (Dileep Rao) who prepares the powerful sedatives used to put the target to sleep, also allowing for a crazy and somewhat pointless chase scene. When the team is assembled and begins attempting to extract the information, however, they encounter two problems: The target has been trained to fight potential extraction, and Cobb himself isn’t fully capable of leading the mission.

Neither my wife nor I found the plot confusing – everything’s pretty clearly explained, but never at such length that you want to go get a cup of coffee till they finish – but the very short cuts in the final third of the movie are incredibly distracting, and a horrible choice of colors made the final battle within the target’s mind impossible to watch. For some reason, that final dream level takes place in what looks like a military facility in a tundra, and everyone – team members and the armed “defenders” who are projections of the target’s subconscous – is dressed in white, usually with hats or hoods up. Other than Ellen Page, whose long hair identified her, everyone else looked alike.

Other decisions with the visual and sound effects brought far more benefits to the finished product. When the characters are falling in the first dream level, they lose gravity in the second, meaning Arthur first must fight the defenders in zero-G conditions (I cannot imagine how much fun that was for Levitt to film) and then concoct a solution to wake his comrades up without the benefit of an in-dream “kick” (usually a fall). The team also uses music to signal an imminent kick within the multiple layers of the dream, and the use of ever slower music the deeper the dream-level helped build tension while also clarifying the varying speeds of time within each dream.

The film seems to skirt the major problem with its central character – that is, that Cobb is no hero, but actually a selfish ass. He takes his team into a high-risk venture where the main reward is primarily his and the risk to the remaining team members is terrifying. He doesn’t inform his team that he’s having a technical problem that has a significant negative impact on their chances of success. Even within the mission, his personal motivation to reach the goal causes him to stay on course even when the risk of failure is increasing. We have to root for Cobb to succeed because he has two young kids at home who have lost their mother and have no immediate hope of seeing their father, but that alone can’t whitewash the fact that he’s put four other people at great risk to achieve his own personal ends.

Of course, the main question about Inception is how to interpret the ending – once again, spoiler alert – although my wife and I both found it fairly unambiguous; her remark after the film was that she was “waiting for the big twist” that never came. The director, Christopher Nolan, has refused to clarify the ending, stating instead that the important part is not whether the final scene represents reality or a constructed dream, but that Cobb has chosen this scenario as his reality, to leave his fugitive life behind and “return” to his children. He’s also pointed out that parents who see the movie are far more likely to accept the concluding scene as reality than non-parents because of our deep desire to see Cobb and his children reunited, which is undoubtedly true. However, we both felt that the only hint of ambiguity in that final scene was the fact that the camera goes black as Cobb’s totem wobbles but before it falls – and unless you want to argue that it’s a dream where Cobb has altered physics but didn’t show it to us until that very point, I don’t see how the totem wobbles without eventually falling. (I admit it was a visually arresting shot, however.) Had Nolan wanted to make it truly ambiguous, he could have ended the film before the kids turned to see Cobb, which would have made it consistent with his other dream-states in the film. Nolan took care of some superficial stuff to try to create confusion, like keeping the kids in similar clothes (although in different shoes), but somewhere along the line, there was a decision to give the ending a little bit of Hollywoodization so the audience at least gets the cathartic moment of Cobb and his kids reunited, but for us that airbrushing pushed the ending past any question of whether it was real.

I’m shifting my standards slightly here, however, to the detriment of Inception; by the standards of mainstream Hollywood films, Inception was intelligent and thoughtful, well-acted, and sharp-looking. But if you remove the frippery of rampant gunfire and chases and the sentimental ending, there’s a smarter movie underneath that had an action film grafted on to it – a successful commercial decision that kept the film from reaching its full artistic potential.

If you like the concept of entering another’s dreams or thoughts, check out the film I mentioned in the first paragraph, Eternal Sunshine of the Spotless Mind, one of the two or three best movies I’ve ever seen, where two ex-lovers attempt to forget each other by having their memories of their relationships professionally erased – until one changes his mind during the procedure.

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→ August 22, 2011
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Puerto Rico HD app.

Puerto Rico was, for several years, the top-rated game on Boardgamegeek, and I’d argue it still deserves the top spot, as it’s just two-hundredths of a point behind a more obscure game, Twilight Struggle, that has only one-third as many votes. (That is, there’s something of a self-selection bias here: People who don’t like long, complex games like Twilight Struggle won’t try it, and won’t put low ratings on it, whereas Puerto Rico is popular enough that far more players have tried and rated it.) I’ve recommended a very good if unauthorized online version of Puerto Rico called Tropic Euro, but about two weeks ago the first official Puerto Rico app (currently on sale for $7.99) was released for the iPad, and after some weird non-recurring issues the first time I played, it’s been stable and fairly easy to play.

The gist of Puerto Rico, if you haven’t played the board game, is that you are trying to settle a new island by filling it with plantations, producing crops, and using the proceeds to build up your island, while also accumulating points from shipping crops back to the mainland. In a round, each player chooses one role to play and earns a particular benefit from it; any unused role earns extra money for the player who is next to select it. Roles allow players to add plantations or buildings, occupy them with colonists (they’re useless until occupied – but this is why one friend of ours calls Puerto Rico “the slave game”), sell goods, or ship goods. The rule that states that players must ship all available goods during the shipping phase despite limited space on the cargo ships, with unshipped goods discarded entirely, is the key differentiator in the game – timing shipping is critical, and you can really boost yourself and/or screw an opponent by picking the shipper role at the right moment. The game involves almost no luck or randomness – it’s all player selections.

The app itself squeezing everything into a pretty brisk game, and the screen layout has improved since the earliest screenshots were released; it’s not intuitive, but after a game or two it’s pretty easy to figure out what you need to do. Descriptions of buildings are easily available with one click, and the app offers a hint feature that I’ve found gives solid advice, although it’s a little too skewed toward the Prospector role (one free coin but no action). The music and story animations are cute but I had to turn them off after the first game because they slowed everything down. You can control AI and animation speeds to keep things moving along.

The big negative is the screen itself; Puerto Rico’s mechanics are simple, but the game’s pieces and setup are complex, and there’s just a lot of stuff on the screen. Your island and plantations are in a column, stacked next to all of the other players’ islands, even though your icon and score are on the opposite side of the screen. You can’t tap on a building to identify it, but have to tap the question mark in the lower right and drag it across the screen to drop it on a building to get its name. The use of lit windows/doors in buildings to indicate when they’re occupied by a colonist is clever, but those lights are a few pixels tall and therefore it’s not immediately obvious whether a building is occupied. (Plantations are much clearer – they get a tiny icon if they’re unoccupied, but the square fills up once it is.)

One other minor negative is that the AIs are fairly easy to beat through a shipping strategy, primarily because (like most AIs) they’re not reactive. (Carcassonne is one of the few apps with an AI that clearly seems to be out to get you – and I consider that a good thing). I try to avoid the shipping strategy most of the time I play the Puerto Rico app because it’s a bigger challenge to try to win through development, and using multiple AI opponents with different strategies mixes things up to the point where I’m often forced to change plans even though the AI players aren’t specifically trying to block me. On the plus side, I’ve never caught any of the better AI options doing anything stupid or suboptimal. But they’re not enough alone to keep me playing for long – I’ll either use the multiplayer feature or I will end up backburnering the app behind ones that offer stronger single-player experiences, like Carcassonne or Samurai.

If you like the board game and expect to utilize the Game Center multiplayer options, I’d recommend the Puerto Rico app. It would also serve as a good introduction to the game for anyone who’s never played the board game version before, since that’s just over $30 and requires a minimum of three players. I’m just not sure this will have staying power for me beyond multiplayer because the AI players just aren’t strong enough, even though I’m nowhere near an advanced player.

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→ August 21, 2011
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Harry Potter and the Deathly Hallows, Part Two.

I’m mixed on the final installment in the Harry Potter film series, Harry Potter and the Deathly Hallows, Part Two. On the one hand, it was pretty true to the book, including a number of key sequences, plot points, and quotes, without feeling terribly rushed about it. On the other hand, it doesn’t stand well on its own – it is very clearly the second half of a film, not a complete film in its own right – and the pacing that worked fine on the printed page proved very uneven on the screen.

Harry has to jump through specific hoops to get to the final, climactic battle with Voldemort, and J.K. Rowling made sure to get several of his friends in on the action in that melee, although for some reason Ginny was barely present in this half of the movie. Some of those hoops don’t translate terribly well to the screen, or just lacked the necessary contest of the books, but the film jumps back and forth between action scenes and Harry’s more cerebral quests, creating pacing issues but also keeping the film from becoming incomprehensible to anyone unfamiliar with the story. (That is, those are the good guys, those are the bad guys, they’re fighting. Everyone can grasp that much.) The battle sequences often seemed cut off by the need to get Harry back on screen, though, meaning it didn’t have the same intensity as part one, which remains the best of the eight films if we view these two parts separately.

The staccato cuts also mean that none of the actors beyond Daniel Radcliffe (Harry) gets to stretch out much, meaning we get more mugging and less acting from some outstanding performers. Helena Bonham-Carter looks certifiable as Bellatrix Lestrange but is largely left making faces at everyone, while Alan Rickman – as central to the success of the films as anyone outside of the three main characters – might end up hoping for a Judi Dench exemption if he wanted a Best Supporting actor nomination. I wrote in my review of part one that Rupert Grint and Emma Watson had shown substantial growth as actors, but here they’re reduced to bit players, and the development of their relationship earns little screen time and scarcely any explanation.

The movie looks amazing, both in scenery and in special effects, with the initial attack by the Death Eaters on Hogwarts the effects highlight of the series. (That scene was preceded by a necessary yet too-short return for Dame Maggie Smith as Professor McGonagall.) Rowling has always been one of my favorite authors for the depth of her descriptions, and the films have lived up to the prose in sights and sounds, including some of the more difficult settings like the goblin bank Gringott’s.

But that Gringott’s scene encapsulates why I found this second half somewhat unsatisfying. It looked the part. Everyone involved in the scene did his or her job. But there was so much time spent on setup and so little on the climax of the scene that even though you saw them escape (and do quite a bit of damage along the way), the escape doesn’t stick with you as much as the setup does. I can tell you how it looked, and the tension of the scene before the betrayal, but what happened after that didn’t have the same power.

I mentioned half-jokingly the possibility of Alan Rickman getting an Oscar nomination for his role as Severus Snape, one of the meatiest roles outside of the big three across the series. The films themselves were not Oscar-worthy, but knowing the Academy’s penchant for honoring successful series as they close, I did wonder if they’d throw one nomination at someone in the film just to acknowledge the series’ existence. (That is, something beyond a technical award or an award for costumes or design.) Rickman would be my choice, since Daniel Radcliffe would have a difficult time cracking the competitive Best Actor field. Helena Bonham-Carter was convincingly crazy, but she’s barely in the movie and her part was too thin to be award material. Then again, they nominate so many films for Best Picture that perhaps the academy will shoehorn Harry Potter and the Deathly Hallows, Part Two into that category as they did with Toy Story 3: we hope you feel like it’s an honor to be nominated, because we have no intention of actually giving you the award.

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→ August 19, 2011
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Long Beach, Manhattan Beach, & San Diego eats.

MB Post in Manhattan Beach is set in a former post office and, despite a trying-way-too-hard hipster vibe, the food is excellent. It’s a tapas bar in practice, although they use the tired “little plates” euphemism, bringing together Spanish, American, and southeast Asian influences; every dish we ordered was enough for two to share but would have been stretched for three, except for the Brussels sprouts (with hazelnuts and Emmentaler) which was roughly a week’s supply. The first winner was the warm pretzel with hot horseradish-mustard, a sinus-clearing (that’s good) dipping sauce that probably should be served at every decent burger joint in the country. The confit pork belly with Swiss chard and corn agnolotti, one of the nightly specials, was soft enough to spread on toast and very generous with the chard, although I found the agnolotti almost dessert-sweet. The menu includes a number of vegetable dishes that highlight the star ingredient (as opposed to just satisfying the demand for vegetarian options), like the marinated cucumbers with peppadew peppers and crunchy roasted and fried chickpeas and the aforementioned Brussels sprouts – and the giant “fee fi fo fum fries” are stellar, brown and salty and not greasy with a mayo-based dipping sauce. The menu changes daily, though, so the vietnamese caramel pork or the yellowtail sashimi with yuzu may not be there if you head over. It’s one of the best and most fun upscale meals I’ve had in a while.

Over in Long Beach, I tried the tiny, family-run (I presume) Korean place Sura, sparsely furnished but featuring the dish I was after, bibimbap. (They also have short ribs and bulgogi, which are the only other authentic Korean dishes I really know.) The bibimbap was good by my ignorant standards, with fresh ingredients and the egg brought tableside for me to crack directly into the hot bowl. Service was a little weird – the meal came with four small plates of “sides,” mostly pickled and/or fermented vegetables, which I tried, but since I hadn’t cleared them my server said, “oh, you haven’t even touched them.” I guess I missed the pre-meal contract obligating me to clean every plate. But I’d go again for the food.

Moving on to San Diego … I finally got to Neighborhood, which many of you recommended last year when I was taking the family there while I covered a Padres series. I love their philosophy, but wasn’t sold on the execution. The Local Animal sandwich is a good microcosm of the problem – what’s not to like about two kinds of pork (sausage and braised pork, presumably shoulder), caramelized onions, and gruyere on a crusty roll? Well, the fact that it’s not a sandwich, for one, but has the remaining ingredients, including a mustard/molasses glaze, sitting on top of bread that can’t be picked up or closed. And the piling of flavors just left the whole thing muddled, sweet and slightly tangy but with the pork, which should be the star of the show, left somewhere in the second or third row. The fries, which come with garlic mayo (they claim to have no ketchup on the premises), were extremely hot and so greasy that a package of Viagra wouldn’t have helped them. Neighborhood does have an outstanding beer selection; I went with the Alesmith Speedway Stout, which at 12% had its intended effect rather quickly.

I also met up with a couple of readers for lunch at the Burger Lounge location in Hillcrest on University. It’s a solid-average burger, made from high-quality local beef (their site claims it’s all from one farm where cows are grass-fed and are “well treated”), but without many choices for toppings (just two cheeses, white cheddar, which I don’t like, and American, which is just nauseous). The fries were solid-average as well, crispier a garlic-herb mixture sprinkled on top. And they have ketchup. I do actually like ketchup on my fries, crazy American that I am.

I can still vouch for breakfast at The Mission in North Park – rosemary bread, rosemary potatoes, perfectly cooked eggs, and a great atmosphere – but a return visit to the downtown Cafe 222 after many years was disappointing – their pumpkin pie waffle was just a mushy mess and tasted of stale spices, not pumpkin or pumpkin pie.

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→ August 18, 2011
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Half of a Yellow Sun.

Chimamanda Ngozi Adichie’s haunting second novel, Half of a Yellow Sun, winner of the Orange Prize for Fiction in 2007, tells the story of five people, two couples and the young houseboy who works for one of the men, in Nigeria during the 1960s, a time period when the country’s ethnic divisions led them into civil war, famine, and genocide, a cycle of events that keeps repeating itself on that continent right up to the present-day threat of famine in Somalia. The novel’s tragedies are both large and small, but Adichie weaves her narrative threads cleanly and creates tension and uncertainty even though the disastrous results of the war are a matter of record.

Adichie, born seven years after the war ended, lost both of her grandfathers in that conflict, known as the Nigerian-Biafran war after the Igbo state that tried to secede from Nigeria, but her grandmothers survived it and were primary resources for Adichie, who seems to have put an enormous amount of research into the novel. (She even provides a page-long list of nonfiction books about Nigeria’s history up to and through the Biafran conflict.) The British, who created and even named Nigeria by uniting disparate ethnic groups under a single colonial authority, come in for quite a bit of blame for creating the powder keg that made ethnic conflict inevitable between the minority Igbo, who held positions of political and commercial authority before the war, and the majority Hausa, who resented the Igbo’s status and come off in the book as the African equivalent of the Germans under Hitler.

The brilliance of Half of a Yellow Sun lies in its constant focus on the individual characters; Adichie never steps back to give long-winded explanations of the political situation in Nigeria, instead informing the reader through the characters’ experiences. Each of the five central characters, all of whom are Igbo, gets his or her own plot line, although all five are interconnected, including two fraternal twin sisters, their lovers (one a revolutionary professor, the other an English expat), and the houseboy, Ugwu. All five begin the novel in comfort and relative wealth in the western part o Nigeria, then flee to the new Igbo state of Biafra, where the war and blockade drive the people into increasing levels of poverty and degradation, culminating in the food shortage that led the Biafran government to surrender and accept reabsorption into Nigeria. During the crisis, there are romantic betrayals, losses of friends, a schism between the sisters, forced conscriptions, corruption, and worse, enough to fill an 800-page Russian novel, and similarly rich with metaphors for the larger conflict.

Of those five characters, two share starring roles: Olanna, the beautiful sister who falls for the revolutionary professor Odeniwgo; and Ugwu, Odenigwo’s houseboy. Ugwu goes from poverty to luxury and back to poverty over the course of the book and gives us a perspective on the war largely untainted by historical ethnic hatreds while also providing an outlet for Adichie to demonstrate the war’s effect on the youngest generation (and to provide us with some sliver of hope for Nigeria’s future). Olanna’s reluctance to marry and her role in the betrayals within both relationships test her patience and force her to examine the depth of her love for Odenigwo and for her fraternal twin sister, the “ugly” Kainene. Olanna is victimized, then victimizes another character, but is she fully responsible for her actions or merely paying the pain forward?

Adichie’s choice to structure the novel in four parts, alternating between the prewar period and the period of the war itself, also creates some artificial tension by withholding key plot points until the jump back to the earlier time in section three. But there’s also value in the structure because of the way she reveals some causes of the ethnic conflict, then shows some of the conflict, and returns to the causes before completing the story. Everything that happens within Half of a Yellow Sun has a cause, and often someone to blame along with it, with the British and the Hausa earning their fair shares. The author has even commented on how she believes many of the fundamental causes of the war still exist today; despite Nigeria’s massive natural resources, nearly half the population lives below the poverty line, and ethnic divisions continue to foment conflict in the southeastern part of the country. One of the five characters is no longer present as the book concludes, a metaphor for the unhealing wound left on the country by the war and by the pernicious effects of British arrogance and racism.

I’m a big fan of postcolonial literature in general, and particularly liked Chinua Achebe’s Things Fall Apart and its sequel No Longer at Ease, both of which explore the effects of British colonial rule on Nigerians but do so in slimmer works with less intricate plots. Adichie’s great achievement here is exploring that same theme while giving us multiple compelling characters across rich plot lines while presenting the stark realities of the darkest moment in this artificial country’s brief history. From a literary/critical perspective, it’s the best novel I’ve read this year.

Next up: I’m a bit behind on my writeups, but I have already finished the phenomenal nonfiction book The Immortal Life of Henrietta Lacks (currently half off at amazon) and have moved on to Empires of Food: Feast, Famine, and the Rise and Fall of Civilizations.

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→ August 14, 2011
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Exit Through the Gift Shop.

I’m nobody’s idea of an art expert, or even an art fan, but I was mostly enthralled by the documentary Exit Through the Gift Shop, even before I was fully aware of the controversy over whether the film is real or an elaborate hoax perpetrated by the guerrilla street artist Banksy, who appears in the film.

Taken at face value, the film covers French expatriate Thierry Guetta, a father of three and owner of a vintage clothing store in L.A. who happens to be related to French street artist Invader, whose specialty is mosaic pieces depicting icons from the game Space Invaders. Thierry films street artists obsessively, accumulating thousands of hours of footage of interviews and of artists creating and deploying their work (as well as many more hours of his everyday life, including footage of his wife and kids at various ages). Thierry’s obsession turns into a documentary project, but when his attempt to make a film turns out to be unwatchable, Banksy – who appears in Thierry’s life after the Frenchman has tried and failed to reach him many times – takes over the task of creating the film, leaving Thierry free to become a (mediocre) street artist in his own right. The film’s climax centers on Thierry’s quixotic effort to mount a giant exhibition in L.A. despite his lack of any real body of work or reputation, relying instead on the powers of promotion to create a buzz where none should exist.

That final third of the film is entertaining and provides it with structure and even a little narrative greed, but it was far less interesting to me than the first two thirds, which focused on various street artists (Shepard Fairey and Banksy in particular) and on the rise of the movement in general. It also hints at the debate over whether such “graffiti” is art, defacement, or something in between. As someone almost fully unfamiliar with the movement other than knowing who Banksy is and having seen Fairey’s “OBEY” images, I found the film enlightening despite no apparent educational aim.

The real question, of course, is whether the film is a hoax or not. Roger Ebert believes it isn’t, and an ongoing lawsuit over Guetta’s use of a copyrighted image of Run-DMC is tangible evidence in that direction. Guetta’s art installation did occur, and if it was all an elaborate stunt, it hoodwinked the local media along the way.

Circumstantial evidence that the film is all a prank abounds, however. The apparent lack of any means of supporting his family while Guetta jets around the world filming street artists and the patience of his wife for his ridiculous efforts both strained credibility: she’s either a saint or a moron. My wife would have divorced me after a tenth of what Debora Guetta tolerated. The various comments at the end of the film and the descriptions in the epilogue all seemed tongue-in-cheek, as if the joke is on us (despite the art dealer’s apparent reluctance to say so). There’s also the question of who actually created the art shown in Thierry’s show, as he’s never shown doing anything more than wielding a can of spray paint, and doing so without the confidence or clarity of purpose that other street artists in the film show. Could Banksy and Fairey have produced all of this derivative art to parody themselves and the street art scene’s devolution into a critically acclaimed and commercially successful medium? Of course they could have … but if so, why have they still not revealed that it was all a put-on?

Exit Through the Gift Shop is available for rental on amazon through that link or for instant streaming on Netflix. It’s worth watching just for the superficial primer on late 1990s/early 2000s street art, one which made me want to learn more about the movement, but the mystery of whether this cartoonish Frenchman really did subvert the movement he claimed to admire gives the viewer a different lens through which to watch the film.

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→ August 12, 2011
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The Corrections.

Jonathan Franzen’s The Corrections made the TIME list of the 100 greatest novels published since the magazine began for its use of dark humor in an unstinting portrayal of both the modern American family and of our unending winter of discontent. It is a well-constructed novel with smart prose, one that challenges the reader often without becoming an arduous read, but ultimately suffers from its depressing outlook and the presence of only one really compelling storyline.

The Lambert family is in the final stages of full collapse as its patriarch, Alfred, approaches the end of his life, and his wife Enid seeks to bring all three of her adult children home to St. Jude, Ohio, for one final Christmas together. Alfred suffers from Parkinson’s disease that is ravaging body and mind, yet lives in partial denial of the loss of some of his faculties while living in full denial of what appears to be a lifelong battle with clinical depression. Enid herself fights a depression of her own, but one more the result of her own losing battle with a sullen, domineering husband, who clipped her wings and may have driven away all three children once they could leave the nest. Eldest son Gary is superficially successful, married with three children and a lucrative day job in banking, but is himself depressed; he’s aware of it, unlike Alfred, but tries desperately to fight it without resorting to therapy or antidepressants (although the cause of his aversion to those solutions is unclear; it may be related to his paranoia about his wife and children conspiring against him). Middle child Chip is a failed academic, a tourist of Marxism, and eventually an aide to a Lithuanian con man. If you like a single one of these characters, each of whom (except perhaps Enid, a product of her times) is at least partly responsible for his own mess, you’re a more empathetic reader than I am.

The star of the book for me is the youngest Lambert child, Denise, a talented chef with a second talent for romantic entanglements that sabotage her life and eventually leave her jobless and, coincidentally, available to clean up family messes. I’d argue that she’s the most together of any family member, certainly the most self-aware and most willing to think about what causes her bouts of self-destructive behavior, and the job loss was a little bit forced into the plot anyway. (The absence of any mention of a sexual harassment lawsuit bothered me.) Each character gets his or her own extended section, and Denise’s was by far the most interesting, both from sheer narrative greed and from my ability to empathize with her character, because she has a level of emotional depth absent from other members of her family, and less of the propensity to extinguish her own flame. And the lead-in to that section, giving us the back story on the family that ends up employing Denise in the husband’s restaurant start-up, is the single best passage in the entire book, even thought it doesn’t feature any of the Lamberts. Incidentally, Franzen, to his great credit, shows pretty strong understanding of food and food trends of ten years ago in describing Denise’s culinary exploits, including her gustatory tour of Europe that leads to, of course, some significant emotional development, particularly when she sees acquaintances from St. Jude living a wealthy yet stale life in Austria.

The book is funny and crude, sometimes at the same time, but other times the crudeness is simply offputting and pointless. Franzen can spin a phrase and make words dance in many directions, and it’s a shame to see how often he makes them tango in the gutter when he excels at wry, incisive observations. The strongest prose got me through the book despite a rather bleak outlook on life. The emotions generated by the book’s brief concluding section were very real, and yet I still felt cheated, like this final “correction” to the Lambert family dysfunction came too late – after 550 pages of downers, chemical and psychological, I wanted some small glimmer of hope for the Lamberts left standing, some argument that life, corrected, still had meaning, and Franzen just left it hanging. But if his point was to display our happiness paradox, where greater prosperity in the U.S. hasn’t led to greater happiness or satisfaction or reduced rates of clinical depression, then that open-ended conclusion serves his greater purpose. It just wasn’t the book I wanted to read.

Next up: I’m about ¾ of the way through Chimamanda Ngozi Adichie’s Orange Prize-winning book Half of a Yellow Sun, a historical novel set during the Nigerian-Biafran war of 1967-70.

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→ August 6, 2011
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True Grit

The 2010 version of True Grit (iTunes versionicon) earned ten Academy Award nominations – winning none, so I hope it truly is an honor just to be nominated, otherwise the Coen brothers must be really pissed off – which accurately reflects the quality of the acting, the screenplay, and the visuals. It’s also an unusually mainstream film for the Coens, who seem to specialize in cult favorites or films that garner more acclaim from critics than at the box office. I enjoyed the film more for its critical aspects than for the story, and would rank it as above-average but have a hard time pushing myself to call it plus.

Mattie Ross is a 14-year-old girl whose father was robbed and murdered by a hired hand named Tom Chaney, who subsequently fled into the Indian Territories (now constituting the bulk of Oklahoma) to escape arrest. Mattie, ostensibly in a frontier town to collect her father’s body and belongings, hires the dissolute bounty hunter Rooster Cogburn – over his objections – to catch Chaney, with the condition that she accompany him on the chase. They are joined by the arrogant Texas Ranger LaBoeuf, himself pursuing Chaney for the murder of a state senator and a dog in Texas. (It is unclear which was the greater transgression.)

The Coen brothers were, as far as I can tell having not read the novel, faithful to the original work, or at least far more so than the 1969 adaptation for which John Wayne won an Academy Award. (I haven’t seen that film either.) That decision appears double-edged to me, for while it means they stuck to Mattie’s perspective and gave her character a richness it might have otherwise lacked, it also leads down the figurative and literal slope of coincidences and sentiment in the film’s final fifteen minutes. Everything is a little too clean and perfect. You knew that a snake would come into play. You knew someone would fall into the hole in the ground. The Coen brothers didn’t have to kill off a main character to make the film a little grittier, pun intended, but it seems that their loyalty to Portis’ original work won out.

Two aspects of the film stood out over all others. One, obviously, is Hailee Steinfeld, who portrays Mattie and was just 12 years old when True Grit was filmed. Her performance was absolutely critical to the movie’s success – she needs to be tough, firm, adult-like in sensibility yet still maintaining the naïveté of a child of her age; if she’s not believable, nothing that comes after in the film would matter. She must be able to boss around the grizzled, alcoholic Cogburn (played by Jeff Bridges) and yet to be vulnerable when she’s first exposed to violence or finds herself disdained (or worse) by LaBoeuf (Matt Damon). And she owns the screen in her negotiation with the dismissive horse-trader that ends with her talking him into a corner and out of his money, a scene where you would easily forget Steinfeld’s age were you not reminded of it within the dialogue. That she accomplished this at her age in her first significant film role is remarkable and justifies the passel of awards she won for her work, as well as the nomination for the Oscar for Best Supporting Actress (an award won by Melissa Leo for The Fighter).

The other aspect that stood out is the cinematography, which is not something I ordinarily notice in films unless it’s done poorly. But the Coen brothers played True Grit as a classic Western epic, filling the screen with wide-angle views of the countryside, using plot elements like having Mattie on top of a cliff while a battle rages below as an excuse for Roger Deakins to give us an expansive shot of the dusty plateau where the climactic encounter of the book occurs.

(I admit I would have loved to have seen an outtake featuring Rooster Cogburn ordering a White Russian, but maybe that’s just me.)

As for the Best Picture race of last year, I’d still give The King’s Speech the nod over True Grit; both were well-acted, but the two lead performances in The King’s Speech were better than any of the three major performances here. Both films benefited from some contrived drama – the former by altering historical circumstances, the latter through a little coincidence and some silly foreshadowing – but The King’s Speech did so more subtly.

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→ August 3, 2011
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The Secret of Kells.

The Secret of Kells is a stunning hand-drawn animated film that draws on the history of the Book of Kells and on Celtic mythology to create a mysterious and beautiful origin tale for that book, a work of religious, artistic, and cultural significance in Ireland. Nominated for Best Animated Feature in 2009, where it lost to Up (from Pixar, which has won six of the last eight such awards, including the last four), The Secret of Kells deserves a much wider audience than it’s received so far, and shows there is a place for old-fashioned animation alongside the technical marvels of CGI.

The story takes place at the Abbey of Kells, in Ireland’s County Meath, sometime between 900 and 1000 A.D., after the abbey at Iona had been sacked by Viking raiders. The Abbot of Kells, Abbot Cellach, oversees the construction of fortifications around the abbey in expectation of a similar Viking assault, yet also tries to protect his nephew, Brendan, but appears to have more than just a familial interest behind his strict treatment of the boy.

Brendan is fascinated by the work in the scriptorium and becomes fast friends with a refugee from Iona, Brother Aidan (who, like Cellach, is based on a true historical figure), an illuminator who is working on the Book of Kells, an illustrated book of the Gospels that is described in more vague terms in the movie (e.g., that it will “turn darkness into light”). Yet to help Aidan continue his work, Brendan must violate the orders of his uncle to stay within the walls of the abbey, and ends up heading twice into the forbidden forest to find materials for ink and a sacred lens*, meeting and befriending a childlike fairy named Aisling who helps him both by saving his life (several times, as she likes to remind him) and by building his confidence so that he can continue his work with Brother Aidan.

*The lens, called the Eye of Collum Cille in the movie, draws its name from the same saint for whom the church of St. Columbkille in Brighton, Massachusetts, is named – which I know primarily because I used to pass it every time I headed to a game at Boston College.

The star of the movie, despite an intriguing story and strong voicing (led by Brendan Gleeson as Abbot Cellach), is the animation, which draws heavily on ancient Celtic art while also showing more recent influences, from Miyazaki (especially our family favorite, My Neighbor Totoro) to Tim Burton to the exaggerated look of the animated humans in The Triplets of Belleville. The forest backgrounds are lush, while the winter scenes are stark and gothic – it reminded me of a classic Flash game, A Murder of Scarecrows – and Celtic images recognizable to viewers of almost any background abound in the film, including a dreamlike sequence where Brendan fights a snake in the form of an ornate Celtic knot.

Without any knowledge of the history of the Book of Kells, however, the plot is a little obtuse. What little is known of the book’s origins is incorporated into the film, but its religious and artistic significance are assumed rather than explained. (Of course, long explanations can be about as interesting as watching paint dry, so this is hardly a flaw.) The heavy of use elements of Irish mythology, from the Aislings to the pre-Christian Celtic deity Crom Cruach to the cat Pangur Bán, based on a cat in an ancient Irish poem of the same name, was less of an issue because the context of those characters filled in the blanks in our knowledge.

What The Secret of Kells is not, however, is a children’s movie. There’s plenty of implied violence in depictions of Viking raids, including the final sacking of Kells, and a flash of actual violence. Brendan’s quest for the eye of Collum Cille leads him into the battle with the snake and other dark sequences that would be scary for smaller children. It’s a wonderful movie for adults and older kids, however, replete with visual candy, outstanding Celtic-inspired music, and a story that veers from sweet to serious in just an hour and change.

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