Weekly Wilson - Blog of Author Connie C. Wilson

"There is a tide in the affairs of men, which, taken at the flood, leads on to fortune; omitted, all the voyage of their life is bound in shallows and in miseries." (Julius Caesar; Act 4, Scene 3).

Category: Politics (Page 1 of 14)

Lawsuit Filed 9 Hours Ago by Maryland AGs Against Trump


I hope this works.

I am hopeful that, just as Al Capone was finally imprisoned for tax evasion, this legality that he has flouted will bring him down when the Republican members of Congress seem intent on supporting his disregard for the Constitution.

Nobody should use the Presidency as a money grab.

From the “Rasmussen Reports” on the Eve of Jefferson Sessions’ Senate Testimony

Trump & Consequences

Donald Trump’s Other Lies: His Campaign Promises
A Commentary by Ted Rall
in Political CommentaryFacebookTwitterEmail thisShareThis
Saturday, June 10, 2017

This week’s political coverage — probably next week’s, too — will likely be dominated by deposed FBI director James Comey’s incendiary testimony before the Senate Intelligence Committee. However, Trump’s “lies, pure and simple” are limited neither to the president’s claim that Comey’s FBI was “in disarray, that it was poorly led” nor his litany of falsehoods — most recently, that the mayor of London doesn’t care about terrorism and that Trump’s First 100 Days were the most productive of any president in history.

Comey’s lucid, Hemingway-tight testimony feels like the beginning of the end for this administration. Anything could happen, of course. But it feels overly optimistic to imagine this circus lasting another year.

If and when the obituary for Trump’s political career is written, his admirers will record his historic, meteoric rise. Indeed, Donald Trump was the most effective presidential campaigner of my lifetime: repeated what lines worked, ditched the ones that didn’t, mastered social media, ignored outdated dogma, tapped into voters’ long-ignored resentments, nailed the electoral college map, and did it all for pennies on the Hillary Clinton donor dollar.

True, the brilliant campaigner can’t govern. But that’s a story for another time.

His critics’ postmortems will emphasize that Trump’s brightly burning campaign rallies were fueled by lies: Obama was Muslim, Obama wasn’t born here, global warming is a Chinese hoax, illegal immigrants are streaming across the border (years ago they were, no longer), police officers are the real victims (as opposed to the numerous black men they shoot).

These lies are scandalous. They ought to be remembered. But we shouldn’t let them overshadow Trump’s biggest lie of all: that he would be different, outside the ideological box of the two parties.

“Trump meets the textbook definition of an ideological moderate,” Doug Ahler and David Broockman wrote in the Washington Post last December. “Trump has the exact ‘moderate’ qualities that many pundits and political reformers yearn for in politicians: Many of Trump’s positions spurn party orthodoxy, yet are popular among voters. And like most voters — but unlike most party politicians — his positions don’t consistently hew to a familiar left-right philosophy.”

Whiff!

Trump promised a hodgepodge ideology, a “pick one from column D, pick one from column R” Chinese menu that appealed to many voters whose own values don’t neatly adhere to either major party platform. Who cares about doctrine? Let’s do what works.

As president, however, that turned out to be a lie.

Trump has governed to the far right. In fact, on just about every issue you can think of, Donald Trump has governed as the most extreme far-right politician of our lifetimes, and possibly in the history of the Republican Party.

Candidate Trump criticized North Carolina’s “bathroom law” and said Caitlyn Jenner could use whichever bathroom she wanted in Trump Tower. President Trump rescinded the right of transgender students to use the school restroom of their choice.

Flip, flop, from somewhat to right-wing conservative, over and over and over again.

Candidate Trump lit up the GOP (and relieved not a few Democrats) by criticizing the stupid Iraq War and promising to put America First. President Trump’s cabinet of generals is bombing the crap out of Syria and asking Congress for a 10 percent increase in Pentagon spending.

Candidate Trump was all over the place on abortion rights. President Trump is trying to defund Planned Parenthood and appointed Supreme Court justice Neil Gorsuch, a right-wing extremist who will likely cast the decisive vote against Roe v. Wade.

Candidate Trump promised bigger, better and cheaper healthcare for all Americans. Trumpcare will leave tens of millions of patients with no insurance whatsoever.

He even welched on his most controversial promise: to improve relations with Russia. Within a few months, he allowed that U.S.-Russian relations “may be at an all-time low.”

“Trumpism was never a coherent worldview, much less a moral code that anchors the president,” Graham Vyse wrote in The New Republic.

#Wrong!

Trumpism is extremely coherent and consistently extremist. Donald Trump turns out to be Ronald Reagan times ten, minus charm.

Ted Rall (Twitter: @tedrall) is author of “Trump: A Graphic Biography,” an examination of the life of the Republican presidential nominee in comics form. You can support Ted’s hard-hitting political cartoons and columns and see his work first by sponsoring his work on Patreon.

Trump Is Roasted by Stephen Colbert

https://www.youtube.com/results?search_query=stephen+colbert+trump+joke+video

Stephen Colbert Interviews Obama Back in “The Good Old Days”

In the wake of James Comey’s testimony, which I watched “live” most of the day (and in clips most of the night), I long for a simpler time and a better occupant of the White House, and I point out that Millennials, don’t blame all we oldsters. He TOLD you to get out and vote, but methinks some of you did not.

I will say, “WHAT is WRONG with Ohio?”

I watched a focus group that had watched testimony all day and was then asked to come back and give their opinions after the long day was over and they were waving Trump signs around like nit-wits. How can ANYONE take Donald J. Trump’s word over James Comey’s? (And, bear in mind, as the FBI chief who released that statement on Oct. 27 that probably cost HRC the election, I’m no Big Comey Supporter, but he is a Boy Scout and Donald J. Trump is the most egotistical, arrogant, obnoxious, untruthful con man I’ve seen in the White House in my lifetime, and it isn’t getting any better any time soon.

It took something like 2 or 3 years for Watergate to wind down and Nixon to resign. Keep that in mind and go out and vote in the mid-terms. PLEASE!

Review: “It Comes At Night” Brings Psychological Paranoia & Terror This Summer

Secure within a remote desolate home in the woods as an unnatural threat terrorizes the world, the tenuous domestic order that Paul (Joel Edgerton of “Loving” and “Midnight Special”) has established with his wife Sarah (Carmen Ejogo of “Selma”) and son Travis (Kelvin Harrison Jr. of “Birth of a Nation”) is put to the ultimate test with the arrival of a desperate young family seeking refuge in “It Comes At Night.
“The movie is about the unknown and the fear of the unknown. Death is the ultimate unknown.” So says Writer/Director Trey Shults of his impressive new thriller “It Comes At Night,” which opens wide on June 9th. The minimalist story is not a typical genre thriller, according to Shults, but, as he said (quoting Mies Van der Rohe), “Less is more.” The basic story is about a family trying to survive in a cabin in the woods while some sort of virus ravages an apocalyptic land. “Imagine the end of the world— Now imagine something worse,” says the A24 press handout.

The second man who brings his family to the remote cabin seeking haven and the necessities of life is headed by Will. Will is played by Christopher Abbott, who was excellent in “James White,” where he portrayed a young man nursing his dying mother (Cynthia Nixon of “Sex and the City” and “A Quiet Passion”) through terminal cancer. Will’s wife, Kim, is played by Riley Keough (Elvis’ granddaughter, “American Honey”) and his small son Andrew is played by Griffin Robert Faulkner.
Despite the best intentions of both families portrayed in the film, paranoia and mistrust boil over as the horrors outside creep ever-closer, awakening something hidden and monstrous within Paul as he learns that the protection of his family comes at the cost of his soul.

There is also, as the film opens, the harrowing death of Travis’ grandfather, Bud, played by David Pendleton. One of the unusual things that happens to someone dying of the mysterious contagious disease is that the victims’ eyes fill up completely with pupil; no “whites of their eyes” as they are decimated when death draws near.

Shults said, during a Q&A following the film’s showing in Chicago on June 1st, that he was fascinated with questions about topics like genocide. He is definitely focused on death and man’s mortality in this film, which is not about zombies or monsters, but is every bit as horrific as he examines the lengths people will go to to protect their own and to survive.
Since the original impetus for Shults’ film came from helping his own father through terminal pancreatic cancer, the mood of the film is grim, grimmer, grimmest. Shults has said that, following his father’s death (they had been estranged for 7 years prior), he sat down and wrote and “It just came spewing out of me.” He’s certainly in good company in musing on the temporary nature of our existence on this planet. Woody Allen has examined the topic in any number of comedies and Ridley Scott just trotted out another “Alien” film (“Alien: Covenant”) which has some thoughts on the same eternal question.

But Shults has made death as scary as anything you’ll see this summer, and perhaps as scary as anything you’ll ever see in any season on the universal topic of man’s mortality. What lengths will a man go to to “save” and protect his family? What would happen if we were facing an unbeatable disease with no modern medicines or hospitals to help us? Many in the world are facing these questions right now, in real time, but Shults is still struggling with the deaths of two close family members (his father and his cousin), with memories which clearly haunt him to this day.
Award-winning filmmaker Trey Edward Shults (John Cassavetes Award, 2016; Independent Spirit Breakthrough Directors Award (2016); Gotham Award (2016)) follows his incredible debut feature KRISHA,(which starred family members and debuted at SXSW in 2015), with IT COMES AT NIGHT, a horror film following a man (Joel Edgerton) as he learns that the evil stalking his family home may be only a prelude to horrors that come from within.
The uncomfortable subject matter of “It Comes At Night”, says Shults, is “drawing from heavy personal experiences and placing it into a fictional narrative, hoping the same emotions come through. At its heart, this is a movie about mortality.”
The script for “It Comes At Night” was actually written before “Krisha.” When “Krisha” was a big hit at SXSW, Shults got a 2-picture deal from A24. This is that second film, but he has been learning from the best since the age of 18, working on 3 Terrence Malick films, starting with “Tree of Life” in Hawaii.

The film is beautifully shot and paranoia is justified and created with the skillful use of camera, sound and light (see my interview with Trey Shults on www.TheMovieBlog.com for details). This is a riveting, horrific picture of a future we can only hope never becomes a reality. I am still thinking about it today, four days later. Yet Shults resists calling it a horror film, and believes it is far more about psychological horror than a genre flick with monsters or things that go bump in the night (as they literally do in this one.)

For some, the questions we are left with as the film ends will cause criticism. There are times at the “end” of a piece (remember the finale of “The Sopranos”?) when viewers feel they have been shortchanged or cheated by the ending. For me, this was not an issue, as it was pretty clear what was probably going to happen next. Still, I understand those who want more of a “Breaking Bad” type of ending, where things are wrapped up neatly and some characters live and some characters die (and spin-offs are even made possible by the “concluded” feeling.)

Two other things that may cause Shults some criticism from some sources will be his intentional intermingling of the dream sequences (nightmares, really) with reality. They will say (truthfully) that it is sometimes difficult to tell what is a dream and what is reality.

Again, this did not cause me any problems. After listening to Shults explain why this was intentionally done, it made even more sense. He explained that he saw the dream sequences as a way into Travis’ mind. (And Travis = Trey). It is Travis’ point-of-view through which we see the story, even though it is his father, Paul (Joel Edgerton), who is dictating the terms of Travis’ young life.
And last, some will say, “Why is it called ‘It Comes At Night’?” Shults explained that night is the time when he is at his most creative and it was a title that sounded good. Hopefully, he said, it helps put you in the heads of the main characters. It is not a literal interpretation of what occurs in the film but more a metaphor, so be warned.

This is the beginning of a bright future for a very gifted filmmaker.

Genre: Horror/psychological thriller/Mystery
Length: 97 minutes
Writer/Director: Trey Edward Shults
Cast: Joel Edgerton, Christopher Abbott, Carmen Ejogo, Riley Keough, Kelvin Harrison Jr., Griffin Robert Faulkner, David Pendleton
Reviewer: Connie Wilson

“The Wall”: Character Study That Gets Old Fast

This will be a stream-of-consciousness review of “The Wall,” starring John Cena and Aaron Taylor-Johnson, in the hopes that it will save some locals who (still) read my movie reviews a few dollars. I just returned from viewing it at what used to be called the Showcase Cinemas in Davenport (IA) [now called “Rave” by Cinemark] and I really wish I hadn’t wasted the time. The money wasn’t bad, since I chose to go at 2:10 p.m. on a Monday afternoon, but, of course, there is always the snack bar ready to drive the price up. (The Jr. popcorn @ $5 and some Junior Mints: $8.99, with no drink).

One thing I want locals to know is that I’m pretty sure that the 2 O’Dells mentioned at the end in the credits are Spike O’Dell’s nephews. If you don’t know who Spike O’Dell is, you won’t care (the teen-aged girl sweeping up obviously did not know who Spike was when I shared this information), but for those of us who grew up with “Spike at the Mike,” [or interviewed him, like I did for the Dispatch when he made his first move away from KSTT (to North Carolina, as I recall, before Chicago)], you might find it interesting that Spike’s brother’s kids (Spike’s nephews) actually work at making movies.

I learned this while sitting at the Chicago Film Festival about 2 years ago from my seat-mate, who identified himself as Spike’s relative and told me about his sons and their career when I told him I was a member of the Chicago Independent Film Critics’ Circle in Chicago, reviewing for www.TheMovieBlog.com and www.QuadCities.com. He shared that he was originally from the Quad Cities, too.

I was happy to see the name Brandon O’Dell (and another, who, I think, is his brother….Michael?) drift past in the credits. I made a mental note to share this with local readers who are movie buffs.

What I also want to share with local readers who are movie buffs is that this film is not that great. If you’ve seen the trailer (above), you’ve seen all the interesting parts. There is almost no action and the dialogue is largely a string of “f**s” in various formats.

Hearing the “F” word does not offend my delicate sensibilities, but it got old fast. So did the lack of any music. I realize that Amazon put up the money to make this film, and with just 2 “real” characters onscreen (the third is simply the voice of Laith Nakli playing the role of the Islamic sniper Jubah, the ghost, the Angel of Death and responsible for 35 U.S. casualties) it must have been a pretty inexpensive film to shoot.

There is no set except for a rock wall in a desert, with some debris and some dead bodies around it. Eight pipeline workers have been shot and killed and John Cena and Aaron Taylor-Johnson have been sent out to see if they can find the sniper responsible for the mayhem. As you can see from the trailer, they do find the sniper, but he quickly gets the upper hand, and the rest of the film is simply Aaron Taylor-Johnson stuck behind a wall talking.

Don’t get me wrong: Aaron Taylor-Johnson is an up-and-coming talent whose star turn in “Nocturnal Animals” as the crazed rapist murderer earned him the Academy Award for Best Supporting Actor this year, so he does a good job of playing a guy pinned down for hours with a leg wound, no water, and no idea how he’s going to get out of the situation he finds himself in. But that wasn’t really what I thought I was going to get in this “war movie.”

When Isaac (Aaron Taylor-Johnson) attempts to call for help, he quickly figures out that the voice at the other end of his radio is not someone from “his” side. The sniper has managed to hack into the radio (he actually tells our main character that he purposely hit his water bottle and his radio antenna) and wants to talk about war as seen from the other side.

He tells Isaac, for instance, that “You’re hiding in the shadow of Islam” because the wall Isaac is crouched behind used to be the wall of a school, and the sniper used to be a teacher in such a school. Isaac responds, “No, I’m hiding in the shadow of death.” The two have a loooong conversation about the meaning and purpose of war, with the bottom line being that who is the terrorist “depends on the angle you look at it from.”

This insight is not particularly new or fresh. Any of us would agree that American incursion on the soil of another country makes us the invading colonial power (no matter what reason/excuse is given for the invasion) and, naturally, those who live in the land invaded are probably not going to be pleased at the death and destruction that U.S. forces—whether mercenaries or enlisted—have wreaked on so many Middle East locations.

This country, just to be clear, is supposed to be Iraq in 2007, soon after “W” declared victory in Iraq while wearing that ridiculous flight suit(with the cod piece), with “Mission Accomplished” on a banner behind him. It could have been Vietnam, Cambodia, Thailand, Syria, Kuwait, Afghanistan, Iraq or any number of other countries where U.S. citizens have fought and died in the past 50 years. Even Korea if you want to go back to the fifties. It is hardly a CNN BREAKING NEWS news flash that we have managed to make ourselves pretty much “persona non grata” as a country everywhere in the world and it’s certainly getting a lot worse with Donald J. Trump running the show….for however long that may be.

As we all now know, the mission in Iraq in 2007 was hardly “accomplished” and at the rate we are going as a country, it seems as though we will never be free of war.
One thing that Dwight Eisenhower said he was most proud of as his presidential legacy was that he “kept us out of war” (a direct quote) as President. Obama also kept us out of war.

The others in between and now? Not so much. Some speculate that JFK was shot in Dallas in November of 1963 because he was going to withdraw from the black hole that Vietnam proved to be, and LBJ certainly did not keep us out of war, nor did George W. Bush or George Herbert Bush—although the smarter of the two knew enough to make it short and sweet with lots of allies assisting. (If anything, he plunged us even deeper into the hell that war represents.) Even Reagan had that invasion of Grenada, which was an interesting small war.

So, while I’m in complete agreement with the sentiments that screenwriter Dwain Worrell has articulated here, I didn’t find much dialogue that screamed “Big Insightful Moment” and I do not agree that “Screenwriter Dwain Worrell has a knack for believable, expository dialogue.” There was almost NO dialogue, really, beyond grunting and groaning, the “F” word, (liberally sprinkled with the use of the word “shit”) and some implausible action involving Cena, who seems to come back to life for a while. I don’t disagree that “this is how soldiers really talk” but the exposition was really, really slow and did not break any new cinematic ground in any meaningful or striking way.

Our local critic wrote: “It’s simple, yet it brims with complex issues.” Uh….not really, no.

Another POV I don’t ascribe to: “‘The Wall’ is one incredible war movie that utilizes a handful of characters to make a statement about what motivates soldiers to fight and what motivates countries to go to war.”

Well, there was really nothing about “what motivates countries to go to war.” Right now, what might motivate us to go to war is our current President needing a diversion from the independent investigation into Russian involvement in our last presidential election and the Trump campaign’s possible collusion with the Russians. The REAL reasons countries go to war are always somewhat hidden, like the underbelly of an iceberg. We learn in school that the assassination of the ArchDuke Franz Ferdinand and his wife touched off WWI and that Hitler’s savage genocide and his invasion of Poland were the reasons behind WWII, but if you are a real scholar, you’ll learn that, just like the Civil War, there are many, many reasons why we get into these unwinnable situations, slavery being just one of the many causes that sparked the Civil War in 1861. (Surprisingly, our current occupant of the White House, Agent Orange, didn’t seem to know that the South’s dependence on free labor in the form of slaves was a Big Sticking Point in the 1861-1865 conflagration that pitted brother against brother on our native soil, but he doesn’t seem to know much about a lot of things, so what’s new?)

I would like to give you some “credentials” of the cast and crew at this point, mentioning that this seemingly low-budget foray by Amazon (and Big Indie/Hypnotic/Roadside Alliance with The Molecule responsible for visual effects and Fuse FX working on it, as well) was directed by Doug Liman, who directed “Edge of Tomorrow” and “The Bourne Identity.”

I do not agree that: “You’ll find yourself on the edge of your seat within the first 15 minutes.” There were 3 people present when I saw it today (Monday afternoon, May 22, at 2:10 p.m.). One was a middle-aged woman and one was a middle-aged man and me. The middle-aged man got up and LEFT the theater a full FIVE TIMES! (He was really way more than “on the edge of his seat; he was OUT of his seat and in the lobby more than he was in the theater, I think.) I haven’t seen that many trips in and out of a movie since I was the one exiting “Les Miserables” during its interminable run. The small theater that “Rave” was showing the picture in was so far from the lobby that we were almost in the parking lot. Not auspicious placement for this low-budget film.

So, again: my advice is to save your money. It’s NOT edge-of-your-seat thrilling. The only action is in the trailer above, and, after that, it’s all talking. Yes, we learn a few interesting things about how Isaac really doesn’t want to go back home because he screwed up on a previous tour of duty and feels great guilt for the death of his friend and fellow soldier Dean, and, yes, there is (sort of) a finale that might make you think after you leave the theater.

What it made me think is that I wasted my time and money and I should wait until Aaron Taylor-Johnson is in a movie that is truly action-worthy. This movie looks like all it cost was for the 2 name actors who appear onscreen and, after that, the producers didn’t even spring for a score. NOT RECOMMENDED.

Go see “Alien: Covenant” or rent “Life” for more action and, in the case of the 8th “Alien” film there is some spouting off about the meaning of life, so you will get the pan flute solo with David/Walter (Michael Fassbender) to satisfy your need to be bored silly.

Wilson Out!

“Nobody Speak: Trials of the Free Press” @ SXSW

Genre: Documentary Feature
Length: 95 minutes
Writer/Director: Brian Knappenberger
Principal Cast: Nick Denton, A.J. Daulario, John Cook, David Folkenflick, Floyd Abrams, Peter Sterne, David Houston, Margaret Sullivan, Jay Rosen, John L. Smith

The trial between wrestler Hulk Hogan and Gawker Media pitted privacy rights against freedom of the press, but ended up as a case study in how big money can silence media using legal means. This examination of the free press in an age of inequality echoes the “Vanity Fair” issue with an article by David Margolick entitled “V.C. for Vendetta.”

From that article, we learn that, outed as gay (“Peter Thiels Is Totally Gay”) by one of Gawker’s web sites in 2007, Silicon billionaire Peter Thiel ($2.7 billion as a co-founder of PayPal, and an early investor in Facebook) laid low until 2016, when he seized the opportunity to financially back Hulk Hogan’s invasion of privacy suit over a sex tape to bankrupt the entire organization.

In this documentary that interviews all the principals except Thiel (who is seen speaking at other venues), we learn that “what he’s done is to legitimize the idea that an uninvolved party can fund an effort by someone else in order to destroy a news organization. If billionaires and multi-millionaires can be behind the scenes doing this, that is conspiratorial and underhanded completely.” As Gawker founder Nick Denton, who was personally bankrupted, said, “We were outgunned here.”

Knappenberger dubs it, “abusing the justice system to go after journalists.” All these efforts have taken back a lot of 1st Amendment rights. Many others are mentioned in the piece: the Chandler family, the Salzburger family of New York, Jeff Bezos’ purchase of the “Washington Post” and, in greater detail, Sheldon Adelson’s purchase of Nevada’s largest newspaper, the Las Vegas Review-Journal.

John L. Smith, the editor of the Las Vegas Review-Journal wrote a book about early investors in Las Vegas’ history entitled “Sharks in the Desert: The Founding Fathers and the Current Sharks.” There was one line mentioning Sheldon Adelson. Adelson sued Smith for the one line in the book, and lodged the $15 million dollar suit at a time when Smith was bedside in a local hospital with his young daughter Amelia, who was suffering from a brain tumor.

Smith was offered all sorts of financial inducements not to publish articles about Adelson, but resisted. He was blackmailed regarding the one line in his book, and, as he said: “Bullies always act the same.”

Then, unexpectedly, the entire staff of the Las Vegas Review-Journal was brought in to a meeting cold and told the newspaper had been sold. They were not allowed to know who had bought them.
Rather than take this without investigating, the entire staff, including one employee who had been with the paper for 39 and ½ years, dug in to find out if Adelson was behind the purchase in the face of overwhelming obfuscation.

Smith said, “”Everybody came in and everybody stayed. For us, it was preserving whatever integrity we had. We knew it was a career-ending move. Some stories are worth losing your job over.” As Smith asserted, “Journalism is a calling for a lot of us.”

As a Journalism Major (Ferner/Hearst Journalism Scholarship recipient at the University of Iowa), this documentary spoke to me. I characterize myself as “”Old School” because my stint with 5 “real” newspapers began at the age of 10 and continues today, 6 decades later. I am of the generation that grew up with only 3 television channels trusting the voice of Walter Cronkite to tell us the truth. There was no Internet. There was no cable television, and we believed in presenting both sides of the story so that readers could draw fair conclusions with all the facts at their disposal.

The idea of “hacking” Internet accounts (there was no Internet) and Wiki Leaks style dissemination of documents from the e-mail of others was decades away. I find it personally offensive that anyone in a position of authority can level wholesale charges of bias and dishonesty against the hardworking men and women of the press. One of the least honest politicians (or human beings) of all time has underscored just how important a free and independent press is from his podium in the White House. No less an authority than Thomas Jefferson talked about the importance of a free press to keep the checks and balances of this country working properly.

This documentary was depressing in that it showed the extent to which being rich means being able to destroy the very institutions we all thought were inviolate. As we watch money corrupting the very fabric of society, we are simultaneously experiencing the intentional undermining of the free press and I, for one, view it as one of the biggest tragedies our Republic has experienced since its inception.

A very informative, relevant and concerning documentary
. Reading the “Vanity Fair” article by David Margolick explained much of the Peter Thiel/Nick Denton Gawker sex tape dispute in far greater detail, which added to my understanding of the film’s rehash of the trial, (which was surreal in so many ways). The revelations about the Las Vegas Review-Journal were new to me, but explained a lot.

Worth watching, if you care about remaining free and being part of an informed populace in a working democracy.

“Trump & Consequences” Fun and Safe Only for the Rich and Elderly

Trump & Consequences


Lifting from the newest issue of “Vanity Fair,” I return peripherally to a discussion of presidential politics. Some of you may remember that I followed 3 presidential campaigns, writing about ’04, ’08 and ’12 for Yahoo (3 million hits on over 1,000 article).

My writing(s) of 2008 even led to an invitation to come cover the Democratic National Convention in Denver and the Republican National Convention in St. Paul.

I had planned to follow the presidential race of 2016 and started out by attending a Jeb Bush rally. After that, a Bernie rally, one by Hillary and—the coup de grace—- (some might say coup d’etat)—a Trump rally at the Mississippi Valley Fairgrounds in Davenport, Iowa.

That was it, for me.


I came home and said to my long-suffering Republican husband. “I’m not going to cover the presidential race any more. It’s not fun any more.”
When he asked for specifics, I referred him to video clips of AP photographers being roughed up and Trump belittling and denigrating registered press from outlets such as CNN, ABC, NBC, CBS and MSNBC. Trump enjoyed penning them up, if you recall, and hurling abuse at them, and he still enjoys calling journalists “Among the most dishonest people in the world” and other such over-the-top insulting hyperbole.

Since I am one of the most honest people I know (to my detriment, usually), I wanted no more of Mr. Trump, and I switched back to my long-time love: movies. After 15 years as the Quad City Times critic back in the day (1970-85, roughly) I began reviewing for www.QuadCities.com and continued the reviewing I have always done on this blog.

I now am also a member of the Chicago Independent Film Critics’ Circle and write for one of the six largest movie blogs in the country, www.TheMovieBlog. Thanks to the wizardry of Anthony Whyte, my offerings on such things as “The 20 Best Films of Paul Newman” or “The 35 Best U.S. Films on Politics Ever Made” appear with lots of pictures and trailers to add to the text. And, most importantly, it is fun. Thanks to writing film reviews for national readerships (over 600,000 for The Movie Blog) I could, in theory, attend any film festival I might wish as Press. (SXSW in March; Chicago in October).

Today’s article is not about movies, however, although I love them dearly, but is about the “Vanity Fair” article entitled Trump and Consequences which Michael Lewis wrote in the February, 1970, “Vanity Fair”

DONALD TRUMP GAMES

Apparently, Donald J. Trump tried to have games made much earlier than 2017.
There was Trump Collector’s Edition Monopoly (“The Fast Dealing Property-Trading Game.”) After that, in 1989, “Trump: The Game” (“It’s not whether you win or lose, but whether you win!”) And, following on the heels of those two failed attempts came 2004’s “The Apprentice” game (“I’m back and you’re fired!”)

Only now are we ready for another Trump game.

Here are the rules for Trump & Consequences:

Six participants (minimum) are required. Half of the number are designated “Members of Trump’s Court.” The other half are assigned the term” Citizens.”

Each “Citizen” selects a “Character,” pulled randomly from a bowl or hat that contains descriptions of that character. If you can get hold of a large shoe or boot from Ivanka Trump’s collection that would serve nicely and fit into the spirit of the game. All the characters are rather stereotypical and defined mainly by race, religion, gender and a few other characteristics.

For example, the character card might say: “45-year-old white Jewish female without health insurance” or “young Muslim male whose house is at risk of being flooded by rising sea levels,” or “male Catholic Mexican undocumented immigrant.”

Amidst the several hundred character descriptions are “Trump Cards.”

These Characters are actual relatives of the presumed president of the United States, by blood or marriage, and they go straight to the top of a miniature replica of Trump Tower to sit out the round.

Other players’ tokens rise, step by step. The roll of a pair of dice determines the rate of their climb. If a player rolls a 12, he climbs a dozen steps up the escalator staircase The Donald descended with Melania to announce his candidacy for the most important political position in the world. (It’s not moving; it’s been stopped, momentarily, so he may enjoy yet another Victory Lap basking in the golden glow of his Russian-enhanced win over Hillary Rodham Clinton.)

Some of the steps on the way up the (stationary) escalator or staircase are harmless.
Some are inscribed with terms like: “You’ve been re-tweeted!” If a player is re-tweeted, he or she draws from a stack of cards reminiscent of Chance or Community Chest cards in real Monopoly.

The cards drawn describe various life situations that might occur to a citizen of the United States trying to live through the Trump regime, along with strategic consequences,
such as “Your company gets a great bribe from the U.S. government! Take the escalator or elevator up five floors.” Another might read: “You’re deported! Or “Your public school is defunded and the money given to Christian charter schools by Betsy DeVos!” or “Join an undocumented immigrant wherever on the escalator/staircase he may be.”

The player reads aloud his Life Situation card and then chooses between 2 options:

1) He can accept his fate and move his token as directed.
2) He can plead his case to Trump’s Court. That is, he can argue that his character does not belong in the Life Situation assigned.

The argument might go something like this: “As a white Christian male I am highly unlikely to be deported.” Or, “As a 50-year-old Asian female, I won’t be affected by the closure of a public school or the defunding of Planned Parenthood.”


This is where the Game-within-the-Game begins.


The Courtiers discuss the likelihood, in Trump’s version of America, of the character ending up in any given Life Situation.
Therefore, they are compelled to think in stereotypes, just as Trump does, and to imagine the radically different outcomes that might be experienced by different kinds of people in identical situations, [since “all animals are equal, but some animals are more equal than others.”](Animal Farm, George Orwell).

No white male is likely to be deported or sexually assaulted, for example, though he is plausibly a recipient of a corporate bribe. The Court’s deliberations on such matters are at the heart of the game. If you think this sounds unfair or unlikely, you should have watched the 2-hour special on Tom Brokaw, where he told Oprah Winfrey that he, himself, wonders how many of the Big Breaks in his career he would have gotten if the color of his skin had been one shade darker. He defined that concern (racism) as among the biggest we face as a nation, second only to climate change.

The Court’s deliberations on such matters are at the heart of the game.
Courtiers will find themselves saying things like: “Too bad you’re black!” Or, “God, it really sucks to be a Muslim in Trump Land!” Or, “Too bad you’re a member of that Rainbow coalition at this time in history.”

Each round ends when one citizen reaches The Donald’s Penthouse.
All Citizens then become Courtiers, and all Courtiers Citizens. No one ever actually wins the game, but all the players experience the elation and terror of the new realities of Trump’s America and the ever-shifting odds facing a great number of Americans in a variety of different circumstances, who find themselves, discriminated against and at the mercy of Trump and Pence’s whims. Not a Christian? Bad on you. “Venezuelan immigrant with a green card who is just learning to speak English and has minimal funding.” Good luck!

Trump also has the power to occasionally pardon an undocumented immigrant the way the president usually pardons a Thanksgiving turkey; that player gets to stay and graduate at the top of his class. Think “The Hunger Games.”

On the other hand, Cabinet Courtier posts are handed out primarily to those who were, in their previous lives, diametrically opposed to whichever Cabinet post they are appointed to, or, as a corollary, have no experience whatsoever for the job they are assigned. Examples of this abound, such as Rick Perry’s appointment to the very Cabinet post and department he famously wanted to eliminate (but couldn’t remember the name of), and the EPA head being a climate change denier. And, of course, there is Betsy Devos, who never taught a day in her life, was never a school administrator, never was in charge of a large budget for any business, and apparently does not believe in the separation of church and state, since her family (Amway and Blackwater billions) has given money to Christian schools…and, of course, to those on the Committee that, today, forwarded her nomination for Secretary of Education to the floor for confirmation. (The split was 11 Democrats voting against Devos and the 12 Republican members voting for the woman who has never experienced anything that even remotely smacks of taking out a student loan for college, nor run or taught in a school of any kind.)

Actually, the LESS qualified you are for the office, the more likely you will be to be appointed to head it up. “Heckuva’ job, Brownie! Times 100.

After a negative Court verdict, the Citizen discards his Character card for another randomly drawn card and so, as the game proceeds, the less fortunate Characters will naturally be purged from it and replaced by the more fortunate ones. (Let’s hope that The Donald is not a fan of “The Purge” films or we’ll end up with that scenario!)

In a process that resembles natural selection (says Michael Lewis in the Vanity Fair article), “the Characters ascending to Trump Tower will become whiter and older and, most likely, male.”
American will once again re-invent themselves in the old, white, male image of the 2008 RNC, which had only one black person anywhere near it (I was there and inside) and he was an Obama impersonator hired for the occasion.

A player who started his climb as a Muslim immigrant on food stamps might end up as Ivanka Trump through the luck of the Character draw, perhaps.
In short, the game, as it goes, will reveal the predicaments of entire classes of Americans caught in the chaos. The Court will be forced to contemplate, as voters apparently never did, the character of the president and the consequences for great swaths of our society. For instance, all those coal miners who voted for The Donald so blithely and are now finding out that Obamacare and The Affordable Care Act are one and the same and they are going to lose all their health insurance just as their pensions ran out on Dec. 31, 2016, are experiencing Buyers’ Remorse. [Too late for that, Coal Miners. Should have thought about reading up before you voted. A good book to start with would have been one on all of Donald J. Trump’s previous business dealings (and I don’t mean the one he didn’t write.)]

For children, their fate in Trump’s America will obviously turn on their race, religion and socio-economic status, as there is no longer an Obama figure fighting for them to receive health care and equal opportunity.
The shrewder players of the game will shun them as a group. Their “weakness” is their personal exposure to the distant future, which, if Leninist and Disrupter-in-Chief Bannon is in charge, almost certainly involves another war. (Wars are SO good for business!)

Says Lewis: “Politicians often stiff the future on behalf of the present, but no one in the political landscape has cut so many Draconian bargains with the future as Trump. An indifference to the long term is one of the keys to his behavior.” His treatment of his fellow human beings has left him in the odd position of having no real friends except those toadies who hope to profit by kissing his Trumpian ring. Trump’s willingness to borrow money that he does not repay has led many Wall Street banks to refuse to do business with him, which is why he probably is in debt to Russia by as much as $12 billion (we’ll never know, since he won’t release his tax returns, which also show him paying no taxes for literally years.) If he owes them that much money, they could ruin him by calling in the debt, but now all they have to do is dictate to him what he should do to de-stabilize the United States of America until it becomes the Divided States of America and Russia wins.

The cannier players of Trump’s America will realize that they are better off limiting their exposure to the future, so the older their Character is, the less likely it is to suffer the consequences of Donald Trump.
I can personally attest to this, as one of my friends, a Trump supporter, said, “Come on, Connie. You’re in the group that will benefit from all of his plans. Get with the program.”

If you play a character that depicts even a 60-year-old Muslim woman, you may live to play on. Play with a token that represents any child and you are eventually out of the game. It may take a while for less thoughtful folk to wake up to this reality. After all, it’s tough to say to your 8-year-old granddaughters: “Too bad you’re a kid and female.”

Millennials: GET ON THIS! I protested Vietnam. I protested for Free Speech (Berkeley, 1965, Mario Savio). I protested for civil rights. It’s up to you, now, to protest these pre-determined Character Outcomes and right the wrongs that Donald J. Trump (et. al.) represent(s) to our country’s Constitution and its long revered ideals of freedom of religion, among other principles. If you don’t start paying attention and reading up, you run the risk of becoming like those coal miners in West Virginia, hoodwinked and flim-flammed, with no health insurance (“I’ll be okay. I have the Affordable Care Act, not Obamacare” was a real quote on my Facebook page), no job, and no pension. The average life expectancy of a mine worker today is only 42 years, and that was before the complete destruction of Obamacare and Medicaid.

Good luck, Players! Pick your Character and start praying (Pence likes that).

The 35 Best U.S. Films About Politics Ever Made

The 35 Greatest U.S. Political Films of All Time

By Connie Wilson

In preparing a list of “the greatest” of anything, you are limited by your own exposure to the films (i.e., ‘Did you see these movies?”) If you did see them, do you remember all of them?

Fortunately for those of you longing for a political fix that isn’t nauseating (but actually entertaining), I have personally seen every single movie on this list—some of them more than once.

I concentrated on the American political experience, not that of another country. For that reason, films like “Z” by Costa-Gravas, or his equally impressive “Missing” (Chile) or Helen Mirren’s“The Queen” were deleted, as they focus on the political process in other countries. Warren Beatty’s movie “Reds” would have qualified if we wanted to open the list to Mother Russia.

But my emphasis is on politics here in the good old United States of America. (Also known, recently, as the Divided States of America, but that’s a topic for another day.) Steve McQueen’s 2008 film “Hunger” about the Irish Republican Army prison inmates certainly deserves a place on a list of great political films, but not if we’re concentrating on America, American politicians, and American politics. Similarly “The King’s Speech” (2010) had to go. “V for Vendetta”(2005): out. “Metropolis” (1927): a classic, but not really a film about American politics.

And that brings me to another criteria for my list. The primary focus of the film had to be on politics or the political process or a political candidate. One other list I consulted while researching my list included “Children of Men” (2006) and “The Godfather: Part II”.

The second “Godfather” movie definitely brings politics into the plot. But let’s be honest about “The Godfather” films. They’re about the Mafia family the Corleones. They’re not purely about politics, except peripherally. When it seemed like it might be a good idea for the Corleone family to become involved in the political process, by hook or by crook, they were buying Senators, yes, and perhaps planning more, but the films do not scream POLITICS to me.

Nor was Coppola’s other masterpiece, “Apocalypse Now” a movie about politics (as one list would have had me believe). Yes, Martin Sheen is traveling up the river to find Kurtz (Marlon Brando), but don’t most of us think of “Apocalypse Now” as a war movie? I know I do; I was surprised to see it on lists of “greatest political films” and I was equally surprised to see Orson Welles’ 1941 masterpiece “Citizen Kane” or Gregory Peck’s turn as Atticus Finch in “To Kill A Mockingbird” listed as “political” movies.

Well, yes, there is politics involved in both,— if you really stretch the definition of what you want your list to represent. Were they really short of candidates when they made their list(s), because I had no problem at all listing 35 films that I guarantee you that you will find enjoyable, entertaining and informative. (No attempt to say, “THIS is the very best one.”)

I eliminated documentaries, such as Michael Moore’s “Fahrenheit 9/11” because it isn’t a feature film. A great documentary like the Oscar-nominated “The Look of Silence” about the Philippines therefore lost out on two counts: it’s a documentary AND it is not about the United States. There are any number of great Errol Morris documentaries (“The Fog of War,” “The Unknown Known”) that would have been included, if I included documentaries. But these are all feature films on this list, made about the U.S. and being recommended to you for future viewing.

For those of you still reeling from the election of 2016 who want to see a good movie that will both entertain and enlighten you and is about politics in the U.S. of A, this is the list for you!

I admit to having seen every single one of them, which demonstrates why I get so little real work done. After the thumbnail sketches of the films, I’ll list a few “oldies-but-goodies” that I admit woulda’/shoulda’/coulda’ made the list—if I had seen them. Or, in at least one case, if I remembered it, which, apparently, I do not, or I would have included it.

Most of those films pre-date my movie-going career, (which has been very, very long).

THE FILMS:

1949 & 2006: “All the King’s Men”
– Broderick Crawford won an Oscar for playing Huey Long in the original movie (and then moved on to television, where he had a long-running role on “Highway Patrol.”) Sean Penn took on the part again in 2006. I’ll take the original over the remake, especially for the scene featuring Huey’s violent death as he exits the Capitol building. The film was based on Robert Penn Warren’s Pulitzer Prize-winning novel and here’s what IMDB says it is about: “The rise and fall of a corrupt politician, who makes his friends richer and retains power by dint of a populist appeal.” Amazing how these old movies retain their timeliness.

1962 & 2004: “The Manchurian Candidate” – For many years, this was my All-Time Favorite Flick. Laurence Harvey as the hit man who was brainwashed and is now the pawn of the evil Angela Lansbury (his mother) is magnificent, and Frank Sinatra is racing against the clock to prevent catastrophe in this plot that involves putting a Russian pawn in the White House. After the assassination of JFK, the film was withdrawn from release for many years, but re-emerged and the John Frankenheimer (“Black Sunday,” “Seven Days in May”) version was re-shot with Denzel Washington and Liev Schreiber in the title roles and the conflict updated to the Korean War. Direction in 2004 was by Jonathan Demme (“The Silence of the Lambs”). Both are good films, but I vote for the original 1962 version.

1962: “Advise and Consent” – Otto Preminger directed this film that starred Henry Fonda and Franchot Tone. The film was adapted from the Allan Drury novel that I once had to read for and with a young student from Chicago who was enrolled in a political science class at Augustana College and had been assigned to read the book for his class. The IMDB plot write-up: Senate investigation into the President’s newly nominated Secretary of State, gives light to a secret from the past, which may not only ruin the candidate, but the President’s character as well. (Nothing like this could ever happen in today’s world—right?)

1964: “Dr. Strangelove: or How I Learned to Stop Worrying and Love the Bomb” – Stanley Kubrick’s film with Peter Sellers in multiple roles is so good that I once cornered my entire family and made them watch it on Christmas Day. After all, what is more entertaining than the sight of Sellers’ facing off against Sterling Hayden and George C. Scott. I’ll never forget the scene where Sterling Hayden is ordered to machine gun a Coca Cola vending machine and Hayden defiantly says, “Well, all right, but you’ll have to answer to the Coca Cola Company,” or words to that effect. The plot (IMDB): An insane general triggers a path to nuclear holocaust that a war room full of politicians and generals frantically try to stop. Oh! THAT could never happen in real life, now, could it? Slim Pickens riding the bomb. This film cries out for viewing in today’s political climate.

1964: “Fail-Safe” – Henry Fonda steps up to the political plate once again, in a film directed by Sidney Lumet (“12 Angry Men,” “Dog Day Afternoon,” “Network”) that features a rogue attack on the U.S.S.R. (Remember the Cold War when Russia was our adversary and not our good friend?). The launch a mistake caused by an electrical malfunction and the question is: “Can we avoid an all-out nuclear war?”

1964: “Seven Days in May” – John Frankenheimer directed the original film that starred Burt Lancaster, Kirk Douglas, Fredric March, Ava Gardner and Martin Balsam about a plot against the President of the United States by military leaders because the president supports a nuclear disarmament treaty and the military fears a Russian sneak nuclear attack. Nominated for 2 Oscars.

1972: “The Candidate” – I still have a political button that says “Bill McKay: A Better Way.” The theater gave them out to advertise this Robert Redford starring movie about a candidate running for the Senate in California and his handlers. Real Senators Alan Cranston, Hubert Humphrey and George McGovern had cameos. Howard K. Smith of ABC News played himself. I always felt that this treatment of the run for office was probably more accurate than most.

1974: “The Parallax View” – An ambitious reporter played by Warren Beatty gets in way-over-his-head trouble while investigating a senator’s assassination. Everyone who knew anything about the Senator’s death seems to be dying. He discovers a vast conspiracy involving a multinational corporation behind every event in the world’s headlines. Directed by Alan J. Pakula (“The Pelican Brief”) and co-starring Paula Prentiss.

1975: “Three Days of the Condor” – A bookish CIA researcher (Robert Redford) finds all his co-workers dead. (You never know what you’ll find your co-workers up to when you return from a coffee run). He must outwit those responsible and figure out whom he can trust. Directed by Sydney Pollack, Robert Redford’s kidnapping of Faye Dunaway (he needs a place to hide out while he figures things out) leads to some moody cinematography of her photography and, ultimately, to the salvation that releasing facts to the media (i.e., the “New York Times”) used to mean. Ah, for those good old simpler days.

1976: “All the President’s Men” – Starring Dustin Hoffman and Robert Redford as Woodward and Bernstein of the Washington Post, the two uncover the details of the Watergate scandal (primarily from informant “Deep Throat” played by Hal Holbrook) that leads to President Richard Nixon’s resignation from office. Again directed by Alan J. Pakula, based on Bernstein and Woodward’s books. I showed this to a class at Eastern Iowa Community College to illustrate “whistle-blower” films, and the credits are of an old manual typewriter banging out the information, so its credit opening seems very dated.

1979: “Being There”
– The great Peter Sellers plays Chance, the gardener, and Shirley MacLaine co-stars. I’ll never forget Chance saying, “I just like to watch.” Jerzy Kosinski wrote the novel on which the plot is based and also wrote the screenplay for the film, which was directed by Hal Ashby (“Harold & Maude,” “The Last Detail”). A poor simple gardener becomes an unlikely trusted advisor to a powerful businessman and an insider in Washington politics (These days, that phrase is redundant). Is Chance really dumb, or is he crazy like a fox? Melvyn Douglas won the Oscar as Best Supporting Actor, but the film also had another 13 wins and 15 nominations for a variety of film critics’ awards that year.

1981: “First Monday in October” – This film starring Jill Clayburgh and Walter Matthau was about the appointment of the first woman to the Supreme Court. Jerome Lawrence wrote the play and the screenplay and Ronald Neame directed. Clayburgh is the Conservative (think Scalia) and Matthau is the liberal (think Ruth Bader-Ginsberg). It eventually leads to a romance not unlike that of the Ragin’ Cajun of the Democratic party, James Carville, and his Republican wife Mary Matlin—[before she bolted from the GOP, anyway].

1992: “Bob Roberts” – Tim Robbins wrote it. Tim Robbins directed it. Tim Robbins starred in it. Here’s the IMDB plot summary: “A right-wing folk singer becomes a corrupt politician and runs a crooked election campaign. Only one independent muck-raking reporter is trying to stop him.”

1993: “The Pelican Brief”
– Denzel Washington and Julia Roberts are on the trail of who murdered a Supreme Court Justice of the United States and why. Based on the John Grisham best-selling novel. Alan J. Pakula (“All the President’s Men,” “The Parallax View”) wrote the screenplay and directed.

1995: “The American President” – Aaron Sorkin wrote it, Rob Reiner directed it, and Michael Douglas and Annette Benning play the widowed President, who falls in love with a lobbyist. I actually knew the guy who made sure the dye in the carpet was the same as the real Oval Office. (He also dyed the Trump baby’s layette for a photo shoot for “Vanity Fair”, but that “baby” our current president’s second daughter, with Marla Maples, is now the young Tiffany Trump.)
1997 : « Conspiracy Theory » – Mel Gibson & Julia Roberts. A man obsessed with conspiracy theories becomes a target after one of his theories turns out to be true. Unfortunately, in order to save himself, Mel has to figure out which theory it is. Directed by Richard Donner (“Lethal Weapon”).

1997 – “Wag the Dog” – Shortly before an election, a spin-doctor (Robert DeNiro) and a Hollywood producer (Dustin Hoffman) join efforts to fabricate a war in order to cover up a presidential sex scandal. Directed by Barry Levinson (“Diner”) and co-starring Anne Heche. My favorite scene involved a young girl clutching a bag of potato chips to simulate a baby, which would be “green screened” into a touching war scenario that would distract from the REAL scandal. The movie is a hoot and a half and rings even truer today!


1998: “Primary Colors”
– A man joins the political campaign of a smooth-operator candidate for president of the USA, played by John Travolta and loosely modeled on Bill Clinton’s charisma. Directed by the late great Mike Nichols, who joins Alan J. Pakula in heaven as one of the best directors of a political movie since 1970. Based on the Joe Klein novel that hit New York Times best-seller lists as written by “anonymous.”

1991: “JFK” – Oliver Stone directed from a script that he and Zachary Sklar co-wrote. The bio-pic explores the assassination theories that New Orleans district attorney Jim Garrison believed to be true. Too many courtroom scenes, but a decent bio-pic about the assassination of President John Fitzgerald Kennedy, starring Gary Oldman as Lee Harvey Oswald, Brian Doyle Murray as Jack Ruby, Sissy Spacek, Kevin Costner (as Garrison), Tommy Lee Jones, John Candy, Jack Lemmon, Ed Asner, Vincent D’Onofrio, Wayne Knight and Michael Rooker among a very large cast.

1992: “Malcolm X” – Spike Lee directed from the book “Malcolm X” by Alex Haley (“Roots”). Denzel Washington, Angela Bassett and Delroy Lindo starred in this bio-pic about the Black Muslim leader who was assassinated in New York at the age of 39 on Feb. 21, 1965.

1995: “Nixon” – Anthony Hopkins, Joan Allen and Powers Boothe headed up the cast of this Oliver Stone bio-pic. I have to admit that I thought Hopkins was the wrong physical type to play Nixon, but he did his usual great job. Film was nominated for 4 Oscars. It got nominations for its screenplay, its original music, and both Allen and Hopkins were nominated, but did not win.

1998: “Bulworth” – Warren Beatty wrote this, starred in it, and directed it, with Halle Berry as his co-star. Bulworth is a liberal politician, Senator Jay Billington Bullworth, who is so suicidally disillusioned that he puts a hit out on himself. At that point, he feels that he can now be completely honest with his constituents. I did not like this movie as well as most of the others on the list, which was because the plot had Bulworth embracing hip hop music and culture as he waits to die. But it’s a Warren Beatty film and deserves to be on the list as an examination of to what lengths (or depths) politics can drive a candidate.

1999: “Election” – A very young (and obnoxious) Reese Witherspoon is Little Miss Goody Two Shoes in teacher Matthew Broderick’s classroom. A compulsive over-achiever, Broderick’s life becomes very complicated (and the film becomes very hilarious) when the campaign and run for Class President comes down to a vote or two against opponent Chris Klein (“American Pie”). I loved this movie and laughed out loud; it didn’t hurt any that the inexpensive film used the Midwest chain Younkers in the background of some shots, because you’re not going to see THAT every day! (Founded in 1856 in Keokuk, Iowa, Younkers stores only exist in 50 Midwestern locations.)

2000: “The Contender” – Joan Allen strikes again, this time as a Vice Presidential contender named Laine Hanson. Information and DISinformation threatens to derail her confirmation. What a cast! In addition to Allen, the co-stars include Gary Oldman, Christian Slater, Jeff Bridges, Sam Elliott and William Peterson. (I met Joan Allen at the Chicago International Film Festival a few years back, when she was being honored as a local girl made good. She is a Rochelle, Illinois native who attended both Eastern Illinois University and Northern Illinois University, my husband’s alma mater).

2005: “Good Night & Good Luck” – George Clooney wrote, directed and was one of the stars of this film about Edward R. Murrow’s attempts to bring down Senator Joseph McCarthy. Clooney admitted it was a passion project for him. David Straithorne played Murrow, with Jeff Daniels, Patricia Clarkson, Frank Langella, Matt Ross and Robert Downey, Jr., also in the cast. Nominated for 6 Academy Awards.

2007: “Charlie Wilson’s War” – Tom Hanks portrayed Texas Congressman Charlie Wilson, who attempted to covertly supply Afghan rebels with the weapons to defeat the Soviets in Afghanistan. The film’s tag-line was: “Based on a true story. You think we could make all this up?” Co-stars were Julia Roberts, Philip Seymour Hoffman (again), and Amy Adams from a script written by Aaron Sorkin, directed by Mike Nichols.

2008: “Frost/Nixon” – Ron Howard directed Frank Langella (Nixon) and Martin Sheen (Frost) in this film adaptation of the Broadway play that detailed the information that Nixon finally admitted during David Frost’s interviews of him on national television. It was essentially a two-man play, but the movie also featured such name actors as Kevin Bacon, Toby Jones, Sam Rockwell, Oliver Platt and the director’s brother, Clint Howard.

2008: “Milk” – Sean Penn beat out Mickey Rourke this year (in “The Wrestler”) to take home the Oscar for Best Actor in this drama about California’s first openly gay elected official. Emile Hirsch and Josh Brolin (as the shooter) star in this Gus Van Sant project.

2008: “W” – Josh Brolin portrayed George W. Bush in Oliver Stone’s bio-pic, with Thandie Newton as Condoleeza Rice, Richard Dreyfuss as Dick Cheney and Scott Glenn as Donald Rumsfeld. Toby Jones portrayed Karl Rove, Jeffrey Wright played Colin Powell, Ellen Burstyn was Barbara Bush and Colin Hanks played a speechwriter.

2011: “The Ides of March” – Ryan Gosling portrays an idealistic staffer for a candidate who learns more than he wants to about dirty politics. The play on which the film was based was written by a former Howard Dean staffer, Beau Willimon, who now helps helm Kevin Spacey’s “House of Cards” TV series. George Clooney, who directed and co-wrote, also played Governor Mike Morris. Others in the cast included Paul Giamatti, Philip Seymour Hoffman, Evan Rachel Wood (“Westworld on television now), Marisa Tomei and Jeffrey Wright.

2012: “Game Change” – Jay Roach directed from the book of the same name, in a film about Sarah Palin’s ascendancy to the vice presidential slot on John McCain’s ’08 presidential bid. The film starred Julianne Moore (as Palin), Woody Harrelson, and Ed Harris as John McCain. (These were “the olden days” when we thought Sarah Palin was the worst know-nothing candidate one could put on a presidential ticket.)

2012: “Argo” – Ben Affleck both directed and starred (along with Bryan Cranston and John Goodman) in this film based on Tony Mendez’ book “The Master of Disguise.” The book detailed how a team posing as filmmakers scouting a location for a sci-fi movie rescued 6 of the Iranian hostages in 1980. Won 3 Oscars, including Best Picture of the Year.

2012: “Lincoln” – Based on the Doris Kearns Goodwin book, Stephen Spielberg cast Daniel Day-Lewis as Lincoln and he won the Oscar this year as Best Actor for the bio-pic about Lincoln’s trials and tribulations as the Civil War raged. The film was also nominated as Best Picture. Co-stars were Sally Field (as Mary Todd Lincoln), David Straitharn (again), Joseph Gordon-Levitt, James Spader, Tommy Lee Jones, Jackie Earle-Haley, Hal Holbrook and John Hawkes.

2012: “Zero Dark Thirty” – Kathryn Bigelow helmed this story of the killing of Osama bin Laden in Pakistan by Navy S.E.A.L. Team Six in May of 2011. The film starred Jessica Chastain, Chris Pratt, Joel Edgerton and Kyle Chandler. It won one Oscar.

2014: “Selma” – Ava DuVernay directed from a script by Paul Webb. The film documents the Martin Luther King civil rights march from Selma to Montgomery, Alabama, in 1965. David Oyelowe played Martin Luther King, and would later make his mark again in “Twelve Years A Slave.” Carmen Ejogo portrayed Coretta Scott King. Won one Oscar.

I’d just like to add that 1964’s “The Best Man,” as well as 1939’s “Mr. Smith Goes to Washington” and 1957’s “A Face in the Crowd” would have made the list if I had a better memory. I know I saw them, but they are lost in the mists of memory, while I do remember all others on this list. Also, haven’t seen “Snowdon” (Oliver Snow) and perhaps “Dave” with Kevin Kline and Sigourney Weaver could make the list, but I was trying for films with the stature of “Argo” and “Lincoln,” so some (like “War Games”) were intentionally omitted.

Enjoy!

“Blood on the Mountain” Documentary Recaps Plight of West Virginia Coal Miners

Genre: feature-length documentary
Length: 90 minutes
Director: Mari-Lynn Evans and Jordan Freeman
Producers: Deborah Wallace, Mari-Lynn Evans and Jordan Freeman
Release date: November 18, 2016 from Abramorama
Reviewed by: Connie Wilson

The opening scenes from the impressive documentary “Blood on the Mountain” show the beautiful forested hills of Appalachian coal country from the air. West Virginia, second in the nation in coal production (and second poorest state in the nation), looks beautiful from hundreds of feet overhead.

And then we go to ground and reality rears its ugly head.

A litany of mining disasters is listed: Hawks Nest, West Virginia: 764 African-Americans in unmarked graves with 10 to 14 dying in the mine(s) daily.

The conflict at Blair Mountain.
Buffalo Creek (125 killed, 4,000 homeless, engulfed 17 towns with coal slurry).
Brushy Fork Slurry: 9 billion gallons of coal slurry released to bury nearby towns.
52 dead under Donald Blankenship’s Massey Energy.
Sago Mine Explosion, Jan. 2, 2006.
Aracoma Mountain Fire, in 2000, 2 dead.
Upper Big Branch Explosion, April, 2005, in the #9 mine. Seventy-nine went in; 50 came out—“the worst explosion since 1984”—29 dead.

And yet Don Blankenship’s (Massey CEO) e-mail, read into the Congressional record during the post-disaster investigation, said: “You need to ignore them (federal rules and regulations) and run coal.”

Anyone who wants to know what a mine that is trying to evade regulatory efforts might resemble need only take in Antonio Banderas’ 2015 film “The 33” about gold and copper miners trapped underground in Chile for 69 days before rescue (Banderas played Mario Sepulveda, the group’s leader). The precious metal may be different, but the methods to avoid ensuring the health and safety of the mine workers comes very close to coal mining in 2016. Any time a federal regulator was on the way to make an inspection, the word was put out; efforts were made to avoid detection/correction of any infractions of rules put in place to safeguard the health and safety of the workers.

THE GOOD:

Blood on the Mountain starts with a brief history of the rise of coal at the end of the 19th centur
y. Because of the abuse of workers, unions began to form to fight for the rights of the working man. (Sylvester Stallone’s 1978 film “F.I.S.T.”, for which I attended the World Premiere, was about the fight to unionize in the face of brutal opposition from management). A voice onscreen says, “That’s how we got the New Deal.” FDR in a Fireside Chat is shown telling the nation that government should “seek the primary good of the greater number.” Between 1935 and 1938 Roosevelt championed the New Labor Act and the Fair Labor Act and progress was made.

But the demand for coal as a cheap energy source peaked in the 1920’s and there are only 500 mines left in the United States today.

Of that number, those in Wyoming are far and away the biggest producers of coal (4x more than West Virginia), but West Virginia, long associated with coal mining, is second. It is also the second poorest state in the Union.

Once the heady days of the passage of Fair Labor Acts were past, Homer Adam Holt, Governor of West Virginia in 1939, tried to amend educational literature in the schools to make it more to his liking. Changing history by writing it to the Governor’s liking was recommended by those in power this way, “It is better to have a mediocre book than to antagonize the Governor.” Corrupt governors abounded before and after Holt.

The comment, prescient and predictive today, is made that “industrialists have been able to get by with whatever they want” and, as the documentary attests, “there were a continuous stream of accidents and treatment of others as less important” by those in power.
(*Recent Reference: “Deep Horizon” Mark Wahlberg film about the BP catastrophe in the Gulf.)

Corruption of the officials in West Virginia was a given. Between 1984 and 1991, under Governor James Manchen, more than 75 state officials went to jail. While this does not seem unique to West Virginia (witness Illinois and Louisiana officials, for openers), Davitt McAteer, head of mine safety and featured as a talking head in this documentary, does lay out their repeated attempts to break up unions, beginning in 1984.

The miners, for their part, are quoted in Blood on the Mountain this way: “You have a kid to feed. Do your job.” McAteer says, “A proud heritage came to a crashing end in the 1980s,” referencing the UMWA (United Mine Workers Association) looking out for the health, pensions and safety of its members. As a former worker said, “Production was the name of the game at all costs…We had to produce to keep our jobs.”

Cecil Roberts (a mine worker) refers to “the power of intimidation” and talks about one mine administrator with a wife with cystic fibrosis whose medication cost $5,000 per month. Threaten that mine worker with loss of his position if he does not do your bidding. If someone tried to stand up to then-president of the UMWA, Tony Boyle, as Jock Yablonski did in 1969, that individual risked his life. Murder was used as a tool. Wikipedia entry: Joseph Albert “Jock” Yablonski (March 3, 1910 – December 31, 1969) was an American labor leader in the United Mine Workers in the 1950s and 1960s. He was murdered in 1969 by killers hired by a union political opponent, Mine Workers president Tony Boyle.”

Therefore, the number of mine workers steadily declined from a high of 500,000 to, currently, 80,000—and all but 14,000 of those members are retired. It is obvious that, like Social Security where those taking out money are outnumbering those paying in money, the funds to support miners in their retirement or ill health are drying up, while, simultaneously, the demand for coal (and coal miners) is declining.

While President Obama’s regulations against coal are used to urge coal miners to vote for the opposition, the reality is that such EPA regulations began under Republican President George W. Bush. The reasons for the precipitous decline in jobs in West Virginia mining coal are many and varied and blaming “tree huggers” just won’t fly in the face of facts.

Mechanization and automation has idled thousands. “Appalachia is a shell of its former self…Parents are telling their children to go.” No less an authority than Jay Rockefeller is seen telling his audience, “It’s a disservice to coal miners and their families to pretend that things can be as they were.” Coal is a finite mineral and mining has been going on since the 1800s. Is it any wonder that now you have to go deeper and deeper into the ground to mine? Instead of even trying, mines have resorted to simply blowing off the tops of the mountains using explosives, which damages the environment and the topography of the state.

Despite the fighting words “Coal IS West Virginia,” coal mining is a dying industry. 80% of coal mines are owned by out-of-state corporations. Mines have destroyed 352,000 lush forested acres using explosives as of 2009. Wendell Berry is heard to say, “The global economy is built on the principle that one place can be destroyed for the benefit of another.” [What comes to mind is the Brazilian rain forest and attempts to save it, or the Arctic and attempts to ban drilling beneath the polar ice caps.]

In addition to silicosis (“black lung disease”) which has made the average miner’s life expectancy only 42 years of age, in Charleston, West Virginia, “They poisoned people’s water and commerce goes on.” The chemical MCHM used by Freedom Industries to process coal caused a Flint, Michigan, water situation (for different reasons) where water could not be consumed, used for washing, or considered safe in any way. Dr. Rahul Gupta, a medical director, is shown speaking to that issue, and Chris Hedges, an author, says, “They tried to make it appear to be an anomaly.” Nine counties were affected and a state of emergency was declared. Bottled water had to be delivered to anyone living in those nine counties.

Immediately thereafter, on January 17, 2014, Freedom Industries declared bankruptcy.

The declaring of bankruptcy is a common ploy used by unscrupulous coal companies to avoid having to pay reparations or retirement sums due or health care promised to workers when they began in the mines. It’s a bit like the plot of “The Producers” (i.e., Gene Wilder and Zero Mostel plan for a play to fail so they can use it as a tax write-off) where a mine is set up to fail and then bankruptcy can be declared, relieving the unscrupulous mining company of any obligations to the men who risked their lives underground mining the coal. Seven thousand coal mining jobs have been lost in West Virginia since 2011. In 2015, over 11,000 coal miners lost their jobs, according to “The Hill.”

“The Hill” goes on to attempt to blame the loss of coal mining jobs on federal regulations, but the truth is much more complicated.

To wit:

1) China is trying to clean up its pollution problem, so the Asian demand for coal from places like West Virginia did not measure up to expectations.
2) Clean, renewable energy sources are cutting into the concept of coal as king. Natural gas, for one, is cheaper and the head of Exxon is all for using natural gas rather than coal for power. In fact, the day the Paris Climate Control Pact took effect, the head of Exxon announced his support for the climate initiatives the Paris act endorsed, which included cutting back on coal to eliminate pollution and global warming.
3) Although Donald Trump hates wind turbines because they clutter his Scottish golf course view and kill birds, Obama supported wind and solar efforts, and, even in the coal state of Illinois where I live (Illinois is 5th in coal production), the nuclear power plant in Cordova (IL) recently received a death sentence reprieve from Republican Governor Bruce Rauner which is good for the next decade, despite consistently losing money operating it.
4) If the demand for coal were still high, eastern states have cleaner coal and it is easier to get Eastern coal to market.
5) Australia also is capable of producing coal for export.
6) Mechanization and automation, mentioned previously, have cut into the need for coal miners.
7) Changes in how coal is extracted from the ground also reduces the demand for coal miners.

THE BAD

Blood on the Mountain is a documentary with a point of view and those who do not accept climate change and global warming as fact will dispute its point-of-view. It also did not address the life-and-death struggle in the halls of Congress ongoing in December of 2016 to help save miners’ pensions and retirement benefits, gutted by unscrupulous companies who do not believe that promises should be honored. There is footage of a UMWA rally in September in Washington, D.C. regarding Senate Bill #1714, the Miners’ Protection Act.

After a huge coal miners’ strike in 1946, Harry Truman nationalized the mines and, in order to end the strike, hammered out a deal with UMWA President John Lewis and Interior Secretary Julius Krug that would guarantee coal miners certain benefits, like pensions and health care. That, to the miners and the UMWA, is the promise made that should be kept, but there are those who argue that the promise was not forever and not the government’s responsibility.

If you accept the premise that coal mining is a dinosaur industry that is dying a slow, tortuous death, quotes like this one from Jeremy Nichols, spokesman and director of climate and energy for Wild Earth Guardians are incendiary. When asked about the plight of coal miners in West Virginia (and elsewhere) Nichols said, “My initial response is tough shit…Keep it in the ground.” There is an obvious disconnect between the blue collar miners and the college-educated environmentalists who they see as a threat to their livelihood—even though the threats are far more wide-ranging.

The Wild Earth Guardians brought a suit in 2013 that threatened to shut down Colowyo and Trapper mines in Colorado, saying that the environment was “inadequately protected under the National Environmental Policy Act.” The mines were sued by the United States Office of Surface Mining.

Headlines in primarily Republican organs (“The Hill” was one) read: “Happy Birthday Clean Power Plan, Thanks for the Job Losses and Billions in Costs.” Another read: “Clean Power Plan: All Pain, No Gain for West Virginia” (The Hill). The same source made the dire prediction of 24,000 coal mining jobs displaced by the year 2020 blaming it all on EPA regulations and cited rising cost for electricity if coal were cut out of the power equation.

But the truth is that MANY factors play into the fall of coal as a power player. It is NOT just EPA guidelines that have put coal miners in the position of losing their pensions and their health care by Dec. 31, 2016.

The UMWA pension system is irreparably broken. No union members to pay in; no union money to pay out. “The looming insolvency is due to the precipitous drop in demand for coal in recent years…” say the experts. Union busting mine owners helped destroy the organization that had fought for workers at the turn of the century, and that began in earnest in 1984.

TODAY:

December 5, 2016:
Senate Democrats staged a last-ditch attempt to pass a stop-gap measure for miners who face the loss of their pensions and health care NOW (i.e., Dec. 31, 2016). Senate Bill #1714, the Miners Protection Act, was co-sponsored by Virginia senator Tim Kaine and it passed out of committee 18 to 8, with 8 Republican Senators voting with the Democrats to take millions earmarked for the cleaning up of abandoned mines and put it into a fund for displaced and retiring mine workers. Republicans who crossed party lines to vote for the bill included Orrin Hatch (R, Utah), Mike Crapo (R, Idaho), Pat Roberts (R, Kansas), Richard Burr (R, NC), Rob Portman (R, Ohio) and Pat Toomey (R, PA). Saying “Congress, in my view, has an obligation to the Miners Protection Act” this group tried to bring the bill to the Senate floor for a vote. But House Republican Majority Leader Mitch McConnell, who has no love for the UMWA or President Obama, refused to allow a vote. (*Note: McConnell’s wife was just named Secretary of Transportation.)

Meanwhile, a variety of mining companies (Peabody, Freedom, Alpha Natural Resources) continue to file for bankruptcy and the courts have relieved the bankrupt companies of their obligation to pay retiree benefits. All of this hits home here in the Rust Belt when I think of the waning days of International Harvester, which went under and took many pensions with it.

Let’s also not forget how we all suffered financially in 2008 when the economy nearly collapsed and was rescued only in the nick of time by the stewardship of the incoming administration. Pension funds—like all of ours—took a hit then, too.

He’s not in Blood on the Mountain, but Joe Stowers, age 72, from DuQuoin, Illinois, a retired miner who worked 28 years, is thinking of coming out of retirement to try to find a job because, as many who were interviewed for “Blood on the Mountain” said, “I thought my tomorrow was safe. Apparently, it’s an entirely different story.” As of October 5th in a letter sent to 12,500 union members, Peabody Energy, Arch Coal, Patriot Coal, have all told their union employees that their health care coverage will be lost on December 31, 2016 unless Congress acts. Following on the heels of those three companies are Walter Energy and Alpha National Resources, who have sent out letters announcing similar losses to miners in March and July of 2017.

In a December 9, 2016 article in Mother Jones, Katie Herzog wrote: “President elect Trump campaigned on bringing back those same coal miners’ jobs, through sorcery, perhaps. Someone is working to help miners, but it ain’t Trump—or many Republicans, for that matter.”

One coal miner quoted in this truly grim-but-important film says, “We’re like lepers. Put us in a colony and let us die off. We’re not losing it (the land); we’re sacrificing it for the good of mankind and we’re sick of it.”

About Connie Wilson

Connie (Corcoran) Wilson (www.ConnieCWilson.com ) was the Quad City Times film and book critic for 15 years and has continued reviewing film uninterruptedly since 1970. She also publishes books (31 at last count) in a variety of genres (www.quadcitieslearning.com), has taught writing or literature classes at 6 Iowa/Illinois colleges or universities as adjunct faculty, was Yahoo’s Content Producer of the Year 2008 for Politics, is the author of It Came from the 70s: From The Godfather to Apocalypse Now, and writes on a variety of topics at her own blog, www.WeeklyWilson.com.

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