Skip to main content
In our real time amnesiac society, writing about The Interview today may be like arriving a little late to the party, but I have to say that, watching it last night with the Katherine and the kids, some notes are in order.

For starters, don't be fooled. This is a family movie. Today's American 12 and 14 year olds are really adults disguised as children. They will see more on the interweb and talk more supposed "trash" at school than The Interview could possibly hope to do. Furthermore, if you are looking to suspend your disbelief because you seek realism, look somewhere else. The Interview shamelessly mocks itself and kids not only get that "it's only a movie", but this knowledge grants the filmmakers and audience license to ill. Satire, parody, and comedy, as we have seen recently in Paris, can really piss off individuals, splinter groups, clans, tribes, or nations. It would be too much to say the "offended" parties lead humorless lives. After all, do they not giggle at their own human foibles (like when they fart in public)? But it may not be too much to say that these same offended parties are kinda messed up in the head when a satirical film "threatens" their national security causing them to unleash a cyber war upon Sony Inc. (One of my favorite companies, by the way, because they make cameras I really like to use, notably the Sony EX1 hi def camcorder).

The Interview is an expertly made satire that actually pushes the conversation about the family of nations squarely into the public forum. I am not kidding. Can you imagine a more powerful movie that would get apathetic, apolitical American viewers (and the stoner crowd) politicized? When the lights came up I was asking myself why North Korea has isolated itself so completely. How can a nation so large and so powerful not want to join the inevitable international move to a global economic and cultural marketplace? Or maybe they do but their leaders won't let them? Are there millions of North Koreans who have so deified Kim whatever-your-name-is that they will willingly starve themselves to death? Conversely, why should we care? Because they have the bomb? Will they really use it?

The larger point (and one - among many excellent points - which the film makes) is that America likes to export democracy - even to places that may not want (or may not know they want) it. What Rogen, Franco, and Goldberg are saying is: this North Korean state is one of the last - and unfortunately nuclear - nations that not only oppresses its own, but refuses to play along with with liberalism and free market capitalism. Can't we all just get along? But they are packaging this message in a bawdy, raunchy, politically incorrect, satire that audiences from 12 to 80 can understand.  I plan to see it again - if only for Eminem's cameo.

http://en.wikipedia.org/wiki/The_Interview_%282014_film%29

Comments

Popular posts from this blog

The End of the Tour

Great poster! Beautiful concept. The image tells us everything we'd want to know about the film. Especially gutsy is the decision to exclude Jesse Eisenberg's and Jason Segel's faces.  It's called a  two-hander . In the theatre it connotes a play with only two actors. hink  Driving Miss Daisy  or most plays by Samuel Beckett. In  The End of the Tour , Jason Segel and Jesse Eisenberg and director James Ponsoldt take the two hander into movie land, albeit with a supporting cast (including a hilarious comedic acting turn courtesy of Joan Cusack) and make it into a genuine, moving, funny, and heart-wrenching bit of cinema.  The celebrity writer and his admirer. Jesse Eisenberg and Jason Segel.  We may never know who David Foster Wallace really was. Already his estate is disowning this film - but the truth about that is also  up for grabs. All we have is the film, exhibit A (if you will), and what we read about it, along with Mr. Wallace'...

Wild Tales (Relatos Salvajes)

Wild Tales Black. Very black. Hilarious. Once in a while a movie comes along that expresses the dark side of our wish fulfillment fantasies. If revenge is a plate best eaten cold then this flic is positively glacial. Yet the revenge fantasies played out in this sextet of short stories are infernal, burning, fire breathing, enraging, and ultimately immensely funny and vastly entertaining. Who among you has not wanted to stick it to the tow truck people who unjustly took your wheels? What newlywed - upon learning their recently betrothed had schtupped the co-worker - hasn't wanted to go postal? What if the man who caused your dad to commit suicide walked into your diner, didn't recognize you, and ordered eggs? Director Szifron adroitly peels back the thin veneer of civilized behavior to remind us that underneath we are still animals. His opening title sequence (following a pure genius opening scene involving a group of strangers flying on a jet who have - er...a um...friend in...

The Apu Trilogy, directed by Satyajit Ray

Criterion's poster for the re-relase of Ray's Apu Trilogy. If you go, see them in the order they were made, preferably in one day. Sure, it's a marathon, but worth every minute. For Boston folks, the Kendall Square Cinema has scheduled them to play back to back, with a 45 minute break between parts 2 and 3, just enough time for a sandwich and a beer at The Friendly Toast! “Never having seen a Satyajit Ray film is like never having seen the sun or the moon.”  —AKIRA KUROSAWA Criterion's restored 4K theatrical re-release of Satyajit Ray's Apu Trilogy ranks among the top cinematic events of the year. The films are deeply human and tell a timeless, universal story in the simplest of ways. The degree of authenticity here might lead one to believe they're watching a type of ethnographic or anthropological documentary when, in fact, we are talking about a filmmaking style closer to the Italian neo-realists (I'm thinking specifically of DeSica's B...