Book Review: Egg On Mao by Denise Chong | CNReviews

Double, double toil and trouble;
fire burn, and cauldron bubble.

Yes, once again Denise Chong, that best-selling author and fellow Canuck, stirs the ol’ hot pot again with her latest snipe at Zhongnanhai’s corrupt geriatric set over their handling of the whole so-called “6-4 Incident.” Enter her latest smashing volley, Egg on Mao: The Story of an Ordinary Man Who Defaced an Icon and Unmasked a Dictatorship.

Recounted through the heartfelt memories of Lu Decheng, the intellectually dullest of the trio of wayward Liuyangers who one-timed oil paint-filled egg shells from a local jian bing stand at the Forbidden City’s omnipresent portrait of the Great Helmsman, Chong spins a vivid tour-de-force tale depicting the aftermath of their arrest and subsequent incarceration in the dying days of the late-’80s student democracy movement.

During the spring of what would become that fateful ‘89 year, Lu along with his friends Yu Zhijian and Yu Dongyue were caught up in the fervor of ousting the Party leadership once and for all. They became drunk on the idea of setting the People’s Republic’s sails firmly on a course for integration with the West along with the abolition of China’s corrupt glad-handing society.

Heeding the poetic words of student leader, Uighur activist Wu’er Kaixi, the “sun shining off of Mao’s portrait was so bright that the people couldn’t open their eyes to what was going on around them.” Hopping on the overnight choo-choo via Changsha, the three impressionable young cats — caught up in the inexorable flow of thousands from all across the nation descending on Beijing (or Peking as it was still then known in the West, still stuck in Wade-Giles mode) — somehow found themselves in the thick of it at the center of T-Bone Square, rocking it on ’til the break of dawn against the Big Bad Red Machine.

Chong employs a nifty literary technique shifting back and forth between what was and what is, flashbacking to our impressionable ones’ preparations as they eagerly anticipate traveling north to the capital, matched against their deep-seated doubts about what they were monumentally about to do. The portrait vandalizing incident was only an afterthought, can you believe it?

I found the most harrowing portions of this book — quite expectedly — to transpire inside the jail where the three were sentenced to life imprisonment for defacing the People’s Property. A couple of the guards sympathized with their cause, while many others were tasked with the deplorable job of smashing their willful spirits and crushing the resistance out of them via a daily slew of humiliation, physical abuse, and in several cases, unmitigated torture. Their prison authorities somehow remained convinced that they’d succeed in luring the young men, especially the brilliant Zhijian, from of their “counter-revolutionary” paths, by inculcating in them the values of Mao’s Homo Sineticus, the “ideal” modern Chinese super-ego.

Decheng, a bus mechanic and driver by trade, was the least educated of the bunch at the outset. His journey is magnificent because his life changes by 180-degrees by story’s end. Dongyue, youngest and most impressionable, was a mere wet-behind-the-ears type at the crime’s time, a mere teenager. Zhijian was the one with all the bright ideas and coffee house theories, the one who read all the European classics, and the one who became most disillusioned by the end thanks to the students’ perfidy in refusing to come to the three’s aid by secreting them away from the lurking plainclothes PSB goons at the time, instead offering them up like sacrificial lambs.

Given that Decheng was our narrative vessel in Egg On Mao, we came to learn of the harshness of the boys’ prison conditions through his arduous journey in his own words. As he arrived at the stark realization that the West was absolutely powerless (or unwilling?) to convince the PRC’s Party higher-ups to spring him and his mates from the cavernous clink, Decheng set out to improve his skills and brain power while living out the typical prison double life.

Compelled to undergo the routine Maoist ideological indoctrination and daily hammering of Marxist-Leninist Thought, Decheng would mechanically nod his noodle during classes, only to “raid” the prison library later in the evenings to feast his eyes on anything he could get his meat hooks on: well-thumbed, outdated tomes on all manner of Western theory and thought — all in English which the guards couldn’t read — realizing that eventually his salvation would come and he should be prepared for that eventuality. Guards would needle him for his seeming craziness; the mere sight of Decheng reading stuff that looked as if though it could maim, rather than educate, him elicited many giggles. In time, howe3ver, this strategy would prove ultimately successful, confounding the dastardly designs of the prison system.

By 1998, Decheng was a free man — first, gaining asylum in Canada, where Chong learned of his story.

There’s a lovely parallel story in this book, and that’s the love affair between Lu and his young bride Qiuping, a woman he eventually weds prior to performing the fateful deed.

Even before the first yolk is hurled at Mao’s grim, moled likeness, Decheng and Qiuping have birthed their first tot — a XX Chromosomal Child Unit. His subsequent imprisonment, despair, and eventual divorce from his wife who fears her man will never be released for the ignominy caused to the Party’s international image, is a touching counterpoint to the violence taking place within the prison compound’s walls. The brutal and repeated attempts by Decheng’s prison warders to destroy his rebellious soul do nothing to diminish his abiding passion for his wife and their oft-stated commitment to “never accept a divorce, neither in life nor in death.” When news of Qiuping’s request for a divorce trickles through to Decheng via a letter he receives from a guard, it momentarily sidelines him as he struggles to reason out the rationale for her irrational behavior. When she eventually remarries, it nearly slays him, though he soldiers on knowing that in the aftermath of Deng Xioaping’s October 1992 demise — the man responsible for approving the murderous actions by soldiers on the Square against their own citizens — changes may be soon afoot in the “peaceful” People’s Republic.

Author Chong was censured for this book in the PRC. No surprise there. While she doesn’t personally do any of the criticizing about the events which took place on T-Bone Square — nothing is couched in her own words save for her parting caustic remarks in the Epilogue and Acknowledgments — the mere fact that she’s chosen Lu Decheng as the vessel of her apparent disapproval with the septuagenarians inhabiting the Chinese Communist Party’s Central Committee have now branded her as a PRC persona non grata. She won’t be able to return now, though she likely made her peace with this reality the instant finger touched laptop keypad.

Given that she had a year and a half to contemplate her fate — the duration of all her interview sessions with Lu Decheng in Canada, where he now lives — this was a well-designed goal.

Why you should read this book, friends?

Egg on Mao was likely the first straightforward and direct account about the actions of the perpetrators of the portrait defacement, told in their own words. No third-party stuff here, folks, or PRC spin-meistering for our ravenous Western investigative appetites.

Also, for those of you late-arriving (and young) Western stragglers who are convinced that TAM was a student-lead and directed protest crushed by the heavy-handed Chinese state apparatus, complete organized student hierarchies and chains of command on T-Bone Square itself, you’ll be shocked to discover that chaos was more the order of the day during those fateful two months. Chong does well to highlight this through the authentic recollections of Lu himself. Good job.

At 249pp, your bottom-line cost to purchase this brand new is just a few cents shy of a short paper route (wink, wink). The copy isn’t crafted to wallop you over the noggin from its apparent brilliance, and Chong, for lack of a better term, “keeps it real.”

This is a mean-slugging account of a very unusual time in China, an era when things were still in flux and the regime was deathly afraid of losing its balls years before Hu Jintao’s policy of China’s “harmonious rise” was even promulgated. I polished the book off on the trusty exercise bike over the course of a few days, wagging my head in several spots as I made my way through in astonishment, careful not to permit sweat droplets to damage its pristine acid-free (and lovely-smelling) pages. Cautious, as well, was I to ensure that my neighbors didn’t think I was becoming a closet Maoist, what with the Chairman’s identifiable head on its cover, even if it was smeared in a cocktail of egg and paint goo.

If you’ve already read the book and digged it hard, let us know.

If you haven’t caught it yet, it’s not the sort of “China book” that will make you dizzy-busy (so busy, you’re dizzy) from its girth and heft. ;-) Try it, Mikey, you’ll like it. I promise.

And, oh yeah…my name is Adam Daniel Mezei and thanks again for tuning in.

Love,
ADM


ps I’m in search of a new “China book,” friends, so if you’ve got any suggestions for me — which I promise to subsequently review — kindly let me know.

huxia juqui
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The Party: The Secret World Of China’s Communist Rulers | CNReviews

(The Party: The Secret World of China’s Communist Rulers, by Richard McGregor, 273pp)

It’s depressing to realize how 273 tiny pages can raise the ire of the humongous Chinese Communist Party and kick up such a colossal domestic fuss, yet veteran journalist Richard McGregor’s latest work of investigative prose succeeded in doing exactly that.

Going deep behind Zhongnanhai “enemy lines” in a way few foreign scribblers or Zhongguotong — those cliched “Old China Hands” — would ever dare to (on fear of reprisals from PRC authorities), McGregor serves up a red hot zinger of an indictment on the inner-workings of China’s Big Red Machine, the party tugging the levers of power inside the authoritarian capitalist country.

The book is the work of more than a decade of silent toil and research by the relentless Australian, a journalist who traveled to and fro between the PRC, Hong Kong, and his native Land of Oz, with family in tow, as he compiled interview after painstaking off-the-record interview for this comprehensive tell-all.

To be sure, The Party’s already been banned across China; yet, then again, we fully expected it would be and, come to think of it, doesn’t it kind of add to its cachet in a very Zhao Ziyang-esque sort of way (let us know in the comments below!).

What kind of illicit treasures can be found inside this latest oeuvre of CCP criticism, you ask? What in tarnation is so taboo, you want to know? I mean, what exactly is the Central Committee so goshdarn afraid of?

All good starting questions…

McGregor — like other so-called “China experts” — knows several of the answers. All of this tracks back to that “sum of all fears” for the Chinese Communist Party: the fear of losing total control of the state apparatus and helplessly witnessing as the nation-state reverts back into the pre-revolutionary Armageddon-like times which reigned supreme during Chiang’s rule.

The CCP, oddly enough, permits practically anything and everything that doesn’t directly clash with its interests or harm its preeminent position within Chinese society.

This is the reason why, for instance, visitors to China can observe such things as LGBT bars in the ‘jing, yet no organized national gay pride parade exists for China. This is also the reason why Chinese citizens are legally permitted to freely practice their chosen form of religion…provided they link up with one of China’s wholly (holy?) state-sponsored places of worship, be it a church, a mosque, or a Buddhist shrine. Say you’re a Roman Catholic? No problemo, provided you don’t recognize the Pontiff as your spiritual shogun with the lone direct hookup to the Man Upstairs. A proud and practicing Muslim? Cool beans, so long as you don’t buy into the drivel Rebiya Khadeer has been popularizing in the Western mass media. And, oh yeah, you can’t be a member of that group with its first initial before the letter “G.”

The basic “silent agreement” between the State and these various religious acolytes is that all must avoid demonstrating for greater faith-based openness in that Big Square which sprawls out in front of the Forbidden City — yeah, that one. Or else!

Crazy Eights:

McGregor unfurls his argument in eight exquisite chapters. He deems these to be the eight key areas in which the CCP’s influence pervades Chinese society. In order:

  1. The CCP’s relationship towards the Chinese State.
  2. The CCP’s capitalist leanings in the wake of the Deng-era (aka, “China Inc.”).
  3. The CCP’s iron-fisted control of its personnel files.
  4. The CCP’s relationship towards the People Liberation Army (PLA).
  5. The CCP’s total dominance by “The (notorious) Shanghai Gang.”
  6. The CCP’s relationship with towns and regions far away from Beijing.
  7. The CCP’s capitalist shell surrounding its so-called “socialist” core.
  8. Tombstone:  The book which revealed the true death toll from Mao’s Great Leap Forward (>30 million citizens).

Salient Points:

Rather than supply a detailed breakdown of all eight chapters — thereby ruining the fun for you, dear reader, as you track down your illicit copy of The Party — why don’t I summarize what you can expect to find in each, thereby whetting your chops for the bigger feast to come?

  1. The CCP’s relationship towards the Chinese State: Nothing that happens in China occurs without the CCP’s blessing. Any organization, body, association, business, and/or any dealing with any foreign power — either in the Southeast Asian region or internationally — always occurs via the CCP’s direct intervention. Party membership is coveted by business types as it affords them access and needed connections. The Party bills itself as the preeminent force preventing China from teetering back into Century of Humiliation-like anarchy. Like an octopus, and in emulation of Lenin’s dictates about the Communist Party of the Soviet Union being everywhere at all times, the CCP penetrates every facet of Chinese society.
  2. The CCP’s capitalist leanings in the wake of the Deng-era (aka, “China Inc.”): Being accepted into the CCP’s ranks is no mere ideological progression. Rather, it’s a step up the ladder of corporate and commercial success in China. Former State-owned enterprises that were gradually privatized are still run by a silent cabal of Party loyalists who duly take their instructions from on high in Beijing, despite any decisions these firms’ various boards of directors or CEOs might make regarding the strategic direction of the company they preside over. The Party always has final say. And a company director can always be overruled by the most senior Party member on the board. CEOs carrying membership also receive the coveted “red hotline” in their offices, the direct line from Beijing. Their phone numbers are so exclusive, that they’re limited to just four digits. And when that red box rings, you better pick up.
  3. The CCP’s iron-fisted control of its personnel files: Being in total command of information flows is also a key CCP characteristic: all the better to avoid unexpected media leaks or to parties with an aim to toppling the CCP’s legitimacy via a coup. Personnel files are fiercely guarded in Beijing-area buildings that don’t even carry distinctive visitor-friendly markings on the outside. The merits and demerits of its several thousand members — hand-written on paper cards — still remains one of the nation’s most fiercely guarded secrets. The Party uses these cards to award concessions, favors, or privileges or to dole out punishment to its adherents and members.
  4. The CCP’s relationship towards the People Liberation Army (PLA): The PLA exists solely to safeguard the Party, not the Chinese people and neither the integrity of the Chinese state. Believe me when I tell you these various strapping youths are expressly recruited for their stature and capacity to intimidate. I witnessed with my own eyes how these Tiananmen Guards strike fear into thousands of onlookers because at whose behest they serve (i.e. the Party’s). The PLA remains the Party’s vanguard force, tasked with protecting the Party from all threats both from within and from without.
  5. The CCP’s total dominance by “The (notorious) Shanghai Gang:” Former Chinese President Jiang Zemin was the exemplar of the might of Shanghai politics in the Communist Party’s upper ranks. Once he become President back in October 1992, Jiang moved quickly to entrench Shanghai’s position amongst the capital’s power elites. Shanghai went from being the bastard child of the new People’s Republic — the city most despised by the Communist Party for all it represented during the interwar period — to a thriving, thoroughly-modern colossus. It’s no mere coincidence that Shanghai and its gorgeous Bund views are the most recognizable thing about China outside of the Forbidden City and the Great Wall.
  6. The CCP’s relationship with towns and regions far away from Beijing: The infamous Sanlu (“Three Deers”) melamine scandal, in which a form of plastic was added in lieu of protein to bolster the consistency of this company’s milk is a recent example of this. Regional Party members seek to leverage their power within rural Party fiefdoms strictly for gain. It’s what one anonymous Chinese blogger called the “black-collar class: their cars are black. Their income is hidden. Their life is hidden. Their work is hidden. Everything about them is hidden, like a man wearing black, standing in the black of the night.” A ranking compiled by most popular Chinese portal sina.com of the numbers of people seeking information about particular government jobs revealed that “…of the top ten government bodies which received the most expressions of interest for positions, eight were provincial tax bureaux, topped by Guangdong, all of them along the prosperous coast; and two were customs bureaux of Shanghai and Shenzhen. The bottom ten which attracted the least interest, were all provincial statistics bureaux.” With Beijing so far from the regions, who notices when things go awry until it’s too late?
  7. The CCP’s capitalist shell surrounding its so-called “socialist” core: The Party in 2010 isn’t the same Party of Mao. In fact, today’s CCP bears little resemblance to the revolutionary mass organization which won the hearts of WWII-weary Chinese citizens back in the late 1940s. This is a more business-oriented party. Fully corrupt. Swayed by profit. Droning on fulsomely about its socialist roots and leanings, meanwhile it erects ever-larger, ever more luxurious, and ever-megalomaniacal infrastructure projects across the breadth of China. Now that the government is flush with cash, it’s begun spending on the population: roads and hospitals, for instance, yet this is a relatively recent phenomenon.
  8. Tombstone:  The book which revealed the true death toll from Mao’s Great Leap Forward (>30 million citizens): Tombstone: Yang Jisheng’s account of the true death toll from the Great Leap Forward. A fitting end for The Party because of how it handily summarizes the main themes of the previous chapters: the CCP’s rigid control of information as it forged data about the Great Leap. How the regions were quick to avail themselves of their distance from Beijing to falsely report only information Beijing wanted to hear. How the Party sought to silence those who has the power to knock it off its pedestal. Yet this intrepid Xinhua journalist — yes, an insider! — devoted fifteen years of his life to meticulously notate over one thousand pages of stats from regional bureaus as the core material for his book. McGregor cites the (only Hong Kong, for now) publication of Tombstone as an example of how the Party appears to be morphing over time. Yang’s heretical work would have surely been destroyed — with Yang himself likely imprisoned or killed by the state — more twenty years ago. Does this seemingly permissive act hold out future promise for the Chinese Communist Party? McGregor appears to want his readers to decide.

Should You Buy This Book?

Yes! Just don’t get arrested buying it. There’s enough incendiary information contained within its pages to fully indict the Party for its misdeeds, sundry corruptions, and other flagrant recent abuses of power. Short of a few random hardcover copies flitting around Beijing-area indie bookshops, don’t expect to find this on Chinese bookshelves — either in its original English or in translation — anytime soon.

For any aspiring China Hand, amateur Sinologist, or Sinophile, The Party makes for deeply engaging fare.

But for all you vets out there, this book will only serve to reinforce the message you already know that the CCP isn’t a object to be trifled with.

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How To Write A Good Story

White Heat. The Wild Bunch. Saving Private Ryan. A trio of standout examples of sensational cinematic storytelling that have withstood the test of a century of international filmmaking. Onetime staid lines on a lifeless sheet of felled forestry which — when converted into Hollywood celluloid magic — became the studio tentpoles of their respective eras, memorable tales viewers repeatedly enjoy until today.

So what makes for rock-solid storytelling and how exactly does one go about writing a kickass script that someone, somewhere out there, will find so positively irresistable that the only thing left for them to do is cash in, cast up, kit out, and go produce that puppy?

What elements does a compelling story include to make it so positively magnetic? Moreover, is there a formula you can follow to help you, too, write good stories?

That’s the subject of today’s discussion as we cycle through the steps about how to pen that truest of film-worthy tales.

It All Starts With An Idea:

The three films mentioned above were at one time nothing more than the figments of someone’s fertile (or alcohol-drenched) imagination. Like the Biblical “something from nothing,” the writers of those and thousands of other iconic period films were just like you and me, sitting on a hard stool with either a pen, a coffee, or a snifter of well-aged whiskey in hand, dreaming about how to best combine the disparate elements of something which only they knew was on the verge of becoming next Great American Fable.

So where do good ideas hail from, you ask?

Well, to start, perhaps you’ve personally undergone an event so deeply meaningful that you feel others might gain something from learning of your experience first-hand? Something which has a universal aspect and appeal which others might almost instantly relate to because it cuts so close to the human condition that almost anyone could have been through them at some point in their lives. These are always the easiest stories to transcribe because they’re so “there,” existing on the surface so that they require almost little forethought. The only caveat here is not to make them sound too self-serving, otherwise they lose authenticity.

I’ve also found that reading daily and often — all sorts of reading, actually, and not just how-to books about the film industry or on Hollywood — are great for shaking up the memory and getting into your characters. Make reading anything you can get your mitts on a daily habit. And with today’s interwebs, audio podcasts and viral video clips also supply ample imagination fodder, so try to schedule in some listening time during your commute to work. Don’t forget to tap out your ideas as you receive them because ideas are often fleeting, as I’ve discovered myself.

Opposites Attract:

Another benefit to daily reading is that it trains your mind to pair seemingly disparate things into dizzyingly interesting combinations, the core of true story innovation.

For instance, I once wrote a screenplay called Crossover which told the story about a former South African heavyweight boxer from Johannesburg’s Soweto Township who injured himself in a local boxing match, only to later take up the more gentlemanly sport of fencing in order to slake his burning competitive spirits. For fun, I threw in a twist — the protagonist would become the protege of a diminutive former Hungarian secret policeman who absconded to South Africa at the end of Eastern European Communism with his daughter, a one-time orphan who knew nothing of her father’s past — and sat back as the sparks flew off the page. The script was full of romance, race, intrigue, and several curious historical tidbits which wouldn’t normally arise for the typical sports-genre film.

Be Audacious:

When drafting your story, this is hardly the time to apply your mental brakes. Let your wild thought-horses roam free! Think of the most astonishingly — and potentially silly — situations you can pit your characters in and carry on from that point. You might be surprised to learn where your story meanders once you settle into this kind of mode.

The film Hancock comes to mind. Remember John Hancock, played so convincingly by star Will Smith? This was a picture about an urban superhero in desperate need of a personal rebrand, because, well, the old Hancock — despite being superhuman — was a downright jackass. Rather than leap tall buildings in a single bound or save old ladies from being trampled upon by out-of-control tractor-trailers, Hancock would spend his days destroying public property or being sauced off his gourd on park benches, telling off little kids when they’d jeer at him for being such a listless layabout.

If I’m not mistaken, when’s the last time you heard about a drunkard unlikeable superhero — jaw-droppingly casted as an African-American, no less — turning life’s corner and making a comeback?

Draw Three-Dimensional Characters:

Remember that heroic characters aren’t always good, and that not every villain is consistently bad.

True, all stories have protagonists and antagonists, but just as in real life good guys do indeed have foibles and bad guys also strangely possess redeemable qualities.

A good example might be 2007’s Mr. Brooks, in which Kevin Coster plays the role of Earl Brooks, a mild-mannered family man who has a fetish for death — in fact, for murder. During the day, Costner’s Brooks is the picture-perfect captain of industry; at night, he slips into his assassin’s garb, dons his leather gloves and silencer, as he prowls around town in his SUV in search of a killing spree.

While it’s definitely an extreme example of the antihero phenomenon we’re discussing, Costner’s portrayal of Earl Brooks was eerily attractive in an Andreas Baader of Germany’s Baader-Meinhof Gang or Che Guevarra kind of way. As the film progresses, our repugnance of Brooks’ bloodthirsty habits lead to a paradoxically strange likeability, and if you haven’t yet seen the film it’s likely one of the better examples of what the three-dimensional character phenomenon is all about.

Also, try to draw out characters others can readily relate to in order to make your stories more everyman-ish. History is great for this. Study it and the newspaper for better insights into what made past or current Greats — or so-called “Greats” — into who they were and why posterity later cannonized, lauded, or besmirched their reputations in the manner it did.

Was General Douglas MacArthur the true Liberator of Japan as history remembers him to be? Why not (one possible answer: he was as much of a dictator in post-war Japan as he was its savior)? And, sure, while Bill Clinton may be remembered as the clever statesman he was, the man retained certain — shall we say — proclivities that weren’t necessarily becoming of the Leader of the Free World. On a more contemporary note, Fidel Castro is considered our nation’s Enemy Numero Uno, yet why has he remained so popular in his native Cuba, a nation struggling under the crippling weight of the US-led economic embargo?

Answers to these sorts of questions show that not everything is what is seems. Neither in life, nor in story.

The act of writing good a good story is agonizing even for the most seasoned of screenwriters. Following just a couple of the above steps, however, will make coaxing them out a more routinized process and at the end of the day the quality of your stories hinge upon how significantly they diverge from the mainstream.

Anything else is just groping at low-hanging fruit, and none of those stories ever made the grade or could be called truly good.

The key is to always keep at it but go against the grain.

On Why Content Is King

While the production and distribution sides of the film industry have been receiving the motherlode of Hollywood press coverage during our trying economic times, it’s been Tinseltown’s writing establishment (hellooooo?! remember us?) which been silently going about its business to coax the conversation towards content.

So here’s a snapshot of the current ethos: since bums-in-the-seats cash has been hard to come by for the usual cinema-going public, who seem perfectly prepared to access better — and cheaper — viewing options online anyways, Hollywood’s efforts should now emphasize spinning truly compelling tales. For those fence-sitting Average Joes whose disposable incomes have taken a shellacking throughout 2009, perhaps reverting to the tried-and-true techniques of scribbling deeply-moving tales might be just the thing to get people out of the house and into the theater to catch a good ol’ romping flicker picture.

Yep, so today we’re going to discuss how “content is king.” I’ve selected three recently-viewed films to reinforce the “royal” message, and following each review I’ll list three bulleted reasons why each of the following films can take ownership of the lofty “content is king” moniker.

The Lost City (2005)

This stellar Andy Garcia-acted and directed family saga depicts the four generations of the fictitious aristocratic Felloves, helplessly caught up in the turbulent maelstrom which is washing over late-1950s era Cuba. Andy Garcia plays Fico, the eldest of the three Fellove siblings and the debonaire head man of Havana’s El Tropico musical theater (modeled after the storied Tropicana from the island’s gangster era). Fico’s been uncomfortably observing the monumental changes taking place around his city, a capital on the verge of imploding.

Then there are Fico’s brothers Luis and Ricardo, both of whom become irreversibly enmeshed in the revolutionary thicket encircling Havana, yet who seem to respond to the impending changes in markedly different ways. Ricardo takes to the Sierra Maestras to link up with Fidel’s roving “barbudos,” or bearded ones, as he, Che, and their motley coterie incubate their eventual assault on Cuban toady Fulgencio Batista’s Havana presidential stronghold in an effort to topple the corrupt dictator. Brother Luis, however, is more circumspect. While he shares the younger Ricardo’s “Cuba Libre” longings, he remains wary of Fidel’s lofty socialist-cum-altruistic pronouncements, opting instead to align himself with a splinter left-wing outfit which has fatefully chosen a more immediate and violent path to oust Batista from the palatial precincts (their three minute-long assault sequence shot at 40 frames per second in Santo Domingo, Dominican Republic, is alone worth the cost of the DVD’s rental).

What makes Garcia’s The Lost City so compelling is how its plot weaves dizzyingly between one Fellove generation to the next: from Fico’s tribulations as El Tropico’s owner being visited upon by American gangster Meyer Lansky (in a standout Dustin Hoffman-cameo) making him “offers he can’t refuse” as the pressure-cooker which is 1959’s Havana comes rapidly to an uncontrollable boil, to Ricardo’s confused tango with Fidel’s rebels, to Luis’ severing himself off from all family contacts as Fidel’s fateful palace assault day approaches, and meanwhile to their father Don Federico Fellove’s observing all his sons’ suffering during these tragic days, at once sympathizing — then censuring — them for their collective misguided ways.

The Lost City’s content is king because:

  • it deals with issues of newsworthy relevance to a US-filmgoing public. With the Cuban embargo now a fixture for over five decades, the film digs to the core of the bitter rivalry, telling why the island nation remains such a hot button obsession of the United States’, almost “docufiction-like.”

  • writer Guillermo Cabrera Infante’s exquisitely-crafted screenplay has almost zero plot holes. His dialogue is tight while the film meanders along comfortably at an almost reasonable two-and-a-half hour length to sustain a viewer’s interest while not simultaneously alienating said viewer. Plus, the Fellove sibling rivalries are entirely believable as the film captures the zeitgeist of the times exquisitely.

  • Garcia casted masterfully. Most of the actors had at least one Cuban member in their family, if not being Cuban outright, and — like Garcia admits in the “making of” mini-documentary — one cast member could even tell of his family member’s murders which occurred at the hands of Fidel’s rebels, such was the closeness of the material to the people who brought it to life onscreen. Music also acts as a “character” in The Lost City, but what movie about pre-1960s era Havana can rightfully call itself a Cuba film without at least a smattering of the raucous, disengaged spirit of the times?

American Meltdown (2004)

American Meltdown’s plot deals with an increasingly plausible storyline — how an obscure nuclear power-generating facility located just a stone’s throw away from California’s huge US population centers can be violently overtaken by a band of domestic rogues hellbent on reenacting 9/11-style mahem.

The story — shot in Kiefer Sutherland-eque 24-style — demonstrates how inter-departmental power-play rivalries continue to exist between the US’s leading intelligence communities despite what we now know about the September 11th tragedy and how this continues to plague America’s preparedness plans to counter other potential — more devastating — terrorist threats to its shores.

US-Canadian uber-actor Bruce Greenwood steps into the limelight portraying FBI Agent Tom Shea, the point man called in to cool the situation once California’s San Juan nuclear generating station has been forcibly overtaken by Arnold Vosloo’s Arabic-speaking brigands. Lest you think this is another one of those shlocky and predictable Arab-bad guys/Yankee-good guys flicks with the usual slew of shoot-em-up-bang-em-up fare, you’ll want to take a closer look at Meltdown before you render your final say-so. There’s a nifty little plot twist to this one which I think you’ll appreciate, and for a small L.A. local shoot — technically “on location,” but being so close to Hollywood it was almost akin to a studio backlot number — Meltdown assembles a capable cast of supporting players who perfectly frame Greenwood and Vosloo.

American Meltdown’s content is king because:

  • fighting international terrorism continues to remain the current US Administration’s bete-noire and with the US’ military involvements (some would say adventures) in both Iraq and Afghanistan coming to very slow disengagements, another film that gets people thinking about domestic security concerns closer to home might be just what the doctor ordered. Whether you agree with the premise or not, the question the filmmaker seems to be asking us to decide for ourselves is whether the United States needs to embroil itself in several international policing actions just because it has the physical wherewithal to do so?

  • Meltdown gets its message across without being overly preachy. What the Barber brothers — co-screenwriters Larry and Paul — are attempting to convey here is that almost nothing of what the US mass media broadcasts is truth. The film is more of a plea to Joe Public to engage more of his critical thinking skills and not to digest what the Administration is feeding us hook, line, and sinker.

  • as the war in Afghanistan becomes the nation’s main focus once again, the film seems to be suggesting that even more bizarre scenarios like the one depicted in Meltdown are on the cusp of playing out (no spoilers for those who haven’t seen it)?

Va, vis, et deviens (Live and Become, 2005)

During the mid-’80s, the Israeli government conducted what would eventually become known to the world as “Operation Moses,” a frantic but sharply-organized military airlift of thousands of persecuted Ethiopian “Falasha” refugee Jews from their internment camps in Sudan across the Red Sea to Israel. While this shocking story in and of itself is little-known outside of that small circle of Middle East watchers, Israelis, and other insiders, the even lesser-known tale is what eventually became of those would-be black immigrants and how they fared in the years following their hasty evacuation from their African captivity.

Live and Become is an excellent little 2003 film helmed by Romanian director Radu Mihaileanu shot in both Israel and France and showing what life is like in the Jewish State for citizens of the darker persuasion. The plot follows the trials and tribulations of the young Ethiopian Shlomo, who arrives in Israel under mysterious circumstances who then is adopted by the Harari family.

Some of the perplexing questions the film engenders deal with the perennial Israeli concerns about who, in fact, is a Jew, and whether or not the nation’s Ethiopian citizens are in fact full-blooded members of the Jewish faith while simultaneously being full-fledged citizens of the country, what with all (read: military) entails. The film depicts Israel’s continuing struggle with who in the country can be safely said to be persona grata versus who are members of the out-group. It also raises some disturbing questions about Israeli race-relations that will definitely challenge some of your possible pre-existing perceptions about what Jewish people look or act like.

Live and Become’s content is king because:

  • any film which dares to confront your notions about people in society is well worth watching.

  • race relations are hardly confined to the traditional bastions of the United States, Western Europe, or South Africa and it may therefore be rather instructive to observe how certain other global societies are dealing with their domestic color issues, if only to — once again — challenge your pre-existing thinking on the issue.

  • a film about Israeli race relations which doesn’t focus exclusively on the on-again off-again Arab-Israeli contretemps is a subject well-past its cinematic due date (the film came to market only in 2003).

The Lost City, American Meltdown, and Live and Become.

Three stellar examples of films that offer moving, educational content to their viewers and that clearly demonstrate how meaningful, well-parceled, and idiosyncratic content is absolutely key to separating the cinematic men from the boys in the world of celluloid entertainment.

Angels Abroad #1 at 800-CEO-READ

Many thanks to Wayne Turmel for originally introducing me to the good people at 8CR, Todd Sattersten (formerly), Jack Covert, and especially Jon Mueller. Here’s the first in a new series I’ll be writing, called Angels Abroad.

Lord Black weighs in on China…

From a federal penitentary in Florida, Conrad Black weighs in with his opinions about China’s rise.

My favourite passage from the article:

“China has a centrally directed economy, and calculates growth rates as a function of production, not spending; and production is deemed to occur when it is commissioned by the state. Thus, all Chinese predictions of economic growth are self-fulfilling: The central economic leadership orders production of toasters or submarines and announces construction of roads and sports stadiums, and the anticipated costs are added to the GDP at once.”



Toronto Bound!

Hello! I'll be attending TIFF 2010 (tiff.net) this year and reviewing 31 new films. I'll also be covering several industry panel sessions with blog/audio/and video feedback. Your kind donation to the cause for any amount whatsoever would be graciously accepted.

Vitamin C Show On Vimeo:
Vitamin C: Your Daily Dose On China
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