We’re a little scattered today, though we’ve managed to confirm that our English relatives are all intact â€” saved by generations of being mired in the suburbs, at last. Our thoughts go out to everyone in London, especially Uncle Roger, who’s a fireman there and who’s probably having a particularly terrible day today. BoingBoing has links to a chorus of text and photo blogs, which we’d recommend over BBC and CNN in terms of immediacy of coverage.
With a typical mixture of excellent and terrible timing, Armond White steps again to the plate with an article on "the new war movie" that went live today over at the New York Press. Sort of about "Occupation: Dreamland" and "Gunner Palace," and sort of about the summer’s blockbusters (which he prefers), the piece is actually stirring, though admittedly we’re feeling a little soupy today.
In "War of the Worlds," the moment of a son’s willingness to sacrifice or the chain of responsibility that is formed when civilians grab a soldier who is pulling a father out of the clutches of death (democracy as a lifeline) are among the most amazing meditations in any war film. Amazing because, like "Gunner Palace" and the best parts of "Occupation: Dreamland," these images allow viewers to struggle through the complexities of this anxious experience. Movies that deny the imperatives of the day are worthless. Filmmakers that hold on to Vietnam’s cynical spectacleâ€”as in the overrated release of "Apocalypse Now Redux"â€”are worthless, too. A new kind of war movie should be like the lightbulb in Guernica, illuminating our current traumas and politics by bringing the issues home and personalizing them; supporting us all as soldiers.
+ Catharsis Now (NY Press)