Wednesday, September 28, 2011

Breaking...1...2...3...4...BROKEN...


**********SPOILER ALERT**********

by Sam Hanchett

I don't know how anyone can sleep after watching the last episode of BREAKING BAD. These characters, the anxiety and frustration they have had to deal with is something most of us will never know. But the effects were so profound for us viewers nonetheless. The thought of facing one's demise through a death sentence brought on by natural causes makes people want to hope in the face of that, want to be remembered, well at least, you would think. Not Walter White. From the beginning of this show the dilemma he has faced is one of extreme insecurity in what he has not accomplished in his fifty years on this earth. How can one be so ambitious when young but end up just a simple family man, a simple high school chemistry teacher who struggles to pay the bills that he needs a second part time job at a car wash? It is not a horrible situation to be in necessarily when looking out on the world and having some perspective. But our perspective is always molded through how we grew up and where we find ourselves in the present and what we dreamed that present would be. We can pretend to be someone else, pretend to be in a worse situation, be thankful for what we have, but in truth we know it’s still not good enough.


Walter takes a blue-collar approach when facing death, at first. Because this money will give my family comfort when I am gone; that’s all I care about. But then he doesn’t die right away and the rush of being really good at something takes over. The rush of not caring about certain moral consequences is not an issue because he finds solace in finally knowing that he is truly going for it, not thinking what can go wrong, not thinking about failing, which are the things that can hold a human hostage when trying to accomplish something special and risky. Anything in this world worth having usually involves some degree of risk.  But how do we strike a logical risk/balance quotient without going to the extreme? In the first season he was faced with imminent death, imminent cancer. He gathered his intellectual chips and ran with it. He weighed the pros and cons and made a decision. HE MADE A DECISION! An extremely hard one; one that flows opposite, and cuts the flecks of our societal values. QUESTIONS, questions, questions. What value does your decision have on your immediate life? What value does your decision have on the people around you? What value does your decision have on people you have never met, who imbibe an illegal product that will destroy their lives? The product that YOU made--to get your family money, the money you could never make legally because you got cut out of certain advances when you were younger. Certain advances that were yours rightfully, but you just didn't play the game right. So then you settled into the family life, got complacent maybe, but when DEATH stared you in the face, you got up! Your energy surpassed legality. You weren't religious. You weighed life, and what you could get out of it with your talents in the shortest amount of time...because you were dying. You went to the extreme. You broke BAD, because this universe doesn't care right? In your mind, afterlife is not an issue. The only thing you know is earth, and the care for those loved ones still living on it. THE MAN PROVIDES for his family; and sometimes a man will do what he must for his family, FUCK the rest of society. But society will cause repercussions, especially when doing something illegal; so many complications. You straddle death daily to provide, but by actually doing something that makes a ton of money, and realizing that you matter, really matter in "a business that could be listed on NASDAQ”. Walter White, your tremendous skills are now noticed. You became the MAN, you became tough, you became a killer, and because the universe might not judge, you provided superficial sanctity for your loved ones but also put them in grave danger. What price do we have to pay for a life fulfilled through our talents, traversing the glossy ambiguity of this existence? Is living a truly fulfilled life facing danger all the time? None of us want to be him, but a part of us wants to experience that extreme stress. Because we don't experience some sort of similar anxiety we feel like we are not doing enough. We don't want to make high-grade blue crystal in a lab but we yearn to do something that is just as clean, just as succinct, but prosperous for humanity or makes us feel completely satisfied about our existence on Earth. This is prosperous for Walt's bottom line. It gives him the ultimate success of pride and money, but the stresses of death and gangsters run amok and so on, haunt him. Look at season 3. Walt was the employee of the month every month for Gus, but Jesse became the moral beacon. A morality that caused Walt to kill evil drug dealers to save his (Jesse's) life, but also to save future children from ever being brought up in that drug culture. He wants to make crystal meth to financially secure his family but what happens when he comes face to face with men who sell his product but also employ children to deal and murder for them. The “goodness” in him, had to act, had to save Jesse, had to rid the earth of this scum even though he ultimately knew it could cost him his life. Walt, Jesse, Gus, don't matter in the scheme of all human existence. They just have their life, they have their intimate thoughts, they are selfish, but want to be unselfish, while being selfish. They want to have morality while creating something that rips people's lives to shreds. Their experience is fictional and completely extreme, but in a small way encapsulates our own thought process. We are good. We are evil. What's stopping us from being both? If earthly law can’t get us, what will? 

Relationships will get us. Secrets can only go so far. Tell tale hearts will rise in the non-sociopath who tries to do big and small picture good by doing so many evil things. Bad, good, these two qualities can bring a person to destruction or ultimate success. Walt wants to make crystal meth to financially secure his family but what happens when everything starts to frantically fall apart? Do you lie when it is the right time to lie? What will you do for the people you love? What extent will you go to for them? And if you go there and it invigorates you, yet you know whatever you're doing is wrong, is it wrong if you can get some semblance of god (or maybe a god complex) from it? The last five minutes of "CRAWLSPACE" threw my whole body into a contorted mess of shivers. Walter White had worked so hard to provide an out for him, his family, how he would be remembered, and through facing death for over a year's time he realized that he might have sealed the death of his brother-in-law, his 16 year old son his wife, and his infant daughter. He started this story ready to die, ready to do whatever it took to make his family exist successfully without him. He's worked incredibly hard, he's murdered for the overall good (even let someone die to save Jesse, again, in the long run, in a way), he's looked death in the face, but because of all of that his family might vanish from this earth.  Was it worth it? And what is "worth" even mean to him anymore? Decisions, decisions, decisions, what do they mean? There are levels for sure. But by the end of the episode Walter realizes what people realize who are good and bad and try to be good and try to be bad when they want to, when they have to, when they need to...There are results that you can't see. The more you interact with humans the less you can get away with(?) Everything comes crumbling down on him when he goes to look for his "salvation" money underneath his house. He finds that he does not have the cash to pay for his family's speedy getaway, and then Skyler suddenly appears to tell him why. He is at rock bottom, he has been fired by Gus, but not killed, yet. He starts to cry, and you feel for his worn meekness. He's so confused! He's facing death and his family is facing death, and he has this thought, this thought, "I started this fucked up shit to rescue my family, and now it has all gone a rye, and now because I did this they might all die, and I don't know why my wife gave her ex-lover a lot of money, and this is all hitting me at once and my face hurts so much because of all the times I've been punched and so on, and I AM in the crawlspace of my own basement, of the house I never wanted to live in (I WAS TOO GOOD ENOUGH TO LIVE IN) scrambling for money to save us all, in the dirt, in the grime. Where is the money!!!??? There is not enough. I am in dirt. I am in grime. I have realized that life is severely unpredictable and that makes me incredibly sad, lying in filth, underneath my house, I am aware that I am guilty. I am wrought with unholy values. I've hit my coffin bottom...But then something happens...his whimpering effortlessly turns into the most sinister laughter I have ever heard in my life. Slowly but surely the dreadful cackling pours out of him and keeps going and going and going... It permeates our psyche, it rattles our journey with this character, echoing the worst JOKER nightmares that we have ever had. He has finally found a true, wondrous, and horrifying release in himself. Finally! 


Walter White, it's time to be reborn. But can you do it while being dead inside? You broke BAD, and now you are BROKEN. But you are still alive, your family is still alive, your surrogate son still loves you even though he hates you. You are about to take the next step in evolution. Is it bad? Is it good? I have no clue. But I know it’s probably something we have never seen before; and as frightened as I am, I look forward to it; and because of that, maybe I can get some sleep now. 

Tuesday, January 25, 2011

Some 2011 Oscar Nomination Musings (Complaints(?))

**************A FEW MINOR SPOILERS AHEAD******************



by Idaho Chubbs

I have seen all of the Best Picture nominees except for "The Fighter" and "The King's Speech". Most I have no issue with. But I seem to be in a contentious sleepless mood so let's get on with it. Toy Story 3, ok, Pixar finally broke me with "Up" last year (A perfect film and water-works in the first 15 minutes every time I see it), and though this movie (TS3) was heartfelt, it's going in over "Blue Valentine"? The big bad hot pink(?) bear distracted me in cliched ways but maybe I need to see it again. But in any case "BV" was one of the best films of the year, but of course I'm not surprised by it's omission, so let's move on to "Winter's Bone", good indie Sundance flick, good performances all around, not sure if they deserve Oscars. Another movie that got a ton of Oscar buzz was the "The Town". Thankfully it got the only nomination it could possibly deserve. Renner should definitely be rewarded for taking one of the most terribly written, non-dynamic, black and white characters to exist in the general "I need to get out of the corrupt town I grew-up in" narrative, and making that still compelling. Although I'm not sure, as I watched the movie, if I was impressed by the magnitude of the character or the magnitude of which I knew Jeremy Renner could play him. Anyway, a third similar 2010 thriller that deals with corrupt "families" and how they sociopathically screw each other over was "Animal Kingdom". Saw it last night, and it hit me harder than "The Town" or "Winter's Bone". Jackie Weaver did score a supporting nomination as the deeply caring, loving and super creepy evil bungling crime syndicate matriarch, which seemed quite deserved. I probably didn't sleep last night due to the image of her pleasantly psychotic clown smile.

Onto "The Kids Are Alright". I liked this movie, but not sure what the huge deal was. Not sure Annette Bening was in the movie enough to get a best actress nod (but who really cares. It's between Michelle Williams and Natalie Portman, and they both got nominated, so were good). I am glad that Ruffalo got a supporting nod even though he should have had his first one way back for his role as Terry Prescott in "You Can Count On Me". What's funny is that his character Paul, in "The Kid's Are Alright" sort of seemed like an actual older, wiser Terry. Finally got out of the bland, rural parts of the Northeast, went to sunny California, tried college, didn't take, but local food agriculture did, working with your hands, and that blossomed. Ten years later here we are. Yeah he wasn't a perfect man, but Paul/Terry was way more put together in this movie than in "You Count On Me". So well, yeah, maybe Ruffalo's past character playing self did get his belated nomination after all in this present. Suffice it to say, the film had some really great scenes and moments but did not floor me overall, but I did like that it was sentimental without actually being sentimental (seemingly forced raw sex scenes aside?).

As for "True Grit", well, wow, Academy, you love the Coens so MUCH now. I guess Nolan can look forward to a ton of nominations and wins long after his best films have been made too. Whose favorite Coen movie was made after "The Big Lebowski"? Some might say "No Country For Old Men". Ok, I don't agree. Granted they have tried new things which is great, did a very personal film "A Serious Man" recently, but something's off for me, and it continued with "True Grit" which I wanted to love, but ended up just liking for the art direction, cinematography and Hailee Steinfeld. Their movies of late look so incredibly good (Roger Deakins is the master) but some sort of connection is gone. I'm not sure, maybe I've changed, maybe the me of the past will always like the films of their past and that subconsciously influences my critique of the their present and future films. Obviously I'm in the minority here, although I will say "Burn After Reading" was horrible. "True Grit's" ending was too abrupt, not really meshing with the rest of the narrative. Yes the older narrator Mattie Ross was at the beginning and the end, but I thought maybe she should of been somewhere in the middle as well? I guess what bothered me is that this seemed like a seminal moment in her life, and the movie was aware of that as well, but it played out awkwardly. The performances were good all around but some sort of genuine cohesion was missing, causing me to walk away not feeling much for the characters even though the Coens wanted me to. Maybe the script adaptation from the book just didn't allow for that flow because I felt like we were missing stuff when the ending, consisting of a five minute "wrap-up" in the present, seemed tacked on after such a dramatic scene of Bridges' Rooster Cogburn giving his all to save the life of this young girl--then--next scene, she's an old maid, never learned to be gracious(?) and seems bitter but always thankful for what Bridges' character did for her, stands at his grave in a beautiful shot with an Edward Gorey-like tree presiding over the frame--roll credits.

Bridges was wonderful and he totally immersed himself in whoever this lone ranger was, but the character just didn't hit me like Dicaprio's "Don Cobb" in "Inception" or Gosling's "Dean" in "Blue Valentine". I felt like those two guys left a part of them in those characters. They are not better actors, those roles just impacted me more emotionally.

As for Christopher Nolan not getting a director nomination, I really have no words. He probably directed four of the best movies of the last decade and you finally get around to giving one a best picture nod and even original screenplay but not best director. No, give it to the Coens who did an adaptation of something someone already did a film adaptation of; but then again this comes from an institution that doesn't nominate "The Dark Knight" and then a year later nominates "District 9" and "Avatar" for best picture (I don't care if there were ten spots to fill).

Well there you go, my objections are in (so far). It doesn't matter, but it does; I don't care, but I do. I am glad Aronofsky and Russell got nods. I think what would have been truly amazing is if "Exit Through The Gift Shop" got a Best Picture nomination. A documentary(?) in that category; ever happened? It's truly one of the best all around movies of the year and I would love to see a Bansky/Shepard Fairey/Mr. Brainwash spray paint brawl on the podium. Well, it did get nominated for best doc so maybe we will-- French side-burned Obama profiles cloaked in hoodies with no face interpretive dances and all! Ooh maybe Bansky will "deface" The Kodak Theater the night before and then Mr. Brainwash will take credit for it, selling the image to Madonna for yet another greatest hits album cover!