Tag Archives: Vietnam

Da 5 Bloods

12 Jun
blood

 

Spike Lee’s latest, “Da 5 Bloods,” was supposed to get a theatrical release, but Covid-19 has changed the rulebook. Lee was also supposed to be a jury member at the Cannes Film Festival last month, but that’s postponed to 2021.

The gorgeously composed film, something of a Vietnam War reconciliation project, is a hot hodgepodge of socially conscious branding wrapped around a treasure quest thriller adorned with reappropriated cultural icons – namely Francis Ford Coppola’s “Apocalypse Now,” which crops up from time to time, most obviously in the form of a disco four of the five titular “bloods” visit upon their return to the country where they fought some 40 years earlier. “Da 5 Bloods” starts out with some archival imagery of the poetically loquacious Muhammad Ali, politically active blacks taking to the street and iconic clips of savagery from the Vietnam War with voiceover telling us that African Americans make up 11 percent of the population but made up 33 percent of the fighting force, posing the question: “Will history stop repeating itself?”

The “bloods” in question were part of an Army squad, and have reunited to return to ’Nam to gather the remains of a fifth blood (Chadwick Boseman, “Black Panther”) who was killed in action. They know loosely where his body is, as well as a hefty stash of gold bricks. Of the returning four, Delroy Lindo’s Paul stands out the most: He’s a Trump supporter (Lee and Lindo vociferously oppose Trump and his policies, but that’s kind of the point), wears a red MAGA cap throughout and has a prickly relationship with his son David (Jonathan Majors), who’s in tow. What ensues is a strange olio of “Grumpy Old Men” gone up river “Apocalypse Now” style before straying into “Treasure of the Sierra Madre” territory as the loot is also sought by a French opportunist (Jean Reno, “Le Femme Nikita” and “The Professional”) and a faction of Vietnamese nationalists who want to settle an old score with the “bloods.” It’s a lot to unpack as Lee continues to stir in revisionist history and social barbs. It’s a compelling mess that’s almost too rich for its own good, and a better war film (postwar film?) than Lee’s 2008 “Miracle at St. Anna.” Somehow too, Paul Walter Hauser (Lee’s “BlacKkKlansman” and “Richard Jewell”) makes his way on scene and that MAGA hat, for better or worse, takes on its own persona.

It’s amazing to realize that Lee won his first Oscar only last year, for the “BlacKkKlansman” screenplay. He’s made a lot of films in his time, and not all have stuck their landing; but as a filmmaker, Lee’s always been a risk taker, and one with something to say. At the end of “BlacKkKlansman” Lee stitched in footage of the violent Proud Boy tiki march in Charlottesville; here there’s a “Black Lives Matter” chant with a hopeful flourish. (Lee also just completed the short “3 Brothers: Radio Raheem, Eric Garner and George Floyd,” which should require no explanation.) “Da 5 Bloods” may not be Lee’s finest film, but it comes at the right time.

The Third Wife

5 Jul

 

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Recently I had the opportunity to rewatch the taboo, erotic drama “Adore” (2013) starring two very compelling actresses – Naomi Watts and Robin Wright – as mothers having relations with each other’s 18-year-old sons. A hypnotically alluring WTF, “Adore” pulls you in and makes what’s off the moral compass seem rationally right by immersing you in the characters and their desires. The same applies to Ash Mayfair’s compelling directorial debut, “The Third Wife,” though besides the forbidden fruit and foreign soil (it takes place in Vietnam; “Adore” is set in Australia) there’s little other tether: “The Third Wife” takes place a century and more ago, when money and position allow men to have their way, in this case engaging in outright polygamy – thus the title.

The film focuses on the inclusion of May (Nguyen Phuong Tra My) as the new third wife in question, barely a teenager. When we meet her, her husband Hung (Long Le Vu) sucks an egg yolk from her belly before taking her. It’s a painful, erotic and disturbing scene. Set in the rural setting of a silk farm (worms, webs and lush green bamboo imagery fill the screen) during the colonial era, the women are isolated and subjected to the rule of tradition, but Hung is not an overtly oppressive head of house and the three women (the other two wives played by the stunning Nu Yên-Khê Tran and Mai Thu Huong Maya) and Hung’s pubescent daughter Lien (Lam Thanh My) interact freely and forge a knowing sisterhood. 

Other subplots causing friction on the plantation flow through Hung’s son, named Son (Nguyen Thanh Tam), having an affair with his second wife, Xuan, and the budding same-sex attraction between a very pregnant May and Xuan. It’s the kind of quiet tension that so completely filled Zhang Yimou’s fantastic early works (“Raise the Red Lantern” and “Red Sorghum”) or the first film out of Vietnam to earn Academy Award recognition, “The Scent of Green Papaya” (1993). 

Mayfair, who grew up in Vietnam but was Western-educated from an early age, crafts a composition that feels masterful beyond her slim CV in emotional complexity, plot and orchestration. Of course, it helps have on hand artistic adviser Tran Anh Hung (director of “Green Papaya,” and husband of Nu Yên-Khê Tran), formal recognition and support from Spike Lee (the Spike Lee Film Production Award) and Chananun Chotrungroj’s dewy and glorious framing of erotic meanderings amid verdant backdrops. The film stumbled into a bit of a controversy when Mayfair cast a 12-year-old in the role of May. That aside, Nguyen Phuong Tra My and the whole cast deliver deep, heartfelt performances, conveying effectively what the laconic script has intentionally left to thespian heft. If the notion of a 14-year-old bride, or actor roughly that age playing such, disturbs you, think how the women relegated into such roles without a choice felt.

Woodstock: Three Days That Defined a Generation

15 Jun

‘Woodstock’ doc comes to Kendall big screen with too small a vision for moment it honors

 

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“Woodstock: Three Days That Defined a Generation” (2019) should never be confused with the indelible 1970 rock-doc “Woodstock: Three Days of Peace and Music” that captured the iconic concert in all its ragtag glory and raucous verve. Sure, filmmakers Barak Goodman (“Oklahoma City”) and co-director Jamila Ephron (“Far from the Tree”) are playing on the title, and the film’s about the same event, but surely they can’t be trying to outdo Michael Wadleigh and his talented crew – including a very young Martin Scorsese as an editor?

The project put together for PBS for the music festival’s 50th anniversary is a nice, light reminder of what was – a love-in postcard, if you will – and does an adequate job of capturing the political turmoil and spirit of the moment.But if you’re coming to “Three Days that Defined a Generation” for the music, you’ll likely be disappointed. Wadleigh’s doc (and I need to stop mentioning it, but it’s impossible not to) captured Jimi, The Who, Janice, Santana, the Airplane and Joe Cocker in all their sweaty, electric grandeur; “Three Days That Defined a Generation” gives you 30-second metes that look like shortened outtakes of the same footage. If that doesn’t drive you to Wadleigh’s baby, you’re not interested in these legendary acts, performances or the historical significance of the ambitious concert and should stop reading this right now and go get a ticket for “Godzilla.”

One angle that “Three Days That Defined a Generation” takes that gives some fresh perspective is dialing back to three years earlier as Woodstock co-founders John Roberts and Joel Makower borrow money from the Polident fortune to get the venture off the ground. Then there’s the quest for space. Folks from Woodstock and other neighboring townships wanted little to do with a horde of rebellious youth and hippies, but diehard GOP dairy farmer Max Yasgur stepped in and served up his vast fields, and it was on. No one knew how big it would be (a half-million people) or the logistical miscues for hosting that many people in a podunk north of New York City that included getting sets, security and food up and running. The most affecting moment comes when Yasgur addresses the sea of youth from the stage.

Most of it is in that other doc too. Goodman and Ephron do get testimony from attendees, staffers and a few of the performers, including Richie Havens, Joan Baez and Cocker. Most of it’s fine but lacking the fiery energy of the moment. The affect is mostly flat; it’s a real non-starter when someone says The Who or Jimi was “good” – that’s like what, a C or a B-minus? And you don’t have more than a few chords to see that were nothing short of explosive.

Still, “Three Days That Defined a Generation” takes us there. It’s a rock-doc by definition, but more a pat historical rewind. It’s not possible to top Wadleigh’s masterpiece, one of the five greatest rock docs of all time (with “Stop Making Sense,” the Scorsese-directed “Last Waltz,” “Gimme” and “Dig!”). You feel imbedded. It’s more than three hours long, and you never want it to end. They were stardust, it was golden … and “Three Days That Defined a Generation” does little more than remind us about Yasgur‘s garden once upon a time.

A Kendall Square screening Friday includes Susan Bellows, a senior producer for PBS’ “American Experience” and two people who were at Woodstock: Bill Hanley, a festival audio engineer, and Jon Jaboolian, a “Woodstock veteran.”

Last Days in Vietnam

8 Sep

published in Paste Magazine

 

<i>Last Days in Vietnam</i>

Beyond slavery (and Cvil Rights), the mistreatment of Native Americans and a woman’s right to vote, the Vietnam War might be the most ignominious stain on American history. Sure, the ongoing wars in Iraq and Afghanistan, same-sex equality and wealth disparity might make that list, too, in time, but Vietnam—a.k.a. the living-room war—fervently consumed the American conscience for over a decade. It was something new, too. The two Great Wars had us justly battling tyranny, championing the oppressed and righting wrongs on the road to freedom. Korea was something else, something more complex, something that appeared to be in the same arena of righteous and yet, it was really a Cold War bellwether delineating the fractious ideological divide between democracy and communism. Tough lessons were learned from that war, but Vietnam, in an era of burgeoning liberalism, free love and racial integration in the wake of Ozzie and Harrietidealism—and further inflamed by the mandatory enlistment for the draft—touched off a cascade of social unrest and activism that caused the United States to reconsider its foreign policy, something that has rippled forward to the wars that confront the U.S. currently.   Continue reading