Author: Ray Lobo

  • The Big Scary S Word: Review

    The Big Scary S Word: Review

    There are obvious historical reasons why “Socialism” became a scary word in the US.  The first reason is that the country was founded on the appropriation of territory and the dehumanizing exploitation of labor—slavery.  Of course, Socialism is staunchly opposed to such appropriation and exploitation.  The second reason was McCarthyism and the Red Scare.  A mere accusation meant you were branded as an infiltrator or a collaborator with those who partook in a foreign ideology.  Needless to say, reputations and lives were ruined.  The third reason was the economic ineptitude—central planning—and the repression—Stalinism—of the USSR.  Socialism was forever linked to the USSR.  Despite all this, Socialism was a powerful force in the US’s domestic history and has seen a favorability resurgence amongst Millennials and younger generations.

    Director Yael Bridge’s documentary The Big Scary “S” Word traces the long history of Socialism in the US, the arguments in favor of Socialism, and interviews self-proclaimed Socialists in an attempt to demystify the concept for the uninitiated and misinformed.  Intellectual heavyweights such as Cornel West, Naomi Klein, Eric Foner, Richard D. Wolff, and Keeanga-Yamahtta Taylor offer their insights into a very distinctive brand of American Socialism.  We are reminded of Milwaukee, Wisconsin’s openly Socialist mayor, the influence of trade unions, Roosevelt’s welfare programs and the New Deal—essentially, Socialist ideas—and Martin Luther King’s later focus on class inequality—a chapter of King’s life conveniently ignored by the mainstream American media and other disseminators of ideology.  We are also reminded of the interest Karl Marx took in the US Civil War and the newspaper articles he wrote regarding that watershed moment in US history.  

    Bridge does a wonderful job balancing the history offered by academics with the real-life stories of everyday Americans.  We are introduced to a single mother who is a teacher and is barely able to pay her bills even while working two jobs.  She joins other striking teachers in Oklahoma demanding higher wages and smaller class sizes.  We are introduced to an employee in a worker cooperative and how being a worker with an actual say in the direction of the cooperative changed his perspective on the labor he performs.  We are also introduced to Lee Carter, a former Lyft driver in Virginia who is injured on the job and decides to run for state office as a Socialist.  After winning office, Carter faces stiff opposition from Republicans and even Democrats in Virginia’s state legislature.  

    The Big Scary “S” Word is at its best when giving an overall history of different economic phases, even if that history is very broad.  Again, this is a documentary intended for those who are likely uninitiated in topics such as economics and Socialism.  A segment involving the move from hunter gatherer clans, to agriculture, to feudalism, on to the Industrial Revolution; puts in perspective the short period of time Capitalism has been on the scene in terms of human history.  And in that short period of time, boy has it wreaked havoc.  The standard move in US mainstream media is to point out the faults of Socialism—again, usually by pointing the finger at something that essentially was a perversion of Socialism, the USSR.  But, The Big Scary “S” Word does a solid job of pointing out, in the words of Naomi Klein, Capitalism’s “addiction to growth and profit.”  It is this addiction that has led to its greatest faults and sins—environmental destruction, exploitation, unequal access to healthcare, subpar education for most, non-livable wages, and one-dimensional personalities.  If there is a complaint to be made about The Big Scary “S” Word, it is that it starts lagging toward the end.  One wishes that Bridge would have spent less time on the Bank of North Dakota and more time on Socialist work models such as worker cooperatives or Richard D. Wolff’s workplace models.  

    It must be emphasized that Bridge’s documentary is not a deep dive into Socialism; but that is not a bad thing.  It is a fitting introduction for those who wonder why something that is essentially an alternate system of organizing society is so derided on one side and so championed by growing numbers of young Americans.  There are tidbits in Bridge’s documentary that hopefully linger with the viewer and lead to further investigation.  One such tidbit is the idea raised by the documentary that the burden of debt—education, rent, etc.—incurred by most of us is perhaps strategically—or coincidentally—left in place so as to deter solidarity and further atomistic/survival thinking.  Another idea raised is that of the tensions between reform and revolution.  Socialist advances in welfare or safety-net programs—especially in democracies—are weakened or eliminated by capital over time.  Perhaps reform is not enough.  These tidbits are worth exploring if Bridge ever makes a follow-up project.  Let us hope that Bridge will pursue such projects or other projects revolving around the possibility of a better world.     

  • Hollow: Review

    Hollow: Review

    Director Paul Holbrook’s short drama Hollow introduces us to Laura (Laura Bayston), a woman grieving the death of her six-year-old daughter.  Though we are not given the specifics behind the motive, we do know who killed Laura’s daughter and that he has been released from prison.  Laura has lost her faith in God, but she still meets with her vicar (Karl Collins).  She wants to take revenge on her daughter’s killer.  The vicar advises Laura toward restraint; the killer will eventually meet God’s justice.  The vicar’s advice serves as cold comfort for Laura.  She is intent on achieving justice in this world.  

    Hollow deals with some universal themes.  The struggle to maintain one’s faith after an overwhelming tragedy, the fine line between justice and revenge and how a person of faith deals with these notions, the temporary satisfaction one receives from an act of revenge, and the resurgence of racism in many parts of the West are somewhat effectively dramatized by Hollow.  Where it severely fails is in the epilogue.  The sequence of events in the epilogue, and the behavior of the characters in said sequence, test the limits of credulity.  

    The spiral of despair ends in either loss of the self or some sort of overcoming, a resolution to rebuild one’s life even if pain lingers in the background.  Hollow’s way of dealing with this struggle involves a plot twist.  Such serious subject matter deserves better.               

  • Just Girls: Review

    Just Girls: Review

    I had high hopes for Just Girls.  A documentary on the LGBT experience of young people in Poland seemed both vital and timely given the country’s current political climate.  The opening scene of a young woman floating on water with a stream of consciousness narration taking us into her thoughts seemed promising.  The scene is beautifully shot and reminds one of Shakespeare’s Ophelia.  The viewer is prepared to go into the lives, thoughts, heartaches, joys, and experiences of these young Polish girls in what appears to be a documentary/narrative mashup.  Just Girls never delivers.  

    Just Girls is made up of two components.  The first involves slice-of-life documentary scenes and the second involves stylized flashbacks of childhood.  Director Miguel Gaudêncio alternates between the two; however, instead of one component illuminating the other, the alternating makes the narrative incredibly disjointed.  In addition, the slice-of-life scenes do not reveal much about the characters.  Sure, these are young people.  One should not expect profound insights in their conversations; however, sometimes the most banal conversations reveal deeper truths.  That is not at all the case with Just Girls.  It is very hard to connect the flashback scenes with the documentary components.  The whole thing is a big jumble of ideas and images.  

    There is a scene early in the film when one is still hopeful of some character and plot development.  The scene involves a social ball wherein young people are partnered up and dance.  Two young ladies dance, kiss, and are quite openly affectionate with each other.  The viewer wonders if the other attendees are approving of the displays of affection or if this an inclusive ball.  No context is given.  Just Girls is a missed opportunity.  The subject matter deserves much more focused attention.  

  • Handsome: Review

    Handsome: Review

    Being a caretaker for a disabled family member is not an easy task.  It is unpaid, underappreciated, and often requires juggling time between a salaried job and caretaker responsibilities.  Director Luke White’s documentary, Handsome, chronicles the lives of the Bourne siblings.  Alex has Down syndrome.  Nicholas considers the best living alternative for Alex—living at home together or finding a professional live-in caretaker that would help Alex with his day-to-days.  

    Nicholas arranges a journey that takes the brothers from Cornwall, to New York, to Mumbai, and to Hanoi in order to understand what life is like for siblings living with Down syndrome and the quality of life for those who have Down syndrome in different parts of the world.  Handsome not only helps us appreciate the travails of those with Down syndrome, but also the differing attitudes families and nations have toward Down. 

    Nicholas discovers that while some families dare not mention the “D word” so as to not stigmatize their loved ones, other families talk openly about Down syndrome.  Handsome is revelatory in its discussion of the lack of programs and support offered to adults with Down syndrome.  These are social deficiencies that are only exacerbated—especially in the case of India—by extreme poverty.  

    Handsome elucidates without simplifying.  Non-Down siblings openly discuss the dilemmas they face.  They want to live and take care of their Down siblings but fear the costs they may have to pay in their own romantic relationships.  Nicholas and other siblings wonder about the sexual desires of their Down siblings along with the level of self-awareness they may have that they are different from others.  Often, society stigmatizes those with Down and makes them all too self-aware of their condition. 

    Even something like reaching the right equilibrium of caretaking requires consideration.  Nicholas wonders if his parents’ tendency to “baby” and do everything for Alex may not have hampered his ability to communicate verbally.  Documentaries like Handsome are not flashy, but they do precisely what they are meant to do.  They take viewers into a relatively unexplored world and educate us.    

  • The Meaning Of Hitler: Review

    The Meaning Of Hitler: Review

    Director Petra Epperlein’s latest documentary, The Meaning of Hitler, wrestles with some thorny dilemmas.  The first of these dilemmas involves the use of images.  The written word moves slowly.  Words require time to be composed by an author and contemplated by a reader.  Images seduce the masses much faster.  The Nazis were well aware of the power behind images—uniforms, rallies, swastikas, Leni Riefenstahl’s Triumph of the Will.  Therein lies the problem confronted by Epperlein:  How to make a documentary about Hitler without expanding the Nazi visual universe, without adding to Hitler’s mythology.  The second dilemma—the one dealt with by the source material used by Epperlein, Sebastian Haffner’s book, The Meaning of Hitler—is contained in the title; it involves Hitler’s meaning as a human to other humans.  Was Hitler a success, a failure, a bit of both?  

    Hitler was a failure for most of his life—art school reject, quasi-Incel characteristics, and political obscurity.  Sure, there would be eventual political success and many Germans even attributed Germany’s economic revival to Hitler.  But this “success” was quickly erased after his murder of millions and his reckless foreign policy—a foreign policy resulting in the destruction of Germany and its eventual division.  On a balance, one can say that Hitler was a loser.  That, however, leads Epperlein to a third dilemma:  Correctly labelling Hitler as a loser runs the risk of minimizing the atrocities he committed.  

    The next dilemma is perhaps the one most familiar to any who have thought about Hitler even in passing:  Was he suffering from some type of psychopathology or was he within the spectrum of what can be labelled “normal?”  This may be the toughest dilemma to solve.  It is impossible to diagnose the dead.  Sure, there were many documented instances of Hitler displaying suicidal ideation, but this is far from being a psychopathology.  Was he a narcissist in the clinical sense?  Perhaps.  Historical records indicate that even Mussolini found Hitler insufferably full of himself.  The problem is that we can assign a degree of narcissism to any public or political figure.  Epperlein does not aim to definitively solve these dilemmas.  What The Meaning of Hitler does very effectively is ask questions in a clear and direct manner.  By asking the right questions, and admitting that ultimate answers may never be had, Epperlein at least clears a path for us inside the forest.    

    One could hypothesize that Hitler’s failures were projected onto others—Jews, communists, women—in the form of hatred and violence.  What we do know for certain, and what Epperlein does a great job of reminding us, is that Hitler came onto the scene precisely when certain technologies were becoming widespread.  Microphones and radios allowed his words to project at rallies and come into homes.  Films and cinemas allowed for the dissemination of Nazi propaganda.  Hitler hit upon the right messaging for segments of the German population desperate for their identity to be reaffirmed.  Nationalism was a resonant message for a country humiliated by its WWI defeat.  Also, conservatives, the elite, the professional class, and even segments of the working class found comfort in his promise to eradicate communists.  The Meaning of Hitler certainly reminds us of philosopher Hannah Arendt’s insights into the banality of evil.  Germans did not suffer from mass psychopathology. 

    They were just everyday people seduced by someone promising order and a return to greatness for Germany—an unfortunate and too common phenomenon that seems to recycle itself, as in the case of Make America Great Again.  The Meaning of Hitler also reminds us of psychologist and theorist Erich Fromm’s diagnosis of twentieth-century society.  Pre-Industrial societies certainly lacked freedom, but at the same time, found identity anchored within religion, guild, and profession.  Post-Industrial-Revolution societies gained freedom, but with that freedom, felt anxiety over their loss of meaning and identity.  Nationalism and race offered perverted identity anchors and eased anxiety.  By stigmatizing others, Hitler provided a sense of identity for an in-group.                      

    The Meaning of Hitler is absolutely not in the same category as shows on The History Channel that deal with WWII.  Those stale shows present history as compartmentalized segments that occurred long ago in faraway places.  Epperlein’s documentary continually brings us to our present; it examines the contemporary revival of far-right extremism.  Holocaust deniers, Holocaust denial tours, pilgrimages to Nazi sights, new far-right parties, Charlottesville, and the role of Twitter and Facebook in the dissemination of hate are all considered by Epperlein.  Perhaps thinking about the meaning of Hitler is a crucial first step in identifying future authoritarians and warding off their seductions.