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TV: Stephen King Talks Horror

25 September 2011

This October, TCM ushers in a month of what it calls classic horror films with an all-new special, A Night at the Movies: The Horrors of Stephen King. The one-hour special features horror novelist Mr. King in solo appearance, talking by himself over stills, clips and scenes from various horror films. The TV special is interesting even if you’re not a horror fan, and I am not (as I wrote about in this book review of another thought-provoking product about horror movies, Shock Value). The program is scheduled to premiere on TCM, which I write about so often I’m giving it a special blog category, Monday, Oct. 3, at 8 pm (ET/PT).

In the program, Stephen King discloses that Walt Disney’s Bambi (1942) was the first movie that scared him, and he goes on to comment, very briefly in each case, on motion pictures that made an impression on him as a writer: Francis Ford Coppola’s Dementia 13, George Romero’s Night of the Living Dead, and Invasion of the Body Snatchers (1956) among others. With Snatchers, which was remade in the 1970s and the 1990s, King notes that most intellectuals regard it as a warning against so-called McCarthyism while he believes the filmmaker intended it as a warning against fascism, specifically National Socialism. I think Stephen King, whose writings I do not consume, is right. Mr. King has other cogent and candid remarks on Blair Witch Project, Creature from the Black Lagoon, The Wolf Man (not a horror movie, he says), Paranormal Activity, and The Amityville Horror. He points out that Rosemary’s Baby and The Omen are what he calls fundamentally religious movies and discusses seeing The Exorcist with his wife. He also notes that Nightmare on Elm Street blurs the distinction between the conscious and the subconscious and dramatizes that “reality is a nightmare.”

Don’t expect him to talk about the writing process, though he covers most of his own works, from Salem’s Lot, adapted for television by the vile Tobe Hooper (Texas Chainsaw Massacre) to Cujo, Carrie, Misery and Dead Zone. Discussing Brian De Palma’s 1976 version of his novel Carrie, King says he wasn’t even invited to attend a screening and, when he did see it, it was a double feature with Norman, Is That You?, a black-themed film, and he was surprised that the predominantly black audience responded to Carrie. On what sounds like his favorite novel-based performance, King says: “The only actor or actress that won a major award for anything that was based on my work was Kathy Bates for Misery, and she certainly richly deserved that Oscar. But Dee Wallace probably deserved to be nominated for Cujo as much if not more than Kathy Bates. It’s a performance that grows in my eye every time that I see it. It was an absolutely terrific job.” He has nothing positive to say about director Stanley Kubrick (2001: A Space Odyssey) who decimated King’s novel, The Shining, in a 1980 picture with Jack Nicholson that bombed. King acknowledges the horror movie genre’s misogyny and decries what he calls torture porn, though the special ignores or glosses over truly repulsive, anti-man pictures such as I Spit on Your Grave and the Saw movies, and others, such as The Last House on the Left.

His most thoughtful comments are on the psychology of horror as a genre for fiction and film.

“I think that the shelf life of horror films is limited in terms of the emotional response of the viewer,” he says. “The first time that you see Night of the Living Dead, you’re absolutely riveted. The second time, you’re scared. The third time, the film has lost something essential that it had the first time. Now people continue to go back and see Night of the Living Dead, but what they’re experiencing isn’t horror at that point. It’s the memory of the horror that they felt the first time they saw it or the second time they saw it.” Admitting that the genre is fundamentally based on the emotion of fear, he compares the desire to watch horror with the inclination to look at a grisly car crash on the side of the road; you slow down and look, he says, because you’re reinforcing the fact that you’re OK, by confirming that the victims are not. Stephen King, whose writings include The Dark Half, Pet Sematary, It, and other horror classics, concludes that horror appeals to the worst, not the best, within us, and he observes that the more worried and fear-driven the culture, the more horror movies show up.

Work Cited

20 September 2011

An essay in The Galaxy Is Rated G: Essays on Children’s Science Fiction Film and Television (2011, edited by R. C. Neighbors, Sandy Rankin) on the underrated animated Warner Bros. feature, The Iron Giant (1999) cites my October, 2003 interview with the film’s screenwriter, Tim McCanlies, who spoke with me from his ranch in central Texas. McCanlies also wrote Secondhand Lions with Michael Caine and Robert Duvall and Dancer, Texas, Pop. 81, which was also his feature directorial debut. It’s one of my early film interviews for Box Office Mojo, currently not indexed here, and we discussed everything from sneaking into studio offices to put his scripts on directors’ desks to his service as a Dallas, Texas, police officer and why Hollywood depicts the U.S. military as bad. I asked McCanlies, who described the theme of The Iron Giant as “Choose who you want to be,” if free will was a conscious philosophy in his work. His answer: “Yes, absolutely…there are deciding moments when we pick who we want to be and that plays out for the rest of your life.”

Books: Berlin 1961

8 September 2011

It comes as no surprise that the son of a Nazi appeaser was himself a Communist appeaser when he became president of the United States. Journalist Frederick Kempe offers what amounts to a scathing assessment of the Kennedy administration in his new book, Berlin 1961: Kennedy, Khrushchev, and the Most Dangerous Place on Earth (Putnam, $29.95). On the 50th year marking its construction, Kempe shows that President John F. Kennedy was always a step behind the Soviets as they put up a wall between East and West Berlin. Moreover, he indicts Kennedy, who outrageously told aides that “a wall is a hell of a lot better than a war.” Kempe suggests with facts and evidence that Kennedy may have knowingly collaborated with the Soviets in building the Berlin Wall.

Showing rare photographic evidence of Kennedy meeting with a Soviet spy at Hyannis Port, Kempe points to declassified transcripts of JFK’s meeting with Soviet dictator Nikita Khrushchev at the Vienna, Austria, summit of 1961 for evidence that JFK demonstrated an unprecedented willingness to sacrifice Europe to Communist dictatorship in exchange for some degree of stability. JFK’s delusion would be smashed the following year when the Soviets brought the West to the brink of nuclear war by putting nuclear missiles in Cuba, aiming them at American cities. Records of the meeting with the Soviet spy curiously were not kept, and Kremlin and Soviet intelligence archives remain closed, but Kempe argues that Soviet aims and Kennedy’s appeasement are so close as to be “more than coincidental.” He also observes that JFK knew that Poland and all of eastern Europe would fall under Soviet control if East Germany fell, and that this was acceptable to JFK, who had abandoned Cuban freedom fighters in his botched Bay of Pigs invasion in April 1961.

Khrushchev, pictured in Berlin 1961 with Josef Stalin, knew from the failed invasion of Cuba and the Vienna summit that Kennedy was weak and indecisive, so he struck what amounts to an unspoken (or unrecorded or expunged) compromise with the Kennedy administration and built the Berlin Wall, enslaving millions of people behind what Winston Churchill called the Iron Curtain. The wall collapsed in 1989. From the Soviet perspective, it had been deemed necessary to imprison East Germans because between 1949 (the year East Germany was established) and 1961, one of every six individuals fled the East German state and that doesn’t include the millions who fled the Soviet-occupied zone between 1945 and 1949. Kempe writes that the exodus “was emptying the country of its most talented and motivated people.”

Peter Fechter, whose corpse is pictured at right, is the name of an 18-year-old man who, while trying to escape with a friend (who made it over the wall), was shot in the back by Communist guards. Kempe writes that, “for most of an hour, his failing voice cried out for help as his life bled out through multiple wounds.” West Berliners, who had witnessed the horror of Communism in practice, gathered to protest. They screamed that the East Germans were murderers and the Americans guarding West Berlin, who had listened to Fechter’s cries and did nothing while the young man died, were cowards. When a U.S. military police lieutenant told one of them, “It’s not my problem,” he was merely voicing the Kennedy administration’s short-sighted foreign policy toward Soviet Russia’s aggression. The threat of Communism was real to those in West Germany, and, contrary to JFK’s distorted reputation as a hero of West Berlin, Fechter’s blood was on President Kennedy’s hands. As a New York Times reporter wrote at the time, according to Kempe: “More than any single event since the wall was built, Peter Fechter’s lonely and brutal death has made the West Berliners feel a sense of helplessness in the face of the creeping encroachment being worked so subtly by the Communists.” Many sought to escape Communism at the Berlin Wall and many, like the young refugee, were caught, trapped, and murdered.

I don’t claim to know if Berlin 1961 is, as Publishers Weekly says, a definitive history of the Berlin Wall, but Kempe offers new material on a crucial appeasement of the most evil dictatorship of the 20th century. He concludes that Kennedy passively stood by while the Soviets built a prison wall which became “the iconic image of what unfree systems can impose when free leaders fail to resist.” To his credit, John F. Kennedy, whose presidency Communist refugee Ayn Rand rightly denounced as “the fascist new frontier,” sensed that he was a rotten president. Kempe reports that when a Detroit News journalist asked Kennedy about writing a book on JFK’s first term, the President replied: “Why would anyone want to write a book about an administration that has nothing to show for itself but a string of disasters?” Especially for Peter Fechter.

Interview with John David Lewis

3 September 2011

The goal of a war is to defeat an enemy’s will to fight. So argues the author of Nothing Less than Victory: Decisive Wars and the Lessons of History (Princeton University Press, 2010), who makes the case that a strong military offense can win a war and establish lasting peace while playing defense often leads to destruction. This study of six major wars, from the Second Punic War to World War 2, by historian John David Lewis, contrasts the use of overwhelming force, such as the Greek victory over Xerxes’ army and navy, with a lack of reason, purpose, and commitment to fight. On the eve of the 10th year since the worst attack in American history, I turned to my friend John Lewis, a visiting associate professor of philosophy, politics, and economics at Duke University and teacher at Objectivist Conferences (OCON), to discuss today’s war from an historical perspective. Dr. Lewis is the author of Solon the Thinker: Political Thought in Archaic Athens and Early Greek Lawgivers.

Scott Holleran: What is the theme of Nothing Less Than Victory: Decisive Wars and the Lessons of History?

John David Lewis: That wars are driven and caused by people’s decisions to fight and that those decisions are based on the ideas they hold. This has enormous implications for what victory means, because it means discrediting the ideas we’re trying to defeat. For example, one could never explain Germany’s massive attacks [against other countries] or Japan’s massive attack on America, in which they launched into intercontinental warfare, without understanding the ideals that they held. The theme of Nothing Less Than Victory is that one must defeat the enemy by discrediting his ideas.

Scott Holleran: How was Nothing Less Than Victory suggested by your students?

John David Lewis: I was teaching a class on ancient and modern warfare and it became clear that a comparative history would be useful. My students posed good questions.

Scott Holleran: While writing about the rise of the Nazis, did The Ominous Parallels: The End of Freedom in America by Leonard Peikoff help your understanding?

John David Lewis: Yes, because it’s the only book I know of that places philosophical ideas as the lesson of history. It’s not only an explanation of Nazi Germany in terms of ideas but, much more deeply and widely, it demonstrates how ideas move history.

Scott Holleran: The current administration supports military involvements in Iraq, Afghanistan and Libya, as well as other underreported incursions in nations such as Yemen and Pakistan, with something other than, or less than, a purpose let alone a victory. The Oxford English Dictionary defines warmonger as “a person who seeks to bring about or promote war.” As a commander-in-chief who supports and initiates militarism with no purpose or end, is President Obama a warmonger?

John David Lewis: I think he’s incompetent but I don’t think Obama is a warmonger. He inherited those wars but he’s simply unable to bring those wars to a decisive end. His main goal is to bring about a fundamental restructuring of the relationship of every American to the government, which is why ObamaCare was among his top three initiatives, because there’s no better way to define that relationship than through health care. So, his major initiative is to change us from the inside out and I think foreign policy is a distraction to him. It’s a symptom of his incompetence, not warmongering. One other aspect of this is that, unlike Bush, with regard to rules of engagement, he generally lets the generals do as they want but this slight improvement [over Bush] is not because Obama is driven to victory.

Scott Holleran: Are the U.S. military interventions in Libya, Iraq and Afghanistan properly described as wars?

John David Lewis: When you have combatants you have a war. As Ayn Rand said about the Vietnam War, and I’m paraphrasing, when foreign soldiers are killing Americans, it’s a war and nothing but a war. Certainly, these are wars, but they’re wars in which one side knows it’s fighting a war and the other side is desperately avoiding using that term.

Scott Holleran: You have publicly discussed your cancer diagnosis with regard to domestic health policy and compared your battle against cancer with the themes in Nothing Less Than Victory. Has your condition affected your thoughts on war?

John David Lewis: It has sharpened something—that my battle against cancer is a metaphor, not a war. There’s intelligence gathering in the first stage, nuclear warfare—chemicals and radiation—in the second stage and then we send in the Marines—with doctors and nurses. In a war, you’re dealing with other human beings, who have free will. With cancer, the disease does not have a mind of its own; beating it is a matter of biological causality.

Scott Holleran: Are you primarily a teacher, a writer or an historian?

John David Lewis: It depends on what day it is. Tomorrow, I start teaching two courses at Duke, so tomorrow I’m a teacher. I don’t see any kind of exclusivity—I think they’re mutually supportive. I would not want to be only a historian or writer, because I need the stimulation of teaching.

Scott Holleran: If the U.S. continues to deteriorate, with, for example, an economic collapse or major Islamic terrorist attack, historically speaking, which is more likely: anarchy, civil war, or religious dictatorship?

John David Lewis: Probably some form of religious dictatorship. The two events you name, economic collapse from inside and an attack from outside, are very different. In the case of an attack, I think the American people would look for a leader to unite them and the chances are much greater that they’ll look to a religious leader and we’ll end up with a fascist dictatorship. It depends on the attack, too; obviously, if there are 20 nuclear bombs detonated at once, we may lose our infrastructure and descend into some form of anarchy, but I think we’re more likely to have a single nuclear attack. With an economic collapse, the public would [be more likely to] look for a leader who would seek centralization of power. The infrastructure—the command structure—the equipment—for a police state is already in place at our airports with the TSA. The American people are already habituated to accept it.

Scott Holleran: What is your most controversial point in Nothing Less Than Victory?

John David Lewis: That ideas drive history. Two things are necessary in war; the capacity to fight and the will to fight. During the so-called Cold War, the two great powers were the Soviet Union and the United States, but a third power with capacity was England—and no one went after them because they posed no threat. So, in fact, the most controversial idea is the most obvious; that ideas are the drivers of history. Among readers, the most controversial idea is my point that it was moral to drop the atom bomb on Japan.

Scott Holleran: We now know that the Soviets had infiltrated the United States government and U.S. industries, including motion pictures, and society. Is jihadist Moslem infiltration—including takeover—of the U.S. government possible?

John David Lewis: I don’t think takeover was the kind of thing the Communists were after. What they were going to do is [try to] elect people who would be sympathetic to the Soviet cause. I think that, in a certain sense, there’s a strong parallel, because those who want a radical Islamic war culminating in a one-world government are just as overt in pursuing their goals as were the Communists. But the Soviets were less interested in a one-world government [than jihadists]. The Iranians may be less focused on one-world government than the Saudis. The Iranians act more like the Soviets—they want to have nukes to play like the big boys, whereas the Saudis are more like the Trotskyites. They want this worldwide evolution [toward Islamic statism] and are more patient about infiltrating [Western civilization]. The Saudis have built thousands of mosques and [radical Islamic group] CAIR has directly said that Sharia law imposed over the United States will come. To actually take over the U.S. government in the sense that they impose Sharia law? We’re a long way from that. But if you mean creating sympathies and bringing about a radical Islamic-influenced government…

Scott Holleran: Certain presidential candidates have recently been linked to campaign donors who may be connected, directly or indirectly, to groups that support Islamic jihadist aims. Are you concerned that the enemy could shape and influence American government through a Manchurian candidate?

John David Lewis: Yes. It’s part of the insidiousness of these groups. Today, any candidate knows that accepting money from jihadist groups for influence would kill the campaign—you can’t keep that kind of thing a secret. So that would be less likely than the threat of covert multiculturalist ideas being spread and accepted throughout the culture.

Scott Holleran: What is the central lesson of each war discussed in Nothing Less Than Victory as it relates to today’s war?

John David Lewis: The need to name the enemy, identify him as an enemy and develop a strategy that defeats him at his center—an elusive concept—or close to a center of gravity of economic, social, political support for the [jihadist] war [against the West]. [Carl von] Clausewitz writes about this—that Americans have a strong moral center, so that, by attacking our moral center, the enemy imposes guilt. We saw this in the Vietnam War when we were criticized for distinguishing between [Communist] North and [non-Communist] South Vietnam. After the war ended, one of our generals went to a former North Vietnamese military general and said, “you never defeated us in the battlefield.” And his North Vietnamese counterpart said that was irrelevant. You need to be right in what you’re doing and you need to know that you’re right in what you’re doing.

Scott Holleran: You write about the citizens of ancient Carthage and those in South Carolina and Georgia during the Civil War not facing the consequences of war. Are today’s Americans disconnected from war?

John David Lewis: Yes. In a certain sense, they’re very disconnected from the war because they’re not facing an attack on their soil right now, so I don’t think they know what’s going on. When I talk to soldiers, I get a very different sense about what’s going on in Iraq and Afghanistan than what I see in the media. But, in another sense, we are more connected because we live in the age of technology, and people can get news from the battlefield. What would Americans at home have said had images from Iwo Jima been sent back home?

Scott Holleran: You write about Union General Sherman’s remarkably low casualties during the Civil War. Why is that fact not widely taught or known?

John David Lewis: Because people today are caught up in the myth of Sherman as the Attila from the North. Southerners created that myth.

Scott Holleran: How did the myth become so widely accepted in the North?

John David Lewis: That’s a good question. The intellectuals, historians and the press are all complicit in this—it strikes their morality that Sherman specifically targeted civilians—and once they accept that that’s what Sherman did, they move on rather than examine the facts of what happened. Why are Hiroshima and Nagasaki held up as moral evils while failing to consider what alternatives the United States had? Facts are forgotten and subordinated for moral reasons.

Scott Holleran: You also write about Confederates hiding behind civilians like today’s Moslem jihadists. Are there other examples in history of using civilians as covers for combatants during war?

John David Lewis: That happens all the time in war. Any time an army backs up into a city and defends against its walls, the civilians are being held hostage in some way. So there’s certainly a precedent in history. I don’t think the Confederates were necessarily worse even than the Union. Palestinian snipers look for Israeli troops where they are facing civilians and what they want is to get the Israelis to return gunfire against civilians to get publicity—they want the enemy to kill civilians as a pretext. That’s worse.

Scott Holleran: Is the mass death of freed slaves at Ebeneezer Creek in any way indicative that the Union army was racist, too, and does the tragedy diminish the moral righteousness of the Union cause?

John David Lewis: Racist? Of course. Everyone was a racist back then. Does it diminish the moral status of the Union’s cause? Absolutely not! Many freed slaves wanted to be with Sherman’s army. As Union armies were moving ahead under Union General Jefferson C. Davis’s command, freed slaves followed. Coming to the creek, with Confederates behind them, Davis ordered pontoons brought up, leaving the freed slaves behind, and then they were attacked by Southern armies. Davis may have been racist but who caused the dangers to the freed slaves? It was the Southern army. Davis is given moral criticism for failing to rescue blacks from Southerners. But it’s the Southerners that were to blame. They were the ones attacking. They were ones who’d enslaved them.

Scott Holleran: Coming to the 20th century wars, you write that President Woodrow Wilson sought “peace without victors.” Who is the last president who didn’t?

John David Lewis: Franklin Roosevelt.

Scott Holleran: You trace President Wilson’s ideals to philosopher Thomas Hobbes and, centrally, to philosopher Immanuel Kant. Is Wilson America’s first Kantian president?

John David Lewis: I don’t know enough about the intellectual history of American presidents to say whether he’s the first but he’s heavily influenced by Kant because the basis of his education was German. It’s Kant’s 1795 essay on Perpetual Peace that calls for the establishment of a worldwide state. Kant calls for “a league of nations”. Kant directly influenced the League of Nations. People forget that Kant said that all nations of the world should be republics and he rejected democracy—but he blanked out the fact that all nations in the world are not republics. The influence of Kant in education that was German-based clearly influenced Woodrow Wilson.

Scott Holleran: Why do liberals condemn Nazi Germany but drop the context of the Nazis’ government-controlled economics?

John David Lewis: I don’t know. I think the inference takes them down a road that they don’t want to go. They don’t want to face the fact that being an advocate of a government-controlled economy makes them tyrannical. It’s forgotten that these fascist states were woefully inefficient. I have evidence that Mussolini did not make the trains run on time, yet this notion that fascism is efficient persists. Last night, I saw a Star Trek episode in which Spock tells Kirk that Nazi Germany was the world’s most efficient society. That’s not true.

Scott Holleran: You report that the media aided and abetted the rise of the Nazis. Is today’s press complicit in aiding the rise of fascism, too?

John David Lewis: Oh, sure, though they wouldn’t say it that way. The press itself is almost always solidly on the side of greater and bigger government programs, except for the Wall Street Journal and some conservative outlets. They don’t want to call themselves fascists but in effect that is what they are supporting.

Scott Holleran: Did the West drive Italian dictator Benito Mussolini into an alliance with Nazi Germany?

John David Lewis: I don’t know—I don’t have a good answer for that. If it’s true that Mussolini was afraid of Nazi Germany, there certainly were times, especially when the Germans moved into the Rhineland and Czechoslovakia, when all offers and opportunities might have stopped the Nazi flood. I think the West was instrumental—and complicit—in driving Mussolini into an alliance with Nazi Germany in the same way we did with [Cuban dictator] Fidel Castro and the Soviet Union, but I would never place primary blame or cause on the West because both probably would have happened anyway. They shared a basic philosophy.

Scott Holleran: Was Imperial Japan as racist as Nazi Germany?

John David Lewis: In its own way, yes. The more I read about Japan, the more I realize what a truly foreign nation it is—in their morals, in their writing, you see now that, when something goes wrong in a company, the executives have to bow down and apologize. Japan was as racist as Germany in the sense that they saw themselves as racially superior and destined to rule Asia.

Scott Holleran: Is General Douglas MacArthur underestimated as leader and thinker in occupied Japan?

John David Lewis: Yes. In terms of the occupation of Japan, which MacArthur was put in charge of, it resulted in zero deaths and there were no insurrections. What he did was a monumental task and it went as benevolently and well as any occupation in history. He is greatly underestimated.

Scott Holleran: Is it possible for the U.S. public to come to worship a leader, such as Texas Governor Perry, Minnesota Congresswoman Bachmann, or President Obama, as a deity as people did in Japan?

John David Lewis: We’re a long way from that, especially the way it was done in Japan. But the way people treat Barack Obama—as if he’s the divine one, his word is oracle and he can do everything—has parallels.

Scott Holleran: There are a number of war movies in recent years, from 300 and The Alamo remake to recent war-themed pictures such as Stop-Loss, Jarhead and The Lucky Ones—even The King’s Speech hinges upon an understanding of what’s at stake in war. Do you recommend any movies as effective dramatizations of war and/or a proper historical perspective?

John David Lewis: I don’t have a recommendation. I did see one war movie recently—Escape from Sobibor [British made for television, which aired on CBS in 1987] with Alan Arkin. It’s about a German concentration camp—a death camp—in Poland. Like all these camps, there were some prisoners who were not killed; they were out in barracks. Sobibor was where the only full-scale revolt by camp prisoners took place. They ran into the woods and escaped—it’s the one case where everyone, especially the Jews but also the Poles, fought back. They killed the Germans, and then they rushed the main gate and hundreds escaped. That’s worth seeing. I stopped seeing a lot of modern war movies. I have not seen 300. I’ve got the graphic novel and it looks awful. A much better movie about the historic battle is The 300 Spartans [starring Richard Egan, 1962].

Scott Holleran: Any other classic movie recommendations?

John David Lewis: I still like to see Battle of the Bulge [starring Robert Shaw, 1965], which is about reversing the wills to fight. In the beginning, the Americans are demoralized and the Germans are motivated. In the end it’s the opposite. There are some good classic war movies set in World War 2. Even a movie like A Bridge Too Far [1977] has a certain point to it.

Scott Holleran: You write that President Franklin Roosevelt wrote about “the destruction of a philosophy” in achieving victory in World War 2. Does the planned construction of an Islamic mosque near where the Twin Towers once stood—before Islamic jihadists destroyed them on 9/11—represent a victory to the enemy?

John David Lewis: I think it does. It’s not because the people who want to build the mosque are on the side of those who want to destroy the U.S. but they chose to build it near the World Trade Center site for sympathetic reasons and those reasons—for building a $100 million cultural center—are the same reasons that make me want to oppose it. In the plans, there are separate places for men and women, so it’s clearly a place to enforce certain political ideas, which are not consistent with the ideals of the United States. That they choose to build it there is why I oppose building it there.

Scott Holleran: You contrast the Japanese with the Americans in terms of motive, demonstrating that the Japanese, like today’s jihadists, were motivated by death while the Americans fighting in World War 2 were motivated by life. We have been fighting and appeasing jihadists for over 10 years with thousands of U.S. casualties and no progress toward victory. Are Americans losing the will to live?

John David Lewis: That’s a difficult question. If one sees an enemy as out to destroy you and does not act against him, and instead builds bridges to him, then certainly Americans are losing the will to live. Certainly, if we don’t demand a nation that defends itself, that’s true.

Scott Holleran: You write about dropping napalm and atom bombs, not food, on civilians during war. What is the primary reason why we drop food packages not bombs on our enemy?

John David Lewis: On one level, we don’t want to destroy and kill people that way—Americans are very benevolent—and we fail to make the connection between dropping bombs and saving our lives. American intelligence in Japan looked at what was happening inside the country of Japan—inside the houses. When they found out that civilians were being trained to kill Americans, they realized that within those houses were weapons and that civilians were an active part of the war effort and an American intelligence officer made a direct connection; he reported there were no civilians in Japan as far as the war effort was concerned. Recently, we saw a Navy SEAL team come across a group of shepherds that were hostile to the U.S.—and they let them go, knowing the shepherds would turn them over to the enemy if given a chance. It goes back to your question about the will to live, and, in that sense, it’s gone.

Scott Holleran: Which is the greater threat to the United States—Iran, which openly declares its intent to destroy America—or Saudi Arabia, which sponsors Islamic jihadism while claiming to do otherwise?

John David Lewis: They’re both threats. I can’t elevate one above the other.

Scott Holleran: The Nazis were appeased by the West and swept into power, exterminating millions of Jews. The Soviets were allied with and appeased by the West and subsequently conquered much of the civilized world, exterminating millions of people, enslaving tens of millions and fighting a proxy war with the U.S. that funded the forces that created jihadist Islam. Islamic jihadists, too, were allied with and appeased by the West and are fighting a proxy war with the U.S. through subversive terrorism. What horror awaits civilization should jihadists prevail?

John David Lewis: The first thing we would see is the entire Middle East given to Islamic government and all-out war—we would see Islamic rule in the south of France, Spain, and Indonesia, and the predominantly Islamic republics of the former Soviet Union. I do not think that we would see a single caliphate against the United States. I think we would see Iran and Syria against Saudi Arabia and Egypt and whatever would come out of that would push out against the West. European nations are already failing by internal rot. But how far are we from France becoming an Islamic state? Probably far off. The war would spread like a plague through Africa and South America, where they would come to regret the alliance that [Venezuelan dictator] Hugo Chavez made with Iran. And if Iran gets nuclear weapons—and then the Saudis do, too—that would be very bad for the rest of the world.

Scott Holleran: Is America’s current predicament with regard to the unacknowledged war with jihadist Islam fundamentally comparable to either the 300 Spartans or the Alamo?

John David Lewis: [Pauses] No. I don’t think so. In neither Greece nor the Alamo was it denied that there was a problem. Today, we are evading the fact that there’s a problem—that this politicized Islam [jihad, which means holy war] is what motivates the enemy. In that sense, it’s not comparable. The Greeks made a stand against the Persians and it became a rallying cry—the men at the Alamo made a stand against the Mexicans and it became a rallying cry—but when the passengers of United [Air Lines flight] 93 made a stand against the radical Moslems, there should have been a rallying cry, and there wasn’t. Throughout history, we’ve heard “Remember the 300 [Spartans]!” “Remember the Alamo!” and “Remember the Maine!” No one cries “Let’s Roll” to remember United 93.

Scott Holleran: What’s your favorite war memorial?

John David Lewis: It makes me sad to think of that. [Pauses] There is one that comes to mind, though I haven’t been there—the U.S.S. Arizona at Pearl Harbor in Hawaii. The [sunken] ship [destroyed with her 1,777 crewmen by the Japanese] was left there and a memorial was built over it. Some of the Confederate war memorials, such as the memorial at Shiloh, are very moving. But the one that seems most moving to me is the Arizona memorial. [Pauses] I do not think it’s time to build a memorial to the victims of 9/11. There’s a line about building a war memorial during a war that may be attributable to, of all people, Eleanor Roosevelt: We’ll win the war—then we’ll have a memorial.

Scott Holleran: What one idea, more than any other idea, must be accepted in our culture for the West to achieve victory over jihadist Islam?

John David Lewis: Knowledge of our own good. Most of all, we must realize that we stand for the values of freedom, the sanctity of the individual, and reason.

Maltin on Movies

25 August 2011

Film historian Leonard Maltin, promoting the latest edition of his Movie Guide, recently chatted with me about movies. The teacher, critic and historian, a regular on the syndicated television show Entertainment Tonight since 1982, who teaches a film class at the University of Southern California’s School of Cinematic Arts, is also the author of The Disney Films, The Great American Broadcast, and Leonard Maltin’s Classic Movie Guide. Leonard Maltin writes, co-produces and hosts the Walt Disney Treasures DVD series, which he tells me has been suspended, and produces a newsletter.

Scott Holleran: What single movie do you get the most out of with repeat viewings?

Leonard Maltin: It’s a tie between my two favorite movies—Citizen Kane and Casablanca. In both cases, I seem to notice and appreciate new things each time out. With Casablanca, I recently wound up writing a lengthy article on all the background music—it occurred to me that there’s “Love for Sale” by [composer] Cole Porter and others—and here we thought just about everything that could be written about Casablanca had been written.

Scott Holleran: Why are you migrating old movies from your annual Movie Guide to your classic film guide? Why not jettison some of today’s mediocre, irrelevant pictures?

Leonard Maltin: Because in a reference book I don’t feel it’s my place to decide what’s irrelevant in the main scheme of things. I certainly express my opinion film by film—it’s as thick as it can be without falling apart—and that’s what gave birth to the Classic Guide, so those films have a place to reside.

Scott Holleran: And it’s another way to make money?

Leonard Maltin: Uh, no. Let me just say that being in the reference book business in the Internet age is not a doorway to great riches.

Scott Holleran: What is the primary purpose of the Movie Guide?

Leonard Maltin: It hasn’t changed since it was introduced—to be a fingertip guide to movies for people who watch movies at home—to provide a brief review and opinion and to provide more information than one can get from TV guides and screen guides.

Scott Holleran: What single, consistent reader response do you get to the Movie Guide?

Leonard Maltin: Well, now when we make a mistake, we hear about it right away by e-mail—they used to let us know through snail mail. People still seem to be grateful for some guidance. I hear a lot of comments like “I was deciding whether to stay up late and watch this movie and, thanks to you, I did”—or, “thanks to you, I didn’t.”

Scott Holleran: Do you think film criticism can be reduced and aggregated to a number?

Leonard Maltin: No. That’s not criticism, that’s shorthand for an opinion. It may be a consumer service. We hope that in our brief reviews we offer a compact form of criticism.

Scott Holleran: You use stars in the Movie Guide. Does your friend Roger Ebert’s Thumbs Up symbol dumb down motion picture criticism?

Leonard Maltin: No. It’s another form of shorthand, and it’s legitimate within the boundaries of what it can cover. An editor forced the stars on me. I argued with him but he said people will love it and he was right. People respond to those things.

Scott Holleran: Are you primarily a teacher, a critic or an historian?

Leonard Maltin: I wear different hats at different times. If I could do only one, I would be an historian.

Scott Holleran: What’s the next installment in the Walt Disney’s Treasures DVD series?

Leonard Maltin: There is no next installment. That is out of my hands. I would love to do more but it’s up to the Walt Disney Company.

Scott Holleran: What’s your favorite Hollywood movie theater?

Leonard Maltin: I love Grauman’s Chinese Theatre [on Hollywood Boulevard]. I also like [Disney’s] El Capitan, the ArcLight Hollywood and the Samuel Goldwyn Theater at the Academy [of Motion Picture Arts and Sciences] on Wilshire [Boulevard]. If I had to pick one, I would probably pick the ArcLight. It’s a nice environment and a nice theater.

Scott Holleran: What’s your best movie review?

Leonard Maltin: I can’t say. I can tell you the review that has gotten more compliments than any in my career. It was a review of a [horror spoof] movie called Transylvania 6-5000 [Maltin delivered a short sentence during an appearance on Entertainment Tonight in 1985 in which he declared that the movie “stinks” on cue with the tune “Pennsylvania 6-5000” by the Glenn Miller Orchestra]. The review appeared on ET and it was as thorough and as definitive a review as that movie warranted.

Scott Holleran: What’s your most controversial movie review?

Leonard Maltin: Either Blade Runner or Taxi Driver. Both get negative reactions. There’s also my positive review of Cecil B. DeMille’s [1952] The Greatest Show on Earth [starring Charlton Heston, Jimmy Stewart, and Betty Hutton], a film which gets attacked as undeserving of winning the Academy Award for Best Picture. I feel somewhat vindicated by Steven Spielberg’s praise for The Greatest Show on Earth, which he has said influenced the train wreck scene in Super 8.

Scott Holleran: Who is your favorite movie critic?

Leonard Maltin: I don’t read a great many movie critics—I certainly don’t read reviews before I write my own—but of those I read, I like David Denby in the New Yorker, also Anthony Lane and [former newspaper critic] Kenny Turan and possibly the best film critic in America is Todd McCarthy now with the Hollywood Reporter. He is incredibly knowledgeable and incisive and eloquent. And I like Roger Ebert.

Scott Holleran: I’m going to put you on the spot and ask you for a one-word evaluation or estimate of 22 movies you recently added to this year’s edition of the Movie Guide. 22 movies in 30 seconds—are you ready?

Leonard Maltin: I’ll try—unless it’s a movie that one of my associates [editors for the Movie Guide] saw and reviewed for the Guide.

Scott Holleran: Super 8?

Leonard Maltin: Terrific.

Scott Holleran: Win Win?

Leonard Maltin: Great.

Scott Holleran: The Tillman Story?

Leonard Maltin: Profoundly moving.

Scott Holleran: Atlas Shrugged, Part 1?

Leonard Maltin: Didn’t see it.

Scott Holleran: Tangled?

Leonard Maltin: Great fun.

Scott Holleran: The Social Network?

Leonard Maltin: Exceptional.

Scott Holleran: The King’s Speech?

Leonard Maltin: Wonderful.

Scott Holleran: District 9?

Leonard Maltin: Disarmingly original.

Scott Holleran: Up?

Leonard Maltin: Enchanting.

Scott Holleran: The Hangover?

Leonard Maltin: Really funny.

Scott Holleran: Milk?

Leonard Maltin: [pauses] Ambitious—and emotionally stirring.

Scott Holleran: Frost/Nixon?

Leonard Maltin: Brilliant.

Scott Holleran: Slumdog Millionaire?

Leonard Maltin: Also brilliant. [pauses] Awfully tough but rewarding.

Scott Holleran: The Curious Case of Benjamin Button?

Leonard Maltin: Great entertainment.

Scott Holleran: There Will Be Blood?

Leonard Maltin: Tremendously compelling.

Scott Holleran: No Country for Old Men?

Leonard Maltin: Riveting.

Scott Holleran: Juno?

Leonard Maltin: Unexpectedly winning.

Scott Holleran: Little Miss Sunshine?

Leonard Maltin: Sleeper.

Scott Holleran: The Lives of Others?

Leonard Maltin: Unforgettable.

Scott Holleran: The Queen?

Leonard Maltin: Superb.

Scott Holleran: The Sea Inside?

Leonard Maltin: Unjustly undervalued.

Movie and DVD Review: Rise of the Planet of the Apes

3 August 2011

Ten years after director Tim Burton’s (Alice in Wonderland) highly anticipated remake, Planet of the Apes, a creative and commercial disaster based on the 1968 Twentieth Century Fox film with Charlton Heston which was itself based on a 1963 French novel by Pierre Boulle (Monkey Planet), Fox returns with the big budget Rise of the Planet of the Apes. The tagline is: evolution becomes revolution.

Well, not exactly. This version applies a humanistic overlay to the series, and it is not a remake of the original movie; it is a reset that’s a story about a pet. Though it’s also laced with bad lines, stock villains and a Jurassic Park-like warning against tampering with nature, an archaic argument which could be used against paper, birth control and all types of sex, Apes is good science fiction.

Director Rupert Wyatt begins with eerily isolated drumbeats and a sense of desolation swooping into treetops and taking us to a place where humans entrap apes for the sake of science. That James Franco’s (Milk, 127 Hours) ambitious genetics company scientist, Will, may have a legitimate personal motivation for studying apes and chimpanzees, which have long been used to advance human progress, heightens the anticipation. Will’s father, portrayed by John Lithgow in an excellent performance, is not himself, and this endears us to Will’s cause. Will makes ethically lousy choices and the script limits the character, the company and, most painfully, the CEO (David Oyelowo) to one-note parts and plot points. When Will brings a genetically enhanced newborn chimp back in a box, his homebound father, who tries to play piano between nurse visits, takes a liking to the exceptionally expressive monkey. The outcast scientist, his incapacitated father, and a chimp named Caesar form a strange sort of family. Will becomes obsessive about his theories and experiments, his father regresses, and Caesar becomes more intelligent.

Rise of the Planet of the Apes goes on, with the implausibly evil company’s experiments halted after something goes wrong, and Caesar confined to his own playroom, gazing out the window like Quasimodo in the bell tower, longing to play like other youths and be part of the world. Years pass, and after an innocent act turns into an encounter with a hostile neighbor, Will gets a girlfriend (Freida Pinto), Caesar (played as an adult by Andy Serkis in the most involving performance) grows up, and the family goes for picnics in the park. This is where collared Caesar, who communicates through sign language, sees a dog on a leash and wonders whether he’s a pet, too. At its best, the movie, like the original film, asks what it means to be primitive or civilized and challenges how we treat those we value. Aside from an occasional deja vu of the computer generated monkeys from Jumanji, the visual work is incredible. So is Patrick Doyle’s pitch perfect score.

As Caesar meets others like him, the plot is gripping and the film takes off in new directions. With soulful eyes, and a mind like a human, he learns about human cruelty and what it means to be hated by others, including by his own kind, for being better than others in ability, and, while these are not dominant themes, Rise of the Planet of the Apes is loaded with interesting scenes with subtexts about trust, home, and being a loner. When all hell breaks loose, and you know it will, it has something to say about how one must think to survive, camaraderie in warfare, and breaking free from oppression, with renunciation, not appeasement or compromise, crucial to the cause. Despite its flaws, such as the evil CEO dragging the third act down, the climactic confrontation is thoroughly exciting. Caesar is the main character and he does not disappoint. Classic Planet of the Apes fans like me will find peppered winks and references that do not detract from Caesar’s quest to make the world his home, even if he has to take down San Francisco. True to its B-grade sci-fi movie roots, Fox’s reboot erases the memory of the 2001 version (which isn’t memorable anyway) and gets the revolution rolling.

Dec. 12, 2011 update: One may appreciate Rise of the Planet of the Apes more on DVD, with Patrick Doyle’s triumphal score, and though the extras are skimpy (the Blu-Ray edition contains more), two deleted scenes and two short behind-the-scenes features are good bits. Both of the cut scenes may give a hint to future sequels’ character and plot developments, nothing those who’ve seen the film probably hadn’t already figured out, and I recommend watching the features first for franchise fans and those who have previously watched the movie because the extras contain interesting tips and disclosures of references to the original Apes pictures. For viewers, including Netflix subscribers, who have not yet seen this fine movie, start with the movie, a visually arresting story with the characters and action to match.

MSNBC Gets Ayn Rand Wrong

21 July 2011

Microsoft’s media venture with NBC Universal’s NBC News, MSNBC, is at it again, propagandizing for the Obama administration and distorting the news, which it does nearly full-time with its roster of former Democratic Party operatives (Chris Matthews, Lawrence O’Donnell), most favored former government spouses (Mrs. Alan Greenspan, Andrea Mitchell, who never discloses that fact), and lying Christian preachers such as its new host, the Reverend Al Sharpton. Now, they’re lying about Ayn Rand.

In yesterday’s broadcast of the cable news channel’s Rachel Maddow program, the hostess, who had railed against Tea Party Republicans for refusing to compromise with the Obama administration, calling the nation’s imminent so-called default an “apocalyptic deadline”, interviewed an old Washington Post journalist named E.J. Dionne and promptly missed her cue by mispronouncing the name Ayn Rand. The pompous hostess makes a habit of snorting and sniffing her way through all sorts of other people’s mistakes, so one would think she would be more careful. It’s Ayn, pronounced like the word mine, not Ann as she stated. Then Ms. Maddow proceeded to let her guest completely misrepresent Rand and her famous novel, The Fountainhead. In the video segment, linked here in its entirety with the errors contained at approximately 14:00, Dionne falsely stated that the 1943 novel by Ayn Rand is her first. The Fountainhead is not her first novel. That was We the Living.

Dionne, in a set-up segment which was clearly discussed if not rehearsed in advance, proceeded to falsely assert that, in The Fountainhead, when the main character doesn’t get his way, he “blows up a building”. Wrong, E.J. Dionne. Not only is the insinuation that the novel’s protagonist, architect Howard Roark, cavalierly acts on a whim when he doesn’t get what he wants, a total misrepresentation of the novel; to state that Roark “blows up a building” is to distort the plot and theme of Rand’s literary masterpiece, a bestseller still in print which has sold millions of copies and is taught in schools across the country. What E.J. Dionne (and Ms. Maddow and MSNBC by refusing to correct these errors) fail to grasp is that it’s his building, in every sense, and that’s the point of the novel. Roark created the building, contracted for its exact design and construction on simple, narrowly defined terms and one basic condition, and it is essentially his to destroy.

Expecting the lowest standards of journalism from this corrupt media outlet, which I have defended, even praised, in the past, is too much. Errors and distortions are routine in MSNBC programming (Dionne’s error originates in his commentary in the similarly slanted Washington Post), though welfare state and status quo advocate Dionne’s failure to grasp the concept of property ownership comes with the territory. It took eight months for Newsweek to correct MSNBC pundit Howard Fineman’s smear against Ayn Rand following my blog post about his mistake. With any luck and the help of an MSNBC or Post intern or executive with integrity and a mind of his or her own, Maddow’s and Dionne’s attempt to disparage Ayn Rand and the Tea Party movement won’t stand uncorrected that long. Don’t count on it and get used to the lies and distortions. The rich and powerful intellectual fusion of the press and the state, best exemplified by MSNBC, more than state-sponsored NPR and PBS, knows that they’re fighting the philosophy of Ayn Rand. The contest is just getting started.

[7/24/2011 Update: No response to my request for a correction from E.J. Dionne at the Washington Post]

[12/08/2011 Update: Still no response to my request for a correction from E.J. Dionne at the Washington Post]

Book Review: Shock Value

21 July 2011

Shock ValueFor those who like horror movies, and for those of us who find their appeal elusive, Shock Value (Penguin, July 2011) is a thorough and thoughtful study of movies that lead to bleed. New York Times critic and theater reporter Jason Zinoman appears to have absorbed the most prominent horror films and the lives and careers of their makers, and the result is a surprisingly involving account, even for this reader, who abhors the genre. I learned more about how we went from cheap and cheesy scary movies about monsters under the bed to today’s vile and purely nihilistic fare.

Tracing each horrormaker’s origins, with tales from the backlots that provide an interesting perspective on the moral and psychological stature of Hollywood’s best-known horror writers, producers, and directors, Zinoman reports, discloses and demonstrates how artists such as Orson Welles (Citizen Kane), with his highly praised use of light and shadow, came to influence the mind that made the highly influential (in the worst sense) Night of the Living Dead. Here are the main forces behind some of the worst, most repulsive, and successful movies of our times; their actions, ideas, and values are laid bare, with analyses of the works of Roman Polanski (Rosemary’s Baby), Tobe Hooper (The Texas Chainsaw Massacre), Wes Craven (The Last House on the Left), John Carpenter (Halloween), Brian De Palma (Carrie), and William Friedkin (Cruising). As someone who writes about film, I found myself drawn into their dark and depraved worlds, marking the incredible influence on today’s films, certainly the majority of them, and the widespread nihilism in the culture.

From the latest exercise in hatred for man by Martin Scorsese, Mel Gibson, or the makers of 300 to the TV wasteland of cynically sniveling blood porn that runs the gamut, the films discussed in Zinoman’s Shock Value, and the publisher got that title right, horror dominates the culture. Most of today’s most wildly praised pictures, such as Pan’s Labyrinth, The Departed, No Country for Old Men or almost anything by Quentin Tarantino or Steven Spielberg, traffick in unfiltered horror. Those who want to understand how these tortured malcontents, who, the author notes, festered in the vacant late 1960s, came to control what drives an industry, will learn something from this book. Some of us seek a sight of something other than that which is horrible; something, such as The King’s Speech, that affirms life. Shock Value by Jason Zinoman offers an account of those who’d rather think about death.

Closing Borders

19 July 2011

Ever since I was a kid, I’ve loved bookstores. I remember discovering The Virtue of Selfishness at the Wilmette Book Shop where I grew up and asking the store’s owner, Mrs. Burmeister, a former Broadway dancer married to a businessman who was the town’s mayor, what she thought the title meant. She told me, I bought it with whatever money I’d earned shoveling snow or babysitting, and owned one of my first books. I loved the big door with the bell, the creaks in the floor, the smell of the place, and the people in the narrow aisles.

They were always alone, and, as we all easvesdropped on whatever Mrs. Burmeister and her business partner were debating at the front counter, one by one we would make our way to the cash register with a book in our hands. I brought the love of books to New York City, where I finished my first novel and discovered countless creations on bookshelves throughout Manhattan, from Animal Farm to Whose Life is it, Anyway?

It was there that I found my first Barnes and Noble and I have always been more a Barnes and Noble than a Borders bookbuyer. Their stores are better managed, their staff more attentive, their customers less intrusive, and the experience more about browsing and buying books. I like the name and the motif. Borders has fond memories for me, too, but I’m not surprised to read that they’re going out of business, liquidating their assets as early as Friday. Borders, which started in 1971 as a used book store in the Midwest, was, in my experience, lazy about protecting its own value. Stores felt more open, which was nice, and staff were friendly but they were also generally unconcerned about driving the primary purpose of the store: to sell books and stuff. People would come in and park themselves in the aisles or cafes and read for hours. An entitlement mentality took root, and every Borders seemed like a squatter’s paradise, with staff more supportive of the squatters than those unable to find a place to sit and drink a purchased coffee or walk the aisles to find a book to buy.

There are many fine memories, too, of meeting friends, dates, and colleagues in the Borders Cafe, sometimes before or after a movie screening, hearing an author speak, or just killing time before an appointment or engagement, always with an opportunity to buy a book, CD, or greeting card. I read books mostly on my iPad, or one from my library, or review copies from publishers, and I am excited about the possibilities for media in this age of new technology (as I wrote about here), but I’ll miss Borders, in all its egalitarian mess, from Wilmette to Westwood and everywhere else I’ve ever browsed their aisles. They provided a sense of place to my life, and I will forever associate certain periods, aspects, and events with certain locations, like memories embedded with certain emotions triggered by certain songs. Borders in Glendale recalls my early years in California and hearing Curtis play his guitar. Borders in Westwood means running into friends and catching up over coffee. Borders in Tustin evokes meeting a friend after class. I’ve made countless connections, and read, listened to and bought hundreds of products that have improved my life in these Borders. Now, they’re closing and it’s sad. Better choices and opportunities lay ahead, but Borders going out of business is another sign that our streets, and our times, are getting darker. I didn’t even like them at the end. I like losing them even less.

New Functions & Features on Site

13 July 2011

When I created this blog, I decided to keep it simple by making my posts free, accessible, and closed to advertising. The only income I earned directly from the blog recently ended when Amazon.com rightly terminated its partnership program in California, due to the state’s new dictate to tax online purchases. As you can see from the Archives, posts are fairly regular. I enjoy writing in this relaxed forum, which I started in 2008 as an outlet for my thoughts. The cost of living has gone up, as you know, and, while people hire me to write, edit, and produce, and I have partners and patrons on certain works in progress, every dollar helps.

So, a PayPal ‘Donate’ box has been added to the blog for those who gain value from what I write. Readers who like a post and/or want to help may choose to click on the ‘Donate’ button on the right to make a safe, secure gift transaction through PayPal. I don’t expect to make much money from the feature, which I view as a simple trade with those who value my writings, so feel free to read and enjoy without worry and know that I appreciate your consideration in advance. I’ve also added the ability to ‘Like’ a post on Facebook and, through a WordPress plug-in called Add This, which insists on describing its cross-posting function as ‘Share’, post one of my pieces on LinkedIn, Facebook, or Twitter, or you can e-mail or print the blog post by clicking on corresponding icons. These add-ons are hardly new or cutting edge, but I prefer a slow, deliberative approach to integrating my work with technology and social media.

My book review of Joe Camp’s The Soul of a Horse elicited a nice response from the author, and thanks for the plug to tutor, horseman and blogger Michael Gold, who linked to the review on his blog. I appreciate everyone’s links to my posts. Incidentally, one of my interviews with the writers of the Pirates of the Caribbean movies is cited by the editors of the Horizons of Cinema series published by State University of New York (SUNY) in Second Takes: Critical Approaches to the Film Sequel (2010).