Category: 4. Joe Bendel

Tibetan Buddhism in a Business Suit: LFM Reviews Crazy Wisdom

By Joe Bendel. Chogyam Trungpa, Rinpoche was a Tibetan Buddhist teacher who embraced the 1960’s counterculture, but could not abide rock & roll. He drank significantly more than he should have, openly and often, but he had no use for drugs. A former monk, Trungpa renounced his robes, developing ways to teach Tibetan Buddhism in the western vernacular. A study in paradoxes, Trungpa’s all too brief life avoided cliché, making him a rich documentary subject in Johanna Demetrakas’ Crazy Wisdom: the Life and Times of Chogyam Trungpa, Rinpoche, which opens this Friday in New York at the Rubin Museum of Art.

A recognized reincarnation, Trungpa was the last of his generation to be entirely educated in Tibet. After the Chinese Communists invaded in 1959, he took a leading role securing the teachings and documents of his faith, personally guiding a group of his fellow monks to safety in India. Living in exile, Trungpa chose to embrace the west, trading his robes for a business suit. It was the start of a transformation that was decidedly controversial with his elders.

Living in Scotland, Trungpa married a young British woman and began teaching Tibetan Buddhism to hippies. For obvious reasons, they were attracted to his “crazy wisdom,” a recognized approach to enlightenment celebrating the eccentric and unconventional, sort of the rough Tibetan Buddhist analog to drunken master martial arts. However, Trungpa liked to keep people guessing.

As one of his students recalls, at the height of the anti-war movement, Trungpa was once asked to comment about aggression in America, to which he replied: “I want to talk about the aggression in this room.” Ouch. He was also evidently a stickler for the Queen’s English, perhaps giving scores of hippies their first elocution lessons. However, the greatest irony must have been the Dorje Kasung, the military drill team he established at Naropa University, the American Buddhist school Trungpa founded in Boulder, Colorado. Continue reading Tibetan Buddhism in a Business Suit: LFM Reviews Crazy Wisdom

LFM Review: Garbo the Spy

By Joe Bendel. Juan Pujol was the all-time greatest writer of spy fiction, but he wrote for a very select audience: German intelligence. Supposedly based in England, the Spanish double agent wrote incredibly verbose reports to his unsuspecting German handlers, riddled with disinformation and imaginary sub-agents, but it all boiled down to one word: Calais. Misdirecting the National Socialist war machine was the intrigue of a lifetime in Pujol’s life of intrigue, idiosyncratically documented in Edmon Roch’s Garbo the Spy (trailer above), which opens this Friday in New York.

The Germans knew him as Alaric, but the British code-named him Garbo. A deserter during the Spanish Civil War, Pujol’s story is so unlikely it would be difficult to believe without documentation. In fact, MI-5 did not believe him when the unprepossessing man came cold-calling. Rebuffed but undeterred, Pujol next approached the Germans, who immediately recruited him as an agent.

Pujol fed the Germans a steady diet of information largely culled from old newspapers that nonetheless built up his controllers’ trust. Eventually, after several further overtures, the British realized Pujol was legit and began directing his work. While he passed along a great deal of misleading intel, his most important assignment was Operation Fortitude, a concerted campaign to convince the Germans the D-Day invasion would land at Calais rather than Normandy.

Eventually, the war ends satisfactorily for Pujol. A bit of time passes, he disappears, and at some point is reported dead. Obviously though, there will be more to the master of the deception’s story. Military historian Nigel West (and former conservative MP under his given name, Rupert Allason) would tell the full tale when he literally wrote the book on Pujol, finally giving the remarkable spy his proper due.

Roch’s film is incredibly cinematic, employing extensive archival footage and clips from vintage war and espionage films as illustrative devices. In fact, the video sampling strategy often threatens to overwhelm the deadly serious subject matter, giving Garbo a vibe somewhat akin to a Jay Rosenblatt short film collage. Frankly, it occasionally borders on the inappropriately ironic. Still, the substance of Pujol’s story consistently rises above any stylistic excesses.

Garbo the film also boasts a relatively small but highly specialized cast of interview subjects, including West (as he is billed) and Aline Griffith, Countess of Romanones, a contemporary of Pujol’s working clandestinely for the OSS. Everything they have to say is quite noteworthy. It also interviews members from both of Pujol’s families, neither of whom knew of the other until West discovered his fate.

There is no question Pujol saved many Allied lives. Perhaps hundreds of thousands of servicemen survived the European theater because the Germans were dug in at Calais. The strange details and anecdotes surrounding Operation Fortitude by themselves are well worth the price of admission. Totally fascinating history, briskly if somewhat distractingly rendered on-screen by Roch, Garbo is definitely worth seeing, particularly for history buffs and espionage junkies, when it opens today (11/18) in New York at the Quad Cinema.

Posted on November 18th, 2011 at 3:52pm.

The Birth of Chinese Indie Cinema: LFM Reviews Beijing Bastards @ MoMA

Chinese rocker Cui Jian.

By Joe Bendel. They are singing about revolution. They are not really doing anything about it, but that was still more than enough for the Communist government. Considered by many the first Chinese indie film, Zhang Yuan’s Beijing Bastards has been censored, banned, and roundly condemned – but thanks to Fortissimo Films, the international independent film production and distribution company – it reached a global audience. Still gritty and subversive after nearly twenty years, Bastards screens this Saturday in New York as part of MoMA’s new retrospective series, In Focus: Fortissimo Films.

Cui Jian is one of China’s most famous underground rockers. In Bastards, he plays himself or a thinly fictionalized version. He has fans but no gigs, because he cannot secure a venue for a prospective concert. He also lost the lease on his rehearsal space for no apparent reason. Though never outright stated, it is clear that the powers that be want to close him down.

Karzi owns a venue, but his rock bar is no great shakes. Neither is he. His pregnant girlfriend Maomao disappeared after he insisted she have an abortion. He doggedly hunts for her, subjecting her friends to outright harassment, but more for reasons of ego than love. Morally ambiguous, Karzi is not the image of Chinese youth the government likes to project, but in 1993, he was the shape of go-go me-me things to come.

A contemporary of Jia Zhangke, Zhang is considered one of the godfathers of the Chinese independent film movement and a forefather of the Digital Generation. In fact, Bastards bears a strong aesthetic affinity to the subsequent dGeneration films. Shot guerilla-style with most of the director’s friends serving as the ensemble cast, the film follows its roundabout narrative from a fly-on-the-wall perspective. This is a street level film, unvarnished and unsentimental. Continue reading The Birth of Chinese Indie Cinema: LFM Reviews Beijing Bastards @ MoMA

SF International Animation Fest: LFM Reviews Tatsumi & Fullmetal Alchemist: The Sacred Star of Milos

By Joe Bendel. Yoshihiro Tatsumi could be called the Japanese Will Eisner. Tatsumi was the leading exponent of Gekiga, or serious manga that tackled adult story lines. Americans who are very hip or awfully geeky will already know Tatsumi’s work, particularly his Eisner winning graphic novel-autobiography, A Drifting Life. For the rest of us, Singaporean Eric Khoo’s Tatsumi (trailer here) serves as a compelling introduction to his career and stories. Singapore’s official submission for best foreign language Academy Award consideration, Khoo’s animated tribute-biography screens at the San Francisco Film Society’s upcoming 2011 San Francisco International Animation Festival.

Tatsumi was ten when World War II ended. Somewhat logically, the American occupation and economic revival of Japan would factor prominently in his life and that of his characters. Khoo intersperses five notable Tatsumi stories, mostly in black-and-white, amid his vivid color adaption of the Gekiga pioneer’s memoir. Psychologically complex and deeply flawed, it is clear how Tatsumi’s characters were shaped by their creator’s experiences. In fact, it is easy to conflate them with Tatsumi, particularly the unfortunate artist in Occupied.

Each of the five would stand alone as satisfying self-contained short films. However, the most powerful of the collected stories comes first, by virtue of chronology. Hell forthrightly addresses the horrors of Hiroshima and its aftermath, but it takes viewers to some unexpectedly dark places, undercutting simplistic moral judgments. Throughout all five stories, there is a profound sense of alienation, often prodding the protagonists to commit shockingly anti-social acts out of existential compulsion, but their actions are always understandable, in a sadly human way.

From "Tatsumi."

Though his life was never as lurid as that of his marginalized characters, Tatsumi’s early years were marked by considerable pain and want. Khoo structures the film in a way that really emphasizes how these struggles instilled a humanistic empathy in Tatsumi, embracing those who were downtrodden and even grotesque. Ultimately, it is rather inspiring to see the artist rise from such mean circumstances to become an acknowledged leader of his field. Continue reading SF International Animation Fest: LFM Reviews Tatsumi & Fullmetal Alchemist: The Sacred Star of Milos

Views on Japan: LFM Reviews The Tsunami and the Cherry Blossom and Minka

From "The Tsunami and the Cherry Blossom."

By Joe Bendel. It was only a matter of months after Katrina hit that a bumper crop of outraged documentaries began jostling for art-house attention. Strangely, almost eight months after the devastating Tōhoku earthquake and Tsunami rocked Japan the documentary film industry still maintains nearly complete radio silence. However, filmmaker Lucy Walker recognized the magnitude of the tragic events in Japan, capturing the immediate aftermath and early rebuilding efforts in The Tsunami and the Cherry Blossom (trailer here), which screens as part of the Views on Japan short film program at DOC NYC 2011.

Blossom opens with first-hand video footage that will make viewers forever forswear Roland Emmerich disaster movies. From the relative safety of higher ground, residents watch as the tsunami slowly obliterates their town and all their neighbors left behind. Their audible anguish is truly haunting.

There are many stories from those who lost loved ones. Clearly, the pain remains understandably raw and immediate for them. Yet there is no finger-pointing or ranting in Blossom. The Japanese people are, ironically, both too practical and too philosophical for such indulgences. Instead they seek to remember and rebuild. Whether it is the beautiful young photographer recording the rebirth of the town destroyed in the initial scene, from that very same vantage point, or the relief worker who always stops to salvage family photos and tombstones, their efforts are profoundly moving. Continue reading Views on Japan: LFM Reviews The Tsunami and the Cherry Blossom and Minka

Afghanistan in the Spotlight: LFM Reviews George Gittoes’ The Miscreants of Taliwood

By Joe Bendel. If the Taliban mullahs want to call you something heavy, they will probably label you a “miscreant” (a villainous heretic). Unfortunately, for entertainment-starved Pakistanis, just about everyone involved in artistic endeavors is automatically considered a “miscreant,” most definitely including actors and filmmakers. Ironically though, the cottage Pashto film industry was largely based in the Taliban stronghold of Peshawar, which is where Australian filmmaker-artist George Gittoes took his camera for an up-close and personal look at militant intolerance in The Miscreants of Taliwood (see a 6-minute preview above), which screens during Anthology Film Archives’s upcoming retrospective of Gittoes gonzo-ish filmmaking.

If truth be told, Gittoes was probably fortunate to live through the first thirty seconds of Miscreants. Fortunately, he was only roughed up a bit while filming Islamists building a bonfire of CDs and DVDs in Islamabad, a city that Gittoes reminds viewers contains nuclear weapons. However, as Gittoes pursues his story, he becomes increasingly a part of his own film, at considerably further risk to his own well being.

While it is ordinarily annoying to see filmmakers inject themselves into their own documentaries, Gittoes was hardly motivated by self-aggrandizement. To gain access to the world of Pashto filmmaking, he became an actor himself, forming a fast friendship with his co-star Javed Musazai. When the Taliban terrorized Taliwood into submission, Gittoes financed two films on his own in order to keep the documentary going. Though hardly well-heeled, Gittoes is able to scrape together seven grand, sufficient funds for two Pashto films.

George Gittoes & Javed Musazai in "The Miscreants of Taliwood."

Continue reading Afghanistan in the Spotlight: LFM Reviews George Gittoes’ The Miscreants of Taliwood