Tag: Avatar

Watchmen (2009)

Warning spoilers
My rating: *

imdb link

Watchmen has been on my ‘to view’ list since it first came out and I read the rave reviews and numerous comments to the effect that it was an intelligent superhero film for those who didn’t like superhero films. I am one of that number. I generally find superhero films and other films derived from comic books or even graphic novels to be tedious and unengaging. I am simply unable to connect to the characters they propose and the alternate realities they inhabit.

Unfortunately last night’s viewing of Watchmen has done nothing to change this view. I found it tedious, overlong and pretentious. If the cultural references looked interesting to begin with during the opening credits, they are never extended beyond the range of the average first year undergraduate. Let’s make a list of this cultural hot potch.

American history and politics: the assassination of Kennedy, nuclear proliferation and deterrence, anti-communism, Richard Nixon and Vietnam, the much-touted loss of innocence and belief in the American dream.

Science and religion: the mysteries of quantum physics and a blue god-like figure (Dr Manhattan) looking vaguely like a Hindu god (he actually sits in a levitated lotus position at one point). Dr Manhattan exhibits super powers acquired through the standard experiment-gone-wrong leading to hideous-transformation-of- scientist. This god-like alien figure who through his immense powers has become detached from the trivial mundane matters of ordinary beings must, of course, be shown and be humbled by the true universal and superior value of what it means to be human etc. etc.

Poetry: Percy Bysshe Shelley’s ‘Ozymandias’ – hoary standard of many an English language high school curriculum. Although the writing, to its credit, makes the associations with Ramses II and Ancient Greek civilisation at the origins of Shelley’s sonnet published in 1818.

Arthouse film: Some of the character Rorschach’s right wing vigilante voiceover fulminations about vice and corruption in urban America as he moves through seedy streetscapes come across as a very close echo of (‘hommage’ to?) the rantings of Travis Bickle in Taxi Driver (1976).

Philosophy: Benthamite utilitarianism versus Kantian deontology, is it morally justifiable to sacrifice 15 million people to save billions?

Music: Perhaps the use of music is the most interesting cultural aspect of the film. Classics of the protest and counter-culture era occupy prominent positions: Bob Dylan’s ‘The Times They are A-Changin’ (1964), Simon and Garfunkel’s ‘The Sound of Silence’ (1964), and then Leonard Cohen’s later 1984 classic ‘Halleluja’. If Dylan’s music over the recreated historical montage of the spectacular opening credits is obvious, a little research is required to judge the appositeness of the other two songs. One wonders why ‘Sound of Silence’ is played during a rainy (of course) burial scene in a cemetery for the character of  ‘the Comedian’ who is shown in a flashback to be Kennedy’s assassin until one realises that the song was originally written by Paul Simon in the wake of the assassination. The controversial juxtaposition of Cohen’s song about romantic loss and longing with an extended soft-core porn sex scene is perhaps somewhat more jarring. Perhaps the film makers were thinking of Jeff Buckley who performed the most famous cover of the song. Buckley remarks that in his interpretation, the song is about ‘the halleluja of the orgasm’. But even then, it is Cohen’s version, not Buckley’s, that is used and many viewers have baulked at the sheer obviousness of it all and the elision of the more subtle aspects of the song.

To conclude this list and to paraphrase the Scarlet Pimpernel in his guise as the inane fop Sir Percy Blakeney quipping to his French republican archenemy, Chauvelin: ‘So much for culture and fashion’ (The Scarlet Pimpernel (1982)).

‘Cultural’ references aside, Watchmen is wonderfully inventive and quite spectacular on the visual front. But like many contemporary Hollywood films, this immense and impressive visual creativity is disappointingly and fatally undercut by poor characterisation and story telling. As many have commented, not only is the writing the most essential factor in the film equation, it is also the cheapest, so why so frequently does it go wrong? Other films that come to mind on this front include the recent Prometheus (a review in The Guardian entertainingly points out the many character and plotting problems showcased by this film), and the Pirates of the Caribbean films. I haven’t included Avatar here, as for all the hype, I found much of the visual landscape it offered cliched rather than inventive. I commented earlier in this blog on the other problematic aspects of this film. But so as not to seem entirely negative, there is at least one film trilogy that does get it right and that is Peter Jackson’s The Lord of the Rings (for all the failure of its ending(s)).

I hadn’t intended to write so long a review of Watchmen, but in many ways it is emblematic of so many things that are irritating in the contemporary Hollywood multinational (but monocultural) film productions that swamp the global market.

Avatar (2009)

NB: Spoiler alert!
My rating:**

Somewhat biased quick plot summary
A corporation supported by the military has its eye on a rare mineral called unobtanium which can be found in large quantities on a planet called Pandora. This planet is covered by primeval forest and inhabited by blue ‘noble savages’ with cultures reminiscent of those of indigenous North Americans. Scientists have also tagged along for the ride and have grown Pandoran bodies in vats to which they are able to transfer their human consciousnesses. The hero of the story, a disabled war veteran, is transferred into one of these bodies, is accepted into a tree tribe, falls in love with the daughter of the chief, ‘goes native’ and shows said natives how to rid themselves of evil Earth military industrial alliance.

I will take the opportunity to weigh in with the countless other comments on James Cameron’s new film Avatar. I will begin by saying that watching a film in 3D is a fun experience, blue is a lovely colour and plants that glow in the dark are great to look at. But all this graphical expertise is sadly let down by a story which is a rather pallid string of Disney cliches laced with highly questionnable social and political messages.

I always find American militarism in films extremely irritating. Militarism and nuking everything in sight is a common solution in American science fiction. As a variation on the theme, this film expresses moral outrage at these usual procedures and proposes another set of cliches in their place – a rather depressing set of cliches actually. Thus we are exhorted to all get back to nature and lose ourselves in the exotic Other, rather than trying to find a workable social solution to the situation in hand. Our science and knowledge is clearly useless and scientists are a bunch of effete intellectuals. The military industrial complex is populated by power and resource hungry psychopaths. It is far better to live in a dangerous jungle with no modern comforts, cinemas, libraries or modern medical science.

The protagonist completely loses himself in the Other, even to the extent of abandoning his clearly inferior and disabled human body, and the humans (described as ‘aliens’ at the end of the film) are sent packing, back to their ‘dying world’, after being defeated by some stroppy armoured dinosaurs and bows and arrows mobilised by the human outsider. This outsider, in the fine tradition of other American films such as A Gentleman’s Agreement, Tootsie, Dances with Wolves and The Last Samurai , demonstrates that the white American male is the only one who can show less powerful groups (Jews, women, Native Americans, fading Japanese warrior elites etc.) the way to salvation.

I personally would have liked to have seen the planet (which is clearly modelled on Gaia principles) come up with some nifty science fiction method of ridding itself of the humans. Giant trees uprooting themselves and joining the battle like the ents in Lord of the Rings, or a strange energy immobilising all the technology. Alternately (or additionally!) I would have liked to have seen the humans come to some kind of realisation and engage in the beginnings of social change and discussion rather than just a blanket self-destruct and expression of self-hatred.

It is hard to see why this film is described as ‘left-wing’ (or ‘liberal’ to use American terminology) – when its message is so conservative, harking back as it does, to hoary old myths of the noble savage and the purity of nature.