An American in Madras [2013)

Here we come again to India.

And again to Tamil Nadu.

When last we visited India in our minds, we spoke of For the Love of a Man.

Another Tamil documentary.

About the superstar of South India:  Rajinikanth.

But An American in Madras takes us back.

WAY back!

Indeed, it is the story of a man named Ellis Dungan.

And his 15 years of fame (complete with tuned klaxons) [meme mixing] was 1935-1950.

Ellis Dungan from Barton, Ohio.

Who went to Spain.

And bicycled to France.

Worked a bit in Paris.

Became interested in photography.

And somehow ended up in one of the first cinema cohorts at USC.

Met an Indian student.

Got an invite to Madras (Chennai).

And six months turned into fifteen years.

Isn’t that the way life works?

If you think I’ve spoiled too much of this story, you’re WAY wrong.

There is so much more to this fantastic documentary directed by Karan Bali.

Mr. Bali is in his prime, being just 48 years young.

But he has made a significant contribution to cinema with this picture.

Yes, this story is unique and compelling.

But again, we get a priceless view of India.

I promise we will move from Rajasthan and Tamil Nadu eventually (the only two provinces I have really covered).

But you really must see An American in Madras.

It is currently on Netflix.

And by the screenshot–the thumbnail…you might think it’s about a Jewish director.

That would be wonderful and fine.

But you would be wrong in assuming such.

Indeed, it seems that the six-pointed star on the “film poster” is not the Star of David but perhaps, rather, the Star of Goloka.

Which is to say, an Indian six-pointed star.

And though there are (and certainly were) Jews in India (though not very many…all things considered), An American in Madras is just about a bloke from Ohio who somehow ended up directing some (14) of the classic Tamil-language films.

1935-1950.

He left India at the behest of his wife.

They divorced a short time later.

Okay, ok…I will stop giving spoilers.

But suffice it to say that An American in Madras tackles a very sticky conundrum:

motivation.

For most of my life, my main motivation has been EXPRESSION…

What I’m doing right now.

Showing off my verbiage.

But hopefully adding value to the world.

[there goes my business school dissection…it’s second-nature now!]

And yet, my motivation changed.

For I was presented with a crossroads.

Not like Robert Johnson’s crossroads…

But more like Robert Frost’s crossroads.

Two paths.

God damn it!

I chose the path less-taken.

I chose love.

Not lust.

Not romance.

Just love.

And it doesn’t make me a saint.

But it is what it is.

I gave up music.

I gave up expression as my main motivation.

And I attempted to evolve.

To nudge an inch closer to nirvana.

I chose love.

As my main motivation.

It is not a rockstar path.

Mother Theresa probably had some pretty rough days…

And I ain’t no Mother Theresa.

But I’m trying.

Trying to put other people before myself.

Often failing.

But steadfast.

I am on the path.

And yes, I become wistful.

It seems like 40 years ago.

Maybe I can catch a wisp of song in my memory…a shard…a sherd…some hieroglyph of my past life.

But growing into an adult can entail smiling through the tears.

Singing a snippet, and being glad to be here now.

-PD

Twin Peaks “The One-Armed Man”[1990)

Sometimes we spend more time searching for what to watch than

watching that upon which we decide.

It’s an old phenomenon.

“57 Channels (And Nothin’ On)” Bruce Springsteen was singing in 1982.

And so by the confluence of circumstances these days

I am bringing you more musings on the greatest TV series ever.

I think it’s safe to say.

I’ve approached a few other television programs.

TV is not my natural interest.

The medium tends towards the antithesis of my love.

For cinema.

So I sat down.  More or less.

I rummaged a bit.  Upon the Hulu trash heap.

No deep cuts tonight.

Straight to a standby.

Because now Orlando has a special agent in charge.

A government operation always has the killer wrapped up by midday.

With a bow around him.

And his wallet on his chest…open to show his photo ID.

I’m assuming.

None of that proves anything.

Either way.

What’s at issue is a trend.  A government which operates as a serial killer.

For the sake of survival we avoid (at all costs) the news outlets which have led us so far astray in the past.

These unrepentant charlatans continue their mockingbird mimesis.

I’ve seen good Americans question because something is not quite right.

Not much has moved along.

Same old song and dance.

The essence of code.

To be talking about two things at once.

Key would reveal what those two things are.

[Making code-breaking possible.]

Cipher and code.

A long-term project.

Professionals.

Acting honorably.

Priceless propaganda.

The real story…

is not pretty.

America wants the truth.

From Rosser Reeves (hard sell) to soft sell to no-sell.

That is the future.

Anti-marketing.

Perception management will be a reservist function.

There will be no marketing of ideas.

Until that time (a goal, not a calendar date), closer and closer to brute truth.

That the greatest crime would be for a federal employee to leads his or her countrymen astray.

That such activity should cease cold turkey and news anchors be caught like deer in headlights before blank Tele-Promp-Ters.

No directly line from Langley, no news.

A very valuable oversimplification.

And we have the honorable men and women in the FBI who come through Quantico.

The LGBT culmination will feature a J. Edgar Hoover auto-icon (à la Jeremy Bentham) dressed in drag.

And the message will be clear:  no more obfuscation.

That at least one agency (the FBI) has a vested interest in bringing criminal elements within the CIA and DoD to justice.

This is the only route which saves the FBI.

The same for every agency.  The U.S. government (across the board) has zero credibility (at home and abroad).

It can work.

Who will be the first to rebuild the country?

Comey?  He shares the same birthday with me.

But it might take a madman like Trump to throw the moneychangers out of the temple.

[poor choice of metaphor…on several levels]

Trump still thinks it’s Islamic terror.  Trump needs to visit a decent bookstore.

Get some books which the State Dept. calls disinformation (those are the good ones) and go to work.

Get the country back on track.

9/11 makes sense only as a largely inside job.

The assets or operatives employed may have left trails to incriminate (blackmail) future targets (Saudi Arabia, Pakistan, etc.).

Their domestic movements were picked up by Able Danger.

Translation:  DoD (rightly) doesn’t trust CIA.

But let’s give the Agency its due.

Dirty deeds, done for no more than the risk-free rate.

NSA just sits back and giggles.

Could take down any of these punks.

So that everyday the transmission of fraudulent information passed on as news is hell on Earth.

Skills is one thing.

Brazen is another.

Too close to the fire.

Emotional intensity.

Not a disorder.

 

-PD

I fidanzati [1963)

This is a fucking depressing film.

I don’t think I’ve ever started like that before.

Because it matters.  How you start.

But maybe it’s just a mirror.

This film.

I can imagine few pieces of cinema summing up my life at this moment quite as well as I fidanzati does.

I’m sure there’s a dangling modifier in there somewhere.

But what about the welder?

The man adrift.

Sent to some godforsaken place for the company.

I made the right decision.  But I went to the wrong place.

Unfortunately, there is no separating the two.

Work.

Too much work.

All of our thoughts occupied with work.

And what do we get out of the equation?

Nothing.

Almost nothing.

Might as well be nothing.

It is a particularly Italian version of hell on display in I fidanzati.

Ermanno Olmi was a brilliant director here.

And he lives.  84 years young.

Sure.

Some things end well.

Young girls like happy endings.

But this one is hard to get over.

It’s really harrowing having nothing to live for.

And how would I know that?

You have a phone.  It doesn’t ring.

In fact, you sometimes wonder whether your messages get delivered at all.

You have a heart.

When is the last time someone spoke to your heart?

I understand.

We are shackled.  Paralyzed.  Crippled.

Life is sucked out of us like a lemon peel in the Sicilian heat.

No, I don’t understand.

Is this how karma works?

Surely this jungle will spare me.

I can think of Anna Canzi.

Her face is a melody.

And I relate to those sad cheeks.

You keep writing because you haven’t yet expressed it.

It.

That which you need to get off your soul.

Soul.

That living feeling inside you.

Primitive man suffering with his superstitions.

Poor man paying for his ignorance.

Not all are willfully unprepared.

What could have prepared you for this situation?

Other than this situation?

That is Situationism.

Science and humanities will argue that metaphor…or rather analogy.

That this will teach you.

It is like this.  And like that.  But unlike the other thing.

No.

I disagree.

It is unlike anything I’ve ever known.

Youth was lonely.

This is vicious.

There is.

A bar down the street.

But only in the movies.

Yet here it is exposed for what it really would be.

Empty.

Loud music and louder lights.  Life!  Vitality!  Excitement!

Inside is an old woman at a cash register.

There is a little metal display tree with ballpoint pens on one side.

The rest of the lopsided taunt is vacant.

And then the little boy.

Getting ahead in life.

Like Michele Sindona.

Making the espresso.  Quicker!  Faster!

Washing the dishes…

And hauling the fruit back and forth…

The citrus.

The service.

The difference in price from one location to another.

Goldfinger.

They Drive by Night

Good god…

It doesn’t get much more depressing.

And there should be some positive message to end it off.

And there is.

Which makes it even more sad.

Because the film was running long.

And maybe it won’t win shit at Cannes.

Did you ever think about that?

So then you have a depressing film on your hands for domestic audiences.

And they spend their hard-earned cash.

And what the fuck is this shit?

Oh…Anna, Monica…don’t go see this film.

It is so depressing!

But there’s the answer.

I fidanzati succeeds because it shows a side of life we don’t want to see.

What?

It succeeds…53 years later.

Because it was true.

It stuck to its guns.

It was meaningful.

So many other films from that year…

Utterly pointless.

Diversions.

Sad candy.

But here…

Yeah.  It’s a bummer.

But it’s real.

You can stare up at it and wonder how Signor Olmi painted such color in black and white.

How he lovingly distinguished gray from grey…and Juan from Gris.

Is it the same?

From language to language?

Gray?

Even within the Commonwealth…

We damned Americans.

No.

And yes.

This.

Sadness transcends.

No explanation needed.

The machines rule us.

Time is our master.

Money mocks our fragility.

On every continent.

An indispensable story.

 

-PD