10 January 2012

Capitalism: A Love Story - Response

Earlier today, I watched Capitalism: A Love Story, a documentary about the exploitation of the poor by the wealthy, directed and produced by Michael Moore. I felt that Moore made many valid, reasonable arguments early in the film. He showed many middle-class people whose homes had recently been foreclosed by greedy banks, as they were unable to make their rapidly-rising payments. I can sympathize with them, personally knowing people who have dealt with the same thing. He then showed interviews with women whose husbands had recently passed away. In one case, the hospital had taken out life insurance against the husband, and in another case, Wal-Mart (the husband's workplace) had taken out a "dead peasant" policy against him. Both the hospital and Wal-Mart profited immensely from the deaths, and the widows (who both had children) received nothing in compensation. Again, I can sympathize, and I agree wholeheartedly that these women were taken advantage of in an extremely dishonest, inhumane way.

Though I believed that Moore was wrong to blame the system of capitalism as a whole for the corruption permeating the upper class, I had accepted most of what he said as credible. Having so far kept an open mind, the second half of the movie destroyed all credibility I had given it up to that point. The film degenerated from an expose to an immature rant. Clips were dramatized with zooms and music, voices of supporters of capitalism were distorted to sound demonic, Moore himself brought out his bullhorn on various security guards, and (perhaps my favorite) Bush's address on the state of the economy was given a cartoony horror film backdrop. I decided at that point I couldn't really take the film too seriously. As this reviewer puts it, "broke, tear-stained families sitting at a kitchen table, in a house they’re about to lose to a bank, aren’t best served by...pathos-dispensing musical score."

If nothing else, I learned from the film just how greedy some of the wealthier white-collar workers can be, and I can never look at banks and big corporations the same way again. I can also say that my sympathy for the hard-working lower- and middle-class citizens of America is strengthened, and that something must be done about the corruption of the higher-ups.

Who Killed the Electric Car preview

Wednesday, 7:00 P.M, in Bolt 220, there will be a viewing of Who Killed the Electric Car. This documentary discusses the creation and failure of the electric car in California in 1996. Within this documentary, director Chris Paine discusses the commercialization of the electric car in contrast to its opposition from the oil industry, competing car companies, and the US and Californian government. This film fared very well at the Sundance Film Festival and has received overall positive reviews from film critics.


Here is the official preview for Who Killed the Electric Car:

Here are the links to the reviews on Rotten Tomatoes and Metacritic, which offer reviews from both professional film critics and user critics.

Here is also GM's rebuttal blog post, Who Ignored the Facts About the Electric Car

Good Hair Response

Last night, I watched comedian Chris Rock's documentary Good Hair with some of my classmates. In this film, Chris Rock looks at the pressures put on African-American women to get their hair straightened or to get a weave, the high prices it cost African American women to get their hair straightened (sometimes even $5,000!), and the location where all these beautiful weaves come from (India). While I was watching this film, I found it funny, interesting, and informative. However, after reading Jeannette Catsoulis's review on the film, I realized that there may have been some other emotions that other viewers could have felt while watching this movie.

Like Ms. Catsoulis, I found this movie informative and hilarious, but there were elements in this film that I saw, but could not feel. Catsoulis states that this movie shows the psychological and physical harm that the hair business brings to the African-American community. However, being a Caucasian male, it was hard for me to relate to the stress and pain that these women were going through in the movie. It is a lot easier to watch someone get their hair "relaxed" than actually getting it done and a lot easier to hear how much money these women are paying for their hair than actually experiencing the work they had to go through to make their hair "beautiful." For this reason, I feel that while I still got a lot out of this movie, I was not able to relate to and appreciate it as much as African-American women, or even Caucasian women, can.

After watching this film, I am definitely going to try not to judge women on their looks. Just because a women has more resources to receive special hair treatments or the best make-up does not mean they are any better than the women who do not have these privileges. I am greatly appreciative that I was able to participate in this dorm film showing, and I hope this film will make me live in a way that lines up with what the "Kingdom" should be like.

Maxed Out and In Debt

Wednesday evening at 7:00pm sharp the James Manor (351 James Ave SE) will be hosting a screening of James Scurlock's documentary, Maxed Out. Scurlock, 34, originally intended for this flick to have a tongue-in-cheek tone to it, revealing ridiculous situations many Americans find themselves in when credit debt suffocates them. What Scurlock found though provoked little laughter. The documentary invites viewers to visit with a wide array of guests, from a canny Harvard financial professor to a savvy pawn shop owner to families living in the backwoods.

Get Rich Slowly, a personal finance organization online offers a balanced review of the documentary. While many reviews I've perused have offered much praise though neglecting to critique, this review aptly notes where they feel the documentary is lacking or drifting astray. Overall though, the positives and negatives balance out.

The New York Times review was as scathing on the film as the film was on the credit industry. Stephen Holden, the author, posits that Maxed Out fails to astutely convey the amalgam of facts, opinions, and anecdotes leaving the viewer in the shadow of a large issue without candles to illuminate the darkness.

To read an interview with Scurlock on the film, check out this Q&A organized by The Film Lot.

Below you can view the trailer for the film: