Friday, May 30, 2008
Book - The Missing Ring (B)
Author: Keith Dunnavant
This book's subtitle is "How Bear Bryant and the 1966 Alabama Crimson Tide Were Denied College Football's Most Elusive Prize." The Tide were the defending back-to-back national champions in 1966. They were ranked first in both polls as the season began. They finished the season undefeated and untied - yet managed to finish third behind Notre Dame and Michigan State, who had played each other to a 10-10 tie in midseason. This book was intended to explore why that took place.
Dunnavant posits two reasons. The first is the most common argument: Notre Dame has been the most popular team in the country since the Jazz Age and routinely places higher in the polls than schools with superior records because they are the darlings of predominantly northern and eastern sportswriters. Irish head coach Ara Parseghian decided to play to preserve the tie against MSU - to sit on the ball with two minutes left to play - rather than fight for the win. His detractors claim this is because he knew they would treated well by the pollsters in spite of the decision. He was right.
The second argument is that the season occured during the height of the civil rights movement and there was a media bias against the still-segregated Crimson Tide team and against the entire state of Alabama, the bastion of Bull Connor and George Wallace. He believes the team fell from first place simply because of politics even before Parseghian's Machiavellian move.
Virtually no one who wears Crimson will argue with the first point. Many who were not alive at the time might not have considered the second but it makes sense given the climate of 1966. All that could have been covered in a book half this size.
But the 'The Missing Ring' also seeks to illustrate why the Alabama team deserved the title, not just why the other two schools didn't. It is filled with wonderful details about the players and coaches who comprised one of the best teams in college football history and the system Paul Bryant used to create it. Each chapter has a theme and spotlights players and games from the 1966 season that exemplify it. Dunnavant does a great job of setting the atmosphere of the times both on campus and in the state of Alabama and paints colorful portraits of many young men who have become mere names in the record books but are still alive to share anecdotes and attitudes.
My only misgivings about this book are Dunnavant's tendency to repeat himself, often verbatim (I lost count of how many times he used the phrase "Bryant used this tactic to great effect in molding a team into champions" - often on facing pages), his often clumsy attempts at foreshadowing, and his unabashed boosterism. I'm aware he's an alum but if he is going to build an effective case that Alabama was robbed of a threepeat he must try to at least feign objectivity. Dunnavant shows no such restraint when he arrives at the conclusion of the book. As he recounts Ara Parseghian's admittedly gutless decision to sit on the ball and trust his team's fortune to the pollsters' sycophantic relationship with Notre Dame, Dunnavant bursts into outright apoplexy, calling Parseghian everything but an Armenian. He sounds more like a blogger than a journalist.
There were plenty of people to quote if he wanted to include the labels gutless, cynical, cowardly, and shameful. Instead, he uses them himself. I kept wanting to reach through the book and grab Keith by the collar: "Don't do it! Hold off! Show some class. Let the facts speak for themselves. It'll just look like sour grapes if you go this route." But alas, the deed was done. It's like he had driven the ball the length of the field and into the edzone and then ruined it all with a penalty in the final seconds that negated the winning touchdown.
This was the only blemish on an otherwise fascinating book on Crimson Tide football history. I still recommend it, however, for the excellent player profiles.
Final score: B
Monday, May 19, 2008
Film - The Chronicles of Narnia: Prince Caspian (B-)
Starring William Moseley, Anna Popplewell, Skandar Keynes, Georgie Henley, Ben Barnes, Peter Dinklage, Eddie Izzard, Liam Neeson.
Written by Stephen McFeely.
Directed by Andrew Adamson.
PG for epic battle action and violence
Having enjoyed the first Narnia film, The Lion, the Witch, and the Wardrobe, I had eagerly awaited Prince Caspian. Being a huge fan of author C. S. Lewis, I had the same trepidation I'd had with the first installment over the filmmakers' faithfulness to the original material.
Well, the book had maybe one fight in it and one battle. This movie has about a hundred fights and a half dozen battles. I don't think a single solitary scene went by in which someone didn't either draw a weapon or hit someone or both. It has little or no blood in it but the body count is as great or greater than that in Braveheart. Even the swashbuckling mouse, Reepicheep, cracks jokes then kills his opponents by cutting their throats. The kids in the audience are busy chuckling during the slashing bit, though, so I suppose it's all good. A decapitation replete with rolling head in another scene, however, offers no such distractions.
I've got no trouble with all this on the face of it. It's a sword and sorcery war movie, essentially. Soldiers die in these things. But this movie is marketed primarily to children and Disney and the MPAA are blatantly gaming the ratings system by not assigning this a PG-13 - blood or no blood.
Written by Stephen McFeely.
Directed by Andrew Adamson.
PG for epic battle action and violence
Having enjoyed the first Narnia film, The Lion, the Witch, and the Wardrobe, I had eagerly awaited Prince Caspian. Being a huge fan of author C. S. Lewis, I had the same trepidation I'd had with the first installment over the filmmakers' faithfulness to the original material.
Well, the book had maybe one fight in it and one battle. This movie has about a hundred fights and a half dozen battles. I don't think a single solitary scene went by in which someone didn't either draw a weapon or hit someone or both. It has little or no blood in it but the body count is as great or greater than that in Braveheart. Even the swashbuckling mouse, Reepicheep, cracks jokes then kills his opponents by cutting their throats. The kids in the audience are busy chuckling during the slashing bit, though, so I suppose it's all good. A decapitation replete with rolling head in another scene, however, offers no such distractions.
I've got no trouble with all this on the face of it. It's a sword and sorcery war movie, essentially. Soldiers die in these things. But this movie is marketed primarily to children and Disney and the MPAA are blatantly gaming the ratings system by not assigning this a PG-13 - blood or no blood.
Labels:
action,
C. S. Lewis,
drama,
family,
fantasy,
inspiration,
movie,
sequel
Thursday, May 08, 2008
DVD - 27 Dresses (C+)
Starring Katherine Heigl (PBA), James Marsden, Malin Akerman, Edward Burns, Judy Greer, Melora Hardin (PBA).
Written by Aline Brosh McKenna.
Directed by Anne Fletcher.
PG-13 for language and sexuality
Buy it
Plot description from the cover:
From the screenwriter of The Devil Wears Prada, 27 DRESSES centers on Jane (Emmy winner Katherine Heigl), an idealistic, romantic and completely selfless woman -- a perennial bridesmaid whose own happy ending is nowhere in sight. But when younger sister Tess captures the heart of Jane's boss - with whom she is secretly in love - Jane begins to reexamine her "always-a-bridesmaid..." lifestyle. Jane has always been good at taking care of others, but not so much in looking after herself. Her entire life has been about making people happy - and she has a closet full of 27 bridesmaid dresses to prove it. One memorable evening, Jane manages to shuttle between wedding receptions in Manhattan and Brooklyn, a feat witnessed by Kevin (James Marsden), a newspaper reporter who realizes that a story about this wedding junkie is his ticket off the newspaper's bridal beat. Jane finds Kevin's cynicism counter to everything she holds dear - namely weddings, and the two lock horns. Further complicating Jane's once perfectly-ordered life is the arrival of younger sister Tess (Malin Akerman). Tess immediately captures the heart of Jane's boss, George (Edward Burns). Tess enlists her always-accommodating sister to plan yet another wedding - Tess and George's - but Jane's feelings for him lead to shocking revelations - and maybe the beginning of a new life.
This is a by-the-numbers rom-com confection sprinkled with nothing but charming, good-looking, talented actors. No new ground is broken. In fact, (except for an openly vindictive moment for Heigl's character) the existing ground is paved over with a thick layer of sugary glaze and cordoned off with "Do Not Touch" signs.
But that's okay. There's no pretension of aspiration to high art or even to a cursory correlation with reality here. Just lightweight disposable entertainment. And it does that well. I'm just not sure that's worth an hour and forty-five minutes of my life.
Final score: C plus
Trailer:
Wednesday, May 07, 2008
DVD - The Savages (B+)
Starring Laura Linney (PBA), Philip Seymour Hoffman, Philip Bosco
Written and Directed by Tamara Jenkins
R for language, mature themes, and sexuality
Buy it
Billed as a dark comedy, 'The Savages' is certainly not standard movie fare but I think it's a film that we're richer for having around. Many have tackled end-of-life issues before but very few have done it like this. It is an unsentimental, unapologetic, slice-of-life depiction of two middle aged siblings, Linney (in an Oscar-nominated turn) and Hoffman, managing the rapid mental deterioration and death of their estranged, abusive father and the process - physiological and logistical - that entails.
It averts its gaze from none of the practical and emotional issues met by everyone whose family members live so long. From scatological problems to the appalling reality of nursing homes to the pressures of guilt, it covers the bases. It does punctuate it with moments of humor and sprinkles knowingly wry observations of sibling dynamics throughout. But there are no saccharine reconciliations or dramatic changes of heart in the last act to pull the punches. Things just happen and the people react as we all do - with integrity and responsibility in some areas and utter cowardice and flakiness in others. And with many things left unsaid.
My only real nit to pick is a slight sense of self-indulgence in the characters' professions. Everyone but the father is in the theater (or wants to be). It leads to a bit of inside humor that took me out of the movie a few times. (If you know who Bertolt Brecht is, it could open up another level of Hoffman's character to you. He briefly summarizes Brecht's epic philosophy at one point.) But it's not a huge liability.
Linney and Hoffman are, of course, impeccable but I believe Philip Bosco, who plays the largely silent role of the father, deserves praise as well. He speaks volumes with exhausted eyes and resigned yet pained stillness.
Final score: B plus
Trailer:
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