Conspiracy 9/11

I saw this film tonight at the Beyond TV festival in Swansea, S. Wales and I was very impressed. As well as being an intelligent expose of the Big Brother state that the US has become, the film is also very enjoyable at all levels, and I think it would appeal to a wider audience. The protest scenes at the beginning really set the pace for the film which never lets up until the end. Its great to see a film about the real America without the Hollywood glitz. I'd happily recommend anyone seeing this film, and I'm glad to hear that it's coming out on DVD. I'd be interested to know how much of an airing it gets in the US.

Director Stephen Marshall is best known for his documentaries, including some that are Sundance winners. This is his first foray into fictional mainstream films, and it is a promising effort. I am mystified by some of the negativity I read here; granted, Marshall is no Costa-Gravas (yet), but I doubt even Costa-Gravas was Costa-Gravas in his first movie. Working under extreme deadline pressures with a cast of mostly unknowns and a limited budget, he has exemplified making lemonade out of lemons. Since many of his principals are non-actors, the fact that he gets good performances from them speaks well of his directing skills. He also has a painter's eye: there is one scene with Rosario Dawson and her fictional son, shot at sunset as they pretend to fly like the pigeons soaring around them, that is starkly beautiful. The street scenes pulse with life, no doubt because they are real. There are some amusing vignettes on the street that add piquancy to the mix. The modestly named rapper "Immortal Technique" has some interesting scenes, but for some puzzling reason appears to be identifying himself as black, when he is clearly hispanic. "Technique" also rips off the Brahms third symphony (third movement, trust me on this) for his rap, but no shoutouts to Johannes can be found in the credits to enhance his street-cred. I would like to see more character development, but given Marshall's background in documentaries this is not surprising. The motivation of some of the characters was hazy also, and anyone who has been to Times Square knows the big TV screens there are mute. But so what? These are minor issues, and he will learn. I saw the final cut at Sundance in January, and there was a large and enthusiastic crowd. Marshall spoke to us afterward, and came across very well. I look forward to more from this most interesting young director.

If you are a Bush-Cheney supporter who believes in conservative values, this movie may not be for you. The conservative point of view is presented but mostly to be ridiculed or criticized. Those who served in the military are respected and praised, but why they were serving is another matter.

Of course the protesters are more than just lazy people looking for an excuse to make trouble as some of the conservatives think. But they are working hard to take a stand and drive change. If they were lazy they'd just back down from all the adversity.

Rosario Dawson does a great job as a mother who is trying to cope and seems reasonably happy considering her circumstances. And she is pushing her son to be more than she is.

Nathan Crooker does a good job as an idealistic journalist.

The real stars of the movie are the ordinary people. Most appear to be merely actors but they come across as more. And there is a lot of what appears to be real footage.

And of course the convention itself was real. According to this movie, though, Bush didn't speak at night, but I guess that's a minor criticism. Maybe it wasn't safe to film that part of the powerful climactic scene during the day.

The ending is pretty amazing if disturbing.

There is some violence, but it's not too bad. I'm so glad I saw this movie cleaned up for TV, because the sound went out a lot.

It's not what we would like to see, and it's not necessarily the truth, but it's what we need to see. If only to make us think.

This Revolution is a remarkably smart, relevant and timely take on media and personal responsibility in an era of the Patriot Act and fear of terrorism. Shot in a somewhat gritty style, the cinematography and editing offers a front line perspective in a beautiful and effective way. Footage from the actual Republican National Convention is disturbing and effective. It is able to humanize certain aspects of the media. Nate Crooker, as the character Jake Cassevetes, has the ability to take the audience through the ethical challenges that those in the media must face when reporting on highly charged and controversial topics. There is a fantastic dynamic among the cast and the emotions ring true.

There's a scene in Butterfly, Jose Luis Cuerda's film about the lead-up to the Spanish Civil War, where the teacher removes a book from his bookshelf and briefly considers giving it to the protagonist, a seven year-old-boy. The book is by Russian anarchist Peter Kropotkin. It is quickly returned to its place on the shelf.

Is the filmmaker suggesting we aren't ready for such ideas?

The scene in Butterfly provides a metaphor for the way anarchism and politics in general have been treated by filmmakers. With few exceptions, either such topics aren't broached at all, or they are broached in such a way as to leave the viewer completely mystified. "Social Realism", according to the online artcyclopoedia, "is a rather pejorative label in the United States, where overtly political art in general, and socialist politics in particular, are extremely out of favor".

Which is perhaps why I enjoyed "This Revolution" so much. There's nothing shameful about expressing overt political sentiments in art, and there's nothing shameful about going overboard either. Witness John Heartfield, or Josep Renau, or Jean Vigo, or Pier Paolo Pasolini. Better sorry than safe, and better to risk being labeled pedantic than pussyfoot around the issues in the hopes of appeasing the critics.

The film is honest. Marshall may not be in the same league as Pasolini, but as another reviewer pointed out, he's not ending his career but beginning it. There's nothing in This Revolution that can't be forgiven in light of the budget constraints and timetable. If nothing else, it's a lot of fun. Watch for Immortal Technique's piece and the 9/11 rant; watch for the RNC footage, which is electrifying (you won't always be sure what is staged and what isn't); and watch for the reference to Malatesta, who I'm pretty sure has never been mentioned in the medium before.

Get off your high horse and I think you'll find Marshall's film refreshing and timely. We need more of this stuff.