Polishing China’s Turds
Posted by Chris Battaglia in Politics, Rants on October 2, 2008

(photo courtesy of the Globe and Mail)
China’s successful bid for the 2008 Olympic games was trumpeted as a milestone along the nation’s road to superpower status. The Olympics were supposed to be a turning point, a coming out party for a better, more advanced and more enlightened China; one that respected human rights and freedoms like a western democratic nation instead of the dissent-stifling communist dictatorship it used to be.
That’s what we were told, anyhow.
The reality is that, despite all of the promises and empty gestures, the new China is just like the old China. Don’t let all of those fancy, futuristic athletic venues fool you; it is still a nation that holds total control over its more than 1-billion people. It is still a nation ruled by propaganda that preaches silent acceptance over curious inquisition. It’s still the same old China.
In fact, the Beijing Olympics showed the world the only real difference between today’s China and the China of the 20th century: this China is powerful, powerful enough to stare down the "old money" of the international community – the G8 – and silence even their most legitimate criticism of China.
Criticism on issues like pollution. During the Olympics, Chinese authorities ordered half of Beijing’s cars off the road, something a democratic nation with a free press would never dream of demanding from their citizens. Even with those drastic measures in place for months in advance of the opening ceremonies, Beijing’s air quality was still well below the standards of the World Health Organization by the time the Olympics started.
And that’s just hot air compared to China’s other shortcomings during the Olympics.
As part of their Olympic bid, the Chinese government promised to allow protesters in designated protest zones during the games. Granted, the zones were set well away from all Olympic venues (or any areas of interest in Beijing, for that matter), and protesters were required to acquire official protest permits before any demonstrating could begin, but at least it’s a step in the right direction, right?
Well, it would have been, if any of the 77 protest applications were ever approved. Instead, most of the applications were simply ignored, while a few were rejected and a couple of applications filed by Chinese citizens led to arrests. Even a Chinese police officer has to see the irony in arresting someone for submitting an application to protest legally.
During the games, not much attention was paid to China’s working poor. That’s because they were hidden behind a giant wall built to keep the international media’s eyes looking elsewhere. I suppose that was the solution Chinese officials reached when they realized they couldn’t actually sweep those slums under a rug.
The wall is a perfect example of the lengths the People’s Republic will go to in order to maintain control of their image and their power. What they have displayed in the past few months, rather than the image of a new and reformed China, is a willingness to ignore and cover up any problem, no matter how easily it could be solved. They would rather strive for the appearance of perfection than actually work towards achieving anything positive.
With August and the Olympics now a distant memory in the face of a potentially catastrophic financial crisis in America – the nation formerly known as the world’s only superpower – it might be wise to take another look at China. A close look. In a few years, this might just be the nation that is leading the world, so perhaps we should start holding it accountable for its actions before we lose our ability to voice a dissenting opinion.
What we need to do is stand up and tell China we see through their facade. We need to say that, no matter how polished, a turd is still a turd.
TIFF Blog #4 – Me and Orson Welles
Posted by Chris Battaglia in Entertainment on September 15, 2008
Adaptation by Committee
I’m going to admit right off the bat that this movie wasn’t one of my first choices when I looked at the film list for this year’s TIFF. It was more of a plan B movie, but I wasn’t able to get tickets for Synechdoche, New York, or Zach and Miri Make a Porno, or even Pontypool: a Canadian movie that you’ve probably never heard of that was also sold out, so when I had to pick a film to use my remaining vouchers on, I chose Me and Orson Welles. It was directed by Richard Linklater – a director whose films are at least serviceable and at best, Dazed and Confused – and it’s about the guy who made Citizen Kane. I figured it was a safe bet.
After seeing it, I can safely say that Me and Orson Welles is indeed a safe bet, and that’s its biggest problem: it’s too safe. By no means is it a bad movie: it’s technically and aesthetically pleasing and it has some very solid supporting characters, including a top-notch interpretation of Welles by Christian McKay that could probably land him a best supporting actor nomination if the film it was in wasn’t so… safe.
It was adapted from the book of the same name by Richard Kaplow, and I have the slightest feeling that the adaptation process went something like this: producer reads book, calls agent – agent calls other agent, who calls writers – writers gather in a room and pick the book apart piece by piece, voting on which parts stay, which parts go, and what they should add in. It’s adaptation by committee. Somewhere down the line, a director is called in, but not until some actors and actresses have already signed on. Every decision probably went through about five different levels of approval, four of which were lawyers.
The overall goal was probably to create a film that could appeal to everyone and make its money by generating some Oscar buzz, but with every idea toned down to a PG level and nothing truly unique or remarkable to carry it, Me and Orson Welles feels as empty as the suits behind its production. I know what it’s trying to do; it’s trying to convey the feeling of being swept up in the surreal magic of the flamoyant genius that was Orson Welles, as well as the difficulty of knowing and working with him personally. All of that is in the film, but the delivery falls so flat that you never really feel it yourself, as much as you may want to.
The film’s main character is an aspiring actor who just so happens to luck out and land a role in Welles’ stage production of Caesar. The role is played by Zac Efron, whom you may know from the latest piece of propaganda for pre-teens brought to us by Disney: High School Musical. Over the course of the film, it would make sense for Efron’s character to grow and develop as he discovers the vast differences between studying acting in a classroom and performing on stage with Welles, but we never get a sense of this from Efron, who seems content to ride the same slightly fascinated/bewildered look on his face for the entire time he’s on camera.
Linklater did a solid job putting the film together, but I couldn’t help but feel like he was phoning it in, perhaps because he couldn’t do any directing without also making a million phone calls. As a result, most of Me and Orson Welles is very basic in both style and structure, very cliched. There’s nothing there to really draw you into the setting of the film or distinguish it from other 30s period pieces. Again, I’m not sure if this was actually Linklater’s fault – as I doubt he was actually allowed to do much directing on his own – but his name is attached to the film, so he does bare some responsibility for the finished product.
All in all, Me and Orson Welles proves that safe is death when you’re making a film. Aside from a few strong supporting characters, it’s hard to find any life in the film. Yes, it is technically sound and there are no major problems with the story or dialogue, but that’s only enough to make a movie mediocre; it’s not enough to make a movie worth seeing. For some reason, Me and Orson Welles doesn’t strive to be anything more than mediocre, which is the worst possible thing a movie can be. At least bad movies tend to draw some attention and box office numbers (if they couldn’t, Disaster Movie would never have been made and Uwe Boll would be homeless), but mediocre movies simply fade into obscurity with no money or awards to show for it.
I would like to think that this movie can do something good for film. I would like to believe this will put an end to Efron’s bid for a serious movie career, but that’s wishful thinking. Hollywood has proven again and again that there’s nothing it loves more than a talentless actor with power eyebrows and perfect teeth.
Greg had a rule about buying drugs at Bonnaroo.
“Better give me 10 to start this time,” Matt said.
We finished the sheet and lay in a field for two hours watching clouds do absolutely nothing out of the ordinary. The acid was definitely fake. We cursed our relative sobriety.
The dealer reached into his messenger bag and pulled out a ziploc bag containing dozens of small red pills. “$30 each,” he said.
Matt kept repeating it on the way to Bonnaroo. “This is
Matt stared back. “Heavy police presence. You’d think we were being herded off to some prison camp.”
“How many do you want? Two?” Greg asked.
A little weed in a shoe or a tab in a wallet would make it through unharmed — assuming the weed doesn’t reek of foot — but you had to take the effort to conceal it.
Matt ran his fingers through his hair, rocking back and forth and shaking his head slowly in his hands.
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