Thursday, May 22, 2014

Once On This Island--Death Wins, You Guys! Open Your Eyes!

Saw my younger daughter's production of Once On This Island over the weekend, and guys--how does storytelling get this bad? It's a gloss on Hans Christian Andersen's Little Mermaid, but set on land with added Haitian/vodoun flavor. The music is catchy, the lyrics less so, the plot--uff da!

Shall we? First, I think we can all assume we know the basic plot of Little Mermaid, so now just make it on an island. Instead of living in the sea and looking up onto land, Our Heroine Ti Moune is a lowly peasant looking up the socio-economic ladder to a wealthy boy-man. Instead of a boat, she sees him in a car. As when the boat sinks, the car crashes in a storm and she saves the wealthy son of the island, Daniel. She goes to him, only to find that while he's happy to keep her in his room (where she makes him "rise like yeast" and she "heals" him), he's going to marry the socially appropriate woman he has been betrothed to since childhood. When offered her former life back if she kills the boy, she can't bring herself to plunge the dagger and dies instead. She gains an afterlife of sorts, as a tree.

When Andersen did it, it was a romance deeply enmeshed with questions of soul and salvation. The mermaids had no immortal soul, and turned into foam on the shore when they died. By becoming human, The Mermaid (did she even have a name?) could earn a soul, but she died before then. Instead, she became a spirit of the air, living in a sort of purgatory of good works, with the promise of earning her way to salvation. This is complicated stuff.

Ti Moune sees a boy in a fast car and falls in "love."

Oh, but wait! He's unconscious for days, and she watches over him, never eating or sleeping. So again, what about him is lovable? Is it the drool seeping from the corner of his mouth? The way he has to be cleaned up after, since he's unconscious and can't use a bedpan? Because that doesn't sound all that attractive to me. Unless she likes the power differential, where he's essential a baby or a doll, with no agency of his own? The more I try to figure out what there is that makes this "love" the more disturbing the story becomes.

Oh, but there is a Broadway Explanation! See, there are gods who rule this island, and Erzulie, the Goddess of Love, has intervened. She has (arguably) caused Ti Moune to fall in love, and then she makes Daniel fall in love--for a given value of "love." Because Ti Moune knows nothing about Daniel and doesn't get a chance to, because "unconscious" and Daniel doesn't love her enough to marry her. Okay.

Also, the gods have a bet that Love can conquer Death. So the whole car accident thing is a set up so the two meet and they can test which is stronger. It's like a Immortal version of arm wrestling?

So "love" here is "seeing a guy in a car" then "cleaning his butt"? To be fair, there is a short duet they sing before he goes back to his big mansion. She decides she needs to go with him, saying "he is in my blood and I am in his." Not sure why she's so sure of this, as most of the time, he's been UNCONSCIOUS.  Maybe she's invented blood transfusions?

Anyway, she is convinced that if she goes to him, he will marry her (why?) and she leaves. As a grumpy old soul with a cold dead heart, I look at this and I see "oh! She's young, so she is stupid." But the play doesn't really back this up, and it doesn't ever ask her to stop and see if she is making good choices. In fact, the play barrels on, encouraging her to chase this boy (but--if he was really interested, he could come to her. He knows where she lives!) to the degree that the Earth Goddess actually leads her to him, while the trees and frogs and breezes etc. sing along. Very lovely musically, but seriously messed up. She is making a bad decision for herself, and nothing in the play really acknowledges it.

Once in the Hotel Beauxhommes, she finds Daniel, and he doesn't remember her. At all. In fact, he threatens to call security on her. "But, I'm the one who made you well," she says. "The gods sent me to you!" Yeah, well, maybe they did, or maybe they didn't, but Daniel has a beautiful young woman throwing herself at him. A peasant, in fact, so not even a "real" person--not someone he has any responsibility to, because of class and/or racial lines. In fact, there is a history of his ancestors who came to the island and took their pleasure from the women who served them, before going back to France, leaving the mixed race offspring trapped on the island. So--we don't think this is marriage plot still, do we? Why does Ti Moune?

(Because she is young and stupid--even if nobody on stage really knows that.)

Then comes the slut shaming. "What does he want with a woman like THAT" is a song, in which the gossips make demeaning sexual innuendoes about how she is "healing"him. Daniel's father makes a short cameo, sympathizing that he understands the appeal of a peasant girl, but making clear that Daniel will be expected to do the right things when the time comes--which is not going to be marrying Ti Moune. Obviously.

Well, so far not so good. We have sexual opportunism, we have slut shaming of Ti Moune (not so much of Daniel, because the Double Standard is alive and well and living On This Island), and we have major social barriers between them that Daniel understands and that Ti Moune apparently does not. But--there might be hope, right? I mean, perhaps they are like Romeo and Juliet, who stand together against the artificial barriers placed against them, and by their example change the social mores. That could happen, and that would be a way for this play to comment on the deeply misogynistic and classist assumptions and critique them.

Or, there could be this "love" song instead. Daniel wraps his arms around Ti Moune and sings this:

Some girls take hours to paint every perfect nailFragrant as flowers, all powdered and prim and pale.But you are as wild as that wind-blown tree,As dark and as deep as the midnight sea.While they're busy dressing, you lie here, warm and bold.Some girls you picture, some you hold.
Some girls take courses at all the best schools in FranceRiding their horses and learning their modern dance.They're clever and cultured and worldly wise.But you see the world through a child's wide eyes.Their dreams are grand ones, you want what's just in reach.Some girls you learn from, some you teach.
You are not small talk or shiny carsOr mirrors or French cologne.You are the river, the moon, the stars.You're no one else I've known.
Some girls take pleasure in buying a fine trousseau,Counting each treasure and tying each tiny bow.They fold up their futures with perfumed handsWhile you face the future with no demands.Some girls expect things others think nothing of.Some girls you marry, some you love.
It's creepy! I mean, it's completely entitled and spells out that Daniel doesn't see Ti Moune as a real person--he likes her for all the demands that she doesn't make, the dreams she doesn't have. This is almost a form of grooming--she's not like those other girls, with their demands to be taken seriously, to be educated and to have their own interests and needs. No! Ti Moune just exists, with none of her own wants, just to fill Daniel's sexual needs!

This song would be bad enough if it were presented as a dilemma song, where Daniel was really considering the choice between the two women, trying to understand his own mind. But as a song presented as a love song, actually song to Ti Moune, it's a series of red flags that if the girl had even an ounce of critical concern for herself, she would at least catch on. She's not the "some girl" that you marry--that's going to be someone else.

But no, Ti Moune gets blind-sided when she is finally let out of Daniel's room and introduced to his fiancee. To the play's credit, the fiancee does scold Daniel for leaving the situation unexplained to Ti Moune--she's not a bitch, and she's genuinely sorry for the circumstances, but she is the fiancee, and what Ti Moune is, well there isn't really a word for it, is there. (Mistress. Lover. Concubine. These are choices.)

What should Ti Moune do now? Well, for a play written in 1990, shouldn't she do something proactive? Expressive of her personhood, her right to be treated with dignity, acknowledging her agency in her own life?

No, what happens is the demon of death shows up, and tells her that she will have to die unless she kills Daniel. (Yes, this was set up earlier, where Ti Moune offered her soul to the demon in order to spare Daniel, and now he is coming to collect the debt.) This is sort of the moment when love and death are tested--I guess? Death points out that Daniel has betrayed her, so why should she die for him? If she kills the love she had for him--literally, by taking the knife and killing Daniel--she can have her old life back, as if she had never loved at all.

In the Andersen story, the mermaids sisters come and offer her the chance to return to the sea. Killing the prince will turn her legs back into a fish tail, she will have her 300 year lifespan back, and she won't die when the sun rises. She's got big stakes here.

By contrast, Ti Moune kills Daniel and--she goes back to being a peasant? This is the offer? Contrary to what the play says, this isn't the choice between love and death--it's the choice between being a murderer and being a martyr. Ti Moune is confronted with a choice between a violent and criminal act, or dying for love. There's not really an opposition of emotional states here. I think Death has mischaracterized the win condition for himself. It's more like he's shooting the moon in hearts--he could win on points, but he's decided not to.

So, Ti Moune doesn't kill Daniel, but gets thrown out of the Hotel and plants herself by the locked gates for the next two weeks. The point of this is? It's like she's doing the Nice Guy™ thing, where if she's just around long enough, he will reward her. Does the play really expect that he is going to ditch his fiancĂ©? Does the audience expect Ti Moune will get anything but the Madame Butterfly treatment? Now it's just humiliating for the poor girl, a humiliation which is driven home by Daniel and his new bride coming to the gates to pass out coins as for good luck.

So, Ti Moune dies. Before we tally up the win/loss results for the gods, let's look at the lyrics of the penultimate song:

And the gods began to cry- tears of compassion for the orphan, Ti Moune, Who proved that love could withstand the storm, cross the earth, and survive even in the face of death.

Erzulie took her by the handAnd led her to the seaWhere Agwe wrapped her in a waveAnd laid her to her restAnd Papa Ge was gentleAs he carried her to shoreAnd Asaka accepted herAnd held her to her breast.
Regardless of what is happening on stage, the words tell us that the Goddess of Love basically takes Ti Moune to go drown herself. Love hands her over to Death. Love has her kill herself, because that's a victory for love? No, a victory for love would have been for her to go on living, instead of seeking oblivion from the pain of thwarted love. What the play shows us (as opposed to telling us) is that it is better to die from heartbreak, and by dying, you prove the strength of your love.

Again--Love and Death are not in opposition--they reinforce each other. Love is so strong that it invites Death, Death is preferable to Love unrequited. I call shenanigans on the lyrics that "Ti Moune proved" anything like what the plays says she proved. In fact, it's just the same tired trope of an exotic girl deemed to be socially inappropriate to marry (but not to sleep with) so she dies.

But because we are in theory more enlightened than the Victorians, we are going to claim that her death changed things! Not just the "girl who dies for the man she loves" but that her death broke the racial/class divide between the peasants and the Grands Hommes. How does this happen? Well, the dead Ti Moune gets turned into a tree (yeah, I know) that breaks the gates of the Hotel Beauxhommes so it cannot be closed.

Well, maybe that's a start, but what about the wildly unequal distribution of wealth? The peasants are still going to be the ones laboring in the fields, right? The existence of a tree and a broken gate isn't going to accomplish any wealth redistribution or land reform, doesn't compel the Grands Hommes to give up their cars or champagne necessarily. The capital of the island isn't suddenly held in common as an anarcho-syndicalist commune.

The lyrics tell us this:
And one day as Daniel's young son sat in the shade of the treeHe noticed a beautiful young peasant girl high in the branchesLooking out at the world
And the spirit of Ti Moune touched their heartsAnd set them free to love.
But--but--but--"love" was not the problem. The Grands Hommes were "free" to "love" the peasant women, and had done so for generations. The problem was social conventions, family alliances, religious and cultural isolation, economic disparities, which little boys playing under trees aren't dismantling, no matter how upbeat the music is.

And really, Haiti remains a desperately poor island, with poverty remaining intractable for generations. Wealth remains concentrated in the hands of the very very few, while the majority of the population remains essentially peasants. Telling the story of Ti Moune doesn't challenge the fundamental causes of economic mismanagement, and seems to actually reinforce the idea that human effort is futile in the face of the whims of uncontrollable supernatural forces. But with a lovely samba beat!

The moral of the story is not that Love Conquers All--the real moral of the story is that humanity is mere meat puppets to the gods, and we all die anyway. But we are welcome to delude ourselves about that by singing in a major key.

The End.

Sunday, May 04, 2014

Captain America: The Winter Soldier, a review

Did this movie make sense? Or were the holes really as big as they seemed to me.

I will admit upfront that I am not versed in the Marvel Comics Universe. Actually, I never really read comics because--as a word person--they only lasted about 6 minutes. I blew through them for the dialog, and the pictures might as well have been white space. So I don't have the background knowledge that might have been obvious if I read the source material.

That said, I have seen all of the current Avengers-adjacent movies, dating back to the first RDJ Iron Man, so I'm not completely ignorant. I am also a sentient being who lives in 21st Century America, so I do know about superheroes.

But this one? So much going on, and so much plot, which is never quite explained in a way that makes any sense to me. Some of this is probably going to be nitpicking, but some of these failures go to the whole premise of the movie.

1. What was the deal with that ship that was attacked by French mercenaries?

Many/most/all action movies start with an action set-piece, establishing relationships between characters and setting the plot into motion. In this case, Captain America and Black Widow are rescuing SHIELD hostages from a SHIELD ship which is cruising around the Malaysian seas. There is one officer, the bald, ethnically ambiguous "Jason Sitwell" (if he's an officer, why doesn't he have a title?) and some number of unnamed people. The French mercenaries stalk around, screaming threats that the killings are going to start in two minutes. None of the SHIELD employees makes any effort to free themselves, distract the mercenaries, scuttle the ship, anything. They all sit quietly--even the alleged "officer" Sitwell--hoping not to get picked as the first hostage to be killed.

Meanwhile, the head mercenary is allegedly trying to contact SHIELD to negotiate a ransom. But the offices are closed for the night? He's getting a busy signal?  Perhaps his call has been transferred to the night messaging service, which will take down his number and pass on the information in the morning?

I guess we are supposed to recognize that "Officer" Sitwell is a shady character, because he doesn't do anything to protect the people he presumably is leading. He does mutter under his breath a lot, though.

Cap and his team arrive, pick off the mercenaries, rescue the the hostages, and are about to get away when Black Widow fails to make rendezvous. She is busy downloading a bunch of data from the ship, "it's always a good idea to back up your hard drive" which leaves an opening for some more shooting and jumping through windows.

So--what the hell was that all about? Why does SHIELD even have a ship that cruises around the Malaysian peninsula anyway? What data does it have that doesn't exist elsewhere, and how did it get it?   What is this MacGuffin anyway?

Then, given what we know by the end of the movie, perhaps it was a Hydra run ship? So the Good Guy SHIELD faction thought it was fishy and staged the whole thing as a way to get to the data? That's the only thing that makes any sense to me, and I'm not sure it does make sense. but if the ship had information that was hidden from regular SHIELD access, and Nick Fury figured that out, then HE was the one who hired the mercenaries, AND he is the one who sent in Cap to "rescue" those hostages, BECAUSE the whole thing was an elaborate scheme to get Black Widow onto that ship to make copies of the data--then that should be much more clearly spelled out. Because it goes to the whole premise of the movie: that you don't know who you can trust.

Even that is heavily retconned, based on the fact that Robert Redford (in a comic book movie? Obviously, he's going to be the Bad Guy!) tells Cap that Fury is the one who hired the mercenaries, thus setting up Cap's dilemma. As such, it had to be true that Fury set up the situation, because otherwise, it just looks like a smooth dude in a suit doing what government officials always do in these kind of stories--try to make achieve their evil ends by making the Good Guys look bad.

So I think there was supposed to be a double twist there, but because it was so badly explained, it didn't look twisty at all. Robert Redford shows up in a comic book movie, wearing an expensive suit and handling glamorous technology, as the "Secretary" of some unnamed department, and he talks smack about Nick Fury. Nick Fury! The guy who has been behind the entire assemblage of Avengers; who has lost an eye in the service of Goodness; who is Samuel L. Jackson--and this movie thinks we are going to suspect him of doing nefarious Bad Guy Stuff? I don't think so!

2. Who is in charge here?

Redford's unnamed department raises questions as well. He's part of a "World Security Council"--but who is that? They clearly are not part of a single world government, since they talk about "national waters" and threats to their individual countries. But where does SHIELD get all this money to build all these incredibly huge helicarriers, to train all these quasi-military troops? I could kind of understand it if they were a strictly American operation, but the determinedly international nature of the "Council" makes it seem like it's like a U.N. force? Again--where does all this money for all this equipment come from? And how does this version of SHIELD line up with Tony Stark's ethical refusal to continue to sell arms?

At the end, when Black Widow is being grilled by blowhards in some kind of committee hearing, it's not a Congressional hearing (which is what it looked like it should be) because there was a huge logo on the wall that said "Department of Defense." But that was not a court martial--it was definitely people posturing in front of cameras. So who is in charge of SHIELD anyway? Given how much money they obviously have for technology and weaponry, somebody is going to have to have oversight to make sure the money is not wasted, at least.

3. Who ARE these SHIELD employees anyway?

Okay, so HYDRA has infiltrated SHIELD. . .somehow. And turned people who thought they were working for an organization that kept people safe from Bad Guys, into people who would impersonate DC cops, use automatic weapons in the street, against their own boss, without question? Not one of those guys ever even questioned why they were using SWAT tactics against Nick Fury? In the middle of civilian DC???

Not one guy ever said "hey? Let's not attack him when he's inside his armored SUV on a public throughway. We know where this guy lives. We know where his office is. We know where he buys his suits, eats his lunch, takes his mom out for Mother's Day. Maybe we could be just a little less conspicuous about this?"

Nobody says "Wait, why are we attacking Captain Freaking America inside our work elevator?" Did anybody--anybody at all ever ask about "if we are the good guys, why are we trying to kill the symbol of our nation?" I can kind of understand why a guy like Robert Redford's character would be interested in preemptively killing identifiable bad guys--the whole Insight program just makes his job a whole lot easier, with a lot less paper work to boot. Sure--he can see that this is a way to clear that pesky in box, permanently. He's removed from the situation. He can sit back and pretend that the people he identified as "problems" (including Fury and Cap) just "go away" on his orders. So clean, so bloodless.

And then, there are the thugs who actually have to execute the orders. All the people who. . .acquired. . .the fake DC police cars and uniforms, the ones who pulled out the huge guns and the tripod for the battering ram, the ones who shot through city buses to try to hit the fleeing Fury, the ones who conducted the high speed chase through the streets--none of them ever once pulled a punch, thought better of maybe not incurring civilian casualties? Nope. Total ruthlessness.

So where did these guys come from? These are not people who were recruited after the aliens attacked New York, or thought they could help battle a power mad Loki. Because those people would have Fury's back. Those people would not just accept Pierce's order to murder their own people.

4. Teaser, or proof HYDRA is still evil?

Once the algorithm is loaded onto the helicarriers, a bunch of targets show up. They flicker by fast, but they are all on the eastern coast of the US. I saw the name of the President (Marvel version) show up as a target, and apparently "Tony Stark" was there as well. So--does this just prove that the "evidence" of future crimes is just wrong? Or are we going to see a criminal President in future movies?

This matters, because if the algorithm is wrong, or HYDRA is really just plotting to get into power, then the whole ethical question of preemptive strikes goes away. Pierce tries to sell the Council on the idea that Project Insight can prevent obvious evil by doing away with the criminals before the crime happens. If such a thing were possible, it is at least a compelling ethical dilemma. But if the whole system targets innocent people, then there is no dilemma, there is just killing and a huge power grab.

Which leads me to the next point.

5. What is all this "data" you think you have?

Natasha Romanoff downloads a bunch of "data" from the ship in the first set piece. What "data" was there? Who collected it, what was it used for, why was it being stored on a ship anyway? Later, in a stand-off with Pierce, he tries to talk her out of publishing the "data" because it will be damaging to her reputation as well. But what is it?  Oh, never mind, it's a much a MacGuffin as the "Tesseract" and "Aether" were in other Marvel movies.

But the big plot hole here is the problem of the "Zola Algorithm." Somehow, this guy seems to have dumped his brain into a bunch of computers which are housed in a secret underground bunker in an abandoned military base. From there--somebody (who?) has patched a USB port and presumably an internet connection (is this even possible? I doubt it) so Zola can data mine the world's digital trails to pick out which 20 million are security threats. (We have to also hand wave the possibility that there may be "threats" by people who are not on social media--hello Afghanistan!)

Apparently, nobody tested the algorithm? They just uploaded it onto weaponized helicarriers and accepted that whoever was named was worth killing? But. . .but. . .but--surely there were some big money donors (those helicarriers are hella-expensive!) and cronies and HYDRA leaders whose names WOULD have come up. Kind of awkward if the algorithm identifies somebody on the helicarrier itself and shoots into the body of the aircraft! Or reveals somebody's divided loyalties, right there, out in the open.

There is no way even an Alexander Pierce would authorize the uploading of an untested algorithm. That would require (among other things) absolute trust in Zola. And there is famously no honor among thieves. That program would have been vetted for political reasons, as well as routinely beta tested for bugs. Which again increases the number of people who would have had to be aware of the program, thus increasing the number of places it would have been challenged or leaked.

6. Winter Soldier, where have you been all my life?

According to several reviews I have read, the Winter Soldier is "Soviet trained"--presumably this is from the comics canon. But it raises some problems for a movie franchise that is set in the present/near future. Namely--there is no longer a "Soviet" bad guy, which is increasingly problematic the farther away we get from 1991, the date of the formal dissolution of the USSR. Scarlett Johannson --I mean, "Black Widow" would have been 7, far too young to have been KGB.

But let's assume we can also retcon an underground KGB that simply went underground, and while not officially KGB, was effectively so and that's who trained Natasha Romanoff. And Bucky Barnes/Winter Soldier. How did Alexander Pierce get his hands on him? Where has he been being kept, and how did all that mind-wiping equipment get transported to the US, where he could be deployed? I'm absolutely not understanding how this guy gets from where he "died" in 1944 to where he's recognizing Steve Rogers while punching him out on a helicarrier. Is Winter Soldier part of HYDRA? Is he part of top secret SHIELD? Where has he been--physically--for the intervening 70 years? If he was a Soviet answer to Cap, what happened to him after 1991?

Yeah, I know. Just relax, it's only a movie.

Sure, but it's a movie that aspires to a bit more than just blowing things up. The script does take on questions of drone warfare, domestic surveillance, the costs of war, and the lost values of mid-Century America. I am asking for the mechanics of the plot to be explained, because unless they are explained, this is just a boxing match between two essentially invincible characters, and that's not something I would bother to go see.