The Madness of "River" (A Netflix Original Series)

“Madness can bring its own kind of clarity.” - John River in “River”

John River of the British police procedural, “River” is a character unlike any other.  What sets him apart is his ability to hear and see what he calls “manifests”, dead people from his past who visit him as hallucinations and comment on his thoughts, feelings, and situation.  Obviously, society would deem such a person “insane”, “psychotic” or “mad”, but “River” as a series, has a more open-minded outlook on its characters and does not paint them into any corner.

As the series opens, DS John River (Stellan Skarsgard) is on the trail of suspects in one of his cases.   He is accompanied by his partner, DS Jackie “Stevie” Stevenson (Nicola Walker) as they converse in their car and drive around.  Gradually, however, we learn that the case that River is investigating is the murder of Stevie and that her appearance is a figment of River’s visions.  The viewer witnesses River conversing and reacting to Stevie’s interjections much to the bewilderment of those around him.

Stevie is not the only manifest that River interacts with:  there are other people, now dead, from past and current cases, as well as the 19th century serial killer from a book River is reading.  All these presences appear to be detrimental to his state of mind and makes him appear completely crazy to those around him as he continues on the case.

There have been other items of popular culture that have presented “hearing voices” or hallucinations in a similar manner.  “A Beautiful Mind” comes to mind as one which had a similar depiction of insanity.  What sets “River” apart is the way the lead character's illness is presented to the viewer.
One example of this can be seen in the way the series is shot:  In one shot, River will be physically interacting with the object of his hallucination, in the next shot he is alone.  As mentioned one of his manifests is Thomas Cream, a 19th century serial killer.  Cream frequently belittles and antagonizes River in their conversations.  At one point River grabs Cream and starts to grapple with him and beat him up.  In the initial shot, we see the two characters fighting.  In a second shot, we see the real world’s view of River and how he is by himself and seemingly wrestling with absolutely nothing, a figment of his own imagination.

Also, River’s insanity is presented with humanity and understanding.  Though what is known as psychosis is allegedly a debilitating mental illness, the series never panders to River’s disability and arguably presents it as a psychic gift for River despite the problems it can cause.  River sometimes comes to realizations about himself and his cases through his interactions with manifests.  In reality, River’s visions must ultimately come from himself, his own psyche and unconscious.  In learning to deal with and grapple with his unconscious manifests, River is learning to deal with his own emotions, buried traumas, and the dark side of his psyche.  This idea, that there can be some meaning behind and purpose to madness, is what really makes “River” a revelation.  Mental illness or whatever you want to call it, be it bipolar disorder, insanity, madness, psychosis, mania, schizophrenia, or depression may not be just some meaningless malfunction of the brain, but a healing mechanism that is attempting to make the invisible visible, the unconscious conscious, or the
fractured more whole.

In the end, River seems to come to an understanding of himself and comes to terms with his illness and his relationship to DS Stevenson.  Furthermore, the series paints a picture of mental illness not just as a divergence from normality, but as an alternative colour in the palette of humanity’s multitudinous perspectives.

"Gimme Shelter" and the Death of the 60's Utopian Dream

If you haven’t seen the Maysles Brothers’ documentary from 1970, “Gimme Shelter”, do everything you can to see it now.  Even if you aren’t a fan of the Rolling Stones, concert films or rock and roll in general, it is a film of immense significance, invention and power.

First of all, “Gimme Shelter” stands as a cinematic symbol for the death of the ideals and dreams of the hippy generation of the 60‘s. In the 60’s, an entire generation collectively believed that they could change the world for the better and build a utopia.  Michael Wadleigh’s “Woodstock” (1970) as a documentary and event, is the antithesis of “Gimme Shelter” because it showed this idealism.  Woodstock was a concert held in the summer before Altamont, and succeeded as a testament to the peace, revolution and love ideals associated with the hippy movement in the 60‘s.  “Gimme Shelter” on the other hand, took place in early December of 1969.  In its final half hour, the Maysles brothers' documentary, shows the viewer death, confusion, and disillusionment on a grand scale.

At a massive concert held at the Altamont Speedway in San Francisco, top-tier bands of the time are booked, headlined by the Rolling Stones.  The performances are disrupted and disturbed by violence and ultimately murder at the hands of concert-goers and the intended security of the concert, The Hell’s Angels.  No other concert film in history bears witness to the cultural relevance of the proceedings at the end of the film.  This is the ultimate pro-filmic event.  Everything about the concert seems ill-fated: the viewer is witness to stoned hippies freaking out on bad acid, backstage/logistical chaos, and a proposed security system that is questionable from the start.

Another reason for the importance of “Gimme Shelter” is its stylistic inventiveness.  A conventional documentary would have shown the Rolling Stones in concert, performing and their backstage antics.  “Gimme Shelter” goes a step beyond this by showing members of the band watching footage of the unedited film and their North American tour after it has happened in the editing room.  The viewer witnesses the band’s reactions to and commentary on what they have already done and live performances that have already taken place.  No previous documentary had this complex playfulness and added dimension.

Finally, “Gimme Shelter” is a great document of the Rolling Stones at the height of their fame, youthfulness and skill.  The live performances leading up the final concert at Altamont are electrifying and engaging. The energy in the crowd of each concert is tangible and helps to demonstrate what made the Stones one of the most famous and adored rock bands in the world. The film is beautifully restored by the Criterion Collection and the video and sound is phenomenal. 

For anyone thirsting for a concert documentary that is culturally significant, original in its style and form, containing great music and performances, look no further than 1970’s “Gimme Shelter”.  In the end, the film shows just how naive and delusional the ideals of the 60’s generation were.  These events have shaped the trajectory of history and society in many ways.

The Forgotten Oasis Album

Oasis is a rock band that is known to most for their mid-90’s musical output, mainly their debut album, Definitely Maybe (1994) and their mega-successful follow-up, (What’s the Story) Morning Glory? (1995) which contained the hits “Wonderwall” and “Don’t Look Back in Anger”. However, few critics or fans give as much attention to their early 21st century releases.  I would like to demonstrate that their 2005 release Don’t Believe the Truth is the most accomplished, concise, diverse and coherent album of the band’s entire career.

The reasons for the strength and accomplishment of Don’t Believe the Truth is as follows:  it gave the chance for more members of the group besides Noel Gallagher to contribute to the songwriting, making it more diverse and musically-interesting.  Secondly, the newer members of the group added a more technically-refined, musically-coherent, and refreshing sound to the album.  Finally, Noel Gallagher, the traditionally-acknowledged songsmith of all previous Oasis material, demonstrates an unparalleled maturity and growth as a songwriter and lead singer on a handful of songs.

Unlike the first few Oasis albums, on Don’t Believe the Truth, Noel Gallagher is not the sole songwriter.  Liam Gallagher, the brash lead singer of the band, as well as bassist Andy Bell (formerly of the band, Ride) and guitar-player Gem Archer all provide outstanding material.  Bell’s songs “Turn Up The Sun” and “Keep the Dream Alive” embody all of the energy, philosophy, and attitude of Noel Gallagher’s most popular Oasis songs.  Take these lyrics from the album’s opener, “Turn Up The Sun”:

I carry the madness
Everywhere I go
Over the border
and back through the snow.

So if you see me
And I look right through
You shouldn’t take it
As a reflection on you.

These lyrics really get at the essence of Oasis’s swaggering, hyper-confident persona as a band, especially coming from the mouth of lead singer, Liam Gallagher.  Archer’s “A Bell Will Ring” later in the album, adds buoyancy and catchiness with its searing guitar riff to open the song.  Of course, Liam Gallagher demonstrates increased maturity in his song-writing skills with his own offerings:  “Guess God Thinks I’m Abel” and “Meaning of Soul”.

The newer members of Oasis who have gradually replaced the founding members over the years add a stirring musical concoction to the milieu.  Zack Starkey (Ringo Starr’s son) drums on this album and there is something hypnotic about his sense of rhythm.  On the album’s single “Lyla”, for example, Starkey paradoxically sounds like he is free to embellish the rhythm while at the same time maintaining a rock-solid backbeat.  Similarly, the guitar solo that Andy Bell provides for “Keep the Dream Alive” is beautiful in its simplicity:  it maintains a bass note while slightly alternating a higher note in a droning, chiming manner that recalls Bell’s days with his shoe-gazer alumni in Ride back in the 90’s.

Of course, no Oasis album is complete without a number of tracks provided by the band’s chief songwriter, Noel Gallagher.  On Don’t Believe the Truth, the older Gallagher shows that he has grown a lot as a lyricist and songsmith.  He also shows that he is still able to “steal”, pay homage to, and re-appropriate songs from the classic Rock pantheon.  On “Mucky Fingers” he channels The Velvet Underground and on “Part of the Queue” he shows his long-held fascination with the songwriting of Burt Bacharach.  Where in in his earliest songs, Noel would limit his lyrical scope to such themes as partying, living the rock and roll lifestyle, and tributes to Beatles songs, on this album he demonstrates a poignant world-weariness, disillusionment, and unsteady precariousness within his lofty position in the world of rock music stardom.

Overall, Oasis’s second to last studio album is an under-rated gem.  It satisfies in its diversity and scope.  Although it has been virtually forgotten and overshadowed by the bands earlier recordings, it deserves credit and repeated listenings.

Thoughts on Season 1 of "Stranger Things"

One of Netflix's latest series that everyone is talking about and binge-watching is "Stranger Things", a sci-fi, mystery, horror, adventure opus that takes the early 80's suburbia as its setting and does so, through the use of a retro-sounding soundtrack, sets, costuming and art direction, quite effectively.

Aside from some questionable acting performances, the series is enjoyable and often riveting.  Created by, often directed and written by newcomers the Duffer Brothers, the show has an obvious love and nostalgia for the time period of 1981, right around the time when "The Empire Strikes Back" was released and The Clash's "Should I Stay or Should I Go?" was repeatedly played on many a teenager's tape deck. 

From the beginning we are thrust into mystery and fear-invoking atmosphere:  a youngster disappears one night on his bicycle ride home.   There is an ominous research facility on the outskirts of town that may be responsible.  Or maybe its something otherworldly: an extraterrestrial creature existing in an alternate dimension is spotted at times.  The missing kid has a bunch of pals who take it into their own hands to discover their buddy's whereabouts.  Meanwhile, the boy's mother (Winona Rider) is visited by inexplicable occurrences that may or may not be the result of her deteriorating grip on reality. 

There are countless references to period popular culture that film fans and generation X-ers will devour.  "The Goonies", "E.T.", "Close Encounters of the Third Kind", and "Stand By Me" are just a few of the references that may be spotted throughout "Stranger Things".

Perhaps its all a bit hokey and a few loose ends are not tied up in the end.  But the period detail and sense of adventure is phenomenal and fun.  The Duffer Brothers have come up with a gem and viewers should look forward to their future work.

Janis Joplin: Little Girl Blue (2015, dir. Amy Berg)

Few musician documentaries have delved into the personalities of its subjects as succinctly and effortlessly as Amy Berg's "Janis Joplin: Little Girl Blue."  Through the use of narrated personal letters written to family, friends, and lovers as well as interviews, Berg weaves a tapestry of glimpses into the inner workings of Joplin's head and mindset at various stages of her career and life.

I was not ever a huge, die-hard fan of Joplin's music, nor did I exist during her own existence on this planet.  However, this film gave me new insight, understanding and appreciation for this gifted but tortured artist.

Joplin's early years in small-town Texas are enlightening as to the inspirations and seeds that would soon flower into her momentous career in San Francisco and worldwide.   The bittersweet aspects of her relationships and circumstances are truly heart-wrenching at times.

The film does a masterful job of portraying the ravages of addiction in Joplin's years-long taste for heroin and just how profound a change it was that would transform Joplin's personality at times and affect every aspect of her life.

The music throughout the film is powerful and enjoyable enough to convert any uncertain or undecided musical explorer onto Janis's oeuvre.  Her onstage performances were truly earth-shattering and tremendously powerful.  She had a voice so strong and at the same time she would often scream her music out in a way that some would find hard to listen to.  Given a little exposure to it, you really warm up to it and are transfixed by the live performances.

In the end we are left to wonder what could have been.  Had things turned out a little differently and Janis survived, got clean, ventured on perhaps we would have been graced with even more inspiring music and stories.  Like many musicians who died young, these questions will constantly come up for generations to come.  

You can see Janis Joplin's charisma shine through in all the footage of her in interviews, performances, photos, and home movies.  For this reason she will be eternally missed.

Kubo and the Two Strings (2016, dir. Travis Knight)

For those wanting a jolt of visual-electricity to adhere to their summertime thirst for adventure,
beauty, and emotion, look no further than Kubo and the Two Strings.  Its simple yet intricate animated style will appeal to audiences of all ages and its tale of a quest for reunion with what is lost will strike to the heart, bones and soul of anyone.

Some of the intended humor in the dialogue falls a little flat but there is an elegance to the animation in its combination of traditional Japanese art and Disney-style visuals that make up for that slight downside.  The story-line is simple and will appeal to children.  Adults, too will like it for its universal themes of the unbreakable ties of family, redemption, and the transcendental quality of music. 

In a summer where the filmic landscape is particularly desolate, Kubo and the Two Strings is a welcome addition to any person's viewing experience.

David Ayer's Suicide Squad is a Mess

Instantly forgettable, devoid of any depth or surprise, David Ayer's Suicide Squad, based on a DC comic, is a total waste of time.  The plot is stupid, the acting is bad and the characters are one-dimensional.  The worst has to be Margot Robbie, who in the guise of her character, Harley Quinn, never is able to make the viewer invest in her trajectory, frequently espousing vapid one-liners and other cliched dialogue. 

This lack of investment in character is one of the chief flaws of the film:  we do get an initial rundown on the characters in a totally unoriginal, flashback/role-call of each one, but there is not an iota of major character development and backstory which would add intrigue and freshness to the overall picture.

Perhaps I'm not an avid comic-into-film, die-hard.  Maybe those more versed in the world of the Suicide Squad comic and comics in general would mine more pleasure out of this film.  Then again, maybe the opposite is true.  There have been far better films based on graphic novels and comics.  Suicide Squad stands as one of the worst I've seen.

It has been the norm in recent years for this genre to frequently bend the line between good vs. evil.  Suicide Squad's band of quasi-humans does this in a way but never in a manner that makes the viewer question his or her own notions of the theme and the struggle in the hearts of all humanity.  The whole process seems mechanical and wooden:  there is no soul to the story, characters, or film as a unified entity.