Tag Archives: Vietnam War

Movie Review: THE POST

Meryl Streep as Katharine Graham

The Washington Post is in an awkward spot as one of the objects of disdain for Donald Trump. However, the Trump White House requested copies of “The Post” and 20th Century Fox has obliged. So, despite the bad blood, apparently, the Donald is curious. And, if he should see it, he’ll discover that The Washington Post knows how to handle itself. Compelling stuff but the heavy-duty serious subject matter may bore Big Don. Besides, it won’t work for him if he’s rooting for Tricky Dick Nixon. For the rest of us, this movie about newspapers and freedom of the press is quite compelling.

We don’t really have spoilers to worry about too much. The Washington Post is inextricably linked in history with the Nixon White House, The Pentagon Papers, the paper’s owner and publisher Katharine Graham, and the paper’s executive editor Ben Bradlee. It’s all the peculiar facts that add up to show the courage involved for Bradlee (Tom Hanks) and especially for Graham (Meryl Streep). The tension resides in the nerve-racking decisions leading up to whether or not to publish material the government deems too sensitive for public, and political, consumption. The key word here is “political,” as the information in The Pentagon Papers was a political bombshell–but never put American lives in danger, as the Nixon White House claimed. In fact, it would save lives as it helped to put a stop to the war in Vietnam.

Tom Hanks as Ben Bradlee

“The Post” is a perfect companion piece to Alan J. Pakula’s 1976, “All the President’s Men.” Director Steven Spielberg would certainly be mindful of comparisons. But the screenplay, written by Liz Hannah and Josh Singer, is on a decidedly different track. This is more of a character study and not so much a political thriller. That said, it certainly shares some of the same energy. As much as Hoffman, Redford, and Robards commanded the screen, so too does Streep and Hanks.

June 21, 1971: Ben Bradlee and Katharine Graham leave U.S. District Court in Washington.

You can also make a favorable comparison with Adam McKay’s 2015 “The Big Short,” another movie that neatly presents a myriad of facts in an easily digestible form. Both movies are about confronting deception at an outrageous level. In one, the public has been duped into falling victim to Wall Street greed. In the other, the public has been duped into feeding the military industrial complex with the lives of its sons. The Pentagon Papers were, at their core, a study in failure intended for scholars at some future time. To have this study released to the public while the war was raging, was unthinkable. It uncovered deception at a massive scale going from Truman to Nixon. In order to publish, The Washington Post had to be willing to defy the courts’ understanding at the time that this act would amount to treason. To publish was an easy enough task for Bradlee to commit to. But for Graham, it was a gamble that put the very paper at risk of extinction.

Finally, “The Post” is an even closer companion piece to Spielberg’s own 2012 “Lincoln.” This all perfectly dovetails with Spielberg’s films of America at war as well as his biopics of American leaders in crisis. Katharine Graham is the pivotal character going against the status quo and conventional wisdom. Why can’t she just lay down and accept the Nixon White House’s demands, right? Streep gives a memorable performance that tenderly follows Graham’s journey from tentative caretaker of a vulnerable family business to a confident leader at a national, as well as an international level. For Hanks, he takes Bradlee from a man born confident to a man more modest and empathetic. Both must and do rise to the challenge of a White House that perceives the American free press as an enemy of the state. Sound familiar? Do you really think Donald Trump has watched this–as well as processed it?

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Filed under Academy Awards, Movie Reviews, movies, Oscars, Steven Spielberg, Vietnam War

Review: THE BEST WE COULD DO by Thi Bui

THE BEST WE COULD DO by Thi Bui

THE BEST WE COULD DO, by Thi Bui and published by Abrams ComicArts, is one of those rare graphic novels with an in depth family theme. This sort of book belongs in the select group of titles like PERSEPOLIS and FUN HOME. In fact, you usually need to turn to the superhero genre, with all its universes and lineages, to find a story in comics that focuses on anything remotely to do with family. I say this tongue-in-cheek but it’s fairly true. Anyway, anytime you add family, you are likely adding something interesting to your story. What happens in Bui’s graphic novel is thoughtful, funny, and totally interesting. When was the last time you read an epic saga about a Vietnamese family? Well, this fills that void in a very compelling way.

Page excerpt from THE BEST WE COULD DO

Thi Bui studied art and law, thought about becoming a civil rights lawyer, but became a public school teacher instead. Someone with that kind of background is just the sort of cerebral and sensitive type of person who gravitates to creating comics. Bui was born in Vietnam and arrived in America with her family as a refugee from the Vietnam War. Her immigrant experience, without a doubt, is part of a continuum that will outlive our current political machinations. This is a story that goes beyond that and addresses the struggles that any family will confront as one generation must come to terms with another. It is also a story about finding one’s self both within and outside the context of family. As Bui discovers, close proximity to family does not necessary mean close ties to family.

Page excerpt from THE BEST WE COULD DO

Overall, Bui has adopted a solid alt-comics approach to her work. It has that intimacy and spontaneity that evokes work coming out of a sketchbook. While Bui is not a career cartoonist who has honed years of experimentation with comics, she provides an engaging and polished style. It will be interesting to see if she chooses to further develop her work in the comics medium. She has created a beautiful book.

Page excerpt from THE BEST WE COULD DO

“The Best We Could Do: An Illustrated Memoir” is a 336-page hardcover available as of March 7th. For more details, visit Abrams ComicArts right here. You can purchase through Amazon right here.

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Filed under Abrams, Abrams ComicArts, Comics, Family, Graphic Novel Reviews, graphic novels, Immigrants, Immigration, Vietnam, Vietnam War

On Isaiah Berlin’s ‘The Hedgehog and the Fox’

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Roy and I were just hanging out at the offices of Comics Grinder when we began to consider the current crisis in the Middle East. I had told Roy that Hillary Clinton was talking, actually warning, about the possibility of an Islamist state emerging from Syria and Iraq. This brought to Roy’s mind an essay by Isaiah Berlin, “The Hedgehog and the Fox.” The Hedgehog represents Plato and Big Ideas. The Fox represents Aristotle and Small Ideas. It is a classic that explains the virtues of knowing many small things as opposed to knowing, embracing, being blinded by, only one big thing.

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Filed under Essays, Geopolitics, politics

Review: ‘Vietnam Journal Vol. 1: Indian Country’ by Don Lomax

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“Vietnam Journal,” by Vietnam veteran, Don Lomax, is one of the great examples of what can be done with comics beyond superheroes. Thanks to dedicated supporters, like Gary Reed, the publisher of Caliber Comics, this is a comic that has secured its place in history. But there are always new readers to reach and new ways to reach them. Caliber Comics is releasing the entire run of this Harvey Award nominated series starting with “Vietnam Journal Vol. 1: Indian Country” With a very special thanks to comiXology, this work will reach an even bigger audience. You can find the first volume of Vietnam Journal at comiXology here.

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Filed under Caliber Comics, Comics, Comics Reviews, Don Lomax, War

Movie Review: ‘Far Out Isn’t Far Enough: The Tomi Ungerer Story’

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Tomi Ungerer was a household name. He was the most popular children’s book illustrator in America. He is also a masterful artist of subversive and erotic art. That’s what got him into trouble within the children’s book community. His career was derailed. But he wasn’t. “Far Out Isn’t Far Enough” is a powerful documentary about a most remarkable man and artist. Tomi Ungerer’s life and career spans World War II, at the hands of the Nazis, into the high flying life of New York City in the “Mad Men” era of the ’50s and ’60s, and into the heart of the counterculture movement. It’s a life, not unlike Robert Crumb’s, full of explosive expression and heroic turns.

Director Brad Bernstein has brought into focus the life of Tomi Ungerer in a variety of ways. First and foremost, is Tomi Ungerer, who eloquently speaks his mind and is the guiding force throughout this film. It is his expressions, like “Don’t Hope, Cope” and “Expect The Unexpected,” that are used as chapter headings and repeated in various ways to draw out their meaning. Tomi’s life story is so compelling by itself too but, with the help of an impressive group of individuals, we hear his story told from many vantage points. This is a wonderfully structured documentary that alternates with grace between interview subjects and vivid use of animation (thanks to Brandon Dumlao, Alain Lores, and Rick Cikowski) that makes Tomi’s already powerful images jump out at you all the more.

We quickly take in Tomi Ungerer in the opening scenes. We see an older gentleman, with sad eyes and a mischievous smile, who has seen more of the world than has been good for him. He is also full of life and happy to joke around. But his comments can be cryptic: “I always have nightmares. I’m always being arrested in my dreams!” There is sadness and gaiety as he says this. He was once the most celebrated artist of children’s books in America. He was a rock star among illustrators. And then he disappeared.

Born in 1931 in Strasbourg, France, Ungerer and his family would come to know their Nazi neighbors all too well. Alsace, Strasbourg had only been French for about 300 years so its identity was split evenly Franco-German. This fractured identity would inform Ungerer’s life and his work. While under German occupation, it was forbidden to speak French and German culture prevailed. However, after the Allied victory, Ungerer’s German upbringing was a severe liability. The French, he found, treated him just as poorly as the Germans. And there was no regret by the French to burn German literature. It was very absurd, Ungerer concluded. Life was absurd.

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At age 25, with only sixty dollars, Ungerer moved to America. He had always managed to cope and to prosper as an artist and so he would try to make a living from it in New York City. As luck would have it, Ungerer’s arrival in 1956 was a perfect time to break into the wildly lucrative world of illustration. Not only did he manage a foothold, he brought with him a whole new style that peeled away at conformity. The problem for Ungerer would be that, as he reacted to the times, he would just keep peeling away to the point that he crossed a line.

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The musical score, by Nick Dei Rossi, dips into an ominous tone once Ungerer has come into his own and matured as an artist. He always loved the children’s book illustration he was known for but now he was reacting to the Civil Rights movement, the Vietnam War, and the Sexual Revolution. His peers, artists like Maurice Sendak and Jules Fieffer, admired what he was doing. Both are interviewed extensively in this film and provide great insight. They both loved Ungerer. But there was nothing they could do when Ungerer met his Waterloo.

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Ungerer’s life, post-America, is not a sad story. He did give up children’s book illustration for 25 years but he discovered a whole new life, a life with new challenges and old fears that needed to be overcome. We come to realize that there will always be a touch of fear in this man’s life but it’s a good kind of fear, the sort he can use as a challenge. He seems to already have come to terms with the fear of death. Even if it should turn out to be vast nothingness, he is encouraged that this will be an opportunity to fill the nothingness with something from his mind. In the end, he remains encouraged and eager to continue crossing a line, pushing the envelope. The Tomi Ungerer expression used for the film’s title, “Far Out Isn’t Far Enough,” proves to be his way of life.

“Far Out Isn’t Far Enough: The Tomi Ungerer Story” is currently in theaters. Be sure to visit the site here for details. If you’re in Seattle or Minneapolis, you can catch it this weekend at one of your Landmark Theatres. Check it out here.

And you can listen to my podcast interview with the director/writer and lead editor/animator of this dazzling documentary here.

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Filed under Design, Illustration, New York City, politics, pop culture, Tomi Ungerer