BURN AFTER READING : A MOVIE REVIEW
This is the latest addition of the Coen Brothers’ Great Americana Circus, in which various American regions are held up for satiric inspection. As is usual with the CoBros, off-beat humor is readily available. For Americans who would like to travel around America “just to see it all” but just can’t find the time, the CoBros’ DVD film oueve may provide a possible answer, albeit a caricatured one.
As is usual for the CoBros (but certainly not from all other directors), they get good performances from their players. Frances McDormand, not surprisingly, is featured in this film (she’s married to one of the directors) and very amusing as the woman who wants to be more than she can be–with a little help from her cosmetic surgeon. George Clooney reappears, rhis time as a variety of federal bodyguard. Brad Pitt appears as a physical therapist associate who chews gum to the tune of his Walkman. He is showing signs of being beyond “young man roles,” so that he appears to be not quite right here. Still, he has the looks and acting ability to pull the role off. Ever since I saw him in The Army of the Twelve Monkeys, I’ve known that he could act. Still, the role belonged to a young Brad Pitt or to someone such as Ed Byrne, who played “Kookie” in 77 Sunset Strip. The best performance was rendered by John Malkovich as the C.I.A. official who is being eased into “nowheresville” in the pecking order at Langley. Richard Jenkins turns in another amusing role as a sort of lovesick superior to Frances McDormand’s character. I might add that Katie Swinton was nearly perfect as the cool, tough wife of Malkovich’s character, Osbourne Cox.
Parenthetically, one of the most interesting things in this movie was a brief, discreet shot of the C.I.A. emblem, which occurred during one of the scenes at Langley. I had never seen or noticed it before. While I’m aware that the U,S. governmental seals and emblems are sometimes composed of occult symbols, the one shown in the movie was more suggestive of real allegience. It was a white background field in the form of a shield that hosted a red star. This “red star” has been associated with Edom-controlled nations, corporations, products, and–as we see here–the nation within a nation known as the C.I.A., which has diplomatic relationships with congress, the president, and other intelligence-gathering organizations. It has its own gross-national product and balance-of-payments issues. Drug-running became an industry for the C.I.A. to increase its available funds whereby to increase its reach. Shady-doings are now de rigueur in the United States governmental branches, so there is hardly a raised eyebrow about crimes in government today. The nice thing about the C.I.A. is that it doesn’t let you know that it is an ongoing criminal enterprise. That way, people are free to suppose them to be on “our side.” No organization that bears the “Red Star of Edom” is ever anything other than ruthless, brutal, avaricious, and international.
The locale for this latest CoBro film is the Washington, D.C., Metropolitan area. For all practical purposes the scenes take place in or about Georgetown and adjacent areas, the Mall, and Langley, VA. The social milieu is composed of people of the middle level (or lower), who are stuck in the turf of the wannabes and feel a little desperate that they may be sinking–or maybe missing out on opportunities. Using others, betraying others, and even criminal acts may seem justified, due to needs of the moment. With no real God or moral order, it’s anything goes under the obscuring shelter of “family values” and “national security.”
The Film Capsule: In a “slice of caricatured life” in Washington, D.C., rendered through the lives of different sets of people, who, initially, for the most part don’t know one another. As the film proceeds through numerous scene cuts, these people’s lives are made to converge in an array of deadly ways. (The CoBros must have blood–it’s that simple.) The film begins (and ends) with an orbiting “bird in the sky” view of the Langley, VA, and adjacent Potomac river area. The “birdseye” zooms in, until the moviegoer finds himself in a room with a handful of men. One of these men is Osbourne Cox (Malkovich). He is being officially informed that he was losing a respectable slot for a significantly lesser one. For a fairly senior official and son of Princeton University, this was hard to bear. One of the pretects is that he drinks “too much.” He notes that one of his accusers is a Mormon and that any drink was “too much” for him. Anger not availing him any, the clean-pated Cox goes home. He is going to resign from the C.I.A. and write a book. Meantime, his wife, Katie (Swinton) is having an adulterous relationship with Harry Pfarrer (George Clooney). About Osbourne, she’s cool and no-nonsense. She’s got divorce not too far from the front burner. She expects to marry her adulterous partner, Harry, who is also married to a woman who also writes. Hence, she’s conveniently away on book tours or closeted with her word processor. They seem happy. One infers that Harry is perfectly content to stay married to wife, Sandy (Elizabeth Marvel), and also to indulge in as many extra-marital relationships as he can squeeze in. He seems to be good at it, and Washington appears to abound with women of a kindred spirit. One of these is Linda Litzke (McDormand), who, as with Harry, cruises the internet for dating websites. She has signed up on at least one, as the moviegoer observes her on a couple of dates, the last of which is with Harry Pfarrer. She works at a DC spa. Her supervisor is Ted Treffon (Richard Jenkins), who clearly has romantic eyes for Linda, and just as predictably, she is barely conscious of him as a romantic interest. Her friend and associate at the spa is Chad Feldheimer (Brad Pitt), who is a peppy, gum-smacking sort–a bit lightweighted in the dome, who gets drawn into her machinations. She is obsessed with a body makeover, which will cost a bunch of loot. How to get the loot? There are funny renderings of her at the telephone, trying to make contact with insurance people, etcetera, about financing the surgery. Meranwhile, Osbourne Cox, who is very frequently seen to be drinking, is proceeding with his book. He has an agent and provides him with a DVD draft of his book. This agent loses it at the spa. When Chad gets it to Linda, she perceives it as highly classified material and attempts to blackmail Osbourne Cox for the money to have her operation. Chad is drawn into her extortion scheme. At this point the moviegoer may wonder if the CoBros have ripped off the basic concept from Dog Day Afternoon, directed by Sidney Lumet. It seems that committing a felony to finance cosmetic surgery (never without risks) is evidence of temporary insanity. That’s pretty much what Osbourne Cox tells Chad Feldheimer when they rendevous for what Chad thinks is going to be a bag of cash, paid for the missing DVD. Pitt and Malkovich are pretty funny here. There’s a struggle for the DVD, and Chad gets it back to Linda. She then decides to try to sell the DVD to the Russians at the embassy. She has only one DVD and lets them take a look, implying that there are more where that came from (there are not, of course). This fiasco goes nowhere, but McDormand is funny as she deals with the Russians. For her surgery she’s willing to play for high stakes. She hasn’t gone unnoticed by the C.I.A., as she has visited the Russian Embassy. Also, she has a date with Harry Pfarrer through their mutually used website. All of her first-time webdates seem to end in bed, and so it was with Harry. These two get along well. As all these sets of deceiving, angle-playing people converge, things begin to play out in unexpectedly deadly ways. None of these people are what today’s crowd would consider “bad people.” Harry Pfarrer in his government work is allowed to carry a concealed handgun, which he jokes about openly, saying that he had never had to shoot anyone in twenty years, or some such. But times, they are a-changing! Katie has changed the locks on the doors of her townhouse, thrown Osbourne’s clothes & stuff out, and with her attorney’s help been able to rip-off all Osbourne’s bank-based loot. It makes for disappointing trips to the ATMs. Plus, someone is tailing Osbourne. He is really bent-nosed about all that’s has happened recently and he’s in no mood to take anymore. Harry visits Katie at her townhouse. Finding himself alone, he showers. Meantime, Chad has broken into the Cox townhouse to locate and steal Osbourne’s other DVDs. Seeing that Harry is in the bathroom of the upstairs bedroom, Chad seeks to hide in the closet. It’s safe to conclude a symbolic side to Chad’s move. As things happen, Harry goes to the closet, discovers Chad, reaches for his gun excitedly, and blasts Chad in the noodle. It’s pretty messy and shocking. what to do with the body? He bags it and drags it to the trunk of his car. He’s being tailed also. The moviegoer learns later from a scene at the C.I.A. that he dumped the bag of Chad in the Cheasapeake Bay. The C.I.A. chief concluded that it was best to just forgetaboutit. Meanwhile, Linda has pressured Ted Treffon at the spa to use his skills and break into the Cox home, downloading files to offer for sale to the Russians. She’s still obscessed with her surgical procedure–the makeover that will permanently change her life for the better. Ted is discovered by the already deeply angry Osbourne, who demands to know who he is and what he is doing. This bit of violence leasds up to Osbourne, steaming, going outside his townhouse with a hatchet, furious at someone near his car. Oh, brother! O. Cox gets shot down like a dog. The C.I.A. opinion: It’s best–close the file. The Russians tell Linda, “No thanks.” Harry just wants his “momma” to come home from her tour. He’s been a bad boy. The Washington scene hasn’t changed much. Some players fade away; others rise up to replace them in this modern-day “memorial on the Potomac” to Vanity Fair.
All rights reserved. Gobigfoot, 2008.
WORDPRESS CENSORS AT IT AGAIN
I’d like to mention how frequently my posts are published without any notice given by WordPress on its list of “Latest Posts.” They have now decided to “stifle” my book review of “IN THE SHADOW OF LIONS” by Ginger Garrett. How fearful these people must be, if my words cause such desperate acts of censorship, as the many failures to officially note my posts indicate is happening. Let the sun shine in!
Gobogfoot, 2008.
IN THE SHADOW OF LIONS: A BOOK REVIEW
I must admit that I was initially confused, when I began reading Ms. Garrrett’s historical fiction, In The Shadow of Lions. I fully expected to immediately enter sixteenth century England. However, Ms. Garret has chosen to enter upon the body of her romantic adventure by means of a ”story within a story,” which is made to have continuity by the devices of spiritism, parallel and genaeology. For the protagonist, Bridget, her special history lesson, conducted by the Scribe, becomes a touchstone. It will help her to decide whose hand she will take at the border. Ms. Garrett is an imaginative lass.
Although the idea of “guardian angels” for individuals is ancient, Ms. Garrett introduces the idea of guardian angels for families, as well. And, yes! They do influence events. Far-fetched? Perhaps, but the idea of an “invisible hand” shaping events and destinies is also ancient. Hence, the reader may not be entirely surprised to discover that a prominent element in this story is the Scribe’s “Book of Destiny,” touching upon Bridget, Rose, Anne, and others who will be met along the way. Nor is the Scribe the only “not strictly Earthly” being. Beware the Selasals!
One can promptly observe influences from predecessors who have developed variations of this device for relating a tale. Chaucer’s Canterbury Tales, Charles Dickens’ A Christmas Carol, Lewis Carroll’s Alice In Wonderland. L. Frank Baum’s The Wizard of Oz, and Tales from a Thousand and One Nights [numerous authors] are just a few of the imaginative forerunners to Ms. Garrett. As a matter of inference, I have no doubt that the “guiding vision” in this story, Scribe, was inspired by none other than Shaquille O’Neal in the film Aladdin.
Allow me to make a grammatical criticism. At chapter ten on pages 104 and 105, I noticed two instances in which the expression “different than” appears, rather than “different from.” This being so, there are probably other instances as well. As this is incorrect usage, it should not appear. One can forgive a writer slip ups here and there, but how could the book’s copyreader not edit out this mistake? It’s not an issue of style.
So, having initiated my read of this book, I found myself in a hospice, where a patient (Bridget) is rendering a first-person singular statement of “life on the border.” The hospice catered to the needs of terminal cancer patients. These are patients who are frequently treated with strong painkillers, such as morphine. They tend to be elderly, also. Hence, not only were they converging on the border of life and death, material and spiritual, but doing so with minds that are now lucid, now cloudy, and now again hallucinatory. As one dies, reality is annihilated. Hallucinations are a human’s last attempt to make sense of it all.
Thus, from the outset Ms. Garrett draws us into this strangeland. It seems to be an unlikely “looking glass,” yet the reader feels compelled to enter. Enter for the mystery of it. Enter for the adventure. Enter for the challenge. Who are these women? I believe that readers will find the mystery worth pursuing. I did.
It isn’t too long before the reader is removed to “jolly old England.” Through the eyes of a young woman named “Rose” the reader is introduced to a strange ritual cleansing conducted by a cardinal of the Church and a gentleman, who was called “Sir Thomas” and “More.” Rose herself had only recently given birth to a bastard lad, and she was still weak, confused, shamed, and depressed. In the rainy April darkness she crept as near as she dared to watch the disenterment of a priest who had “cast pearl before swine.” As the last embers cooled about the remnant of the stake, the men went to their horses to gallop their separate ways. At that very moment Rose hurled her body before the uncoming hooves. Her desperate act of destruction oddly resolves itself in a kind of rebirth within the warm and ample abode of the man called Thomas More.
Parenthetically, ambivalence by the primary women in this story in regard to simply living becomes a recurring emotional attitude that is worth noting.
The reader understands that Rose conceals a secret, which somehow involves a priest and the Church. Further, there seems to be a kind of standard that is operating here, as well as through time, that small deceits are permissible in ordinary intercourse for purposes of persuasion. Few are immune to its allure.
With this dreary, strange introduction Ms. Garrett leads her guests into a fascinating and important period in English history, as well as in the unfolding Christian idea of itself and its mission. The English characters in this novel are heavily influenced by Christian thought, however aberrant, as well as the pecking order of power. An obligation toward duty is magnified, serving also as a shield and brace for the vast majority of people who exist in a weak, submissive condition. This allows an unjust fate to be rationalized by asserting that one has done one’s duty. Mercy is typically the province of Heaven alone. There is little use for it in Tudor England. In fact aberrant theology may conclude that torture, rightly understood, is a mercy! For the reader it is unnerving to see a nation ruled by aberrant theology, superstition, and insidious rumor-mongering. Yet, this seems to be the case in the England of Henry VIII. Less you be mortified, let me say that it still happens in our thoroughly modern times. It is simply not a cultural imperative.
The contemporary colloquy between Bridget and the Scribe, as Bridget transcribes relevant pages from the Book of Destiny, introduces us to Anne Boleyn. In the telling of the tale Ms. Garrett is wonderfully informative, delightful in her imaginative elaborations of scant historical data, sometimes compelling and always from the female perspective abiding. One must recall how important perspective is at determining the truth of something. Truth must be hemmed in, corralled, triangulated–and even then it may defy precise understanding. Ms. Garrett’s addition is very helpful.
In her tale the meeting of Henry VIII and Anne Bolleyn gets personal under shady circumstances and partial anonymity, as if Zeus had hidden himself in a humble human shape to engage a comely woman. The interlude, however, is characterized by pain and compassion, rather than lust. Yet, one thing leads to another.
Rose and Anne are women from different cultural planes in English society. However, as their lives unfold, they converge. The twin vortexes of national sovereign and religious sovereign each forcefully drawing them and compelling them to choose. The reader gets a good insight into the general life of women during Tudor England, as well as the major figures caught in the wake of that great ship of state–Henry VIII. Sir Thomas More, Lord Percy, Cardinal Wolsey, Catherine of Aragon, Jane Bolleyn, Jane Grey, and many others are woven into the developing image as Bridget and the Scribe “burn the midnight oil.” There is no music playing in the background, save the unsung words of the old coal-mining song: “Whose side are you on, whose side are you on.”
Seemingly unimportant characters in Ms. Garrett’s book can become, in retrospect, more influential than one would ever have suspected.
“I want a home where books do not matter as much as love.”
I believe that this line spoken by Margaret More holds true for all the women encountered. Tension, however, is created by the context, which for all must be lawful. The law springs from either Scripture or the minds of men. For the Tudor-era women love has not been perfected until sanctioned by formal wedlock. Even Rose, who is sexually experienced, does not confuse this unlawful experience as love. In some noticeable degree the legal/familial duties that create dramatic opposition between Henry VIII and Anne Boleyn recapitulate the conflict between King Creon and Antigone. In both cases civil law challenges a “higher” law, which is of a moral or religious order. In both cases the kings attempt to misrepresent their orders as also being of a higher order. This makes compromise or concession difficult. Where neither can concede, tragic conflict become inevitable.
In this tale Anne Boleyn’s family isn’t really lofty, but might be compared to that of an upper middleclass woman today, who had been well-educated, had taken a year’s study at the Sorbonne, and had returned to the U.S. to take an executive position advising David Rockefeller, while sending dust flying with her wit and decollete’, and thus provoking spiteful rumors. In such a scenario the only missing ingredient is the permeating Christian faith, as well as Reformist challenges to it, that characterize sixteenth century England and the Continent.
On the other hand Ms. Garrett’s Rose is alone and a “street person,” hustling her youth and wits to make her daily subsistence wage. For Sir Thomas More, a very prominent and ”enlightened” figure at King Henry VIII’s court, Rose becomes a “social experiment,” which resonates with the Pygmalian tale and, of course, My Fair Lady. Sir Thomas and Henry Higgins have similar goals, differing primarily in the crucial idioms of their cultures, which each attempts to recreate in a lesser specimen. For God, for science, for country and for vanity do they proceed with their “enlightened” (and speculative) experiments.
At least Rose finds and offers companionship within the More household. She finds it in Sir Thomas’ daughter, Margaret. Sir Thomas proves to be a kindly patron also. Through Rose’s eyes, primarily, are we provided with the contrasting, sometimes contradictory, characteristics of Sir Thomas More, which make him finally the most intriguing figure at a court which includes not only Henry VIII but Cardinal Wolsey, the spymaster Cranmer, and the queen, Catherine.
On the other hand Anne Boleyn seems strangly alone. She has a family that possesses a degree of prominence. Yet, they recede in Ms. Garrett’s tale to a hazy reality which is not given much more than passing mention. Anne’s brother George is mentioned a few times, yet he is hardly more than some generic kid. Allusions to George’s misdirected libido are made, and the reader is informed that the power of the sovereign’s sword falls most certainly upon heretics and “doers of unnatural acts.” Still, it is not her familiai influences that we note as shaping her character so much as religious faith and feminine imperatives of that time– and perhaps all time.
Ms. Garrett provides the reader with one year in the life of Anne Boleyn. That year, however, begins with Rose. In fact the reader doesn’t encounter Anne until the fifth chapter.
The Tudor tale by Ms. Garrett is framed by and interacts remotely with a contemporary colloquy between a woman in a hospice and a “vision,” which I have mentioned above. These opening pages in which “Bridget” expresses herself did not please my ear, altogether, due to vocabulary and obscurity. Bridget was a literary agent/editor, who loved, envied and sabotaged her most promising client, “David.” Perhaps these initial pages suggested why she was an agent/editor and not a writer. Nevertheless, as Bridget, her visitor, and the Book of Destiny settle in the reader’s mind, her story, although somewhat thin soup, becomes more savory. By the end of this tale Ms. Garrett achieves an unexpectedly moving conclusion to her story of Anne, Rose and Bridget.
I certainly encourage others to give this book a try, because I think you’ll like it. I think that this is especially true for women.
Lastly, not to be overlooked are the notes by the author in regard to her tale, which are found immediately after the epilog. All in all, In The Shadow of Lions is a very satisfying way to spend a winter’s day.
All rights reserved. Gobigfoot, 2008.




