Showing posts with label new york. Show all posts
Showing posts with label new york. Show all posts

August 29, 2013

CONTAGION Has Me Preparing For A Global Biological Crisis

"Someone doesn't have to weaponize the bird flu.  The birds are doing that."
Sunday was our last day in New York and sadly we didn't really get the chance to do much.  After another late morning we packed up our stuff and trekked back downtown in search of Gray's Papaya, only to be betrayed by Google Maps, which still listed a location near the bus stop that had long since closed.  Instead we grabbed a few slices of pizza across the street from Madison Square Garden and had some beers at a nearby patio bar before climbing back onto the bus and heading home once again.

Contagion marks the latest step in my impromptu mission to catch up on the rest of Steven Soderbergh's filmography.  (I've still got Che, Bubble, The Limey, Full Frontal and The Girlfriend Experience to go, among others.)  The movie was absolutely fucking terrifying in the worst way possible - unlike a psycho slasher movie, the events of Contagion feel not just disturbingly plausible, but bordering on outright prescient.  And for the record, watching Contagion on a bus from New York to Boston only augmented that terror - it's like watching United 93 or Flight while on an airplane.  As a result, I spent the next two days spitballing out my own epidemic contingency plans in the case of just such an outbreak.  I'm not about to become one of those doomsday preppers who starts stockpiling canned goods, but it never hurts to have a basic strategy in place.

First and foremost is location, location, location.  Major cities are pretty much a death sentence, giant peitri dishes that virtually guarantee infection given enough time.  Thankfully the disease from the film was propagated by touch or fluid exchange as opposed to being airborne.  If a disease like this goes airborne, we're screwed; makeshift plastic suits like the one Jude Law wears in the picture above will become the required fashion of the day.  But for a disease spread by contact, the first priority should be getting the fuck out of dodge to the most secluded spot you can find.  Living in Boston, there are two logical evacuation destinations: Vermont or Cape Cod.  (I 'm ruling out New Hampshire only because I have friends in Vermont and none in the 'Shire.)  Vermont is certainly remote - living on a mountain with the nearest neighbors located miles away is pretty much exactly what you want in a situation like this.  I suppose I'd have to learn to hunt, as grocery stores are few and far between in those parts, and I'd want to limit human contact anyway.  Besides, depending on how bad things get, there may come a point where I no longer trust the internal plumbing.  At the very least I'll have to get in the habit of boiling my drinking water.

Then again, Vermont might actually be too remote.  I feel like I'm exactly the kind of asshole who would fall down and break my leg and have no way to reach assistance.  Those issues would only become exacerbated over the long winters, when blizzards make the roads totally unusable.  On top of that, if I wait too long to make my move, the government will likely shut down the state borders, which is what happens to Matt Damon's character.  So the Cape makes a good alternative, especially since I've got family there.  Then again, if the initial outbreak goes down in the summer than I'll have to write off the Cape entirely, as the place is choked with tourists from May to September.  Maybe I could venture down to retrieve my family, but they're not even that far down the Cape which is both a blessing and a curse: it's less distance to travel but also far more crowded than I'd like, so it's not the kind of place I want to set up shop so long as tourism is still a thing.

Food and supplies become tricky.  I'll want to hit up stores early and often, but eventually that well is going to dry up.  At some point I'm going to have to ride the wave of looting, whether that means cleaning out my local Shaws and Home Depot or just busting into abandoned homes to gather up whatever I can find of use.  I'm not encouraging general lawlessness - we're not talking about carrying flatscreens out of a Best Buy, we're talking about food, duct tape, gasoline...survival tools.  And speaking of survival tools, at some point firearms are probably going to come into play.  I used to go to the shooting range near by apartment in Los Angeles, so I've fired a weapon before, but I'd hardly consider myself comfortable around guns.  Still, eventually I'm gonna have to protect myself against the infected, or even just some asshole who's trying to take my gear.  Here's hoping I'll have the resolve to do what's needed.  Either that or I need to find a friend who's got a better stomach for these things.  And let's just hope that I never find myself on the other end of that equation, attacking innocent people for their supplies.  Unlike some others, my first instinct would hardly be turning into a raiding bandit, but when push comes to shove there's no extreme too far in the face of starvation.

Paranoia also has the potential to become a serious non-biological threat.  Jude Law's character is a blogger who sees the writing on the wall after the first few documented deaths and, untrusting of the federal government and the CDC, is intent on spreading the word and advocating preparedness as well as the virtues of a natural supplement called Forsythia.  Law claims it's an effective treatment against the disease and that the CDC is refusing to sign off on its use because they're secretly working with pharmaceutical companies in order to profit off the disease.  As much as I hate to admit it, such a scenario does not seem all that far-fetched.  Certainly there comes a tipping point where the survival of the human race and of our global society becomes of paramount concern.  After all, dollars are useless in a post-apocalyptic wasteland.  But society never reaches that point in Contagion.  Tens of millions are killed worldwide, but law and order remains largely intact so that they never experience the kind of societal breakdown seen in something like The Walking Dead.  As long as that's true, it seems almost obvious that governments and drug companies would be working hand in hand not for the betterment of mankind, but to protect their own power structures.

In a way, Contagion is almost a best case scenario.  There's global devastation to be sure, but it's still considered somewhat manageable.  Once a vaccine is discovered, bracelets are issued to prove that you're not a threat.  The system remains in place, even if it is a bit worse for wear.  A disease like this could just as easily be far more lethal to the human race, moving through the air or water in such a way that any form of protection becomes less and less viable.  The final scene shows the actual genesis of the disease and it is alarmingly simple, the kind of naturally occurring freak accident that seems not so much a likelihood as an inevitability.  We may act like the masters of our domain, but eventually the Earth is going wipe away every trace of humanity, whether it comes in the form of a giant asteroid or a microscopic bacteria.

I say all the more reason to invest in space travel.

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Title: Contagion
Director: Steven Soderbergh
Starring: Matt Damon, Kate Winslet, Laurence Fishburne, Gwyneth Paltrow, Jude Law, Marion Cotillard, Bryan Cranston, Jennifer Ehle, John Hawkes, Demitri Martin, Elliott Gould
Year Of Release: 2011
Viewing Method: Netflix DVD (Laptop on a bus)




A Great New York Night With A MOVIE 43 Chaser

"Cats don't even process images in that way."
The morning after the wedding we slept in till almost noon, thus sadly missing out on brunch and the chance to say goodbye to some folks.  But eventually I made my way back to Manhattan so that I could sign the paperwork and make the marriage official.  (Hilariously, Kristina accidentally signed on the line marked for a witness instead of the bride, which I maintain was a brilliant attempt to get out of the wedding without anybody noticing.)  Jamie and I met up with some local friends who weren't at the wedding for a drink at the Blind Tiger on Bleecker St before returning to the Bronx to get cleaned up for the evening performance of Once, based on the film starring Glen Hansard and Marketa Irglova.  We're both fans of the original movie as well as the incredible soundtrack, but the big draw for us was that the main character was played by Arthur Darville, a.k.a. Rory The Roman from Doctor Who.  Darville was fantastic and the show was loads of fun; they even have a working bar on stage that you can get drinks from during the pre-show and intermission.  Personally I prefer the film to the stage version, as I think they've made the guy too passive and the woman has become a total Manic Pixie Dream Girl, which she very much is not in the original.  But the staging is pretty clever and the music is still great.  Also, the guy's father was played by fucking Luthor from The Warriors!  (Thanks to Billman for pointing this out to me after the fact.)

During intermission I got a text from Rob.  It seemed that Cochran, one of the groomsmen, had his birthday plans foiled when his fiancee Michelle came down with a wicked case of food poisoning.  Being the good guy that he is, Cochran wouldn't leave her alone in the apartment they were staying in, despite her insistence that he go out and enjoy his birthday.  So instead we took the party to him, gathering up beers, bourbon and snacks and showing up at his door around 11:30 PM.  We had goddamn blast, drinking and playing "The Hat Game" (like "Celebrity" mixed with charades) into the wee hours of the night.  As is typical with our group, there was a lot of laughter that night.  It's a rare occasion when we're all together in the same room and at one point I just sat there and looked at this collection of some of my oldest friends, giving each other shit and cracking ancient inside jokes...it was one of those moments you just want to live inside of forever.

But eventually we had to trek back to the Bronx and I still had a movie to watch.  By the time we got back to the apartment it was about 3:30 AM, so I needed something short and funny.  I selected Movie 43, a movie which I was drawn to for three reasons: first of all, every trailer made it look like a modern day Kentucky Fried Movie, a movie that blew the damn doors off my brain the first time I saw it.  Secondly, the list of on-camera talent is amazing, featuring a unique mix of both comedians and Oscar winners including (but not limited to) Hugh Jackman, Kate Winslet, Jason Sudeikis, Justin Long, Terrence Howard, Elizabeth Banks, Dennis Quaid, Greg Kinnear, Chris Pratt, Ana Faris, Naomi Watts, Liev Schreiber, Stephen Merchant, Halle Berry, Johnny Knoxville, Sean William Scott and Gerard Butler as a foul-mouthed leprechaun.   And finally, while each segment has a different director, the whole thing was shepherded by Peter Farrelly*, who is quite simply one of the funniest guys I've ever met.

The film is pretty uneven, with some segments being insanely great while others left me scratching my head in confusion.  Halle Berry and Stephen Merchant playing Truth Or Dare simply does not work, and neither does "Machine Kids", "iBabe" or the weird connecting tissue with Dennis Quaid as an unstable director who's pitching all these shorts to Greg Kinnear's studio exec.  But there are some solid bright spots too; considering I was watching the movie alone at approximately four in the morning, the fact that it not only kept me awake but actually elicited honest laughter is more than a bit impressive.  There's a pretty good "superhero speed dating" segment by James Duffy that serves as a pretty good followup to his original online short starring Justin Long as Robin and Sam Rockwell as Batman.  Schreiber and Watts are great in "Homeschooled" as parents who home school their teenage son with extra emphasis on all the psychological torment of high school, while Elizabeth Banks directs a funny segment about two teenage guys who go into a blind panic at the sight of a girl having her first period.

The two standout segments, however, are the ones that bookend the movie.  At the opening we get Kate Winslet on a blind date with Hugh Jackman as a wealthy bachelor with neck balls.  That's right, Hugh Jackman plays a man with testicles hanging below his chin.  I feel like the scene is a triumph simply for existing, and I love that both Jackman and Winslet each read that script and said, "Neck scrotum?  SIGN ME UP!"  But by far the best segment is the very last one, directed by James Gunn and entitled "Beezel."  It's about a perverse and sadistic animated cat who's jealous of his master's new girlfriend.  Credit to Josh Duhamel for really throwing himself into an extremely silly role, while Elizabeth Banks kills it as the girlfriend who's pulled into a knock down drag out with this "Garfield reject."  The actual animation for Beezel is super low budget, but it totally feels like a twisted dry run for Rocket Raccoon in Gunn's upcoming Guardians Of The Galaxy, which is easily the most exciting of all the impending Marvel movies.

Oh, and if you want to really cry laughing, then read this email exchange between Gunn and the studio about the song he wrote for Beezel called "That Gay Fucking Cat."  In truth, Gunn's list of potential song titles makes me laugh harder than anything in Movie 43.



*Full disclosure: the Farrelly brothers are friends of the family and I worked as a PA on Fever Pitch in college, so I'm usually predisposed to like their shit.

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Title: Movie 43
Directors: Elizabeth Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, Peter Farrelly, Patrick Forsberg, Will Graham, Brett Ratner, Jonathan van Tulleken, James Gunn
Starring: Hugh Jackman, Kate Winslet, Jason Sudeikis, Justin Long, Terrence Howard, Elizabeth Banks, Dennis Quaid, Greg Kinnear, Chris Pratt, Ana Faris, Naomi Watts, Liev Schreiber, Stephen Merchant, Halle Berry, Johnny Knoxville, Sean William Scott, Gerard Butler
Year Of Release: 2013
Viewing Method: Redbox DVD






Officiating A Wedding That's Devoid Of MELANCHOLIA

"Life is only on Earth.  And not for long."
Friday was wedding day and we had promised to help do a little setup earlier in the day, including some modest flower arranging.  I also helped organize the props for the makeshift photobooth, most of which I had purchased myself at my local Dollar Store.  I was particularly proud of this dinosaur hat:


And yes, the wedding had a hashtag.

The ceremony and reception were in Manhattan but since Jamie and I were staying in the Bronx we ended up spending lot of time riding the 2 train back and forth throughout the weekend.  Anticipating the hectic nature of the day, I decided it would probably be best to get my movie out of the way first thing.  I chose Melancholia for no other reason than the fact that it partially takes place at a wedding.

I'll admit that Lars von Trier is a filmmaker whose work should be much more familiar to me.  I saw Dogville years ago and I've had both Melancholia and Anti-Christ sitting in my Netflix queue for ages now, so I was happy to finally get around to the former.  (From what I understand, the latter will require a certain state of mind and viewing environment in order to properly digest the subject matter.)  I wish I had been able to see Melancholia in theaters, if only for the film's gorgeous opening sequence which might be one of the most beautiful collection of images I've ever seen in a film.  I know lots of people who strongly dislike this movie and I can see why, but I had totally the opposite reaction.  I was completely engrossed in both the twisted drama of Justine's trainwreck of a wedding reception as well as Claire's slow-motion freak out over the impending arrival of rogue planet Melancholia.

This wasn't my first introduction to Charlotte Gainsbourg, but it's been so long since I've seen her in anything that I was, for all intents and purposes, seeing her with fresh eyes.  She's absolutely superb and it's easy to see why she's starred in von Trier's last three films.  But even Gainsbourg pales in comparison to Kirsten Dunst, who simply must be seen to be believed.  Dunst gives an incredible performance that only solidifies my belief that she's clearly much happier working with auteur directors on more independent and artistic pictures.  People love to give her shit for mainstream stuff like Spider-Man and I'm generally not inclined to argue with them.  I'm certainly in the minority when I say that I absolutely love her in Cameron Crowe's Elizabethtown, but it's her work in stuff like Eternal Sunshine, Marie Antionette and Melancholia that I think gives us the clearest picture of the kinds of movies she'd prefer to be making.  She is so present and immersed as Justine that it's actually startling to watch; Justine's depression is wonderfully nuanced so that even when Dunst is smiling through her wedding reception you can see her heart crumbling behind her eyes.  It's devastating to see her reduced to an immobile husk of a woman in the second half, which makes her steely resolve in the film's closing moments all the more affecting.  Even if the rest of Melancholia isn't exactly your cup of tea, this is a career performance from Dunst.  Her talent here is simply undeniable.

Rob and Kristina's wedding went off without a hitch.  We had worked out my officiant script the week before, opting for something short and sweet rather than ornate and flowery.  The ceremony was held at the Manhattan Penthouse on 5th Avenue, with a beautiful view of the city as well as the new World Trade Center Tower visible through the large picture windows directly behind the bride and groom.  THe ceremony clocked in around twelve minutes long and as soon as it ended I ran off with the bridal party to take pictures in a cobblestone alley down the street before returning to catch the end of cocktail hour.  Kristina is a vegan so there was not a morsel of meat to be found on the premises.  I do like meat an awful lot, but I'll admit to going back for a second vegetarian burrito.  There was plenty of drinking and dancing throughout the night, eventually giving way to karaoke at a bar around the corner before Jamie and I eventually caught a 3 AM train back to the Bronx.

I'll say this for New York, I do appreciate subways that run all night.  Boston, take note.

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Title: Melancholia
Director: Lars von Trier
Starring: Kirsten Dunst, Charlotte Gainsbourg, Keifer Sutherland, Alexander Skarsgard, Stellan Skarsgard, Charlotte Rampling, John Hurt, Udo Kier
Year Of Release: 2011
Viewing Method: Netflix Instant (TV)




Here's Hoping That A GOOD DAY TO DIE HARD Marks The End Of John McClane


"I kinda thought we would just wing it, you know?  Running in, guns blazing.  Make it up as we go."
A few weeks ago I had the great privilege of traveling to New York City in order to not only attend, but actually officiate the wedding of my two dear friends Rob and Kristina.  Rob and I met sixteen years ago on the first day of freshman year of high school.  At the end of the previous year, the admissions department had assigned every eighth grader an incoming freshman that they were supposed to call during the summer to answer any questions the new student might have, and so that the new kid would know at least one person when they got to school.  I didn't know any of this at the time, but when I happened to start talking to some guys at orientation and eventually introduced myself, Rob turned to me and said, "Oh hey, I was supposed to call you this summer and answer questions or something."

"Don't worry," I answered.  "I wasn't really home all summer so you probably wouldn't have gotten a hold of me anyway."

"Good." Rob said.  "If anyone asks, I totally called you."

That's how we got to be friends.

Kristina was a girl who went to Emerson with me and actually ended up living with another friend of ours from high school.  I suppose I can claim some credit for helping to bring Rob and Kristina together, but then again if Rob hadn't attended USC then I never would have met Jamie.  I guess that makes us even.

The wedding was on a Friday night, which meant I had to be there on Thursday for the rehearsal.  Fortunately the trip from Boston to New York is fairly painless, so Jamie and I took a Thursday morning Bolt Bus out of South Station.  If you're unfamiliar, the Bolt is a fairly inexpensive bus service that provides free wifi on board as well as an electrical plug for each passenger.  The wifi usually isn't very fast and the chances that your power outlet will be fully functional are probably about 70/30, but at least it's not as likely to break down and/or flip over like the Fung Wah.

Rob is a big fan of action movies, so when I cleaned out my local Redbox in anticipation of the trip, A Good Day To Die Hard somehow seemed appropriate.  The Die Hard franchise is an odd duck.  The first movie is a classic, the second is an uninspired retread, the third is exceptionally entertaining (mostly because of Sam Jackson) and the fourth is an overblown mess of action that's really a Die Hard movie in name only.  The fifth entry seemed like a bad idea from the start, so it's fair to say my expectations were pretty low.

Not low enough, apparently.

At this point I'm baffled that the entire franchise doesn't have a stake through its heart.  Hopefully this Russian non-adventure will finally be the last straw.  Willis looks downright bored at this point, and his John McClane is barely even a character anymore.  He's just a guy who shows up in the wrong place at the wrong time and is forced to shoot stuff before tiredly muttering "Yipee-kayee" at the end.  McClane is interesting in the first and third films because he's got a flawed backstory, separated from his wife and a borderline alcoholic who's ill prepared for the shitstorm he's thrust into as well as being physically incapacitated in some way.  (In Die Hard he has no shoes and in With A Vengeance he's perpetually hungover.)  It's not that I have a problem with McClane as a family man, and substituting his now grown kids for his wife Holly does alleviate a certain degree of repetition, but all of the wisecracking asshole has been sanded blasted out of McClane and it's becoming increasingly clear that the only reason that Willis keeps making these movies is because someone at Fox is dumb enough to keep paying him just for showing up.

After the initial success of the first Die Hard, there was a glut of pretenders to the thrown, with every other producer in Hollywood pitching "Die Hard on a boat" (a.k.a. Under Siege), "Die Hard on a plane" (a.k.a. Passenger 57), or Die Hard on a bus (a.k.a. Speed).  This past year, we got not one but two movies that are essentially "Die Hard in the White House" in the form of Olympus Has Fallen and White House Down, or as I like to call them White Olympus Has Fallen Down.  Tragically I missed both in the theater, (I'm planning on a double feature once they both hit DVD) but by all accounts they were each better Die Hard movies than A Good Day To Die Hard, a film whose only redeeming quality is that it makes Live Free Or Die Hard look brilliant by comparison.  At this point, I've decided that I'd much rather watch a dozen movies starring Channing Tatum or Ryan Gosling that riff on the basic structure and premise of Die Hard than watch Bruce Willis shuffle around with a shotgun one more time.

It's no fun anymore.  Now it's just sad.

We arrived in New York and hopped a train to my friend SJ's apartment in the Bronx.  We had time for a quick drink with her and her boyfriend Travis before it was time to head out again.  The cab ride over to the rehearsal was filled with the sounds of an ultra-Christian call in show, which is ironic considering that I'm a devout atheist and was on my way to practice officiating a wedding with a ministry certificate I got over the internet.  Dinner was a lot of fun, held at a cute little Italian restaurant near the wedding venue in Manhattan.  Late in the evening I was goaded by Rob's dad into saying a little something, which I drunkenly tried to conclude by toasting with my water glass.  I immediately abandoned the gesture as bad juju, and instead took up my wine glass, which was predictably empty.  I ended up toasting with an entire carafe of wine instead.

Classy, I know.

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Title: A Good Day To Die Hard
Director: John Moore
Starring:  Bruce Willis, Jai Courtney, Rasha Bukvic, Sergei Kolesnikov, Yuliya Snigir, Cole Hauser, May Elizabeth Winstead
Year Of Release: 2013
Viewing Method: Redbox DVD (Laptop on a bus)



May 15, 2013

MAN ON WIRE Dares Me To Go Big


"I would have a toothache for a week.  But what's the pain in comparison?  Now I have acquired my dream."
Documentaries are a tricky business.  There's an element of timing that presents a unique challenge to the genre; so many docs focus on some long-past event of which limited (or even no) actual video was captured.    With the increasing ubiquity of personal video devices (it still blows my mind that I have an HD camera on my person at all times) documentaries about recent events or individuals usually have a glut of moving images to sort through, while subjects which are historical in nature can be more problematic.  Sure you can get hours of interview footage after the fact, but in today's crowded cinematic landscape, talking heads will only get you so far.  This inevitably leads to staged reenactments which strive to rise above the quality stuff like Unsolved Mysteries or Rescue 911.  Different docs have found various ways to spice up these staged scenes in order to keep them from getting too hokey (I particularly liked the method utilized by Shut Up Little Man!) and the execution of this material tends to be instrumental in defining the style of the overall picture.

Director James Marsh somehow managed to get extraordinarily lucky with his film Man On Wire, the story of a French wire walker named Phillipe Petit who, at the age of 24, spent the better part of an hour balancing on a cable between the two towers of the World Trade Center on August 7th, 1974.  There is a fair amount of reenactment, all shot in black and white with a style that relies on sharp angles and shadow to obscure the actors' faces.  It's a smart choice, as it helps to integrate the staged elements with period images of the real Petit and company.  You see, apparently someone was very conscious of posterity as Petit prepared for his death defying act, because there are hours of vintage footage of the young Frenchman planning the stunt, practicing in a field at home, and pulling off similar feats at the Sydney Harbor Bridge and the towers of the cathedral at Notre Dame.  There's also plenty of footage of the final act in New York, but a lot of it is understandably from the local news.  But for the early 1970's, it feels pretty astonishing that Petit and his crew were able to capture so much in the days before VHS made video recording commonplace.

How do you know I'm a film geek?  Because this guy walked on a wire between the tallest buildings in the world (at the time) and I'm fascinated by his ability to get it all on camera.

The act itself is pretty astounding, doubly so when you consider all the work Petit and his crew had to undertake simply to make the stunt possible.  Obviously the building managers would never give these guys permission to attempt this insane feat, which means the whole thing had to be prepared and carried out surreptitiously.  Petit spent months staking out the World Trade Center, looking for weak points in the building's security while also trying to figure out the actual mechanics of suspending a wire from such a great height.   At one point, while walking around the construction site (the top floors of the building were still incomplete) Petit actually stepped on a nail, forcing him to spend the next few days on crutches.  Hilariously, his physical impairment only served to aid his reconnaissance efforts, as nobody stops to question a guy with crutches.  Just the opposite: they literally held open doors for him.  Petit even pretended to be a French journalist doing a story on the building in order to get information from the workers on the top floors.  (The president of the WTC Association never asked him for credentials because it just wasn't standard operating procedure at the time.)  When the day finally came, Petit and his team posed as workmen in order to get themselves and their equipment up onto the roof.  They even had an inside man (with incredible facial hair) who signed off on their phony work orders, wanting to get in on the action after seeing Petit perform street magic in Paris.  The men spent most of the evening hiding under tarps on the top floor until it was safe to begin rigging up the cable connecting the towers.  How did they manage to get the cable across?  By literally shooting an arrow from one rooftop to the other. They then toiled away through the night in order to secure the wire and as dawn broke over New York City, Petit stepped from the roof of the building and walked out into the open air.

It feels almost miraculous that Petit didn't kill himself.  It's not a matter of skill, as his wire walking talents are pretty much unassailable; mostly I'm impressed that nothing went horribly, horribly wrong in the process. In the various interviews and the clips of the young men plotting everything out, it becomes clear that Petit was more focused on simply getting out onto the wire than he was on trying to make sure that he was going about it in the smartest, safest way possible.  He wants to go, go, go and his team is constantly trying to bring him back down to Earth, telling him that they're not ready yet and there is still work to be done.  Some of them are rightfully terrified that if everything isn't perfect, this thing will all end in tragedy: not only will they lose their friend in a horrific manner, but they'll likely be held responsible after the fact.  Petit feels like one of those guys who's used to everything somehow just working out in his favor, while meanwhile there's a group of stressed and frustrated people sweating the details right behind him.  I've certainly found myself on each side of that equation in the past, leading to more than one intense argument among friends.  Petit is passionate and driven to succeed and that's commendable, but that emotion ultimately has to be tempered by reason..  I had a similar outlook in my younger days, but I haven't had such an intense and singular focus on anything like that in years.  Is this general malaise a symptom of getting older?  Or is it something else entirely, something mindset I can shift out of if I find the right goal?  Right now a lot of my focus is on these movies, but I can certainly do better.  I've got 78 viewings under my belt so far, but only about 50 articles.  Perhaps I haven't shown enough focus, enough persistence.  I've been wading hip-deep into the waters.  It's time I jump into the deep end.

When Petit finally stepped back onto solid ground and was taken into custody by the NYPD, one of the officers said, "I personally figured I was watching something that somebody else would never see again in the world.  Thought it was once in a lifetime."  The destruction of the Twin Towers aside, this statement rings very true; this kind of stunt feels almost impossible to pull off in the post-9/11 world, especially considering how much of the planning and execution was made possible due to lax security.  The film opens with a re-staging of the night before Petit's midair jaunt, and the whole thing is staged like a heist.  That's a very apt description as, logistically speaking, the whole operation is essentially a heist in which nothing gets stolen and everyone gets caught.  But the 1970's were a simpler time, and I can't help but wonder if there's anyone out there today who's willing to go to such great lengths for this kind of stunt, especially when they're just as likely to get mistaken for a terrorist as they are to die from the inherent risks involved.

That's not to say it can't be done.  Man On Wire is, at its heart, the story of a talented guy with a dream who refuses to stop until he's achieved success.  It's proof that when a person is truly committed, they can accomplish anything.


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Title: Man On Wire
Director: James Marsh
Starring: Phillipe Petit, Jean Francois Heckel, Jean-Louis Blondeau, Annie Allix, David Forman
Year Of Release: 2008
Viewing Method: Netflix Instant (Laptop)