What saddens me most of all is how we fold reality into simple stories. It it isn't just movies of course, every political decision by anyone is based on fabricated but palatable reality. Its both the lesson of this movie and its own undoing because it breaks its only reason to be: that it is true.
We have things that happen. When these happenings involve humans, they are based on stories, stories about gods and tribes mostly. When we explain then to ourselves (by explaining to others), they go through further refinement and become more perfect as concise stories. And when Hollywood finally arrives, those already polished, but useless artifacts get further processed, strained and arranged to be not only stories we understand, but that work dramatically (so as to satisfy market forces).
Few shapers of film stories are better suited to this than Mike Nichols. This film does work in enough of the basics, mostly carried by Hoffman's lines and delivery. But its reason to exist is that it somehow mirrors reality. And it does so far as showing a few dots, but the way they are connected is less fettered by truth than the necessity of having a clean package.
Its all part of the great disappointment of filmmakers who have the ability to reach deep into souls and affect us, but who seem to merely be incessantly practicing.
I believe it wouldn't be as easy for us to create fake realities if we didn't have all these attractive confections from Hollywood. (That same Hollywood that is the stuff of a similar fake reality: that it is "liberal.")
The CIA doesn't care much for the permission or funding of Congress. The House isn't where the connection was in those days anyway. The business about Israel's participation was all wrong and involved South African complexities. The Texas motivations were profoundly stupid then as now in their God-centric notions of fate, and having nothing to do with the plight of refugees. Charlie Wilson is a dope. The Texas hussy had nothing to do with the story unless you ask her. The Agency did spend significant energy on the "endgame" to be flummoxed by successive administrations. The US had far less to do with Talibanizing than the Saudis and Pakistanis who arranged most of the weapons.
But who cares, if we can fantasize about the world being changed by a night of sex between Tom and Julia?
There are two good actresses here: Blunt and Adams. Their scenes matter. As with the Nichols formula, there's one breathtaking cinematic effect. We have our first shooting down of Soviet copters, set up expertly by introducing us to both evil mechanized Soviets and wildeyed Afgan idiots. A copter crashes in a narrow street and that street morphs to Amy Adams' sexy legs, then her exaggeratedly sexy butt as we follow her, camera panning up to a redheaded ponytail perkily bouncing. She is on her way to report this joyful carnage.
Oh if we could only would reward this skill if it were turned to art instead of decor.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
We have things that happen. When these happenings involve humans, they are based on stories, stories about gods and tribes mostly. When we explain then to ourselves (by explaining to others), they go through further refinement and become more perfect as concise stories. And when Hollywood finally arrives, those already polished, but useless artifacts get further processed, strained and arranged to be not only stories we understand, but that work dramatically (so as to satisfy market forces).
Few shapers of film stories are better suited to this than Mike Nichols. This film does work in enough of the basics, mostly carried by Hoffman's lines and delivery. But its reason to exist is that it somehow mirrors reality. And it does so far as showing a few dots, but the way they are connected is less fettered by truth than the necessity of having a clean package.
Its all part of the great disappointment of filmmakers who have the ability to reach deep into souls and affect us, but who seem to merely be incessantly practicing.
I believe it wouldn't be as easy for us to create fake realities if we didn't have all these attractive confections from Hollywood. (That same Hollywood that is the stuff of a similar fake reality: that it is "liberal.")
The CIA doesn't care much for the permission or funding of Congress. The House isn't where the connection was in those days anyway. The business about Israel's participation was all wrong and involved South African complexities. The Texas motivations were profoundly stupid then as now in their God-centric notions of fate, and having nothing to do with the plight of refugees. Charlie Wilson is a dope. The Texas hussy had nothing to do with the story unless you ask her. The Agency did spend significant energy on the "endgame" to be flummoxed by successive administrations. The US had far less to do with Talibanizing than the Saudis and Pakistanis who arranged most of the weapons.
But who cares, if we can fantasize about the world being changed by a night of sex between Tom and Julia?
There are two good actresses here: Blunt and Adams. Their scenes matter. As with the Nichols formula, there's one breathtaking cinematic effect. We have our first shooting down of Soviet copters, set up expertly by introducing us to both evil mechanized Soviets and wildeyed Afgan idiots. A copter crashes in a narrow street and that street morphs to Amy Adams' sexy legs, then her exaggeratedly sexy butt as we follow her, camera panning up to a redheaded ponytail perkily bouncing. She is on her way to report this joyful carnage.
Oh if we could only would reward this skill if it were turned to art instead of decor.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.