I recently saw a feature film — made by British director Andrew Haigh — called “Lean on Pete”, which is the name of the horse who’s central to the story. It was shot in Portland, Oregon and tells the story of Charley, a young man (played by Charlie Plummer) who’s initially stuck with a deadbeat father, absent mother and MIA aunt.
It’s a powerful and moving story of how a young man somehow manages to walk, drive and run away from a solo life of misery back to a place of safety and comfort.
I won’t give away all the details, but it’s a searing portrait of what it means to be young, broke, desperate and unconnected to anyone who cares for you. It’s also beautifully filmed and Plummer is fantastic.
There are very few films made today about what it’s like to be poor and alone in the United States — the last one I saw (and I admit, I didn’t enjoy it) was The Florida Project, starring Willem Dafoe as the manager of a Florida motel housing a number of women-led families of very young children.
I found it impossible to like or sympathize with its main female character, while Charlie — maybe being a teenager? maybe being someone doing his best? — was someone I could stick with, even as his trajectory becomes so grim.
LOP cost $8 million to make — and has so far only earned back $222,816 — a terrible return.
I’m not surprised. It’s not a funny, cute, perky escape and box-office catnip.
Last summer, traveling alone through Europe with multiple 12-hour train journeys, I dove into another harrowing story, A Little Life, written (!) in 18 months on top of the author’s full-time job at The New York Times.
It won five awards, including being short-listed for the 2015 Man Booker prize.
It, too, is an emotionally tough slog and it’s a doorstop of 814 pages.
The central character is Jude, and his friendships with a small circle of equally educated and accomplished New Yorkers. Jude was abused and injured as a child, and this trauma plays out throughout his life and the novel. (If you’re up on your saints, you know that Jude is the patron saint of desperate and lost causes.)
While it’s a story with much pain, it’s also one with deep and abiding love and sustaining friendships — the kind that those whose families are absent or useless must find if they are to survive this world, let alone thrive in it.
As someone who has turned many times to strangers and friends to replace absent family, these narratives hit a chord in me.
I don’t believe that great art has to make us happy or smile or feel better.
If it touches the deepest part of our heart, it’s done its job.
As someone who grew up with limited access to television, (spending much of my childhood in boarding school and summer camp), my cultural consumption was books, art and music. (Although every dinner at home in my teens began with the theme music to As It Happens, the nightly CBC radio current events show.)
I do enjoy some television, mostly BBC, PBS, Netflix — original series, not the standard stuff of weekly network shows. Favorites include Wallander (Swedish version), Babylon Berlin, Call The Midwife, Victoria.
I confess — I’m also a fan of Lifetime’s Project Runway, now heading into its 17th season.
My favorite media are radio and film.
I listen to radio daily, (NPR, WFUV. WKCR, TSF Jazz from Paris) and typically watch two to three movies a week, either on TV or in the theater. (Not a fan of horror films, which I avoid; writing a book that included gun violence was quite enough!)
Only in later life did I appreciate what beauty I enjoyed in my parents’ homes, filled with Japanese ukiyo-e prints, Inuit sculpture, mirrored Indian textiles and more. That visual feast much shaped my own tastes — whether a Mexican wooden mask or a vintage photograph.
Today, thanks to the Internet, we all have ready and free access to millions of exquisite images, through the British Museum (37,000 images) and many more. Even if you live very far from a gallery or museum, even just scrolling through Instagram, you can stumble across an incredible array of beauty and history.
I’m not as familiar with, or fond of, contemporary art and design (I try!); I do love the work of Julie Mehretu.
Growing up in Toronto, a large and multi-cultural city with good museums and galleries, also helped me develop my taste. Travel to Paris, Venice, Florence, London, Berlin, Boston, D.C. and San Francisco, (to name a few places), has showed me more amazing art.
Two of our favorite museums focus on Asian design — the Sackler in Washington, D.C. and the Guimet in Paris.
A very rare event for me — I went to this auction and bought two 1920s French prints (Dufy, Vlaminck)
Musically, I feel woefully behind! I haven’t (she says embarassedly) yet tried Spotify, so I need to expand my horizons, although I’m not a fan of rap, hip-hop or country.
Only in the past month have I seen two operas, the first for me in decades, and enjoyed both. I don’t attend as many classical music performances as I could — in New York and environs, there are so many to choose from! — but enjoy it when I do.
As for popular music concerts…sigh. Some of the people I want to see sell out within minutes, generally.
And yet, and yet, the director, Feras Fayyad, was wise to also include much laughter and joy, the men singing and even taking a sunny, if brief, day out in the playground, with a bunch of their delighted little kids, to leaven the brutality.
It’s too easy to think we know this place or to not care about it — but here’s a little girl and her Dad going to six Aleppo pharmacies to try to find vitamins because her hands are now weakened by malnutrition. There are none to be found.
Here’s a couple going to get married, in the middle of death and destruction.
Here’s the men buying a bag full of goldfish, perhaps the most unlikely purchase imaginable in what is basically a war zone, combing the city to find enough water and then filling a fountain with fish and water.
As a journalist in New York, I get invited daily to events meant to promote new products and services, hotels and restaurants. I ignore 99.9 percent of them.
But I’ve long been deeply intrigued by the White Helmets and their work.
Not even sure how I ended up on this press list — as the room was filled with industry folk being asked to vote as Academy members on its merits — but I’m so glad I had the chance to see it, and a brief Q and A in the room with its director, who is now making a second film about a female doctor working there, and having to sneak back into his own country to do so safely.
My father made documentaries for a living, so I’m fascinated — both as a journalist and a lover of film — by how and when these stories are filmed and told.
I’ve read a lot about the war in Syria, and knew of the White Helmets, but never viscerally understood what they do, why they do it and the tremendous physical and emotional toll if takes.
I woke up this morning to a Twitter feed filled with images of a skinny white woman about to marry a billionaire, Pippa Middleton, sister of the Duchess of Cambridge.
This week, 242 people died of cholera in Yemen.
Guess which got the most attention?
To many people, now, both are journalism — and possibly of equal value.
Not in my book. I’ve done it for a living since 1978.
I’m really weary of watching fellow reporters fawning endlessly over the wealthy and powerful and their private jets and their super-yachts and their pretty lives.
What good does any of this voyeurism offer to a broken world filled with growing income inequality but a reminder that 99.9% of us will never live a life even vaguely resembling this.
All this, as the Trumps and his billionaire Cabinet take millions from other plutocrats to craft policy to make them all even richer.
If you haven’t yet seen Spotlight — which won the Oscar for Best Picture in 2015 — or All The President’s Men — a 1976 film was nominated in that category but that won four other Oscars — do it. Soon!
Spotlight tells the story of a team of reporters at the Boston Globe who uncovered a sex abuse scandal within the Catholic church, for which they received American journalism’s highest honor, the Pulitzer Prize, in 2003. The film makes clear, as does ATPM, that real reporting and journalism that can topple powerful, secretive abusers. It takes time, teamwork and tough editors and reporters who simply refuse to give up once they realize the magnitude of the story, even as it looks impossible to get.
In ATPM, two Washington Post reporters, Carl Bernstein and Bob Woodward — two real people of the same names — bring down President Richard Nixon after months of piecing together disparate facts and crimes, all the way met with denials and resistance. In one great scene that every reporter can identify with, the editor in chief, Ben Bradlee, says, “I have to really trust my reporters. And I hate trusting anyone.”
In our business, serious mistakes can end a career.
In both films, weary, rumpled reporters do what most journalists actually do — knock on dozens of strangers’ doors (often met with resistance or hostility) looking for sources to speak to them and confirm what they have so far learned or suspected, read through reams of paper documents to find the ones that matter, meet with scared, reluctant witnesses to, or victims of, the crimes, trying to persuade them to put the facts “on the record”, i.e. make them public.
Much of true journalism is slow, tedious, quiet, behind the scenes. It can involve a lot of frustration as you hit dead end after dead end, source after source who refuses to help or to comment, fearful for their job, reputation, even their life.
It’s the opposite of fawning over the wealthy and powerful, which so many now see as “journalism.”
As Trump and his family, and associates, continue to prompt more and deeper investigation, remember that it’s the reporting by The New York Times and Washington Post that have brought much of their behaviors to light.
Imagine being 13 — and wanting to do something that only men have ever done.
Imagine having to climb a terrifyingly steep cliff to capture an eaglet from its nest.
Imagine living in a landscape of such beauty it defies description.
A new documentary, The Eagle Huntress, must be one of the most beautiful films you’ll ever see, filmed in the Altai Mountains of Mongolia and focused on Aisholpan, a young girl — who daubs her nails with purple polish, who lugs cans of fresh milk from her family’s cows, who lives five nights a week in a dormitory at her school.
Her grandfather and father have long been champion golden eagle-hunters, a sport that requires each hunter to find, capture and train a young eagle to hunt on command. An annual competition, complete with scorecards and stopwatch-wielding judges, determines who gets bragging rights as the best. The event draws men of all ages, and she is the only female.
Imagine the pressure!
Aisholpan is a joy to watch, everything you’d expect of a 13-year-old — and much more. She’s calm, determined, easy-going and brave.
No Ipads or cellphones for her; technology for these ger-dwelling nomads consists of a transistor radio and a portable solar panel.
Her quest to find, train and work with her eagle makes a terrific story, and an unlikely but likeable young heroine, with many obstacles along the way. While the film’s main focus is on the annual competition, it also shows her and her father trudging for miles in bitter cold and through snow so deep their rugged horses struggle to move, determined to have her eagle hunt, capture and kill a fox.
The cinematography is astounding, using everything from a GoPro to drones.
I’ve been wanting to visit Mongolia for years, ever since I did some film research on it. Now I’m even more curious.
Shot in Montana, every frame looks like a painting, with gray clouds and snowy mountains and open fields.
This new film, starring Michelle Williams, Laura Dern, Kristen Stewart and lesser-known Amy Gladstone, is slow, sad, powerful.
The director, a woman, Kelly Reichardt — who also wrote the screenplay from stories by Maile Meloy — made another film I enjoyed, Wendy and Lucy, which also starred Michelle Williams, about a young woman alone on the road.
The budget was $2 million, pocket change for any Hollywood blockbuster.
I liked so many things about this film:
— Michelle Williams, a movie star whose presence is always quiet and contemplative
— Amy Gladstone is perfectly cast as a lonely, shy ranch hand
— The Montana landscapes and sense of place and distance made me want to hop a plane there immediately
— This entire film focuses on three women and their complex lives. They’re not skinny/gorgeous/wearing expensive clothing. They’re facing a difficult client (one is a small-town lawyer), a difficult husband, a difficult life, a job that’s not what one had hoped for.
It’s how so many of us feel so often in life, swimming against a ferocious current in the only stream we’ve got.
— The actresses look like real women. Stewart’s hair is a mess, her eyes deeply shadowed with exhaustion. Gladstone’s open, hopeful face signals so much of what we feel when we’re so weary of being alone and can’t bear it any longer and there’s no one to love. Dern looks worn out.
Who among us hasn’t looked or felt like this?
— I love the moment when the rancher slides open the barn door every morning, her routine unvaried, her horses and dog her only companions, ever reliant on her skill and attention. You feel both the security of that routine, and its burden.
— There’s no tidy resolution to each of these women’s lives. We dip into their worlds for a while, live in it with them and feel compassion for their challenges, but we leave them behind again in the knowledge they’ll likely be just as challenged the next day. What a concept: real life!
It easily passes the Bechdel test — i.e. it’s focused on women and their ideas and relationships.
Made in 1985, it opens and closes with a great tune by Simple Minds, Don’t You (Forget About Me) and was shot in a set in the gym of a high school closed in 1981.
But it’s really about what it feels like to be a teenager — misunderstood or ignored or bullied by your peers and/or teachers. To feel at odds with your parents, whose lofty expectations of success and prowess — you know, living up to your potential— can feel like an elephant sitting on your chest.
The movie was shot within three months for a reputed $1 million, since earning more than $97 million in box-office receipts. I can’t imagine how many residual checks its actors are still receiving, decades later.
It’s also about something that really never changes, no matter where you live or when you grew up — how you can spend four years in high school and walk past the same people for days, weeks and months assuming you have nothing in common, nothing to say to them or vice versa.
The five students are each a “type” — the criminal, the princess, the brain, the recluse and the jock.
I identify most with the brain, the nerdy kid who geeks out over physics and Latin club. Not that I was so smart, but I definitely didn’t fit the other categories.
I arrived at my Toronto high school halfway through Grade 10, a terrible time to arrive — halfway through the second year?! Even worse, I’d chosen a school in a neighborhood so insular that everyone there had been attending the same schools since their first grade. The lines were well-drawn, the cliques established.
I hadn’t even been in a public school, or in a classroom with boys, since Grade Seven. I had pimples and wore the wrong clothes and was far too confident, (having attended single sex schools and camps where I won every award available.)
I was nicknamed Doglin, barked at in the hallways, a dog bone laid on my desk. It was brutal. I cried every day after school and would crawl into bed with all my clothes on when I got home.
My torturers were all male, a gang of three or four, one a redhead with freckles whose 50s-ish nickname (and this long past the 1950s) was Moose.
I made a few dear friends, which kept me sane, and I made the team, two years in a row, for a high school television quiz show and our team did really well.
It finally got better in my senior year when — yay!!!!! — I even got chosen as prom queen, and will regret forever I have no photo of my gorgeous butter yellow chiffon gown, complete with matching scarf. I’m not sure I ever felt so pretty. Even then, a very long time ago, it cost $125, a bloody fortune.
By the time I graduated, I’d had a really cool boyfriend, sold three photos to a magazine for its cover and another to our school library. I’d rounded up my pals to create a school newspaper that fellow students were glad to have once more.
I still don’t know what turned it all around, but am so glad it had a happy ending.
Then, at our 20th. reunion, I re-met one of my closest friends and we re-ignited our friendship, which has continued on for decades more. We’ve visited their lake-side home in Ontario many times, in every season, and our husbands love spending time together.
Neither of us ever had children.
But our friendship is a joy and a pleasure I thought we’d lost.
By now, I’ve seen this 2006 film so many times I know the dialogue and soundtrack pretty much by heart.
It’s the story of a young, ambitious New York City journalist, Andrea Sachs, who ends up working at a fashion magazine, Runway, (a clear stand-in for Vogue), for a brutally demanding boss, Miranda Priestley.
Initially schlubby in dress and grooming, and resentful at her less-than-intellectual position — fetching coffees and selecting skirts — Andy soon wises up, dresses up and wins the day.
I felt different. I no longer expected to be rewarded for my long, uninterrupted workdays with respect, let alone cash. I didn’t expect anyone to celebrate my personal triumphs with me; instead, I braced myself for criticism I could neither anticipate nor diffuse. I was tired but sleepless, dogged by anxiety…I drooled at the thought of a schedule that would leave me time to care for myself.
I realized there would always be someone hungrier willing to race to the bottom of the payroll for a shot at a byline on a viral story. Not long after that revelation, I quit.
The day before what should’ve been my last at the newspaper, an editor I once respected and trusted chose to unleash his frustration with the industry and his colleagues on me. He called me lazy and defiant, held the door open, and told me to get out.
It doesn’t matter much if you’re entering the field of journalism or any other. There are things you learn in your first full-time paid job that may sear, scare or freak you out.
The world of work is like landing on another planet after the structured, self-selected and nurturing life of high school and college, the attentive concern of your parents, teachers and some professors.
The work rulebook is invisible but essential.
The rules shift, sometimes daily.
Your “best friend” at work might turn out to be your worst enemy. Or your next boss.
No one will hold your hand and a few, sadly, will be thrilled to watch you fail.
It’s worth watching the film just to hear some of Miranda’s drawled bon mots:
Just move at a glacial pace. You know how that thrills me.
Details of your incompetence do not interest me.
Please bore someone else with your questions.
And, much as an entry-level worker might think “She’s soooooo mean!”, anyone who’s had to manage someone lazy, inattentive or generally gormless has longed to say them out loud.
And 10 reasons I still think TDWP is a great primer:
No one really cares about your feelings
Your job is to make your boss happy and make sure her/his needs are met on time, preferably ahead of deadline. It’s tough when no one asks “How’s it going? or “How do you feel about this?”
Well, yes. Your boss only got, and keeps, their job because (ideally) they set a very high bar for themself and for those they work with.
“Trying” has little value here
(Or as Yoda said in Star Wars, Do, or do not. There is no try.) Your boss may have zero to no interest in your difficulty attaining the goals s/he has set for you. It’s highly unlikely that anyone will give you a gold star or pat on the back just for trying (and failing.) Effort is expected — and results are now what matter most.
No one is going to say “Good job!”
Some young workers have been raised by parents, teachers and others who constantly and lavishly praised their efforts, even if they lost every soccer game that season or peppered their copy with typos, (like the blog post above in which she manages to confuse the word defuse with diffuse, not impressive for a NYT writer.) Get used to a world where your paycheck and continued employment are the measure of your value to the team. Expecting more than that marks you as needy and unrealistic.
Dress the part if you want to be taken seriously
You’re broke or have student loan debt or no sense of style? Too bad. Find a decent thrift or consignment shop and invest in the very best quality clothing worn by the senior people in your field. Keep your hair trimmed, clean and tidy. Polish your shoes and keep a fresh manicure. As Andy quickly learns, dressing appropriately for your industry shows respect for those who have attained its highest levels. They played the game and expect you to do likewise. Ignore this at your professional peril.
You have to figure things out really fast
Even if you have no idea, even during a meeting, what people are talking about. Read everything relevant to your industry — blogs, websites, publications, podcasts. Attend every conference possible; (you can often get in cheaper by offering to volunteer there.) Your job is to be smart and helpful, not to clutch desperately at the ankles of others who’ve already mastered the game.
Self-reliance is key
If your boss is older than 40, and some will be, they grew up in a very different world than someone now in their early 20s. They’ve already emotionally and professionally survived three recessions in 20 years and have probably pivoted multiple times along the way. No matter how much help you may consider normal, leave those expectations at the office door each morning.
You need to manage up, down and sideways
The only way Andy survives her job is by relying on the kindness, wisdom and help of others, from the driver who chauffeurs her to her boss’ home to deliver her dry-cleaning to a freelance writer who helps her obtain a manuscript before publication. Cultivate a wide and powerful network of people who know, like and trust you. Help them as often and much as you can so you’ve got a favor bank to call on in times of need.
Your personal life may have to suffer for a while
As Eisenhart discovered in the blog post above, and Andy finds no time for her fed-up live-in boyfriend, work in a new/first job can sometimes consume your life. It shouldn’t forever, but it might for as long as it takes to prove to your boss and co-workers that you’re 100 percent reliable.
Andy’s transformation from whiny baby to organizational whiz is a lesson every new employee needs to learn. Whatever will keep you ahead of the game — apps, multiple alarm clocks, spreadsheets — will also keep you calm, helpful and pro-active, not dodging wildly and panicking when things, as they often will, go awry.
Bonus: flexibility is key
Things change, sometimes with no warning. The most valued workers are those who remain cool, calm and on it, adapting quickly. No whining! No “This sucks!”
They used to be so long there was an intermission — with a word on-screen saying “Intermission.” One even had an overture, Dr. Zhivago, as if the audience were seated at the opera or a classical concert.
Today we watch movies in the palm of our hands.
My father made documentary films for a living and one feature film, King of the Grizzlies, for Disney. (How do you control a grizzly bear? Jelly donuts and electrical wire lining the path you want him to walk.) So I had been on-set as a little girl and when we went to the movies we usually walked in half-way through. It was years before I saw a film as it was meant to be seen.
You know, from the opening credits.
I also grew up with very little access to television, between boarding school rules and life.
So if I wanted — and who doesn’t? — to disappear visually into another world for a while, movies were it.
The two films then that left the most powerful impression on me were two I still happily re-watch, Dr. Zhivago and 2001.
Dr. Zhivago, all 3 hours and 20 minutes of it, was directed by the late great British director David Lean (who also directed the classics Lawrence of Arabia and Bridge on the River Kwai) and featured Omar Sharif, Geraldine Chaplin (grand-daughter of the great comic Charlie Chaplin), Rod Steiger, Tom Courtenay and Julie Christie.
It’s the eighth-highest grossing film, nominated for 10 Oscars (and won five.)
There isn’t a thing I dislike about this film. I love its specific color palette — grey, black, white, red, lavender and bright yellow. I love the extraordinary panoramas of landscape (Alberta, Finland and Spain subbing for Russia), the music, the underlying love stories.
Despite one online critic calling it “cinematic comfort food” I still think it’s worth a look if you’ve never seen it.
I wonder how many of today’s viewers could tolerate that.
The film posits the existence of a black monolith that reappears after millennia, its role unknown, and focuses on a space mission to Jupiter controlled by the spacecraft’s computer, Hal 9000. I won’t explain the whole thing (the Wikipedia entry is super-detailed) but I never tire of it, especially the final scenes, filled with dazzling color and a trip to the edge of infinity. (It was made in the late 1960s — very much of its times.)
I’m in awe of the many talents and skills it takes to create a film, from the book or musical (or original screenplay) to the Foley artist, (the geniuses who find and create sound effects), to make-up, hair, lighting and cinematography.
While directors (still overwhelmingly male) and actors get 99% of all our attention (except for cinephiles and Oscar night), making a film is truly a team effort.
My dream movie job? Location scout!
A brief and selected list of my favorites below, which somehow includes no films from the 1930s, ’50s or ’90s.
Some other films I love:
The Devil Wears Prada
So fun! Younger viewers may think the main character is a total bitch. She is, but with a purpose. Older viewers might find her younger assistant a bit whiny, and she is, but she smartens up. I love the snappy dialogue, the astonishing clothes and accessories, the journalistic ambition that underpins the whole thing. Besides, any movie with Meryl Streep and Stanley Tucci gets my vote! 2006
I mean the 1946 version, starring Cary Grant and Ingmar Bergman, who travels to Brazil to infiltrate a gang of Nazis. That’s enough for me.
Butch Cassidy and the Sundance Kid
Paul Newman and Robert Redford, pure eye candy, play these real-life 19th century bank robbers, and Katharine Ross (better known for her role in The Graduate) plays their sidekick. Gorgeous scenes of galloping across Western landscapes, humor and drama and a final scene that gets me every time, partly because I recognize where it was filmed, with the distinctive twin volcanoes that mark it as Mexico. I was living in Cuernavaca then, where it was partly filmed, so there’s some serious nostalgia in it for me. 1969
Three Days of the Condor
Robert Redford again. Nuff said! OK, it’s about a guy working for the CIA who comes back to work to find all his colleagues have been killed — and has to figure out how and why. 1975
The Bourne films (Identity, Ultimatum, Supremacy)
I love how these films create a world where a solo actor, played by Matt Damon, races across the world fleeing execution by the agency that created him as a murderous monster. These films have it all: fantastic scenery (Thailand, Tangier, Berlin), lots of action and insanely complicated chase and fight scenes, and a love story. Not to mention their pure escapism — Damon never does anything vaguely normal and boring, like laundry or grocery shopping or sitting in a cubicle. Nope, it’s one desperate dash to a plane/boat/train/ferry after another.
If you’ve never seen this one, rent it this very instant! Starring Ingmar Bergman and Humphrey Bogart, it’s a love story complete with Nazis, Paris, trench coats, that song (“Play it, Sam”) and flashes of delicious humor and pathos. 1942
Aguirre, Wrath of God
If you’ve never seen any films by the great German director Werner Herzog, make time to explore a bit of his oeuvre. This 1972 film stars the wild man Klaus Kinski as Aguirre, in one of his five (shouting, screaming, exhausting) collaborations with Herzog. Filmed entirely on the Amazon in Peru, it’s a lush, crazed story of a 16th century conquistador. The final scene is unforgettable.
The Motorcycle Diaries
Based on the true story of Che Guevara’s ride around South America with his best friend, a once-wealthy medical student, it shows his transformation and political awakening. Starring Gabriel Garcia Bernal, this 2004 film is moving, beautiful to watch and a powerful insight into a legendary figure in history.
McCabe and Mrs. Miller
This Western film, made in 1971 by American director Robert Altman, was shot in Vancouver and Squamish, B.C., starring Julie Christie and Warren Beatty. Although it sounds seedy and weird — a pimp sets up shop in a 1902 town — it’s well worth seeing for the plot, characters, cinematography. The final scene…The soundtrack features another Canadian, Leonard Cohen. In 2010, McCabe & Mrs. Miller was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant”.
As a career journalist, I love films that explain what we do and why it still matters a great deal. This fantastic 2014 film — partially shot in my hometown, Toronto — details the true story of the Boston Globe’s investigative team, Spotlight, into Catholic priests’ sexual abuses. Starring Mark Ruffalo, Jon Slattery (of Mad Men) and Toronto actress Rachel McAdams, this is a must-see. I blogged about it as well; here’s the post.
One of those films whose every visual reference — like 2001 — informs many later works that are better-known. Based on a Philip K. Dick story, this futuristic dystopian love story features Harrison Ford, (long before his breakout roles in Star Wars and Indiana Jones) as a “blade runner”, a retired cop charged with running down wayward replicants. Directed by Ridley Scott, (later famous for his Alien films), it’s a cult classic, with all the Scott-isms we’ve come to know and love — sudden terror, lots of bright lights and dripping water, dark crevices filled with menace. 1982
Rocky Horror Picture Show
“It’s just a jump to the left…” This 1975 piece of insanity stars Susan Sarandon as Janet, lost on a dark road with her fiance Brad. Arriving at a castle filled with (at the time wildly transgressive idea) transsexuals and transvestites, they quickly lose all control. It’s a musical with classics like Time Warp. Tim Curry, in corset, plays Frank N. Furter, with sidekicks like Magenta, Riff Raff and Columbia. You either hate it or love it.
Too funny. 2011
Even funnier, pairing Melissa McCarthy and Sandra Bullock. A 2013 buddy cop movie, it should be stupid but is funny as hell and occasionally even moving. 2013
All they do is sit at desks or talk on the phone or knock on doors.
Their work takes months.
Why on earth would this make a compelling film?
I admit it, I’m biased, having worked as a journalist for more than 20 years. I’ve been doing it since my undergraduate years at university and still enjoy it, even though 24,000 of us lost our jobs in 2008 and thousands more are losing their jobs every year now.
The film is about the Boston Globe’s investigative team, called Spotlight, and their controversial and much-challenged decision to look into allegations of child abuse within the Catholic church there.
The cast is terrific — fellow Canadian Rachel McAdams, John Slattery (of Mad Men), Mark Ruffalo, Stanley Tucci.
The newsroom looks like every newsroom everywhere, overlit, ugly, standard-issue desks and chairs, glass-walled executive offices. Its power structure, (interesting how it parallels the church they investigate, and how every senior editor is male), also deeply familiar.
The mix of political cynicism and compassion for the people they’re covering — and the remorse they feel as they realize they knew about the story years before and ignored it — also resonate.
But what left me in tears was how truthful is the portrayal of my work, certainly as part of a daily newspaper staff; I worked at the Globe & Mail, the Montreal Gazette and the New York Daily News.
It takes patience.
It takes persistence.
It takes a ton of tedious-but-essential detail work like reading old directories and chasing down court documents.
It takes a belief that what you’re doing all day, for months, actually might make a substantive difference — at best — in the lives of your readers.
Working as a news or investigative reporter is a weird mix of aggressive digging, pressure to stop digging, (by angry sources, power brokers, bosses worried you won’t bring home the goods), and the growing conviction that you’re on a huge story you have to get, no matter the cost.
Your co-workers may question and resent you — since they’re expected to crank out copy every day, possibly multiple times a day — and your team has yet to show anything in print, even after months of work.
The people you’re investigating will do anything to shut you down, from polite threats over a cocktail to appeals to your civic pride. (It can get much more bare-knuckled than that.)
The film shows reporters doing what no film ever shows — reporting.
That means knocking on door after door, some of them slammed in your face, some of them suddenly opened and a confession spilling out so fast you write it down as you walk away, as McAdams does in one scene.
It can mean sitting with, and witnessing, incredible pain when someone tells you they have been molested or raped, but not hugging them or saying anything — instead, as McAdams does — saying quietly, “We need specific language.”
To anyone but a reporter, she sounds shockingly callous and cold. Why isn’t she comforting the man telling her his secrets?
Because that’s not our job. (Even if, and it often is, our social impulse.)
I’ve been in that place, as someone who had been raped told me her story. It’s a delicate moment you’re neither trained or prepared for, like holding a water balloon — one false move and it shatters. You have to be calm, quiet, empathetic and just listen. Your job is to witness, not to emote or react.
I loved that the female reporter is portrayed as dogged and relentless as her two male peers. We are!
I love that her nails are bare, that she wears no jewelery but a plain wedding band and apparently little make-up. In the world of news journalism, that shit really doesn’t matter. It’s one reason I love it and felt comfortable within it.
It was powerful to see the conflict between the reporter’s private feelings — about faith, about the Church, about their own history — and the work they were doing. I know reporters personally who covered this story and what it did to them emotionally. This rang true.
I loved seeing a brief glimpse of a friend’s book, Lead Us Not Into Temptation, and his name in the final credits; Jason Berry, a New Orleans journalist, was one of the first to write about this issue. I met Jason in Paris many years ago when we were both chosen to participate in a year-long European journalism fellowship.
When I left the theater to use the bathroom, three women my age there had just seen it as well — and we got into a long, deep, impassioned and personal conversation about the film and why journalists want to do that kind of work. It was an amazing encounter for all of us, one of whom works with Catholic church abuse victims.
I told them about my two books and the kind of interviews I’ve done that were equally soul-searing, and my hope that sharing them with a larger audience would be useful somehow. It made me realize, sadly, how rarely I get to talk to non-journalists about my work and why I believe so deeply in the value of it, still. It moved me to hear from three others that it matters to them as well.
If you care at all about journalism and why, at best, people still want to do it for a living — and I know that many people simply hate journalists and don’t trust us — go see this film!