‘The Great Dictator’ dialog resonating in 2020

“Let us fight to free the world to do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all people’s happiness.”

“The hate of men will pass, and dictators die, and the power they took from the people will return to the people… liberty will never perish.”

Film list of 63 of the best for me

These films are not the best perhaps, or even the best 63 films I have seen, though they would be very close to that.

I simply laid them down without prior thought of ordering or listing them in any kind or categorisation of this or that.

The only change was to add Gosford Park by Robert Altman, and to do that I dropped Mira Nair’s Salaam Bombay! which should not be left out, but I kept Monsoon Wedding which I adored when I first saw it and still do.

So the filmmakers and films are all great and in no way am I listing them in order of best – first to worst. There are no second-best or best here. They are simply all magnificent for all their own reasons and appeared as I remembered them and wrote them down.

Tell me what you think – offer suggestions – i.e. if you wish to.

One Flew Over the Cuckoo’s NestMilos Forman
Butch Cassidy and the Sundance KidGeorge Roy Hill
The Last Picture ShowPeter Bogdanovich
Apocalypse NowFrancis Ford Coppola
Rear WindowAlfred Hitchcock
King of ComedyMartin Scorsese
Raging BullMartin Scorsese
The Good the Bad and the UglySergio Leone
Little Miss SunshineValerie Faris, Jonathan Dayton
Pulp FictionQuentin Tarantino
Reservoir DogsQuentin Tarantino
CasablancaMichael Curtiz
Dog Day AfternoonSydney Lumet
The GodfatherFrancis Ford Coppola
UnforgivenClint Eastwood
2001 A Space OdysseyStanley Kubrick
AmadeusMilos Forman
Blade RunnerRidley Scott
The ThingJohn Carpenter
Ace in the HoleBilly Wilder
The VerdictSydney Lumet
NetworkSydney Lumet
SidewaysAlexander Payne
The French ConnectionWilliam Friedkin
The Godfather IIFrancis Ford Coppola
A Clockwork OrangeStanley Kubrick
Paths of GloryStanley Kubrick
Lawrence of ArabiaDavid Lean
Easy RiderDennis Hopper
ChinatownRoman Polanski
8 1/2Federico Fellini
La Dolce VitaFederico Fellini
The ConversationFrancis Ford Coppola
Out of AfricaSydney Pollack
Annie HallWoody Allen
Hannah and Her SistersWoody Allen
Deconstructing HarryWoody Allen
Broadway Danny RoseWoody Allen
AmarcordFederico Fellini
Day for Night (La Nuit américaine)Francois Truffaut
La règle du jeuJean Renoir
Crimes and MisdemeanoursWoody Allen
The French Connection IIWilliam Friedkin
Thelma and LouiseRidley Scott
GandhiRichard Attenborough
American GraffitiGeorge Lucas
Atlantic CityLouis Malle
Das BootWolfgang Petersen
Monsoon WeddingMira Nair
Gosford ParkRobert Altman
WitnessPeter Weir
PersonaIngmar Bergman
Wild StrawberriesIngmar Bergman
Cries and WhispersIngmar Bergman
Autumn SonataIngmar Bergman
The Truman ShowPeter Weir
Fanny and AlexanderIngmar Bergman
War and PeaceSergei Bondarchuk
YojimboAkira Kurosawa
RashomonAkira Kurosawa
Paris Texas‎Wim Wenders
Schindler’s ListSteven Spielberg
JawsSteven Spielberg

A Rainy Day in New York

From the moment in Annie Hall when he led Marshall McLuhan out from behind a film hoarding in a New York cinema I have been a huge fan of Woody Allen. He is America’s best writer director of ensemble urban comedies – truly a unique filmmaker.

Europe & Freedom of Movement

As Brexit continues morphing out over the coming months, I think we should begin sharing experiences of what it has been like to live in and freely travel around Europe before our rights disappear. The ‘good’ the young of Britain in particular are about to lose.

Automatic right to be and travel inside Europe without a visa, attend universities, work without foreigner status conditions, to learn languages, share in the life as citizens of Europe with equal rights.

What the Europe Union does so well is not to look towards obvious economic stimulants as bridges to future social, cultural and economic activity, but to social and cultural stimulants, which when aggregated from individual life-changing experiences multiply in exponential societal ways, not only across Europe but across the world. Europe is a civil and cultural force unlike any other.

Here is an early pre-FOM personal European experience, before freedom of movement was instituted, but giving reason to why it is so good for societies and individuals.

The Odeon of Herodes Atticus. The ancient Odeon, built by Herod Atticus 161 AD, situated at the foot of the rock of the Acropolis with the Parthenon as a backdrop. The Odeon of Herodes Atticus written up by Vernon Kidd in the New York Times, describing a 1981 Athenian summer component in a plethora of Europe-wide festivals, The Athens Festival awaiting travellers… “plays of Euripides, Aeschylus, Sophocles, Aristophanes … presented by the National Theater of Greece, the Amphi-Theater, the Art Theater and Northern Greece State Theater. Tickets: from $1.20 to $6. July 5 to Sept. 25.” As Kidd’s NY times article detailed, Ancient Greek theatre in the ancient Odeon was only a small part of a Europe-wide extravaganza of arts festivals in the summer of 1981.

So, unaware of any of the above, one hot early July ’81 evening I wandered up the road from my Plaka hotel to the Acropolis, this young filmmaker then resident of Hong Kong. As darkness gathered, I sat myself on a wall to take in the dusk scene at a spot overlooking the lit-up Odeon of Herodes Atticus theatre. A rehearsal was going on way down below. Intrigued very quickly by what I saw, I hiked down the hill to find out what it was I was watching. A poster outside the Odeon announced the Athens Summer Festival’s showing of The Acharnians by Aristophanes. Had I see an Aristophanes play before? No.

I returned to my hotel and the next day bought a ticket for the play at a ticket outlet – (prices of the day ranging from $1.20 to $6). I found a Penguin translation of the play in a bookshop, read it, and no wiser I have to say set off a night later to see the performance.

The Acharnians was first performed in 426 BC. A strident anti-war play it is credited with being the oldest staged Greek comedy. I didn’t know what to expect because the Penguin translation did not make anything clear. Still, I had seen the rehearsal. That was enough. The play itself would do the rest.

The Odeon theatre is an extraordinary space, but on a hot July summer night it is other-worldly. The night air made translucent by light was alive with what looked like tiny floating tips of flowers, rising in the warm air all throughout the amphitheatre. In jeans, t-shirt, sandals surrounded by Greeks in evening dress I felt a rank outsider. Yet nobody cared.

What truly resonates with me most, nearly forty years later, is how an ancient play, interpreted, performed and directed as it was, was soon so relevant for a 1981 audience. Filled with dance, mime, mask, and music, George Kounis’ (or Kouns’) production lifted me off my seat. This was not a stilted play from Ancient Greece, a production I remembered too well from university productions. The Penguin translation was swept from my mind.

Dicæopolis, a native of Acharnæ and an ex-soldier returns disillusioned from the Persian wars, heartsick at the miseries and stupidities of the conflict. Not shy in making his views known, with earthy gestures he rails against fellow citizens, while a chorus of startled, indignant citizens in white masks, odd hats and fantastic bed square sewn quilt costumes, rush in dance formation from one side of the stage to the other, all to a cacophony of startling music and sound effects, remonstrating with him and each other. The audience was in stitches inside minutes. I didn’t understand a word yet understood everything.

As a writer it is hard to communicate the effect this experience has had on me: the hot July night, the western world’s most ancient comedy, the mime, dance, costume, design and performances, Greeks all around me ‘rolling in aisles’, the old director helped on stage after the performance – I felt as if theatre itself, not only the ancient Greek concept of  ‘spectacle,’ had finally been made clear to me.

Athen_Odeon_Herodes_Atticus_BW_2017-10-09_13-12-44

photograph by and courtesy of Berthold Werner 2017

Australian Capsule Homes?

Is this the future face of home-building in Australia?

Do we build homes with exteriors and window glass that can resist up to two thousand degrees celsius? Homes with internal energy reserves, water and food storage recycling and creation systems.

While Australian Liberal National Party politicians decide whether or not to add the words “wind” and “solar” and “hydrogen” and “wave” to their vocabularies, decide whether to expand their comprehension of the word “energy” to include the current ‘impossible’ — the consignment of coal to the graveyard — the exterior of a house could be sealed against extreme weather patterns. All substances even wood can be used inside. Is this too radical for you? What do we do over the continuing fires?

If we could force the political climate change deniers to take early parliamentary retirement, then as a society join with each other in to turning global warming around we might still be in time to stop the human project’s slide to the bottom, stop the  immorality of condemning other life forms sharing this planet with us to an unnatural slide in to oblivion.