Book review: The Undertow

Ashli

Jeff Sharlet is an explorer. The Dartmouth professor shows sides of the United States that most of us don’t fully understand in his 2023 book The Undertow: Scenes from a Slow Civil War, one of The New York Times 100 Books of the Year.  I picked up the book at the Telling The Truth 2023: THE STRUGGLE FOR AMERICA’S FUTURE event sponsored by The New York State Writers Institute on Friday, November 17, 2023, at Page Hall on the Downtown UAlbany campus.
He was paired with Juliet Hooker, a noted political scientist, who had a then-brand new book Black Grief/White Grievance: The Politics of Loss, in a discussion of The American Backlash: “A conversation about the politics of revenge, and the impulse to punish ‘out groups’ who have made political gains — particularly racial, sexual, and cultural minorities, and women. ” Jeff’s book was about that, of a sort, but it didn’t mesh with the moderator’s questions.

 Jeff delves into the religious dimensions of American politics as he did in The Family: The Secret Fundamentalism at the Heart of American Power, the 2009 book that inspired the Netflix documentary series. He does so by talking to people whom most reporters do not speak to, sometimes in perilous situations.
Asking the questions
As the Amazon review notes:   “Jeff Sharlet journeys into corners of our national psyche where others fear to tread. The Undertow is both inquiry and meditation, an attempt to understand how, over the last decade, reaction has morphed into delusion, social division into distrust, distrust into paranoia, and hatred into fantasies―sometimes realities―of violence.”
The book is a series of essays, and the first chapter, Voice and Hammer,  threw me off a bit. He wrote about Harry Belafonte and his participation in the American Civil Rights struggle. Belafonte told Jeff the tale of getting cash for the movement in the South involving a car chase. I heard Donald Hyman tell the same story when he reviewed Belafonte’s 2012 autobiography My Song for the Friends and Foundation of the Albany Public Library on November 7, 2023.
The second chapter, On The Side Of Possibilities, describes his time embedded in Occupy Wall Street encampments. I understand that he “remembers and celebrates the courage of those who sing a different song of community and an America long dreamt of and yet to be fully born, dedicated to justice and freedom for all.”
djt

But the next section of the book, in the Heavy With Gold chapter, starts with seeing the 45th president land in his large plane and one or more of his devotees hoping to punch a protester in the face. And little wonder, given the gory, painted as patriotic ramblings of djt.

In the chapter Ministry of Fun, men, presumably “of God,” glorify materialism, attracting Kanye West, Kardashians, and pro athletes with a theology mostly devoid of a Matthew 25 directive to feed the hungry and clothe the naked. Instead, “lies, greed, and glorification of war boom through microphones at hipster megachurches that once upon a time might have preached peace and understanding.”

In Whole Bottle of Red Pills, there is “a conference for lonely single men [who] come together to rage against women.” From incels (involuntary celibate) to Paul Elam’s A Voice for Men, the manosphere loathes “women ‘leaning in,’ women in combat, women who have the gall to think that they too can be funny, or president.”

MRA, Men’s Right Advocate, is a “gluttony of the soul, while citing Scripture and preparing for civil war―a firestorm they long for as an absolution and exaltation.  Political rallies are as aflame with need and giddy expectation as religious revivals.

“On the Far Right, everything is heightened―love into adulation, fear into vengeance, anger into white-hot rage.

The Trumpocene shows that “here, in the undertow, our forty-fifth president, a vessel of conspiratorial fears and fantasies, continues to rise to sainthood.” And he has mastered the “kidding/not kidding” motif.

Saint Ashli
In section 3, Goodnight Irene On Survival, the title essay is about the insurrectionist Ashli Babbitt, killed on January 6 at the Capitol, who is beatified as a martyr of white womanhood. Yes, a martyr, not unlike the White virgin in the 1915  movie Birth Of A Nation who leaps to her death rather than submit to the wanton desires of a Black man.
Jeff Sharlet then continues traveling east, analyzing the Ashli movement, even as he deals with the grief of the passing of his stepmother, the widow of his late father Robert, the father he started to live with after his mother Nancy died too young, at 45 on January 1, 1989.
Surprisingly, the last chapter was about the musical group The Weavers, Fred Hellerman, Ronnie Gilbert, Lee Hays, and Pete Seeger, the Peekskill riot in 1949, and their career ups and downs.
It is arguable whether the first two and last chapters “belong” here, as he tries to add some hope to the narrative, but the book’s core was extraordinary.
2024
Here’s an addendum from Jeff’s Substack page, Scenes From A Slow Civil War. In the July 15, 2024 post, One Nation Under Fist: “Consider Trump v. United States, the powers of a king now granted to the presidency, in anticipation of Trump’s return. Consider the sermons preached in Christian nationalist churches across the country on Sunday, declaring Trump spared by God for a higher purpose. Consider the widespread contemplation of the millimeters between life and death for Trump on Saturday, the public pondering of a breeze that might have ever so slightly altered the bullet’s course, or a tremor that might have troubled the assassin’s hand. ‘It was God alone who prevented the unthinkable from happening’” Trump ‘truthed,’ and—” Expletive deleted.
“Those who claim calling Trump a threat to democracy is violent rhetoric are doing a kind of rhetorical violence to democracy, screeching it to a halt, making an ever-moving idea a static one, writing a banal and brutal ending onto a story that’s meant to keep going. The historian David Waldstreicher comments that for fascism and its enablers, ‘democracy is not a process, it’s just another word for the nation’—and the fist, under which it trembles.”
I should note that I’ve known Jeff Sharlet since he was six and a half years old. He lived in Scotia, NY, with his mom and sister Jocelyn. The morning after the Telling The Truth event, we went out for breakfast – he paid – and we talked for three hours.
[This is an edited version of the content of my book review at the Albany Public Library on July 30, 2024.]

Movie review: The Widow Clicquot

champagne

In the movie The Widow Clicquot, François Clicquot (Tom Sturridge) loved talking to the grapes he grew. And he loved sharing his passion with his bride, Barbe-Nicole Ponsardin Clicquot (Haley Bennett). But when – no spoiler – he dies, she wants to run the wine business they had started together. A woman running a complicated, fledgling, undercapitalized operation in the politically hostile environment of Napoleonic Europe? She says, of course.

Her father-in-law Phillipe (Ben Miles) is among the many men who believe she is ill-equipped for the task. She does have one ally, the wine merchant Droite (Paul Rhys), who is willing to flaunt conventions.

The story is based on a true story, as told in Tilar J. Mazzeo’s New York Times-bestselling biography. The widow Clicquot practically invented the champagne industry.

It’s well-acted, especially by the lead actress, and well-filmed. The message is inspirational. Though it’s a French production, it is in English.

Arm’s length

Yet, it seems somehow at arm’s length. Mme. Clicquot’s great success is only footnoted at the end. Indeed, the best scene in the movie is the last one, when she is brought before a tribunal designed to ascertain whether she was violating just norms but the law.  Then, the 90-minute movie ends.

Beatrice Loayza wrote in the New York Times: “Ambitious as it is in scope, the film is also somewhat charmless and dour, caught between wanting to deliver the passion audiences expect from a period romance and constructing a suspenseful underdog tale. It’s too bad it never finds a winning balance.” I so wanted to like the film. I admired the elements but the concoction never came together for me.

FWIW, both critics and the audience at Rotten Tomatoes gave it an 85% positive mark. Here’s an interview with Haley Bennett, not only the star but also a producer of the film.

My wife and I saw The Widow Clicquot in late July at the Spectrum Theatre in Albany. 

Movie review: Janet Planet

the Berkshires

After seeing a rather endearing trailer, my wife and I went to the Spectrum 8 Theatre in Albany to see the movie Janet Planet on a Tuesday evening.

It’s weird. After we shared our impressions afterward, we pointed out some interesting things about what the movie set out to do in depicting a single mom (the title character played by Juliana Nicholson) and her tween daughter Lacy (Zoey Ziegler) in 1991.

Yet, seeing the film in real-time, the revelations unfolded too slowly and possibly obliquely for our taste.

Early during the movie, an older gentleman in the audience pulled out his phone. I thought it strange until I realized that he was turning up his hearing aid. The first section, the one featuring Janet’s brusque boyfriend Wayne  (Will Patton), was almost all long shots and difficult to hear.

The next section involved the troupe of performers, which was interesting enough, as Janet reconnects with old friend Regina (Sophie Okonedo). This section is at least slightly more interesting. The third act involves that group – is it a cult? – Guru, Avi  (Elias Koteas).

Lacy, meanwhile, is largely observing her mother’s life, making sometimes pointed comments. But mostly, she is alone in her thoughts except for her increasingly interesting doll house characters. She has no friends except, briefly, one. Her piano lessons seem a chore for both the student and her instructor.

Reviews

The Rotten Tomatoes critics’ reviews were 84% positive. One compared it favorably with the mother/daughter piece Lady Bird. I LIKED Lady Bird.

One negative review by Rich Cline reflected our thoughts: “The mannered approach means that story only comes to life in brief spurts of insight, especially as the excellent cast adds details to characters who are somewhat undefined. But much of the film involves watching nothing happen at all.”

I generally agreed with the audience reviews, which were only 40% positive. While I don’t think it was “pointless” or “the worst film in decades,” which I read more than once, “this is a very, very slow film in which little happens. If the characters were the least bit engaging, this might have worked.”

I was bored and impatient, and my wife wished she had not gone.

It does have some nice western Massachusetts scenery, which we were familiar with. The story is by Pulitzer Prize-winning playwright Annie Baker. It supposedly “captures a child’s experience of time passing, and the ineffability of a daughter falling out of love with her mother, in this singularly sublime film debut.”

It just didn’t work for us.

Also, the title kept reminding me of Van Morrison’s first wife. 

Movie review: Daddio

two people in a taxi

The movie Daddio is about two people driving around and talking. More specifically, a young woman (Dakota Johnson) arrives at the airport and gets into the back seat of a yellow taxi. The cab driver (Sean Penn) heads towards Manhattan, and they talk. That’s pretty much it.

The cabbie, Clark, or whoever he wanted to be, is a fairly astute judge of people. As he generates conversation with his last fare of the night, she’s willing to put away her cell phone for a few moments in response. They discuss the nature of romantic relationships, sometimes as a competition.

The critics like it, 77% positive, and the audience response is 86% thumbs up. wrote: “The pair’s conversation only grows in unexpected specificity and fiery intensity from there… While I never fully bought that the two characters would engage as intimately as they do, their conversation still kept me glued to my seat…” While I agree with the latter half, I found strangers in a taxi talking entirely credible. When I used to take the train to Charlotte, NC, and elsewhere regularly, I was initially shocked at what total strangers would share with me.

The cabbie’s motives

Fetters also notes: “Is Clark attracted to her? Does he look at the woman as a daughter? Is he bored and just happy to have someone in his cab willing to chat with him? As for her, does she need this conversation right now? Does Clark spark something inside her that makes her willing to open up to a complete stranger about so many ins and outs happening in her life at the moment?”

But Rex Reed’s negative assessment is NOT wrong. “Every woman I’ve ever known would start looking for an escape from a cabbie who turns as embarrassingly intimate as this one does.” 

This is Christy Hall’s directorial debut and also her first script for the cinema. Dakota Johnson was an executive producer.

In some ways, I wondered how this would play out as a two-person play. It would require something to display what she is surreptitiously texting.  

I think it is a good but not great film. My wife and I saw it on a Tuesday night at the Spectrum Theatre in Albany. 

Movie review: Ghostlight

Mallen Kupferer

My wife and I saw the movie Ghostlight at the Spectrum Theatre during a Saturday matinee. It’s an excellent film. The New York Times describes the title. “‘Ghostlight’ [is] named for the single bulb often left burning in a theater when all the rest of the lights are shut off, keeping it from total darkness. If that sounds like a metaphor, it is.” This is not to be confused with a 2018 movie with, unfortunately, the same name.

But I’m concerned that the viewer won’t give it a chance, particularly if they are watching it on a streaming service. From the  RogerEbert.com three-and-a-half-star review:  “Some viewers will be irritated by one of the qualities I found most intriguing about ‘Ghostlight’: you don’t really know what this family’s ‘deal’ is, so to speak, until fairly deep in the film.”  This is true.

In other words, it’s an “onion” movie, where you must peel off the layers. The payoff, however, is gripping and moving, and quite worthwhile.

The father, Dan (Keith Kupferer), is a construction worker, impatient and occasionally volcanic. His wife Sharon (Tara Mullen) is stoic, trying to keep the family together. Their daughter Daisy (Katherine Mallen Kupferer) is an intelligent, but belligerent teenager.

Dan meets Rita (Dolly De Leon), an actor in a very much ragtag theatrical troupe, and he’s invited to join in a production of Romeo and Juliet. And theater, much to his amazement, turns out to be what he needs.

Family Affair

The reviews are very positive, 100% with the critics and 97% with the audience. The biggest complaint is that it’s too “on the nose,” but even so, the acting and the direction by Alex Thompson and Kelly O’Sullivan made it all work.

Did I mention the family in the movie is an actual family? Here’s an interview with directors Alex Thompson and Kelly O’Sullivan, as well as another with the directors and actors. 

The soundtrack’s musical choices are interesting, including three songs from Oklahoma that somehow work. I was curious that the movie had subtitles—the script is in English, after all—but occasionally, in scenes involving outdoor traffic, I appreciated them.

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