I read an interesting article by Christos Tsiolkas (an Australian celebrated author) in Saturday’s Spectrum (The Age, 21 May 2016) discussing the films and characters of Martin Scorcese and their influence on Tsiolkas. He remarked that they shared something in common. Both are sons of immigrants: Scorsese’s Italian to America and Tsiolkas’ Greek to Australia; both post-war, I expect.
I was born in the aftermath of WW2, so I’ve seen over half a century of change. The relevance to Tsiolkas’ commentary is that the characters in Scorcese’s early films, represent for Tsiolkas, an inability to deal with a changing world, where issues of angst are resolved violently, though not necessarily satisfactorily. He gives special mention to Taxi Driver and Raging Bull, both collaborations of filmmaker Scorcese, writer Paul Schrader and actor Robert de Niro. In my own way, I started to think how the world had changed in my time from my father’s time.
I also read an interview with Lang Lang in The Weekend Australian Review (21-22 May 2016) who talked candidly about the tumultuous relationship he had with his father, who even suggested once that his son commit suicide because he was unhappy with his pianistic progress.
Well, my father never told me to commit suicide but our relationship was volatile to say the least and never really gained a satisfactory denouement until after his death. He often appears in my dreams, but it’s as if I’m time travelling into our past, because I’m never surprised that he’s alive and everything is pretty well normal.
My father grew up in the depression, left school at 14, despite having a good brain for both literature and numeracy. He ran away from one school, run by Catholic brothers, to avoid getting a caning. From what I can understand he used to resolve arguments with his fists, even against bigger boys, and he became a boxer, probably after the war but before I knew him. In the war he was captured by the Germans on Crete after he volunteered to stay and look after the wounded, and spent 2.5 years as a prisoner of war, escaping 3 times before they sent him home as an exchange prisoner. He told me it was only Red Cross parcels that kept him alive, and strangely he held no animosity towards the Germans in all the years I knew him.
My father was a non-combatant; he was in the Field Ambulance Corp as the assistant, not the driver. He was not a hero, but he made sacrifices. He once dragged a wounded man behind a tree while they were being strafed, and then dragged him around the other side while the plane turned to make another run. I once had a dream of being strafed by a plane and I was terrified. He voluntarily put himself in danger to save another; I’m not sure I could do that.
On Crete, after the occupation, it’s well known there was a resistance movement who paid dearly. My father was once involved in an escape attempt with another. He said it was always the women who organised these things. They were sprung by an armed German, but he didn’t know how many there were. My father gave himself up so the others could escape. The escapee managed to get word to my grandmother that he was alive. Up to then she only knew that he was ‘missing in action’.
I knew him, of course, in the decades after he returned and he was not someone you crossed. My father was very scary at times; we all walked around on eggshells for most of my upbringing. He and my mother had terrible fights but he never hit her. He hit us kids, which was the norm in his day, and I grew a psychological skin so I stopped feeling the pain, but stopped feeling in other ways as well. I don’t blame him or hate him nor do I really forgive him, but I don’t judge him either. I’ve never lived what he lived through and I can’t imagine that if I did I would have survived. He and I fought almost up to his dying days such was our strange relationship.
And what of my mother? Well, she’s still alive and at 95 she can beat me at scrabble. Seriously. I think she’s a saint to be honest and that’s all I’ll say; at least while she’s alive.
As for me, I couldn’t fight to save myself and I was bullied at school when fighting between boys was still considered a healthy activity. I’ve never resolved a fight with my fists and can’t imagine even being tempted to.
In my one and only published novel, I wrote a dedication to my father: To Blue. Because he would have enjoyed it. My father loved a good story of any genre and he would have genuinely enjoyed it. Sadly, he never saw it.
Monday 23 May 2016
Friday 6 May 2016
Is morality objective?
This is another 'Question of the Month' from Philosophy Now (Issue 113, April/May 2016).
There is a constraint on length (400 words) otherwise I'd elaborate more. I have addressed this issue before regarding a specific case, which I cite in my essay below.
There are two types of morality that co-exist virtually everywhere and at all times, yet they are, for the most part, poles apart. They are morality in theory and morality in practice and they align with objective morality and subjective morality respectively. I will demonstrate what I mean by example, but first I will elaborate on morality as it is practiced. For most people morality stems from cultural norms.
Many people rely on their conscience to determine their moral compass but one’s conscience is a social construct largely determined by one’s upbringing in whatever society one was born into. For example, in some societies, one can be made to feel guilty about the most natural impulses, like masturbation. Guilt and sex have been associated over generations but it is usually one-sided. Women are often forced to carry the greater burden of guilt and homosexuals can be forced to feel criminal. Both these examples illustrate how cultural norms determine the morality one was inculcated with from childhood.
In some societies there are cultural clashes, usually generational, where the same moral issue can inflame antithetical attitudes. For example, in India in December 2012, a young woman, Jyoti Singh, a recently graduated medical student, was raped and murdered on a bus after she went and saw a movie with her boyfriend. A documentary by British filmmaker, Leslee Udwin, revealed the cultural schism that exists in India over this issue. Some believed (including the lawyers representing the gang who committed the crime) that the girl was responsible for her own fate, whereas others campaigned to have rape laws strengthened. This demonstrates most starkly how culture determines moral values that become normative and then intransigent.
In many cultures it is taught that God determines moral values, and these are often the most prescriptive, oppressive, misogynistic and sometimes brutal examples of enforced cultural mores. People who practice this often claim that theirs is the only true objective morality, but, in truth, when one invokes God to rationalise one’s morality, anything, including the most savage actions, can be justified.
On the other hand, morality in theory is very simple: it is to treat everyone the same and give everyone the same rights, be they men, women, homosexuals, people of different faith or different skin colour. One only has to look at the treatment of refugees to realise how even the most liberal societies struggle with this precept.
There is a constraint on length (400 words) otherwise I'd elaborate more. I have addressed this issue before regarding a specific case, which I cite in my essay below.
There are two types of morality that co-exist virtually everywhere and at all times, yet they are, for the most part, poles apart. They are morality in theory and morality in practice and they align with objective morality and subjective morality respectively. I will demonstrate what I mean by example, but first I will elaborate on morality as it is practiced. For most people morality stems from cultural norms.
Many people rely on their conscience to determine their moral compass but one’s conscience is a social construct largely determined by one’s upbringing in whatever society one was born into. For example, in some societies, one can be made to feel guilty about the most natural impulses, like masturbation. Guilt and sex have been associated over generations but it is usually one-sided. Women are often forced to carry the greater burden of guilt and homosexuals can be forced to feel criminal. Both these examples illustrate how cultural norms determine the morality one was inculcated with from childhood.
In some societies there are cultural clashes, usually generational, where the same moral issue can inflame antithetical attitudes. For example, in India in December 2012, a young woman, Jyoti Singh, a recently graduated medical student, was raped and murdered on a bus after she went and saw a movie with her boyfriend. A documentary by British filmmaker, Leslee Udwin, revealed the cultural schism that exists in India over this issue. Some believed (including the lawyers representing the gang who committed the crime) that the girl was responsible for her own fate, whereas others campaigned to have rape laws strengthened. This demonstrates most starkly how culture determines moral values that become normative and then intransigent.
In many cultures it is taught that God determines moral values, and these are often the most prescriptive, oppressive, misogynistic and sometimes brutal examples of enforced cultural mores. People who practice this often claim that theirs is the only true objective morality, but, in truth, when one invokes God to rationalise one’s morality, anything, including the most savage actions, can be justified.
On the other hand, morality in theory is very simple: it is to treat everyone the same and give everyone the same rights, be they men, women, homosexuals, people of different faith or different skin colour. One only has to look at the treatment of refugees to realise how even the most liberal societies struggle with this precept.
Sunday 17 April 2016
Eye in the Sky
Two movie reviews in a row – but quite different – one arguably the latest incarnation of my generation’s best known comic book icons, and the other a serious intellectual debate on the moral dimension of modern warfare.
This is a really good movie: one where you can’t leave the cinema without internally debating the pros and cons of a military operation, where you know the consequences are real for those who take part in this very new ‘theatre of war’ involving drone strikes, electronic intelligence surveillance and high tech Western military powers versus third world terrorist enclaves. This is one of those movies where you ask yourself: What would I do? Only many times over.
You insert yourself in so many points of view; a credit to the filmmakers and the actors who create them for you. Only 2 of the actors are known to me: Helen Mirren and Alan Rickman; but they all acquit themselves well, with events taking place simultaneously in 3 geographically separate parts of the world. Such is the nature of modern warfare and communications availability that one can imagine the co-operation of 3 different countries’ governments and military personnel performing one tactically precise operation.
A British production, Colin Firth is one of the producers, which is how it came to Helen Mirren (according to an interview with her) and you wonder why he’s not in it. One can imagine him playing any one of the British roles, such is his versatility. Apparently, the Mirren character was written for a man, so it’s a master stroke giving it to her. Sadly, it’s Alan Rickman’s last film, so it seems fitting to me that he has arguably the best line in the movie: “Never tell a soldier that he doesn’t know the cost of war.” Seeing ‘In Loving Memory of Alan Rickman’ in the credits was as emotional for me as any moment in the movie itself. And the movie certainly has its moments.
I’m not giving anything away by telling you the premise: a drone strike on a house in Nairobi is compromised by the presence of a young innocent girl (just watch the trailer). And it was the trailer that compelled me to go and see this film. In some respects this is a perfectly realistic and believable recasting of Mills’ famous trolley thought experiment: would you sacrifice the life of 1 innocent man to save the lives of 4 others? In this case, do you sacrifice the life of 1 innocent girl to save the potential 80+ lives from a suicide bomber? Really, that’s it in a nutshell. You empathise with everyone in the so-called chain of command, but, in particular, with the young drone pilots, who must perform the actual kill, one of whom is a woman on her very first operation.
Like the military personnel (played by Rickman and Mirren) you get frustrated by the Public Service mentality of avoiding a decision for fear of yet-to-be realised consequences. But what struck me was that the entire decision-making process was driven purely by legal and political considerations, not moral ones. I’ve never been in a war so I really can’t judge. The truth is that in a war, one’s moral compass is changed, not least because you are trained to kill; something you’ve been taught never to do for your entire life. The other truth is that the more one side escalates atrocities so does the opposing side. Concepts of right and wrong that seem so solid and dependable in civilian life can suddenly become slippery and even obsolete. I’ve never been there but I can imagine.
A few years back I wrote a post on drone warfare after reading an article that cited David Kilcullen (in the Weekend Australian) who opposed it, arguing that it would recruit terrorists. One of the many arguments that takes place in the movie is about winning the propaganda war. At the time, watching the scene, I thought: who cares? But at the end of the movie, I realised that collateral damage is always a propaganda win for the opponent. This is the biggest risk of drone warfare. There is another side to this as well. Someone once pointed out (no, I don’t remember who) that when one side of a conflict is technically superior to the other, the other side invariably uses tactics that are considered unethical by the superior side, but the inferior side know that such tactics are their only advantage. This is the case in the so-called ‘War on Terror’, where the technological might of Western military power is thwarted by suicide bomber attacks in public places.
In movies, it’s not difficult to create a character whom the audience roots for, and in this case, it’s the young girl. Alongside that is the imperative to stop terrorist attacks by ideologues whose stated aim is to eradicate Western political and educational norms in whichever way they can. The film makes it clear that the young girl represents the future that these ideologues oppose.
This is a really good movie: one where you can’t leave the cinema without internally debating the pros and cons of a military operation, where you know the consequences are real for those who take part in this very new ‘theatre of war’ involving drone strikes, electronic intelligence surveillance and high tech Western military powers versus third world terrorist enclaves. This is one of those movies where you ask yourself: What would I do? Only many times over.
You insert yourself in so many points of view; a credit to the filmmakers and the actors who create them for you. Only 2 of the actors are known to me: Helen Mirren and Alan Rickman; but they all acquit themselves well, with events taking place simultaneously in 3 geographically separate parts of the world. Such is the nature of modern warfare and communications availability that one can imagine the co-operation of 3 different countries’ governments and military personnel performing one tactically precise operation.
A British production, Colin Firth is one of the producers, which is how it came to Helen Mirren (according to an interview with her) and you wonder why he’s not in it. One can imagine him playing any one of the British roles, such is his versatility. Apparently, the Mirren character was written for a man, so it’s a master stroke giving it to her. Sadly, it’s Alan Rickman’s last film, so it seems fitting to me that he has arguably the best line in the movie: “Never tell a soldier that he doesn’t know the cost of war.” Seeing ‘In Loving Memory of Alan Rickman’ in the credits was as emotional for me as any moment in the movie itself. And the movie certainly has its moments.
I’m not giving anything away by telling you the premise: a drone strike on a house in Nairobi is compromised by the presence of a young innocent girl (just watch the trailer). And it was the trailer that compelled me to go and see this film. In some respects this is a perfectly realistic and believable recasting of Mills’ famous trolley thought experiment: would you sacrifice the life of 1 innocent man to save the lives of 4 others? In this case, do you sacrifice the life of 1 innocent girl to save the potential 80+ lives from a suicide bomber? Really, that’s it in a nutshell. You empathise with everyone in the so-called chain of command, but, in particular, with the young drone pilots, who must perform the actual kill, one of whom is a woman on her very first operation.
Like the military personnel (played by Rickman and Mirren) you get frustrated by the Public Service mentality of avoiding a decision for fear of yet-to-be realised consequences. But what struck me was that the entire decision-making process was driven purely by legal and political considerations, not moral ones. I’ve never been in a war so I really can’t judge. The truth is that in a war, one’s moral compass is changed, not least because you are trained to kill; something you’ve been taught never to do for your entire life. The other truth is that the more one side escalates atrocities so does the opposing side. Concepts of right and wrong that seem so solid and dependable in civilian life can suddenly become slippery and even obsolete. I’ve never been there but I can imagine.
A few years back I wrote a post on drone warfare after reading an article that cited David Kilcullen (in the Weekend Australian) who opposed it, arguing that it would recruit terrorists. One of the many arguments that takes place in the movie is about winning the propaganda war. At the time, watching the scene, I thought: who cares? But at the end of the movie, I realised that collateral damage is always a propaganda win for the opponent. This is the biggest risk of drone warfare. There is another side to this as well. Someone once pointed out (no, I don’t remember who) that when one side of a conflict is technically superior to the other, the other side invariably uses tactics that are considered unethical by the superior side, but the inferior side know that such tactics are their only advantage. This is the case in the so-called ‘War on Terror’, where the technological might of Western military power is thwarted by suicide bomber attacks in public places.
In movies, it’s not difficult to create a character whom the audience roots for, and in this case, it’s the young girl. Alongside that is the imperative to stop terrorist attacks by ideologues whose stated aim is to eradicate Western political and educational norms in whichever way they can. The film makes it clear that the young girl represents the future that these ideologues oppose.
Monday 28 March 2016
Superheroes for adults – Batman v Superman: Dawn of Justice
This is not the first movie review I’ve written on this blog; not even the first about superheroes. I wrote a review of Watchmen in Oct., 2009, which is an exceptional movie in my view, based on an exceptional graphic novel by Alan Moore, which I have to confess I read some years after I saw the movie.
One really shouldn’t reference other reviewers when writing a review (an unwritten rule of reviewing) but Stephen Romei, writing in the Weekend Australian Review (26-27 Mar., 2016) makes the pertinent point of how our superheroes have evolved over the best part of a century (the ones in this movie were all created pre-WW2). As someone who was born immediately post-WW2, I grew up with these heroes in the form that they were born in, comic books. Like many of my generation (including Romie, I suspect) they are imbedded in my psyche, especially Superman.
Romei makes the point that he’s glad he didn’t take his 10 year old son (so maybe not my generation) because the movie is long and the characters' relationships complex. But the truth is that when you see Lois in a bath you know this isn’t a movie for kids. And no, it’s not a gratuitous nude scene – it’s a very clever way of demonstrating her relationship with Clark without showing them in bed. Our superheroes have become grown up – they have sex. It’s a bit like the point in your life when you realise your parents have been at it for at least as long as you’ve been alive. Bruce Wayne has someone in his bed as well, but we never meet her. In fact, she’s so unobtrusive that I now wonder if I imagined her.
This is a very noirish film, and not only in subtext. The first thing that struck me about this movie was the cinematography: it’s darkly lit, even the outdoor shots. But what makes this film worthy of a blog post is that it has a moral dimension that reflects the current world we live in. It’s about fear and trust and how we are manipulated by politicians and media. Our heroes are flawed, suffer doubt and have to deal with real moral dilemmas. All of these factors are dealt with a level of authenticity that we would not expect from a superhero movie. It’s also about being judged by association; very relevant in the current global environment.
One of the themes of this movie, which is spelt out in some of the dialogue, as well as in gestures, is that these heroes are effectively gods. Bryan Singer brought this home to us as well in Superman Returns (a movie that you either loved or hated; it’s one my favourites, I confess). This is a point I’ve raised myself (when I discussed Watchmen): the superheroes are our ‘Greek Gods’. And like the Greek Gods of literature, they exhibit human traits, dabble in human affairs and even have human lovers. I am a storyteller by nature, and the whole point of storytelling is to be able to stretch our imaginations to worlds and beings that only exist in that realm. But that storytelling only resonates with us when it deals with human affairs, not only of the heart, but of politics and moral crises.
Chris Nolan’s second Dark Knight movie is a case in point, where Heath Ledger’s Joker makes Christian Bale’s Batman become, albeit fleetingly, as morally compromised as he is. This is the lesson: do we have to become as bad as our enemies in order to defeat them. Consider the Republicans’ current leading contender for the White House saying on national television that in order to defeat ISIS we need to attack their families. Cringeworthy doesn’t cover it.
And this movie, in its own way, challenges our prejudices, our inherent distrust in anyone who is ‘not one of us’, especially when we can associate them with atrocities occurring in remote locations and on our doorstep. We are tribal – it’s our strength and our downfall. And this fear and mistrust is manipulated blatantly (in the movie) which is why it is relevant and meaningful to the present day. Science fiction stories, always set in the future, always have something relevant to say about the time in which they are written.
And this brings me to the introduction of Wonder Woman, who has very little screen time, yet promises much for the future. I have a particular interest in her character, because she influenced one of my own creations, albeit subconsciously (I wasn’t aware of the obvious references until after I’d written it). I have to confess I was worried that she would come across as a lightweight, but Gal Gadot gives the role the gravitas it deserves. Gadot is a former Miss Israeli and the fact that she’s served in the military is maybe why she convinces us that she is a genuine warrior and not just someone who looks good in tight-fitting clothes.
Remember that Sean Connery was a Mr Universe contender before he became the first and (50 years later) still the most iconic James Bond. But the reason for her relevance is that female superheroes have been historically in short supply, but there is a sense that their time has come. Looking on the Internet, the biggest concern seemed to be if her boobs were big enough. And, in fact, a radio interviewer asked her that very question. She pointed out that the real Amazonians only had one breast, which may have made the role ‘problematic if one really wanted authenticity’. (I remember being told that as a kid: that they cut off their left breast so they could draw and release a bow string. It seemed plausible to me then and it sounds plausible to me now.) That slightly irrelevant point aside, the original Wonder Woman was based on Greek mythology; she is Hellenic, so possibly more in common with the Greek Gods than any other 20th Century fictional creation. Anyway, I think Gadot perfect for the role, and I only hope the scriptwriters have done her justice in her own story.
Just one bit of trivia: there is a piece of dialogue by Alfred (played pitch-perfect by Jeremy Irons) that has been lifted straight out of Frank Miller’s The Dark Knight Returns (1986) of which I still have a copy. A subtle but respectful salute.
One really shouldn’t reference other reviewers when writing a review (an unwritten rule of reviewing) but Stephen Romei, writing in the Weekend Australian Review (26-27 Mar., 2016) makes the pertinent point of how our superheroes have evolved over the best part of a century (the ones in this movie were all created pre-WW2). As someone who was born immediately post-WW2, I grew up with these heroes in the form that they were born in, comic books. Like many of my generation (including Romie, I suspect) they are imbedded in my psyche, especially Superman.
Romei makes the point that he’s glad he didn’t take his 10 year old son (so maybe not my generation) because the movie is long and the characters' relationships complex. But the truth is that when you see Lois in a bath you know this isn’t a movie for kids. And no, it’s not a gratuitous nude scene – it’s a very clever way of demonstrating her relationship with Clark without showing them in bed. Our superheroes have become grown up – they have sex. It’s a bit like the point in your life when you realise your parents have been at it for at least as long as you’ve been alive. Bruce Wayne has someone in his bed as well, but we never meet her. In fact, she’s so unobtrusive that I now wonder if I imagined her.
This is a very noirish film, and not only in subtext. The first thing that struck me about this movie was the cinematography: it’s darkly lit, even the outdoor shots. But what makes this film worthy of a blog post is that it has a moral dimension that reflects the current world we live in. It’s about fear and trust and how we are manipulated by politicians and media. Our heroes are flawed, suffer doubt and have to deal with real moral dilemmas. All of these factors are dealt with a level of authenticity that we would not expect from a superhero movie. It’s also about being judged by association; very relevant in the current global environment.
One of the themes of this movie, which is spelt out in some of the dialogue, as well as in gestures, is that these heroes are effectively gods. Bryan Singer brought this home to us as well in Superman Returns (a movie that you either loved or hated; it’s one my favourites, I confess). This is a point I’ve raised myself (when I discussed Watchmen): the superheroes are our ‘Greek Gods’. And like the Greek Gods of literature, they exhibit human traits, dabble in human affairs and even have human lovers. I am a storyteller by nature, and the whole point of storytelling is to be able to stretch our imaginations to worlds and beings that only exist in that realm. But that storytelling only resonates with us when it deals with human affairs, not only of the heart, but of politics and moral crises.
Chris Nolan’s second Dark Knight movie is a case in point, where Heath Ledger’s Joker makes Christian Bale’s Batman become, albeit fleetingly, as morally compromised as he is. This is the lesson: do we have to become as bad as our enemies in order to defeat them. Consider the Republicans’ current leading contender for the White House saying on national television that in order to defeat ISIS we need to attack their families. Cringeworthy doesn’t cover it.
And this movie, in its own way, challenges our prejudices, our inherent distrust in anyone who is ‘not one of us’, especially when we can associate them with atrocities occurring in remote locations and on our doorstep. We are tribal – it’s our strength and our downfall. And this fear and mistrust is manipulated blatantly (in the movie) which is why it is relevant and meaningful to the present day. Science fiction stories, always set in the future, always have something relevant to say about the time in which they are written.
And this brings me to the introduction of Wonder Woman, who has very little screen time, yet promises much for the future. I have a particular interest in her character, because she influenced one of my own creations, albeit subconsciously (I wasn’t aware of the obvious references until after I’d written it). I have to confess I was worried that she would come across as a lightweight, but Gal Gadot gives the role the gravitas it deserves. Gadot is a former Miss Israeli and the fact that she’s served in the military is maybe why she convinces us that she is a genuine warrior and not just someone who looks good in tight-fitting clothes.
Remember that Sean Connery was a Mr Universe contender before he became the first and (50 years later) still the most iconic James Bond. But the reason for her relevance is that female superheroes have been historically in short supply, but there is a sense that their time has come. Looking on the Internet, the biggest concern seemed to be if her boobs were big enough. And, in fact, a radio interviewer asked her that very question. She pointed out that the real Amazonians only had one breast, which may have made the role ‘problematic if one really wanted authenticity’. (I remember being told that as a kid: that they cut off their left breast so they could draw and release a bow string. It seemed plausible to me then and it sounds plausible to me now.) That slightly irrelevant point aside, the original Wonder Woman was based on Greek mythology; she is Hellenic, so possibly more in common with the Greek Gods than any other 20th Century fictional creation. Anyway, I think Gadot perfect for the role, and I only hope the scriptwriters have done her justice in her own story.
Just one bit of trivia: there is a piece of dialogue by Alfred (played pitch-perfect by Jeremy Irons) that has been lifted straight out of Frank Miller’s The Dark Knight Returns (1986) of which I still have a copy. A subtle but respectful salute.
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