Encore: Powers of Ten – Charles and Ray Eames’ brilliant, before-its-time film

October 10, 2018

Images from

Images from “Powers of Ten,” 1977 edition. From IconEye

Back on October 10, 2010, we celebrated “Powers of Ten Day: 10/10/10.”

We’ve only got two tens in the date today, but the work of Charles and Ray Eames deserves remembering at least every October 10.

It’s a classic film, wonderful in its earliest versions in the 1970s, long before CGI. In 2018, I think it stands up very well.

Earlier I wrote:

AMNH’s “The Known Universe” is a cool film. Putting up that last post on the film, I looked back and noted that when I had previously written about the brilliant predecessor films from Charles and Ray Eames, “Powers of Ten,” the Eames films were not freely available on line.

That’s been fixed.

I like to use films like this as warmups to a year of history, and as a reminder once we get into studying the history of space exploration, of just how far we’ve come in understanding the universe, and how big this place is.

Of course, that means wer are just small parts.

The Eames’s genius showed the scale of things, from a couple picnicking in a park, to the outer reaches of the universe, and then back, zooming into the innermost reaches of a human down to the sub-atomic level.

There’s a series of these films; this one, published on YouTube by the Eames Office, was done in 1977, one of the later versions.

How can you use this in class, teachers? (I recommend buying it on DVD, as I did; better sound and pictures, generally.)

Film information:

Uploaded on Aug 26, 2010

Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only a s a speck of light among many others. Returning to Earth with breathtaking speed, we move inward- into the hand of the sleeping picnicker- with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell. POWERS OF TEN © 1977 EAMES OFFICE LLC (Available at http://www.eamesoffice.com)

At the Eames Office Youtube site, you may find the film in with Mandarin Chinese, German, and Japanese translations (no Spanish?).  If you’re unfamiliar with the work of this couple — you would recognize much of the stuff they designed, I’m sure — check out a short film on an exhibit on Ray Eames (which has concluded, sadly):

More:

The very recognizable, famous Eames Chair, from Herman Miller. Ideally, you can sit in your Eames Chair while watching

The very recognizable, famous Eames Chair and Ottoman, from Herman Miller. Ideally, you can sit in your Eames Chair while watching “Powers of Ten.” Herman Miller image.

This is an encore post.

Yes, this is an encore post. Defeating ignorance takes patience and perseverance.


Disney showed how to beat malaria in the Americas, without DDT

February 26, 2017

Still photo from Walt Disney's "Winged Scourge," a wanted poster for "Anopheles, alias Malaria Mosquito." The 1943 film short suggested ways to cut populations of the malaria-spreading mosquitoes of the genus Anopheles. Disease prevention would aid the war effort in 1943, it was hoped.

Still photo from Walt Disney’s “Winged Scourge,” a wanted poster for “Anopheles, alias Malaria Mosquito.” The 1943 film short suggested ways to cut populations of the malaria-spreading mosquitoes of the genus Anopheles. Disease prevention would aid the war effort in 1943, it was hoped.

Malaria’s scourge hobbled economic progress across the Americas, and critically in World War II, that hobbled the war effort to defeat the Axis powers, Germany and Japan.

U.S. government recruiting of Hollywood film makers to produce propaganda films hit a zenith in the war. Even animated characters joined in. Cartoonists produced short subject cartoons on seeveral topics.

In 1943 the Disney studios distributed this film starring the Seven Dwarfs, among the biggest Disney stars of the time. The film was aimed at Mexico, Central America and South America, suggesting ways people could actually fight malaria. Versions were made in Spanish and English (I have found no Portuguese version for Brazil, but I’m still looking.)

the lost Disney described the film:

The first of a series of health-related educational shorts produced by the Disney studios and the Coordinator of Inter-American Affairs for showing in Latin America. It was also the only one to use established Disney characters (the Seven Dwarfs).

In this propaganda short, the viewers are taught about how the mosquito can spread malaria. A young mosquito flies into a house and consumes the blood of an infected human. She then consumes the blood of a healthy human, transmitting the disease into him. It turns out that this is actually a film within a film and the Seven Dwarves are watching it. They volunteer to get rid of the mosquito by destroying her breeding grounds.

A Spanish-language version of the film:

Fighting malaria in the U.S. became a grand campaign in Franklin Roosevelt’s administration. Roosevelt administration officials saw malaria as a sapper of wealth, especially in the rural south. Part of the charge of the Tennessee Valley Authority was to wipe out malaria. By 1932, public health agencies in malaria-affected counties were beefed up to be able to promptly diagnose and treat human victims of malaria. TVA taught methods of drying up mosquito breeding places around homes and outdoor work areas. Sustained campaigns urged people to make their homes tighter, against weather, and to install screens on windows and doors to prevent mosquito entry especially at peak biting periods, dusk to after midnight.

U.S. malaria deaths and infections plunged by 90% between 1933 and 1942 — just in time to allow southern military bases to be used for training activities for World War II. After the war, the malaria-fighting forces of the government became the foundation for the Centers for Disease Control (CDC). With the introduction of DDT after 1945, CDC had another weapon to completely wipe out the remaining 10% of malaria cases and deaths.

It’s worth noting that in the end, it is the disease malaria that is eradicated, not the mosquitoes. In most places in the world, eradication of a local population of disease carriers is a temporary thing. A few remaining, resistant-to-pesticide-or-method mosquitoes can and do quickly breed a new population of hardier insects, and often surrounding populations will contribute new genetic material. Eradication of a vector-borne disease requires curing the disease in humans, so that when the mosquitoes come roaring back, they have no well of disease from which to draw new infection.

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Learning economics on Christmas vacation: What’s a bank run?

December 25, 2015

In education we miss out on most information technological innovation. Textbooks were notoriously dull when books were the chief medium found in schools. Schools took 60 years to make progress in showing film. Television, which started out commercially as a great education tool — what was arguably the best orchestra in the U.S. used to play every Sunday on NBC way back when. Then video, then computers, then the internet and personal data devices penetrated modern life, but not yet schools.

So I am always pleased to hear after Christmas break the questions high school economics and history students came back to class with, especially after “having to watch” that hoary and venerable old movie, “It’s a Wonderful Life.” Frank Capra’s film cuts through the fog on some important history and economics issues.

Not that you find it used much in U.S. schools. What follows is a blog post I did for my U.S. history blog some years back, to answer some of those student questions.

New York -- a classic

George Bailey (played by actor Jimmy Stewart) works to deal with a run on the Bailey Savings & Loan Association in Bedford Falls, New York — a classic “run on the bank” — in the 1946 movie, “It’s a Wonderful Life,” by Frank Capra. Image from Warner Bros., via Our Values blog.

“What’s a bank run?”

Whenever we get to the Great Depression, somebody asks about bank runs. What is a “run on the bank?” Why would people suddenly rush to get their cash out of the bank? And why can’t the bank just pay it out?

Frank Capra showed and explained it best, probably, in his 1946 film, “It’s a Wonderful Life.” But first, my weak attempt:

Banks don’t keep all the money deposited there in the vault. Banks make money by loaning out to others the money put on deposit. The people who get the loans must pay interest on the loan, and that allows the bank to pay interest on the deposits people put there (precious little today — my first account paid 5.25% on my first $5.00 deposit; today you’re lucky to get 1%, and you have to have a sizable minimum, generally. But I digress . . .).

So, if you and a hundred other people each deposit $100 in the bank, the bank turns around and loans out as much as they can. Of the $10,000 deposited, say, they loan out $9,000 to the guy who lives next door to you, so he can put an addition on his house. He’ll pay it back, with interest.

But, that loan means that there is only $1,000 left in the vault. Generally a 10% “reserve” will cover all the cash transactions a bank makes in a day. That is, if they have 10% of their total assets sitting in the vault, making no new money for them, it is highly unlikely that in a normal day there will be a demand for more than about $1,000 of that $10,000 on deposit. (The actual reserve amounts vary; last time I looked, several months ago, the Federal Reserve Board required member banks to hold about 7% of their total assets in cash on hand.)

You can begin to see why a bank run is a problem. If, in one day, every depositor showed up and demanded their deposit, the bank couldn’t pay them all. This is a death sentence in the banking world, for a bank to be unable to meet obligations, and generally that would mean that the bank would be out of business. But of course, that’s rather unfair to the bank — they have their money (your money, really) loaned out to dozens of other people. When those loans come in, the bank will have the cash to pay.

A run on the bank puts a kink in those careful, conservative calculations of how much cash a bank needs to have on hand to cover all the transactions of a day.

Banks fear a run. That’s what killed banks in 1932 and 1933, in the last year of the Hoover administration. Even a good bank could be doomed by an unjustified run — no bank could repay all of its depositors, in cash, on any one day.

Roosevelt’s bank holiday, just a week after his inauguration, stopped the runs for that week. The Federal Deposit Insurance Corporation (FDIC) insured deposits, so that even were there a run on a bank, a depositor could get his or her money back. Those measures essentially stopped runs on banks for decades.

Frank Capra’s 1946 movie, “It’s a Wonderful Life,” tells the story of a man who manages a small town savings and loan association, which is similar to a bank in that it accepts deposits and loans money, but different from a bank in that it is chartered for the benefit of its depositors, or members, and not for a bank corporation. In fact, the antagonist in the film is the town banker, Potter, who does what he can to bring the savings and loan to ruin.

In one memorable scene, a rumor that the savings and loan is about to fail prompts dozens of the members to make a run — indeed, there is also a run on the bank at the same time. Jimmy Stewart explains to the members why he can’t pay everybody . . . but he also has an infusion of $2,000 cash he plans to cash for his honeymoon. This is what a bank run looks like, with a smart banker (savings and loan manager in this case) who can keep his organization going:

This film clip is undoubtedly copyrighted by the current owners of the film’s intellectual property. I wish they would make it available for classroom use without heavy copyright fees, in the interest of the public.

It’s another case of a fictional film portraying history better than any history book, and economics, too. Licensing the film for classroom use costs more than teachers can pay — plus, in the dog-eat-teachers world of the War on Education, few administrators stand the use of fiction in history and economics classes. That’s before a teacher even gets to the issue of whether there is technical support to show the film.

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Powers of Ten – Charles and Ray Eames’ brilliant, before-its-time film

May 23, 2015

Images from

Images from “Powers of Ten,” 1977 edition. From IconEye

AMNH’s “The Known Universe” is a cool film. Putting up that last post on the film, I looked back and noted that when I had previously written about the brilliant predecessor films from Charles and Ray Eames, “Powers of Ten,” the Eames films were not freely available on line.

That’s been fixed.

I like to use films like this as warmups to a year of history, and as a reminder once we get into studying the history of space exploration, of just how far we’ve come in understanding the universe, and how big this place is.

Of course, that means wer are just small parts.

The Eames’s genius showed the scale of things, from a couple picnicking in a park, to the outer reaches of the universe, and then back, zooming into the innermost reaches of a human down to the sub-atomic level.

There’s a series of these films; this one, published on YouTube by the Eames Office, was done in 1977, one of the later versions.

How can you use this in class, teachers? (I recommend buying it on DVD, as I did; better sound and pictures, generally.)

Film information:

Uploaded on Aug 26, 2010

Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only a s a speck of light among many others. Returning to Earth with breathtaking speed, we move inward- into the hand of the sleeping picnicker- with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell. POWERS OF TEN © 1977 EAMES OFFICE LLC (Available at http://www.eamesoffice.com)

At the Eames Office Youtube site, you may find the film in with Mandarin Chinese, German, and Japanese translations (no Spanish?).  If you’re unfamiliar with the work of this couple — you would recognize much of the stuff they designed, I’m sure — check out a short film on an exhibit on Ray Eames (which has concluded, sadly):

More:

The very recognizable, famous Eames Chair, from Herman Miller. Ideally, you can sit in your Eames Chair while watching

The very recognizable, famous Eames Chair and Ottoman, from Herman Miller. Ideally, you can sit in your Eames Chair while watching “Powers of Ten.” Herman Miller image.


Typewriters of the moment: Billy Wilder’s

November 27, 2014

At A Certain Cinema: Billy Wilder and I.A.L. Diamond at work on the screenplay for Irma la Douce

At IMDB: Billy Wilder and I.A.L. Diamond at work on the screenplay for Irma la Douce

Billy Wilder’s reputation as a great film director would not be possible, but for the typewriter. It is fate, perhaps, that we find several photographs of Mr. Wilder with various typewriters.  In the photo above, he’s pictured working with I. A. L. Diamond, “Izzy.”  The pair collaborated on at least 17 different screenplays.

Hollywood Legacy's Pinterest site: BILLY WILDER and frequent screenwriter partner, I.A.L. DIAMOND.

This one is clearly a Royal; Hollywood Legacy’s Pinterest site: “BILLY WILDER and frequent screenwriter partner, I.A.L. DIAMOND. “Izzy” is seated at the typewriter, with Wilder standing, as usual. Wilder liked to “think on his feet” and was a notorious pacer. Wilder & Diamond wrote 17 films together, including: SOME LIKE IT HOT, THE APARTMENT, LOVE IN THE AFTERNOON, IRMA LA DOUCE”

Wilder’s scripts often featured writers and others who used typewriters.  He had almost a fetish for featuring typewriters in his movies.  How could we not like a guy who loved typewriters like that?

 

From the great Oz Typewriters site:

From the great Oz Typewriters site: “Wilder died in Beverly Hills on March 27, 2002. Here is what is on his tombstone

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History of physics, in four minutes

November 22, 2014

Isaac Newton and a friendly bird, on the verge of discovery; still from the film,

Isaac Newton and a friendly bird, on the verge of discovery; still from the film, “Physics,” by Asa Lucander.

History teachers, physics teachers, you should use this film.

In amusing animation — perhaps a throwback to earlier animations, but good and amusing — produced by Åsa Lucander @ 12foot6, for the television Science Club series on BBC2, hosted by Dara O Briain (who does the narration).

Credits:

Physics – Short animation, which was part of the Science Club series on BBC2 hosted by Dara O Briain,
© BBC

Directed by: Åsa Lucander @ 12foot6
Produced by: 12foot6
Art&Design: Åsa Lucander
Additional Art: Marc Moynihan
Stop Motion & Compositing: Julia Bartl
Animation: Kim Alexander, Marc Moynihan, Anna Fyda, Barry Evans, Lucy Izzard, Simon Testro, Phoebe Halstead, Michael Towers
Sound: Laura Coates

For my money, this should be a valuable classroom tool.  In four short minutes the film covers most of the really great advances in physics, suitably for world history or U.S. history.  It’s clear enough in its presentation that physics students should find it a useful review.  Or more likely, they’ll understand what we’ve been trying to teach them, for the first time.

Science gets left out of history courses way too easily.  Here’s a quick way to stick it back in.

Tip of the old scrub brush to Fast Company, where I found the film and details.  Fast company also created this 3 second excerpt, in MP4 format, which you may find useful somewhere:


1943 War Department film, “Welcome to Britain”

February 8, 2014

Reader and veteran librarian Judy Crook sent a Tweet alerting us to a recent release from the U.S. National Archives, “A Welcome to Britain, 1943.”

It’s a fascinating little film, if 38 minutes is still “little.”

Yes, that’s Burgess Meredith playing the soldier. I haven’t confirmed whether he was actually enlisted, but he often played soldiers or people at war — in 1945, playing war reporter Ernie Pyle, for example. In the 1950s, the House Committee on Unamerican Activities (HUAC) claimed Meredith had consorted too closely with communists, and he was blacklisted for years including a seven-year drought of work.

When this film was made, the Soviet Union was an ally of Britain and the United States.  How times change.

This is a training film made by the War Department (later renamed “Defense Department”), to acquaint U.S. soldiers with what they would confront in Britain.  Why did soldiers need such training?  You can guess, perhaps.   258

Teachers, can you use this film in history class?  Is the discussion on civil rights, about 20 minutes at 25:30 in, instructive in the history of the time?

From the National Archives’s description on YouTube:

Published on Feb 5, 2014

Creator(s): Department of Defense.~. Armed Forces Radio and Television Service. (1954 – ) (Most Recent)

Series : Information and Education Films, compiled 1943 – 1969
Record Group 330: Records of the Office of the Secretary of Defense, 1921 – 2008

Access Restriction(s): Unrestricted
Use Restriction(s): Restricted – Possibly
Note: Some or all of this material may be restricted by copyright or other intellectual property restrictions.

Scope & Content: This film introduced soldiers to Britain and told them what to expect, how to behave and how not to behave in Britain during World War II. It includes footage of military cameramen and black soldiers.

Contact(s): National Archives at College Park – Motion Pictures (RD-DC-M), National Archives at College Park, 8601 Adelphi Road, College Park, MD 20740-6001
Phone: [omitted here]

National Archives Identifier: 7460305
Local Identifier: 330-IEF-7

http://research.archives.gov/descript…

What else hides in the vaults of the Archives?


Lost history: Groucho Marx died on August 19, 1977

August 19, 2013

1958 Publicity photo of Groucho Marx from the television program You Bet Your Life.  NBC Television-NBC Photo/Photographer:  Elmer Holloway

1958 Publicity photo of Groucho Marx from the television program You Bet Your Life. NBC Television-NBC Photo/Photographer: Elmer Holloway

36 years ago?  Grouch Marx died on August 19, 1977? 

cropped version of Image:Grouchoicon.jpg - &qu...

The man became an icon, though too few know the great history behind the icon. “Self-made caricature of Groucho Marx” Wikipedia image

 

That means that not only have your high school history students probably never seen much, or anything, of Groucho Marx and his comic genius; it means their parents don’t know him, either.

What a great tragedy.

Groucho Marx brought genius to American comedy films, to radio, and then to television.  His genius was of a sort that does not age, but remains fresh to audiences of today — get a group of teenagers to view Duck Soup or A Day at the Races and you’ll find them laughing heartily at even some of Marx’s more cerebral jokes.  It is symbolic that the films that brought writer Norman Cousins to laughter, and a lack of pain, were Marx Brothers movies (in the day when one had to rent a projector to show the film, long before VCR).  Cousins went on to a grand second career talking about hope in healing, starting with the book, Head First: The Biology of Hope and the Healing Power of the Human Spirit.  I recommend these films to anyone seriously injured or ill, or recovering.  We got VHS, and then DVD copies of several of the films when our kids were ill, with great effect.

Groucho Marx should be in the pantheon of great Americans, of the 20th century, if not all time, studied by children in high school, for history and for literature purposes.

Groucho’s been gone for 36 years, and we are much poorer for his passing.

More:

Groucho grills Ray Bradbury and a woman named Leticia on You Bet Your Life in a 1955 episode:

English: Groucho Marx & anonymous blogging

“I intend to live forever, or die trying.” ― Groucho Marx (Wikipedia image)


Typewriter of the moment: Stanley Kubrick’s

June 6, 2013

Stanley Kubrick's typewriter on Instagram, from sophireaptress.

Stanley Kubrick’s typewriter used in “The Shining” on Instagram, from sophireaptress.

It’s an Adler, but Instagram isn’t built for details, you know?

The typewriter is probably on display at the Los Angeles County Museum of Art’s Kubrick Exhibit, which closes June 30, 2013 (hurry!).

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What would a real man do? Samantha Stendal’s brilliant, short video

March 26, 2013

From Samantha Stendal, a film student at the University of Oregon, a brilliant film reaction to the Steubenville, Ohio rape and trials.

Samantha Stendal, filmmaker at the University of Oregon

Samantha Stendal, University of Oregon

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New York in time-lapse — a teaser

March 14, 2013

Another time-lapse film by Samuel Orr, this one on a city, “New York Day.”

I said it is a teaser.  Orr wants to do a longer film, but needs some financial backing to get it done.

Details here:

Please go to the Kickstarter project page and help support a longer version of this short film

kickstarter.com/projects/motionkicker/new-york-year

I shot this film over 4 trips to NYC 2011-2012. The time-lapse sequences you see here were made (mostly) from hundreds of thousands of still images. A Canon 7D and T3i were the main cameras, with backup from a couple of older Nikon Coolpix 5000 point and shooters. A few clips are sped-up video.

Many thanks to the generosity of the musician/composer who allowed his great celtic track “Sawjig” to be used;
Ben Rusch aka Jasmine Brunch
benrusch.com
jasminebrunch.com

For more info on this and other projects;
motionkicker.com
twitter.com/motionkicker

i


Brilliant film: A Forest Year, from Motionkicker

March 14, 2013

Cousin Amanda Holland called my attention to this on Facebook.  Time lapse photography and a forest — heavenly to me.

More details from Motionkicker,  Samuel Orr:

help support my new time-lapse project at kickstarter!
kickstarter.com/projects/motionkicker/new-york-year

A Forest Year was made from 40,000 still images taken from my front window over 15 months, and were blended into the film.

Find out more about how it was made at motionkicker.com

Special thanks to Johnny_RIpper for letting me use his music.
soundcloud.com/johnny_ripper

Tip of the old scrub brush to Amanda Holland and the National Forest Foundation.

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Ingenious anti-personnel mine finder

December 19, 2012

Brilliant little film about a wonderfully creative guy, a war refugee, who developed a wind-powered device that can find and detonate anti-personnel mines.  It’s part of the GE-sponsored FOCUS/FORWARD film contest:

Description and credits at Vimeo’s site:

MINE KAFON is a Finalist in the $200,000 FOCUS FORWARD Filmmaker Competition and is in the running to become the $100,000 Grand Prize Winner. It could also be named an Audience Favorite if it’s among the ten that receives the most votes. If you love it, vote for it. Click on the VOTE button in the top right corner of the video player. Note that voting may not be available on all mobile platforms, and browser cookies must be enabled to vote.

A short documentary portrait on a designer who has created a low cost solution to landmine clearance.

Check out his website:  massoudhassani.com
or for other films by us at Ardent Film Trust:  ardentfilm.org

DIRECTOR
Callum Cooper
DOP
Michael Latham
CAMERA
Michael Latham
Mahmud Hassani
Callum Cooper
SLOW MOTION CAMERA
Ed Edwards
EDITOR
Anna Meller
COLOR GRADER
Chris Teeder
SOUND MIXER AND DESIGNER
Sandy Milne
TITLE DESIGNER
Ray O’Meara
EXECUTIVE PRODUCER
Bobby Kapur
PRODUCERS
Alicia Brown
Michael Latham
Callum Cooper
THANKS
Lucie Kalmar
Slowmo High Speed
Optimism Films
The RNLA explosive ordnance disposal service
Copyright Ardent Film Trust 2012


Typewriter of the moment: An old one, manual or electric (yours?)

October 25, 2012

Typewriter

A manual, Royal typewriter (Photo by mikeymckay)

It’s enough to make an old typewriter guy drive to Arizona, for more than the air (with a stop in Albuquerque at the Owl Cafe for an Owl burger, of course).

Polymath reporter Bill Geist from CBS News reported this piece for Sunday Morning, in February, featuring Mesa Typewriter Exchange in Arizona, and more:

Where is that movie on typewriters“The Typewriter in the 21st Century.”  Geist was poaching on their material a bit, wasn’t he?

Bring on the movie!

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Box office slaps Hollywood: ‘Don’t talk jive smack against teachers’

October 3, 2012

Teacher and education blogs were all atwitter — and Twitter was all ablog, I suppose you could say — about the opening this past weekend of the movie “Won’t Back Down.”

“Parent trigger” laws bubble up in discussion a lot recently — laws that allow a group of parents to petition a school district, or the state, and say that they want to take over a local school.  Conservatives and other anti-teacher groups promote these laws as a means of education reform.  Generally, in the few cases in which a school is taken over by parents, teachers and local administrators are fired, and the school operates much like a charter school.

“Won’t Back Down” professes to be “based on a true story.”  I am reminded that both “Psycho” and “Texas Chainsaw Massacre” also professed to be based on a true story — the same story, in fact.  I’ve written about this before — based on a true story, except not in Texas, no chainsaw, no massacre, nor was there a hotel and a shower.  The Adventures of Huckleberry Finn is more carefully based on a true story — there is a Mississippi River; or The Bald Soprano — there are bald people, and there are sopranos.  But I digress.

The film has a cast of some great star power — Maggie Gyllenhaal, Viola Davis and Holly Hunter.  It was produced by the documentary group that also produced Al Gore‘s “Inconvenient Truth,” and then moved to the popular but wildly polemical “Waiting for Superman,” another hit on teachers.  They should have stopped with that one, instead of raising the ante (raising the “anti?”).

Audiences don’t like films that cast teachers as villains, it would appear.

Stephanie Simon of Reuters wrote:

(Reuters) – Education reform film “Won’t Back Down” opened Friday to terrible reviews – and high hopes from activists who expect the movie to inspire parents everywhere to demand big changes in public schools.

The drama stars Maggie Gyllenhaal as a spirited mother who teams up with a passionate teacher to seize control of their failing neighborhood school, over the opposition of a self-serving teachers union.

Reviewers called it trite and dull, but education reformers on both the left and right have hailed the film as a potential game-changer that could aid their fight to weaken teachers’ unions and inject more competition into public education.

Yahoo!’s Movie Talk got to the point:

Even an Oscar-caliber leading cast couldn’t save this one. Maggie Gyllenhaal’s latest film “Won’t Back Down,” also starring Viola Davis and Holly Hunter, set the record this past weekend for the worst opening of a film that appeared in more than 2,500 theaters, making a mere $2.6 million [via Box Office Mojo].

Yes, all three of these former Oscar nominees — Hunter having won a golden statuette in 1994 for “The Piano” — now have a pretty bad blemish on their resume. But they aren’t to blame, say industry watchers, who are reacting to the film with a resounding face palm. “‘Won’t Back Down’ wore the dunce cap last weekend, mostly because its marketing was almost non-existent,” says Jeff Bock, box office analyst for Exhibitor Relations.

“Record for the worst opening?”  Ouch.

Back to the “based on a true story” issue:  We may understand why the screenwriter and director of the first Texas Chainsaw movie, Tobe Hooper took the liberties he did to add elements to the story.  He knew the original story of a disturbed man in Wisconsin who was jailed for corpse mutilation.  He knew that was the foundation for Alfred Hitchcock’s “Psycho.”  How to update it, to make the story bankable from the box office?  Move it to Texas, add a chainsaw with all its terrifying whine, and add in the standard teenager murder story elements; maybe put a mask on the villain/evil beast, to make it more terrifying — there is great terror in being pursued by nameless, faceless folk as Orwell showed us.  Both Hitchcock and Hooper fully understood that the real, dull story, wasn’t something people would pay to sit through while eating grossly-overpriced popcorn.

“Won’t Back Down” suffered from sticking too close to the facts.  If you’re going to claim the antagonist is psycho, you have to give them a big butcher’s knife or a chainsaw, and a costume, in order to make really, really scary.

Teachers just are not that scary in real life.  Teachers are not the villains, in real life.

More (from various viewpoints):


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