HBO's Koran By Heart: Can't contest this documentary's greatness

By Edward Copeland

This week's installment in HBO Documentary Films' summer series, Koran By Heart, is being promoted mainly as a film about the International Holy Koran Competition where young Muslims from around the world descend on Cairo to compete in a spelling bee-like competition testing their skills at reciting the Koran, both in terms of memorization and presentation. While that is the major focus of director Greg Barker's film, Koran By Heart tackles so much more than the competition and contains a richness and universality that makes the documentary a film that should be required viewing for everyone.

The documentary covers the 2010 competition which, as the contest always has, occurs during the Muslim Holy Month of Ramadan, which begins today and commemorates the month when the first verses of the Koran were said to have been revealed to Mohammed. Because of the Arab Spring, particularly with Hosni Mubarak's ouster in Egypt, it wasn't clear if there would be an International Holy Koran Competition this year, especially in Cairo. Google news searches could find similar contests being held in Iran and Saudi Arabia, but no mention of the large contest or, of the documentary's most fascinating figure, Dr. Salem Abdel-Galil, deputy minister of the Ministry of Religious Affairs in Egypt, who coordinates the contest. I could find no news stories indicating if this self-proclaimed moderate Muslim warning against extremism and fundamentalists still holds his post, but found that he does have a public figure page on Facebook.

Dr. Salem does take on a monumental task in arranging the event. He lets his staff handle the logistics, which would be overwhelming alone, making certain that 110 competitors from 70 different countries all make it to Cairo for the event. They range in age from their early 20s to as young as 7 and some, even the young ones, come without adult chaperones. The reciters, as they are called, all are Muslims, but all hail from different parts of the world and have learned to memorize the Koran in Arabic even though many do not speak Arabic and don't understand the content of what they are saying. While Salem's staff takes care of the administrative side, he concerns himself with what he calls "the creative" side, namely orchestrating how the contest runs. He chooses the questions and decides the criteria for judging the reciters. "The Koran is the only book that can be completely memorized. It's a miracle children can memorize it even without understanding its meaning," Dr. Salem says. I hate to differ with him, but being raised in the Bible Belt, I've known a lot of people who can recite Bible verses to you and if you try, anything can be memorized. Dr. Salem also has other duties with his job unrelated to the annual contest. He oversees 100,000 mosques and also is a well-known media personality in Egypt, hosting his own weekly TV show, The Final Word, where he preaches his message of moderate Islam and being true to the Koran, saying extremism and terrorism goes against Mohammed's teachings. As he says when we first meet him in the film:

"The irresponsible actions you see in some Muslims are because they are estranged from the Koran or don't understand the Koran. So stealing, sex outside of marriage, intoxication, injustice, aggression and terrorism — these are not allowed"

With 110 competitors, that would be a daunting task for filmmakers as well so director Greg Barker chooses to focus on three 10-year-olds from different parts of the globe:

Nabiollah, who lives in rural Tajikistan and attends a Madrassa where the only education he receives concerns the Koran.

Rifdha, a very smart girl from the Maldives Islands in the Indian Ocean who excels in all subjects, especially math and science, and is one of only 10 girls in the contest, though her parents have very different visions for her future.

Djamil, who is coming to Cairo by himself from his home in Senegal in West Africa, and has been told by his teacher that he won't just be representing Senegal but the entire continent as well.

Djamil feels an extra burden on his shoulders since his father is a respected imam in Senegal, though the boy has risen to be the country's top reciter without being able to speak a word of Arabic. He tells the filmmakers that his parents told him to learn the Koran before anything else and that every Muslim should do the same. Besides, Djamil adds, he "likes the way the letters look." Djamil's teacher sounds a message similar to that of Dr. Salem's as he prepares to send his star pupil off to Cairo by himself. "Now as you go to Egypt, the world is a mess. People are bombing and killing each other, but if all people understood Koran, there would be peace on Earth," the teacher tells the 10-year-old. "So by not using the Koran as God intended, what is the result? All these problems in the world and what is the solution? Return to the Koran. Learn it. Apply it." It still seems odd to be sending a 10-year-old child off on his own to another country, especially one where he doesn't speak the language. Later, once Djamil has arrived in Cairo, there's a scene where he's trying to speak with his mother on a cell phone, but the connection proves so terrible that neither can hear the other. It shows the family in Senegal saying they must have faith that Djamil will be OK.

Above and beyond the fascinating material itself in Koran By Heart, is the way that director Barker approaches it. At times, it's as if you're watching a feature film instead of a documentary. His direction can be quite stylish, the contest itself automatically creates suspense, he tosses in extra details for both color and, sometimes, laughs as in one instance where some visiting judges are congregating in a lobby and one says to the others, "At my hotel, the call to prayer is done Saudi-style morning, noon and night. Are we in Egypt or what?" which makes the others laugh. There also is something intrinsically funny when we briefly meet Australian Muslims speaking with full-on Aussie accents. Barker's most intriguing touch though is how he layers more information about the people and places we've seen by leaping both backward and forward in time to reveal more. For example, we don't learn until much later in the film that before Nabiollah, the boy from Tajikistan, left for Cairo, the secular government of Tajikistan had closed his Madrassa, trying to clamp down on any rise in extremism. His father took him to a secular school to see if he could be admitted there and we learn that Nabiollah is functionally illiterate. Since the Madrassa only taught the Koran, the 10-year-old can't even read or write in his native language of Tajik, let alone Arabic.

The competition itself makes marathon poker players look like wimps since they get breaks and can eat and drink at the table. The International Holy Koran Competition has qualifying rounds first that last three days and nights — during Ramadan, which means everyone fasts during the day, though they break for the traditional sunset meal. The night session begins at 9:30 p.m. and lasts until 3 a.m. Rifdha actually falls asleep on her father's shoulder waiting for her name to be called. Her father, who will turn out to be the most extreme person depicted in the documentary, never stops being negative and even after Rifdha shakes herself awake and recites, when she returns to her seat, he immediately tells her that she won't make it to the next round so while Rifdha might be happy when she learns she's received 97%, the highest score of the competition so far, her father just looks pissed. How the contest works is that a reciter selects a symbol on a computer screen which randomly selects a question, beginning a passage from the Koran and telling the contestant where he or she should end. It's like Songburst, except they give you the ending. If a reciter makes a mistake and corrects him or herself, they lose half a point. If a judge has to correct them, they lose a whole point. If they make three mistakes, they forfeit the question. The judges enter scores on their computers, which calculate. 100% is the highest score. They are judged on pronunciation, memorization and "The Rules of Tajwid."

This isn't just dry recitation, there's a musical quality to it. Kristina Nelson, considered the top non-Muslim expert on the contest and author of The Art of Reciting the Qur'an, was attracted by this lyrical aspect. She, as well as the judges are extremely impressed by how good Nabiollah is; he even moves some judges to tears and they make a point of hugging and kissing him when he's finished his performance. Though it's just the beauty of his voice — strictly speaking he doesn't follow the Rules of Tajwid to the letter, but the boy had never heard of them until he came to Cairo. He closes his eyes tightly when he recites to avoid distractions and so he can visualize the text before him. Even though Nabiollah and other non-Arabic reciters don't know what they are saying, Dr. Salem says that the level of Heaven that Muslims reach depend on how much of the Koran they have memorized. According to Nelson, the full text of the Koran runs about 600 pages with 114 chapters ranging from three verses to 286 verses long.

While Nabiollah gets by fine without knowing Arabic, it ends up being Djamil's downfall, who unfortunately gets a Koran verse that starts like multiple verses in the book. The judges try to get the young Senegalese boy on the right track, but he of course doesn't understand a word that they are saying, though he keeps trying, through tears, he keeps trying. The judges finally have to stop Djamil who only scores 22%. Because everyone felt so bad for Djamil but admired his perseverance in trying to continue, they arrange for him to recite at one of Cairo's most prestigious mosques. When he goes home to Senegal, he admits things did not go well, but he's able to say so with a smile on his face. After the initial three days of qualifying, 12 of the 110 move on to the finals which are held on national TV before the country's president, still Hosni Mubarak then, and both Nabiollah and Rifdah make the final 12. I won't spoil how they finish for you. With a few days off, they get to sightsee, something else that alienates Rifdah's father who talks more about moving the family away from the Maldives when they get back and how Egyptians aren't very good Muslims.

The director frequently cuts back to the Maldives where we see Rifdah's mother brag about her and we've seen how different the place is. When we first meet Rifdah, she's speaking English and we meet another man in the Maldives who explains how it's always been a secular Muslim country, where women were allowed to work and go about uncovered but that a fundamentalism started to reassert itself in the 1980s. While Koran By Heart doesn't raise the issue, I find it interesting that the extremist Muslims wanting a return to fundamentalism started to occur first in Iran in the late 1970s and elsewhere in the 1980s — the same time fundamentalist Christian groups such as The Moral Majority starting asserting themselves politically in the U.S. and rabid activist groups such as Operation Rescue started protested abortion in less-than-peaceful ways. Another quote that Dr. Salem says in the film really brought home that connection to me:

"The fundamentalist movement is not good for society. They want Islam to turn back the clock on society. Not long ago, they wanted to ban television…Unfortunately those who promote extremism have satellite TV channels with huge audiences and they get a lot of money and they present themselves as 'the voice of Islam' So their voice is louder than ours and we're the moderates. This is very dangerous."

Just substitute Christianity for Islam and think of the late Jerry Falwell or Pat Robertson. They might not have a body count that comes close to equaling Islamic extremists such as al-Qaida, but it does seem as if they've followed the same timeline, only one group of religious fanatics chose force while the other has chosen political infiltration.

While I won't give away how Nabiollah and Rifdah finish, that to me is what makes this great documentary end on a sad note. We see Rifdah's mother say she'd like her to go into math or science, but it will ultimately be up to her, but her father has different ideas, insisting that though he plans to move the family to Yemen for better religious education and that Rifdah will be educated, ultimately, she will be a housewife.

Koran By Heart is one of the best documentaries HBO has offered this summer. It debuts at 9 p.m. Eastern/Pacific and 8 p.m. Central tonight on HBO. 

(Cross-posted at Edward Copeland on Film.)

Living in pain is easy; dying with dignity is hard -- a review of How to Die in Oregon

By Edward Copeland

In 1994, Oregon became the first state to allow doctors to prescribe lethal doses of medication to the terminally ill so they wouldn't have to endure all sorts of crippling pain and the assorted loss of functions and powers that turned lives into something that could hardly be called living anymore. Tonight, HBO premieres the great documentary How to Die in Oregon, which personalizes the law, telling the stories of several Oregonians who weigh the option of whether or not to end their suffering. It's a powerful, emotional film that hits particularly close to home for me. It's also something everyone should see, especially in a time when compassion and rationality on a wide variety of issues seem to be in short supply.

Sometimes it's difficult when reviewing a movie — narrative or documentary — such as How to Die in Oregon that you know will deal with issues that are important to you. It makes critical distance harder to have. On the other hand, if you feel the film (or play or TV show for that matter) botches the presentation, you're liable to be harsher than you would be otherwise. Thankfully, that's not the case with How to Die in Oregon.

The documentary opens with a home movie of Roger Sagner, who became the 343rd person to have his suffering ended legally after the passage of Oregon's law. As his lethal dose of Seconal gets mixed for him, his volunteer from Compassion and Choices, the advocacy group that helps most people with their final act, asks him the two questions that they are required to: "Do you know you have the right to change your mind? and "What will this (drink) do to you?"

Sagner answers very quickly, "It will kill me and make me happy." He then gives his last words, first of love to his gathered family members, and then his final statement:

I thank the wisdom of the voters of the state of the Oregon for allowing me the honor of doing myself in on my own volition to solve my own problems.

What I wouldn't give if the wisdom of Oregon voters could somehow be bottled and slipped into the entire country's water supply, since we have a short supply of rational-thinking adults. Oregon also legalized medical marijuana, which has shown great progress in easing the pain for people such as myself who have multiple sclerosis, but then again 15 other states and the District of Columbia have joined Oregon on that law. Unfortunately, I'm stuck in a state which has a governor and legislature doing its damnedest to drag us back to the 19th century, prior to its and which on the last General Election ballot had as a priority a state question making sure that no state judge used Sharia law in making rulings.

When Oregon voters approved its Death With Dignity law, only the countries of Switzerland and the Netherlands had legalized the practice. Since then, forward-thinking voters in Washington state and Montana also have approved such laws. Worldwide, Luxembourg is the only country to legalize it since. Worldwide, debates go on everywhere, but they always run into the same opposition, usually from churches and the religious, who most of all should watch How to Die in Oregon and maybe they'd understand this is about compassion — and isn't compassion a basic tenet of most religions?

The film was directed, produced and photographed by Peter D. Richardson and won the Grand Jury Prize for Documentaries at this year's Sundance Film Festival. I don't know its competition, but How to Die in Oregon definitely proves award-worthy. Richardson establishes an amazingly intimate rapport with the film's interview subjects. His main focus stays with a 54-year-old woman named Cody Curtis who successfully beats liver cancer once only to have it return stronger and with a six-month death sentence attached, making Curtis face the idea of taking the lethal dose when the cancer returns.

Given an expiration date and knowing what kind of pain she faces, Cody decides that she won't let cancer and doctors control what remains of her life and she sets a date to take the lethal dose, which gives her an unexpected sort of freedom, even though her entire family isn't happy about it, especially her son Thomas, who asks his mom if she won't struggle for herself, can't she struggle a little for him?

Thomas moves past that, but that's what prevents laws such as Oregon's from being the law everywhere — friends and family, partly out of love but out of selfishness as well — can't bring themselves to accept the idea of their parent or child or whomever choosing to die, even when they witness the amount of pain that person goes through for long periods of time and know deep inside that it only get worse and that person's life will not end well under any scenario.

Before we meet Cody, the film introduces us to Sue Potter, a seven-year volunteer for Compassion and Choices and one of the group's most active. We see her make one of her first stops to a man lying in be, obviously having a particularly bad day. Potter explains to him that she's there to talk with him because he's contacted the group about ending his life.

"End my life? I'm already in life," he tells her. "I've already ended life. I want to exit life."

Potter explains what it's like for people who get to these conditions. "These people have lost so much control and they'll tell us repeatedly that they want the medicine for control."

The actual process requires filling out a form with the extremely long title REQUEST FOR MEDICINE TO END MY LIFE IN A HUMANE AND DIGNIFIED MATTER. It requires the signatures of two witnesses attesting that the person seeking the lethal dose is of sound mind.

As Cody Curtis says at one point in the documentary about having the lethal prescription in her house, should she need it:

It's very comforting to know they're here. I don't have to go through any more bureaucracy... They're here when I decide... It's not like when I'm in the hospital and they tell you, "You have to have another CAT Scan" or "We're taking you down for another procedure." It's my choice when to take them and whether to take them. My volunteer has told me I'll know and I'll just have to trust her on that. I'll know when my life isn't worth living anymore.

While the film keeps Curtis as its center, it has plenty of time for sidetrips to other dying people, interview subjects such as Derek Humphry, author of the once controversial book Final Exit, as well as Seattle's Nancy Niedzielski who leads the campaign for a similar law in Washington.

Niedzielski's story really illustrates the need for such laws. Her husband Randy was diagnosed with brain cancer. Nothing doctors could give him would alleviate the pain and the condition got so bad sometimes his eyes would literally pop out of their sockets. Randy finally decided to end treatment, since none of it was going to save his life or ease his pain. He went to a hospice and asked if they could help him do what they could to end his life quickly, but the hospice workers said they couldn't because that was illegal in the state of Washington. Randy told them that he would move to Oregon so he could take advantage of the Death With Dignity law, only he was told that he was so weak and near death by then that he wouldn't survive long enough to establish Oregon residency, a requirement of the law. His last request was that his wife change Washington's law and she helped lead the campaign for two years until its passage in 2008.

You get to see the usual opposition as when Nancy serves on a phone bank and gets an opponent of the law's passage and actually challenges the caller on what so many people don't seem to understand on any issue: They are free to think it's wrong, but why do they think their belief should be imposed on everyone else? Why is the idea of choice (and I'm not using it in terms of the abortion debate here) so revolting to them? You also see Nancy interviewed for a radio program where the host calls what she is seeking "assisted suicide," a term which offends Nancy and most others who support Death With Dignity. Nancy tells him that suicide is when someone who is otherwise healthy and would live for many more years decides to end his or her life because he or she is clinically depressed. Unfortunately, in the 47 states that don't have this law, that's how they treat people who are in chronic pain: as if they are just depressed and need shrinks and medication, like a teenage boy whose girlfriend just dumped him.

It also has something to do with what you hear in passing in a segment that plays excepts of the Washington debate on talk radio where a man talks about having to be placed in long-term care and how it's eating up his inheritance. Not that I ever had a fortune in savings, but I've watched it evaporate thanks to my medical costs. It doesn't help that my sole income is Social Security Disability Insurance and for two years running, Social Security recipients have been denied cost-of-living increases under the argument that the rate of inflation hasn't been high enough to justify it. Of course, this hasn't prevented Congress from giving themselves cost-of-living hikes to their six-figure salaries both of those years.

Then there is Medicare. Part A the "hospital part" is free, but if I wanted Part B, I would have to pay a premium which would be deducted from my meager Social Security check. On top of that, one of my doctors won't take Medicare patients and others are threatening not to because of talk that their fees might be reduced. Therefore, I didn't take Part B, staying on the health insurance that was funded by my employer who still considers me an employee on long-term disability, even though I receive no salary. The government tries to blackmail you into taking Part B, telling you that for each year you don't sign up, the premium will increase a certain percentage for every year you didn't. As far the increasing number of doctors who refuse Medicare patients, Lawrence O'Donnell pointed out last week that in 1960, before Medicare, the average family doctor's salary was $10,000. Just four years after Medicare's enactment, that average had increased to $24,000. Today, that average is something around $130,000 a year. For specialists, it's about $333,000 a year. And these poor babies fear cuts. By the way, Part A, the "hospital part" only covers you if you are admitted to a hospital. If you have outpatient procedures at a hospital or are taken to an emergency room at a hospital, that doesn't count. That's Part B.

The entire health-care industry, with the government as co-conspirators, opposes laws such as Death With Dignity because they want to bleed everyone dry first. The system for people who are chronically ill but not terminal actually is set up so that you really can't get financial help unless you are broke first. That's what they want: It's how the system is set up. Pardon my digression. I'm writing this to praise a wonderful documentary on an important topic.

Oregon isn't immune from this either. How to Die in Oregon also tells the infuriating story of Randy Stroup, a 53-year-old uninsured man diagnosed with prostate cancer who had to depend on the Oregon Health Plan. After his first treatment, his doctor recommended stronger chemotherapy and the health plan sent him a letter denying the treatment, but giving him a list of other options, including the Death With Dignity Act. This was a man who wasn't terminal and could be saved.

"To think they'd put a price tag on my life," Stroup said, "by saying they'd pay to kill me but they wouldn't pay to help me." Sounds very reminiscent of when Arizona recently cut their program for people awaiting transplants. One way or the other, it all comes down to money in the end.

The center of How to Die in Oregon and much of its power belongs to Cody Curtis' story. After setting a date to take the medication, she find a happiness and freedom. Instead of everything revolving around her impending death, it becomes about life again and she ends up not taking it on the date she set and actually living beyond the six months she was told and with few signs of the pain she feared. It's as if she's been given a gift and gets more time with her husband and children, but eventually the cancer does kick in with its pain and complications. As she had said before after her brush with the disease, it's a relief to know the medication already is there in her house when she needs it and it's up to her to choose when that time is. Director Richardson's choice in filming the conclusion of Cody's story proves both perfect for the documentary and for Cody as well.

From beginning to end, Richardson's compelling documentary takes you on an emotional roller coaster. It would have been easy to turn How to Die in Oregon into a propaganda piece supporting Death With Dignity laws, but he just lets his subjects talk and the audience has the experience. No embellishment is necessary.

How to Die in Oregon premieres on HBO tonight at 8 p.m. Eastern/Pacific and 7 p.m. Central. Truly, it should not be missed. 

(Cross-posted at Edward Copeland on Film.)

Restoring a bit of faith in genuine goodness

By Edward Copeland 

With the amount of mischief, malfeasance and worse that goes on in the world, such as that conducted by the companies, our government and regulatory agencies which led to the BP oil disaster in the Gulf of Mexico one year ago today, it's hard not to be cynical. Then you watch the documentary short Saving Pelican 895, which debuts on HBO tonight, and see all the people devoted to cleaning, rehabilitating and saving the birds coated by oil by the spill, and your hardened heart reminds your brain that there still are good people in the world. As one of the workers at the Fort Jackson Oiled Wildlife Rehabilitation Center of Louisiana says in the film, "How can people question that we shouldn't care for these animals?"

Directed by Irene Taylor Brodsky, who was nominated for the 2008 Oscar for documentary short subject for The Final Inch, Saving Pelican 895 focuses on the plight of the brown pelican, Louisiana's state bird, whose history in the state has been one hard struggle. What makes the brown pelican unique among pelicans is that it's the only pelican that dives from the air for its fish. When there began to be a massive use of pesticides along the Mississippi River, it began to kill off the birds, placing them on the endangered species list for 45 years until 1963, when there were none left in the state.

A massive immigration effort imported brown pelicans from Florida to Louisiana and the program proved so successful at repopulating the bird in the state that it was removed from the endangered list in November 2009. Five months later, BP's Deepwater Horizon exploded. Some species just can't catch a break, but this old bird proved sturdier than others. Conservationists, government agencies and activists joined forces to rescue the oil-soaked pelicans and take them to the Fort Jackson facility to be cleaned and rehabilitated before their release to a new pelican colony far removed from the spill site.

In the first three months after the spill, this effort rescued 894 brown pelicans. The film specifically focuses on the pelican given the moniker LA 895. As one of the staff veterinarians explains, an absolute rule they must follow is to never name any of the birds they are treating to prevent becoming too attached should a bad outcome happen.

One of the main interview subjects is the man who leads most of the rescue efforts along the coast itself, state biologist Michael Carloss, who admits that at the beginning of the operation his "dreams are almost nightly of oiled pelicans." LA 895 was thought to be about 10 weeks old, meaning he didn't even know how to fly yet. It was assumed his parents were rescued separately and wondered where he was since in the early weeks of a brown pelican's life, both sexes keep close watch over the fledglings, or that they may have died. The rig explosion happened right in the middle of the species' breeding season, so many of the rescued pelicans were much younger than the birds the rehabilitation center usually sees, meaning the workers and volunteers had to be much more involved than usual. They try to hand-feed the birds only when absolutely necessary because part of the program is to ensure that by the time the pelicans get released, they still fear humans and retain their wildness and won't approach people outside expecting to be fed.

Watching the entire process that these birds go through and how dedicated these people are to saving them truly is moving. The film also has nice original music by Joel Goodman. The documentary makes the point that the U.S. is the only country that requires oil companies to foot the bill for saving wildlife they've inadvertently harmed, a law passed after the Exxon Valdez wreck in Alaska. I do have to ask if that's accurate considering that with the record profits the oil companies make, they still get subsidies from our corrupt Congress, so doesn't that mean it's ultimately taxpayers who are paying? Not that I mind since it's more than a worthy cause, but seeing the reports of how BP has skirted much of its financial responsibilities for the environmental and economic disaster it created along the Gulf Coast, I hated hearing it sound as if they were being forced into good corporate citizenship. (Just this morning, there were more tales of how BP is STILL dragging its feet to avoid paying people's individual claims and, just to make you angrier, even though former BP CEO Tony "I want my life back" Hayward is no longer an active executive, he will retire next year at age 55 with an annual pension of nearly $1 million.)

The heroes in Saving Pelican 895 are the men and women who devote themselves to saving these creatures. It restores part of my faith in humanity. It also shows the strength of these birds, who had to be evacuated during part of the rehab process when a hurricane threatened. As Carloss says near the end, "With all they've been through, they really are survivors. These pelicans are tough."

Saving Pelican 895 airs tonight on HBO at 9 p.m. EDT/PDT and 8 p.m. CDT.

(Cross-posted at Edward Copeland on Film.)

Tap water shouldn't catch on fire

By Edward Copeland

Just last week, T. Boone Pickens returned to The Daily Show to discuss how natural gas was a safe energy resource that the U.S. had plentiful supplies of that it could use to wean itself off its dependency on foreign oil. However, when Jon Stewart brought up the subject of "fracking," Pickens got tongue-tied. That's probably why he and every major natural gas executive in America refused to be interviewed about the process for Josh Fox's documentary GasLand, which details the destruction that has been unleashed on people, animals, and the environment by the practice.

Fox had never made a documentary before but sort of stumbled into it when he noticed the changes happening in the creek near his family home in rural Pennsylvania following an offer from Halliburton to lease the family's land for natural gas exploration. While they would receive a few hundred thousand dollars from the agreement, as had many rural Americans across the country, they'd also encounter poisoned water sources, dead animals, health problems and more, all which seem to stem from the process used to retrieve the natural gas.

It inspired Fox to go on a cross-country journey to other sites to see the damage done by the hydraulic fracturing (or fracking) process, which the companies insist were safe but which evidence proves otherwise. In a way, it doesn't matter because the 2005 Energy Bill, formed in the wake of the secretive Cheney Energy Task Force, exempts all energy companies from safety regulations that had been in place for decades, some dating back to the Nixon Administration, so the corporations basically can do whatever they want in the least-expensive way without any concerns for the safety of nearby residents, the companies' own workers or the environment itself.

As one man tells Fox, "Amazing. What took millions of years for Mother Nature to build can be destroyed in hours by heavy equipment." If only the equipment were the main problem... What's really causing all the destruction is the seepage of a virtual stew of hazardous chemicals that are used in the fracking process to retrieve the natural gas. It's pretty amazing to watch scene after scene in state after state of people putting a lit match next to a flowing faucet or a stream and see the flames burst forth.

There are other stories that you hear repeatedly as residents complain about contamination only to be told that the water is safe by government or company officials, who then refuse to drink a glass of the tap water when the residents offer one. It's even more disgusting when Fox meets with representatives of state departments of environmental protection and they speak the corporate party line, denying that contamination is as widespread as it is, or at congressional hearings where executives testify that there isn't any evidence of risks and the happy House members, including a particularly dumb-looking and -sounding Rep. Dan Boren (D-Okla.), side with the businesses.

Meanwhile, Fox learns of those who have contracted cancer and died, the risks of brain damage from repeated exposure, pets losing hair and a Colorado woman who keeps the corpses of mass and sudden animal deaths preserved in her freezer for any potential investigations. Even more frightening is learning how Hurricanes Katrina and Rita scattered the junk from hundreds of thousands of sites all over the place.

GasLand is a pretty good effort for a first-time filmmaker such as Fox and another example of a documentarian doing the investigative work that the Fourth Estate has abandoned. You do learn a lot, though he tends to repeat himself and I don't think it belongs in Oscar's final five documentary features compared to some of the other finalists and nonfinalists from 2010 that I've seen. Still, it's very good and yet another case of showing the indifference both corporate America and our elected leaders have toward the average citizen's wellbeing.

(Cross-posted at Edward Copeland on Film.)

I'm Pat f***king Tillman — why are you shooting at me?

By Edward Copeland 

That post title is the last words the former NFL star turned Army Ranger said before he was killed in Afghanistan by his own troops in 2004.

We are living in the Golden Age of Nonfiction. I thought it silly when the Oscars expanded best picture to 10 nominees, but I could live with them doubling the number of documentary feature nominees because documentaries get better and better. I have a difficult time cutting it down to five. I've only seen one 2010 documentary that I've given a negative review. More importantly, this meant that Oscar finalist The Tillman Story didn't make the final cut and it's the second-best 2010 documentary I've seen (so far).

For the Bush Administration, the wars in Afghanistan and later in Iraq weren't just campaigns for whatever reason they chose to give on any particular day, they also were part of a re-election strategy and whenever there was a chance to sell a positive story to the lazy eager-to-echo-anything press, they took it. So, when Pat Tillman, who earned millions in the NFL for the Arizona Cardinals, decided to give up his football career to join the fight against terrorism after 9/11, Defense Secretary Donald Rumsfeld told his subordinates to keep special watch on him. This was an American hero in the making that would make for great P.R.

Things didn't turn out that way exactly, though the government and high-ranking Pentagon officials did their best to keep their heroic scenario when Tillman was killed April 22, 2004, the initial story was the he died from enemy fire in an ambush, going so far as to credit him for saving the lives of some of his fellow soldiers and Gen. Stanley McChrystal awarded him the Silver Star posthumously. Just one problem: That was all a lie. Tillman died as a result of friendly fire and it took years and the persistence of his family to get at the truth.

Director Amir Bar-Lev gives a detailed portrait of who Tillman was both before and after his enlistment and with testimony from others who served with him, evokes a sense of outrage at the coverup, misguided accusations and fall guys the government used because their desired tailor-made American hero failed to pan out the way they envisioned. Ironically, during his unit's Iraq deployment Tillman was even there to witness the lengths they went in setting up the false tale of Pvt. Jessica Lynch's rescue. They were kept waiting 24 hours before retrieving Lynch to allow time for the camera crew to arrive. During his time in Iraq, Tillman also turned against Bush and the war effort, commenting to fellow soldiers that the Iraq war was "so fucking illegal." Bar-Lev keeps the focus moving with complete clarity and this documentary is quite a change-of-pace from his previous one, 2007's My Kid Could Paint That.

Narrated by Josh Brolin, The Tillman Story shows the true Pat Tillman, one that defied all stereotypes one would lump on the star athlete. He was a well-read man (Chomsky and Emerson; most religious texts, despite his atheism) who graduated from Arizona State with a 3.8 G.P.A. While the administration and the media were eager to wrap Tillman's decision to forgo his lucrative NFL career with a simple patriotic motive, Tillman himself refused interviews on the subject.

Even though both he and his very close younger brother Kevin joined up as Army Rangers, Tillman was determined to keep his reasons private. However, before he'd ever made the decision to enlist, various NFL players were filmed giving reactions to the 9/11 terrorist attacks and this footage was usurped by the Pentagon in their P.R. efforts to define Tillman's motive, be it true or not.

The entire Tillman family could be viewed somewhat as iconoclasts, compared to most Americans, so as far as I'm concerned that's what endears them to me all the more. When his family first learns of his death, they were given the false story of the ambush and the enemy fire. Still, even at the large, made-for-television memorial service Washington assembled (despite the fact that on his enlistment papers Pat Tillman specifically said he wanted no military funeral. Military officials even tried to take advantage of his grieving wife Marie to get Pat buried at Arlington.), while speakers spoke of God's blessings, etc., ignoring Pat's quite vocal status, like most of his family, as an atheist, his youngest brother Rich thanked the previous speakers for their thoughts but said, "Pat isn't with God. He's fucking dead."

Once soldiers on the scene spoke out and the Pentagon was forced to admit that Tillman was a victim of friendly fire, D.C. realized they picked the wrong family to screw with as his mom began a years-long campaign to get at the truth about the coverup. The story as told proves both inspiring and frustrating, as the Army drops so many documents, most redacted, upon Dannie Tillman, that she and another veteran start approaching them like some sort of crossword puzzle to decipher what names and words are blacked out.

In one of the most infuriating incidents, Lt. Col. Ralph Kauzlarich, who Tillman served under in Afghanistan, went on ESPN and made comments to the effect that the reason the Tillman family wouldn't let it go and just accept the Army's story was that because they were atheists and didn't believe in God, it would be hard for them to accept any truths. Eventually, after they finally got a congressional inquiry, Kauzlarich was demoted in retirement and remains the only person who received any sanction for the coverup.

On the other hand, the soldiers who did speak to the truth, were all punished in other ways for essentially being whistle-blowers.

Credit for the excellence of The Tillman Story should also be given to Mark Monroe for compiling this massive amount of information into a workable script for Bar-Lev to direct into such a coherent, compelling and, yes, chilling film. It almost makes me want to synopsize the entire documentary, but it's better to see it for yourself.

The ultimate irony about Pat Tillman is that the Bush Administration wanted to mold him into a hero for their own cynical, political purposes but by the covering up of the way he died, it enabled us to see who the real Pat Tillman was and he was more patriotic and a hero on a far grander scale than any P.R. flaks could have dreamed up. It's tragic that he died the way he did, but it's reassuring to know that men like him still exist in the first place.

(Cross-posted at Edward Copeland on Film.)

Be careful which enemies you make

By Edward Copeland 

In Charles Ferguson's outstanding documentary on the financial meltdown, Inside Job, one of his interview subjects is former N.Y. Attorney General Eliot Spitzer, who'd been known as the Sheriff of Wall Street for going after shady business practices long before the collapse. Toward the end of Inside Job, it makes the point that none of the financial firms ever faced investigations for their traders writing off high-priced escort services as business expenses, but the Justice Department did pursue Spitzer when it was discovered after he was governor that he used an escort service. The work that Spitzer did and the promise he held as a gifted politician that came crashing down because of his personal weakness are detailed well in another excellent documentary from the prolific filmmaker Alex Gibney, Client 9: The Rise and Fall of Eliot Spitzer.

Gibney also made the great 2010 documentary Casino Jack and the United States of Money as well as the similarly outstanding Taxi to Dark Side and Enron: The Smartest Guys in the World. He also served in producing capacities on Ferguson's excellent No End in Sight and the brilliant Who Killed the Electric Car?

While Client 9 definitely makes the case that the political downfall of Spitzer may have been an orchestrated hit by his enemies in the business community and the Republican Party, Gibney doesn't try to downplay Spitzer's faults beyond the weakness that led him to seek high-priced sexual companionship in the first place. The film paints a broader portrait of the man's achievements and his hubris, which include a superiority complex and an approach that makes him come off as a bully, even if what he was trying to do was right.

As with the best documentaries, Client 9 teaches you things that you didn't know. It seems as if so many of the recent outstanding documentaries, no matter what their subject may be, show how spoonfed the U.S. media are, regurgitating "facts" that get handed to them while seldom checking their veracity. As far as I knew (and I imagine this to be the case with most people who heard about Spitzer and the call girl), his preferred escort was "Kristen" aka Ashley DuPre, who then turned herself into another of those freak celebrities, who ended up with a job at Rupert Murdoch's New York Post as a love and sex columnist.

Client 9, through interviews with one of the owners of The Emperors Club escort service, reveals that Spitzer saw "Kristen" maybe once but mainly went out with a woman who went by the name Angelica. Gibney interviewed her, but she didn't want her face or voice revealed, so an actress plays her part and reads the transcript of her interviews. Ironically, she's now a commodities day trader.

Where Spitzer really might have earned the enemies who were determined to stop him was when as attorney general he went after the head of AIG, Hank Greenberg, for the crooked financial games that company was playing, long before that company's collapse became a major cause of the world financial collapse and cost U.S. taxpayers billions in not one, but two bailouts. Greenberg was not at the helm by then, having been removed by his own board for violating company rules, but the methods AIG employed while Greenberg ran it were still going on and led to AIG's implosion.

U.S. Attorney Michael Garcia prevented Spitzer's pursuit of Greenberg prior to that by claiming the Justice Department was building a case against Greenberg, which they never filed. However, this same Garcia intercepted wire transfers Spitzer made and started looking into escort services that led to leaks that got Spitzer's sexual habits revealed. This also came at the time the Bush Administration was firing U.S. attorneys who weren't prosecuting enough Democrats.

Needless to say, when prosecutors go after prostitution rings, they rarely go after the clients, just the owners and the prostitutes. In contrast, around the same time, the D.C. Madam case surfaced and they only pursued the madam there, even though it was revealed that two of her clients were high-profile Republicans, including Louisiana Sen. David Vitter, who was just re-elected. He faced no legal inquiries.

Many believed that Spitzer had a good shot at being the country's first Jewish president. I just wonder if he'd been able to keep after Wall Street as he was doing, whether some of the mess that happened could have been prevented since no regulatory fixes have really been put in place to stop it since. Government of the corporations, by the corporations, for the corporations shall not perish from the United States and we the little people always will be the ones paying the price. Thank goodness we have documentary filmmakers such as Alex Gibney to do the job that journalists have long since abandoned or forgotten how to do.

(Cross-posted at Edward Copeland on Film.)

The United States of Goldman Sachs

By Edward Copeland 

In 2007, Charles Ferguson directed the great documentary No End in Sight. Last year, he helmed another that told the story of an entirely different type of destruction, Inside Job, only this time the war wasn't against another country, it was against the world's financial system and instead of only those actually in Iraq and their families paying a price, we all suffered for Wall Street's greed and Washington's malfeasance.

As Ferguson did in No End in Sight, he makes a very complicated subject easier to understand through his masterful presentation of the facts and history of the situation (narrated by Matt Damon here) and interviews with key subjects. It's not an easy task in Inside Job because trying to explain the mechanics of financial derivatives and its role in the economic collapse is nowhere near as easy to do as it was to show all the mistakes and blunders involved in the Iraq war.

Not surprisingly, most of the key figures such as Alan Greenspan, Timothy Geithner, etc., refused to be interviewed for the film, but what's shocking is that Wall Street and financial service figures who do give interviews feel completely at ease showing their arrogance and defending the industry's actions.

Inside Job, briskly edited by Chad Beck and Adam Bolt, shows how decades of deregulation under presidents of both parties led to one crisis after another, each bigger than the last, with seemingly no one in Washington learning any lessons.

The film also provides fascinating tidbits such as the fact that as recently as the early 1970s bond traders' salaries were low enough, that some had to take second jobs to make ends meet. It also tells how employees of various financial firms engaged in cocaine-fueled parties with prostitutes which were billed to the companies as things such as computer supplies.

The handful of firms who would tell their clients a purchase was good while betting on its failure behind their back is staggering, though not as staggering as the refusal of regulators to do any regulating or the number of former top Goldman Sachs executives who end up serving in presidential administrations of both parties. (When Hank Paulson stepped down as Goldman CEO to be Dubya's treasury secretary, he had to sell $450 million in Goldman Sachs stock but thanks to a law signed by the first Bush, he paid exactly zero taxes on it and some say the rich are taxed too much?)

Ferguson's No End in Sight proved to be not only informative, but to provoke outrage at all of the things that were and weren't done prior to the Iraq war. Inside Job does just the same for the history of the financial collapse, especially when you see all of the names who profited from Wall Street's greed that have populated the Obama Administration, not that he invented the problem.

It began with Reagan, got worse with the first Bush, declined further under Clinton and took the big nosedive under the second Bush. Now, Obama's advisers come from the same group and Congress passes reforms without teeth because Wall Street controls what happens. Inside Job tells this infuriating story in great detail and it tells it well.

(Cross-posted at Edward Copeland on Film.)

It's not alright, Jack

"We've lost sight in Washington of what Congress is for, of who Congress serves. It serves the people of the United States. Instead, we've found it serves Chinese sweatshop owners, Russian gangsters — Congress is now serving those interests. The thing is it has become accepted now, so part of our political culture now, that it's normal. Your average citizen doesn't have the voice you'd expect him to have because these voices are much louder and much better financed."
— J. Michael Waller, director, Institute of World Politics

By Edward Copeland 

It's slightly confusing that jailed former lobbyist Jack Abramoff has inspired two 2010 films about his escapades and that both have Casino Jack in the title. I've yet to see the fictional feature starring Kevin Spacey and directed by the late George Hickenlooper, but the documentary Casino Jack and the United States of Money by Alex Gibney, the great documentarian behind past gems such as the Oscar-winning Taxi to the Dark Side and Enron: The Smartest Guys in the Room has made an excellent nonfiction version. On top of that, Gibney also directed or co-directed THREE other 2010 documentaries I've yet to see, Client 9: The Rise and Fall of Eliot Spitzer, Freakonomics and My Trip to Al-Qaeda. He also executive produced the phenomenal No End in Sight and was a consulting producer on the exquisite Who Killed the Electric Car? Busy man and from the films I've seen him make so far, a damn fine nonfiction filmmaker as well as a prolific one.

Even if you followed the tale of uberlobbyist Jack Abramoff closely, Gibney's film will keep you riveted as it tells the story of his life and various malfeasance through interviews with many of the associates who were involved in his schemes, either as victims or perpetrators. You also get handy reminders of what a true character the man really was, dating all the way back to his days as he took over the national college Republicans to spin them in a more conservative direction with friends such as Karl Rove and Grover Norquist.

It's also funny to remember his interest and obsessions with pop culture, such as when he grew tired of his secular Jewish rearing and decided to become orthodox based on, of all things, seeing the film version of Fiddler on the Roof. Then there is the obsession he and other college Republicans had with the movie Patton, repeating the famous speech George C. Scott delivers in the film, only replacing every German or Nazi reference with Democrat. Longing for spy games at heart, when an Angolan adventure goes awry, Abramoff even turned to movie producing, financing the Dolph Lundgren hoot Red Scorpion.

However, lobbying proved far more lucrative to Abramoff than show business ever could have been, ethics and laws be damned. It led to the the top our system of legalized bribery (and some instances of not-so-legalized bribery) as he peddled influence on Capitol Hill, mostly with Republicans though Democrats cashed in on his largess as well. The shocking parts are watching as he enlists Indian tribes as clients to promote gaming on one hand and charges them huge fees while on the other hand helps forces out to stop the Indian gaming movement if it interferes with specific clients. Rest assured though, Abramoff and his associates were making money on both sides of the equation.

Casino Jack and the United States of Money tells Abramoff's story in a sleek, informative way and it's still unbelievable that only member of Congress, Bob Ney, R-Ohio, went to jail for his involvement with the man, even if he did help shove Tom DeLay out the door. Gibney saves his suckerpunch for the epilogue though, when you realize that as bad as the system is and as horribly as Abramoff abused it, it turned out to be small potatoes compared to what the lobbyists for the titans of Wall Street have and continue to accomplish.

The result should really be more depressing than it is, but it's made too well and entertains too much for much sadness to seep in.

(Cross-posted at Edward Copeland on Film.)

And yet no one went to jail

By Edward Copeland 

Reliving the Valerie Plame affair in Fair Game, based on the books written by Plame herself and her husband Joe Wilson, if you didn't have any anger before over what the Bush White House did to a loyal CIA agent in the name of politics and a war they wanted no matter what the facts were, that old rage will well up once again. In Doug Liman's film, it comes up even more so because before we get to the events of the leak of Plame's covert status itself, we actually see what her job entailed and what the Bush politicos callously threw away for their own warped reasons and the cost it took in American lives, those of other intelligence sources and, of course, the truth. Still, no one who committed crimes (and crimes were committed) went to jail for their roles. It's outrageous and the film will make that outrage feel fresh again.

Naomi Watts stars as Plame and Sean Penn plays Wilson (in one of his least-mannered performances) and while many of the details of the film will be familiar to anyone who watched the episode unfold in the media, what makes director Doug Liman's film most interesting are the details that were left by the wayside.

Fair Game begins by showing us Plame at work for the agency, making frequent secret trips overseas making contacts and protecting sources in the battle against weapons proliferation. Her husband knows her real job, but her friends believe she works for a phony business service. Early on, at the behest of the Defense Department, her section gets contacted to check out stories on aluminum tubes supposedly sought by Saddam Hussein and the possibility that Saddam had tried to acquire yellowcake uranium from Niger.

Never mind that the aluminum tube story had been investigated and disputed long before since the equipment was horribly outdated and unacceptable for uranium enrichment, the Bush White House pressures the CIA to check it out again. As it happens, Wilson, the last American to meet Saddam face-to-face and someone who had strong contacts with high-ranking officials in Niger, is suggested as someone who could check out the African side of the story. Plame admits her husband's expertise in the area, but that's the extent of her involvement in his getting the assignment.

Wilson takes the trip to Niger and finds that it would be logistically impossible to remove that large an amount of yellowcake from the country without leaving physical or written evidence. He returns, issues his report that the story is a nonstarter and believes that it's the end of it. Unfortunately, the Bush gang, represented especially by the unctuous Scooter Libby (played to smarmy perfection by David Andrews) are ghouls who can't say no and, much to Wilson's surprise, President Bush says those 16 words that mean so much in his 2002 State of the Union speech about Saddam attempting to acquire quantities of uranium from Africa.

Just to be certain, Wilson calls a source of his to make certain that Bush isn't referring to a different African country than Niger, but no, that's the lie that's being spun, followed by the big p.r. push from Cheney, Rice and the gang about not letting the "smoking gun be a mushroom cloud." An outraged Wilson pens the infamous op-ed in The New York Times about what he didn't find in Niger and the White House declares war on him and his wife, including outing her identity as a CIA operative in Robert Novak's column, which still is a crime.

The rest of the story should be fairly familiar to anyone who followed it, but if you've forgotten some of the details, you are certain to get riled once again (and to question the wisdom of the Obama Administration letting sleeping liars sleep free for the crimes they committed).

Still, as well known as the tale is, Fair Game proves quite compelling thanks to a solid cast and Liman's solid direction. Of course, the true Bush believers will have no interest and partisans already will have been converted, but those who are fuzzy on the facts owe it to themselves to see this film. A little history never hurt anybody. 

(Cross-posted at Edward Copeland on Film.)