Episode 37: Mr. Hanks Goes to East Berlin

This week, we talk about Merle Haggard, cussing, Rogue One, communism, John Adams, the law, and Bridge of Spies.

Episode 31: Indiana Jones and the Escape From the Retirement Home

We talk about Indiana Jones and the Kingdom of the Crystal Skull - Nazis, aging action stars, MacGuffins, great villains, and what the movie should actually be called. Featuring the Matriarch, Dennis (a.k.a. Tacitus a.k.a. Samuel Long), Dodgson (a.k.a. Forest Newberry), and (briefly) Sarah Long.

Our special guests

Episode 13: Saving Steven Spielberg

This week, we talk about the themes and influence of Steven Spielberg's filmography. What's the Spielberg Kid? Fathers, children, and innocence lost and regained. Is the Patriarch a hipster? Also: God's Not Dead as done by Spielberg and Indiana Jones as done by Malick. Find out in Episode 13 of The Pilgrim's Podcast.

Episode 2: Indiana Jones - If You Like Your Ark...

In Which: we discuss self-reliant heroes, danger in action movies, and why John Williams is the star of every movie he scores. Also: What is a swashbuckler? Is the Ark of the Covenant a weapon of mass destruction? Does this movie end with a Deus ex machina? And could Indiana Jones have been European?

All this and more in the second episode of The Pilgrim's Podcast.

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Rescue Dawn - Movie Review

Rescue Dawn is an interesting, surprisingly apolitical war film about the escape of Vietnam POW Dieter Dengler, played by Christian Bale. In many ways, it feels like it could be the unofficial sequel to Bale's first film, Empire of the Sun - in which he was a young child, Jim Graham, in wartime - wanting to fly a plane. If he impersonated a German American and joined the U.S. Air Force, I could easily see Dengler being the grown-up Jim Graham. The instant he's in the rain-forest, Dieter takes charge - building makeshift shelters and foraging for food and water. We're not really given any explanation for this unusual skill or hardiness, just as we know little about Dieter's life outside, beyond a few reminiscences to fellow POWs (my explanation is a childhood in Soochow with Jim Malkovich's Basie.)

While shot beautifully in lush jungles, featuring several terrific actors (Bale is great as usual, as are Steve Zahn and Jeremy Davies), it ultimately feels rather empty. Partly this is because Dieter never seems to fail at anything until near the end of the film. Looking for food? There it is. Need to avoid the guards? They look the other way. It ruins all sense of tension or risk. The director commented on Dieter's illogical optimism being his greatest asset, but given how seldom he fails, this optimism seems to be mere logic.

Empire of the Sun - Movie Review

If you haven’t heard of this movie, don’t feel bad. Part of my affection for it may be the fact that it’s one of Steven Spielberg’s little-known masterpieces, hiding in the dusty corners of his 50-film history. It is based on J.G. Ballard’s novel Empire of the Sun, a semiautobiographical story of his childhood in China. Ballard’s stand-in is Jamie, a spoiled young Brit living in the wealthy International Settlement, the only sector of Shanghai which the Japanese have not occupied. When, after Pearl Harbor, the Japanese invade, Jamie and his parents are separated, and he is thrown into a world for which he is totally unprepared. For him, this is the real start of World War II.

I think Empire of the Sun is a movie that splits opinions. A lot depends on expectations. It might style itself as a historical epic, or a commentary on war or race or other abstractions, but it’s really about a little boy. It is not plot-driven but character-driven, like Lawrence of Arabia, it is a very long, slow film in which the plot is really the hero. If one cannot empathize with Christian Bale’s Jamie Graham, the entire movie falls apart.

I’ve never had trouble with that. Jamie is, to me, a fascinating character. He is spirited and imaginative, with a comic, conceited naivety that only children with posh English accents can achieve. Thirteen-year-old Christian Bale is extraordinary, throwing his entire heart into the character and delivering one of the greatest child performances of all time.

Saving Private Ryan - Movie Review

Steven Spielberg has always had a penchant for the grandiose. It is very much on display in Saving Private Ryan, both in the enormous scope of the project and the scale of violence. At the time of its release, this film was hailed as markedly graphic. Watching it today, after the last decade of Tarantino and the desensitization that accompanies that, it's hard to comment, but it is still shocking and unlike films like Braveheart, it imbues every death with importance, even those of faceless soldiers on the beaches of Normandy. 

Certainly unlike Braveheart, it has enough respect for the enemy to not draw them as one-dimensional Disney villains. They are Nazis, but they are human beings. (It was clear, to me at least, that the one cruel decision made by a Nazi was impersonal and almost accidental, once again driving home the point that in wartime, there is no time to stop and think, to pause and pick out one man in the mayhem.)

Catch Me if You Can - Movie Review

I remember years back when my dad told me about the remarkable exploits of Frank Abagnale Jr. Abagnale was little older than I was, but he led a successful life of crime, impersonating an airplane pilot, a pediatrician, and a lawyer. I was fascinated.

So apparently was Steven Spielberg, who adapted the conman's life into a film in 2002, starring Leonardo DiCaprio and Tom Hanks.

Frank Jr. starts his life in the center of the 1950s American Dream. His father (a very good Christopher Walken) is a successful businessman, his mother a beautiful Frenchwoman. But one day, Frank Sr. can't charm his way out of his troubles with the IRS. It turns out Mrs. Abagnale isn't so charmed with Frank Sr. as she is with the American Dream, and the cracks are beginning to show. Divorce and loss of innocence. Frank Jr. can't take it, so he starts to run, desperate to renew his lost childhood. DiCaprio is particularly good in the role, concocting just the right mix of charm, innocence, and immaturity.