Daily Archives: May 4, 2007

The Hurricane of ’38 / Surviving the Dust Bowl

The devastation of Hurricane Katrina was an attention-getter
in more ways than one, as it in some ways put natural disasters back on the map
in terms of info-tainment. If people love stories of adversity and triumph tinged
with human suffering (or is that the other way around?), clashes of man and
nature provide the most basic of said conflicts
. Those that doubt can check out
Surviving the Dust Bowl and The Hurricane of ’38, two engrossing new
titles out on DVD from WGBH.

The Hurricane of ’38
takes as its subject a nameless storm that rose up in September of that year, winding
its way from the western coast of Africa all the way across
the Atlantic Ocean. The National Weather Bureau
predicted it would blow itself out at Cape Hatteras,
North Carolina
, as such storms usually did.
The coastal forecasts from New York
to Maine at the time called for
“fresh southerly winds” with some cooler, rainy weather. But the storm didn’t
blow itself out at Cape Hatteras;
it suddenly began an unexpected sprint north along the coast, and in the
process turned into one of the most devastating storms ever recorded in North
America
. Over 700 people were killed or missing, never to be found,
and property damage at the time was estimated at over $300 million, with thousands
of homes destroyed and the Montauk Bay’s entire fishing industry scuttled for a
season.
 

Running 52 minutes, this American
Experience
presentation blends survivor interviews with a wide array of jaw-dropping
historical footage to chronicle the lives of fishermen, residents and
vacationers the day before the storm, and follow their stories through one of
the greatest natural disasters to befall the eastern seaboard. Interview subjects
Ed Ecker, Anne Moore, Minton Miller, Patricia Shuttleworth and particularly Stuart
Bartle — all children at the time, ranging from six to 17 years of age — make relaxed
guides through this turbulent tale, which features eerie echoes of the same
sort of governmental incompetence that would plague the response to Katrina
; a junior
weatherman’s correctly mapped trajectory was ignored two days before the storm,
no warnings were issued and, after the fact, the National Weather Bureau
absolved itself of responsibility, saying that “New Englanders wouldn’t have
heeded warnings,” since they weren’t used to hurricane advisories.

Fellow American
Experience
special Surviving the Dust
Bowl
is set seven years earlier, in 1931. That year, the rains stopped and “black
blizzards” began — powerful dust storms carrying millions of tons of stinging,
blinding dirt. The storms swept across the panhandles of Texas
and Oklahoma, western Kansas
and eastern portions of Colorado
and New Mexico. Topsoil that had
taken a thousand years per inch to build suddenly blew away in only minutes.
One journalist traveling through the devastated region dubbed it the “Dust Bowl,”
and the name stuck.

Presented in full-screen without any bonus features beyond some
scant DVD-ROM material for educators
, each of these titles comes with a static
menu screen and five chapter stops. They may seem like staid offerings on the
page, but what each of these specials share is a tightly written script — by Thomas
Lennon and Michael Epstein, with narration by David McCullough — that allows
for the human element to come through while not sacrificing the streamlined
march of finely honed statistical data that helps frame and contextualize these
disasters
. That, along with details like a Westhampton
Beach
housewife telling hired help
that they’d have to “fend for themselves,” only to be swept away off her porch
minutes later, is what makes these titles so compulsively watchable.

Ever since its launch back in the days of VHS, WGBH Boston
Video has released many critically acclaimed public television programs, including
the Emmy Award-winning The Miracle of
Life
, plus bestsellers like The
Elegant Universe
, The Jane Eyre
Masterpiece Theatre Collection
and Commanding
Heights: The Battle for the World Economy
. Alongside these presentations, recent
releases include Percy Julian: Forgotten
Genius
, The Hidden Epidemic: Heart Disease in
America
and Global Warming: What’s Up with the Weather?, a NOVA documentary which tackles the subject of
the Earth’s climate future with a fair-minded and even-keeled tone and
responsibility
. To order these titles or any other DVD release from WGBH
Boston Video, phone (800) 949-8670 or visit
their eponymous Web site’s shop by clicking here
. B+ (Movies) C- (Discs)

Star Wars Advertising… Nostalgia?

While Spider-Man 3 does its thing at the box office today and throughout the weekend, George Lucas is still somewhere in Marin County, poised on a high-dive in a bathing suit made out of $100 bills, and getting ready to swan-dive into a pile of coins, a la Scrooge McDuck. (That means he’s rich, yo.)

Filmed in October 1977, this ad for the first series of Star Wars
plastic cups
, from a convenience store chain called Majik Market, is
among the earliest promotional tie-ins to be televised following the film’s theatrical release in May. I’m not entirely sure, but homeslice might be vaguely related, if only by marriage, to the Dunkin’ Donuts “time to make the doughnuts” guy. Not that there’s anything wrong with that… or his, ahem, commercial performance. Hey, I wonder what’s up with Jake Lloyd? At any rate, for the clip, click here.

Spider-Man 3

Spider-Man 3 enters the marketplace as perhaps the most widely anticipated franchise film of all time… at least until Pirates of the Caribbean: At World’s End opens three weeks later. A movie of significant, almost unparalleled to-scale ambition, Spider-Man 3 is, most essentially, a flamboyant test of the audience’s affection for
and remembrance of its characters
. Raimi, working from a script crafted
with brother Ivan Raimi and returning writer Alvin Sargent,
has fashioned a film that is at once ultra-aware of the commercial
marketplace — jam-packed as it is with cutting-edge special effects —
and yet also in many ways completely disregarding of its more rote
obligations.

The best analogy I can make is that Spider-Man 3 is
essentially a soap opera blowout extravaganza. It collapses a small
screen serial season’s worth of juicy storylines for almost every
character (Mary Jane sings on Broadway! Mary Jane gets replaced! Mary
Jane gets a job as a jazz club waitress! Mary Jane gets blackmailed by
Harry!) into an hour and 45 minutes, and then embellishes that with
another 30 to 35 minutes or so of discrete, web-slinging,
characteristically acrobatic action. The degree to which this
mad compression, and all its associated tonal swings
, works hinges not on
the “wow” factor that helped make the first film (and, in residual
fashion, the second installment) a big hit, but rather on one’s
connection to the characters and their intertwined fates, friendships
and rivalries. It’s a bold bet on story in a film that, you know, just
happens to have cost a couple hundred million dollars to make
.

Spider-Man 3 rates high enough on ambition and effort that casual fans surely
won’t feel too cheated by its entertainment value. Still, it doesn’t really
cohere in a deeply fulfilling way
.
The paradox is that such slices of mega-budget, mass entertainment are
presumably so successful precisely because they appeal not to
substantive and long-lasting emotional investment, but rather an
audience’s desire to be thrilled, and then move on. Sam Raimi clearly believes otherwise. For the full review, from FilmStew, click here.