"Lives of Others" by Florian Henckel von Donnersmarck - A Portrait of Stasi Operations; perhaps McCarthyism Revisited?

This movie had to be special since it outdid other foreign films films like Pan's Labyrinth and Water at the 2006 Oscar Awards!

Lives of Others, a German film, by writer director Florian Henckel von Donnersmarck, has won numerous awards and nominations, and for a reason; it is truly a film that captures ones imagination by presenting the nightmare which was East Germany in the late eighties and early nineties during the Stasi era. The tactics and procedures used by the Stasi undermined humanity and civilized behavior which included the psychological breaking down of a fellow human being simply on the grounds of suspicion. "Lives of Others", set in this period, revolves around a playwright, Dreyman, who is perhaps the last man standing among his peers, most of who have been either imprisoned or sent to undisclosed locations for interrogation for their suspected involvement in anti state activities. Many 'blacklisted' artists, not willing to suffocate their art, had chosen the extreme way out and had committed suicide. It is one such suicide, of Dreyman's friend and fellow writer who, not being able to handle ostracism from the writing community, hangs himself, and that catapults Dreyman, the moderate, into action; he decides to do the forbidden: write about the growing suicides rates among artists in GDR! What Dreyman does or does not do is basically the plot of the film. However, what makes this movie special is that Dreyman, despite being the focus of the plot, may not be the chief protagonist of the film! Lives of Others has a near mute, rarely visible, and seldom opining protagonist, Captain Wiesler, who side lined in the plot, is pivotal to the theme of the movie. The dexterity with which von Donnersmarck completely upstages the apparent plot by an incisive theme is to be marveled at. Dreyman, the action maker, is but a puppet, used for establishing the raison d'etre of Wiesler, the main protagonist.

The fates of characters like the young recruit in the lunchroom, the beautiful Crista-Maria, and the dutiful Captain Wiesler paint a fearful picture of East Germany enveloped in a cloud of moral vacuum, cultural darkness, and rampant suspicion. It is a society under seige; totalitarianism at its worst where every human weakness is exploited, and confused and entrapped citizens are forced to make impossible choices like Crista-Maria having to betray her lover!


Ulrich Muje, as the Stasi Captain, has done a remarkable job by underplaying the tenderest and the grimmest of human emotion in the film. There is no outward rendering of any extreme human feeling through out the film; yet, the audience is held spellbound in a labyrinth of powerful human emotions. Even at the end, the movie does not let go of you: Why did Dreyman not introduce himself to Wiesler? What made Captain Wiesler, an acclaimed officer with the Stasi, do what he did? Why this title?

Why the particular title, and what did von Donnersmarck wish to convey through this movie? I am still in the grey regarding the title, but I do think that the last line in the movie is a give away to what the writer wanted us to take away from the film: “Es ist für mich”—“It’s for me.” An implicit warning that a situation like the one in the movie could happen again, and one of us could be its victim and be saying "It's for me." Ironically enough, it is Minister Hempf who earlier on in the film says, "Men don't change", and that is the fear. Somewhere underneath our veneer of civility there lurks a darkness, that if unleashed, can easily bring about a Stasi network or a McCarthy era; the Patriot Act of recent times is perhaps a close contender. Yet, von Donnersmarck does not leave us bereft of hope because Dreyman does dedicate his book "Sonata of a Good Man" to Captain Wiesler who also graciously and proudly accepts it saying “Es ist für mich” (It's for me). An ambiguity no doubt, as it is both, an assertion of hope and also a note of warning.

A movie definitely worth watching!

Benazir - A Voice Silenced.

Silence,
when...
she's begotten
she's labored
she's oppressed
she's traded
she's violated

Silenced,
when...
she cries
she pleads
she reveals
she debates
she protests

She isn't mute or a mutant;
Quite the intelligent being.
Why then the silence?
Not for lack of a voice
or for want of a cause.
Soundless those cries
of an identity undefined.
Who is she,
and why won't she be heard?
Does she pose a threat
as the voice of reason
in a world gone astray?

Ayan Hirsi Ali - A Controversial Voice for the Women of Islam?

Women of Islam, you have nothing to lose but your silence, and a world to enlighten!

I read Ayan Hirsi Ali's write up in the New York Times a couple of days ago, and much to my chagrin, I agreed with her on many points. Here is a woman who has lost credibility with the public because of her contradictory statements regarding her past. Despite being an ex member of parliament in Netherlands, and now a fellow at the American Enterprise Institute, for most Ayan still remains under doubt. Having read her book The Infidel and knowing that she is now a part of a conservative think tank make us even more wary of her stances and her writings. Those of us in academia feel she lacks credence, as there is very little to document or prove what she says to be true. The ordinary man feels she is just a vocal minority making her claim to a few moments of fame, worried she may not get another chance. Those with Anti American feelings see her as a mouth piece for the USA, venting hatred against Islam. This list could be endless as there is so much flak against the controversial Ms Ali.

However, there is one thing that stands steadfast in her favor: that she is the one Muslim woman to have a view point about how she and other women in her community be treated. Credible or otherwise, she certainly speaks up when need be, even if it's under immense duress and fearful threats !

There have been the likes of Benazir Bhutto, Wafa Sultan, Laleh Sadigh, Shirin Ebadi, and Taslima, Nasreen, whose opinions get heard. But how is it that we only hear the voices of these few female celebrities out of our Islamic world. Where are the voices of the ordinary Islamic women? Mukhtaran Bibi's was perhaps one ordinary female voice we heard; a saddened and soulful Mukhtaran Bibi who apparently is not heard as often any more. There are some collective voices heard protesting out of Iran , but by and large the female world and its voices are unidentifiable and unheard! Are they even there, and if so why are they forever quiet? Are they mute, or muted? Do they want a voice or have they resigned to being spoken for?

We may not agree with, or believe what Ms Hirsi Ali says, but at least we know she has a voice that she makes heard when she pleases. But as for the rest of them, can we hear what they have to say? Will they please speak up for themselves. Why must we always hear them through our male counterparts? It's not that our women lack the ability or the expertise to articulate their thought; afterall, they come from the gene pool of Ai'shas, and Nurjahans! Why then the silence?

Isabel Allende's "Portrait in Sepia" - A Self-Discovery in Part (s)?

A 'sepia' portrait no doubt! Isabel Allende once again rakes up a history to bring focus to a blurry present; this time to the identity of Aurora De Valle, alias Lai Ming, the photographer protagonist of Allende's 2001 novel Portrait in Sepia, originally written in Spanish and translated into English by Margaret Sayers.

Allende's last novel that I read, My Invented Country, was an amazing journey into nostalgia, however, this time even though Allende's heroine embarks on a journey into her past, the revelations that it brings are certainly not nostalgic. It is a flagellation of sorts that tears up the protagonist in more ways than one. Does that make the novel a tragedy? Well, that's for you to read and figure out...

Aurora's journey of self realization takes her across continents: China, USA, and Chile, and it is to Allende's credit that she weaves a historical/social context around each of these settings. For instance, China Town in California, the home of Aurora's maternal grandparents, is also the setting for flesh trade and child prostitution. Chile, where Aurora grows into womanhood, is embroiled in military aggression against Peru and Bolivia; suffering and death are a permanent backdrop in Aurora's canvas.

As for the title of the novel, one which piqued me no end... 'sepia' apparently is a "brassy antique color-effect, characteristic of old photographs". It is therefore, no wonder, that Allende titled Aurora's voyage of self discovery as a Portrait in Sepia. Given Aurora's passion for photography combined with her dire need to find herself, the title becomes a perfect fit. Were it a painting instead of a novel, the yellowish brown tone, the sepia, would intensify as Aurora delved deeper into her past; after all it's our heritage, our past , that lends hue, color, and dimension to our present. Also, a sepia portrait holds a mysterious, old-world charm, and I think in this novel that was Allende's intention, "because things are so ambiguous in that sense, so delicate and so unfocused...You don't have to decide anything. Things just are, and you somehow float or ... you are just there. In a very, very delicate form", quite like a portrait in sepia.

Isabel Allende's Portrait in Sepia reads like any decent historical romance, and it will, perhaps, not make it into the category of 'Great Literature', but anyone who enjoys reading will not regret having picked this one up.

"Love in the Time of Cholera" - An Entertainer, but one Lacking Heart.

Quite the disappointment for those who have read Gabriel Garcia Marquez's novel of the same name. However, the movie by itself was pretty entertaining though it did not fulfill screenwriter Newell's goal of 'adapting a beloved novel into a story that will work well on the big screen."

I went into the movie hall to experience the magical realism of a Marquez creation but alas what wrapped me instead was the languorous charm of a sensual tale of unrequited love. The picturesque 19th century Colombia becomes an ideal setting for the audience to lose focus and get involved with the array of characters, most of who are caricatures and did not need any deciphering. Once I had set aside my expectation of the film, I enjoyed it a lot more. Once in a while we do like to see sentimental love stories that tug at our heart strings. Here was one such movie that made me feel for both the lover who was a loser, as also for the husband who lacked the lure to be a lover. The femme fatal that aroused such longings, both lecherous and loving, is an implausible heroine whose actions defy causality, and thus it is no surprise that she considers it her prerogative to be fickle in matters of the heart. Given this delectable cast of actors and a master director at the helm I could not but enjoy the 12o+ minutes of sheer sentimentality and sexuality without cause.

Mr. Marquez's novel told a story of an obsessive and heartbreaking love that defied the finiteness of life. It magically suspended the readers disbelief so that he willingly and empathetically joined the protagonist in sitting out his entire life waiting for his love to return to him. Newell's adaptation, though entertaining and visually captivating did not carry its audience the way the novel did; it was a far cry from Marquez's heartrending masterpiece.

The Pain Behind a Grain

A cut, an abrasion,
a wound, an infection;
sure sources of pain, but
a hurt that goes away-
mere temporal discomforts.

Alas, they're not all the same
The pain behind the grain
appears like it's here to stay.


Can it go away?
Not if public apathy stays.
Those pangs of hunger,
bleeding ulcers create.
Those horrifying statistics
do humanity decimate.

Click the link to clear your conscience.
Perhaps word power may make the difference.

"Genghis Khan and the Makings of the Modern World" by Jack Weatherford

Jack Weatherford's Gengis Khan and the Making of the Modern World changed my perspective on Gengis Khan, a historical figure I had thus far recognized only as a barbarian, a plunderer, and a rapist.

Weatherford's novel belongs in the genre of revisionist history, a genre I'm not widely read in, yet one that I've always been wary of. Revisionists often look at events in a modern day perspective, in the light of which historical events get misrepresented and take on meanings that might never have been! However, that is ammunition for another post. Weatherford's book was first published in 2004, and though it piqued my curiosity, I put off reading it primarily because it was revisionist in nature. Nevertheless, I followed the media reports on it which were very complimentary and stated that Weatherford's research in and about Mongolia prior to writing this book, had been very comprehensive despite the challenging conditions under which it was done. The novel reflects that undeterred effort of the author in unravelling and tracing the history of an unusual leader coming out of Asia, and who until recently had been relegated to the back benches of world history. Genghis Khan was a leader no less than an Alexander, yet historians of the time never admitted to that. Weatherford's book challenges that stand; Gengis Khan, through this book gets his due as a remarkably modern leader, a visionary who paved the way for globalization by intoducing "paper money, primacy of the state over the church, freedom of religion, diplomatic immunity, and international law", all of which was done by a man who lead his people on horseback and at a time when the rest of world was in a state of political infancy.

The book presents an engaging almost alluring picture of the Khan who "did not feel that he had been as successful in peace as he had been in war". He thrived on war and mastered the art of statesmanship; yet, he failed as a father since he "had not built a working relationship among his own sons nor trained them to replace him." However, Weatherford's revisionism may have been at the cost of historical accuracy at some points in the book. For instance, the use of gunpowder for the invasion of Baghdad is a fact that could be challenged in that there is no proof to document that. Weatherford, set out to research Mongolia, and perhaps the charisma of Genghis Khan mesmerized him to such an extent that he couldn't but help romanticize the icon that was Chinggis Khan. Needless to say, the readers will thank Weatherford for that since it makes for a riveting read. Even Jawaharlal Nehru, one of the greatest statesman the world has produced, was 'fascinated' by Genghis Khan who was "without doubt, the greatest military genius and leader in History" and "Alexander and Ceasar seem petty before him".

I was drawn to this book because growing up I had read stories about Genghis Khan, outside of my history book, most of which made me hate him. That lead me to wonder what would lure a reader to this book; especially someone who had had limited or no exposure to the exploits of Genghis Khan? Well, the book seems to have done remarkably well, and I would attribute that to the story like quality of this book. It is history spun as a yarn, and it's told in a way that has the reader wanting to turn that next page to find out what happened to Gengis's wife who was kidnapped, or then to his son of doubtful lineage who decided to speak up against him in the 'Khuriltai'. Weatherford has masterfully colored the history of a voiceless people, the Mongolians, who despite their rough terrains and simple lifestyles, have inherited a rich heritage, which not having proved gainful for them, has certainly put the rest of the world on a fast track toward globalization.

The Latino Lure

I wrote this poem a couple of years ago, but this time it is posted as a tribute to a people that I have come to respect and love:







Perhaps El Salvadorean...
Honduran, Cuban, maybe Dominican?
A striker, a pitcher, a mid fielder, a goalie
Those are my goals ever so truly.
Ronaldo and Sosa are my heroes eternal.
Baseball and soccer, none other that's certain.
Bachata, Merengue, Salsa, and Punta
Anything 'll do as long as its fiesta.
Mira! Snazzy wheels blaring Spanish tunes!
Pronto, those lovely Latinas do croon.
Seldom we shop at a Stop & Shop,
Bodegas are the more likely stops.
Enrolled in college, one course at a time;
graduating in four years; now that'd be a crime.
Skimpy tank tops on hour glass figures
Low slung jeans that couldn't possibly go lower.
Streaked and dyed; a brunnette turns blonde.
Blue grey or green, colored lenses as add ons.
A teeny meeny stiletto with pretty white toes
Catches attention, as clip-clop it goes.
Oscar De La Renta or Dolce Gabbana
Fragrance that'd carry from here to Havana.
Bodies so lithe with a grace so natural
Easy on the eye could do damage collateral.
Charmingly laid back, yet with an air to please
Fashionably dressed, carry their crease with ease.
The ever so endearing kiss on the cheek;
if you had it your way, their lips you'd seek.
Latino hearts in NJ are the warmest I'm told
If ever you find one, there's your pot of gold!