Movie Monday: "Grave of the Fireflies," a film by Isao Takahata, 1988

By Pkisme (Template:Pkisme) via Wikimedia Commons

"Grave of the Fireflies," a film by Isao Takahata, 1988.

A little late, but this review is dedicated in remembrance of December 7th, the 74th Anniversary of the Imperial Japanese attack on Pearl Harbor. I chanced upon this Studio Ghibli gem in 2005 while studying abroad in Tokyo, Japan. I had had a rough day, and wanted a film to ease my uneasiness. This was definitely NOT a feel-good film, and I should have watched director Isao Takahata's other work, My Neighbors the Yamadas. Having said that, I do not regret the chance viewing. This film depicts the struggle of the everyday people to survive during war. The story revolves around a brother and sister in World War II Kobe, during the American firebombing campaigns. While not originally intended as an anti-war film, in North America the graphic nature and drama of this film inspired this kind of take-away message.

In my opinion, this is probably Studio Ghibli's most serious and painful film. Based on Akiyuki Nosaka's semi-autobiographical story of the same name, Hotaru no Haka or "Grave of the Fireflies" showcases the quality we've come to expect from Studio Ghibli. The voice acting, as viewed in Japanese, captures the innocence of childhood under extreme stress. I feel like it captures a realism that is almost unavailable with real actors, although the sheer weightiness and tragedy of the narrative reminds me of Osama, Siddiq Barmak's 2003 film about post-Taliban Afghanistan. The art style is classic Studio Ghibli, and fans will recognize the hues and color coordination of Michiyo Yasuda, although innovative use of color made this film remarkable for its softer palette, given the plot.

Reminiscent of Sir Richard Attenborough's 1982 Ghandi, audiences are immediately given the fate of the main characters. This does not detract from the film, but sets the stage for the unfolding narrative. Ninth-grader Seita narrates his sister Setsuko and his fate just after the unconditional surrender of Japan to the Allies during World War II. He is dressed in a nice school uniform as his sister recovers a Sakuma Drops tin, tossed by a janitor into a garbage field near Sannomiya Station. The film then moves back in time, as Seita and Setsuko rush to secure a few belongings before heading to the bomb shelter with their ill mother.

I believe the significance of this film is not who was to blame for the war. In my viewing, I see the often silent tragedy of warfare is the real human cost to the civilians caught in a conflict. We see this now with the ongoing conflicts in the Middle East, just as the Japanese Americans confinement after Pearl Harbor, to the enslavement and torture of East Asian and Southeast Asian guerrilla fighters and civilians to fuel the Japanese war machine in World War II. While it is clear the Allies are bombing Kobe, there is no American person shown in the film. Instead, in true Studio Ghibli style, the film focuses on the challenges of two children, trying to survive in wartime. Among many themes, we as viewers are introduced to the selfishness of family and neighbors during times of scarcity. We see the real cost of war is not only on the battlefield, although a terrible venue, but in the homes and minds of the people whose military and politicians are competing for world domination. Further, I feel this kind of film illustrates the important difference between civilians of an enemy nation and an enemy combatant. A distinction often ignored in many popular conceptions of wartime history.

This is not a film to watch casually while doing household chores. Frankly, I have a hard time actually recommending this film for entertainment, but it is necessary that any student of history, patriot, politician and educator see it. A truly educational, informative and heartbreaking look into the realities of war. In the United States, the anti-war message is a strong current, however the original Japanese version, and vision from Isao Takahata's direction, had a message of what can happen when hopelessness overcomes the will to survive, and the failure of family and the failure to survive in the face of hardship. Either way, this film commands an hour and a half of the viewer's undivided attention. Your eyes will be opened, if a little moist.

Purchase "Grave of the Fireflies" on Amazon.

Movie Monday: "The Mountain Thief," a film by Gerry Balasta, 2010

By Kounosu (Own work (own picture)) via Wikimedia Commons

"The Mountain Thief," a film by Gerry Balasta, 2010.

There are always a few films that speak to the senses on a deep, personal level. Stories of humanity, particularly ones that burst open the small cultural and social bubbles we all find ourselves living in, are particularly powerful and necessary. "The Mountain Thief," I believe, should be required viewing for all college students, "first world" citizens worldwide and professed religious individuals who would seek to know and better the world. "The Mountain Thief" shows viewers what happens when communities are forced, by powers far beyond their own immediate influence, to survive on the garbage of others. These individuals find their sustenance by sifting through and reselling recyclables from the trash of the more wealthy people in the Philippines (but this plays out in so many areas across the world). It shows that conflict and community are possible in even the most trying circumstances.

What strikes me about this film is that all the actors are amateurs. In fact, all of them are scavengers in the Philippines, so this leads to an air of realism unattainable by even the most seasoned professional actors. I encourage viewers to watch to the very end, as the filmmakers describe the real lives and dreams of the actors who took part in this film. While many of their dreams may seem trivial to a first-world viewer, they show just how disparate the bounty of "modern living" is distributed throughout the world. Among a few are to cure a son's club foot, to learn to use a computer, to build a home at the foot of mountain of trash, to learn to read and write. These are things we as Americans take for granted, as an unalienable right as Americans, and things that are largely unavailable and unobtainable to many throughout the world.

The film opens as a Simon, the communities drug addict (he sniffs glue, paid for by stealing from other scavengers) is stealing a small sheet of corrugated metal from another family's makeshift roof. He is found out and runs away through a maze of shanty neighborhoods, running into Ato and Elmer on their way to the makeshift basketball court. He stumbles into Julio and his son, Ingo. They are newly arrived from a war-torn region in Mindanao, where his family owned rice fields that were burned in the fighting. They are seeking to survive through scavenging in Little Hope, the community at the foot of the trash mountain. The film makes no illusions as to the circumstances of these individuals. Survival is their daily aim, and though community exists, most are looking out for their own (and their family's) interests.

One of the best things about this film is that it pulls no punches. It also ends rather ambiguously, which may upset some viewers of modern Hollywood film-making. The film understands its own circumstances and does not give the viewer the satisfaction of a happy ending, particularly because for individuals like this film, there is no guaranteed happy ending.

You may be wondering why this film is even worth watching, as it seems to be a real downer. Well, in actuality, it kind of is, considering it is reality for many across the world. There are lighthearted moments, particularly with Ingo, who listens to the local religious zealot Ato teach about prayer, then acts it out on the highest mountain of garbage, because it is "beautiful up there, and close to the heavens." Ingo and his friend find and enjoy an unopened can of soda, a rare treat.

The film is edited to be rather artistic, as scenes will replay to emphasize the overall narrative, and some scenes will not make sense until later in the film. It reminded me a little of the film version of Gandhi, where the viewer sees the inevitable end of the film immediately, but does not understand the context until watching the entire film.

In the end, this is a very powerful statement on the state of the developing world, and asks the developed world just what our role is in perpetuating this environment. As consumers, do we have a moral obligation to address the "end" result of our consumed goods? This film also reflects on, though not explicitly, the historical circumstances that developed this environment.

Did the independence of the Philippines come too rapidly? Would the Philippines have been better off as a territory for a while longer, until basic infrastructure and stability could be achieved (like in Japan, post WWII?)

Although politics seems to play a small role in the film directly, viewers who know will recognize the handy work of corruption in the Philippines, among politicians and other wealthy families who benefit from others' poverty. But these actors care little for politics and international policy. They are looking for a few pesos to buy a little rice to feed their families for another day.

To see how you can contribute to the Mount Hope Project to help the actors in this film, see "The Mountain Thief" website here.

Stream or Purchase "The Mountain Thief" from Amazon.

Movie Monday: "Ilo Ilo," a film by Anthony Chen

This week, I wanted something that was completely different for me. I happened to find just this in Anthony Chen’s “Ilo Ilo,” a slice-of-life drama showcasing life in Singapore c. 1997, during the great economic crisis in Asia. I also reveals the dynamic between different ethnic groups within South East Asia, and hints at the relative hierarchy of each group. The relative economic differences between, say, Singapore and the Philippines is also shown through the characters’ relative situations, however it doesn’t reflect on which characters are “good” or “bad” in the traditional sense. Many of the actors are unknown to me, and likely many in Western cinema. The screen time is generously shared among the four main characters, so establishing who the “lead” is is problematic for Western audiences. Singaporean veteran actor Chen Tian Wen captures the hardships inherent as the struggling family patriarch Teck. Yeo Yann Yann plays is wife Hwee Leng, who is pregnant with a daughter and dealing with the stress of a hard marriage and a hard job. Newcomer Koh Jia Ler plays Jiale, a parent’s nightmare. A young man faced with his parents’ rocky marriage and hard life, he acts out at school and captures the challenges of any young boy learning for himself. Finally, we have Angeli Bayani playing Terry, a migrant Filipino housekeeper and maid. Bayani’s facial expressions, I think, capture the sort of “I must endure it” attitude necessary when faced with such hard choices as leaving your home for work, and the inherent, though not always obvious, prejudice against Filipinos among other South Asian groups. Many of the performances were spot on, and arguably very little could be added to improve the feel of the film. I appreciate that stereotyping wasn’t as prevalent in this film as in some American-made films, which often portray Asian characters, even in 2015, as martial arts masters, wise teachers and dragon ladies.

Jiale (Koh) is a troubled young man. He acts out at school and is constantly studying gambling odds when he should be focusing on his school lessons. His parents Teck (Chen) and Hwee Leng (Yeo) are at their wits end, finding their own stresses at work while trying to make allowances for their son. Finally, they decide to hire Teresa (Bayani), a Filipino mother looking for work in Singapore to help support her young infant son back in the Philippines. This film shows hardship piled on hardship, and helps introduce Western audiences to a different world that may be more similar than we’d think. There is good material here for looking at the ethnic hierarchies within South Asia, as well as the relative economic positions of immigrants relative to the majority. There is also just a good, quality film that is different than much of what comes out of Hollywood.

I found this film to be eye opening. Specifically, I have not seen many Singaporean films, nor have I had access to many films not made in China, Hong Kong, Korea, or Japan. It is refreshing to see films that showcase something different, without devolving into a kind of “poor me” attitude that is easy to take when showing non-Western films to Western audiences. The characters do not ask for your sympathy, but seem to say “see my endurance.” In the end, however, the human element tries to ensure we do feel for the characters, even troublemaker Jiale. Viewers will likely relate to the economic hardships the characters face, as much of the world emerges from an economic depression unseen for decades. Even when things get rough, however, the characters face their troubles as best they can.

This film is powerful, almost overly so. There were many moments where I felt “wow, I didn’t know it was like that.” The plight of Filipino immigrants trying to send money back home is a familiar situation with many Mexican immigrants looking to feed their families back home, especially here in California. This is not ancient history, or likely even history, as much as it is a reflection of what still happens today. While there is value is realizing what was during the 1997 economic downturn, analogies can be made today, and likely will apply in the future as well. Anyone interested in seeing something different (for me), and seeing a different world outside the most common depictions of Asian cinema would do well to check out “Ilo Ilo.” I wasn’t disappointed.

Stream / Purchase

Points of Interest:

Filipino women as housekeepers and maids, jealousy of relationships with children

Ethnic relations within East and Southeast Asia

Singaporean culture as it relates to other neighboring nations

“under the table” work of worker immigrants

Corporal punishment in cultures

Movie Monday: "Last of the Mohicans" a film by Michael Mann, 1992

Last of the Mohicans (1992) a film by Michael Mann

I’ve held on to this film in DVD format for several reasons. Firstly, it is a good film that showcases quality actors and quality script that stands the test of time. Secondly, the price. $5 at a big box store. This historic drama tells the story of a quickly disappearing way of life, as two cultural worldviews come into conflict and inevitably arrive at an endgame where one side wins, and one side loses. Daniel Day Lewis plays the main protagonist, Hawkeye, an adopted white man frontiersman based on novelist Cooper’s character Natty Bumppo. His adopted father Chingachgook, played by Russell Means, who did not start his acting career until he was in his 50’s. Wes Studi portrays Magua, enemy of Colonel Munro (John Maurice Roëves) and a main antagonist of the film. The casting embraces diversity with sensitivity towards actors of indigenous ethnicity.

The opening shows Hawkeye (Lewis) stalking a buck with his adopted father (Means) and brother, Uncas (Eric Schweig). After their successful hunt, they thank the spirit of the animal and thank him for giving up his life for their benefit. They hunt and trap for their sustenance, trading with the Dutch for silver, as opposed to the British and French custom of trading in “wampum and whiskey.” Their frontier world comes to an end with the war between Britain and France impacting their settler neighbors and friends, the Camerons, who participate in the colonial militia in defense of their homes and in (nominal) support of the British Crown. When the need to protect their homes from war parties conflicts with the needs of the British military, the militia and fort commander Munro come into conflict as to which needs are more important.

The emotional impact of the film is reflective of Mann’s style of film-making. As a director, he portrays the emotional side of the story and the human element in subtle, but engaging, ways. The source material, he said, was a wealth of information but not the be all for his inspiration.

"It's not a very good book," Mann said of Cooper’s original novel. He mentioned the novel comes from a landholding perspective, and “is almost a justification for a massive land grab…that the Euro-Americans will be a better steward of the riches that God bestowed upon American Indians. And that, of course, was not the perspective of American Indians. So the revision of history was one of the things I didn't care for in the novel.” This reflects the times, when many investors saw stewardship of the American continent as justification for their increasingly harsh treatment of indigenous Native American groups.

While the story is historic fiction, Mann captures existential human conflicts that many viewers can relate to. Duty to a greater cause vs freedoms and liberties, self-interest and the honor of the ethnic group are among a couple of the qualities explored in this film.

Overall, this is a capable film that succeeds in drawing the viewer into the characters. While a few scenes seem forced, or the dialogue a little stale, it does not greatly detract from the quality of the film and the actors. Daniel Day Lewis famously only ate what he killed, and learned the skills of a frontiersman to give a more capable performance as Hawkeye. Viewers will appreciate such attention to detail, even though it sometimes teeters on the cliche “white man saves the minority” narrative that comes with such films and Dances with Wolves or Avatar.

Purchase or Stream "Last of the Mohicans" via Amazon

History Notes:

Native American cooperative relationships with European powers
Nathaniel Poe's role as central or peripheral to events
Source material of the original novel and the 1992 film
historical fiction vs factual information

Movie Monday: "John Adams" an HBO series by Tom Hooper

On the recommendation of history colleagues, I found a copy of the HBO Series “John Adams” at the local library, and I’m not disappointed. This historical drama follows the career and presidency of Founding Father John Adams, including his participation in the American Revolution and his activities in foreign arenas like France and Britain during the establishment of the American Government. This series doesn’t avoid the darker aspects of Adams’ experience, and seems to give a balanced view of his life.

Like many HBO series, the acting is on point. Lead Paul Giamatti brings this John Adams to life and reflects his educational background in theater and broadway. David Morse towers over the other characters as bigger-than-life General and President George Washington, and gives a subdued performance as the first leader of the new government. Laura Linney is an excellent Abigail Adams, giving life to the famous first Second Lady and second First Lady of the United States.

As the series opens, Adams (Giamatti) is a successful lawyer in Boston, with wife Abigail (Linney) and children John Quincy, Abigail and Charles. The cries of “Fire! Fire!” echo through his home as British soldiers fire upon a crowd of protesters to Britain’s overreaching influence in the colonies. Adams is the only lawyer in Boston willing to take the case, which opens him up to attacks and criticisms from his patriotic neighbors.

The benefit of a series such as “John Adams” is how human our founding heroes become when treated in a balanced manner. Putting aside the romanticism surrounding the founding of the United States, a student of history will appreciate the nuanced treatment. Additionally, the series does not marginalize the other key members among Founding Fathers (and Mothers), which can sometimes happen when a series focuses on one particular subject, or minimize their influence on the main character. The humanity present in this series brings the founding members down to a relatable level, in particular the balance between work and life, family, religion, and the fundamental principles of the United States.

What I found most instructive is how contentious the developing government of the United States was during the first few years. Every member had their own interests and concepts of who held what power, and the extent of that power over the individual states. As a newer student of early American history, I found these insights informative for future study. Additionally, the sheer weight of what was before the Revolutionary leadership, founding a new country, is not lost on the artists who changed the characters’ appearance based on circumstances. The various epidemics that swept the New England territories, coupled with the stress, play out on the faces of the actors throughout the series.

A viewer hoping to bolster their patriotic feelings will likely feel kinship towards the characters in this historical drama. Students of history will appreciate the perspectives of the film, and the contentious nature as more reflective of reality than the simple founding myths many of us grew up on. There is very little to fault in this series, from my perspective, as there was clearly enough financial support to give “John Adams” a suitable treatment.

Purchase or stream "John Adams" through Amazon

History Notes:

The differences between fact and fiction in historical drama (see historical inaccuracies)

Religion and political backgrounds of the Founding Fathers and others

Family life of John Adams

David McCullough's book "John Adams," inspiration for this HBO series

Movie Monday: "The Patriot," a film by Roland Emmerich

“The Patriot” is one of those films that might spark interest in American History for some, but eventually turn those same historians off for its portrayal of the American Revolution. At its core, “The Patriot” is both a war film and a historical drama about a war veteran who is once again called to sacrifice his peace for a greater cause. His response to the casualties of war sets up the tension that builds and releases throughout the film. The production values are rather good, something that is expected for a mainstream film with a leading actor like Mel Gibson. While not on the same level as Gibson’s earlier “Braveheart” in popularity, “The Patriot” does showcase Gibson’s ability to play a tortured and sacrificial character who gives up much for a greater purpose. While Gibson is inevitably the star of the show, Heath Ledger puts in a strong performance as Gibson’s son, Gabriel Martin. Gabriel is eager to join the Continental Army and fight for “the Cause,” while his father is much more tempered against jumping back into war. Jason Isaacs provides a convincing performance as the “bad guy” British Colonel William Tavington, who embodies much of what a man will do during war. Tom Wilkinson is Lieutenant General Charles, Lord Cornwallis, a military genius and tactician who nonetheless falls victim to his preconceived notions against militia and their capabilities. There are a few understated performances by both supporting actors Donal Logue and Joely Richardson as militiaman Dan Scott and Martin’s sister-in-law Charlotte Selton, as well.

When the film opens, Benjamin Martin (Gibson) lives an idyllic life on his farm in 1776 South Carolina, working diligently in his workshop, attempting to make a working rocking chair (a task he’s obviously failed at several times, judging from the pile of scrap). He is a widower, but he capably raises his children with the help of African American servants and laborers. This peace is shattered when an Assembly in Charles Town is called to debate the cause of Revolution. There are Loyalists among the Assembly, but the majority supports fighting against the British, much to the apprehension of Martin, who saw action in the North American theater of the Seven Year’s War. His two elder sons, particularly Gabriel Martin (Ledger), are eager to support the fight, feeling it is a man’s duty to fight for his home and principles. The first show of British brutality involves an interaction between Martin’s second eldest son, Thomas, and the British Colonel Tavington (Isaacs), and sets up the goal for Martin throughout the film.

Viewers are inevitably going to be entertained by this film’s classic hero’s journey model, which follows the formula of heroic hardship and resolution through growth to a T. The biggest issue history buffs will have is the rather simplistic representation of the Americans as “good” and the British as “bad,” a dichotomy which almost never exists as cleanly as is portrayed. When portraying a nation-state’s founding myth, however, it is often popular to show the founders as heroic patriots. Another interesting aspect is the portrayal of African American participation in the Revolutionary War, particularly in a fighting context. It may surprise some viewers to know that African Americans were promised the opportunity of freedom, as well as bounties in some cases, for participation in the Revolution, both on the Loyalist and the Patriot sides. Often these African American soldiers were also integrated into existing units, either regular Continental Army units or state militia units. While not portrayed in the film, African Americans also participated heavily into naval operations on both sides of the war.

Overall, this film does successfully portray one narrative that will entertain and, for some, build emotional response to the battle for the United States. The history is very thin here, as Martin is a composite character with no direct analog in history. The simplistic characterization of Americans as good and British as bad will put some off, particularly historians and history buffs familiar with the complexities of the historical narrative. The production itself is obviously well-funded, and the performances of the lead and many supporting actors was strong and capable, leading to a rather successful film, overall.

Final verdict: 3.5/5 for strong lead performances, good production values, but a lack of serious scholarship and a simplistic portrayal of the two combatant sides.

Purchase or stream "The Patriot" on Amazon.

History Notes:

The true motivations of both Patriot and British combatants
Ethnic relationships: African Americans in War
Military tactics and acceptable responses to captured soldiers on both sides
Idyllic portrayal of 1776 South Carolina, tied to ethnic relationships

Movie Monday: "Picture Bride," a film by Kayo Hatta

Wikimedia Collection

Hatta, Kayo. "Picture Bride," starring Kido Yuki, Takayama Akira, and Tamlyn Tomita, 1995.

It was by chance I happened upon “Picture Bride” at the library and was moved to rent it. A riveting historical drama, "Picture Bride" depicts the life of a young Japanese immigrant woman working on the sugar cane fields in Hawaii during the early 1900s. It shows how both characters used deception to improve their chances of sealing the arranged marriage. Photography innovated the “picture bride” system that initially relied on written letters alone or face-to-face meetings. 

This film provides a solid script for strong performances that make the film particularly moving. Lead actress Kudo Yuki gives picture bride Riyo the emotional expressions that capture the apprehension and exhaustion a newly arrived city girl experiences under field conditions. Actor Takayama Akira ably expresses the hard life and defeatist mentality many bachelor field hands experienced under the Gentleman's Agreement of 1907 and prejudicial labor relationships. Finally, Tamlyn Tomita supports the leads with her capable performance as a strong young picture bride who must take on the roles of mother and mentor. One important aspect is that the cast are all capable Japanese and Japanese-American actors, a novel circumstance given the recent controversial casting choices in 2015 Hollywood.

When Riyo (Kudo) first arrives at the immigration office on the shores of the territory of Hawaii, she meets her husband for the first time, a field hand (Takayama) almost two decades her senior. This fact, not shown in the youthful photo he sent, sets up tensions from the start. The various hardships the two newlyweds face include prejudicial ethnic conflict with white overseers, labor conflicts with fellow Filipino field hands, as well as the appeal of gambling as a downtime activity. Couple this with the relationship built on lies and the film contains plenty of tension and conflict. The challenges these characters face will illuminate an almost forgotten historical exchange network that greatly disrupted immigration to the United States.

One of the strongest aspects of this film is the human element that makes it so relatable to a variety of viewers. Many of us can relate to the class challenges of trying to get ahead in a tough work and social environment, particularly when it seems like the paychecks are never quite enough. Viewers may relate with the ethnic conflicts that plague both historic societies and today. For me, this film made me realize how blessed I am in my own life, particularly the great physical toil these characters face each and everyday, and how they manage to find positives.

Overall, this film is a great peek into the historic condition of “picture brides” under the Gentleman's Agreement of 1907. Not only does it depict the ethnic conflicts Filipinos and Japanese field workers faced, but also the different ethnic hierarchies that native Hawaiians felt in relation to the Anglo landowners and European (Portuguese) overseers. While the film does slip into too much pathos at times, the narrative does manage to express an accurate depiction, perhaps less intense than some authentic experiences, of Japanese immigrants under an inherently prejudicial legal and social system. If you’re a fan of historical dramas, this may be the film for you. Please post comments or suggestions below, and what films you'd like to see reviewed in future posts.

Purchase "Picture Bride" or stream via Netflix here.

Historical Notes for discussion in the comments:

• The “picture bride” system for skirting the Gentleman's Agreement of 1907.

• Ethnic interrelationships and labor: Anglo and Euro owners vs. laboring minority; labor vs labor between Filipinos and Japanese

• Labor conflicts, the company store, $1 fee for lack of work, $. 65/day and $300 to go back to Japan

• Bachelor Societies: both Chinese and Japanese, Filipino immigrant men

• Aspire to be Rudolph Valentino, but Japanese actor Sessue Hayakawa came beforehand, but not in the dominant history

• Asian, mainly Japanese and Filipino actors cast in the film, Japanese language used instead of English (think Sayuri/Memoirs of a Geisha)

Student Success: Dress for Success

There is a reason many organizations make sure their recruits keep their uniform clean and pressed.

wikimedia collections

These people are all ready to work. In addition to their hours of training and preparation, as well as their careful care in manner, these people prepared their uniform for their profession.

You, as a student or early professional, can harness this ability by keeping your wardrobe clean and updated. By cleaning your clothes regularly, and ironing if you are so inclined, you actually change the mindset you take into the world. When you're clean and prepared with your uniform, you're clean and prepared in mind for success.

When you're cramming for exams or looking to a long lecture with in-depth notes, dressing for success can change your whole mindset and give you the edge to push towards that job or that A.

• Dry clean items that require dry cleaning, look for coupons or discounts for students, or ask the attendant if they give discounts for interviewees (you never know, they may be amenable)
• Keep your undergarments clean...please! The lingering odors from sweat and other things will cut through a nice uniform every time. Don't let it sabotage your chances, keep 'em clean!
• Iron: check the labels on your garments, if they let you, learn to use that iron and make a habit of it! Not only will it make you look sharper, but you'll learn a new skill you can take with you.
• The importance of morning and evening routines. Making it habit will keep you honest when things hit the fan and you risk cutting corners.

These are just a few things you can do to keep yourself clean and prepared for the day. Dress for success and you'll enjoy a better mindset to take on those challenges. To learn more, check out these informative articles at the Art of Manliness (for women, too!): Sharp Dressed Man ; Daily Routines and You

Book Review: "Converting California:Indians and Franciscans in the Missions, 1769-1836" by James Sandos

By Rennett Stowe (Flickr: Mission San Luis Obispo) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

James A. Sandos, Converting California, Indians and Franciscans in the Missions, 1769-1836 (Yale University Press, 2004)

 Scholarship surrounding the Spanish Missionary period in California abounds with different interpretations. Some vilify the Spanish missionaries for essentially wiping out the Native American populations in California and disrupting their lives to destruction. Others opt for a more benign approach, complicated by cooperation and agency among the Native populations. James Sandos’ work on Franciscan conversion of the Native Americans is just such a work.

  Sandos’ overarching thesis is that the goal of the Franciscan mission was conversion of the Native Americans, however the meaning was limited or framed within their understanding of eighteenth and nineteenth century religious ideologies. While the relative intensity of faith the Native Americans brought to their conversion was diverse and somewhat unknowable given the sources, the Franciscan priests believed that once baptism and conversion was “sealed,” the Native Americans assumed not only the unspoken contract of living a pious, Christian lifestyle, but also agreed to a form of “spiritual debt peonage” to the missions (108). Sandos further emphasizes that these conversions were likely driven by survival interests like food, protection, and other material benefits that came to those who participated in musical arrangements that supported the mission.

  Sandos further argues that Franciscans were not intentional agents of a genocidal mission against the populations of the Native communities. In fact, there was a lot of internal concern for the maintenance of the population numbers given that the missions relied on these new populations not only for their spiritual goals, but as a steady supply of labor to support their mercantile efforts in trades like oils, candles, tallow and cattle. Sandos’ analysis, however, does seem to limit the discussion to physical genocide, particularly at the level of populations. What is important to recall here is the fact that the Franciscans did intend to commit a kind of cultural genocide, in that they did (ideally) want to replace the indigenous culture with a Christianized, Hispanic-oriented culture. In practice, however, this has been shown to not be the case, as Sandos illustrates with his argument that the missionary period formed a complex hybrid culture that the Franciscans and Native Americans both contributed to, where villains and heroes are not easily defined (184).

  Such arguments mirror other discussions within American West and Southwest borderlands’ communities, such as with James Brooks’ article "Violence, Exchange, and the Honor of Men", as well as Gutierrez’ chapter on "The Spanish Conquest of New Mexico," particularly outlining the conflicts between military conquest before 1573 and the focus on religious conversions by the Franciscans afterwards (Gutierrez, 46). A seemingly coherent argument between Gutierrez and Sandos is the relationship the Native Americans had to the celebration of Mass, where Gutierrez emphasizes not only the familiar aspects of the celebration with Native religious rituals, but also the pacifying effect such a “universal” celebration would have on the population (Gutierrez, 63).

  Sandos, however, emphasizes too the level of resistance the Native Americans had against the religious colonization efforts, particularly in the context of a “hidden transcript,” where the public display of acquiescence belies the very real, private resistance that exists under the surface. What is interesting here is the concept of the “hidden transcript,” as expanded upon in James C. Scott’s book Domination and the Arts of Resistance (a highly recommended work) which deals with the condition of Southern slavery. Sandos emphasizes that the experience of the Native Americans within the missionary system was not one of slavery as we understand it, but of pre-existing “debt peonage.”

  Sandos wishes to emphasize that his analysis avoids the dichotomous camps of Spanish missionary California, particularly the “Christophilic Triumphantalist” that overemphasizes the positive aspects of the Franciscan missions, against the “Christophobic Nihilist” who condemns the Franciscans for their disruptive, destructive efforts. While this point of view is admirable, modern scholarship almost always seem to avoid such black and white “camps” in favor of a more nuanced, gray area reading of what the experience was like. Sandos also mentions the role disease had on the Native American populations, particularly the spread of venereal disease. While these discussions are interesting, it may strengthen a future edition to consider works by Steven Hackel, whose work in ethnographic and environmental factors could strengthen Sandos’ own arguments.

  There are problems with parts of Sandos’ arguments. His discussion of how patriarchy was introduced by the Franciscan missionary system, which relies on the idea that there was a strong matriarchal culture or at least female agency previously, is somewhat problematic based on such assumptions and reduction of the diverse cultures of Native American communities. Further, the role of disease on the native populations also could be strengthened with further diving into more demographic information that would strengthen or counter his treatment of diseases’ impact. Steven Hackel’s later work Children of Coyote, for example, emphasizes the “dual revolutions” of disease introduction AND environmental factors that limited the traditional lifeways of the Native American communities, further influencing many of the men’s participation in the missionary system. Finally, Sandos’ reliance on French artist Louis Choris’ impressions of Native American male expressions places the reasoning on inherent psychological issues, when in fact ethnographic research shows it more to be a reflection of indigenous forms of etiquette, a fact that was not as deeply addressed as it could have been.

  Overall, this work is a useful addition to the historiography, particularly in the treatment of music and its role in Christianizing the Native American populations. The most original aspects of Sandos’ work is in this chapter, as he emphasizes the material benefits of participation in the musical activities. His treatment, too, of their acquisition of the Spanish language, and its potentially unifying role in communication across cultural groups, though Sandos isn’t sure of its full role. The prose is highly readable and quick, meaning historians and lay readers alike will benefit quickly from the salient arguments without getting bogged down in unnecessary complications.

Student Success: Keeping Yourself Clean

This might seem basic, but with many new freshman being out on their own for the first time, it needs to be covered as a fundamental part of success in a school environment. Keep yourself clean.

Keep Your Self Clean!

There's a lot of stress associated with being in a new environment, be it educational or professional. In order to present the best possible image to potential colleagues and professors, students should regularly clean.

By Miguel Andrade (Own work) [Public domain], via Wikimedia Commons


Shower: if you find yourself particularly busy in your first quarter in your new school environment, shower at the end of the day to make mornings easier. Not only will your bedding remain cleaner, but you can wake up, wash your face, brush your teeth, put on deodorant and be out the door. Which brings us to the second point

Russell Lee [Public domain], via Wikimedia Commons

Face-washing: Each morning, use a mild face cleanser to clear away accumulated dirt and refresh yourself for the day ahead. Products by Clearasil or Neutrogena are easy to find and reasonably priced, or many of Target's generic products will also do the trick for less.

By Mennonite Church USA Archives (Flickr: Kindergarten, Stanfield AZ) [Public domain], via Wikimedia Commons

Brushing: Your breath is ripe in the morning, brushing your teeth helps take care of this. It is best not to brush right after you eat, as the natural saliva created while eating can actually help protect your teeth. If desired, one can also follow brushing with a mouthwash, although it may require you not eat for about fifteen minutes after.

By Loico (Own work) [Public domain], via Wikimedia Commons

Deodorant: This is not optional. During the day, you're going to sweat and your fellow students will appreciate this step. Ditch the Axe Body Spray of your high school youth and go for a scent more appropriate for a college student (Old Spice is one of my favorites for musky, traditional aromas, Dove or another mildly scented stick also works)

While this list is certainly not exhaustive, doing these few fundamental things will do wonders not only for your demeanor when attending class, but for your general well-being and mental health. This is a new chapter in your professional and academic career, make the most of it by taking care of the basics. Keep yourself clean and sharp!

Film Review: Wang Xiaoshuai's Beijing Bicycle

 

By Scottmeltzer (Own work) [Public domain], via Wikimedia Commons

  Wang Xiaoshuai's film Beijing Bicycle covers a number of themes which other films within modern Chinese cinema tackle in various ways. The challenges brought about by change, modernity and commodities, the divide between the city and the countryside, personal relationships between classes and sexes, and the state of social structures within modern China are but a few. Taken on its own, this film is a powerful commentary on a number of institutions of modern China, but also focuses on the very human element of struggle.
  One theme which is apparent throughout the film is the challenge of rural migrants when confronted with urban living. As Barme says in the article “Bike Envy,” the film “portrays the young men and women from the country[...] as quiescent and dumb.” On a superficial level, the viewer sees Guei's character as weak in the face of adversity, in that he doesn't speak up when spoken down to. However, I believe a more sophisticated analysis coincides with Wright's view, namely that the silence of Guei, and to a lesser extent his older friend, reflects “his difference and wonderment at the city.” Furthermore, I would argue that it reflects the breakdown of communication between the two classes of “urban dweller” and “rural migrant,” in that the migrant will speak, yet no one will openly listen. It's as if the arguments would not only fall on deaf ears, but that the sheer fact that they are arguing the issues stems from an inherent characteristic of the “backward” rural population. This concept of the backwardness of rural workers segues into the concepts of stubbornness, which many people use to describe Guei.
  Stubbornness is a characteristic reflected within a number of characters within modern Chinese films, like Teacher Wei in Not One Less, or Qiu Ju in The Story of Qiu Ju. In Wang's words, the idea of stubbornness is what pulls the people through the challenges of city life. Furthermore, it reflects the harsh realities that rural people face when they move into the city. The fact that such a determined spirit is what is needed just to maintain a meager standard of living, namely for Guei to acquire and keep his bicycle and his job, reflects how stratified the economic systems have become between urban and rural areas. Similarly, we are left with questions of whether or not such a method for dealing with life is really productive. In Not One Less, the audience is left to wonder what the fate of the village chief will be, and how Qiu Ju feels about her experiences with the modern Chinese system of law. In Not One Less, the students are given new chalk, as well as some funds to (possibly) fix up the school and provide some new resources for their education. However, the audience is again left with a sense of incompleteness. Though they got a small donation, what of the rest of the time? Will the funding continue, or end when the story is no longer important? Like these characters, Guei's determination ended up getting him beaten, bruised, and his bike broken to pieces. However, it also allowed him to survive through the whole ordeal, and he did get his bike back. On the subject of the bike, the audience is left to wonder what the importance of the bike is.
  The bike represents some similar and different qualities which are important among the two boys, Jian and Guei. For Guei, the bike reflects his status in Beijing as a real resident, in that he has a job and he has some status among the urban dwellers. It further represents his livelihood, and a material good which he earned through his own hard work. Jian also uses the bike as a tool to gain status, among his friends and his girlfriend. Though he does push them away when he loses the bike, his status is severely decreased when he can't get it back. Both characters see the bicycle as a material possession, although they see it from different points of view. Additionally, the bike reflects Jian's desire to be associated with a pop culture, namely the X-Games style tricks on the bike. The materialistic and consumer society both characters face in another topic taken up within the film.
  Jian also treats his girlfriend as a material possession, completely ignoring her presence when in the arcade. In a way, both characters attack the perceived usurper of their material possession (with a brick). Guei attacks the thug who is destroying his bicycle, and Jian attacks the “Oakley Guy” who “stole” his girlfriend from him. The reflects both character's reactions to material culture, as well as their relationship to material goods. The commentary seems to be the attraction the youth have to material and consumer goods, whether it be for livelihood or entertainment. As we see with the characters of Unknown Pleasures, Jian seems to question what to do once he has all that he would want. When he is alone with his girlfriend, he attempts to get close, but can't seem to pull himself to make a move. Similarly, Guei is silenced throughout the film by the urban dwellers who challenge him. While not exactly reflecting his reactions to all his desires being met, it does reflect the arresting feeling he has at the new lifestyle.
  Beijing Bicycle was a challenging film to watch the first time through. I happened to catch it on the IFC channel long before attending this class, and didn't know what to make of it then. Now, with the benefit of practice at film analysis, as well as further knowledge of the kind of material the director wants to comment on, and the three-peat screening, I believe I have a good idea what the film was trying to say. I imagine further viewings will offer different commentaries, or a new discovery. But the film offers a great analysis of the challenges and changes happening within modern China.

New Section: Student Success

Hello history buffs and collegiate crusaders.

There will be a new section coming up on the blog called "Student Success," posting every Wednesday.

The aim is to provide guidance and suggestions for getting the most from going to school, whether it be early college or graduate level. Some weeks will be links to other posts, while others will be original content from my experience in the education system.

If there are tips and suggestions for future graduates, let me know and I'll look to include them in a future post. Look forward to next week where we inaugurate the first week of this new, exciting section.

Cheers!

Film Review: Not One Less, directed by Zhang Yimou

By chensiyuan (chensiyuan) [GFDL (http://www.gnu.org/copyleft/fdl.html) via Wikimedia Commons

Not One Less. Directed by Zhang Yimou, Columbia Tristar, 1999.

Zhang Yimou creates a film showcasing the society Communist China  developed during its career in power. In Not One Less, we are introduced to 13-year-old Wei Minzhi, who must substitute teach in a poor village when Teacher Gao is called to care for his mother. What follows is the challenges she faces, both in teaching students not much younger than her, and the journey she must make to find a student who has gone to the city in search of work.

Many commentaries are critical of its position in Chinese film, claiming it was made as a propaganda piece for the Communist government. What seems to be amiss here is the evidence against such claims, namely Zhang Yimou's many other films. Many, including To Live, contain many symbolic criticisms aimed at the Communist government, either during the Maoist Period or the Reform Period. Furthermore, a number of interviews with Zhang make several of his opinions of government policy known to the reader. It seems a mistake to think a film's meaning can be discerned from a superficial viewing.

Education plays an important role in the film, emphasizing the plight of the countryside's children, as well as acting as a criticism of the PRC's handling of rural reform. The film's focus on chalk shortages (representative of the wider lack of educational resources) as well as the fact that Teacher Gao has not been paid a salary for six months of working reflect the shortcomings of the government's reform plans. The cause of this, Xaoling's article claims, is the government policy where individual villages are responsible for funding the nine years of compulsory education for the area's children. In areas where money is already very scarce, there is little which can be done to raise funding for the schools. Symbols of this failed reform include the sign stating “Education is the Foundation for the Country's Prosperity,” which is plastered on a broken down wall, as well as the nature of the schoolhouse, which has no clock, and must rely on limited resources to survive.

Zhang represents the plight of the children by explaining the song Wei sings to Teacher Gao, then to her students. Though she forgets the official lyrics, her substituted lyrics hold important commentaries on the nature of the State's relationship to its children. Xiaoling comments that the official lyrics represent the State as the sunshine to the nation's “flowers”, or children. Wei Minzhi can never remember the correct words, which Xiaoling believes to represent Zhang's belief that the children would not see themselves as being cultivated by the State when it seems to have abandoned them to their fate.

The “happy ending” of the film shows the TV crew and cargo trucks driving out to the village, carrying loads of donations made by the city dwellers. As Xiaoling says, many viewers may say it's too Hollywood to be taken seriously. On the contrary, this reading doesn't reflect the true ramifications of such donations. What do the students do after the funding and donations run out? Will the city people still remember them, or will they believe they've done their good deed for the year? Upon closer inspection, the film actually is giving a critical commentary on the government, as well as the prosperous people's lack of awareness of the countryside conditions. In some ways it's like applying a bandage to a shotgun wound, treating the symptoms without addressing the main cause. We are left with a few statistics, claiming the reforms and charity have allowed 15% of students to return to school in the countryside. Xiaoling reflects on this, wondering what will happen to the other 85% of the students who won't return. Zhang wants the people to know that there is still much work to be done, most importantly in the way government reforms are carried out in the villages and the countryside.

National responses to the film are surprisingly mixed. What is most troubling is the rather superficial review given by a representative of Beijing Normal University, who claims the film “lacks a strong plot” and laments at how the ending's “happy laughter conceals harsh reality.” These comments reflect the divide between urban dwellers and the plight of the countryside. Furthermore, it represents the lack of understanding, in that the reader claims the superficiality of the ending, which seems to be Zhang's exact point. Other comments, however, reflect the awareness of the situation in the countryside, as represented in Zhang's film, however it also shows the lack of action of the readers. Thought many make the effort to write commentaries on the film, one reviewer tells how they should have written a report after seeing the poverty in the village. The instances of “should have” or “will next time” likely expands beyond one commentator's words. It is the hope that this film will open the audiences eyes to not only the plight of the poor, but also the need for critical government review.

Works cited: 

Xiaoling Zhang, “A Film Director's Criticism of Reform China: A Close Reading of Zhang Yimou's 'Not One Less',” China Information XV.2 (2001):

Film Review: "House of Saddam," directed by Alex Holmes and Jim O'Hanlon, 2014.

House of Saddam. Directed by Alex Holmes and Jim O'Hanlon, writer, Stephen Butchard, featuring Igal Naor, Shohreh Aghdashloo, Amr Waked (HBO Films in association with BBC, HBO, 2008), Streaming (Amazon Prime Streaming, 2014).


House of Saddam provides the viewer a docudrama with a healthy mix of suspense, action, and emotional turmoil that surrounds the near 25 year regime of Saddam Hussein in Iraq. The total series is split into four parts, each focusing on a specific year in his life.

Part One: 1979 showcases his coup over then Iraqi President Ahmed Hassan al-Bakr and his rise to president.

Part Two: 1988-1991 reveals a few of the origins of Iraq's war with Iran, as well as Saddam's eldest son Uday's increasingly erratic behavior as the son of a dictator. We also see Saddam meet personally with US ambassador April Glaspie, whose carefully diplomatic statement of "no opinion" on the regional conflicts between Kuwait and Iraq provides Saddam with an opening to initiate hot war for economic disagreements.

Part Three: 1995 sees Iraq's economy in disarray, between the disastrous Gulf War and UN sanctions, as Saddam's attention focuses on establishing a familial tie to the Prophet Muhammad. Even as his eldest son's behavior becomes increasingly troubled and UN Inspector Rolf Ekeus takes a hardline approach to his work, Saddam's own inner circle of trusted advisors begin questioning his ability to lead.

Part Four: 2003 Charts the US-led invasion of Iraq under President George W. Bush. Saddam's hold on power continues to decline as the economy and military abilities of Iraq cripple under the superior resources of the coalition forces. Saddam is forced to go into hiding as his sons face an American siege. The film ends with Saddam's 2006 trial for crimes against humanity.

Overall, this series of films provides a satisfying look into the Machiavellian ideology Saddam Hussein brings with him as he gains and holds power in Iraq. Any film with a controversial figure as its subject demands a team that carefully balances the political with the economic and the human. These films do not adequately showcase the political interplay between the international community and Saddam's Iraq, particularly the various cooperative agreements between the West and Iraq when it suited the former. The human aspects of the regime are displayed well, however it might have strengthened the film to explore what little is known of Saddam's upbringing.

Saddam's adherence to gaining and maintaining power through intimidation and fear shows what happens under such regimes. The sheer ignorance of what his people experienced under his control, either through blindness or a lack of care, is displayed alongside his other brutal ways of maintaining power. This film is a testiment to the lead actor Yigal Naor's abilities, as he captures the dictator's mannerisms and emotional displays well. The supporting cast also provide a strong accompaniment to bringing this interesting story to life.

Historians will cringe at the lack of depth, but viewers would be well suited to see this series as a new glimpse into the lives of a thoroughly propagandized figure. The team focused on research and accuracy to the best degree they could. Alex Holmes states:

"We set out to talk to as many people as we could who had known Saddam first-hand in order to piece together a picture of what life was like inside Saddam's ever-shrinking inner circle. We spoke to his allies and to his adversaries; to politicians, exiles, palace insiders, his cooks, his menservants, friends of the Hussein family and government ministers. We interviewed people inside and outside Iraq.

"We cross-referenced these interviews with pictures and home movies left behind by the Hussein family, some produced for propaganda purposes, but others more candid, salvaged from the regime's destroyed palaces. And we accessed the partial trail of documents that emerged following the fall of the secretive and obsessively bureaucratic regime. The process took three years and involved a team of three researchers, all Arabic speakers. What emerges is a distinct and independent portrait of a dictator and his center of power."

The paper trail is impressive, and provides strong support for what is displayed. It is a welcome addition to the variety of films seeking insight into shadowy, controversial figures that impacted nations.

Recommended Films: W.; The Hurricane, Man on the Moon; Ray; Ali

Hungry History: Filipino Arroz Caldo!! (Lugaw)

By Robert Colinares (www.filipino-food-lovers.com) [Public domain], via Wikimedia Commons

Filipino chicken and rice stew! Sort of...


Arroz Caldo is a Spanish-influenced rice soup of Chinese inspiration, consumed by Spanish colonials who settled in the Philippines. An easy to digest food, it is often given the people who are sick or the elderly, as well as those in cold climates, due to being warm and flavorful.

Varieties of scrumptious ingredients depend on the specific region and individual preference of the preparer. Fried garlic and scallions are traditional ingredients in lugaw, the Tagalog term for this dish. Ginger, a favored ingredient in another Filipino favorite, adobo, is also sliced and boiled in the chicken or fish broth. Diced tofu, pork, beef cuts, soy sauce, calamansi, and black pepper are also flavorful ingredients in some variations. Try a taste of Cebu by adding Chinese sausage, bay prawns, bay leaf or olive oil, according to your specific recipe.

By Ramon FVelasquez (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

Northern provinces in the Philippines, particularly Ilocanos, tend to prefer the Spanish-inspired arroz caldo to lugaw, though it seems to mainly be a difference of ingredients. If you want to switch up your chicken soup when you're feeling cold or otherwise hungry, next time try this recipe for arroz caldo and have a taste of the Philippines in no time!

Book Review: Suits Me: The Double Life of Billy Tipton, Diane Middlebrook.

By User:Villanueva at hu.wikipedia [Public domain], from Wikimedia Commons

In Suits Me: The Double Life of Billy Tipton, Ms. Middlebrook chronicles the life and career of jazz musician Billy Tipton, who began life as Dorothy Tipton. She addresses the challenges of gender identity, but also explores individual 1930s social responses to gender, and whether or not such identities were truly significant. She further investigates how gender identity significantly helped and hindered women’s access to careers during the 1930s, when women were still limited when men enjoyed nearly full access to a profession of their choice.

Ms. Middlebrook utilizes primary sources like audio tapes and photographs to piece together Tipton’s life. Her reliance on personal accounts of those who knew Billy Tipton strengthens many aspects of her argument. Such intimate details and discussions between spouses and colleagues lends itself to increased insight, particularly on the topic of sex. Some limitations include potential misrepresentation or questionable memories on the interactions, due to age or misunderstanding or personal reasons. This doesn’t belittle the value of first-person accounts, nor the strength of relying on such accounts to provide important insights. What is significant is these sources show how Tipton’s “wives” (for there was never a legal recognition of a marriage) and colleagues often didn’t know, or were largely unphased, by the birth sex of Billy Tipton, and recognized him as a loving father, partner, and musician, though very private and sometimes withdrawn.

Ms. Middlebrook chooses a chronological narrative, which works well to develop both Tipton’s transformation from Dorothy to Billy, but builds a solid foundation for understanding the circumstances surrounding his shift from Dorothy Tipton, an out of work musician, to Billy Tipton, a moderately successful jazz musician in the 1930s.

Ms. Middlebrook contributes successfully to a wealth of biographical narratives covering significant figures during the 1930s. A few contrasts to the Amelia Earhart book Still Missing seems appropriate, in light of the liberal feminist ideologies of the 1920s-1930s. Whereas Susan Ware’s book showcases prominent, talented females like Earhart and Hepburn proving sex to be no limitation to excellence, Ms. Middlebrook’s title character alters his persona to fulfill a role largely excluding women. This desire to fulfill a part Tipton felt born to perform meant securing access to the role by any means necessary. Counter to the figures of Still Missing, however, one would wonder whether Tipton’s life reflects a woman gaining access to greater independence through adopting the masculine persona, or whether Tipton’s goal was more individualistic, in that it served the purpose solely of allowing him to play jazz music. Nevertheless, what binds these two narratives together is an understanding that both Amelia Earhart and Billy Tipton built independent lives in their own way, when it was largely novel or scandalous to do so as women.

This book offers the reader insight into a little known persona, though now without one or two minor weaknesses. The action of cross-dressing and living as a person of the opposite gender seems almost benign for many socially-liberal individuals today. What seems fantastic is how Tipton managed to maintain the ruse for such a long time, especially during intimate moments with partners. Limited expansion over the motivations or reasons for Tipton transforming his identity, beyond desire to play and monetary demands from his family, seems a point of contention with this book. Though the author gives many options, it eventually falls to the reader to decide which is most plausible. Further, just how he did it, though perhaps intentionally left out due to lack of primary resources and being counter to the focus of the book. The interesting childhood, where mixed signals represented by Tipton’s father teaching her masculine activities as her mother desired a feminine daughter, meant Tipton may have been little constrained by traditional gender roles. Whether such actions make a statement about feminism in the 1930s, or mainly showcase the individual’s decision to access a profession through innovative means, perhaps becomes the book’s greater strength, to leave the reader pondering the ramifications of gender and social access to different professions.

The fact that success eluded Tipton, by his own actions, is understandable considering the chance someone would find out the truth under such media scrutiny, it almost seemed like “the game” and “the role” were more significant to Tipton than the success. Fulfilling the role of “father” and “jazz musician” became the key. The narrative is a rather quick read, also offering an easy style. A reader is left to wonder whether or not Tipton’s actions would be considered moral, given that many of the individuals present in Tipton’s life knew nothing of his true birth sex. Though such an accusation is countered by the fact that many who knew, including many individuals who played music with Tipton, show that as long as one could play, it mattered little what gender they identified with (though women were still largely prejudiced against). One almost questions whether Tipton performed a Catch Me If You Can-esque masquerade through gender deception, or if the draw to play music and live life as he saw fit was the primary, driving goal.

Recommended films: Some Like it Hot (1959), Billy Wilder; Rocky Horror Picture Show (1975), Jim Sharman; Mrs. Doubtfire (1993), Chris Columbus; To Wong Foo, Thanks for Everything! Julie Newmar (1995), Beeban Kidron