Movie Monday: "Cats of Mirikitani," a film by Linda Hattendorf, 2006.

I saw this documentary several years ago and then rediscovered it again this last weekend. The messages of this film, for me, stand as an important reminder not only of significant events in American history, but also as a mirror for our preconceived notions on the stories of the countless homeless.

The film takes place mainly in Manhattan over the course of a couple years, beginning in late 2001. Tsutomu Mirikitani lives along a wall near a Korean Market on McDougal and Prince Street, creating artwork each and everyday. His mobile studio includes pens, crayons, chalk and paints, and his canvases include cardboard and scrap paper. With the events of September 11, 2001 breaking around him, he continues doing what he does best, creating memories through artwork. Shortly after 9/11, Ms. Hattendorf invites Mirikitani to stay with her for a period of time, to avoid the choking dust and debris still permeating the air around the World Trade Center site.

Over the course of the film, Hattendorf uncovers more and more details of Mirikitani’s life, including his birth in Sacramento, California and experience growing up in Hiroshima City, Japan. He returns to the US shortly after the opening of World War II. In his early twenties, and as a lawful US citizen, Mirikitani entered Tule Lake Internment Center in Northern California, where he signs a government document revoking his US citizenship. The film follows not only the story of his relationship with his new friend and documentarian Ms. Hattendorf, but also unveils some of his backstory that led to living on the streets in NYC.

The important messages of this film not only center on the plight of the mobile homeless, which continues to be an issue for social services nationwide, but also a reminder of the dark times in US history and of justice deferred. Far too easy to dismiss the internment of Japanese American citizens during WWII as history and not applicable today, one need only review the rhetoric of political demagogues against our Muslim citizens to realize such events could repeat themselves. Mirikitani expresses his anger and lingering, seething disgust at the events of World War II, and memorializes his experience in the internment camps through his artwork. He neither asks for nor wants anything from the US government, even as Ms. Hattendorf and her team work tirelessly to recover Mirikitani’s citizenship information and secure more public assistance for him in his advanced years.

The latter part of the film is lovely, as Mirikitani and Hattendorf slowly bring his story into the present moment, and realize that he is not alone in this world. Over time, family members are found and Mirikitani sees opportunity to work past what happened, and truly begin to see his life in the present moment.

Nancy Wong via WIkimedia Commons

"Janice Mirikitani in front of the International Hotel in San Francisco, January 1977"

The film is not always easy to watch, particularly at moments when Mirikitani’s cantankerous attitude aims at the filmmaker. I sometimes felt like Mirikitani didn't appreciate some of the kindnesses the filmmaker expressed, but after realizing his long history of being outside normal social channels, I feel more kindness towards his perspectives. Even though he sometimes criticizes the filmmaker’s decisions, once reprimanding her when she goes out to a movie and comes back to her apartment far later than expected, he does so because of worry and care for the young woman. Other moments legitimately made me tear up a little, particularly when the film explores recollections of the camp experience and of lives lost.

I encourage everyone to check out this film when given the chance. It is rather short and moves along at a good pace. It successfully introduces audiences to one story that helps humanize the events against Japanese American citizens during WWII that may only be known through textbooks. It also humanizes the ongoing social issues surrounding homelessness and our own personal notions of just who the homeless are.

Purchase "The Cats of Mirikitani" via 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.

Hungry History: Chicken Cracklings (Chicharon Manok)

Filipino health food at its finest!

Had discarded organic chicken thigh skins from a successful slow-cooker chicken adobo and decided to try a chicharon manok recipe from Filipino Chow.

Was a little skeptical due to the simplicity of the ingredients, but that is the magic. Just a little salt and pepper to taste, and you have a delicious, indulgent snack.

Try it with a nice vinegar to get a balance of salty and tart.

Chicharon is a type of pulutan, or "finger food," in the Philippines, that takes a wide variety of animal cuts and fries them to a crisp, golden brown. Often these snacks are eaten with a form of alcohol, from beer to a favored liquor. The concept is similar to Spanish tapas or American appetizers or snacks, although the cultural meaning is a little more nuanced than "snacking."

Influenced by the Spanish culture that colonized the Philippines in the 16th Century, Filipino cuisine is a wonderful blending of Malay, Chinese, Spanish, and American influences. While some of the ingredients may be new to the American palette, Filipino cuisine really embraces the belief that a careful chef will use as much of the animal as possible when cooking. "Waste not, want not,"

Look to the "Hungry History" post each week to find links to new recipes from a variety of cultural influences.