La Ley de Herodes

I recently saw the Spanish film, directed by Luis Estrada La Ley de Herodes (or Herod's Law). The film is a satire; criticizing the Mexican government's corrupt political system. It focuses on, and finds fault, with the dominant party, El PRI, which was filled with bribery; resulting in ineffective management. The film beings with the mayor of San Pedro de Los Saguaros running away with the towns money, however the mob (important to note they are indigenous Indians) swells and kills him. The result is a scrambling to find an imbecile to watch over the town for awhile so the story isnt revealed, potentially scarring the party just before elections. The new mayor? Juan Vargas, an ambitious man who wants to bring to the town modernity and democracy; however his dream isn't realized when he finds out that the town is broke. He gradually becomes sucked into the pits of bribery and steals money from the townspeople by taxing them for anything and everything. By the end of the film, El PRI has fallen however the conniving Vargas quickly switches sides and the final scene is him giving an address to los senadores. The film sets out to show how one man's struggle to be honest fails, and realizes the only way to deal with corruption and beat the system is to give in and use corruption itself to accomplish anything. Juan Vargas represents the typical politician who is drawn into the political scene with the best intentions, but becomes so disillusioned and power hungry, that he becomes consumed with ruling and money. The film is unique because it is one of the first to openly criticize the Mexican government, however it was not as heavily censored because it's comedy content. The actors in the film were casted extremely well, for example, Vargas' metamorphosis from a meek and honest man to a crazy dictator is a smooth change and highly believable, the viewer almost sympathizes with him. The town priest is another great actor, who keeps up with the appearance of a religious man however in reality he's a greedy man of the cloth who takes the towns money so he can buy a car. But he's incredibly at making people believe in his cause, and saving face. The film is shot in a perpetual sepia tone color, giving a an old time feel, really transporting the audience back to the 40s. Even the soundtrack is composed of the original, contemporary music of Mexico at that time, which, along with the way the movie is filmed, creates a back to the future film almost, and creates an even more believable film. La Ley de Herodes is filled with symbolism, starting from the very beginning. The mayor is stealing money from around the office, and he rips apart a portrait of the President and behind it is filled with money and then he opens up a legislation book, tears some pages out to reveal a stash of money inside. The characters themselves represent the issues Mexico was experiencing/trying to resolve at the time, the American who helps Vargas rebuild the town after meeting him on the road symbolizes the United States who used Mexico for profit purposes, and the church is represented by the priest as a controller of the people in almost every aspect of their lives (socially and economically), and the doctor signifies the other party, which was a traditional party made up primarily of military affiliates however they really didn't know what to do so they never advanced. Even the brothel, which becomes Vargas' habitual night visit, shows the scandalousness of the politician's life and in his treatment towards the girls, how they think of themselves above everyone even though they bring nothing to the town, neither advancement nor capital. La Ley de Herodes, as a dark humor film , provides a great look into the corrupt, and damaging political system that reigned over Mexico for decades.

Dance Concert

This past Sunday I went and saw the Escaped Images Dance Concert, which was a wonderful collection of dances in tribute to the dance instructor, Ginger Folmer, since she'll be retiring this year. Now, I have a hard time understanding interpretive dance so a few of the acts, such as A Kinetic Study in Chuck Taylors, were incomprehensible to me but I was able to appreciate the unity amongst the dancers and the form. A Kinetic Study in Chuck Taylors was interesting in terms of how it was performed; all the dancers wore black pants, Hawaiian print shirts and Chucks. I was impressed at the dancers' flexibility in chucks, yet I was confused sometimes because I wasn't sure if the dancers truly were offbeat or if they were supposed to be offbeat because often they weren't in harmony. The choreography however for each dance act was impressive, and the music accompaniment was also great. A few acts that were memorable, were Crazy Little Thing Called Love and Paper Pushing 101. Crazy Little Thing Called Love was the quintessential 1950s at the hop sequence, with Michael Buble singing and the swing dancers. The costumes were of the period, and the entire act was engaging and simply fun. Couldnt help but tap your foot along with the beat, and you could see that the dancers themselves were having fun. Paper Pushing 101 was really interesting, and relatable to the college student, because the basic plot is a dance about writing a paper late at night. The harmony between the music and dance sequence was wonderful, such as the scene when lying in a circle on the floor, the dancers moved their legs to the sound of a typewriter. It was really a comedy too because the audience couldnt help but laugh when the dancers were in a line, brushing their teeth and all of a sudden a brawl begins begin between two writers. It was really a funny piece, and well performed. Another act, Discovering What's Important, had a comical, and serious plot that focused on relationships. The beginning started out with two girls and a boom box dancing off and suddenly one of the girls is whisked away by a serious, interpretive dancer. The rest of the piece shows the girl struggling to decide whether to stay with her friends, and be who she really is; or to go off with the guy who wants her to change (this is shown when he gives her a set of clothes that match his) who she is instead of accepting her difference. The street dancers randomly appear back on stage throughout her dances with the guy and her decision-making, and ends with her returning back to the dance off. The ending was really neat because the lights were turned off and all the dancers wore glow in the dark bands, which created a really interesting stage performance. The dance concert was really a great showcase of what the dancers have been working on, and also what Ginger Folmer has overseen. I wasnt able to understand all the performances, but I did walk away with a greater appreciation of interpretive dance.

Jimmy Crowley & Máirtín de Cógáin

Tonight in the Shell various organizations were able to bring the famous, Irish balladeers Jimmy Crowley and Máirtín de Cógáin. I must admit that despite my recent, keen interest in Irish music I had never heard of these two singers, however I am now hooked and very glad that I went. The two talented singers, of opposite generations (Crowley the more advanced in age and Cógáin the younger one), are able to combine their talents cohesively. Before every song they explained the ballad's history and the storyline, and it's importance to Ireland which was a help in understanding the songs. They sang a range of ballads, about war (the Fusiliers in WWI), love, immigration to America, and sports. The balladeers were also storytellers such as when Cógáin told the story of Darmody's Motor Car, which was animated and a quaint story about an elder Irishman's first time in a car. When Crowley and Cógáin sang in the native language, Gaelic, though I wasnt able to understand anything one couldnt not sway with the beat. Cógáin plays the bodhran, a sort of Irish tambourine with a deep sound, while Crowley plays the guitar and the harmonica, and both sing the ballads. Without any synthesizers, just their voices and instruments, I think that one really gets a feel for the Irish music and its history (especially the haunting effect of the bodhran). Crowley is such a cute elderly Irishman, that you cant help fall in love with his music and their talent is exceptional. I thought that this duo was excellent, and despite not being able to buy their music at the time I'm definitely going to hunt some cd's on the internet.

Mike McGee

This evening I went to the CAB program A Mighty Mind Like Mike's, which brought in the spoken word poet Mike McGee. In the Whited Room, the atmosphere was set up casually like a coffeehouse with Starbucks, doughnuts, etc. McGee goes up to the mic, and doesnt have the air of a pretentious big shot, but is laid back and really flows with the audience and mood. Dressed in all black, reminiscent of Johnny Cash, he wears an orange bandana in his coat pocket and neon orange tennis sweat bracelets. The easy going nature is refreshing, even if its perhaps because he's entertaining college students which in itself is typically a relaxed audience. His poems were hilarious, often filled with parodies on various sectors of society (college students, homosexuality, and much more). McGee's most unique quality is his ability to improvise in the middle of his odes, and then to get back to the main point. He did this throughout the two hour show, such as when he did an ode to pudding. Immediately he strayed from the poem and started to discuss how one makes Kraft Mac 'n Cheese in a Scottish accent. After 20 hilarious minutes, he switches right back to discussing the pudding and you realize the whole digression was spontaneous and you can't remember how McGee got from point A to point B, but it doesnt matter because he's able to pull it off. He rhymes about various subjects, making himself connected to a wide-range of people. He began with his more well-known poem, Like, which never fails to entertain. I really enjoyed his poem in which he rhymes about the stereotypes of homosexuals and thin people, and how he would be if he were that stereotype; however he's not and then talks about how he's just Mike and thats okay with him. McGee's humor was refreshing mainly because much of it was on the spot, emphasizing his true talent. I dont think that making a political or social statement is really the main objective of his show, but rather to just make people laugh.

Enchanted

This Friday was definitely busy on campus, with the Camerata and Chorale concert and then CAB hosted a movie night, showing Bourne Ultimatum and Enchanted served with Cold Stone ice cream. The concert was great, it first started with Camerata which sang a collection of religious songs. Their rendition of Kumbaya was an interesting composition, it was much more upbeat than the usual, slower rendition that is more commonly known. Afterwards they were joined by Chorale, which an interesting choice of songs. I've never heard of the composer or the songs, however they sang three short songs which were apart of a collection called Animal Crackers. The three pieces were titled The Bovine, The Firefly, and the Panther. Each song was bascially an ode to the animal, in which the audience was warned about what to do when coming upon a panther, the greatness of the cow (they actually moo'd harmoniously), and the lively firefly. The set was hilarious, and the combination of such a serious mood with humorous lyrics not only was a success but a refreshing change. Chorale's last song Wade in de Water was a gospel song, began slowly and transformed into an energetic melody that was fairly reminiscent of a slave ballad. After the concert I headed over to the shell to see Enchanted, which was definitely worth ednduring the frigid night. The film begins in the animated world Andalasia, with Giselle (Amy Adams) singing about finding true loves kiss, and her voice attracts Prince Edward (James Marsden) who comes to finish their love duet. He immediately proposes to Giselle, however his evil stepmother is not happy about giving up her reign and sends Giselle to the real-world, "where there are no happy endings." Giselle pops out of a sewer into a rainy New York night, and asks everyone on the street the directions to the castle. The film incorporates lines and characters from past Disney films, such as when Giselle sees a dwarf with an attitude and calls out Grumpy!! After seeing a castle (a casino advertisement) posted on a billboard, she climbs up and bangs on the "door." At this point Robert (Patrick Dempsey), a lawyer working on a divorce case, and his daughter Morgan pull up in a taxi and Morgan sees a princess yelling at the billboard. Robert doesnt believe it, until Giselle walks around, at which Robert jumps out of the car and fails to catch her when she jumps off. She goes home with them, and Robert is unable to grasp Giselles naivety and constant belief that her prince charming Edward will find her. The gap that exists between adult and child is shown throught the movie in how Robert and Morgan each come to accept Giselle. Prince Edward also goes to New York in search to finish his love's duet, and is followed by his evil stepmother's (Susan Sarandon) right hand man who is on the mission to kill Giselle with poisoned apples. Giselle throughout the movie begins to acclamate to the real world, and beings to realize her true love is actually Robert. The ending is at a ball, where the queen herself arrives and poisons Giselle after her aide has failed, and Prince Edward realizes that he isnt her true loves kiss but that Robert is, and sure enough she wakes up. The film ends with Robert's, now ex, fiancee, going with Prince Edward back to Andalasia, and Giselle stays with Robert and Morgan in New York. Enchanted is a wonderful comedy that mixes animation and real life cinema, and has a great soundtrack. It explores themes that are applicable to a wide-range of people, matters such as fitting in and finding one's niche, or realizing that what one thinks they want isnt always what's best for us. This part-animated, musical is great for all ages, and is just an overall fun film about finding true love where, and when, it's least expected despite the bumps along the way.