Showing posts with label Kotto Week. Show all posts
Showing posts with label Kotto Week. Show all posts

20 November 2010

The Park Is Mine


In cooperation with some of the finest movie blogs I know, Lost Video Archive is proud to contribute this post to Kotto Week, an event focusing on the long extensive career of this under appreciated actor. A full list of participants follows this post.


Canada - 1986
Key Video, 1987, VHS
Run Time - 1 hour, 40 minutes

Tommy Lee’s Mitch is no different than other cinematic Viet-vets of the 80’s. He’s emotionally damaged, bitter and unable to readjust to civilian life and he feels lost in and at odds with the world around him. But the way The Park Is Mine conciliates his trauma with society deviates from the typical ‘Nam Vet storyline in an interesting way and reflects some of the political developments of the period in which it was made. It was around this time that vets successfully won recognition and compensation from the manufacturers of Agent Orange and their own Veterans Administration for the postwar afflictions they were suffering.
The film opens with a shot through the flashing lights atop a police cruiser as it speeds through the streets. This is a theme that will persist throughout the film and ultimately come to define its resolution. For now it serves to anchor the portrayal of Government authority as reactive and ineffectual when the cruiser arrives at a Veteran’s Hospital where a distraught ‘Nam vet promptly leaps to his death.


A short while later at his hotel room, Mitch receives a letter from the jumper, one of his war buddies which explains his frustration with the plight of veterans, the fact that society “doesn’t listen”, and the locations of hundreds of explosive charges and a cache of military equipment hidden in Central Park. The following sequences show Tommy Lee uncovering all the hardware while his friend explains in voiceover. Giving Mitch this internal dialogue places him safely within the established mentally-ill Vietnam Veteran stereotype established by his cinematic predecessors. Having assessed, with his friend’s posthumous help, the extent of his arsenal, and encouraged by that inner voice, Mitch informs the authorities of his intent to take over Central Park on behalf of all ignored and mistreated veterans. Typically, the resolution in veteran movies is for the vet himself to come to terms with his or his friend’s trauma, but here Mitch doesn’t learn to cope, he doesn’t change at all.


It is his confrontation with State authority that is significant here. The sheer volume of gunfire and hardware in the subsequent standoff suggests that Mitch is something more than just a crazy vet. He is not a symbolic attempt to address the issue of collective national guilt for the war as in films like Distant Thunder, but to externalize its legacy exclusively to veterans. It reformulates the veteran as a helpless victim, which inheres the State’s (everyone but the veteran) responsibility for fixing him. The State is not responsible for the problem but is compassionate enough to try and fix it.

The person who mediates this conclusion is Lieutenant Eubanks, played by Yaphet Kotto in a familiar role as competent and capable police officer who conflicts with the hard-headed institutionalism of his superiors. Mitch has delivered an ultimatum demanding that he be left to control the park until a certain time, and his message be delivered to the public. Eubanks’ countermands his superior’s reactionary orders and simply gives Mitch what he wants. His conflict with his superiors and empathy for Mitch suggest an experiential understanding of the latter’s condition. Eubanks knows that one cannot fully break from the parent culture, but to demand and receive acknowledgement within it is a salve, both for the oppressed and forgotten as much as the status quo which needs to tell itself that it has “done enough.” By allowing this wayward child to speak and return to the fold symbolically lets society off the hook without addressing the issue in terms that are actually meaningful for the newly minted “victims”.

It’s important to remember of course that just because this victim identity has been created to serve political needs doesn’t make it true. It reinforces claims of benevolent and superior authority and thrives on the disempowerment of the subject to create their own solutions; “equality” rather than liberation. But we know better, it was through the hard work of blacks themselves that catalyzed the Civil Rights Movement, and it was Vietnam veterans who fought for their rights, and all too often, token “recognition” that undermined those accomplishments. The final scene of The Park Is Mine confirms this as Mitch is being led to a police cruiser in handcuffs. The sympathetic TV reporter who followed Mitch’s escapades in the park says, “You did it” and the movie ends. Did what I ask, what has changed for Mitch except his uniform from camouflage to an orange jumpsuit? Is that a solution?



The Park Is Mine trailer comes courtesy of Rare Retro Trailers at Youtube.



I don't know what this is, a poster maybe? Looks like a cropped VHS box to me.


Well, whatta ya know, a German VHS from Die Filmfreaks



 Spanish VHS sleeve and poster are both from a Spanish language movie forum, Association Arhem.

Visit these other Kotto Week participants:
Monday Nov. 15th
Friday Nov. 19th
Illogical Contraption - Eye of the Tiger 
Ninja Dixon - Across 110th St.
Lines That Make Things - The A Team (TV episode)
Things That Don't Suck - Blue Collar
Saturday Nov. 20th
Breakfast In the Ruins - Bone
Lost Video Archive -  The Park Is Mine

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16 November 2010

Raid on Entebbe


In cooperation with some of the finest movie blogs I know, Lost Video Archive is proud to contribute this post to Kotto Week, an event focusing on the long, extensive and diverse career of this underappreciated actor. A full list of participants follows this post.


United States - 1976
Director - Irvin Kershner
Thorn EMI Home Viedo, 1984, VHS
Run Time -1 hour, 53 minutes

Raid On Entebbe is a made for television historical dramatization of Operation Entebbe/Thunderbolt which took place on 4 July, 1976.  Seven days earlier a group of 4 hijackers had taken over a plane headed from Athens to Tel Aviv Israel and flew it to Lybia and subsequently to a Uganda suffering through its fifth year of Idi Amin’s dictatorship. Israeli commandos flew all the way to Entebbe to pull a surprise raid on the airport where the remaining hostages were being held.

Contrary to what I’m sure was a tense situation in reality, it is pretty dull here, and at 40 minutes I feel like a hostage of a thinly scripted glorification of Israeli military valor and absolution from responsibility for violence. With an excessively hefty cast that includes Charles Bronson, John Saxon, Peter Finch, James Woods, Martin Balsam, Horst Bucholtz and yes, Yaphet Kotto, there is enough time to parade each actor across the screen, but not enough to give any of their characters depth. Raid on Entebbe is a film that is a prisoner of its precise moment in time, for without a knowledge of the events, it makes little sense. Nevertheless, Kotto manages well with his few minutes of screen time as Idi Amin.

Unfortunately this seems to be typical of the roles played by Kotto. His talents are restricted to supporting characters (where he nevertheless frequently outperforms the leads). Historians of blacks in film have repeatedly pointed out that Hollywood has had a very difficult time coping with a fully humanized strong black male lead. This may be why Kotto took to television, where the work was more frequent if not more empowering for his roles, but that’s only my theory. It’s simply sad that Kotto so rarely had a chance to apply his skill to a character with real human depth. Subsequently, I think there is an interesting theoretical connection between Kotto and his role here as Idi Amin. Amin was perhaps the perfect dramatic foil for the period in the mid 70’s. He was a crazy black man at a time when American culture had just exhausted itself on the Civil Rights movement and The Great Society. White people needed a reason to believe they had, and to be seen as having "done enough", to feel that they had atoned for their guilt, and that anyone who wasn't satisfied, who still wanted more, or who simply refused to be quiet were baaaaad niggers.

I’m not trying to recast Amin as merely a victim of bad press, he was very much a real tyrant. However, because his sociopathic egotism was largely meted out upon his own people it made him easier to dismiss in the West. He could be treated as a pitiable, posturing “martinet”, and exemplified as a "type". The white status quo didn’t (and still doesn’t) know how to deal with forceful and assertive black characters who act bigger than the britches they have been given, so it continues to disempower, mock and stereotype them, including by relegating them supporting or comedic roles in film and history.

Aside from pointing out that Israeli commandos are good (and they were, but  even that is boring in this film), Raid on Entebbe manages to not say much at all except that Idi Amin was unstable and vindictive. Any film about Amin practically begs comparison to other performances of this unique and bizarre historical figure. Joseph Olita’s in Amin: The Rise and Fall, Julius Harris’s in Victory at Entebbe, Forest Whittaker’s in Last King of Scotland, and the real deal himself in Barbet Schroeder's documentary Idi Amin Dada: A Self Portrait which feels as much like an elaborate put-on as any of the others. In the few minutes of screen time he is afforded as Amin (this film is really about Israels political image), Yaphet Kotto manages to better the first two and come damn close to the second two. It is ironic that Yaphet Kotto makes Amin the most interesting and complex character in an otherwise boring film.




This VHS cover (?) comes from Amazon U.K

This poster I got from The Warsaw Jewish Film Festival site is the creation of artist John Solie, his signature appears on the far left next to the C-130 aircraft. Solie was responsible for innumerable posters in the golden age of poster art. You can read my blurb about him here.

This poster courtesy NYCJunta.

Visit these other participants as Kotto Week progresses:
Monday Nov. 15th
Unflinching Eye - Alien
Raculfright 13's Blogo Trasho - Truck Turner
Tuesday Nov. 16th
Lost Video Archive - Raid on Entebbe
Manchester Morgue - Friday Foster
Wednesday Nov. 17th
Booksteve's Library - Live and Let Die
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