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Reviews18
karmaDhyana's rating
This film is about the legacy left by a man with altruistic intentions of providing a college education to students who would otherwise not have been able to afford one, and another man who mutated the original idea to his own ends.
In the late 1950s, Rex Clemens, the 'hero' (per se) of this film saw the writing on the wall regarding the decline of the timber industry in Oregon, and wanted to give the children of Philomath, Oregon an opportunity to get an education that would save them from a dismal and uncertain career in a town were the timber industry that once reigned unfettered had come to a screeching halt--and branch out into more promising fields. His motivation was to give the youth of Philomath, a town he dearly loved, the chance to compete in a changing world economy. Thus, he created a foundation that supported school-building projects and provided a 4-year college scholarship to any student that graduated from Philomath High School.
After Clemens' death, Steve Lowther, Clemens' nephew--who is now in charge of the foundation--lost sight of his uncle's original mission by using his personal religious and ideological agendas to keep 'undesirable' students from taking advantage of the generous opportunity his uncle created.
During the film Mr. Lowther proves to be his own worst enemy: In one of many times Mr. Lowther contradicts himself, he states that one of the objectives of the education process was to teach children social skills, but in another statement he accuses the school superintendent, Dr. Terry Kneisler (whom Lowther shows an open contempt for) of pursuing a "social agenda". (BTW, Dr. Kneisler, now the Superintendent of Reynolds School District in Oregon, is an intelligent, well-liked and respected man in his district.) A public forum was held--overseen by an impartial arbitrator--wherein all interested parties were encouraged to participate and express their views regarding Dr. Kneisler and his position as superintendent; a decision was later made that he should continue as superintendent. This decision enraged Mr. Lowther who, in the film smirked, "We took our toys and went home," meaning he withdrew the scholarship altogether. This 'my way or the highway' attitude, and his choice of words used to describe his disdain for the board's decision, personified the childish attitude he embraced when he didn't get what he wanted.
Additionally, the above-referenced forum was considered by Mr. Lowther to be underhanded, and declared that their differences be settled 'like men', behind closed doors, without the benefit of others listening to both sides of the issue and communicating their concerns, if any. Apparently, Mr. Lowther was either unaware of, or had no regard for Oregon state law that mandates School Board meetings OPEN to the PUBLIC (with limited exceptions, such as personnel contract negotiations, or consultation with attorneys).
Another example of Mr. Lowther's dubious beliefs was when he spoke of his strong religious Christian values, then declared his wish to 'tar and feather' Kneisler, a value I find quite the contrary to Christian values.
Ultimately, Mr. Lowther reinstated the foundation funding by attaching an admission restriction to students who had no "background" (i.e. who didn't come from families) in timber, mining and/or agriculture fields.
The point that this documentary drives home is that, while Mr. Lowther thought he was hurting Dr. Kneisler and his supporters by dismantling the foundation his uncle had created, he was actually 'clear-cutting' the young men and women whose opportunity to create a better way of life for themselves was felled by a man with an ax to grind. Timber.
In the late 1950s, Rex Clemens, the 'hero' (per se) of this film saw the writing on the wall regarding the decline of the timber industry in Oregon, and wanted to give the children of Philomath, Oregon an opportunity to get an education that would save them from a dismal and uncertain career in a town were the timber industry that once reigned unfettered had come to a screeching halt--and branch out into more promising fields. His motivation was to give the youth of Philomath, a town he dearly loved, the chance to compete in a changing world economy. Thus, he created a foundation that supported school-building projects and provided a 4-year college scholarship to any student that graduated from Philomath High School.
After Clemens' death, Steve Lowther, Clemens' nephew--who is now in charge of the foundation--lost sight of his uncle's original mission by using his personal religious and ideological agendas to keep 'undesirable' students from taking advantage of the generous opportunity his uncle created.
During the film Mr. Lowther proves to be his own worst enemy: In one of many times Mr. Lowther contradicts himself, he states that one of the objectives of the education process was to teach children social skills, but in another statement he accuses the school superintendent, Dr. Terry Kneisler (whom Lowther shows an open contempt for) of pursuing a "social agenda". (BTW, Dr. Kneisler, now the Superintendent of Reynolds School District in Oregon, is an intelligent, well-liked and respected man in his district.) A public forum was held--overseen by an impartial arbitrator--wherein all interested parties were encouraged to participate and express their views regarding Dr. Kneisler and his position as superintendent; a decision was later made that he should continue as superintendent. This decision enraged Mr. Lowther who, in the film smirked, "We took our toys and went home," meaning he withdrew the scholarship altogether. This 'my way or the highway' attitude, and his choice of words used to describe his disdain for the board's decision, personified the childish attitude he embraced when he didn't get what he wanted.
Additionally, the above-referenced forum was considered by Mr. Lowther to be underhanded, and declared that their differences be settled 'like men', behind closed doors, without the benefit of others listening to both sides of the issue and communicating their concerns, if any. Apparently, Mr. Lowther was either unaware of, or had no regard for Oregon state law that mandates School Board meetings OPEN to the PUBLIC (with limited exceptions, such as personnel contract negotiations, or consultation with attorneys).
Another example of Mr. Lowther's dubious beliefs was when he spoke of his strong religious Christian values, then declared his wish to 'tar and feather' Kneisler, a value I find quite the contrary to Christian values.
Ultimately, Mr. Lowther reinstated the foundation funding by attaching an admission restriction to students who had no "background" (i.e. who didn't come from families) in timber, mining and/or agriculture fields.
The point that this documentary drives home is that, while Mr. Lowther thought he was hurting Dr. Kneisler and his supporters by dismantling the foundation his uncle had created, he was actually 'clear-cutting' the young men and women whose opportunity to create a better way of life for themselves was felled by a man with an ax to grind. Timber.
I was initially interested in this film for two reasons: 1) I am a Buddhist, and was greatly distressed--as were many others--to hear of the destruction of the sculptures of the Buddhas of Bamiyan in 2001 by the Taliban, and 2) I am particularly interested in Middle Eastern cultures and the challenges and conflicts that the people face, especially in regard to the political exhibition being played out since the United States' military involvement in Afghanistan and Iraq.
This documentary is evidence of the turmoil and hardship suffered by a particular 'cave dwelling' Shia family of Afghanistan refugees, seen through the eyes of an eight year old boy named Mir.
There are no happy endings in subject matter concerning war-torn countries and the innocent civilians who suffer at the hands of the 'liberators' as well as the 'invaders', and this documentary is no exception. However, the smile on the face of young Mir is a testament to the enduring shining spirit that lies within even the most downtrodden and oppressed members of humanity.
This is a must see for those willing to put aside political ideologies long enough to tap into the compassion that lay within all of us.
This documentary is evidence of the turmoil and hardship suffered by a particular 'cave dwelling' Shia family of Afghanistan refugees, seen through the eyes of an eight year old boy named Mir.
There are no happy endings in subject matter concerning war-torn countries and the innocent civilians who suffer at the hands of the 'liberators' as well as the 'invaders', and this documentary is no exception. However, the smile on the face of young Mir is a testament to the enduring shining spirit that lies within even the most downtrodden and oppressed members of humanity.
This is a must see for those willing to put aside political ideologies long enough to tap into the compassion that lay within all of us.
I found "Songbirds" to be an excellent film featuring great music of unique and uncommon themes.
This documentary portrays the heartrending lives and intimate experiences of women trapped behind the tangible and emotional bars that constitute their daily existence.
The featured women share personal pain and hope through music, in an array of styles and approaches. While some songs seem staged--presented in the fashion of a 'musical'--others feature raw emotion-driven performances by artists whose voices would most certainly never be heard, had it not been for this cinematic representation.
It makes one wonder if confinement quashes dreams of creative expression or strengthens them.
This documentary portrays the heartrending lives and intimate experiences of women trapped behind the tangible and emotional bars that constitute their daily existence.
The featured women share personal pain and hope through music, in an array of styles and approaches. While some songs seem staged--presented in the fashion of a 'musical'--others feature raw emotion-driven performances by artists whose voices would most certainly never be heard, had it not been for this cinematic representation.
It makes one wonder if confinement quashes dreams of creative expression or strengthens them.