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Opinion

Fact Checking “Argo,” “Lincoln,” Steinbeck, and Who Knows?

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According to various reports, the government of Iran is considering suing Hollywood over the movie “Argo.”

No surprise there. These days everyone’s a fact checker, and news stories, blogs, books, movies, and famous authors are all fair game.

The Iran and Argo story was reported recently in the CBS News and Huffington Post among others. That car-chases-plane scene at the end was pretty over-the-top, got to admit, but you would think Iran would have bigger things to worry about.

Earlier this year, a congressman from Connecticut pointed out inaccuracies in “Lincoln” about the vote for 13th Amendment. Joe Courtney spotted something strange in the movie’s depiction of the landmark vote. He found out that the Connecticut congressmen depicted in the film — and two more who weren’t portrayed — were for, not against, passage of the amendment.

“How could congressmen from Connecticut — a state that supported President Lincoln and lost thousands of her sons fighting against slavery on the Union side of the Civil War — have been on the wrong side of history?” Courtney wrote in a letter to the movie studio DreamWorks.

Former journalist Bill Steigerwald has written a good book about John Steinbeck called “Dogging Steinbeck” in which he exhaustively fact checks the eminent author’s 1960 road trip (which Steigerwald duplicated) with his French poodle that was the subject of the book “Travels With Charley.” Turns out Steinbeck made up some interviews and other stuff.

Not all errors are intentional. Last week a Memphis publication put the Front Street Deli at the corner of Front and Main, which are parallel streets. The deli is at Front and Union. The error was corrected.

There but for the grace of God go I, I thought. I have become convinced that sometimes reporters simply cannot catch their own errors no matter how much they proofread. I once reported that a living person was dead, and I have misspelled many a name I should know. A friend, also from the North, topped me though. He interviewed a sheriff in North Carolina and reported that he had a degree in “farms and bums.” A sharp-eyed editor took note, and it turned out the sheriff said “firearms and bombs.”

Flyer stories in the paper are read by the author and three other people before they are published. Blog posts go online without a second set of eyes looking at them. Comments, of course, are often anonymous and sometimes full of bogus statements of “fact” that get recycled even if they are corrected.

Plagiarism and factual errors are only going to get worse as daily and weekly newspapers and magazines like “Time” fight for their lives in the digital age and reporters and bloggers publish without a net. Whatever you think of them, old media put a lot of effort into editing stories and fact-checking.

Are you willing to cut Hollywood some slack but do you still want the facts right in your news? Be prepared to pay someone, some way, somehow.

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Editorial Opinion

The Envelope, Please …

Before reading any further, please know that none of the conclusions which follow can be blamed on any of our quite illustrious film critics, who actually know what they’re talking about.

These are just some largely impressionistic thoughts about the recently concluded Academy Awards ceremony — which seemed to us to be pretty much a case of all-have-won-and-all-must-have prizes. What struck us is the extent to which political considerations, of both the realpolitik and the office-politics kind, influenced the outcome this year, as, in fact, they always do.

We are pleased to sign on to what seems to be almost everybody’s theory —as to why the Best Picture award went to Argo, a movie based on the actual rescue of six Americans from Ayatollah Khomeini’s minions when their U.S. embassy colleagues were seized and held hostage in 1979. In an uncannily apt metaphor for the power of movies and the role which fantasy plays in real life, Argo demonstrates how a make-believe film project proved to be the proper vehicle for smuggling the Americans out of Iran to safety. The movie may be somewhat more truthy than totally true, but it seems close enough to the heart of the event to have been a legitimate contender for the big prize. That’s one political reality. Another is that the film’s popularity probably owed something to the nation’s current tense relations with Iran over its nuclear ambitions.

And yet another is that Argo probably was destined to go over the top when the no doubt very deserving Ben Affleck, the film’s director, was unaccountably snubbed by the Academy’s nominating committee. Many of the votes that allowed Argo to out-distance the competition were probably meant as compensation for what was perceived as an injustice.

One of Argo‘s rivals was Zero Dark Thirty, directed by the quite estimable Kathryn Bigelow, whose gritty film The Hurt Locker, based on the activities of a bomb-disposal unit in Iraq, won an Oscar in 2008. Zero Dark Thirty, about the 10-year pursuit and ultimate killing of Osama bin Laden, may have been even grittier and more dramatic. But it probably lost some of its original following due to accusations that Bigelow had overplayed the role of torture (“enhanced interrogation”) in the pursuit of al Qaeda’s leader. And that seems to have been both politically and factually incorrect. Like Affleck, Bigelow failed to get a Best Director nomination, and the movie itself was deprived of any major awards. Lincoln, too, largely struck out, but there was no denying the power and the authenticity of Best Actor Daniel Day-Lewis’ portrayal of our greatest president. It struck home both politically and artistically.

As for the Academy Awards competition, if we have any major complaint, it has to do with the movie industry’s marketing practices, which result in too many premium movies being released at the end of a calendar year, during the holiday season, a fact that probably minimizes the public’s role in vetting the contenders. But in the end, we are all fans of this particular mirror held up to life, are we not? Truth may or may not be stranger than fiction. In the right hands, they are one and the same thing.

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Sing All Kinds We Recommend

Herrington & Akers on the Oscars, Day 2: Screenplays

We’re back with Day 2 of our four-day lumberjack match over this year’s Oscar nominations. Yesterday, Greg and I split on Best Supporting Actor picks while throwing some attention to under-recognized performers such as Ann Dowd and David Strathairn.

Today, we wade into the written word with the two screenplay categores:

Best Original Screenplay
Nominees: Amour, Django Unchained, Flight, Moonrise Kingdom, Zero Dark Thirty.

Chris Herrington

Zero Dark Thirty

  • Zero Dark Thirty

Will Win: This is where the apparent Zero Dark Thirty backlash confuses me most. My minimal contact in Oscar handicapping suggests this is the category where the film is most likely to win, but shouldn’t Mark Boal’s CIA-aided screenplay be the aspect of the film that most troubles the film’s opponents? Would a win here while Kathryn Bigelow goes unnoticed for director be dissonant? Just misogynist? In my confusion, I’m calling it for Michael Haneke for Amour, which has arguably the most overall strength of the nominees. And screenplay seems like the area where artier faves are more likely to prosper.

Should Win: A close call among five really good films. I think Moonrise Kingdom is dependent on Wes Anderson’s visual sense and Django Unchained runs out of ideas down the stretch. Amour, I think, is rooted most strongly Haneke’s precise direction and his melded performances of his two great leads. Flight is a ballsy screenplay, opening with a bang and then burrowing into something darker and more personal. But even though I question the degree to which it privileges a CIA perspective, my vote goes to Boal for his relentless, reported screenplay for Zero Dark Thirty.

Got Robbed: Lots of good candidates here: The surprisingly adult sex comedy undercut by mediocre direction in Hope Springs. The daring, beat-of-its-own-drummer campus comedy Damsels in Distress. Ira Sachs’ Keep the Lights On, at once diaristic and sweeping up a whole subculture. The weighty, mysterious The Master. But I’ll place my vote for Looper, which renews and elevates a popcorn subgenre while dreaming up one of the screenplay moments of the year by putting Bruce Willis and Joseph Gordon-Levitt at a table together, where they avoid talking about time-travel shit.

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Sing All Kinds We Recommend

Argo Leads Southeastern Film Critics Association’s Annual Awards

The Southeastern Film Critics Association, which comprises 47 members in nine Southern states, including, locally, myself and the Commercial Appeal‘s John Beifuss, has announced its winners for 2012.

Argo leads the way, topping the overall Top Ten and winning Best Director and Best Adapted Screenplay. Second place Zero Dark Thirty, scheduled to open in Memphis on January 11th, finished second in the Best Picture race and was runner-up in three other categories — Director (Kathryn Bigelow), Actress (Jessica Chastain), and Original Screenplay.

Ben Afflecks Argo tops the Southeastern Film Critics awards for 2012.

  • Ben Affleck’s Argo tops the Southeastern Film Critics awards for 2012.

Third place finisher Lincoln also took top honors for Actor (Daniel Day-Lewis) and Best Ensemble, while finishing second in Supporting Actor (Tommy Lee Jones) and Supporting Actress (Sally Field), as well as Adapted Screenplay.

The Louisiana-set indie Beasts of the Southern Wild, which finished sixth overall, won the organization’s annual Wyatt Award for best Southern-themed film.

I’m going to hold off on revealing my SEFCA ballot until after my own year-end picks are revealed at the end of the month, but for now I will say that I voted for exactly half of the SEFCA Top Ten.

Full results:

2012 SEFCA AWARD RESULTS
TOP TEN

1.    Argo 
2.    Zero Dark Thirty 
3.    Lincoln 
4.    Moonrise Kingdom 
5.    Silver Linings Playbook 
6.    Beasts of the Southern Wild 
7.    The Master 
8.    Les Misérables 
9.    Life of Pi 
10.    The Dark Knight Rises

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Opinion

Based on Actual Events

This is the season when blockbuster movies are released, and movies based on actual events are among the most popular.

There’s The Sessions, about a man in an iron lung’s encounters with a sex therapist. Watching other people have therapeutic sex in this film is not to be confused with watching other people have sex for prurient reasons.

There’s Argo, about Hollywood’s semi-comic caper to get some Americans out of Iran right under the noses of the bamboozled Iranians, who were holding 52 other Americans hostage for 444 days. I knew nothing about this historical footnote until I saw the movie, although CBS Evening News anchor Walter Cronkite ended each broadcast in 1980-1981 with “And that’s the way it is, the [whatever] day of captivity for Americans in Iran.”

And there’s Lincoln, by director Steven Spielberg, which raised my appreciation for the 1990 Ken Burns documentary, The Civil War, and the helpful commentary of historian Shelby Foote. Lincoln deserves an “R” rating for “Restricted: Under 17 not allowed without parent, tutor, and copy of the U.S. Constitution.”

Actual quote from a review in The Boston Globe: “It’s possible you may think Lincoln is too talky — too full of characters and ideas, too taxing to our Twitter-pated attention spans. Consider, then, that it may not be the movie that’s unworthy of your time. You may not be worthy of it.”

Well, excuse me for feeling confused and clueless.

Here are some other movie concepts “based on actual events” that should soon be in production.

The Moviegoer: a fresh take on the 1961 Walker Percy novel of the same title. This one’s about a man with no discernible talent, training, or aptitude for, like, actual work, who finds employment going to movies and writing about them.

The Secessions: historical docu-drama, filled with political intrigue, about suburbanites in a Southern town who take matters into their own hands when a lame-duck school board surrenders its charter and consolidates school systems.

Denial: a political consultant, trailed by reporters and camera crews from Fox News, storms state capitals on December 17th, the day the Electoral College ratifies the results of the 2012 presidential election, and urges electors to go rogue. He insists that the results from Florida are not conclusive, Phythagoras only had a theory, math is suspect, and the shortest distance between two points is not a straight line.

The Good Husband: a spinoff from the television series The Good Wife, this one’s about a man married to a politician who has affairs with David Petraeus, John Edwards, Eliot Spitzer, Mark Sanford, Bill Clinton, the Joint Chiefs of Staff, and the Dallas Cowboys. Kim Kardashian stars as a Tampa socialite.

Requiem for a Heavyweight, II: The 1962 original starred Anthony Quinn as an aging and overweight boxer who takes up wrestling. The remake is about an aging and overweight football coach in a Southern state who is forced to resign, then rehired after the two pretty boys who succeed him flop. Filmed in Knoxville.

Black Like Me, Too: Reporter John Howard Griffin wrote the original in 1959 about his adventures as a white man disguised to look like a black man. This adaptation, heavy on cutting-edge medical advancements and neurology, features a Southern congressman who one-ups Griffin and undergoes the first-ever racial transplant to become an African-American.

Bovina: Taking its cue from head-scratching one-word titles such as Avatar, this surefire smash is about a perky actress and the hardships she suffers as a flying nun, union organizer, wife of cross-dressing comedian, and neurotic first lady to find fulfillment as television spokeswoman for the poor, put-upon, and misunderstood pharmaceuticals industry.

The Hangover Four: A straight-arrow college basketball coach goes a little crazy and indulges in a super-sized Coke and an order of fries after winning the national championship over his former mentor, the evil Coach Caligula, and cannot remember a gosh darn thing the next day.

Cupcake: a nostalgic musical about America through the eyes of a worker at a bakery that makes sugary treats. When evil bosses threaten to close the factory, a divided town finds something everyone loves and rallies around the Twinkies.

Elvis, the Golden Years: Based on a 2007 Flyer story by Greg Akers and Chris Herrington, a cheeky look at the King and what might have been if he had survived to his 77th birthday this year.

The Club From Hell: I am not making this up. Ten squash players, including me, team up to write a group novel. Sex, athletes, athletic sex, exotic locations, and more loose ends than a cheap mohair sweater. You may not be worthy of it.