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Opinion The Last Word

The Rant (August 21, 2014)

Several days before the shocking death of Robin Williams, an old friend posted a “confession” on Facebook that read, in part: “I’ve been lying to people for 40 years, and I’m just tired of lying. As recently as this morning, I’ve told people I had a stomachache or the flu when the truth is I’ve had severe clinical depression since I was 20 years old. The kind where you want to kill yourself. The kind where you’re ready to do ANYTHING to stop the pain.Yes, I tried to kill myself. I’ve been hospitalized three times. I’ve taken almost every kind of antidepressant known to man. It has hurt my relationships, my career, my sanity, everything in my life. So many people say suicide is ‘selfish,’ but they don’t understand that depression makes you crazy, and people who commit suicide are not in their ‘right mind.’ By now, I know I’m not going to kill myself because I can push those thoughts aside, but it’s not easy. It’s a real fight…a real struggle. Being able to talk about it helps. YOU HAVE TO TALK ABOUT IT AND GET TREATMENT, OR IT WILL KILL YOU!”

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Robin Williams

I never knew and commended him for speaking out, and then watched in astonishment as his brief remarks were shared more than 100 times and garnered 500-plus comments, mostly from others who had experienced some form of severe depression — like me. I was diagnosed with clinical depression with an anxiety disorder in 1987, and I have “managed” my illness with antidepressant medication for nearly 30 years. I expect to be on medication for the rest of my days, but I don’t mind, since they saved my life. “Depression” is different than “clinical depression.” No one in this life remains untouched by tragedy or loss, and it is natural to experience pain or grief. These periods of intense sadness, sometimes with the help of an antidepressant, ultimately grow easier to bear while the memories still linger. Clinical depression is a disease caused by an imbalance of chemicals in the brain and needs to be treated with a combination of medication and therapy. Unfortunately, the prescriptions for psychiatric medicine fly off the pads of any doctor holding a pen with “Prozac” printed on it, and patients are left to fend for themselves, deprived of crucial counseling.

It started for me at 19. I asked my friends if anyone else was experiencing these feelings of despair until I believed that it was only me, and I stopped talking about it. I thought that this was my lot in life and probably something I deserved. I rationalized my darkness by believing that there was some nobility in suffering that I would one day understand if I could only endure. I put on a cheerful face although my personal joy was gone.

As an entertainer, I was able to perform for large crowds, then go home and not come out until the next gig. There were groceries to buy, so I shopped at 2 a.m., when the store was empty, rather than run the risk of abandoning my cart in a store full of people and running for the nearest exit. I couldn’t eat in a fast-food restaurant without feeling rage at other people who seemed to be managing their lives while I was in inner turmoil. Then came the questions, “Why me?” and “What did I do wrong to end up here?” I have seen the destruction suicide has caused and would never take my own life out of concern for my loved ones, but I thought about it. I would never have recognized my obsessive introspection as an illness had I not seen my symptoms listed in a self-help book. It took me 16 years of tightly-controlled mania before seeking professional help.

Imbalanced brain chemistry messes with your “fight or flight” response. Under the most ordinary circumstances, your brain suddenly tells you that you are in danger when in reality you are not. This is what causes “panic attacks,” because of the confusion and anxiety. Soon, you avoid those places where an attack occurred to preclude the risk of another. Sadness is a precursor to life, but clinical depression manifests itself in physical ways — among them a tightness in the chest accompanied by a rapid heartbeat. The muscle around the heart becomes sore over time, causing chest pains. In my everyday interactions, I suffered head-to-toe soaking sweats, often needing to towel off after a simple discussion. My greatest fear was having to deal with auto mechanics. If there’s a Latin word for that phobia, I don’t know it. Globus is a condition often described as a “lump in the throat,” but depressives feel a constriction, accompanied by dry mouth and difficulty swallowing. And then there are the headaches. All types of headaches — migraine, cluster, light sensitive, tension. After a self-induced, terror-ridden trip on the interstate, my skull ached so unbearably, I’d take a fistful of Excedrin and lie in the dark, praying for sleep. Insomnia, that’s one more thing.

These are side effects of an illness. If you recognize them, get help from a psychologist or psychiatrist, and if you can’t do that, talk with a counselor or advisor.  In the past, health insurance companies were unwilling to cover mental illness. Now they must.

I was fortunate to find an experienced doctor who put me through a battery of psychological tests called the Minnesota Multiphasic Personality Inventory. He then read an intricate description of my mental state that was so accurate I thought he’d been reading my journal. The medication was hardly as advanced as today’s, and I was told that it might be a month before I felt a difference. But within a week, as if by magic, the gloom began to lift from my shoulders. I could talk to people and look them in the eyes again. It was as if my real self had been returned to me. I was never secretive about my illness because I wanted to shout to the world about this miracle.

I can now live my life unburdened by depression, but I know it’s always there. I can still feel it sometimes, but understand that, like the weather, it will pass. Without daily medication, I could never have worked a normal job or written a column or gotten married or even something so simple as gone on a trip. Some depressives take refuge in reading. It can prevent a gloomy mood from turning into something more serious. I hesitate to admit it, as a sedentary person, but vigorous exercise also helps. And although it may be difficult, talk to somebody. An estimated 20 million Americans suffer from depression. You are not, nor have you ever been, alone.

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Sing All Kinds We Recommend

Summer Movie Journal #5

Full Metal Jacket (1987; dir. Stanley Kubrick)—Kubrick is a cable television hypnotist; stop to watch a scene or two, and the next time you check your watch, two hours of your life have vanished. Part of this comes from Kubrick’s distinctive mixture of precision imagery and ambiguous human agents; his shifty films, which often concern the breakdown of orderly systems, always feel like you can eventually figure them out if you could just see them one…more…time. Like The Shining, Full Metal Jacket is a horror film, but it’s more matter-of-fact about the world’s terrible things than its predecessor. Its main subject is the way people like Matthew Modine’s Private Joker and Vincent D’onofrio’s Private Pyle are ground up in the human being lawnmower that is the U.S. military-industrial complex, embodied in the film by R. Lee Ermey’s mad-god drill instructor. Ermey’s florid, obscene litanies of abuse, which he delivers nonstop at maximum volume, coexists uneasily with Kubrick’s tightly composed images of military harmony, including a shot of Marines climbing ropes in the twilight as beautiful as anything in a Miyazaki film. For most viewers, Jacket’s merciless first forty-five minutes overshadow the film’s second half, which takes place in Vietnam and includes a little thing called the Tet Offensive. But it shouldn’t: one look at Animal Mother’s 1000-yard stare ought to keep you locked in. And in the age of CGI, Kubrick’s meticulous craftsmanship stands tall. Just think; they had to set those building on fire during the battle scenes every single day. Grade: A+


Hot Fuzz (2007: dir. Edgar Wright)— Edgar Wright is another filmmaker who stops me in my tracks whenever I’m idly channel-surfing. Hot Fuzz, about a London supercop (Simon Pegg) who thinks something fishy is going on in the small English village where he’s been reassigned, is the only action-comedy anyone needs to see, a triumph of verbal and visual wit more immediately accessible than anything Wright, Pegg and co-star Nick Frost have done so far. But for genre connoisseurs interested in a bit of fun, this pastiche offers endless treasures. Its network of cross-references and allusions are bewildering, edifying, inspirational: the Lethal Weapon theme music, the Silent Rage lookalike who can only say “Yarp”, the Straw Dogs shotgun violence played off as a joke, the casting of The Wicker Man’s Edward Woodward as the town’s security head, all the songs from The Kinks Are The Village Green Preservation Society, the A-Team like way in which the bad guys aren’t killed. To say nothing of Timothy Dalton as the guiltiest-looking, most shamelessly wicked murder suspect in film history. Grade: A+

A Summer’s Tale (1996; dir. Eric Rohmer)—Although Eric Rohmer’s funny, lovely romance about the romantic adventures of a young man and three women had its long-overdue U.S. theatrical premiere earlier this year, it isn’t coming to Memphis; looks like Kansas City (where it’s currently playing) is as close as it’s going to get. This is a shame, because this is perfect mid-August fare, a chatty couple of hours that records, with grace and equanimity, all the dumb games people play when they’re too young and uncertain to deal with love, sex and commitment. I don’t tend to look to Robert Louis Stevenson for advice about today’s youth, but he’s spot-on about the central dilemma of the clueless dude at the film’s center: “He does not yet know enough of the world and men. His experience is incomplete… He is at the experimental stage; he is not sure how one would feel in certain circumstances; to make sure, he must come as near trying it as his means permit.” Out of such hesitations and feints are authentic feelings and many painful memories born. Grade: A


Post Tenebras Lux (2012; dir. Carlos Reygadas)—There’s too little to hold onto in Reygadas’ emotional autobiography, for which he won the Best Director award at the 2012 Cannes Film Festival. Its internal logic remains opaque, and its few potent-looking individual vignettes fail to compensate for its many dead spots. I liked the two visits by the devil (I think) and the scene where the guy rips his own head off, but the rest of the imagery and emotions were either hidden or buried. I feel sorta dopey disliking this movie, though. It’s easy to tee off on typical Hollywood product because village-idiot brainlessness is often what it’s selling. It’s tougher to take down something “challenging” or difficult or unconventional. Because these works may require more time and effort for viewers to unpack it mysteries and challenges, you feel like a chump and a simpleton when you finally give up and say, “I don’t get it.” But I don’t get it. Grade: B-


“Friend Like Me,” from Aladdin (1992; dirs. Ron Clements and John Musker)—I didn’t discover Robin Williams’ soul while watching The Fisher King or Good Will Hunting; I discovered it in a Disney cartoon. The connection between creativity and solitude—and the way in which Williams’ manic flights of free-associative fancy frequently exhausted other people whenever he escaped from the prison of his own head—is the subtext of Williams’ Genie’s mantra: “Phenomenal cosmic power, itty-bitty living space.” Nevertheless, Williams’ magical wish-granter is his greatest role, in part because it best embodies the radical notion of the comedian as world-builder. Wonder, joy and generosity in the movies are all too rare, but these things are all present in this gloriously surreal, genially self-indulgent two and a half minute musical number, which still delights me after dozens of viewings. (Favorite moment: the way the Genie leers, “Well, lookie here!” after conjuring up a tiny harem for his new master.) Before bursting into song, the Genie declares “I don’t think you quite realize what you’ve got here”; that purely expository line will assume new shades of meaning and gravity as we continue to grapple with Williams’ huge (and often frustrating) artistic legacy. Grade (musical number only): A+

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Film Features Film/TV

Film Review: Words and Pictures

Sometimes when you see a bad movie, you say, “How did this get made?” Maybe, you surmise, someone lost a bet. Or maybe, as seems to be the case with the recent Legends of Oz, the film was the by-product of an elaborate financial scam. There’s enough puzzling rubbish produced to fuel a popular podcast called “How Did This Get Made?”

Unfortunately, with Words And Pictures, it’s all too easy to suss out the pitch: Imagine Dead Poets Society, only Robin Williams has a love interest who is also a teacher.

Clive Owen and Juliette Binoche

Clive Owen plays Robin Williams … I mean, Jack Marcus, the eccentric English teacher who pushes his students to greatness at the requisite elite New England prep school. But Mr. Marc, as his students call him with forced whimsy, has a problem. You can tell from his beard that he used to be a hotshot writer, but now he’s hit the bottle, and the teaching gig is just a stop on the way down to rock bottom. His grown son has a girlfriend he’s too drunk to meet, the student literary magazine he founded isn’t as good as it used to be, and the school administrator whom he romanced with his roguish charm when he arrived at the school now has it out for him. Will he lose his job? Will he kick the joy juice and get his writing mojo back?

Enter Dina Delsanto (Juliette Binoche), the eccentric art teacher who pushes her students to greatness. She used to be a hotshot artist, but now she’s come down with rheumatoid arthritis and so has been forced to move to this sleepy, poorly photographed New England town to live with her sister. She still has the vision, but can she overcome her maladies to once again make paintings that will match your couch? And, clearly, as an attractive woman without a man, she needs love. Maybe she and Robin Williams should get together.

It will surprise you to learn that, at first, Marcus and Delsanto (as he, being the consummate ladies’ man, insists on calling her) apparently can’t stand each other. She’s annoyed by his charming little game where he drunkenly mugs in the teachers’ lounge and challenges the uptight educators to come up with multisyllabic words like “antihistamine.” He’s annoyed that she’s too good at it. Eventually, in an attempt to save his job and passive-aggressively woo Delsanto, Marcus proposes a contest: Which is better, a student assembly will be asked to decide, words or pictures?

Yep. That’s the movie.

But wait, I imagine you might say. This is a romantic comedy! Contrived setups are mandatory! Did you see Sleepless in Seattle? Tom Hanks and Meg Ryan had chemistry! So what if the words-versus-pictures “war,” which peppy students occasionally show up to remind us about, is pointless? What will carry the day is their raw animal attraction that throws sparks off the screen! We’re just here to see Owen and Binoche mix metaphors!

Well, first of all, Words and Pictures is billed as a romantic drama, not a romantic comedy. And, second of all, Owen and Binoche nail the “don’t like each other” part of the rom-dram arc but lack the “secretly like each other” component. Maybe it’s the fleeting look of disgust that crosses Binoche’s face as Owen’s paws close around her. Or maybe it’s the way Owen savors that vodka a little too realistically. But these two actors look absolutely miserable in each other’s presence. The “boy gets girl” phase is remarkably short: She saves his job, he compliments the lighting in her studio, then we dissolve into a post-coital verbal sparring match and some red wine by the bay. The “boy loses girl and spirals into self-destruction, goes to AA, and redeems himself by making a funny speech at the stupid words-versus-pictures thing that we’d forgotten about but for some reason have to do anyway” phase goes on way too long.

There are some bright spots: Owen is agreeably charismatic when he’s not trying to pretend he doesn’t hate Binoche, and Valerie Tian acquits herself well as Emily, a talented young artist who gets sexually harassed via social media, because that’s a thing the film’s writer (Gerald Di Pego) has heard happens to kids these days. But overall, Words and Pictures is too timid and half-hearted to even make an entertaining train wreck.

Words and Pictures

Opens Friday, June 13th

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Film Features Film/TV

License is ill.

I don’t mind Robin Williams. In fact, I think he’s a fine actor when he is either bearded (Awakenings, Good Will Hunting) or animated (Aladdin, Robots). I even thought parts of his 2002 stand-up comedy special were funny. But why is it that whenever I make that argument, I feel like someone who claims they can’t be racist because they have two black friends? What prejudices against Williams’ large and largely unpalatable film career am I hiding here? What horrible memories associated with Williams’ well-flogged stable of comic characters — gospel preacher, falsetto minstrel, dirty-talking infant, Bay Area homosexual — am I repressing? It’s not like Williams is not solely to blame for the silent but deadly screen fart that is License To Wed. But since he’s onscreen so much, his performance is a good place to start.

In 2002’s creepy character study One Hour Photo, Williams played Sy Parrish, a genteel but deeply disturbed neighborhood presence whose attempts to force himself into the lives of a happy couple end disastrously. In License To Wed, Williams play Reverend Frank, a demented, invasive pastor whose marital-training crash course slowly destroys the relationship between newlyweds-to-be Ben (John Krasinski) and Sadie (Mandy Moore). Although Reverend Frank is supposed to be the linchpin of this wedding comedy, I kept comparing Frank to Sy. Know what? Frank’s far more terrifying.

The acting grotesqueries don’t stop there. Krasinski (The Office), in his first lead role, is comfortable on the big screen, but he decides midway through the film to abandon its premise and doubt its very existence. As Frank’s schemes spiral out of control, Krasinski reverts to standard Jim-isms (his character in The Office) — eye rolls, blank stares, etc. — in a desperate bid for some laughs. Moore, whose wide and constant smile threatens to snap her neck muscles and spring her head from her body, grins and grins and grins in a childlike attempt to wish the whole mess away. Some actors act with their voice, some with their body; here, Moore personifies a bitchy fiancée with her teeth.

People condemn comedies they don’t like as “mean-spirited” or “cruel” when all they really mean is “not funny.” Scores of great comedies are cruel to their hateful cores, but their cruelty is only invoked when there aren’t any laughs around to hide it. And License To Wed is completely laugh-free. There is one near-titter when Krasinski mentions the “creepy little chests” of the android twin robots he and Moore are given as part of their wedding course. The twins’ heads look like little, bald Robin Williamses.

License To Wed is indefensible.

License To Wed

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