Tag Archive for 'manhood'

The King of Kong: A Fistful of Quarters

The King of Kong: A Fistful of Quarters

The King of Kong: A Fistful of Quarters (2007, Director: Seth Gordon): I missed this at SXSW last year but have been hearing great things about it ever since. Despite the unwieldy title (why not just “The King of Kong”?), Gordon’s film is a crowd-pleasing tale of good and evil in the geeky world of retro videogames. It reminded me quite a bit of Darkon (review) (a film about live-action role playing gamers), but without some of the self-deprecation. These guys take their hobby extremely seriously. But as in Darkon, the set up involves two very different personalities: for lack of better terms, the bully and the underdog.

Billy Mitchell is the guy who set the Donkey Kong record back in the 1980s, while a teenager, and he’s grown up milking that “fame” for all it’s worth, building up a hot-sauce “empire” and opening a restaurant. He has the swagger of a motivational speaker and isn’t remotely aware of how comical his persona comes across to anyone not in his circle of gamer fanboys. Like the jock in high school, he’s built his whole life around something he accomplished as a teenager. Many people tried and failed to beat Billy’s high score. And then along came Steve Wiebe. Blank to Billy’s brash, Wiebe has the stolid demeanour and look of Al Gore or Troy Aikman, without their achievements. We hear about all the talent he showed as a young man, and then how he’s repeatedly failed to live up to his potential. His pursuit of the Donkey Kong record becomes a sort of Holy Grail for him and his family. He feels that if he can just be the best at something, anything, then he’ll have the confidence to take on the world. He’s a decent guy, a little shy, and reluctant to force a confrontation. But when his record-breaking game is disallowed by Twin Galaxies, a group of ostensibly impartial “referees” with a strong connection to Mitchell, he resolves to claim the record at any cost.

He travels to a game competition on the east coast so he can attempt to break the record “live” (he’d mailed his previous attempt on videotape, a common practice among videogamers) and is eager for a face to face challenge with Mitchell. But like Achilles sulking in his tent (and with the same vulnerable heel), Mitchell refuses to engage Wiebe. Instead, he sends his own videotape, and the gathered group of gamers actually sit and watch that rather than witness Wiebe’s live attempt.

I won’t spoil the story except to say that even after the film’s end, the battle is continuing. The King of Kong is an entertaining examination of a subculture many of us may remember, even if its continued existence is based on nostalgia and arrested development, as well as of two men’s struggles with what it means to be a “winner”. I just wish some of the people I found myself laughing at had the ability to share the joke.

The King of Kong: A Fistful of Quarters

Official web site

Buy The King of Kong: A Fistful of Quarters from Amazon.ca

Buy The King of Kong: A Fistful of Quarters from Amazon.com

8/10(8/10)

Protagonist

Protagonist

Protagonist (Director: Jessica Yu, USA, 2007): I am SO tired right now, but I’m also glad that I made the effort to see this film. This was my third film of the day, and I had a gap of about three hours before it which made it very tempting for me to just go home and miss this. I’m very glad I didn’t.

Protagonist grew out of a meeting director Jessica Yu had with the two producers, who wanted her to make a film about the Greek playwright Euripedes. Intrigued by the idea, but not quite sure how to bring it to life, Yu read all of Euripedes’ plays over a summer, and came up with the idea of relating a recurring story arc through the telling of four modern-day real stories. She chose four men from different backgrounds who seemingly have nothing in common, and then as their stories unspool, she weaves them together with some dialogue from the plays, acted by specially-made puppets and using the original Greek language (with subtitles of course), and some innovative animated intertitles. If it sounds daring, it certainly is, but it works completely.

The four men are all “formers”: a former terrorist from Germany, a former kung fu fanatic, a former bank robber, and a gay former evangelist. Though I found myself wondering why she picked these particular men, they are all excellent storytellers, and as the film progresses, we see that their stories are all exploring common themes.

In each of the men’s stories, there was an effort to overcome their fragility as human beings in order to transcend what they considered their weakness. They aimed to be saints or supermen, and in all cases, they failed. The idealistic young political activist became involved in a botched terrorist operation that killed three people. The evangelist had himself convinced that his gay thoughts were gone forever. The abused child who took revenge on his father liked the feeling of power so much that he began to terrorize others. And the kid everyone picked on became powerful by following a martial arts teacher who taught violence by demonstration.

At some point, each of the men realized they were on the wrong path, and that their real selves had been fragmented or suppressed in some way. Despite their thrill-seeking behaviour, they had not transcended themselves, but only lost themselves. Each had to learn what manhood really meant, and in all cases, it meant humbling themselves and admitting that their previously-held certainty was a lie.

This was a somewhat challenging viewing experience, and trying to put all the threads together demands some work from the audience. It requires one to use a few parts of the brain that average documentaries don’t reach. You could say it’s a very artistic film, and I was impressed at how Jessica Yu is pushing the documentary form into new shapes, all the while maintaining the core value of telling interesting stories in an interesting way. Protagonist has been the high point of the whole festival for me, so far.

Here is the Q&A with director Jessica Yu from after the screening:


Duration: 13:18

Hot Docs programmer Myrocia Watamaniuk interviews Jessica Yu

Podcast interview with Joel Heller on Docs That Inspire

Official site for the film

10/10(10/10)

UPDATE (11/4/07): There is a trailer posted now on Apple’s site. As well, the film has a distributor (IFC Films) and a new poster (below). It opens on November 30th in some cities.

Protagonist

Darkon

Darkon

Darkon (USA, 2006, Director: Andrew Neel and Luke Meyer, 89 minutes): An immersive film about an immersive hobby. Darkon shines a light into the little-known world of Live Action Role Playing. Darkon is a fantasy world where groups of people gather every two weekends and fight real battles over imaginary land. Dressed in armor and armed with foam swords and shields, they do battle as an escape from their everyday lives. While there are plenty of laughs in the film, they’re never at the expense of the people who play the game, who turn out to be regular folks searching for a little excitement in their lives. People play to let off steam, to connect with the big themes of good and evil, honour and bravery, loyalty and betrayal. One of the recurring themes is that people in today’s world feel pretty powerless. They’re part of a society that tells them what to do and how to do it. In Darkon, many of these individuals feel in control of their lives for the very first time, and while it can seem a little bit sad, they’re having a blast.

Unavoidably, real life seeps into the game, and people’s characters are often informed by the things shaping them in their lives outside the game. When stay-at-home dad Skip Lipman (or Bannor of Laconia, as he’s known in the game) decides to lead other small nations in a revolt against the imperialistic nation of Mordom, it’s hard not to see him avenging his own exclusion from the family business by an older brother. And it comes as no real surprise to learn that Mordom’s arrogant leader, Keldar (Kenyon Wells), is actually in management at his company.

Some of the best scenes in the film are the battle scenes. Though often looking like something out of Monty Python and the Holy Grail, they’re shot with mock epic seriousness, with the players reciting lines of awkard Arthurian prose. With the addition of a stirring score swelling behind them, the battles actually look pretty exciting.

Though I’ve never participated in a Live Action Role Playing game, I was an avid RPG (role-playing games) buff for several of my teenage years. I feel like I have some level of understanding for the subculture, and it provides a much-needed community for people who often feel outside the mainstream. The film preserves their dignity while still allowing us to laugh a little. After all, it’s a game. And it’s play. And play is supposed to be fun.

Visit the film’s web site

Visit the site of the Darkon Wargaming Club

10/10(10/10)

EYE Weekly: **** (out of 5) (review)

9/14/07 UPDATE: The film is finally getting a limited theatrical release in the US, only 18 months late! Go and see it on the big screen if and while you can.

Beyond Beats: A Hip-Hop Head Weighs In On Manhood In Hip-Hop Culture

A Hip-Hop Head Weighs In On Manhood In Hip-Hop Culture

Beyond Beats: A Hip-Hop Head Weighs In On Manhood In Hip-Hop Culture (USA, 2006, Director: Byron Hurt, 62 minutes): Byron Hurt is a former college quarterback and a huge hip-hop fan. But after he begins a job as a college counselor conducting programs for men about violence against women, he begins to look at his beloved music in a new light. This film is a record of his attempt to understand why hip-hop is so obsessed with images of violence, misogyny and homophobia. Hurt uses the metaphor of a box to describe the narrow image of masculinity in which black men are trapped, and he backs this up with numerous interviews with academics, hip-hop artists, and fans. Also interesting (and actually hilarious) are his deconstructions of rap videos, which are filled with the same ridiculous cliches repeated again and again.

I applaud him for trying to take on so many controversial issues in rap music, but it was discouraging to see so many people unwilling or unable to engage him on these subjects. When he brings up the issue of homophobia with Busta Rhymes, for instance, the rapper gets up and leaves. An executive from BET refuses to answer his questions, and hip-hop mogul Russell Simmons gives him only evasive answers. All in all, it’s clear that most people don’t see these issues as problems, especially when rap music is making them all so much money.

The only flaw in this film is that it was too short. I’d love to see a longer version, or even better, a longer series about these issues where the filmmaker could pursue some answers over an extended period. Gadflies like Byron Hurt will need to be patient if they want to see anything change, and I hope that he can document the process even more comprehensively. It’s definitely worth watching.

Visit the director’s web site

9/10(9/10)

NOW Toronto: NNN (out of 5) (review)
EYE Weekly: ***** (out of 5) (review)