What the Words Obscured.

“There is nothing the Academy of Motion Picture Arts and Sciences loves more than movies about people with physical or mental disabilities (or addictions)…If the afflicted protagonist also happens to be royal — as in The Madness of King George (1994) — so much the better, for a suffering crowned head bestows an extra touch of class on Hollywood’s uplifting formula of brave triumph over cruel adversity.“

So, apparently, a stammer was the least of King George VI’s worries. As the Oscar field is announced with The King’s Speech at the head of the pack, Martin Filler muckrakes the rest of the King George story in The New York Review of Books, and Christopher Hitchens piles on over at Slate: “The King’s Speech is an extremely well-made film with a seductive human interest plot, very prettily calculated to appeal to the smarter filmgoer and the latent Anglophile. But it perpetrates a gross falsification of history.“

The Tell-Tale Five.

“The National Archives gave the document prominent display, putting it on tour along with other important Lincoln documents. But for several years, archivist Thomas Plante had been troubled by the document. The ‘5’ appeared to be darker than the rest of the document and was perhaps covering another number.“

A decade after attempting to secure fifteen minutes of fame, amateur historian Thomas Lowry is caught tampering with original Lincoln documents: He made it seem Lincoln’s last official act was pardoning a Union deserter named Patrick Murphy, actually pardoned in 1864. “Lowry’s purported discovery was hailed by historians when he came forward in 1998. At the time, a Civil War expert with the Archives said Lowry had made ‘a unique and substantial contribution to Lincoln research and to the study of the Civil War.’”

Zoot Shoot Riots.

“Zoot Shooters run through a course they call a ‘caper,’ which is often based on a scene from a famous gangster movie, like ‘The Godfather’ or ‘Miller’s Crossing.’ The winner is the person who shoots with the most accuracy in the shortest time. Penalties are tacked on for hitting the ‘good guys.’“

Also by way of a friend, the WSJ looks into “Zoot Shooters,” or what happens when fanboys and gun enthusiasts cross-pollinate. “There are two schools of thought,’ says Steve Fowler, a longtime cowboy shooter going by the name Bat Masterson, a famous Old West gunfighter. He recently took up Zoot Shooting, under the alias G-Man. ‘One is that [Zoot Shooting] is another costuming game and it’s a lot of fun…The other is, if it ain’t cowboy, it ain’t nothing.‘”

Susannah and Sargent.

“‘I always felt that I was a character actor,’ York told the Scotsman newspaper in 2008. ‘It bothered me that people would think of me as blonde and blue-eyed and that was it.’” Actress (and mother of Superman) Susannah York, 1939-2011.

“Nearly everybody in their life needs someone to help them. I don’t care whether you’re the greatest self-made man; the fact is, someone has helped you along the way.” Politician and Peace Corps founder Sargent Shriver, 1915-2011.

Talking Monarch Blues.

Part monarchical bromance, part speech impediment Rocky, Tom Hooper’s impressive if Oscar Bait-y The King’s Speech — about King George VI of England’s attempts to overcome his debilitating stammer — is, in its own way, as edutaining and well-made a recent royal micro-history as the film concerning his daughter, Stephen Frear’s The Queen. The acting is on point, the writing is keenly-observed, the direction is crisp and well-paced, and if Colin Firth gets a Best Actor Oscar for this to make up for his A Single Man loss (much like Jim Broadbent won for Iris after being overlooked for Moulin Rouge), well, no harm, no foul.

The point being, if in doubt, go see this film. You probably know if this sort of thing — a BBC-ish historical production with a feel-good, sports-movie narrative arc — is your cup of tea, and if it is, have at it, good fellow. Still, chalk it up to haters gonna hate, but I left the theater feeling a little underwhelmed by The King’s Speech. Yes, it is well-made. But it also didn’t do anything that surprised me — wait, so Geoffrey Rush’s speech therapist is both wacky AND wise? Irreverent AND endearing? What a delightful combination! — and I ultimately found the stakes to be rather small.

The film opens in October of 1925, as the shy, discomfited Duke of York, Prince Albert (Firth), waits within the bowels of Wembley Stadium with his doting wife Elizabeth (Helena Bonham Carter). Third in line to the throne behind his father the King (Michael Gambon) and his rapscallion brother David (Guy Pearce), the Duke is about to deliver an address — to be broadcast worldwide — at the closing ceremony of the British Empire Exhibition. This, alas, he bombs painfully: Albert’s pitiful, strangulated attempts to overcome his stammer make the speech a chore for speaker and millions of listeners alike.

Cut to a decade later, and the poor prince is still prisoner to his unruly glottis. And so, with the Duke at the end of his rope, Elizabeth (who we know better as the beloved “Queen Mum.”) seeks out some aid from a commoner who’s ostensibly trained in the arts of speech therapy, one Lionel Logue (Rush). An Australian transplant to the isles, Lionel is a congenial family man far removed from the etiquette and ostentation of the Crown: The closest he’s ever gotten to royalty is his well-reviewed portrayal of Richard III — another “rudely-stamped” Duke of York, as it happens — back in Perth. But is it possible this scampish, egalitarian therapist has the wisdom and the potential to break through to the future king where others have failed? Gee, you think?

I don’t want to make light of Prince Albert’s stammer, because it seems like a cruel fate indeed for a man born into a family business of speechifying to be afflicted with such a curse. (And Firth does a great job of conveying the sheer horror of it all. At any moment, you can see his fear that he might once again be betrayed by his tongue.) Still, perhaps it speaks to a failure of empathy on my part — I usually do well on the Voight-Kampff, I swear — but the question of whether or not an extraordinarily wealthy and catered-for man can manage to overcome his embarrassing speech impediment was not one I found all that engaging in the end. (This is sorta the same problem I have with Sofia Coppola films, and I fear Somewhere will be no exception.)

It seems the writers recognize the problem here, so to square that circle they invoke the encroaching thunder of World War II. Albert (later George, of course) is more and more explicitly contrasted with that eloquent demon on the Continent, Adolf Hitler, who is mustering a frightful army by virtue of his silver tongue. How will England’s monarch be able to stand against the wrath of Nazi Germany, if he too is not possessed of royal gravitas and a kingly p-p-p-p-poker face? Well, ok, that does raise the stakes some, and, yes, from his decision to stay in London during the Blitz to his 1939 Christmas speech (not featured in the film), the dignity and fortitude of King George VI was indeed a rallying point for his people during the Second Great War.

Still, from watching this movie you’d never get the sense that John Bull already has a great orator in his pocket, in Winston Churchill. (Here, Timothy Spall, who sadly comes off like a guy in a Halloween costume.) At the end of the day, it’s Churchill’s speeches — “their finest hour, “blood, toil, tears, ands sweat,” “we shall fight on the beaches” — that stand the test of time, which, for all its good intentions and attention to craft, makes the central tale in The King’s Speech feel like even more of an historical footnote. (And, as Dangerous Meta points out, Churchil himself was a stammerer. That’s mentioned briefly in the movie, but perhaps not given as much due as it could’ve been.)

In the end, though, the question of stakes is less important than the nagging suspicion throughout The King’s Speech that it was basically just a sports movie for the Merchant-Ivory crowd. There may be a Big Speech at the end instead of a Big Game, but we’re still playing in the same old ballpark. We even have a training montage at one point.

Speech is very well put together to be sure, and if this genre speaks to you then do go see it. Still, I left the theater feeling like I’d seen this exact same sort of tale — adversity overcome with determination and the aid of a kooky-but-wise mentor — way too many times before. Adding British accents, and a stammering one at that, doesn’t really change the tried-and-true Rocky/Remember the Titans/Great Debaters equation at work here in the end.

Song of the South.

“Here was the Delta Republicans’ historic task: negotiating terms of surrender to the Constitution, then reframing that Lost Cause as honorable, the better to preserve their insular plutocracy — perhaps their gravest sin in the first place — in order to integrate themselves more snugly into national and international circuits of corrupt wealth. Haley Barbour, who received his first Republican patronage job in 1970, is a true son of this confederacy.“

In the wake of Haley Barbour’s highly dubious misremembering of civil-rights era Mississippi, historian Rick Perlstein skewers the GOP poobah and presidential hopeful to the wall. “At every important turn in the story, Barbour emphasizes how little he remembers of this most intense period imaginable in his beloved home town — it really was no big deal, he insists…He’s a middle-aged Southern conservative. That is what his job is: to opportunistically ‘forget.‘”

Life Through Other Means.

In the trailer bin of late:

Whatever they may show in the trailer for Jodie Foster’s family dramedy The Beaver, I’m guessing Mel Gibson’s imaginary puppet friend says unspeakably filthy things in his downtime. Anyways, The Beaver also has Foster, Anton Yelchin, Jennifer Lawrence, and Cherry Jones. Tell me if it isn’t terrible.

Rome‘s Ray Stevenson gets his chance to shine as a son of Eire among the seventies Mob in the trailer for Jonathan Hensleigh’s Kill the Irishman, based on the true story of Danny Greene and co-starring Val Kilmer, Christopher Walken, Vinnie Jones, Linda Cardellini, Vincent D’Onofrio, and a whole lot of usual suspects in the mobster kingdom (Steven Schirippa, Robert Davi, Mike Starr, Paul Sorvino.) Eh, definitely maybe.
HUGH JACKMAN. BOXING ROBOTS. SHAWN LEVY’S REAL STEEL. 10.7.11 (Oof. Only if there’s a lot of drinking involved beforehand.)
“There’s a distinct visual look, and a grand scope, and even of a sense of narrative (sort of). What’s hinted at here is a big-canvas movie in the best sense, one with both cosmic significance and intimate drama.” Sadly, the trailer that prompted this post doesn’t seem to be online yet. Nonetheless, in front of Black Swan last week was our first look at Terence Malick’s eagerly-awaited The Tree of Life. And it looks appropriately mystical and Malickian: May 27th, 2011. Update: It’s finally up.

Anatomy of a Tantrum.

“This is the public option debate all over again. So I pass a signature piece of legislation where we finally get health care for all Americans, something that Democrats had been fighting for, for a hundred years – but because there was a provision in there that they didn’t get…somehow that was a sign of weakness and compromise.

“Now, if that’s the standard by which we are measuring success or core principles, then let’s face it, we will never get anything done. People will have the satisfaction of having a purist position, and no victories for the American people. And we will be able to feel good about ourselves, and sanctimonious about how pure our intensions are and how tough we are…That can’t be the measure of how we think about our public service. That can’t be the measure of what it means to be a Democrat.“

As I’m sure most of y’all know by now, the president decided to indulge in some cathartic lefty-bashing at his tax cut deal press conference earlier in the week. [Transcript.] At this point, the fact that Obama feels this way about progressives is not at all a surprise, and I feel like I’ve already responded to his appalling penchant for this sorta thing at length. So, here’re just a few numbered points about this latest sad window into Obama’s “pragmatic” mindset:

1) Alex Pareene at Salon cut right to the heart of the fallacy on display here: “[Obama] continues to imagine that his liberal critics are upset with the idea that compromises need to be made in order to accomplish progressive policy goals. Some of them are that stupid. But lots of them are actually critics of the White House’s legislative strategy, and their apparent willingness to preemptively compromise before the negotiations have already begun.” Yep.

2) See also Paul Krugman: “Leave aside the merits for a moment: what possible purpose does this kind of lashing out serve? Will activists be shamed into recovering their previous enthusiasm? Will Republicans stop their vicious attacks because Obama is lashing out to his left? It was pure self-indulgence; even if he feels aggrieved, he has to judge his words by their usefulness, not by his desire to vent…[W]hat we really don’t need right now is a president who blames everyone but himself, and seems more concerned with self-justification than with sustaining the alliances he needs.“

3) As I noted on Twitter, the president’s argument here is inherently contradictory. He began his presser by saying he had to make a bad deal because the Right, however wrongheaded, held stubbornly to their convictions. Then he verbally abuses the Left for…holding stubbornly to their convictions. Uh, it seemed to work pretty well for the GOP.

4) Speaking of Twitter, the Twitterverse response to the presidential presser is well worth perusing for gallows humor and hard truths. Take for example, “Obama: This is like the public option fight all over again where I caved and opposed the thing that reduced the deficit.“

5) As many have pointed out now, the president is also wrong on his New Deal history. In the presser, he claimed Social Security was only for widows and orphans. Wrong. He’s thinking of the civil war pension system, circa 1862. I know that law degrees are considered the be-all, end-all of our civilization these days, but an ostensibly progressive president not understanding the origins of Social Security is sort of a big effing deal. (And he didn’t just misspeak — He’s said it before.)

6) As historian Thomas Ferguson noted several weeks ago, this is not the first time the president has badly screwed up the history of the New Deal in a way that was ultimately self-serving. (As an aside: Given they they chose to structure a major policy speech around a fake Lincoln quote, his communications staff isn’t much better.)

7) As Dan Froomkin pointed out, Obama’s argument about the public option is also contradictory. He argues that Social Security and Medicare started out small, than belittles the public option because it “would have affected maybe a couple of million people,” i.e. it would’ve started out small.

8) Obama also no longer seems to understand how the public option was supposed to work. Here’s Froomkin: “What the president conspicuously disregarded was that the central point of the public option was that its existence would exert enormous competitive pressure on the private insurance system. The goal was not to serve a particularly large number of people directly — that would only happen if the private offerings were terribly inadequate. The goal was to keep the private sector honest. So no matter how many people it enrolled, ‘the provision,’ as Obama put it “would have affected” tens of millions.” In other words, the public option was designed to be a yardstick. So, even in terms of recent history, there are some serious revisions going on.

9) Politico’s catty analysis of the president’s relationship with Chuck Schumer offered more insights on Obama’s thinking today: “Obama himself warned Schumer that the millionaire strategy could sink the stock market. When a vote on the millionaire plan came up short last Saturday, the administration gloated.” The vagaries of the stock market? Is that really what we’re basing our tax policies on these days? (Also, I don’t think Chuck Schumer, of all people, needs to be informed of when and how Wall Street will balk. I think he has his finger pretty solidly on that pulse.)

10) A day after the president’s remarks, Larry Summers solemnly informed us that not passing the millionaire tax cut would lead to a double-dip recession. This is basically the economic equivalent of the terror, terror, terror, 9/11, 9/11, 9/11 argument. And, as David Dayen and Jon Walker both pointed out: If the economy is resting on that sort of knife’s edge, why’s the White House just reduce purchasing power by announcing a federal worker’s pay freeze? Something does not compute.

11) Obama at the presser again: “Look at what I promised during the campaign. There’s not a single thing that I’ve said that I would do that I have not either done or tried to do. And if I haven’t gotten it done yet, I’m still trying to do it.” Um…do we really want to go there? Because I’m sure this would be news to Maher Arar. In any case, as a friend pointed out, this isn’t kindergarten — You don’t get a gold star just for “trying.”

Anyways, so, yeah, Obama doesn’t like “the professional left” very much. And, at this point, it’s safe to say the feeling is mutual. As for myself…well, these days I just feel like a sucker.

A Life in Development.

Next week, Foreign Policy magazine and its editor-in-chief Susan Glasser will be releasing its 2nd annual roster of the world’s greatest thinkers and doers in foreign policy. I have seen the list — and it’s impressively creative and eclectic. There is one name that is not on the FP100 who should be — and that is Chalmers Johnson, who from my perspective rivals Henry Kissinger as the most significant intellectual force who has shaped and defined the fundamental boundaries and goal posts of US foreign policy in the modern era.“

The Washington Note‘s Steve Clemons remembers one of his friends, colleagues, and mentors: Asia scholar, critic of empire, and coiner of the “developmental state,” Chalmers Johnson, 1931-2010. (See also James Fallows’ remembrances on his passing.) Argued Johnson in 2009: “Make no mistake – whether we’re being bled rapidly or slowly, we are bleeding; and hanging onto our military empire will ultimately spell the end of the United States as we know it.”

Abe Drinks Your Milkshake.

“Daniel Day-Lewis would have always been counted as one of the greatest of actors, were he from the silent era, the golden age of film or even some time in cinema’s distant future. I am grateful and inspired that our paths will finally cross with ‘Lincoln.’“

On the seven score and seventh anniversary of the Gettysburg Address, Steven Spielberg announces he has acquired a new Lincoln in Daniel Day-Lewis, replacing the long-attached Liam Neeson. My, that’s good casting.