FILM REVIEW: GORE VIDAL AND THE UNITED STATES OF AMNESIA

Gore Vidal in Gore Vidal and the United States of Amnesia. 

Thanks for the memory

By Don Simpson

In capturing the life of a man who deftly re-imagined how we approach history and politics, it is unfortunate that Gore Vidal: The United States of Amnesia relies so heavily upon such an uninventive documentary format. Combining direct interviews with archival footage, director Nicholas Wrathall is lucky to at least have Gore Vidal’s natural charisma as the heart and soul of this documentary.

For those who are unfamiliar with his uncanny knack for highly-intellectualized wit and humor, The United States of Amnesiapresents Vidal in stark contrast to the perpetual stream of verbal diarrhea that spews from modern day pundits. Even when pitted against his nemesis William F. Buckley, Jr. during ABC’s coverage of the 1968 Democratic National Convention, Vidal transcended the stuffy intellectualism and presented his arguments with a poetic panache that made his elegantly barbed jabs all the more entertaining. Unfortunately, Vidal’s high-minded style of political discourse died with him on July 31, 2012.

Vidal’s lack of intellectual equals becomes increasingly evident as all of the other interviewees sprinkled throughout The United States of Amnesia pale in comparison to him. Their unabashed hero-worship does very little to contribute to the discussion of Vidal’s life, instead everyone seems much more enamored by his vibrant social life — as if to suggest that his friendship with Paul Newman or notorious feuds with Truman Capote and Norman Mailer are more important than his intellectual prowess. Even Vidal’s criticisms of John F. Kennedy, Ronald Reagan and George W. Bush are reduced to comical soundbites that are primed for tabloid headlines. In this context, The United States of Amnesia seems to cheapen Vidal’s opinions and arguments, abbreviating the sound bites into petty and slanderous slurs; its just a shame that Wrathall does not allow him to justify the statements.

While many viewers might only know of Vidal from reading his historical novels such as Lincoln or Burr, Wrathall opts to present a very human portrait of Vidal; focusing on his personality, The United States of Amnesia avoids any scholarly analysis of Vidal’s work. Hearing Vidal’s friends and admirers speak about him, it becomes increasingly evident that he was an enigma to everyone. Vidal seemed to enjoy the mysterious nature of his public persona, especially when it came to his sexuality. His third novel, The City and the Pillar (1948), is recognized as one of the first major American novels to directly feature homosexuality, but Vidal was opposed to defining people in terms of being “homosexual” and “heterosexual.” Vidal wholeheartedly believed that sexuality is not as clear cut as those polarizing terms infer, suggesting that everyone is bisexual to some degree. This made Vidal’s purportedly asexual relationship with long-term partner Howard Austen all the more perplexing to those who knew him.

Our world may still need a more academic interpretation of Vidal’s work, but Wrathall’s documentary serves as an essential introduction to the man, the myth and the legend. The United States of Amnesia presents Vidal (who I share a birthday with) in such an approachable light that perhaps it will propel more people to become curious about his novels and essays.

LAFF 2013: CAPITAL

A scene from Capital.

You cannot bank on it

By Ed Rampell

Costa-Gavras, arguably the greatest living progressive filmmaker still shooting political pictures, is back with a new thriller about the banking industry, Capital. This behind-the-scenes expose of the banksters and their nefarious high finance manipulations and machinations is a fictional, highly entertaining counterpart to Charles Ferguson’s Oscar winning 2010 documentary, Inside Job, about Wall Street’s massive defrauding of the people -- at taxpayer expense. Capital is in French with some English, with Gabriel Byrne co-starring as an American-style banker seeking to impose U.S. policies on a European-based bank headed by Moroccan-born actor Gad Elmaleh, who has a penchant for quoting, of all people, Chairman Mao. “Let 1,000 flowers bloom,” and all that. Ethiopian supermodel Liya Kebede plays an elusive runway beauty -- the stuff that capitalist fantasies are made of.

Prior to the 8:00 p.m. June 17 screening of Capital Costa-Gavras will be interviewed by the screenwriter of the rightwing agitprop Zero Dark Thirty, which glorifies the CIA and justifies torture, as well as of the Iraq War movie The Hurt Locker. In 1969 Costa-Gavras’s classic Z -- about the assassination of Greece’s peace candidate and the overthrow of the government by the Greek colonels -- was nominated for the Best Picture Oscar and won the Oscars for Best Foreign Film and Best Editing. Costa-Gavras went on to make many leftist films, such as 1972’s State of Siege, about South American urban guerrillas, and 1982’s Missing, with Jack Lemmon and Sissy Spacek, about the aftermath of the U.S.-backed coup against Chile’s democratically elected socialist President, Salvador Allende. Sparks may fly as the filmmakers at the opposite ends of the ideological spectrum encounter one another at the LA Film Festival extravaganza. “And in this corner…!”

In any case, the stylish, briskly paced Capital shows that at the age of 80, Costa-Gavras remains a master of political cinema and is at the top of his game.

“An Evening with Costa-Gavras,” followed by Capital, begins tonight, 8:00 p.m., June 17, Regal Cinemas.