Owen Pallett - Heartland

Owen Pallett (formerly known as Final Fantasy)’s newest album is entitled Heartland and appropriately so (assuming that Heartland refers to some sort of place). The album suggests a place, or rather an adventure through it. I imagine journeying through some sort of bizarre world as I listen to the album. The world I picture is neither lovely nor menacing, but rather something in between. It’s something uniquely captivating. And it’s one heck of a voyage.

The first few songs sound like they belonged on a soundtrack to a Tim Burton movie. I can’t say I was completely enamored, but I was very intrigued. “The Great Elsewhere” marks a clear turning point in the album. You go from voyeur, taking in the sights and sounds of Heartland, to someone facing it head-on. Pallett seems to be grabbing you by the shoulders and demanding your attention. Though the beginning of the album is simply interesting, “The Great Elsewhere” is absolutely moving. “Oh Heartland, Up Yours!” and “Lewis Takes Off His Shirt” complete the stunning three-song halfway point of the journey. The former with a beautiful melody, laced with sorrow, and the latter with a triumphant chorus.

The rest of the album reverts back to journey mode, but with a new perspective. The melodies are more affecting; you have clearly gone deeper into Heartland. The album ends very abruptly with “What Do You Think Will Happen Now?,” but I imagine it is intentional. The final song feels like it should lead into another, but there is nothing else. Pallett asks the listener what he or she thinks will happen now and leaves it up to the listener’s opinion. It seems to suggest that there is more to Heartland than has been revealed to us. I, for one, couldn’t be more thrilled. I love that place.

1940's Japan is Close to Home

“Grave of the Fireflies” is considered Isao Takahata’s masterpiece. The Japanese animator wrote and directed “Fireflies,” which is based on Akiyuki Nosaka’s autobiographical account of the World War 2 firebombings. In the film, Seita is a teenage boy who loses his mother to the bombings while his father is serving in the Navy. He is forced to care for his young sister Setsuko by himself. This anime classic is often considered one of the greatest war (anti-war) films, but its themes are by no means confined to wartimes.

Seita and Setsuko first go to live with their aunt after losing their home and mother. Though she is hospitable at first, the aunt begins to turn on Seita. She calls him lazy and tells him that he should help Japan by fighting the fires, not hiding from them with his sister. She refuses to feed Seita and Setsuko rice (which she gives to her own children) because Seita doesn’t do anything. Another adult tells Seita to be brave like his father, echoing the aunt’s opinion.

Every character in the film fails to see Seita’s bravery. He eventually leaves the aunt’s house because he feels unwelcome and makes a home out of an air-raid shelter. He struggles mightily to provide food for Setsuko and keep her spirits up, but no one acknowledges it. No one considers caring for Setsuko to be legitimate work. Though the film is more than 20 years old and it takes place in the 1940’s, its message is still very relevant.

An under appreciation for childcare still exists throughout the world today. Fathers who chose to be primary caregivers are considered lazy, just as Seita was. Seita’s harshest critic was his aunt, a woman and a caregiver herself. Both women and men buy into the notion that childcare is woman’s work and that woman’s work is considered less important. “Fireflies” cries out for all those under appreciated caregivers, male and female. Seita’s struggle was so great and he was offered no assistance or recognition. He struggled until it broke him (don’t worry, the first scene of the movie shows him dying alone so it’s not a spoiler). Who are we allowing to break?

Dust It Off: Slumdog Millionaire SPOILERS

I am assuming that the reader has seen the movie already.

The "climactic" moment of "Slumdog Millionaire" cuts back and forth between Jamal awaiting the answer to the final question and Salim sitting in a tub full of money, preparing to kill the head gangster guy.

The first time I saw the movie, I was distressed by this scene. It culminates with a montage of images: Jamal winning the money, fellow 'slumdogs' pouring into the streets in celebration, and Salim shooting the gangster just before being shot himself. I didn't like how Jamal's problems needed to be solved with violence (by Salim) when the film had supported gentleness up to that point.

By my fourth viewing, I saw the film in a different light. I realized that, even though Jamal winning the money was the most celebrated moment, it was not his victory. Jamal had already received what mattered: Latika's safety. The fortune didn't really matter. Everyone celebrated the fortune, except Jamal himself. This celebration was juxtaposed with the image of Salim killing and being killed in a tub of money. The montage seemed to suggest the naivete of those celebrating. Money does not bring happiness. Jamal always knew that, but Salim realized it too late. As a result, Salim met his fate in a pool of its source: money and greed. The shooting scene was not a moment of triumph, but one of tragedy. The struggle for human connection through love begot the true victory of the film: Jamal and Latika reuniting.