Speak Softly and Scream Murder:

Hostiles

Theaters: 2 September 2017

Streaming: 18 April 2018

Runtime:  133 minutes

Genre:  Drama-Historical Fiction-Western

Els:  6.0/10

IMDB:  7.2/10

Rotten Tomatoes Critics:  70/100

Rotten Tomatoes Audience:  76/100

Metacritic Metascore:  65/100

Metacritic User Score:  7.2/10

Awards: 4 Wins all minor

Directed by: Scott Cooper

Music by:  Max Richter

Cast: Christian Bale – Rosamund Pike – Wes Studi

Film Locations:  Arizona – Colorado – New Mexico

Budget:  – $39 Million

Worldwide Box Office:  $35.7 Million

In the late 1800s U.S. Calvary Captain Joseph Blocker (Bale) is ordered, as a final assignment before retirement, to escort his battlefield enemy, Cheyenne Chief Yellow Hawk (Studi) from New Mexico to his home in Montana. The trip north is filled with anger and violence with reconciliation between whites and reds a distant probability.

The movie is exceptionally well acted along with gorgeous and stunning photography and as a bonus Cooper added a deft piece from matinee westerns of yore to the movie by having Ryan Bingham perform his original song “How Shall a Sparrow Fly” while also playing the part of Calvary Sergeant Paul Malloy. I haven’t witnessed a singing, acting role since John Ford’s “Rio Grande” film starring John Wayne where Ken Curtis of “Gunsmoke” fame sang with his fellow “Sons of the Pioneers“. 

The movie’s Achilles’ heel is the story, worthy of an eighth-grade film project; bland, risk-free, and unsatisfying with all plot lines stuck in neutral not able to engage either the characters or the audience.

Source: IMDB

The Last First Leatherstocking

The Deerslayer

By James Fenimore Cooper

Published by SMK Books

Copyright: © 2012

Original Publication Date: 1841

James Fenimore Cooper – Wikipedia

Biography:

James Fenimore Cooper died in 1851 at the age of 61 in Cooperstown, New York, a small town founded by his father, William Cooper in 1785. The city is located on the southern edge of Otsego Lake which means ‘Place of the Rock’ in the Mohawk language and Glimmerglass in his novel ‘The Deerslayer‘.

Cooper, the eleventh of twelve children, after his first birthday spent his pre-teen years in Cooperstown. He was enrolled at Yale University when he was thirteen and expelled for dangerous mischief at 16 without obtaining a degree. He crewed a merchant ship at the age of seventeen and sailed across the Atlantic to London and down along the Spanish coast into the Mediterranean. In 1808 he joined the U.S. Navy and spent the next two years serving aboard inland lake gunboats and preforming recruiting duties. He resigned his commission in the navy in 1810 for the lack of excitement. (In life where timing is everything, the British naval blockade of American trade during the war of 1812 may have provided Cooper with some needed excitement.) In 1811 he married a wealthy heiress, Susan Augusta de Lancey and settled down to life of leisure for the next decade.

In 1820, after ten years of dabbling in various occupations, more as hobbies rather than employment, he decided to take up writing, producing his first novel, a poor imitation of Jane Austin novels, ‘Precaution’ in the same year. His second novel ‘The Spy‘ was more successful and gave him a measure of fame and wealth, enough to encourage him to continue his pursuit as a novelist and writer.

His first ‘Leatherstocking’ novel. ‘The Pioneers‘ appeared in 1823 followed by the second ‘Leatherstocking’ novel, ‘The Last of the Mohicans‘ in 1826. ‘The Last of the Mohicans‘ is considered his greatest triumph as an author from the time it was written to the present day and has been adapted to film many times over the last one hundred years.

As a testament to his success as a writer, after two centuries almost all his fictional novels are still in print.

The Deerslayer:

The Deerslayer‘, first published in 1841, was the fifth and final volume of the ‘Leatherstocking‘ historical romantic novels by Cooper. In ‘The Deerslayer‘ the author brings the protagonist of the ‘Leatherstocking‘ series, Natty Bumppo, back from the future as a prequel to the first four novels. Running in the background to the story is the French and Indian Wars, setting the stage and providing context for the action and dialogue occurring on and around Otsego Lake known as Glimmerglass in the novel.

Natty, referred to by his nicknames Deerslayer and Hawkeye, is a young 17th century moralistic American frontiersman living and traveling among the Iroquoian Mohawks, in what is now known as central upstate New York. Deerslayer has a strong innate sense of right and wrong from a civilized Christian perspective which he continually attempts to square and bridge with the less polished cultural tenets of his Indian brothers. To avoid moral conflicts with his adopted tribal brothers he focuses on the good in the red and, with a nod to cultural sensitivity, he internally closets any interpretive bad in the red as inconsequential. Deerslayer though, takes a less compromising position with his white brethren; admonishing them for traits and behaviors that diverge from his Christian grounding in what is right.

Cooper reinforces the inherent conflicts between good and bad by creating good Indians, Mohawks, and bad Indians, Mingos. The noble, liberated savage versus the evil, fearsome savage. In the end the white and red dissipate and all that is left is the perpetual struggle between good and evil.

Layered on top of Deerslayer’s sententious inclinations is a romance played out between Natty and the beautiful daughter of his traveling companion’s friend: Judith. Judith is slowly drawn to Deerslayer’s inherent goodness while Natty remains committed to his frontiersman bachelor ways. Another gap for the Deerslayer to bridge but in this instance, fails.

Literary Criticism:

The Deerslayer‘ received much critical praise from the time of publication onward into the 20th century. Author D.H. Lawrence found the book “one of most beautiful and perfect books…” Critic Carl Van Doren called novel “as a whole absorbing.” Wilkie Collins, author, said “Cooper is the greatest artist in the domain of romantic fiction yet produced in America.” Critic Lounsbury proclaimed that ‘The Pathfinder‘ and ‘The Deerslayer‘ “were pure works of art.”

Not all criticism was positive. Mark Twain supposedly found it dreadful and wrote ten pages explaining his thesis in the aptly titled: ‘Fenimore Cooper’s Literary Offenses‘. As is his want and style, Twain’s account of Cooper’s offenses was exceptionally funny though I’m less than sure if he was serious in his criticisms or if he just saw an opening to throw a few well-constructed barbs to help pay the bills and meet contractual obligations. An excerpt from the opening to ‘Fenimore Cooper’s Literary Offenses‘:

“Cooper’s art has some defects. In one place in ‘Deerslayer‘, and in the restricted space of two-thirds of a page, Cooper has scored 114 offences against literary art out of a possible 115. It breaks a record.

There are nineteen rules governing literary art in the domain of romantic fiction–some say twenty-two. In ‘Deerslayer‘ Cooper violated eighteen of them….”

Cooper is dead. Long live Cooper.

Bibliography – Fiction:

References and Readings:

Fact or Fiction

After the Ice: A Global Human History, 20,000-5000 BC B After Ice 2003

Written by:  Steve Mithen

Published by:  Harvard University Press

Copyright:  © 2003

The Earth has experienced at least 6 major episodes of glaciation in the past. Three in the Pre-Cambrian, which is a time older than 0.542 billion years (Ga) and three in Phanerozoic, a time younger than 0.542 Ga. All appear to have had a profound effect on life on Earth; not so much the beginning of  any particular ice age but what occurred when the glaciers melted. The first glaciation, Pongola, occurred from approximately 2.9 to 2.75 Ga. The end of this glacial period saw a build up of oxygen in the oceans until it reached critical levels and began charging the atmosphere. Around 2.45 Ga, oxygen levels reached levels sufficient to cause cooling of the Earth, by removing greenhouse gases, and thus starting the second glacial period, the Huronian from 2.4 to 2.1 Ga. Shortly before or after the glaciers melted, around 2.2 to 1.6 Ga, eukaryotes, cells with a nucleus, appeared. Eukaryotes are everywhere, you, your cat, your flowering plants that your cat eats, the spiders in the corner of your bedroom that your cat will not eat, everywhere. Next up is the Cryogenian, a glacial period in Earth’s history occurring from 0.720 to 0.635 Ga. Shortly after they melted, the ozone layer was created, a cloak desperately needed to protect life from the harmful rays of the sun.  The Cambrian Explosion of life followed the ozone creation.  Moving on to the next glacial, the Andean-Saharan, occurring from 0.450 to 0.420 Ga, predominately in the Silurian Period but also sucking up some of its predecessor’s, the Ordovician, time. This glaciation is followed by significant accumulation of life, plants and animals, moving beyond strictly marine habitats to occupy solid land and Amazon distribution centers. The Karoo Ice Age, from 0.360 to 0.260 Ga, is followed by the largest extinction event this planet has ever seen, occurring at the end of the Permian and the beginning of the Triassic.  At this point glacial melting does not appear to be the causative event for the extinctions but may have provided a nudge. The final event, known as the Quaternary Glaciation, started 2.58 million years ago and is still active today. Currently we are within what is called an inter-glacial period. These inter-glacials are preceded and followed by glaciers marching towards and receding from lower latitudes.  Note to self and you: these glacial periods last much, much, much longer than 2.58 million years. With the exception of Antarctica and Greenland, the current set of glaciers reached their maximum extent about 20-25,000 years ago and have slowly retreated, essentially disappearing  by 9600 years ago. Around 25,000 years ago, human populations started to increase.  By 9600 years ago his technological progress exploded.

Dr. Steven Mithen, the author of After the Ice, attempts to record our history from when the ice sheets began their retreat to the time the Sumerians first developed a system of writing 5000 years ago, a period partially covered by what we now call with the broad brushed term; pre-history.  Dr. Mithen primarily uses an archeologist’s box of tools to decipher ancient Homo sapiens sapiens style of living, their diet, housing, religion, culture; their existence and growth as a species, all from a time when our ancestors were not consciously plastering their material world with sticky notes.

After the Ice is a global tour of archeological finds and their interpretations, from our hunter-gather roots in the Pleistocene to a more sedentary and cosmopolitan life as a farmer, artist, city-dweller; parsing one continent at a time. There is little in the way of original research in this book, more a compendium of secondary source material, known sites, and the results obtained from them. Exactly what I was looking for when I picked up this book to read.

The author covers most of the major sites and imparts to us what all the shell debris, bone carvings, and flint scrapings mean. He does this beautifully and when confronted with differing possible interpretations, he carefully constructs a point-counterpoint argument to help resolve the issues.  His discussion and synopsis of the initially controversial, Monte Verde site in Chile, which ultimately pushed humanity’s origins in the Americas back about 2500 years, from Clovis times to 14,500 years ago, was expertly relayed to the reader, leaving little room for alternate meanings: a real education one may add.

This book and author excel when relating the artifacts found and their possible meanings and its thoroughly fascinating stuff, but he manages to turn the affair into an awful, muddled mess of narrative excess by introducing a time-traveling archaeologist, John Lubbock, to add color to the play-by-play.  John Lubbock, who actually was an eminent archeologist in the late 1800s, observes humans at various times and places in our pre-history, providing second person comments on the existing state of humanity and the world.  It’s all a bit much and very distracting, annoying even.  An all too common example; meaning to give an example, I just opened the book, put my finger down and copied whatever was there:

Lubbock left the cave at Lukenya Hill with a hunting party late one afternoon.  As they walked, spider’s webs within the grass were illuminated by the setting sun, momentarily exposed in a narrow band between clouds and distant mountains.

Keep in mind this happened 1000s of years before writing was invented so this is little more than pure unadulterated fiction. To add authenticity and license to his fiction he occasionally appends a footnote. And it’s liberally interspersed throughout the book amounting to equal parts Lubbock fantasy to Mithen facts.  Take out Lubbock and the book goes from a blathering 600 pages of confusion to 300 pages of something that may be worth reading. Mithen just can’t seem to make up his mind, does he want to write a factual history or historical fiction.  Actually he did make up his mind, he decided to do both.

I initially tried to skim Lubbock’s narrative and just stick with Mithen’s discussion but the author so intertwines them both that bypassing one makes nonsense of the other. This could have, should have been a great book dealing with the world’s archeological quest to unravel our past.  There are moments in the book where Mithen brings his and his colleagues’ science to life but in the end it just too dang hard to enjoy the meat when he coats the entire thing in Lubbock’s wispy, sticky cotton candy.

I am once again on the lookout for a decent account of humanity’s pre-history.

Illuminati for Dummies

The Damnation of Theron Ware

Written by: Harold Frederic

Originally pPublished by:  Stone and Kimball

Original Copyright:  © 1896B Theron Ware

Harold Frederic, 1856-1898, photographer, journalist, and author, son of Presbyterians, practicing their religion in the churches of Methodists, growing up among immigrant Catholics in upstate New York, adopted a skeptical view of all religions in adulthood. He lived an idiosyncratic life as an unbuttoned, avant-garde individualist, stating near his untimely end in 1897, “I live wholly to myself because I like to live an unshackled life…”. In 1884 he moved to London, bringing along his wife, Grace, and their 5 children, working as a correspondent of the New York Times. He later set up a second household in London with his mistress, Kate Lyon and had 3 additional children by her. His premature death in 1898 left both families in financial difficulty.

Frederic wrote 10 novels, 23 short stories, 2 volumes of non-fiction, and countless newspaper articles over his short life time, but he did not achieve critical acclaim until the publication of his seventh novel: The Damnation of Theron Ware in 1896.  Two other novels followed, Gloria Mundi and The Market Place, cementing his legacy as an accomplished author, on par with, but better known, contemporaries Nathaniel Hawthorne, Mark Twain, Henry James, and Stephen Crane. The posthumously published, The Market Place, was a financial success, alleviating his family’s financial duress.

The Damnation of Theron Ware, likely not autobiographical, but certainly expanding on the author’s experiences growing up in Utica, New York, is a story of a young, naive, married Methodist preacher: Theron Ware, who is posted by his bishop, to a small, conservative, poor congregation in a fictional town in the very real and ancient hills and forests of upstate New York.

Through his witnessing of an Irish worker’s fatal injury, he is innocently introduced to a beautiful, intelligent, but wild, Irish-Catholic young woman named Celia. This encounter sets off a series of faith questioning episodes with this woman and her friends: a priest and a cynical and urbane Catholic scientist; accelerating the protestant minister onto the fast, yet short, road to perdition.  His ensuing infatuation with Celia separates him from his wife. His education at the hands of the Catholic trio separates him from his faith and church. His conversion to religion without god and comprehension separates him from the Catholic trio or more precisely, the Catholics separate from him.

His innocence is gone but his education is incomplete. He is damned.  He concludes that his salvation lies in politics.

No Remorse – No Acquittal

The Promise (2017)M The Promise

els – 9.0/10

IMDb – 6.0/10

Amazon – 4.5/5 stars

Rotten Tomatoes Critics – 5.6/10

Rotten Tomatoes Audience – 4.7/5

Directed by: Terry George

Written by: Terry George and Robin Swicord

Produced by: Eric Esrailian, William Horberg, Mike Medavoy, et.al.

Music by: Gabriel Yared

Cast: Oscar Isaac, Charlotte Le Bon, Christian Bale

The defeat of the Ottoman Empire at the end of the First Balkan War in May of 1913 resulted in the loss of 85% of their territory and signaled the end of the Muslim sultanate in Europe. The Balkan nations, at the end of the war, expelled 100s of thousands of Muslims from their newly liberated lands, to lands within Anatolia, which at the time, were mostly inhabited by Christian Armenians. The resettled Muslims resented their inferior status along-side their more affluent Christian neighbors, adding fuel to the smoldering hatred of all things not Muslim and Turk.

At the outbreak of WWI in July of 1914, the remaining fragments of the Ottoman Empire joined the Germans in battling the Russians, with the hope of regaining past glory and territory. Blaming the Armenians for the Balkan War defeats, the Turks used WWI to light the match to their smoldering contempt for Armenians, igniting an inferno of maniacal, murderous elimination that was to engulf the Christians for the next 7 years. The match struck in April of 1915. The Turks arrested and eventually murdered almost 300 of the Armenian elite in Constantinople. The Pogrom would continue through 1922 resulting in the deaths of 800,000 to 1.5 million Armenians.

The critics panned this movie for insufficient plot development concerning the romantic triangle between the 3 protagonists. Well, ok then.  Getting lost in the reeds of sex while the rivers run red with the blood of a thousand, thousand innocents, suggests that the proctors of art criticism are not even remotely up to the task.

Yes, The Promise is a love story, as a sub-plot, within the main story of telling the horrific events of the genocidal Armenian murders by Muslim Turks.  Numerous Turk methods of depravity are chronicled here, marching Armenian women and children into the Syrian desert sands to die of dehydration, cruel enslavement of the Armenian men to build infrastructure until they drop dead of starvation, injury or murder, the burning of Armenian towns and the mass execution of the towns inhabitants, and at the utmost limits of debasement the request for the payouts from Armenian’s life insurance policies after the Turks have killed them.

To this day Turkey refuses to acknowledge the death of the Armenian Christians as genocide; the current, unremorseful, Turkish Prime Minister Recep Tayyip Erdoğan prefers to refer to it as the Event of 1915.