Computer Age

Cry Freedom (1987)

Director: Richard Attenborough

Cast: Denzel Washington, Kevin Kline, Penelope Wilton, John Thaw, Josette Simon, John Hargreaves, Ian Richardson

For most people reading this text and are less than 20 or 25 years, the word Apartheid sure they do not hear anything. Today, and fortunately, this term is a sad memory in the background of the history books, but until relatively recently was very present in the lives of millions of people, who gave his name to one of the most infamous systems of government and miserable ever known to mankind.

With Nelson Mandela languishing in jail and the internal opposition (black or white, without distinction) maniatada system by a fierce repression, Steve Biko was one of the men who fought and risked more to denounce publicly, openly and from within, oppression a government which institutionalized racism into a way of life. His arrest and death by police after days of brutal torture in 1977, along with the appalling massacre of students in Soweto took place a year earlier, ended awakening the conscience of a world that until then had been almost completely ignored what was happening daily in South Africa.

The fact is that cinema is a business that moves to the sound of the events that you live, and therefore tends to quickly join the fashions prevailing at any given time, leaving "with the flow" so to speak. Since the end of the'70s, but especially from the mid-'80s, the anti-apartheid movement had been growing in the West. The film was not unfamiliar with this massive demonstration against racism and "South African problem," apart from being a daily source of news, began to have more or less prominent presence in many movies. And Sir Richard Attenborough, one of the most respected professionals in the Spanish film scene, neither wanted to lose the opportunity to denounce that government and its system directly.

More than a biography of black activist Steve Biko, Scream Freedom is the story of white journalist who accompanied him during his final two years of life. Donald Woods went from friend to foe, having to flee to South Africa to try to denounce the public more than suspicious death of Biko. After that became his pen in one of the most sharp swords in the fight against the system of racial segregation, which would eventually collapse by the early'90s.

Being who he is, in Richard Attenborough could not expect anything other than a professional and well-finished product, and Grita freedom is. In 1987 Attenborough was remembered above all for Gandhi, but a good film overstated, which had swept the box office and Oscar in 1982. Accustomed to dealing with large-caliber productions like that, it is surprising to see the helm of a movie like this, quite small in comparison, but I think in some ways superior. The film benefits from all the strengths of the veteran British filmmaker, as his care in the preparation of the shots, and especially the excellent leadership of actors able to make credible Kevin Kline in a role far removed from the usual vis comic who is known for demonstrating in passing that is a very good actor. The same could be said of Denzel Washington, a competent actor but not a genius. A guy who has always seemed to me fairly bland, but here I find more convincing than in the past, giving her character the strength of character you need to do so without falling into shrillness interpretation. The duration of the film is somewhat excessive, but it was pretty good deal, especially during the last hour of footage.

Although it may incriminate opportunistic free to shout at the wave of other films that took their time to a greater or lesser degree of Apartheid to attract the public, and although it has long been denounced as a political band (the system against which arremete Fortunately, was buried long ago) can not say that is not valid to consider the lack of freedoms of the people in general and of the journalistic profession in particular, not only in regimes considered "law enforcement" such as dictatorships . In addition, this film is a warning in the current climate of growing racial violence in which we live. It is a portrait of past events, yes, but who forgets the past is irretrievably doomed to repeat it.

Moonwalker (1988)

Directors: Jerry Kramer, Jim Blashfieldm Colin Chilvers

Cast: Michael Jackson, Sean Lennon, Kellie Parker, Joe Pesci, Brandon Quintin Adams, Dante Basco

If there is a character as anyone else to illustrate the concept of "broken toy" within the cultural landscape that is, without doubt, Michael Jackson. Before it exploded in his face as the scandals ruin social, artistic and economic, Jackson was the closest thing to a deity who had walked around the world since the time of the Roman emperors. Their power, influence and pull people were so great that, for one example, in the fall of 1991 until the very U2 decided to delay a month the launch of their new LP, the only outstanding Achtung Baby, for his production of no longer coincide with the Dangerous.

If it has seemed better not to talk too much in 80 years when, along with Steven Spielberg, Michael Jackson became the highest representation of mass culture Yankee, which was then their best commercial. His name and music are recognized around the globe, its presence in the media was almost continuous and any news related to him, it was absurd, was the subject of front page and caused real earthquakes. With the world in his hands, the King of Pop decided that its next step would be encumbrarse in the world of celluloid at the hands of Spielberg, who was one of his closest friends. Jackson had already made first steps as an actor in their own video clips, like the Thriller, and had played Captain Eo, a deployment of high technology applied to the movies directed by Francis Ford Coppola to the greater glory of the artist, and intended for display at the EPCOT The star attraction of the Disneyland in Orlando.

Against this background, it's no wonder the huge expectations created when he learned that Michael Jackson would star in a movie. Even the most insignificant details were kept secret until the last minute. Thus, when the company began allowing leaks to the press about what was cooking, the film was on everyone's lips and had ensured the success, despite the fact that in the United States would only be marketed on video. Outside there, however, it would appear on the big screen, and suffice it to say that when the premiere was approaching, Spanish Television scheduled to premiere the video for Smooth Criminal (which served as a trailer of presentation) on prime time TV. What followed was a state of collective madness among the fans as not recalled from the Beatles, with which the queue for the cinema ticket sales were a couple of laps and building griteríos and deafening in the room, hardly allowed to hear anything during projection.

All this might make more of a drop socarrona a smile, as the course of the years has meant that Jackson has gone from being the subject of admiration and respect to be one of mockery and ridicule. And when one dares to film, undoubtedly one of the most insane exercises film ever filmed. The thing is a big star of the music (you guess who it is) that, between song and song is dedicated to fighting a powerful henchman of evil and show their love for step children (sic). In short: we must have a steel ball to be able to swallow whole Moonwalker, because apart from the video clips (of which we will talk a little later) the film is bad as the worst sin. It was at that time (to me at least I did not like anything at all) not to mention now, with its protagonist into the shade (if it) of what once was. Still, conclusions can be drawn very interesting viewing, beginning with the fact that never again shoot a movie like this because there is no musical superstars of the caliber of Michael. Leaving aside the case, well known at this stage, one days who competed with him in the matter of Olympus "charts" are not what they were, and the poor devils that currently pollute with his presence the top of the hit would not be one millionth of what Michael was twenty or even live lives row.

In the case of Moonwalker this note in the plot audiovisual Jackson dominated best: video clips. That's when the King of Pop says, "Here I am, what happens?" And with his faithful squire, the ineffable Quincy Jones, shows the enormous capacity treasured then pop anthem to make anything written about a staff. This is evident especially during the scene of the Smooth Criminal, perhaps one of the worst areas of the repertoire of Jackson: a song clearly filling (served as a "farewell and close to Bad), the simplest mechanism Botija and a Moonwalker elongated to boredom, to put a gentle way. But there we have it, becoming successful and making even more of a hum machacón and its absurd chorus after hearing it. And it goes without saying that the clip of it is very well done, but you can not expect less in a tape shot in full apotheosis of the genre, also starring one of the musicians who knew how to get more from the budget through. A privately I will stay with Leave me alone, full of genuine public statement milk bad against the absurdity of the media harassment, wrapped with a very catchy music and, for the opportunity at hand, a video clip of the most spectacular, authentic monument to the techniques of stop-motion. " Perhaps the best of the film.

Although Michael Jackson could say many things and not all very good (in the place of art in addition to the staff), no one can call into question what was their influence on popular music and his legacy, including this Moonwalker. Yes, true: it is an "on" egocentric narcissism that distills a thesis worthy of a psychiatrist, and that is a top bodrio unbearable if we forget about the video clips. But it is a reflection of a few years, the 80 that were to pop music what the 90 andalusia in the fashion world, and we like it or not, had moments of greatness that will never be repeated.

Crossroads (1986)

Director: Walter Hill

Cast: Ralph Macchio, Joe Seneca, Jami Gertz, Joe Morton, Robert Judd, Steve Vai

In 1986, Walter Hill was a renowned director, producer and scriptwriter of film action, thanks to films like 48 hours or limit Streets of Fire; Ralph Macchio was in the process of repeating his role as Daniel LaRusso in the Karate Kid Part II, which would be another big box office hit. Separated from the waiting brace that threatened to pigeonhole their respective careers, they decided to join forces to shoot this story about a student at the Juilliard School blues fan who takes a journey in search of the mythical crossroads where it is said that the musician Robert Johnson signed a pact with the devil to become a prestigious "bluesman." Not too dry for fans Macchi, then world-famous, the film is structured as a clone of Karate Kid, including the crucial final duel at this time change kicked cumbersome beast named by aggressive "rifts" in guitar, and where protagonist and his mullet will be provided with the excessive and egocentric genius Steve Vai, in a sequence even more surreal in his eponymous Karate Kid, but infinitely more fun. Añádanle to all that a touch of "road movie" and a few paletos rural andalusia style made in the USA to create atmosphere and we have a movie "new", which unfortunately happened without penalty or glory for the cinema, but their peculiarities eventually turn, over the years, in a tape of worship.

And the film itself?. Well, thanks. The truth is that it shows, although the start was particularly weak, back slowly until the arrival of such immeasurable grief final is undoubtedly the best stew and not to disappoint any "guitar hero" of estime . Ralph Macchio, true to its style, continues to offer this delightful image moñas that we liked to have had the immense good fortune to see Karate Kid premiered on a big screen. For the side that accompany it in its particular trip lack charisma (except Steve Vai, of course) and is missing a little more of the beautiful Jami Gertz (who was filming another movie of worship, Quicksilver, with a young Kevin Bacon). Nevertheless, the bottom line is resultón, albeit briefly. After that, the careers of Walter Hill and Daniel LaRusso good (sorry, Ralph Macchio) would definitely be predestined.