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It reminded me of the end of Brian De Palma's Redacted and the film's near-decision to commit the exact same manipulation. But Redacted is a smarter film. I'm not sure whether it is important to credit Magnolia with this and believe the Hi Mom!-esque controversy over their decision to redact De Palma's images, or whether you should credit De Palma and see the controversy as a scripted "Be Black, Baby" stunt meant to emphasize the film's satire over its politics. The impact of the film's ending carries the same treasure trove of meaning either way. The redaction of the "dead baby" images are the final punchline to Redacted, for it says that even De Palma's film can not exist without some form of censorship. And like the youtube clips that run throughout the film, Redacted's finale is yet another jab at the empty means and empty language with which some people express their politics.
Actually, it's final punchline is Ari Folman's Waltz with Bashir, a film Redacted prophetically satirized more than a year in advance.
Pop Music Notes yesterday ran a post about music videos that have been reshot for certain markets. Included is a comparison of the three videos shot for Frankie Goes To Hollywood's Relax. The first one "featured what can best be described as a leather bar/sex club setting," according to the post, which was perhaps a little risque for regular music channels. Godley & Creme then directed a more standard performance video with a laserbeam theme. And later on, to help promote Body Double, which featured the song as kind of a centerpiece, Brian De Palma directed a video for the song that included scenes from his film. However, there is often confusion about this rare clip, as the scene in the film itself plays much like a music video (the clip taken directly from Body Double is all over YouTube, and that is the one originally posted at Pop Music Notes-- it has since been corrected).
The actual music video (posted above) features extra shots that are not in the film, including a close-up of the "Indian" walking around the club, and the members of the band on stage (laserbeams included), and later, looking through telescopes set up at the club's window and seeing several scenes from Body Double, including said "Indian" about to murder Gloria Revelle (the video ends with the suspension of the murder and the lead singer turning his head from the telescope, looking directly at the audience as he sings "Come" and the frame freezes-- as if to say "go to the movies to see what happens!"). Also included in the video is a very funny parody of Flashdance, a film De Palma was almost coerced into directing. Around 1982, De Palma had signed on to direct Flashdance believing that if he did this one for the team, the producer would help De Palma get his pet project on the Yablonski murders in gear. However, De Palma quit Flashdance after two weeks.
In the Relax video, a man (who may or may not be a member of the band) dressed up as a woman in a wig and a dress (another De Palma staple given extra weight in a film called Body Double) does a Flashdance-type routine on stage that culminates with the money shot of the transvestite pulling the chain that lets the water loose onto his/her body as it sits in a chair, just as the music breaks (and just before the lead singer lets out the song's trademark "huh!"). As Drew points out in a comment to this post, the joke's origin also seems to lay in the fact that "the Flashdance filmmakers famously used a male body double for several of Flashdance-star Jennifer Beales' more complicated dance moves," including a breakdance audition scene. (Thanks, Drew!)
They should really include this video on any future DVD release of the film.
But what our host completely misunderstood, was that "Be Black, Baby", and the entirety of Hi, Mom!, makes for the most ideal type of viewing on a day when a black man was sworn into our nation's highest office. Because even though we just elected our first African-American president - and probably because of that - our culture has become more gun shy and eggshell aware than ever before. The elephant in the room that is "race" has been shrunk and is now hanging around the neck of every American daring to engage in a discussion of social politics.
Once again, in taking a step toward "political progress", what's sadly come along with that is an underbelly of weak-kneed cultural distress and a hesitation over open discussions.
SOCIAL RELEVANCE IN THE AGE OF OBAMA
Fox's post was challenged in the comments section by The Cooler's Jason Bellamy, which led Fox to clarify in a subsequent comment:
More clearly, yes, I think race is even more touchy a subject now that Obama is president. That's not the President's fault, it's just the current climate...
But I think you may be missing my point about Hi, Mom!. (And again, I will concede that I may have done a not so swell job of laying it out...).
I'm not saying that it's so socially relevant today because it openly confronts race issues (which it does), but rather because it highlights both a soft-headed, submissive mentality (the audience members in Hi, Mom! who feel that going through the Be Black, Baby gauntlet grants them instant enlightenment the way many people feel an Obama election grants the country instant salvation) and militant-style discourse (the radicals that who put on the play and confront people on the streets with the notion that only their point-of-view is the just one) that is currently dominating our political culture.
Mind you, I don't mean to imply that the above is exclusive to a leftist/liberal ideologie, it's just the phase we're currently in, and what DePalma chose to target for this particular film. (Still, he makes it clear that Jon slides along the ideological scale, becoming a right-wing bigot in the end after commiting a terrorist attack).
JON RUBIN, IDEOLOGICAL CHAMELEON
Fox mentions this latter point in his original post:
After ripping through a slur-filled rant to a news reporter, Jon looks at the screen and says "Hi, Mom!". Freeze shot, the end. And what a timely image for a post-Election '08 American audience to take in in this age where the cult of personality is raging like I've never seen it before.
Also in the insightful essay, Fox says a few words about De Palma and the many labels attached to him over the years before delving deeper into the context of "Be Black, Baby" within the whole of Hi, Mom!, using frames from the film to illustrate the confused motivations between promoting and participating in the radical theater production.
OTHER TOP 10 LISTSRedacted, which was released in the U.S. in 2007, had made at least six critics' top 10 lists for that year: Glen Schaefer (#6 on his list), Mick LaSalle (#5), Scott Foundas (#10, tied with No End in Sight and The Wind That Shakes the Barley, Stephanie Zacharek (#10, tied with No End in Sight), Christoph Huber (#6), and Bill Krohn (#10). Now for 2008, there are at least two more French critics who have placed Redacted on their top 10 lists. According to the January-February issue of Film Comment, French film critic and radio personality Frédéric Bonnaud has placed Redacted at number 10 on his list. Bonnaud's number one film was James Gray's Two Lovers, which was number five on the Cahiers editors' list, and which seems to have made the top 10 lists of many in France-- Gray's film opens in the U.S. on February 13th. Wes Anderson's The Darjeeling Limited was number three on Bonnaud's list.
Fiches du cinéma critic Pierre-Simon Gutman listed his top 10 in no particular order-- it includes Redacted, Appaloosa, Grace is Gone, and, listed first (although there is "no order" intended), Two Lovers. The latter film was also chosen as best of the year by the Fiches editors. Sean Penn's Into The Wild topped the Fiches readers' poll of best films of 2008.
(Thanks to Adam!)
The seven films presented here display a provocative, free-wheeling, politically subversive sensibility, rich with sarcasm and gleeful satire, bent on jolting the audience into thinking about what they’re seeing rather than lulling them with fantasy or romanticism. Undoubtedly, it is this rigorous and contrarian agenda that keeps most audiences and critics from fully embracing De Palma, but perhaps also makes him both the most frustrating and addictively watchable filmmaker of his generation.