A Quest for Joy

vic-chesnutt.jpgOn the 1996 benefit album Sweet Relief II: The Gravity of the Situation, the songs of Vic Chesnutt were covered by everybody from Madonna to R.E.M. to the Smashing Pumpkins to the Indigo Girls. Early in his career, the singer/songwriter was championed by Michael Stipe, who produced Chesnutt’s first two records, released in 1990 and 1991. PBS aired a documentary titled Speed Racer about his life. He had a small part in Sling Blade. He has collaborated with a diverse slate of artists from Widespread Panic to jazz guitarist Bill Frisell to the Cowboy Junkies to members of Fugazi and Godspeed You! Black Emperor. Chesnutt’s latest partnership is with the psychedelic-pop group Elf Power, part of the Georgia collective that spawned The Apples in Stereo and Neutral Milk Hotel. Chesnutt and Elf Power will be among the performers at a March 18 R.E.M. tribute concert at Carnegie Hall, at which they’ll perform “Everybody Hurts.” I start with the résumé because even if you’ve heard Chesnutt’s name, he’s not exactly famous. He has an immense reputation but a relatively small audience.

Good Night, and Good Riddance.

The handsome Good Night, and Good Luck is a joy to behold but short on ideas, drama, and humanity. It ends up being a dull film documenting the dull work of dull television journalists, when it really wants to be a sober but nostalgic reminder of heroic muckrakers bringing down the big bad bigot of the Red Scare. Perhaps most crucially, as a lesson for our times it’s a deeply flawed comparison.

My Father the Hero

It’s been a decade since I read Christopher Buckley’s Thank You for Smoking. I remember it as slight but laugh-out-loud funny, one of the few books I did not hesitate to recommend to anybody. The movie adaptation, written and directed by Jason Reitman, didn’t make me laugh out loud, but I was surprised at its modest depth – and the sources of that richness.

Submitting to Secretary

All evidence suggests that the people who made Secretary didn’t pay much attention to the failure of David Cronenberg’s Crash. The movies share a similar M.O.: A relatively normal person is introduced to sexual practices that some might consider deviant and violent, and then gives him- or herself over the them. And the films also have the same fatal flaw: They are closed systems that don’t allow access to the characters. Both are beautifully made and so distant that the most I can do is admire their craftsmanship.

Frustrating History

The Last Days begins with a statement from a Hungarian Jew who survived the Holocaust: As World War II began to slip away from Hitler, the German führer chose to kill Jews with renewed urgency instead of fortifying his battle troops with death-camp soldiers. Why? This documentary never tries to explain. Implicitly, the movie says Hitler hated Jews more than he cared about winning the war. Perhaps that’s the only possible answer. But as glibly as it’s offered here, it’s deeply unsatisfying.

Why the World Doesn’t Need This Superman

And don't come back!Superman will soon be leaving us, and not a moment too soon. After racking up an impressive opening week with his latest adventure, Superman Returns, he got his ass kicked by some dead men’s chests or somesuch. So let the man go away for a while. Five years at least, maybe forever. We don’t want him around. Lois Lane got it right in her Pulitzer Prize-winning editorial the last time that loser left Earth: The world doesn’t need Superman, or at least this one.

A Solution Without Satisfaction

'The Man from the Train'Bill James’ The Man from the Train is an ugly book, but for the most part you shouldn’t read that as a criticism. It’s ugly in three ways, and two of those were certainly unavoidable given the subject – the murders of more than 100 people in the early part of the 20th Century. But the third way could have been mitigated to at least some degree.