Strange Culture is an intelligent and useful film, demonstrating how several cultures acquire and disseminate knowledge, specifically the art world and the justice system. It allows experts to speak, and it presents evidence. We even see some art—some of which is expectedly odd, and some of which is obvious tribute to tradition. The center of the film is Steve Kurtz, a long-haired blond, blue-jeaned artist and teacher, with dark circles under his eyes and a soft, humorous manner.
88 is a documentary that eloquently conveys that white Australia in 1988 largely did not have the sensitivity to understand the provocative nature of what they were doing by spending millions to celebrate the beginnings of colonisation.
Those were perspectives put forth in particular times, and they inspired fervent debate and disagreement. However, we, in successive generations, do not have to take sides for or against any man: we can look at their reasons and their results and take what is useful as the changing times demand. We can affirm classical studies and vocational training, democratic participation in the larger world and attention to particular communities, and nonviolence when it is sensible and violent self-defense when it is necessary.
Is there enough beauty and knowledge in the world? What are the virtues we want to cultivate and celebrate? What pain do we want to ease? Where there is injustice, do we want justice? What kind of culture do we want to live in, and with? Many people do not understand art, its technique or its mission, but art conveys living experience and contemplation of life better than almost anything else.
It is amazing how much content there is in this glittering work. The love of Anna and Vronsky is not the only love in the film. Levin, a great friend of Anna’s brother, a man with a country estate, is in love with Kitty who was infatuated with Vronsky, until Vronsky met Anna; and Levin has a drunken, rebellious brother, a radical watched by security forces, who married a woman who worked in a brothel.
The natural beauty of a regal wilderness and the charm of an old culture are captivating, but the film, inspired by a Tom Bissell story, “Expensive Trips Nowhere,” turns on the kind of tale of challenged love that anyone could see himself or herself in.
Miller is a useful fiction in Arbitrage, a film that shows what happens when a man’s sense of his own power begins to lose touch with reality: a great business deal fails, the contradictions in his private life become obvious, and his social position is threatened.
The film was inspired by Walter Wager’s novel Viper Three, a book that did not have an explicit political theme; and it was adapted by Ed Huebach and Ronald M. Cohen, giving the director Robert Aldrich the kind of material with social resonance that he wanted to deal with. That political vision attracted other participants.
Brian and Janet do get married; and their wedding dance is a howl of fun—and the comments that Mike makes as a toast confirm the ceremony as a communal ritual, and Gabby’s ribald comments are amusing, sisterly, useful. It is all a sweet interlude.
It can be hard to feel intimate with characters that are always in song supported by an orchestra, but the actors give compelling performances that draw the viewer closer even as some of the music pushes one away.