Film: Gravity

Since its release last weekend I've seen Gravity described as the masterpiece of Mexican filmmaker Alfonso Cuarón. It is. It's a visually astonishing film that cohesively uses all its elements - cinematography, sound, acting, plot, visual effects, etc. - to tell a beautiful, and gripping story. While at face value it's a thrilling portrayal of a perilous struggle for survival, Gravity offers a deeper exploration into how each of us deals with adversity in life.

When I first saw the teaser trailer for Gravity I was instantly enthralled and excited. A couple of things stood out to me. First, I was in the theater when I saw it so I got the full audiovisual experience and the film looked beautiful and thrilling. I was instantly gripped, even though I really had no idea what it was about - no more than astronauts in trouble in space. The second thing I noticed were the names attached to it. Alfonso Cuarón is an increasingly recognized director with only a few titles under his belt, but they are diverse and told with style and meaning (He directed the best Harry Potter film, Prisoner of Azkaban, among other things). Seeing something so different with his name on it is good reason to get excited. Sandra Bullock and George Clooney are both great actors as well. Expectations were forming and I had a hunch this was going to be great. My ears were perked and I was paying close attention. I was dying to see it. That's what a good trailer does.

It met my expectations. Gravity's storytelling is efficient. Everything is tied to the ultimate purpose of the story and the characters. I just have to say thank you to Cuarón for doing that so well. Most great movies do it, but few big budget flicks are among them. It opens with three astronauts during a spacewalk. The shuttle Explorer is attached to the Hubble satellite and Dr. Ryan Stone (Sandra Bullock) is installing some hardware to assist in her research. It's her first time in space and Mission Control is getting readings indicating she's feeling a bit queasy. Matt Kowalski (George Clooney), on the other hand, is a seasoned veteran astronaut and zooms around with confidence. A third member of the team is enjoying himself as well. He's a nice guy with a family and you know instantly he is not making it out of this alive. The voice of Mission Control (Ed Harris... yes, the guy that was the head of Mission Control in Apollo 13... if you were paying attention) lets them know a Russian satellite was destroyed and has created some debris but no need to worry. Oh wait... yes there is need to worry. They get hit by a field of high velocity space shrapnel. Ryan is flung into space completely detached from the shuttle and her team. She starts to panic. Matt tries to settle her down on the radio but she can barely breathe.

This is all in the trailer. From there it's a series of obstacles that must be overcome one by one, each promising a great likelihood of failure and death. This is where we really get to know these characters and learn from their different approaches at dealing with extreme adversity. Because that's what Gravity is all about. It's a beautiful and extensive series of metaphors on life and how to deal with the unwelcome and unexpected. The movie is enjoyable as it is without the reflection, but some pondering may deepen its emotional impact. Dr. Stone has some difficult things from her past and has shut out the rest of the world. This seems to make the silence of space appealing to her. Matt is more fun-loving but with a sure will to survive and an unbreakable calm. There's going to be some real anxiety as you watch and consider how you would react in the same situation. You tell yourself these people have been trained for this, but only a true acceptance of the reality of death and life can really allow you to make jokes and listen to twangy country music as you drift in space with your oxygen ticking below 5%.

The physical situation in which Ryan Stone finds herself is symbolic of her emotional relationship with life and the rest of the human race. Isolated. Silent. Hopeless. As you watch you may begin to wonder if it mirrors aspects of your own life. Not in a desperate depressing sort of way, but in that this mortal life we all wander through, the chance for disaster is upon us at any moment and once it strikes - whatever flavor adversity comes in - it's hard to imagine that most people wouldn't panic too. Maybe it would be easiest to just drift off. To let go. It's a lot of work to stay afloat. Ryan must make a decision that most of us are never confronted with: to hold on to or let go of gravity. By the end of the film we learn that rather than the shared bond between two masses, gravity is also the shared bond between each of us and the rest of the human race (perhaps even a higher power?). The choice we are faced with is to hold on and accept gravity - despite all the weight that comes with that choice - or to let go and drift away.

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Sandra Bullock does a brilliant job. A little bit of research will tell you about the physical training she did for months to prepare for the role. What's more impressive about it too is how it's tied to her performance. The panic, the breathing, the distress, is all so authentic it hardly seems like acting but it's all rehearsed and practiced down to the rhythm and the depth of each gasp of air. Clooney is, of course, great. Cuarón likes long, moving shots which required precise sequences of motion from both actors. I think Bullock, though, is deserving of special attention for her role.

Maybe it would be easier to just drift away...

The cinematography was ground-breaking. Those long shots serve the story well as the unbroken motion from far back, to up-close, moving seamlessly from third-person perspective to first-person perspective inside the suit. You might not notice it, but that's quite alright. That style keeps you focused on the action while still giving you the full spectrum of what is happening without breaking the visual focus. The sound is right on, also flowing from one perspective to the next, while never creating a false environment by putting sound where it doesn't belong. Indeed, the most intense visual action is often made eerily serene as you witness the destruction happening in the silence of space. And the music, while not often present, hits the right notes at the right time, bringing the emotional journey all the way home in just the precise moments. Steven Price gets the top music credit and I think he's one to watch. Although he's worked on a number of impressive productions, he's relatively new to taking the lead.

But the full credit for this film's gravitas (get it) will fall on the shoulder's of Alfonso Cuarón. He fills or shares most of the top production credits as Director, Producer, Writer and Editor. The writing credit is shared with his son, Jonas. A quick perusal of Cuarón's (Alfonso, not Jonas) IMDb page reveals his two biggest aspirations in his youth were to become an astronaut and a filmmaker. This film seems like a culmination of his career thus far and a jumping-off point for the next phase. At a time when Hollywood seems all about creating soulless sequels pumped up to 3D to drive more revenue, the existence and box-office success of Gravity, a film whose soul purpose is to serve a beautiful story of redemption and building hope in life, dually builds a bit of hope in an industry that must not have it all wrong if it can put someone like Alfonso Cuarón at the helm of a production.

A note on 3D: As it was released Gravity became another one of those films that makes a lot of people that normally don't like 3D say, "This is a good argument for the validity of 3D." That caught my attention. I had the pleasure of seeing the film in IMAX 3D in a true, full-size IMAX theater. I'd recommend doing the same while its still in theaters. It was a really exciting, immersive experience.

Music: Blur 21

So you know that song you often hear at sporting events or on commercials with the vocals that scream "Woo hoo!"? It starts with some solo drums, a simple electric guitar riff, and then explodes with distortion, bass, and, of course, the famous Woo-Hoo's. Its a song we've all heard. It's called "Song 2". I'd like to introduce you to the group behind the song: Blur.

Hopefully you already know about Blur, but if not they are a pivotal British pop/alternative group whose most commercially-successful and popular era was the mid 90's. "Song 2" was just their accidental one-time US hit. They started in the very late 80's, became wildly famous in England in the 90's, and today, after a hiatus and reunion, play the occasional festival. Their frontman, Damon Albarn, is a prolific musician with a host of crossover collaborations under his belt, the most popular being Gorillaz, of "Clint Eastwood" fame. Blur's career started as a basic, white-collar pop-rock group with songs that parodied the banality of the routine, emotionless daily life. By the time their album Parklife (1994) hit they were the biggest thing in Britain (so I'm told). Quickly afterward they retreated inwardly as they struggled to deal with the unexpected fame they'd encountered. They didn't really sign-on to the "sex, drugs and rock n' roll thing." By 1997 they released the very raw Blur, from which sprung "Song 2." That album was a turning point artistically, and the music just got better with 13 (1999). Think Tank (2003) was their last full-length album and is their most polished and infinitely-listenable album. The recording of Think Tank was difficult for the band. Originally a foursome, they were a threesome by the time it was released. Since then they've gotten back to their full roster, headlined many big music festivals, and even released a song or two.

Blur is a great example of what I feel is a principle of great musicians that works against the current cycle of the popular music industry: musicians make better music as they mature. I might be wrong about that. I'd imagine its easier to market something that already has a following. But critically, a great artist often has a hard time living down their first great album. The crescendo career is a trademark of great artists that are dedicated to their craft - continually improving upon the serendipitous combination of raw enthusiasm and talent that led to their early successes. The pop culture industry focuses on youth and the excitement of a beautiful new face that puts a few young artists at the top of the charts. Even among more level-headed critics, many artists can never overcome their early successes despite the fact that their experience and perspective later in life affords them the opportunity to make better music. For notable filmmakers, actors, writers, and musicians, the key work that brings that initial success can never be replicated. Credit is rarely given for innovation as an artist's career progresses. After a first groundbreaking or critically-successful release, many artists become defined by those notable, early offerings. It is true that if it weren't for their earlier successes, many established artists' works would not receive as much attention - but that doesn't mean that we need to wrap those works as a noose around their neck. For Blur, the later stuff is the best.

Blur is (clockwise from top left) Graham Coxon, Alex James, Dave Rowntree, and Damon Albarn

Blur is not a perfect band with a perfect catalogue (Brit spelling). There are many flaws that, when looked at individually, can make them look rather amateur. The first few albums, honestly, are nothing special. But the same holds true for many great bands (i.e. Radiohead's Pablo Honey). Let's face it - pop, rock, and alternative music is usually very basic as far as the general instrumentation and format goes. They lack the structure and intelligent design of more serious genres like classical and jazz because they are often based more on intuition and superficial differences, at best, and market share, at worst. But we love it because it is easy to connect with the visceral experience of our daily lives. And it's got a beat or a hook that's hard to get out of your head. Blur was born out of Britpop and was most popular in the mid 90's when record sales really meant something. They had a bit of an overblown rivalry with Oasis and even beat them in sales at one point. Blur won the battle but lost the war as Oasis took over the US with Wonderwall and Champagne Supernova. But after that record, Blur moved into the best phase of their career musically. You could say the subject matter of the music doesn't change much through the years, but the way its told transforms from pure youthful energy to more subtle adult reflection.

And the sound is amazing. Blur, 13, and Think Thank show a band comfortable with experimenting in new sounds and song structures - less focused on making a great single and more excited about trying something unique. Some tracks from these albums are jams lifted directly from brainstorming sessions or variations on more abrasive sound effects and lyrical experiments. Think Thank learns from the previous two albums' experimentation with a cleaner and more polished delivery. They're definitely eclectic by nature. This is obvious from Parklife on. Each album has its mix of dramatic sweet-songs and high-tempo romps. Last year, 2012, marked the 21-year anniversary of their first album and so they released a career-comprehensive box set of 21 discs (18 CD's and 3 DVD's) which was a mouth-watering prospect for me - I admit: I really love box sets. It was an easy way for me to do a complete, chronological Blur retrospective. I listened to everything, start to finish. It was great to get the full picture and hear, in quick succession, the band's progression through the years. I know. I'm a total music nerd.

Blur 21

So I pulled out the top tracks from their studio albums for my top Blur playlist. I include just a few of the rarities/b-tracks that stand out, although I did find it interesting that for many of their early songs I enjoyed the rare, low-quality demo version much more than the album track. And if you do decide to tackle the list, don't forget to check out their latest 2-song single.

My Blur 21 top playlist:
Sing
Girls & Boys
End of a Century
To The End
Badhead
This Is A Low
Best Days
He Thought of Cars
The Universal
Yuko & Hiro
Bettlebum
Song 2
Country Sad Ballad Man
You're So Great
Strange News From Another Star
Tender
Caramel
I've Got No Distance Left To Run
Ambulance
Crazy Beat
Good Song
Gene By Gene
Battery In Your Leg

From the B-Sides:
All Your Life
Get Out of Cities
Bustin' + Dronin'
Black Book
Money Makes Me Crazy (Marrakech Mix)

2012 Release:
Under the Westway
The Puritan

Music: My Daft Punk Playlist

The robots. That's how Daft Punk are known by their close friends and associates. How do you take on the persona of an android, putting on robotic head pieces and never appearing in public without them, and still become one of the most well-respected artists in a global genre, producing the most anticipated releases in the industry? Fanboys everywhere in forest trooper helmets might ask the same question. Part of it may be the natural mystique that follows all genuine artists that value their craft over their own craftiness and successfully keep their private life private. So basically Daft Punk are the Bill Watterson of electronic dance music - except before he retired and with shiny, opaque helmets. Maybe that doesn't fit as well as I thought. This French duo, active since the late 80's, represents the best electronic music has to offer, summarizing its strengths in an accessible, shiny package. They are the bionic ambassadors of EDM.

There is an entire world of electronic dance music (EDM to those who know) that is beyond my scope or knowledge. If you don't know anything about electronic music or have always thought you weren't interested, you should know that Daft Punk is EDM for rock lovers (see Digital Love). Daft Punk is not among the founding fathers of the genre, but they introduced it to a wider audience. LCD Soundsystem, for instance, is Daft Punk as an indie garage punk band. At first glance they are quite different. Yet if you like one, you'll find it easy to connect to the other - and that's not even mentioning James Murphy's incessant references to Daft Punk. I can understand the initial aversion to electronic music because the repetition seems thoughtless and boring. But when you consider that music is a condensed representation of time and motion, electronic music utilizes technology to grab moments or feelings, extend them, and change them subtly from one moment to next, attempting to prolong and manipulate what is normally fleeting. And that is why Daft Punk, a pair of self-proclaimed robots, came to the conclusion that the music they create is actually human after all.

Michael Gondry's bizarre yet entertaining video for "Around the World" (1997)

In honor of Daft Punk's upcoming new album Random Access Memories I have for your edification my ultimate Daft Punk playlist. Daft Punk was another one of those discoveries I made early in high school by perusing cdnow.com. Somehow I wound up listening to their first hit "Around the World" and my mind was instantly blown. I had heard electronic music before but always as a soundtrack to a movie or as background music. I'd never considered listening to it for its own sake. Daft Punk brought that genre to the front of my mind. I remember listening to the album on my discman on a band trip when an older kid asked for a listen. I handed him my headphones and he said quizzically, "It's just the same thing over and over again." I didn't really have a response for him because I couldn't explain why he didn't get it - but he didn't. I learned a lot about song structure, form, and details by listening to Daft Punk - there is a pattern and logic that can appeal to the intellectual listener, but of course there are plenty of Burnin' beats as well. Plus you can't help but love a band that takes on their early criticism as their name.

With all the excitement for the new album I've been devling even deeper into the whole Daft Punk world. I was epically rewarded by finding the anime companion movie to Daft Punk's second album, Discovery. Interstella 5555: The 5ecret 5tar 5ystem was an idea spawned during the recording sessions for Discovery that came to fruition in 2003 after a partnership between Daft Punk and French and Japanese filmmakers. I'd seen the music video for One More Time, the album's opening track, but that was years ago and never really thought about the fact that it starts a story but doesn't finish it. As I was revisiting old videos I realized they were all connected and then I found the full movie on vimeo. My face almost melted off I was so excited. It being a family friendly cartoon movie who's score was perhaps the greatest electronic album of all time I sat down with my 2 year old daughter and enjoyed 65 minutes of pure bliss. With no dialogue and only occasional sound effects, it is a visceral experience that follows the musical flow of the album. The fact that something can keep a toddler's full attention for over an hour is not always desirable, but with this it tells me that she takes after her dad with her impeccable taste. Established robot lovers will already know about this gem, but if you have not seen it, follow the vimeo link the first chance you get 65 continuous minutes to yourself and let it wash over you.

And now, my list. This is exhaustive rather than exclusive. The studio album tracks are really the most essential, but the live mashups add another level of awesome if you know the hits. And the fact that they scored TRON: Legacy - perhaps the most critically underrated sci-fi blockbuster of the last ten years - is just a perfect fit. Let me know if you agree or if I missed your favorite track.

1. Daftendirekt - Homework
2. Da Funk - Homework
3. Around the World - Homework
4. One More Time - Discovery
5. Aerodynamic - Discovery
6. Digital Love - Discovery
7. Harder Better Faster Strong - Discovery
8. Something About Us - Discovery
9. Voyager - Discovery
10. Short Circuit - Discovery
11. Verdis Quo - Discovery
12. Human After All - Human After All
13. Robot Rock - Human After All
14. Emotion - Human After All
15. The Prime Time of Your Life - Human After All
16. Robot Rock / Oh Yeah - Alive 2007
17. Around The World / Harder Better Faster Stronger - Alive 2007
18. Face to Face / Short Circuit - Alive 2007
19. End of Line - TRON: Legacy OST
20. Derezzed - TRON: Legacy OST

PS - Someday my wife Karen and I are going to do this awesome dance to Harder Better Faster Stronger in some public setting, although we'll be fully clothed.