movies

“The Firm” Ethics: Mitch Should Have Known What He Was Getting Into

/ Jack Marshall / 9 Comments

I was just watching “The Firm” again after many years—my old friend and the terrific actor, the late Bart Whiteman, played “Dutch”—to get the ick of “Cabin Fever 3” out of my head. (It was part of last night’s Halloween triple feature at my house.)

Pay attention, Tom...

Pay attention, Tom…

In an early scene in the film, Harvard Law student Mitch McDeere (Tom Cruise) is being courted by big law firms offering perks and cash. Then a small Memphis firm he never heard of —later, he learns that it is run by the Mob— blows him away with an offer he can’t refuse. The firms partners tell him that they wanted him so much, they bribed the clerk at Harvard’s placement office to learn what salaries the other firms had offered Mitch, then matched it plus 20% more. Tom is impressed, and flattered, and greedy, and takes the offer, even though the firm had openly revealed itself as unethical and proud of it.

He should have seen this as signature significance of a dangerously unethical culture in a profession with high ethical obligations, and walked out the door. A young lawyer with well-maintained ethics alarms would have. Who knows? Maybe this was a test the corrupt firm used to weed out ethical associates.

I always thought Mitch was just unlucky, but in the film, at least, he ended up in a bad firm because an ethics alarm wasn’t working.

 

Ethics Quiz: “God Bless America”

/ Jack Marshall / 8 Comments

To take this quiz, you have to go to Netflix and watch “God Bless America,” a 2011 black comedy, written and directed by Bobcat Goldthwaite,  that is a strange hybrid of “Network,” “Falling Down” and “Harold and Maude.” Unless, of course, yo9u have already seen it. (For a hint regarding its content and thrust, check the tags, as well as the clip above.)

And your Ethics Alarms Ethics Quiz question is...

Is this an ethical movie?

You might also want to read this related post, from The Ethics Scoreboard in 2004.

Enjoy!

Or not…

Woody Allen, James Shigata, And Diversity Casting Ethics

/ Jack Marshall / 3 Comments
You have no idea who this is, do you? Well, it shouldn't have turned out that way...

You have no idea who this is, do you? Well, it shouldn’t have turned out that way…

I’m sure you heard about James Garner’s recent death, but were you aware of James Shigata’s passing? Shigata, who died July 28 at the age of 85, was a contemporary of Garner’s, a superb actor, and like Garner, a leading man with leading man looks. James Shigata, however, was of Asian descent, though American through and through, and never escaped the perceived limitations of the shape of his eyes. Though he had a starring role in the hit film adaption of  the Rodgers and Hammerstein musical “Flower Drum Song” and routinely received critical acclaim for all of his film work, but though he got roles on television through the ’80s, he never was able to break through the typecasting straightjacket that deemed him only suitable for “Asian” roles. If you remember him as all, it is probably as the brave Japanese executive shot by Allan Rickman in “Die Hard.”

I thought about Shigata when I read a piece in Salon, noting that director Woody Allen didn’t cast African-Americans in his movies, and that his explanation why didn’t justify the neglect. Prachi Gupta writes, Continue reading →

A Proposed Guide To Spoiler Ethics

/ Jack Marshall / 8 Comments
"It SINKS??? You spoiled the ending!!!"

“It SINKS??? You spoiled the ending!!!”

I was just admonished on Facebook by a friend (a real friend, not just the Facebook variety), for referencing the end of the last episode of Season One of “Orange is the New Black.”  He hadn’t finished viewing the season yet, and this was a breach of spoiler ethics. Or was it?

Ever since I encountered for real someone who was angry with me for “spoiling” the end of “Thirteen Days,” ( “Yes, World War III started and everybody died”), I have been dubious about spoiler etiquette. The advent of DVDs and Netflix has made this all the more annoying. If I’m in a group of five, and one individual hasn’t kept up with “House of Cards,” are the rest of us obligated to censor our discussion? As a devotee and fanatic devourer of popular culture, I admit that my first instinct is to say, “Keep up, get literate, or pay the price.” If I actually live by that rule, however, I will be a walking, talking, writing, spoiler machine.

Chuck Klosterman, “The Ethicist” in the world of the New York Times, recently pronounced himself an anti-spoiler absolutist:

“I’m an anti-spoiler fascist. I don’t believe that any conversation, review or sardonic tweet about a given TV show is more valuable than protecting an individual’s opportunity to experience the episode itself (and to watch it within the context for which it was designed). I’ve never heard a pro-spoiler argument that wasn’t fundamentally absurd.”

Even Klosterman, however, excepted sporting events (the question posed involved mentioning World Cup scores to a friend who was annoyed that the game had been “spoiled” for him) from his fascism, writing, reasonably:

“I must concede that live, unrehearsed events are not subject to “spoiler” embargoes A live event is a form of breaking news. It’s not just entertainment; it’s the first imprint of living history. …Because this guy is your buddy, you might want to avoid discussing the games’ outcomes out of common courtesy — but not out of any moral obligation. It’s his own responsibility to keep himself in the dark about current events.”

For once I agree with Chuck. But what are reasonable ethics rules for dealing with the other kind of spoiler, involving literature and entertainment?

Luckily, this is not new territory, though it is evolving territory. The underlying ethical principles include fairness, trust, consideration, compassion, and empathy, which means that the Golden Rule is also involved.

Back in 2010, an erudite blogger calling himself The Reading Ape proposed a draft “Guide to Responsible Spoiling.” That blog is defunct; the promised successor is not around, and so far, I haven’t been able to discover who the Ape is. Whoever he is (Oh Aaaaape! Come back, Ape!) , he did a very good job, though some tweeks might  improve his work, especially in light of the emergence of Netflix.  (I have edited it slightly, not substantively…I hope he doesn’t mind, or if he does, that he’s not a big ape.) His approach is to frame the problem as an ethical conflict, in which two competing ethics principles must be balanced. I think that’s right.

Here is his “draft”—what do you think?

“A Brief Guide to Responsible Spoiling”

by The Reading Ape (2010)

The objective is to balance two ethical principles:

I. The Right to Surprise: The inherent right of any viewer or reader to experience the pleasure of not knowing what’s
going to happen next.

II. The Right to Debate: The inherent right of any viewer or reader to engage in public discourse about the content of
a given work of narrative art.

Part 1: When Spoiling is Fair Game

In the following circumstances, one can discuss crucial plot details and reveal endings with a clear conscience. Continue reading →

Ten Movies For Independence Day Weekend

/ Jack Marshall / 54 Comments

fireworks

I wasn’t going to do this until I ran across a few lists of “Most Patriotic  Films” that made me fear for the taste and the values of my fellow citizens. “Independence Day” ? “Armageddon”? “Rocky IV”?  When did “patriotic” start meaning “crappy”? “Born on the Fourth of July”? If Oliver Stone is your idea of patriotic fare, you and I are going to have a problem.

Here is my very personal list of ten favorite films that bring a patriotic lump to my throat and a remind me of how lucky I am to be born and raised in the U.S.A. Don’t mind the order: it was hard enough narrowing the list down to ten.

1. Apollo 13  (1995)

The only one of the movies on my list that I saw on the others today. Like many of the films here, it makes me wistful for American boldness and confidence that seem to be in retreat today. When the  Apollo re-emerges from radio silence, and Tom Hanks says, with perfect inflection, “Hello, Houston. This is Odyssey. It’s good to see you again,” I lose it, every time.

2. Mr. Smith Goes to Washington (1939)

Yes, this is Capra-corn at its corniest, but from Harry Carey Sr.’s sage and heroic Vice -President, to the power of the people triumphing, to the press trying to expose corruption rather than abet it,  this film reminds us of the best ideals of our government. When we get too cynical to enjoy Jefferson Smith’s struggle to make Washington work the way its supposed to, it will be time to pack it in.

3. The Longest Day (1962)

Longest Helm

Yes, it’s not just about Americans, but it is a great film about one of our country’s  finest achievements, all true, and inspiring without a lot of flag waving and sentiment. Best war movie ever—and my Dad’s favorite. Continue reading →

Political Correctness Files: X-Men, People Magazine And The Case Of The 6’4″ Dwarf

/ Jack Marshall / 90 Comments
"Hey, look! It's Tom Selleck!"

“Hey, look! It’s Tom Selleck!”

Apparently political correctness in the media now requires affirmative misrepresentation.

The People Magazine review of “X-Men: Days of Future Past” contains this sentence:

“You’ll understand her motivation when you meet Dr. Bolivar Trask (Peter Dinklage), a government type who creates the sentinel project, and is even more sinister than his Magnum P.I.-by-way-of-IBM looks would suggest.”

For anyone who has seen the movie, or even anyone familiar with the (excellent) actor, Peter Dinklage, I have this question: What is odd about that quote?

For it is extremely odd. Continue reading →

ALL ABOARD! The Elliot Rodger Ethics Train Wreck Is Leaving Rationality Station!

/ Jack Marshall / 14 Comments

trainwreck6

Wait…I think I’ve seen this wreck before!

Richard Hernandez’s enraged rant at the National Rifle Association for getting three people stabbed to death by Elliot Rodger signaled that this mass killing would  be exploited to the max by a succession of unscrupulous and/or irrational activists, social critics, and pundits, and, as my son used to say before he stopped respecting the French, “Voilà!”

The burgeoning ethics train wreck looks like it might be even more infuriating than most, though nothing, ever, will be able to top the Trayvon Martin-George Zimmerman Ethics Express for pure, widespread, unethical lunacy. Early indications are that the usual suspects will try to wring lessons from the crazed acts of a very unusual, spectacularly deranged, unsympathetic creep as if the fair and obvious answer isn’t there for all to see who are objective and smart enough to perceive it: this one mad act proves nothing. Not about the U.S., men, not about whites, not about guns, not about law, not about Hollywood. Nothing.

It’s a big country, and there’s lots of time before climate change destroys us all or something else does first. The attack of Elliot Roger is the opposite of signature significance, an utterly meaningless convergence of factors with fewer lessons to teach than other odd but deadly events, like the Great Boston Molasses Disaster of 1919, or the St. Pierre Snake Invasion of 1905. He means nothing, and should be shunted aside to obscurity as quietly and quickly as possible, so his undeserved notoriety doesn’t set off differently motivated but similarly unhinged sociopaths who are teetering on the brink. Unfortunately, that would require journalists, politicians and single-issue fanatics to be fair, logical and responsible. Continue reading →

The “Bernie” Sentence’s Message: The Lives Of Mean People Aren’t Worth As Much As Those Of Nice People

/ Jack Marshall / 27 Comments
Jack Black as Bernie, the nicest murderer you'd ever want to know.

Jack Black as Bernie, the nicest murderer you’d ever want to know.

“Bernie” is a quirky 2011 movie telling a strange and true story. Jack Black plays Bernie Tiede, an oddly cheery mortician who became a small town community favorite for his kind deeds and upbeat manner. Bernie even befriends the town pariah, a mean, rich old woman named Marjorie Nugent (played by Shirley Maclaine) whom he managed to reform–slightly–until she finally became even too much for him to bear, and in 1996 he shot her dead.

He was loved, she was hated, and the community (Carthage, Texas) rallied behind the murderer even though he hid his friend’s body in a freezer for nine months and spent about 2 million dollars of her money.  The pro-Bernie bias was so strong  prosecutors had to seek a change of venue, since no local jury would convict him. They got it, and a jury that knew neither charming Bernie nor his nasty victim found him guilty (because he was) and sent him to jail for life in 1997.

After the film was released, however, attorney Jodi Cole took up Tiede’s appeal. She discovered that he had a collection of books aimed at survivors of sexual abuse, and got Bernie to admit, for the first time, that he was abused as a child. Cole hired a psychiatrist who testified that Tiede’s abuse probably influenced the murder and his willingness to endure an abusive relationship with Nugent, until he finally snapped. This changed the mind of Panola County District Attorney Danny Buck Davidson, who told a judge Tuesday that he supported reducing the sentence to time served. State District Judge Diane DeVasto agreed. Bernie is now a free man, living in the apartment over the garage of the man who directed the film about him.
Continue reading →

The Washington Post, Faking it.

/ Jack Marshall / 29 Comments

This one’s for you, Bob Hoskins.

You deserved better.

Who-framed-roger-rabbit-Jessica-RabbitIf you come here frequently, you know that I deeply resent lazy, inadequate or inaccurate obituaries of famous and accomplished figures. Obituaries are the beginnings of their legacies, and set the foundations for how, and even if, they will be remembered. Not fairly representing these lives is lousy and lazy journalism, and worse, it is disrespectful to the deceased and contemptuous of history.

Bob Hoskins, the superb and versatile British actor, died this week. He was one of my personal favorites—a better, cockney version of Joe Pesci—but even if he meant nothing to me, the Washington Post’s sloppy and factually wrong obituary today would have been inexcusable. I liked Hoskins’ various tough guys and mobsters, but the film role that blew me away was his amazing portrayal of the human detective trying to unravel a cartoon mystery in the 1988 Disney classic, “Who Framed Roger Rabbit?” Hoskins, in addition to wielding a perfect American accent (he was really a Cockney), was intense, funny, moving and entracing while interacting with characters that were drawn into the scenes long after he performed them. He made the complex conceit of the movie work, and I would rank it among the most impressive acting turns of all time.

Here is how obituary writer Adam Bernstein described Hoskins’ most famous role in the print version of the Post today:

“(He) won over American audiences as a detective who falls in love with a voluptuous cartoon character in “Who Framed Roger Rabbit?”‘

and

“Mr. Hoskins was a boozing detective who falls for Jessica Rabbit, a cartoon human of pneumatic proportions who can’t help but bewitch men. “I’m not bad,” insists Jessica (voiced by Kathleen Turner). “I’m just drawn that way.””

Continue reading →

Ethics Quiz (Movie Division): “The Impossible,” Whitewashing, and Betrayal

/ Jack Marshall / 43 Comments
"Bennett" and Belón

“Bennett” and Belón

I suppose some of you may have thought about this two years ago, when the Spanish film “The Impossible” was first released. I, however, take a while to catch up with my movie-viewing, and though the film was much praised by critics and got Naomi Watts an Academy Award nomination, I had not seen the film until recently. “The Impossible,” about as accurately as a motion picture can, tells the amazing story of how Spanish physician María Belón, her husband Enrique Álvarezs, and her three young sons miraculously  survived the 2004 Indian Ocean earthquake and tsunami when the family was on vacation in Thailand.

It is an engrossing, harrowing movie. I was surprised to find out, however that the family’s name wasn’t “Bennett,” and that they weren’t British, as the movie presented them. Apparently to maximize box office receipts, the film makers decided to take the heroic story of a real family and make the characters “more relatable” by recasting them as English-speaking Brits. There was a minor controversy about the film “whitewashing” the story*, but not much of that made it into the mainstream media. Belón, after all, is white. She was an active participant in the appropriation of story and that of her husband and sons, and they all profited from it, at least financially. Still, the movie’s point of view left a bad taste in the mouths of some international critics. Here is Australian critic Ruby Hamad:

“Based on the true story of a dark haired and darkish-skinned Spanish family, the filmmakers admitted to changing their nationality and casting lily-white actors in order to make the story ‘universal’. In other words, only white people can stand in for the human race as whole. For this reason, Thailand and its people are mere backdrops for the story of a Caucasian family who learn the hard way that even western privilege is no match for the brute force of mother nature.”

Your (two-year late) Ethics Alarms Ethics Quiz, therefore, is:

Is “The Impossible” unethical”?

Continue reading →