Author / Edward Champion
Review: Taking Woodstock (2009)
The realities were already fixed; the illness was understood to be terminal, and the energies of The Movement were long since dissipated by the rush to self-preservation. — Hunter S. Thompson, Fear and Loathing in Las Vegas (1971)
Altamont’s fixed realities are thankfully mentioned at the end of Taking Woodstock, when organizer Michael Lang, portrayed here by Jonathan Groff as a perpetually calm Brian May type, mentions “a truly free concert” in the making that involves the Rolling Stones. Exciting stuff. If only Meredith Hunter had been around to lodge a protest. (Or perhaps he’s the unnamed man seen checking into a motel with a white woman.) But Ang Lee’s film is less concerned with this corruption (although it does thankfully suggests that everybody listens to money). Lee is more interested in how people of all types — Jewish motel owners, the dutiful farmer and local chocolate milk magnate Max Yasgur, acidheads busing across the nation, theatrical performers fond of Happenings and disrobing, a Vietnam vet, a transvestite amusingly played by Liev Schreiber — came together in a anarchic haze to slide in the mud, listen to distant music, and kiss random strangers. Good times. But, as it turns out, the possibilities for unity were there all along. For before the Woodstock organizers roll into Bethel, New York, Eliot Tiber (both in real life and in this movie) was the president of the local Chamber of Commerce, patiently stamping permits and listening to wily eleventh-hour interlopers. And what makes the Bethel diner any different than Yasgur’s rented farmland as an amicable place for congregation?
The film actually shares much in common with Thomas Pynchon’s latest novel, Inherent Vice: an accessible mainstream story, streaks of subdued and audience-friendly eccentricity, a meticulous concern for landscape, and a celebration of misfit life just before its destruction by “progress” (for Pynchon, it’s the toxic qualities of the information age; for Lee and screenwriter James Schamus, it’s the transformation of free love advocates into avaricious capitalists). While Lee and Pynchon approach their respective canvases from two close but different time periods (and from two different coasts), I came away from both works with similar populist-minded emotions. I was greatly delighted to see so many perspectives united through a common mass experience, but very much aware that this is a harder reality in an age where careers can end with the judgmental spread of a sound bite. (Rebecca Solnit’s fascinating new book, A Paradise Built in Hell, offers the argument that disaster is now the only way for disparate souls to band together, although both Lee and Pynchon make persuasive cases that passing along a roach might get some of the stiffs to expand their horizons — a sentiment I don’t entirely disagree with.)
What happened to America’s generous capacity to accept its freaks? Or to embrace those gritty human qualities nestled inside steely opportunistic hulls? It can’t just be Thompson’s self-preservation that lopped off the liberal and attentive ear. But these are questions worth asking four decades after Woodstock’s inadvertently free event altered the cultural landscape. Lacking a chewy antagonist like Bigfoot Bjornsen (the cop in Inherent Vice who shares more in common with the libertine detective Doc Sportello), Lee and Schamus have shifted the conflict inwards to the Teichberg family, the managers of the El Monaco. But the Teichbergs are as stiff as dimensionless characters come until the brownies arrive. Imelda Staunton is given a Jewish stereotype. She runs around the hotel screaming at people, muttering Yiddish curses, and, in one terrible Shylock-like moment, is seen clinging to a stash of money in the closet. Surely the real Sonia Teichberg had more depth.
But maybe these skeletal characters represent part of the point. With Woodstock around, we all become insignificant. And, for what it’s worth, Lee gets decent performances out of the actors who count. As Eliot Tiber, Demetri Martin manages to evince an appealing boyishness that matches his efforts to win the town over and his repressed sexuality. Eugene Levy is an inspired casting choice as Yasgur, particularly because Lee allows Levy to play the role straight. Dan Fogler, who I last saw in Fanboys, again shows great energy as a character actor. It’s too bad the women here have been given very little. Surely, Woodstock was a two-gender affair. (And certainly this film features at least one free-form ménage à trois. They didn’t call it free love for nothing, although it would be interesting to see Chris Anderson plagiarize a book on the subject.) And it’s too bad that Emile (Speed Racer) Hirsch is unconvincing (and often laughably bad) as the aforementioned Vietnam vet.
Speaking of Hirsch, his presence here offers a sensible reminder that he also appeared in Gus Van Sant’s Milk. And like that audience-friendly Trojan horse, Taking Woodstock does succeed very well in recapturing Woodstock’s innocence and making you believe in human possibilities. “Hey, don’t lose that creativity, man,” says a character to Tiber, after he suggests an out-of-the-box solution . But he may as well be addressing the audience. Later in the film, after news of the hippie influx has made the rounds, Tiber finds himself unable to order “the usual” from the diner forming the Bethel social center. But the entire town hasn’t quite turned against him. Happy entrepreneurs rush up to Tiber and thank him. Is capitalism then just as much of a galvanizing force as the Woodstock ideology? It would seem so. Michael Lang pays everyone in cash, bundled in brown bags of money. “$1 for water?” says Tiber’s dad upon encountering some pre-bottled water entrepreneur. “Can you believe it?” (Just imagine if he’d encountered the inflated prices in the Coachella desert.)
The film then, despite being a crowd-pleaser, isn’t afraid to focus on the Movement’s dissipated energies. And while Taking Woodstock may come bundled with supporting characters who contribute little to the narrative, as well as annoying split-screen homages to the Michael Wadleigh film, there’s a marvelous shot — which reminded me of the famous traffic scene from Godard’s Weekend — in which Tiber heads down a jampacked Bethel street (courtesy of a motorcycle lift from a friendly cop) past a man carrying a sign BOB DYLAN PLEASE SHOW UP, bra-burners, war protestors, a booth with a sign reading MAKE YOUR OWN SANDWICH, and much more. Today, when such people gather together for an arts festival or a political rally, there is generally some snarky photographer who wants to snap pix and post the results on Flickr for others to ridicule. But presented within this context, only a mirthless asshole would fail to see the wonder of so many types together.
Lee’s made a film that, like The Ice Storm, succeeds in getting us beyond our present historical reference point and reconsidering some of the virtues we abandoned in the past. And maybe the energies of self-preservation will be dissipated by the rush to collective understanding. Yes, that’s a Utopian ideal. But, as Oscar Wilde once said, a map of the world that does not include Utopia is not even worth glancing at.
And a Box of Cookies
Little, Nameless, Unremembered
His voice gnawed across three thousand miles of ratty telephone lines in the days before Skype took away the novelty. He expressed kindness to a kid, never knowing how his natural equanimity gave this kid the courage to perceive chaos as a harmless Keystone Cops piefight. All you needed to do was duck or throw a rhubarb. But the kid didn’t know that then. It had been the middle of the night, and the kid was weeping. Weeping over the rushing flush that overcame him when that cute smiling girl two grades higher — a veritable Leslie Burke in the flesh — stayed inside his heart and head and he didn’t know what it all meant and could do nothing other than weep. So the man, who should have been this kid’s father, said, “No problem,” after winning him over with a benign Billy Crystal impersonation and then suggested to the kid that he give his crush — for that was what this feeling was all about — some chocolates. From where? With what money? “Don’t worry,” said the man. And a little more than two decades later, the kid still wouldn’t know where the seven bucks came from, or what the man had said to the kid’s mother to get her to pony up the nonexistent dough.
Two days later, the kid was sauntering around the sandy track stretching around the outside of his elementary school. His crush accompanied him and he quietly gave this girl the box of mints. And she smiled, an apparent cougar-in-training touched by an inexperienced young buck’s brush forward. He took in the adorable goosebumps on her arms, the freckles dashing across her pale skin, her sorta strawberry blonde hair, her ecstatic cheeks, and, of course, her smile, and she gave him a kiss that he would always remember. And they shared this box of mints on the rattling schoolbus that took them to the other school, where allegedly smarter kids got together for a day to be told that they had some hidden genius. But life, as it turned out, was about pretending that you knew what you were doing. And it was just as applicable to the heart as it was the head.
But he wouldn’t have known any of this, had it not been for the distant man’s kindness. He wouldn’t have known that a childhood crush would linger deeper than any of the casual carnal conquests that came later. The man’s kindness had planted a sapling that would burgeon into redwood effrontery. And if, by some chance, the man had decided to stay, maybe the kid might have grown up calmer and saner. Maybe he might have been installed in a safe and harmless job. Of course, what if games are for the parlor. Only self-absorbed fools look back and blame it all on how things might have played out. But kindness begets kindness. And it wasn’t a surprise when the kid grew up and picked up the phone to reach out and touch someone more times than you’ll ever know.
Of Vollmann’s Imperial
Many reviewers have kvetched a good deal about the page count and weight of William T. Vollmann’s Imperial, and this is probably because they have been forced to read the book in a swift period of time. (But if a reviewer possesses such an innate incuriosity, why on earth would she take on the assignment? There are many possible answers to this, and most of them involve snobbery.) For my own part, I am now past the halfway point of Wild Bill’s journey and I don’t feel the need to finish it immediately. By way of its eclectic material, this is not a book to be wolfed down. It is best enjoyed in spurts or between other books, largely because the tone and emphasis can shift from page to page. This is not to suggest that the book is unreadable (far from it: the prose is often quite breezy, entertaining, and fascinating) or that it doesn’t possess its share of problems. (My complete thoughts on the book will be posted here once I cross the finish line.) But in light of a statement I made last year, having now sampled the goods, I believe it is probably an important book worth the price. Although I have never been cheated out of a dollar in my life.