DECEMBER BOYS (2007) DANIEL RADCLIFFE – RICH PASCHALL

DECEMBER BOYS (2007)


Movie Review, Rich Paschall, Sunday Night Blog

You probably missed it in the theater.  Daniel Radcliffe stars in this independent production at the height of the Harry Potter phenomenon.  The Australian made film found a big name distributor for the USA and Canada, Warner Brothers.  Yes, the same mega movie studio that distributed Harry Potter.  If you were the producer of this little Australian project, you might have expected to hit the jackpot with Radcliffe’s star power, plus one of the biggest movie distributors in the world.  You would have been wrong.

Distributor: Warner Independent

Distributor: Warner Independent

Filmed down under in 2006, December Boys is based on the novel of the same name.  The setting was moved up from the 1930s to the 1960s and is told as a flashback, as it was in the book.  This allows the ending to be brought up to modern times. The boys are orphans at a Catholic institution.  Four boys (five in the novel) share December birthdays. Each is given a gift of a Christmas holiday at a large beachfront home.

Radcliffe, a teenager at the time, is the oldest of the boys, known as Maps.  The other three, Spit, Spark (or Sparks, the film is unclear) and Misty are younger boys of about the same age.  Misty is the narrator.

For Radcliffe, this is a coming of age story.  He meets a girl who is a bit of a wild child and through the course of the movie you will see Radcliffe smoke, drink and, well, if you don’t know what they were doing in that cave, you were never a teenager.  Later, Maps dismisses an inquiry by one of the younger boys about that mark on his neck.

The home of the older couple who hosts the boys’ holiday introduces the element of health problems of one of the adults.  It’s a bit of a sad sidetrack to a storyline filled with side tracks.  There is also an old fisherman at the sea trying to catch some elusive large fish.  Naturally one of the boys get caught in that story line.

Then there’s the young couple who fail to conceive a child.  When the young husband tells the priest from the orphanage they are having trouble getting pregnant, you know what the priest will suggest.  Misty overhears and determines to be the one adopted. Eventually he tells the priest he was eavesdropping. The other boys force him to spill the story.  Then the little ones try to be model citizens, while Maps knows an older boy will never be adopted.

There are plenty of hi-jinks for the boys.  The young man pushing the adoption with his wife owns a motorcycle and gives the younger boys rides along the beach.  Misty goes in the water and nearly drowns and our hero comes to the rescue. Do I have to tell you who?  There is disappointment and heartbreak in store. Throughout, the single thing the boys share is the only family they know, each other.

In addition to various goofs, some of the symbolism is confusing. And unnecessary.  A dark stallion periodically appears, symbolizing something, but I’m not sure what. Misty has “visions” of the future — nuns and the Virgin Mary.  It works having Misty picture the future through an empty frame; the rest doesn’t work. Boomers may find the out-of-time 1970s songs jarring.

Radcliffe wasn’t paid a big salary to make the movie.  He probably wanted a chance to be someone other than Harry Potter.  The character of Lucy, with whom Maps has a relationship, was not in the novel.  Perhaps this intrigued Radcliffe. Perhaps it worried Warner Brothers.

When the film opened in September of 2007, it had staggered release dates for Sydney, Melbourne, and London, most likely so Radcliffe could attend. When Warner Brother opened it as a “limited release” in the US, it was on four screens the first week, eight the next, and 13 next. After which it more or less disappeared. Not exactly a grand opening for a boy known round the world. Of course, the boy was known for a specific role and Warner Brothers wanted to keep it that way, at least to the degree they could control it.

It didn’t make much money. Of course. In the U.S., it grossed about $100,000 during its three-week release in September 2007. The film cost an estimated $4 million and grossed around a million dollars (U.S. and Australia) during its theatrical release. It’s currently available as a digital download from Amazon, and on used DVD.

December Boys got mixed reviews. The confusion of the story lines mixed together was criticized.  Immortal film critic Roger Ebert said, “There seem to be two movies going on here at the same time, and “December Boys” would have been better off going all the way with one of them.”  One thing critics agreed on: young Daniel could play someone other than Harry Potter.

The “coming of age” story with Lucy and Maps was created for the big screen. Perhaps therein lay some of the problem of plot development.  It might have been better to skip the extra plot and have Radcliffe play a boy who everyone looked up to, who came in to save the day when there was trouble for any of the other characters.

Oh wait, he was already doing that. Rather successfully too.

A LATE QUARTET – BEAUTIFUL MUSIC AND FILM

A LATE QUARTET (2012)

Director: Yaron Zilberman
Writers (screenplay): Seth Grossman, Yaron Zilberman

The Cast:

Philip Seymour Hoffman, as Robert Gelbart
Christopher Walken, as Peter Mitchell
Catherine Keener, as Juliette Gelbart
Mark Ivanir, as Daniel Lerner
Imogen Poots, as Alexandra Gelbart
Wallace Shawn, as Gideon Rosen
Anne Sofie von Otter, as Miriam.


Garry and I watched A Late Quartet  the other day. We read the reviews — and it sounded like a movie for grown-ups. There have been a dearth movies starring adults — men and women — which are not about getting old. Jokes about getting old begin to get old after a while, so we were ready for a grown-up movie about life and living.

The reviews were right. It’s a fine movie.

If the movie has a “hero,” that would be Christopher Walken who plays against type with elegance and grace. Add Marc Ivanir — usually playing an Israeli CIA sort-of-bad-guy on NCIS (he actually is Israeli and a hero) — as the dedicated, haunted first violin. Phillip Seymour Hoffman did his usual excellent job as the quartet’s jealous second violin. Catherine Keener (on viola) is the “could be better” wife to Hoffman  It’s a great mix of characters and some of the best work done by Walken and company.

Their movie musicianship is realistic. They did not actually perform the music on the sound track, but it looked like they knew their way around string instruments. Some of them may have had some early training, the rest were coached for the movie. However it was accomplished, the cinematographer was able to follow the actors’ performances closely, without resorting to long shots to disguise their identities. Well done!

While doing a little research on the stars, I discovered that Walken attended the same university as Garry and I. He was probably there during one of Garry’s years at Hofstra University. Walken was there for just a year, then left for a gig in an off-broadway show. It was news to us that he’d been there at all.

It is one of the many ironies of Garry and my education that most of Hofstra’s most famous graduates are not graduates, but attendees who left before getting a degree. We had a good drama department. Perhaps the biggest measure of its success is how many of its students were “discovered” before they got degrees, then went on to fame and fortune. No formal degrees, but plenty of magic.

Although it doesn’t hurt if you know some classical music, the movie works just fine if you don’t.

The Story

It’s the 25th anniversary of “The Fugue”, a classical string quartet. Time is catching up with them. Christopher Walken, their cellist and oldest member of the quartet has been diagnosed with Parkinson’s and needs to retire. The first violinist is in love with the second violinist’s daughter, and the second violinist wants to be the first violinist … and sex in the form of “oops” infidelity adds enough spice to imperil the survival of the quartet if the rest of their problems were not disruptive enough.

Walken as the sensible, down-to-earth member of the group, dealing with his own burdens and unwilling to tolerate the childish carryings-on by the other performers, is wonderful. “The Fugue comes first,” he says, or words to that effect. It’s interesting to see Walken cast as the stable, adult, not even slightly crazy, member of the group.

The Music

A Late Quartet refers to Opus 131, one of a group of string quartets written by Beethoven towards the end of his life. It is magnificent. I’ve rarely heard this piece performed at all. It’s challenging music, written when Beethoven had already lost his hearing, yet was still able to hear it in his head. It’s one of Beethoven’s most complex, intense pieces and it’s beautifully performed.

I love the music, studied classical music for many years. I love Beethoven. He is my favorite composer, whose music I play as I drift off to sleep at night and whose symphonies have been my companion on many journeys through my life.

It did not disappoint us. It’s not a light piece of fluff, nor is it depressing or hopeless. Problems come, problems are addressed, problems are resolved. Not everything has a happy ending but within the limits of what’s possible, these adults work out through their issues — music, health, personal, and relationships — like … adults.

How refreshing!

THE DUMBEST BAD GUY IN THE WEST

Open Range (2003) stars Robert Duvall, Kevin Costner, Annette Bening, Abraham Benrubi and a lot of other people, but notably Michael Gambon (Professor Albus Dumbledore from Harry Potter) as the stupidest villain in the old west.

Mind you, Open Range isn’t a bad western, as these things go. It’s pretty standard, with a rather better cast than most westerns. All the good clichés are included and the movie builds up to a massive shootout between Duvall and Costner against Gambon and his thugs.

Open Range Poster

Here’s the plot. It contains spoilers, but I feel safe in saying the movie has no surprises, so really, there’s nothing to spoil.

Old West, 1882. “Boss” Spearman (Duvall) is an open range cattleman, who, with hired hands Charley (Costner), and Mose (Benrubi) (et al), is driving a herd cross-country. Charley, a former soldier who fought in the Civil War, feels guilty over his past as a killer. 

Boss sends Mose to the nearby town of Harmonville for supplies, a town controlled by ruthless land baron, Denton Baxter. Mose is beaten and jailed by the marshal (owned body and soul by Baxter). The only friendly resident owns the livery stable.

Boss and Charley worry when Mose doesn’t return. The get him out of jail but are warned to not free-graze on Baxter’s land. Mose’s injuries are severe, so Boss and Charley take him to Doc Barlow where they meet Sue Barlow, the doctor’s sister.

Killing and skullduggery follow. Charley and Boss vow to avenge the various murders and injustice. Charley declares his feeling for Sue and she gives him a locket for luck. 

Boss and Charley are pitted against Baxter and his men. A gun battle erupts in the street, with Boss and Charley heavily outnumbered … until the townspeople begin to fight.

It’s a shootout of Biblical proportions. Epic. Costner is the troubled hero, which is just as well because he directed and co-produced the movie. Gambon, a murderous Irish immigrant with a killer brogue, is a brutal tyrant with no compunctions about slaughtering anyone. Everyone. He owns the sheriff, he owns the town. He has a lot of cows, but it’s not enough. It will never be enough.

He is the consummate villain of the old west, an out-of-control, power-mad cattle baron. You just know there’s going to be a lot of killing.

Skipping over the early individual killings to get to the big battle, it’s now the final quarter of the gun battle. It’s a high body count. I’ve lost count and I swear some of the actors died more than once, but maybe it’s just me.

The first seriously stupid bad guy moment comes when Baxter’s ace hired gun stands in front of Costner — who is loaded for bear and hates the son-of-a-bitch — and taunts him. So Costner shoots him through the head. One shot, dead center of his forehead.

I look at Garry and say “Well, what did he think was going to happen?” The fight was on.

A few minutes later, corpses litter the landscape. Heads are exploding right, left, and center. The townsfolk is unhappy about being under the thumb of Baxter, the power-mad cattle baron, but they’re too wimpy and cowardly to do anything about him.

Until Baxter, the asshole, stands up in front of the whole town (they’ve come out to watch the shootout because they don’t have anything else to do) and tells them that as soon as he gets through killing the good guys, he’s going to start killing them. “All your children will be orphans” he rants.

Say what?

Guess what happens next? Right you are! The townspeople, realizing they have nothing to lose, pick up their guns and start killing Baxter’s men. What a shock.

Costner marries the pretty sister of the doctor. Duvall offloads the cattle. Costner and Duvall take over the saloon and everyone lives happily ever after. I assume they bury the corpses.

This one gets my vote for the dumbest bad guy in the west. But maybe you know something I don’t know …


ON READING THIS AGAIN 

If SCROTUM is the power-mad cattle baron … and “Baxter” is Bannon, the gun-crazy killing machine, while the rest of the “crew” are the usual morons with big guns and few brains — are we the cattle?

You could follow the plot almost exactly, just change cities. Just wait for it, wait for it. SCROTUM will make one of those speeches … you now, how “he knows everything and only HE CAN FIX IT” — Alex Baldwin could play the role . Then Costner could shoot him between the eyes. Great ending. Kevin could be president. Why not? Hasn’t he done it before? Pretty sure he did or maybe I’m thinking of Michael Douglas … hard to remember sometimes. And there’s always Morgan Freeman.

Has anyone asked Kevin? His career hasn’t been doing all that great. This might be a terrific piece, proving comedy is hard, but worth it. We could have a good, long hysterical laugh. I know I sure would.

I’m laughing already.

YOU DON’T HAVE TO JOIN THEM

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It was the end of the movie. A man was undergoing a court-martial. It was unjust and Robert Mitchum, as his defense attorney, was having a difficult time securing justice. Just post World War II, there were a lot of highly placed and well-connected Army brass who needed the accused to be found guilty. Why? Because a guilty verdict would stop any further investigation of what really happened and who was truly involved.

If the story sounds familiar, it is. When important people, movers and shakers — no matter whether they are government, military, or major corporate players, “the truth” is, as often as not, one of the casualties of whatever is going down. Truth, honesty, justice, fairness … mere collateral damage in an endless war in which we are all pawns and the power is in the hands of the rich, powerful, and well-connected.

man-in-the-middle-the-winston-affair-poster-1964Justice is not done in this case, though the outcome could be worse, depending on how you choose to look at it. It’s a British production and there is a sense of frustration and futility that even after fighting and dying, regular people are still taking the hit for those in power.


Thus, at the end of movie, when it is pointed out to Mitchum that they didn’t win, he agrees.

——

But then he says: “Just because you can’t lick’em, doesn’t mean you have to join’em, either.”

——

Maybe, in the final analysis, that’s what it’s all about. Sometimes, we lose, but we don’t have to give up our sense of purpose, our honesty, or throw away the things in which we believe. We don’t have to join them.

My team, my beliefs, my principles took a major hit. But don’t think for a minute this means I’m about to passively join the mob of sycophants and “true believers.”

I do not have to join them.

Neither do you.

JACKIE ROBINSON – AMERICAN LEGEND

BY GARRY AND MARILYN ARMSTRONG

For more than a week, we’ve been watching (again) Ken Burns’ wonderful documentary series: “Baseball.” It brought back so many memories. With so much social and cultural division and hatred in our country, we need more baseball. At one point in the documentary, a Dominican play says “We’ve never fought a war or had an insurrection during baseball season.” We need to remember battles fought and lives sacrificed to reach this day. It should not be in vain. Let us at the very least, treat each other with respect and fairness.

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We meant to see 42 in the movies, but it got away from us. By the time we were ready to see it, it was gone. That turned out to be fine, because I bought the movie and we had a private screening. Time for baseball and history. Not only baseball. Not only history.

The integration of sports is taken so much for granted today, younger generations can’t imagine it being any other way. This is the movie that shows how it happened. It’s a movie about many things. It’s the story of how and why Jackie Robinson became the first non-white player in Major League Baseball. How this was the start of the integration of all professional sports. It was the beginning of modern baseball as well as the first significant move toward integration in the United States since the end of the Civil War and Reconstruction.

That it was our original home town team, the Brooklyn Dodgers who did it makes the story personal for us. Branch Rickey, owner of the Dodgers, decided it was time to make a difference. Because he could, he changed the world. Harrison Ford as Mr. Rickey mumbles. He’s also real, touching, human. He actually made me cry. Harrison Ford is not known for nuanced performances, but he gives one in this movie.

42-logoI commented that Harrison used to be President, not to mention Indiana Jones. Garry pointed out that owning the Dodgers was far more important. I agreed. Because Garry and I agree: there’s nothing more important than baseball. Especially right now.

Chadwick Boseman bears a strong physical resemblance to Jackie Robinson. He doesn’t sound like him, but that’s quibbling. Nicole Beharie is a pretty good likeness of Rachel Isum Robinson. Who, as Garry pointed out, is even today, one fine-looking woman. It was no accident Rickey chose a good-looking couple. He knew what they would be up against and it would be hard enough. Any small advantage they could gain by just being attractive … well, they were going to need it.

It’s impossible for those brought up after the Civil Rights Amendment to understand the intensity of the hatred, anger and rage that bringing a Black man into baseball caused.

It was 1947, the year I was born. The big war in Europe was over and returning Black soldiers were appalled and enraged that fighting for their nation had done nothing to alleviate the oppression of Jim Crow laws. Segregation was not merely as bad as it had been. It was worse.

Moreover, returning Black soldiers made racists throughout America nervous that their position of supremacy was being threatened. They apparently still feel that way, 70 years later.

It would take 17 more years before the civil rights amendment passed and at least two decades more to make it stick. Twenty-five more years to get a Black President into office. Who knows if we will ever stop hating people because are different color. Race — and the judgments we make based on skin color — are so ingrained, so automatic. So very American. More than apple pie or the flag, we the people love to hate. It’s the most universal of all behaviors. Not as we prefer to advertise, our ability to love, but our willingness to hate. Hate is easier, effortless.

Chadwick Boseman not only looks like Jackie Robinson. He has his swing. I assume they taught him the swing, but they did it well and got that gritty baseball “feel” into the movie. Everyone plays their part with authenticity, as those of us old enough to remember the real guys can attest. Maybe that’s the problem with many of the critics: they never saw the real guys, met them, cheered for them. Lived and died with them through the long season of baseball. They don’t remember, but we do.

The cinematography is great, moving smoothly and naturally between wide and close shots to give you the feeling of the game and more. Nice, tight segues. What is even better captured is the intensity of the abuse Robinson was forced to put up with, to swallow without complaint while simultaneously playing at the top of his game. I’d like to see any modern player survive this.

In many ways, Robinson didn’t survive it. He lived through it, but it killed him from the inside. He blasted open the door of the future and it cost him dearly.

jackie_robinson_brooklyn_dodgers_1954-resizedWhy did Rickey do it? There was a strong moral component. Rickey believed it was the right thing to do. The right thing to for baseball. But it was also a sound business decision. There was a huge pool of talent out there in the Negro Leagues. The Dodgers needed all the help they could get. By bringing in first Jackie Robinson while planning to bring up more Black players, Rickey figured he was going to do some serious winning. He was right.

Christopher Meloni, ex of Law and Order: SVU, nails Leo Durocher, the crazy, quirky Brooklyn Dodger’s manager. He actually looks like Durocher.

If you love baseball, see it. Even if you don’t love baseball, see it anyway. See it for the history, to remember how hard the battle for equal rights was, is and will continue to be. How much baseball, the American pastime, has always been at the center of the American experience.

And finally see it because it’s the story of a genuine red-blooded American hero. In every sense of the word.

From Garry Armstrong:

I have to admit I was tearing up in places even though there’s no cryin’ in baseball. Critics aside, this was no pleasant Hollywood fable but a fairly authentic account of Jackie Robinson, the man and the player and the times that swirled around him.

Much of this is first-hand recall for me. I was 5 years old and already a budding baseball fan in Brooklyn in 1947 when the young player wearing number 42 became a household name. I remember all the excitement in my neighborhood. Some of it I understood. Some of it I didn’t. The newspapers and radio were full of the Dodgers and Jackie Robinson and how what they were doing would perhaps cause problems all across the country.

I remember angry things shouted by White people we encountered. I recall some very nice comments offered by White people who frequently said Jackie Robinson was “a credit to your people.”

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Jackie Robinson steals home in the 1955 World Series

I followed the Dodgers very closely over the years. I knew their lineup by heart, could emulate their swings and could recite from memory details of their personal lives along with the baseball stuff. In later years, I’d have the good fortune to meet many of the Boys of Summer including Peewee, Campy, Big Newk, Ralphie Branca, Gil Hodges, The Duke (My hero) and Jackie Robinson.

Later, as a reporter, they gave me their own first hand accounts of what it was like – that memorable year of 1947. I would also hear from Red Barber, the legendary sportscaster who called almost all of the games during the ’47 season for the Dodgers. One poignant memory involves a conversation with Campy (Roy Campanella) and Jackie Robinson. I was now a young reporter and a familiar face to many of the aging Dodgers. Campy was always “the diplomat”, pleasant and smiling.

Jackie always seemed angry. I thought he was mad at me sometimes until Campy said he was just “Jackie being Jackie”. The conversation was about how young Black people conduct themselves. Jackie thought many were irresponsible. Campy said they were just kids doing what kids do. Jackie glared at Campy and then smiled at me saying. “You get it, don’t you?” I just nodded.

Sorry I strayed from the movie but it evoked so many, many memories. And, thanks Harrison Ford, for a splendid portrayal of Branch Rickey!

CRAVEN COWARDICE IN SAN ADREAS FAULT

Last night, tired of the endless depressing, appalling, horrible news from around the world, Garry played a movie he had previously taped.

San Andreas Fault, is not merely a disaster film. It is every disaster film you have ever seen in one single showing. It’s earthquakes that will turn Kansas into the Pacific beach capital of the nation. It’s crashing buildings, towering infernos, the hugest omigod tsunamis. We get to see the bravest heroes and most craven cowardice.

It’s all there. Every cliché from every disaster movie made in this and the previous century which numbers quite a few and I’m pretty sure we’ve seen all of them. But we’d never seen this one before. I think it was originally filmed in 3D. Everyone said it was drivel, but it made more than $300,000 million at the box office, so clearly drivel sells very well.

It certainly sold well at our house last night. When the intended second husband of Dwayne “The Rock” Johnson‘s wife (Carla Gugino)  played by Ioan Gruffudd (aka “The Asshole”) abandons Rock’s daughter to her fate, trapped under fallen cement in a parking garage, it’s no less than you expect from the cowardly CEO of a major corporation.

By Source, Fair use, https://en.wikipedia

By Source, Fair use, https://en.wikipedia

We know they are cowards because … well …that’s what they always do in the movies, right? Have you ever seen a brave, manly CEO stand up to anyone or anything outside a boardroom? Especially when they are trying to marry the hero’s ex-wife who we all know should be with the hero. Even though The Hero can’t utter a coherent sentence (and probably hasn’t since he came back from The War (insert name of war here), he’s a hero (with medals to prove it) and would never run, not even when a million tons of water and a complete cruise ship is about to fall on his head.

So. Finally. The family reconnects. The entire west coast is smoldering ruins covered by about half the Pacific Ocean. There isn’t a bridge, a building … nothing. Total, absolute devastation everywhere.

Garry is giggling to himself.  Because he knows. I know. We both know. It’s coming.

The Rock, arm around his wife, his daughter saved, is gazing over the wreckage of the world and Garry murmurs … “Now, we rebuild.”

Beat. Beat. Beat. Pause.

And THEN The Rock says: “Now, we rebuild.”

Garry collapsed into laughter. The last time he laughed that much was when Trevor Noah had Ben Carson on the show and Trevor did a better Ben Carson than Ben Carson. Garry was still howling while the credits rolled.

A perfect ending.

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We’d seen the world end. We’d see the best, the bravest. The worst. We’d seen the most depraved cowardice imaginable and in HD wide-screen.

But now, we rebuild. We have to rebuild … because … SAN ANDREAS 2 is coming! As the headline says, this will finally allow The Rock to punch an earthquake. No cowardice there!

THE DAILY POST | COWARDICE

ANOTHER MIND-BLOWING DOCUMENTARY FROM MICHAEL MOORE – PART 1 by ELLIN CURLEY

There is so much I’d like to talk about in the amazing, eye-opening documentary called “Where To Invade Next”. It’s really an old-fashioned travelogue. Michael Moore goes to different countries around the world. But instead of reporting about natural wonders or tourist sites, he reports about one specific thing in each culture. It’s the prison system in one, the equality of women in another, the educational system in others.

There are two major areas where the European approach blew my mind. One is the workplace, which I’ll talk about here. The other is the educational system, which I’ll discuss next Monday.

MichaelM poster

The workplace in Italy and Germany is a place where workers and bosses come together to create a good quality product for the marketplace, make a good profit for the company and provide a good quality of life for the employees. The companies visited were successful, well-known companies; in Italy they visited a high-end clothes factory that produces for such brand names as Dolce and Gabana and the Ducati motorcycle factory. In Germany they went to a world-famous pencil factory and the BMW assembly line.

In Italy unions are very powerful and in Germany, the law mandates that half of all corporate boards must be made up of workers from that company. The result is that corporations there consider and care about the needs and well-being of their workers. And visa versa. It is a commonly held belief in both countries that to maximize productivity you must have a well rested, unstressed, “happy” workforce. A good balance between a worker’s job and home life is considered essential for the business to succeed. Everyone there believes that longer hours and less time off increases sickness, decreases production and destroys morale.

Michael M Italy

All Italians get at least 8 weeks of PAID vacation a year plus around 12 national holidays. They get five months of paid maternity leave that can be shared by both parents. They also get a 13th month of full salary to make sure they have enough money to pay for traveling and other fun activities on their vacations. This is all in addition to a two-hour lunch every day. In Germany, they have a 36 hour workweek but get paid for 40 hours. There is also a law that prohibits employers from emailing of contacting workers after hours, on weekends or when they are on vacation. Embedded in both German and Italian culture is the belief that cultivating friends, time with family, leisure activities and time to enjoy life are as important, if not more important than work.

The bizarre part of this for Americans is the fact that the corporate employers believe they are not only doing the right thing for their workers, but the most expedient and efficient thing for themselves. The bosses believe that a pleasant workplace filled with happy and cooperative people is actually better for their businesses.

They may be right. Statistics show that very few Italians or Germans take sick days off work but that this is a big problem in America. It seriously diminishes overall productivity here. Statistics also show that Italy and America have the same level of workplace productivity. This means that Italians are far more productive per man hour than we are.

Despite the shorter workday and work year in Italy and Germany, all the factory workers Michael Moore talked to made enough money to live a comfortable middle class life. While their taxes may be higher than ours, they don’t have to pay for high cost items like health care, day care, school tuition, etc. The result is enough money to pay for the necessities and many of the luxuries of a middle class life style. The European workers were shocked to hear that middle class Americans have to work two and often three jobs just to make ends meet.

The take away for me was that there are places in the world that value quality of life and mental health for their populations. And this is not seen as undermining the bottom line of the economy in any way. Employers and employees don’t have opposing interests. Everyone is expected to be relaxed and happy and to have a rich, full life, with a wide circle of family and friends. People in parts of Europe seem to take care of each other and care about each other in a way that seems very quaint and outdated in America.

Michael M poster2

Ironically, the labor movement and labor unions were born in America. We just abandoned them somewhere along the way and other parts of the world have continued to embrace them. But this documentary gave me hope that there is a way to make it work for everyone in a society. You just have to have common goals and work together. Unfortunately, I don’t think can happen in America for a long time to come.