Robert S. McNamara, the focus of The Fog of War, an Academy Award–nominated documentary directed by Errol Morris (The Thin Blue Line), served as secretary of defense under the two presidents who took the U.S. into Vietnam—John Kennedy and Lyndon Johnson.
Before the advent of drug traffickers and serial killers, films often focused on conflicts over real estate. Think of the red dirt of Tara in Gone With The Wind, the stately mansion in The Magnificent Ambersons or the contested open plains in Shane. Property is also the focal point of House of Sand and Fog, based on the 1999 novel by Andre Dubus III.
Martin Scorsese’s Taxi Driver has to be one of the most disturbing films ever made. Working with the metaphor of the city as sewer, Scorsese catches the sin-stained sensations of New York’s teeming streets, where prostitutes, pimps and pushers parade under the scrutiny of Travis Bickle, the cruising cab driver who is a kind of contemporary Quixote.
At year’s end, when all is sad and done in, we gasp as clouds of smoke appear. But it’s only the yews spewing pollen, outdoing chimneys as if it were spring. That and speech about Mideast peace as juncos reseed themselves, the Christmas rose flops open to cold, and Barney the cat perfects his new trick—he unbars our door.
He stares. (He prefers indoors.) But right there’s the morning star, just like the chorale’s. And up close, trouble— a pup hunting kibble and warmth. And there’s more. Mt. Rainier shows up in pink and blue bunting. So clear. Such fresh-powder glory. The sleepy volcano seems suddenly haloed, huge, and near. So much for our little stable.