Why shouldn’t I work for the N.S.A.?

“Why shouldn’t I work for the N.S.A.? That’s a tough one, but I’ll take a shot. Say I’m working at the N.S.A. Somebody puts a code on my desk, something nobody else can break. Maybe I take a shot at it and maybe I break it. And I’m real happy with myself, ’cause I did my job well. But maybe that code was the location of some rebel army in North Africa or the Middle East. Once they have that location, they bomb the village where the rebels were hiding and fifteen hundred people that I never met and that I never had no problem with get killed. Now the politicians are sayin’, “Send in the marines to secure the area” ’cause they don’t give a shit. It won’t be their kid over there, gettin’ shot. Just like it wasn’t them when their number was called, ’cause they were pullin’ a tour in the National Guard. It’ll be some kid from Southie takin’ shrapnel in the ass. And he comes home to find that the plant he used to work at got exported to the country he just got back from. And the guy who put the shrapnel in his ass got his old job, ’cause he’ll work for fifteen cents a day and no bathroom breaks. Meanwhile he realizes the only reason he was over there in the first place was so we could install a government that would sell us oil at a good price. And of course the oil companies used the skirmish over there to scare up domestic oil prices. A cute little ancillary benefit for them but it ain’t helping my buddy at two-fifty a gallon. They’re takin’ their sweet time bringin’ the oil back, and maybe even took the liberty of hiring an alcoholic skipper who likes to drink martinis and fuckin’ play slalom with the icebergs, and it ain’t too long ’til he hits one, spills the oil and kills all the sea life in the North Atlantic. So now my buddy’s out of work and he can’t afford to drive, so he’s walking to the fuckin’ job interviews, which sucks ’cause the schrapnel in his ass is givin’ him chronic hemorroids. And meanwhile he’s starvin’ ’cause every time he tries to get a bite to eat the only blue plate special they’re servin’ is North Atlantic scrod with Quaker State. So what did I think? I’m holdin’ out for somethin’ better. I figure, fuck it, while I’m at it, why not just shoot my buddy, take his job and give it to his sworn enemy, hike up gas prices, bomb a village, club a baby seal, hit the hash pipe and join the National Guard? I could be elected president.”

From Good Will Hunting, written by Matt Damon & Ben Affleck

Let’s leave it in

It’s probably been 30 years since I watched the original Frankenstein (1931). When a movie has been so often parodied, it’s easy to forget how good the original really was. I watched it tonight on TCM. If I could know only one thing about the making of that movie, it would be the story behind the scene (hell, it wasn’t a scene…it was just a moment), early in the film, when Fritz (played by Dwight Frye) went to see who was pounding on the castle door just before the creation of the monster. As he turned to go backup the stairs, he stops…to pull up his sock. It was…perfect.

What did he do?

If Sean Combs makes the leap to actor (or even movie star) you gotta think he’ll drop all the hip-hop shit. “Puff Daddy,” “Puffy,” “P. Diddy”… I mean, the studios aren’t gonna play that game. And I thought he did a nice job in the movie Monster’s Ball. A powerful opening scene in which he says good-bye to his wife (Halle Berry) and his son… a quiet, powerful scene where he sketches his guards… and, finally, his execution in the electric chair.

Days later I found myself wondering, “What did Puffy’s character do to get the chair?” But then, the movie wasn’t about capital punishment, so it really didn’t matter. P. Diddy getting the chair was a necessary plot element and there was no suggestion that he was innocent. Maybe the long, smoking, frying execution scene was simply telling us that lethal injection is more humane. And, having witnessed the execution of James Henry Hampton (March, 2000), I can tell you that it is. Mr. Hampton went very quietly, indeed.

My first thought was to do a Google search for websites dealing with capital punishment in the movies (The Chamber, Dead Man Walking, The Green Mile, I Want to Live, True Crime). I havn’t found such a site yet but remain convinced there has to be one. What I’m wondering is, in how many of those movies, do they show us or tell us the crime for which the condemned is being executed?

I understand that, from an artistic standpoint, the writer or director is under no obligation to provide that background. If you feel that capital punishment is wrong in an of itself, you probably think the crime doesn’t matter. But I’m not sure we can reach morally suportable conclusions about capital punishment without looking squarely at the crime.

I decided to witness the execution of James Henry Hampton, in part, because it seemed like something I should be willing to do if I was going to be part of a society that put certain criminals to death. Doesn’t it follow that those opposed to the death penalty should be willing to visit a fresh crime scene? Step around the fresh blood and talk to the victim’s family? Just once. If you still feel that capital punishment is wrong, fair enough.

Maybe I should cut some slack for the writers and director of Monster’s Ball. The movie is about redemption, not capital punishment. Lawrence Musgrove told his son, “I’m a bad man. Don’t be like me.” And no matter how you feel about capital punishment, the electric chair is a bad way to go.

“I want more life, fucker.”

I had my 54th birthday a week or so back and this line (from Ridley Scott’s 1982 scil-fi classic, Blade Runner) kept running through my head. Replicant Roy Batty (Rutger Hauer) goes to see Eldon Tyrell (Joe Turkel), the scientist that “designed” the not-quite-human Roy. Tyrell attempts to comfort Roy:

“The light that burns twice as bright burns half as long – and you have burned so very, very brightly, Roy.”

But Roy’s not having any of it and proceeds to poke Tyrell’s eyes out. As Roy observes,

“It’s not an easy thing to meet your maker”

…but I thought he handled himself pretty well. He came for some answers –if not a solution to his problem– and he was damn well gonna get them.

The replicants of Blade Runner only got four years (I think Sean Young’s character got more than that) but it wasn’t so much how many years they got as that they knew when they were going to die. Maybe in the end, Pris (played by Daryl Hannah) got it right:

“Then we’re stupid and we’ll die.”

We are and we will.