The Sting

I have twice before used this blog to foray into the strange world of film reviewing; something that I enjoy, given that I enjoy cinema, but am usually unable to make a stable source of material since I don’t generally have the time (or, given a lot of the films that get released in my local cinema, inclination) to see too many of them. My first foray was a rather rambling (and decidedly rubbish) examination of The Hunger Games, with a couple of nods to the general awesomeness of The Shawshank Redemption, whilst I felt compelled to write my second just to articulate my frustration after seeing The Dark Knight Rises. Today, I wish to return to the magical fairy kingdom of the big screen, this time concerning something that I would ordinarily have never seen at all; 70s crime flick ‘The Sting’

The Sting is quite clearly a film from another era of filmmaking; I am not old enough to remember the times when a stock ‘thump’ sound byte was inserted into the footage every time an object is put onto a table, but this film contains such cinematic anachronisms in spades. Similarly, this is the first film I have ever seen starring Robert Redford and my first from director George Roy Hill, but age should be no barrier to quality entertainment if it’s there to shine through and thankfully it’s basic plot and premise lend it to a graceful aging process.

The plot can be fairly summarily described as uncomplicated; a young confidence trickster who ends up accidentally making a small fortune from a fairly routine con is pursued by the mob boss whose money he has now lost, so teams up with an experienced ‘old head’ to bring him down. So Ocean’s Eleven with a simpler character base and more realistic motivations. Where the two differ, however, is in their dedication to their subject material; whilst the Ocean’s films are generally content to follow some rather formulaic Hollywood scriptwriting, placing their emphasis heavily on interpersonal relationships and love interests, The Sting goes out of its way to be a true crime story to its very core. Set in the golden age of organised crime (1930s prohibition-era Illinois, real-life home of Al Capone) with a memorable ragtime soundtrack to match, every stage (illustrated explicitly through the use of old-fashioned title cards) of the film’s overarching ‘big con’ plot takes the form of a classic confidence trick, from an old-fashioned money switch to a large-scale rigged betting house, incorporating along the way possibly the finest played (and cheated) game of poker ever to appear on screen. Every feature, facet and subplot from the cheated cop to the seemingly out-of-place love interest all has its place in the big con, and there was nothing there that didn’t have a very good reason to be. Not only did this create a rollercoaster of a focused, central plot without unnecessary distractions, but the authenticity of the tricks, characters and terminology used built a believable, compelling world to immerse oneself in and enjoy. Combine that with a truly stellar portrayal of the seen-it-all genius conman Henry Gondorff by Paul Newman, and Robert Redford’s evident gift for building a very real, believable character in the form of naive youngster Johnny Hooker, and we have the makings of an incredibly immersive story that you often have to remind yourself isn’t actually real.

However, by putting such focus on its central con, The Sting puts itself under an awful lot of pressure, for without any extraneous components (hell, there aren’t even any proper action scenes, despite the not infrequent bouts of gunfire) it has got nowhere to fall if its central plot fails. Thus, the success of the film very much rests on the success of the con it centres around, not just in terms of execution itself but in making its execution fit its style. The Sting is not about coming up with something on the fly, about something unexpected coming up and winning through on the day- it is an homage to planning, to the skill of the con, of hooking in the mark and making them think they’ve won, before turning the ace in the hole. To turn successful planning, what was intended to happen happening, into compelling drama is a task indeed for a filmmaker.

And yet, despite all the odds, The Sting pulls it off, thanks to the extraordinary depth director Hill packs into his seemingly simplistic plot. Each subplot put into play is like adding another dot to the puzzle, and it is left to the viewer to try and join them all to formulate the finished picture- or alternatively watch to see the film do so all with staggering aplomb. Every element is laid out on the table, everyone can see the cards, and it’s simply a matter of the film being far smarter than you are in revealing how it pulls its trick, just like a conman and his mark. You, the viewer, have been stung just as much as Robert Shaw’s mob boss of a mark, except that you can walk out of the room with your wallet full and a smile on your face.

This is not to say that the film doesn’t have problems. Whilst the basic premise is simple and well-executed enough to be bulletproof, its ‘setup’ phase (as the title cards called it) spends an awful lot of time on world-, scenario- and character-building, filling the early parts of the film with enough exposition to make me feel decidedly lukewarm about it- it’s all necessary to remove plot holes and to build the wonderful air of depth and authenticity, but something about its execution strikes me as clunky. It also suffers Inception’s problem of being potentially confusing to anyone not keeping a very close track of what’s going on, and one or two of the minor characters suffer from having enough of a role to be significant but not enough characterisation to seem especially real. That said, this film won seven Oscars for a reason, and regardless of how slow it may seem to begin with, it’s definitely worth sticking it out to the end. I can promise you it will be worth it.

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Bouncing horses

I have , over recent months, built up a rule concerning posts about YouTube videos, partly on the grounds that it’s bloody hard to make a full post out of them but also because there are most certainly a hell of a lot of good ones out there that I haven’t heard of, so any discussion of them is sure to be incomplete and biased, which I try to avoid wherever possible. Normally, this blog also rarely delves into what might be even vaguely dubbed ‘current affairs’, but since it regularly does discuss the weird and wonderful world of the internet and its occasional forays into the real world I thought that I might make an exception; today, I’m going to be talking about Gangnam Style.

Now officially the most liked video in the long and multi-faceted history of YouTube (taking over from the previous record holder and a personal favourite, LMFAO’s Party Rock Anthem), this music video by Korean rapper & pop star PSY was released over two and a half months ago, and for the majority of that time it lay in some obscure and foreign corner of the internet. Then, in that strange way that random videos, memes and general random bits and pieces are wont to do online, it suddenly shot to prominence thanks to the web collectively pissing itself over the sight of a chubby Korean bloke in sunglasses doing ‘the horse riding dance’. Quite how this was even discovered by some casual YouTube-surfer is something of a mystery to me given that said dance doesn’t even start for a good minute and a half or so, but the fact remains that it was, and that it is now absolutely bloody everywhere. Only the other day it became the first ever Korean single to reach no.1 in the UK charts, despite not having been translated from its original language, and has even prompted a dance off between rival Thai gangs prior to a gunfight. Seriously.

Not that it has met with universal appeal though. I’m honestly surprised that more critics didn’t get up in their artistic arms at the sheer ridiculousness of it, and the apparent lack of reason for it to enjoy the degree of success that it has (although quite a few probably got that out of their system after Call Me Maybe), but several did nonetheless. Some have called it ‘generic’ in music terms, others have found its general ridiculousness more tiresome and annoying than fun, and one Australian journalist commented that the song “makes you wonder if you have accidentally taken someone else’s medication”. That such criticism has been fairly limited can be partly attributed to the fact that the song itself is actually intended to be a parody anyway. Gangnam is a classy, fashionable district of the South Korean capital Seoul (PSY has likened it to Beverly Hills in California), and gangnam style is a Korean phrase referring to the kind of lavish & upmarket (if slightly pretentious) lifestyle of those who live there; or, more specifically, the kind of posers & hipsters who claim to affect ‘the Gangnam Style’. The song’s self-parody comes from the contrast between PSY’s lyrics, written from the first-person perspective of such a poser, and his deliberately ridiculous dress and dance style.

Such an act of deliberate self-parody has certainly helped to win plaudits from serious music critics, who have found themselves to be surprisingly good-humoured once told that the ridiculousness is deliberate and therefore actually funny- however, it’s almost certainly not the reason for the video’s over 300 million YouTube views, most of which surely go to people who’ve never heard of Gangnam, and certainly have no idea of the people PSY is mocking. In fact, there have been several different theories proposed as to why its popularity has soared quite so violently.

Most point to PSY’s very internet-friendly position on his video’s copyright. The Guardian claim that PSY has in fact waived his copyright to the video, but what is certain is that he has neglected to take any legal action on the dozens of parodies and alternate versions of his video, allowing others to spread the word in their own, unique ways and giving it enormous potential to spread, and spread far. These parodies have been many and varied in content, author and style, ranging from the North Korean government’s version aimed at satirising the South Korean president Park Guen-hye (breaking their own world record for most ridiculous entry into a political pissing contest, especially given that it mocks her supposed devotion to an autocratic system of government, and one moreover that ended over 30 years ago), to the apparently borderline racist “Jewish Style” (neither of which I have watched, so cannot comment on). One parody has even sparked a quite significant legal case, with 14 California lifeguards being fired for filming, dancing in, or even appearing in the background of, their parody video “Lifeguard Style” and investigation has since been launched by the City Council in response to the thousands of complaints and suggestions, one even by PSY himself, that the local government were taking themselves somewhat too seriously.

However, by far the most plausible reason for he mammoth success of the video is also the simplest; that people simply find it funny as hell. Yes, it helps a lot that such a joke was entirely intended (let’s be honest, he probably couldn’t have come up with quite such inspired lunacy by accident), and yes it helps how easily it has been able to spread, but to be honest the internet is almost always able to overcome such petty restrictions when it finds something it likes. Sometimes, giggling ridiculousness is just plain funny, and sometimes I can’t come up with a proper conclusion to these posts.

P.S. I forgot to mention it at the time, but last post was my 100th ever published on this little bloggy corner of the internet. Weird to think it’s been going for over 9 months already. And to anyone who’s ever stumbled across it, thank you; for making me feel a little less alone.

Gaming Concluded

And so I return, wiping off my smirk and trying not to laugh at anything that sounds French, back into the foray of my regular blogging experience, in an effort to conclude the topic on gaming. So far I have considered the two main complaints that non-gaming people tend to have with gamers and games themselves- today I want to get more into the guts of exactly why gaming, over so many other things, appears to be a target for particular dislike from large sections of the mainstream.

In case anyone reading is in any doubt that games ARE as much of a target as I am painting them to be, I refer you to a situation a while ago in which the American Supreme Court agreed to hear a proposed Californian state law restricting the sale of games to minors, especially ‘violent content’ Please bear in mind that these laws pop up all over the US from time to time and are always shot down for violating the First Amendment- but in this case the Supreme Court, the ultimate last line of appeal, the highest court in the most powerful nation on earth, was willing to give voice to an argument claiming, based on claims made from rather spurious studies that ‘games harm U18’s’, that games do not offer sufficient value to the world as a whole to warrant First Amendment protection. Anyone could see the law was unconstitutional- but the political voice was loud enough to get the Supreme Court to have a listen. Can anyone imagine them hearing a case proposing the restriction of film content in this way? Or TV? Or music. Of course not- but games? Whole other kettle of fish apparently.

(I could spend all day shooting this law down, but since I only know about this from an Extra Credits episode and they are going to do a far better job of it than me, I suggest you hit PATV and watch their take on it: http://penny-arcade.com/patv/episode/free-speech)

So yeah- people and politicians don’t like games, but why? What is it that what’s basically giving a film a joystick and controls suddenly turns that film into something that everyone thinks just doesn’t matter? The reasons are, as with all such widespread emotions, many and varied, and I have certainly not thought of all of them, but here are just 3 that especially spring to mind:

1) The Social Gap

It’s no secret that gamers are a fairly predictable group of people in terms of who they are- young, often middle-class, men aged between 14 and 28 ish probably comprise at least 70% of the game-playing population (my own guesstimate, so shoot me down if you know any better figures). But, for starters, half the world’s population are female and the majority are outside the ‘game-playing’ age bracket- especially in the western world where advances in living conditions and healthcare have meant that seemingly everyone is middle-aged. Thus, gamers are something of a group unto themselves- in my social circle, for instance, just about everyone will be a gamer to some extent, but in, say, my mum’s, none of them would know the difference between Final Fantasy and Battlefield. So games become less of an all-encompassing medium, and more of a seemingly ‘niche’ product that just doesn’t seem very important to large sects of the population- particularly the small rich, white, middle aged, upper middle-class sect that dominates the western political and (to a large extent) cultural landscape. This is compounded by the fact that, unlike TV or film which have been around for years, gaming in its current, industry level, world-dominating form is really a creation of the last 15-20 years or so, so there has been little generational ‘trickle-down’- ie the more elderly sects of society will NEVER have played a game, much less grown out of them, so are even less inclined to be sympathetic towards them.

 

2) Internet Connections

As I’ve just said, modern gaming is really an invention that began gathering speed around the mid-to-late 90’s- almost exactly the same time that the internet was first invented. As such, with gaming and the web growing up to becoming the fully-fledged entities they are now almost in parallel, they have since developed a close bond. For example, a lot of internet memes, such as the whole ‘arrow to the knee’ thing, are gaming-based, and while gaming may only be relegated to a small back page every fortnight in the paper, online it has entire sites and communities dedicated to it in a way even films can’t match on the web. Unfortunately, this internet link, and especially the tie-ins the web also has to the same middle-class young men group who make up the core gaming stereotype means that a lot of the ‘bad boy’ parts of the internet that disgust big corporations and governments seem to have an inherent link to gaming- and thus gaming gets tarred with the same ‘we don’t like you’ brush. Not only that, it also gets landed with all the active dislikes people have of those sectors of the web- its juvenile and rather crude sense of humour, the potential for hacking dangers, and the generalised sexism and borderline-offensive ‘banter’. It is this, in part, which turns mere indifference to the gaming population into genuine dislike and mistrust of the medium.

 

3) Content & Style

The very nature of gaming and gameplay itself demands an action-driven plot & content style- even in the more cinematic or narrative games, what keeps the plot ticking over is you as the player actively doin’ stuff. If we make a quick comparison to films for a minute, this does happen in the film industry- action flicks for example often go for plots almost entirely driven by the protagonist’s actions over the course of the film. However, this is not the only way for a film to go- different genres, be they romances, ‘arthouse’ films, even horror movies, can push the film forward via other means, such as dialogue or even acting expression. This variety is one of the reason films are so accessible- there is something for every taste. However, the action-driven nature of games inherently limits the variety of experience delivery they can offer, which isolates large sects of the non-game playing public from giving them a chance. Basically, to a non-gamer, all games would, if they were films, have Jason Statham in the lead. Now, people not naturally inclined towards that sort of thing don’t find it so much of a problem with films because there is still space for the sort of delivery they prefer- but the image of gaming as ALL being like this makes it all seem a bit juvenile and not worth all the bother. This is a problem unfortunately compounded by the fact that the popularity of games like Call of Duty, where action is so central it seems to hide all else. This makes it seem like all modern games are about KILLING EVERYBODY- not the image that best portrays the emotion and general awesomeness that really good games can inspire. Thus, once again, an image of a medium that’s ‘just not for me’, is turned into one that is juvenile, grotesque, occasionally obscene and thus not worth the same merits as other forms of media.

This list is far from exhaustive but to me it covers the main points as I see it that make gaming a seemingly exclusive and disliked medium. What can be done about it? Well, a little just being more grown up about stuff and sharing quality gaming experiences with the rest of the world wouldn’t go amiss, as would not taking the piss constantly out of the Nintendo Wii- while it may not be a serious gaming platform, it has done more for gaming’s image than the PlayStation 50 ever could. As for any less ‘woolly’ ways out… well, do you want me to make this a four parter, cos I don’t?