Tag: Ben-Hur

All Lines Are Busy

 

Filing an unemployment claim online is the modern way, and few people bother about calling to file their claim. At least they don’t bother until they reach the last step of filing online when they may be confronted by a request from the unemployment office to call them in order to answer some questions for clarification of their claim. By the way, the claim is not complete and official until the applicant makes that call. *CLICK*

Jobless Men Lined up for the First Time in California to File Claims for Unemployment Compensation - NARA - 7716670 (page 1)
Jobless men lined up for the first time in California in 1936 to file claims for unemployment compensation under the Social Security Act of 1935. Photo for the Social Security Administration by Dorothea Lange (1895-1965).

 

Making that call and actually getting through to a live human presents a nearly insurmountable obstacle when tens of thousands of other applicants are trying to do the same thing at the same time, overwhelming a system that was meant to handle only hundreds of calls each day, or maybe a few thousand calls a day at best. Since Department of Labor guidelines for unemployment claims dictate that many, possibly most, applications require follow up questions for clarification, there are now hundreds of thousands, maybe millions, of unemployment applicants around the country whose claims have been in limbo for weeks because they cannot get through on the phone to their state’s unemployment agency, at the agency’s request. “We’re sorry we can’t take your call at this time, as all operators are currently busy assisting other applicants. Please try again later.” *CLICK*


In the 1979 PBS television show Previn and the Pittsburgh, Miklós Rózsa conducts a suite from his score for the 1959 film Ben-Hur, performed here by the Pittsburgh Symphony Orchestra. If you’re going to be on hold with a phone call, you might as well listen to some glorious music, and particularly at this time of year if it’s related to Easter.

 

No one knows exactly how many people are trying to call and not getting through. The online claims are in limbo, and so how would anybody know? The current estimate of approximately 10 million new unemployment claims nationwide is almost certainly a low ball figure. The technology exists for handling such a high volume of online claims and the phone calls they generate, but state governments didn’t want to spend the money for technology and employees that would have been underused most of the time. State officials would have had difficulty selling preparation for the absolute worst case scenario. “The party you have reached is not taking any more calls.” *CLICK*

Rózsa’s “Overture” to Ben-Hur, recorded in 2017 using state of the art technology. For all that, music like this is performed by musicians on instruments that have changed little for centuries. Note the fellow filming the proceedings on a digital video camera no bigger than a tablet computer, which nonetheless delivers excellent optical quality and smooth motion. If you’re stuck at home for days and weeks at a time, it’s nice to have technology like this available as a compensation.

They could have come along part of the way, however, mainly in improving their ability to scale up quickly in response to a crisis. Instead, in some states like Florida, led by Republicans, officials actively undermined the capabilities of agencies, like unemployment offices, which were meant to aid workers. In times of low unemployment the agencies adequately supported the needs of claimants, but as soon as the load increased the system buckled and the agencies’ inadequacies became apparent. “Your call is very important to us. Please stay on the line to speak to the next available representative.” *CLICK*

Like the infectious disease advisory boards and the equipment and facilities necessary for coping with a pandemic, the state unemployment agencies appeared in quieter, safer times to be unnecessary expenses in the view of the kleptocrats currently occupying public office throughout much of the land. But wiser heads understand these are services that, when you need them, you really need them. Dumbkopfs don’t understand and are unwilling to admit these services can’t be brought up to speed overnight to handle a crisis the magnitude of the coronavirus pandemic. Primarily they don’t care. Trumpkins do understand military defense preparedness, but then that has more to do with maintaining the gravy train of defense contract boondoggles than with the actual requirements for defending our country. They think defending our country means ripping children away from their parents at our southern border and throwing the parents and children into separate concentration camps. Trillions for defense, but no more than pennies for scientific and humanitarian concerns. “All lines are busy. Good-bye.” *CLICK*
— Techly



Finally, an analysis of Rózsa’s “Prelude” to Ben-Hur, the music that played during the opening credits. To all those who must sit and wait while technology catches up, may your call finally get through.

 

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The Empathy Generator

 

Roger Ebert, the great movie critic who worked primarily in Chicago, Illinois, and over the course of his career garnered respect and influence internationally, believed movies were “like a machine that generates empathy”. By that he meant a well-made movie encourages viewers to lose themselves for a time and step into the shoes of others. There were more movies like that being made 50 years ago than there now, in the current era of comic book special effects franchises.

Stanley Kubrick - Chicago Theatre cph.3d02346
Stanley Kubrick took this photo in 1949 for LOOK magazine. Mr. Kubrick was a staff photographer for the magazine from 1947 to 1950, and he then went on to direct many great movies, becoming a model for other filmmakers of the New Hollywood. The Chicago Theatre was one of many movie palaces built around the country in the 1920s, and after renovations in the 1980s, it remains a popular venue for film exhibitions and live performances.

 

Mr. Ebert became the film critic for the Chicago Sun-Times newspaper in 1967, about the same time as the emergence of New Hollywood filmmaking, an era lasting roughly from 1965 to 1985 when Hollywood studios financed character driven films made by directors like Mike Nichols, Bob Rafelson, and Francis Ford Coppola, who came from backgrounds in theater, television, or film school. Filmmakers in Old Hollywood often came up through the ranks, and many of them were refugees from Europe, escaping the fascist regimes spreading throughout the continent in the 1920s, ’30s, and early ’40s.

Old Hollywood was vertically integrated, meaning the studios controlled production and distribution and held talent under long term contracts. All that started to fall away in the 1950s when the federal government forced the studios to divest themselves of most of their wholly owned distribution channels, which had behaved as a cartel, and as television poached audience share from the movie industry. Some star actors and directors cut themselves loose from the major studio system, forming ad hoc film companies which sought limited input from the big studios. Finally, in order to compete with television, studios more frequently rolled the dice on big budget spectaculars such as Ben-Hur or Cleopatra, and those high stakes gambles either saved financially unstable studios or sank them nearly to insolvency.

By the late 1960s, the movie studios primarily served as film financers and weren’t as heavily involved in production and distribution as they once were. Along with discarding the Hays Code of movie censorship, a relic of Old Hollywood, the changed paradigm of filmmaking allowed greater freedom and creative control for directors, actors, and writers. The result was the flowering of small to medium scale films that became the hallmark of the New Hollywood, films such as The Graduate and Bonnie and Clyde, both released in 1967, and continuing with other great films made for adult sensibilities through the 1970s.



Jack Nicholson had a breakout role as an alcoholic civil rights lawyer in the 1969 film Easy Rider, directed by Dennis Hopper, who also starred in the film along with co-writer Peter Fonda. In taking on multiple tasks in the making of Easy Rider, Mr. Hopper and Mr. Fonda were more typical of New Hollywood than they were of Old Hollywood, where vertical integration assigned discrete tasks to different individuals within the studio system, and auteurism was discouraged by studio bosses who were leery of the practice ever since Orson Welles made Citizen Kane in 1941.

 

Jack Nicholson was the actor who became the face of New Hollywood filmmaking, simply because he was in more hit movies than anyone else during that time. His face, voice, and acting style and choices personified the New Hollywood era. Starting with Easy Rider in 1969, Mr. Nicholson was in one successful movie nearly every year, and in some years more than one, through the 1970s and into the ’80s. He has of course been in many successful films since then, and what is remarkable in retrospect from today’s vantage point when big budget sequels and reboots of franchises are Hollywood’s major output is that he has never repeated himself nor acted in one of those kinds of movies.

Since the demise of New Hollywood filmmaking, Jack Nicholson has chosen to stay with character driven films, though the number available for his participation diminished over the years, as he related in a 1995 interview with Roger Ebert. Even Tim Burton’s 1989 film Batman, in which Mr. Nicholson played The Joker, can be seen as character driven despite its comic book origins and inclusion of special effects. It was the first film of its kind to take the source material seriously, and it was well-made by some exceptional talents.

In a later scene in Easy Rider, Jack Nicholson’s character, George Hanson, discusses the state of the country with Dennis Hopper’s character, Billy.

Unfortunately the endless variations on Batman in the 30 years since its release have grown wearisome. But the movie that started the push for a return to blockbuster filmmaking came out 14 years earlier, in 1975, when Steven Spielberg’s film Jaws appeared in theaters that summer and set box office records. Jaws was followed in the summer of 1977 by Star Wars, a film created and directed by George Lucas that started a media franchise which continues to this day. Those films, too, were well-made by exceptional talents. In the years since their release, however, those kind of films and their lesser cousins have increasingly crowded out the kind of smaller, character driven movies Jack Nicholson and the New Hollywood were known for, the kind Roger Ebert described as generators of empathy. In times when we are in need of empathy generators perhaps more than ever, we are largely left to project ourselves onto special effects beclouded superheroes.
— Vita

 

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No Water for Them

 

Is there any substance more essential to life than water? More precisely, clean and plentiful water for drinking? A person can survive weeks, and even months, without food; without water, a person can live at most a week. Water is so essential that in 2010 the United Nations (UN) passed a resolution recognizing access to a clean and plentiful supply as a basic human right. There were not any “no” votes, because after all what nation wants to go on record as being indifferent to the plight of poor children without access to wholesome drinking water? There were, however, 41 nations abstaining, taking the coward’s way out, and among them was the United States.

 

Besides moral cowardice, that abstention reflects the undue influence of enormous corporations such as Nestlé, which wants to corner the market on potable water for profit. People the world over do have to pay for food, though complete private ownership of all the world’s drinkable water goes too far, a plan the UN resolution attempted to forestall. Into this dispute about the human right to water stepped an organization called No More Deaths which has been dispatching volunteers into the Arizona desert to deposit supplies of water and non-perishable food for Hispanic immigrants crossing into this country.

Water drop 001
A water drop. Photo by José Manuel Suárez.

Four young women volunteers for No More Deaths were found guilty on January 18 by a federal magistrate for the misdemeanors of doing just that in the summer of 2017. They appeared before a federal magistrate because they committed their offenses in the Cabeza Prieta National Wildlife Refuge. Federal authorities charged them with littering, entering the refuge without a permit, and operation of a motor vehicle within the wilderness area. They did these things in the interest of supplying humanitarian aid. Meanwhile, during the current partial federal government shutdown, vandals are tearing up national parks solely for their own twisted sense of fun and getting away with it.

Are the Hispanic immigrants crossing into this country illegally? Yes, they are. Did the volunteers for No More Deaths enter Cabeza Prieta without a permit, riding in a motor vehicle, and then leave behind items? By all accounts, yes, they did. In the larger picture those points disappear before the undeniable fact the immigrants are human beings in need of water for survival as they cross a desert, and the survival beacons maintained for them by the United States Border Patrol are either inadequate or suspected by the immigrants of being traps. Humanitarian organizations stepped in to provide aid when they saw the deadly effects for the immigrants.

In this scene from the 1959 film Ben-Hur, directed by William Wyler and starring Charlton Heston in the title role, a chain gang of criminals overseen by Roman soldiers pauses in Nazareth on their way to a seaport, where presumably all the criminals, like Ben-Hur, will be put to hard labor at the oars of ships. The fellow who mercifully gave Ben-Hur water was fortunate not to be clapped in irons for His transgression. No doubt the authorities caught up with Him eventually.

As part of the current presidential administration’s callous disregard for human rights, Border Patrol employees in uniform have been pouring out onto the desert the water from the jugs they find left behind by humanitarian groups. It’s difficult to say which officially sanctioned action is more inhumane – depriving desperate people of water or wrenching children away from their parents. What sort of people are we? More precisely, how much can decent people tolerate the brutality of indecent people who claim to be doing righteous things? And whether the brutes are true believers or disingenuous opportunists matters not one bit to those who suffer at their hands.
— Izzy

 

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