Secrets of the Dead - Amazon Warrior Women Review

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(More customer reviews)This film takes you along an Anthropologists hunt for the descendents of the infamous Amazons, a society of female warriors heralded in ancient literature and art. Follow along as Dr. Davis-Kimball, along with her colleagues, discovers an ancient burial ground in Russia that bears up tall skeletons dressed in gold beads, follow as they extract mtDNA (mitochondrial DNA, which is passed on from mother to daughter down through the generations) from the skeletons, follow as Dr. Davis-Kimball tracks the Amazons through Greek literature and art, and finally follow her to the steppes of southeast Russia to an isolated Nomad family that just might be descended from a small group of the Amazons. These lost Amazons, who were captured by the Greek army and then overtook their captors, found a new land and intermarried with and fought next to the men they found there.
I found very little to criticize about the film. The stories of the Amazons in Greek literature suggested that Dr. Davis-Kimball search out Caucasoid features in the nomadic peoples. And in the film she is surprised when a forensic scientist creates a skeletal reconstruction that looks like no known people and has brown hair. My question is, why does she make such a big deal about the brown hair when the hair color was entirely speculative anyway? In addition, between scenes, there are clips of skinny blond model-like women with swords (it is highly improbable that the Amazons would have been lightly built, as they would not have had sufficient strength for battle). I suppose they were shown as contrast to Davis-Kimball's actual discoveries and as illustrations of the Greek myths, but they were also somewhat distracting from the science of the film.
There is much to learn from this film, from Greek art, to the rarely seen culture of the steppes people, to the ancient topography of the land, to genetics. Being a scientist myself, I can say that the science is superb and it is refreshing to see the mitochondrial (maternal) DNA followed, as another recently popularized researcher erroneously stated that the only way to track human evolution is to follow the Y-Chromosome, only found in men.
The film is not intended to be a thorough investigation into the mythical Amazon culture, but is about discovering the true Amazon women, from whose stature and deeds the myths were borne.


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Ken Burns Presents: The West (2009) Review

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(More customer reviews)The West
DVD ~ Peter Coyote
When some people use the word "documentary" they seem to imbue it with an expectation of total objectivity--as if one could eliminate all traces of cultural experience from one's makeup and discover a shining path of ultimate "truth" simply by the act of becoming a filmmaker. Nonsense. We are all a product of our times and of the culture in which we were raised and educated. Documentaries are always, always, always selective. There is no such thing as total objectivity, either in writing or in filmmaking.
That said, this is an enormously valuable effort to sift through an extraordinary cross-section of materials and condense them into 12 and 1/2 hours of very viewable, enlightening and often extremely moving stories. Yes, that's right, I said "condense". The documents available on the history of the West literally fill many museums, and unless you plan to spend every waking moment of your life from the time you learn to read until the day you die as a serious scholar of western lore, you will never gain a complete knowledge of the subject. This is an outstanding effort to provide a distillation of the sense and feel of the west from the earliest days of indian tribal inhabitation to the passing of the frontier. To have even attempted that feat in a 12 and 1/2 hour presentation took courage and imagination. Although I have often grumbled to myself about Ken Burn's relentless imposition of an over-stylized montage technique on the presentation of his documentaries, I have nothing but astonished admiration for his accomplishment in crafting this mini-series. Bravo.
Yes, yes, it doesn't tell the whole story of the West. Yes, it is selective. And, yes, there are other things that could have been included. C'mon guys, quit sitting back like Monday morning quarterbacks and griping about what is missing from this presentation. Think about what he WAS able to accomplish! He captured a sense of sweep, a sense of the development of the frontier, and an extraordinarily vivid impression of the cultural, religious, social, economic and racial collisions that occurred in this vast space over a period of a couple of centuries. Good grief, what do you want, blood? If he had never made another movie, this series would still have placed him in the pantheon of American documentarians. No one is claiming that this is the only document you need to expose yourself to in order to achieve perfect understanding of the history of the West. But it's certainly one absolute requirement for inclusion in any attempt to understand the subject.
For any collector of Western memorabilia and lore, for any teacher who wants to enrich a class in American studies, and for anyone at all who simply wishes to gain a sense of the West in our history, this is a must-have set of dvds to add to your collection. It should be available in every school and public library and rerun regularly on PBS. It's the best thing Burns has ever done--the Civil War series notwithstanding--and those who chirp like little toads that it should have been better are welcome to make an effort to direct and produce a version that improves on it. Don't hold your breath until that happens.
Now I'm about to suggest a bit of social heresy in this day of 30 second commercials and infinitesimal attention spans. If you really want to gain the ultimate impact, try total immersion. Choose a rainy or snowy Saturday or Sunday, lay in a goodly supply of your favorite food and drink, lock the door and turn your phone off (!), and then do a total viewing immersion. Watch the entire series from beginning to end in one marathon day. And by the way, treat yourself to some solitude. That's right, do it alone; spend one day watching this without having to pay attention to the needs or attitudes or reactions of a viewing companion. Let it surround and soak into your senses. Embrace the barrage of images and sounds. Plunge headlong into that amazing collection of stories about people and places and events. It will change you. You won't come away with total recall of details, but you will achieve a new sensory and intellectual appreciation of our history that is geometrically greater than watching it piecemeal with days or weeks intervening between the episodes. Later on, after some time has passed, you can go back and view it again in the self-contained capsules; that time through, you will absorb the detail. Go ahead, try it. Challenge your mind.
Well done, Mr. Burns! My hat is off to you. And thank you PBS for reminding us that our brains are for thinking.


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Company: A Musical Comedy (2007) Review

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(More customer reviews)Marry me a little,
Love me just enough.
Cry but not too often,
Play but not too rough.
Keep a tender distance
So we'll both be free.
That's the way it ought to be....
Only Stephen Sondheim could come up with such sophisticated couplets to a love song as disquieting as the beautiful "Marry Me a Little". I was very fortunate to have seen the enthralling 2006 production at the Ethel Barrymore Theater last season, and I'm thrilled it has been captured for posterity on DVD as part of PBS's "Great Performances" series. There is something supremely ironic about how a 37-year old show, already revived twice, can feel fresher than most Broadway musicals written today. However, when the music reflects Sondheim at his most accomplished with performers so adept, it becomes a moot point, even though several of the songs here have been inescapable at karaoke bars for years from the lips of overly zealous musical theater aficionados.
Staged like a minimalist cabaret act, John Doyle's joyous revival uses the same technique he used in his 2005 production of Sondheim's Sweeney Todd, specifically he has the actors play their own musical instruments, a daring move which actually helps underline the characters' feelings. The story is blessedly simple as it revolves around perennial bachelor Bobby, as he turns 35 and observes his circle of upscale Manhattanite friends, five married couples at different stages in various vignettes that make him reconsider what he wants out of life. Juggling three girlfriends, Bobby is a likeable but elliptical figure with commitment issues, and the story really follows his journey toward self-acceptance. There is an element of contrivance to the structure, but what I thought would be a severely dated libretto by George Furth continues to resonate with wit and insight.
For a canon as legendary and often erratic as his, Sondheim's sophisticated music and lyrics never seemed as accessible and hummable as they do here. So much of the show rides on the crucial casting of Bobby, and Raúl Esparza is terrifically bold and poignant in managing the precarious balance between yearning romantic and cynical hedonist. With a beautifully expressive singing voice coupled with a common-guy demeanor, he captures the character's arc with an escalating emotional intensity from the measured romanticism of "Someone Is Waiting" to the tender tentativeness of "Marry Me a Little" (with the beautiful, Sondheim-trademarked rolling piano) to the bursting climactic catharsis of "Being Alive".
The rest of the cast accomplish wonderful moments that already come with high expectations - Heather Laws' dexterously motors her way through "Getting Married Today" with her character's nerve-wracking intensity intact; Elizabeth Stanley brings a likable warmth to the dim-bulb flight attendant April as she duets sweetly with Esparza on the comically post-coital "Barcelona"; Angel Desai's saucy turn as hip Marta on "Another Hundred People"; the poignant "Sorry-Grateful" performed by the comparatively less spotlighted male ensemble; and of course, there are the lacerating observations in "The Ladies Who Lunch", handled with fierce worldliness by Barbara Walsh as Joanne. In the intimidating shadow of Elaine Stritch, Walsh lets out repeated primal screams at the end that pierce with wounding acuity.
TV director Lonny Price does a fluent job transferring the production to the small screen with minimum fuss. The 2008 DVD contains three terrific extras. First, there is a fifteen-minute interview with an articulate and thoughtful Esparza who discusses his connection with Bobby, the challenge of learning piano, and the alternating joy and pressure of working with Sondheim (for the third time). There is also a nine-minute interview with the erudite Doyle who explains how his unique use of actors as musicians went over with Sondheim. The centerpiece has to be a fascinating, 38-minute interview that Australian TV personality Jonathan Biggins conducted with Sondheim last year in Sydney's Theatre Royal. Sondheim is particularly forthcoming with humorous anecdotes about working with the likes of Leonard Bernstein, Ethel Merman, Barbra Streisand, and his mentor Oscar Hammerstein II during his long, illustrious career. This is a wonderful DVD for any Broadway aficionado and particularly for fans of Sondheim, Esparza and Doyle. I happen to be all three.

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