Before I forget, Happy Pi Day!!!

Rebus Part 2

Of course, being pushed to the side in favor of newer and/or younger detectives doesn’t really bother Rebus. Rankin has Rebus fall into cliché at that point, making his character so determined to follow through on the case that nothing will stand in his way, not even police hierarchy. And of course the story follows suit, in that Rebus is almost always right.

Fair enough. I can live with that, if only because it grates on his allies. I believe that in most other novels and series, those under him would fall in line, but here, even his best friend on the force, Siobhan Clarke, gets rankled. Instead of wanting to be just like Rebus, Clarke spends a substantial amount of time – especially towards the end – worrying that she’ll wind up just like him. And there are signs that something like that is happening. But more on her later.

 This wariness, coupled with the real-time aging process, is what sets Rebus above his counterparts in the world of crime fiction. That’s not to say he’s the only crime fiction character to have aged (Tom Ripley from the Patricia Highsmith novels aged, but not in real-time, and certainly there are other characters out there). But it certainly sets him apart.

 Now, Rebus is a Noir character. He gets beaten up quite a bit (he’s lost teeth, been cut, shot, stabbed, and so on). And he doesn’t mete it out himself. He simply takes a lot of punishment. So while he’s screwed up cases before, it’s never been through violence. In fact, I’m not even sure he carries a gun (in the book Homicide: A Year on the Killing Streets, David Simon writes that most homicide cops don’t really ever use their guns outside of the firing range, and it wasn’t unheard of for them to leave them locked in their desks, forgotten… by the way, go buy that book).

 This is the hallmark – or a hallmark – of a Noir hero. Another hallmark that Rankin explores – again, toward the end of the series – is that the overworld is just as bad, if not worse, than the underworld. As Rebus’ nemesis, Big Ger Cafferty, gets older, he starts to move the public face of his empire into more legitimate businesses. David Simon’s series on HBO, The Wire, explored this as well, and I wondered sometimes if Rankin was taking a cue.

 This leads me to something else: The villains of the series range from murderous thugs – the people you’d expect – to more institutional villains. Though they may not be doing anything expressly evil, are still doing damage in their own way. When the new Scottish parliament is to be built, the land chosen in Edinburgh is a housing estate, or, as we say in the States, the ghetto. It’s assumed that when the new parliament is complete, the land around it will become valuable. And so, people are moved out. At the time he dropped it into the story I wondered what Rankin was getting at, since he never really explored it. Looking back at it now, I think he was beginning to hint at the themes he would visit in the later books.

  So what, I wondered, was Rankin trying to accomplish with Rebus. Well, to be honest, I figure he was just trying to tell a good story. And if that’s the case, then I think he did a fantastic job of it. On the other hand, by the end, he wasn’t preaching, but he did seem to be reaching for more. Was he saying that crime has many faces? That the law doesn’t always serve Justice? I think that’s a typical Noir trope anyway. So yeah, he probably was.

 But with shows like Law & Order and CSI on, showing us run-of-the-mill villains committing crimes in all kinds of strange ways, Rankin shows that the rot is all around. And by the time the series wraps up, he seems to be saying that we need more cops like Rebus, who give themselves over to the job almost completely.

 More later, mi vaqueros.  

Inspector Rebus, Part 1

Back in 1987, Scottish writer Ian Rankin wrote his first Inspector John Rebus novel, "Knots and Crosses." It was the first of around 16 novels (including one novella and a short story, which I haven't read... sue me). The story was simple, and a little more over-the-top than the books that followed (Rankin described it as Gothic), and Rebus wasn't technically an inspector (he was a Detective Sergeant). Quite simply, a serial killer is out in Edinburgh, killing little girls. There seems to be a personal connection to Rebus from his days in the British army. Beyond that, little is known about the killer. 

As the story unwinds, clues are uncovered, chases ensue, and we begin to find out more and more about Rebus' world - his preferred pub (the Oxford), his relationship with Detective Sergeant Gil Templer, his brother Mickey, and two of his underlings, Siobhan Clarke and Brian... huh. I forget Brian's last name. For good reason, too, which I'll get into later. 

According to Rankin, though, this was supposed to be it - a one-off. Finito. The ever-lovin' end. 

But it wasn't. 

Several years later, a sequel came out, "Hide and Seek." This time, Rebus has become a Detective Inspector. In fact, he will not get another promotion for the rest of the series. And "Hide and Seek" is the beginning of a change in tone for the series. While on the one hand, the murders and crimes covered in the series are more extravagant than your usual, say, drug murder, they are grounded in the general atmosphere of the prose. Sure, in "Hide and Seek," some kid seems to have been murdered in a Satanic ritual. But the murder itself is treated out of the ordinary, and the motivation is toned down. Instead of looking for Satanists, Rebus and crew look for drug dealers, criminals, the usual suspects. Buying into the idea that a cult is responsible would be beyond the pale. 

And that's how Rankin keeps it in subsequent novels. Certainly, sometimes the villains are larger than life in some ways (for example, a recurring villain - Rebus' main villain - Big Ger Cafferty), but even their crimes are well within bounds of, dare I say it, the real world (yes, I dare say it). 

Rebus himself falls into some of the typical cliches of a noir hero. He's hard bitten. He's had a rough life. He doesn't take well to authority. He's virtually estranged from his family, including his daughter, Samantha. He gets suspended a lot. He drinks like a fish for most of the series (he does get sober for about half a novel). His love life is hit or miss. Sometimes, he has to bend or even break the law to enforce it. 

One of the more annoying cliches I found came later into the series, and that is that everything is connected (for example, in 2000's "Set in Darkness," three wildly different murder victims are connected (one is a homeless man, another is a politician from a rich family), not only by business, but by family bonds as well. And this kind of storytelling runs through, almost to the end of the series. 

On the other hand, even though he's right 99% of the time, it doesn't always end well. More often than not, there are stalemates. He might find out the identity of the murder(s), he's not always able to bring them to justice (remember, he bends and breaks the law himself sometimes). So while the reader may get the satisfaction of knowing the identity of the villain, 

Overall, this builds a compelling world, but one you could find anywhere else. However, there is one thing that Rankin stresses about Rebus that I've found rare in mystery novels: Rebus gets old. 

Not only that, Rebus was aging in real time. 

Don't get me wrong, we never really know his age. But when "Knots and Crosses" begins, Rebus is in his late 30s. By the time the latest novel, "Exit Music," rolled around, he was in his late 50s. 

To me, this really made Rankin's series stand out. There was a progression for Rebus, and a built-in end point that Rankin was going to stick to. Now, this doesn't mean Rebus' adventures are over. There were at least two "outs" in "Exit Music" for Rebus to continue under the auspices of the police. But it was his last novel as a cop. I can't think of any series where this aspect of the character is so front-and-center (if I'm wrong, feel free to list the series... I'm talking mysteries here, not SF or Fantasy). 

It makes for a compelling read the closer you get to the end of the series. How Rebus is treated changes over time. At the start, he's a good cop who sometimes bends the rules to get the bad guy. By the end of the series, he's a nuisance that the force can't wait to get rid of, no matter the results of his investigation. By the final two or three books, in fact, he's often not even the lead detective on a case. 

So, yesterday, Saturday, the 7th day of February, 2009, was a day that I won't forget, but also of which I have a hazy memory. Because on that day, I met Takashi Miike, one of the greatest living filmmakers ever, and perhaps the most influential filmmaker I have ever seen. When I got my picture taken with him, he was very gracious, and he shook my hand twice. TWICE!!! He doesn't speak English, so all I said was "Thank you." Twice. 

He's in the city to hype his latest flick, Yatterman. He dropped by the Japan Society, and they sold tickets, and I got a pair, so I went to hear him speak. And I asked a question - something about his process of directing - and he answered sincerely, and happily, and made a few jokes (through a translator, of course). Afterwards, there was a reception, and he talked to fans (or, they talked at him, and he nodded along). And then I got this:

I know, I promised this would be a book(s) review, but something pretty big happened in the city this weekend: Joe Ades died. 

Who's Joe Ades, you may be asking. He is - was - a salesman who hung out in Union Square across from the Barnes & Noble and the Petco, selling a vegetable peeler. Now, I never bought from Joe (though I did get one of his peelers as a gift - and it's one of the greatest things ever). But I know plenty of people did. He would always put on a show, and I always watched for a little while before moving on. He had prime real estate in the square, simply because he was always at the edge of the farmers' market. Plenty of potential customers. 

I always figured he'd be there, perpetually in the background, like a loud swatch of aural wallpaper. But now he's gone, and Union Square - for all its its purple broccoli, bright yellow carrots, dark green leafy greens - is a little less vibrant.

If you're a Facebook friend, I asked you to watch the night sky. Something was coming. 

Well, everyone, it's here.

The plot of Star Wars explained by someone who hasn't seen Star Wars.


Star Wars: Retold (by someone who hasn't seen it) from Joe Nicolosi on Vimeo.

I dunno, I think she was pretty accurate, yes? No? Oui? Non?

This caught my ear this morning, as I was reading an article on Slate.com. It's the oldest recording ever, of "Au Clair de la Lune," made by Frenchy Edouard-Leon Scott de Martinville. They don't know the name of the singer, but who cares, right? Oldest. Recording. Ever. 

I promise.

Have you noticed something? I haven't done a review of anything since this summer. And even that was an exhortation to get you yahoos out to the movies. So here's a promise: When I get done with the Rebus series by Ian Rankin, I will review not one, not two, not even three, but the entire Rebus series, from "Knots and Crosses" all the way to "Exit Music". Along the way, if something catches my fancy, piques my interest, or grabs me by the cockles of my heart and shakes like a mad dog, then I'll write about it. 

It's not safe for work (language, people!), but... it's just awesome.

See more funny videos and funny pictures at CollegeHumor.

No gaps in my learnin'.

There Are 0 Gaps in Your Knowledge

Where you have gaps in your knowledge: No Gaps! Where you don't have gaps in your knowledge: Philosophy Religion Economics Literature History Science Art

Do You Have Gaps in Your Knowledge?

Maybe one day, they'll write a song about Obama like this. Beware, it's not necessarily safe for work. 

Ever since Obama won last night, I've been feeling like this song (not the picture... though this is New York City, so you never know):




But this song is what's been going through my head:



Go fig.

I think every child should speak French...

Okay, I admit it. I'm a softy. Leave me alone.

Too much candy from Capucha on Vimeo.

Here is some avant garde Japanese music. It's just for shits and giggles until I get around to writing about my experiences as a "fair" and "impartial" juror for the great and glorious state of New York.



I wanted to add this, because I came across it on YouTube. It's very important that those of you with children watch this video. An epidemic from when I was a child has come back, full force in our schools and on our playgrounds. If you have a kid, get him/her vaccinated immediately. It's very easy. Here's the video:

Sir Ben Kingsley "sings" a Minor Threat song.

What, you need more than that?

Sir Ben Kingsley STOMPS into the shoes of Minor Threat's Ian MacKaye from Mean Magazine on Vimeo.

I'm not particularly religious, though I do think - to quote Larry Mullen, Jr. - Jesus was a cool guy. Anyway, I came across this video on Fazed.net while looking a video of the Ninja Cat (don't ask). There's just something really catchy about this tune, and you gotta admit, that guitarist is really rocking out.



Also, as of yesterday, my blog is two whole years old!

Yet another post! I'll have something new next week, fer sure. I'm serving on a jury right now, and I'll talk about the case. I can't at the moment, but when it's all over, I'll spill the beans.

Until then, here are...

The Circle Jerks!!!!

In order to keep the terrorists from winning, I shall post a new... post. And here it is:

I may have to move soon. My building is going condo, and they want to kick me out. I may just do it, because they'll probably pay me a big whack of cash to do it.

I have to buy a new computer - an iMac - because my Gateway is turning into a paperweight. The thing is, I want to use the iMac to edit films, so I'll need Final Cut Pro. That would effectively double the price of the computer.

Um... other stuff is happening, but to be honest, I could sleep through all of it.

Oh, and then there was this:

On Saturday, July 5th, I saw this, and you didn't:



That's because you probably live in Bat Country, and the people at First Look Internation don't trust your taste. So write them here, and let them know you want to see this movie. I'll even provide you with a template for you to send them:

Dear First Look International,

Even though I live in Bat Country, I have good - no, great - taste in movies. Therefore, I want to see Sukiyaki Western Django. And I swear to God, I won't go during the matinee. No! I'll go during the evening when tickets are full price! Honest! So please send it to my neck of the woods.

Thank you for your time in this matter.

Sincerely,

Your Name Here

So what's it about? Come on, man! It's a Spaghetti Western, set in Japan, directed by Takashi Miike! What more do you want!?!

Fine. Here's the description from the New York Asian Film Fest site:

A nameless gunman (Hideaki Ito) rides into Yuta, Nebada, a dusty flyspeck of a town that’s caught in the middle of a gang war between the Heiki (in red, and led by hot-headed madman, Koichi Sato) and the Genji (in cool white, led by baby-faced bad boy, Yusuke Iseya). Setting the two gangs against each other and hoping he can pick up the cash left on the table after they wipe each other out, our hero soon finds things are a bit more complicated than he assumed. There’s the mother of a half-Genji, half-Heiki kid, played by Yoshino Kimura (FINE, TOTALLY FINE)who is out for revenge against the Heiki; her mother, who runs the local general store and who is secretly a legendary gunslinger herself (played by Kaori Momoi, MEMOIRS OF A GEISHA), an indestructible sheriff and more mind-bending, cartoonish ultra-violence than you thought could ever possibly exist, all scored to a thundering, electrifying spaghetti western soundtrack.

Speaking a “Hooked on Phonics” version of English, the cast wades into this cross-cultural mash-up with guns blazing, slaughtering anything that moves and taking no prisoners in this off the hook Western that manages to load a missile with everything cool about samurai movies, westerns, spaghetti westerns and Takashi Miike movies and launch it into your eyes.

How could you NOT want to see this? There's no way! It's opening here in the big city in a month, and First Look is a bit antsy on a wider release. So you need to tell them you want to see it.

Now, it's not Ichi the Killer violent/bloody. But it's bloodier than your typical Spaghetti Western. And all the tropes are there: The warring gangs, the Romeo & Juliet love story, the nameless gun slinger, the morally ambiguous sheriff, and so on. Miike steals from Leone's trilogy (The Good the Bad and the Ugly, A Fistfull of Dollars, A Few Dollars More) freely, and it works, because they're sly thefts, nothing too obvious.

Quentin Tarantino does act in this. He's in the opening scene, and while he does well here, he's better in later scenes stuck in a steampunk wheelchair and covered on oldman latex. Miike manages to get some real acting out of Tarantino in these later scenes, when he seems to focus more on emotional reactions than the earlier cool grandstanding.

But my favorite character is Kaori Momoi's Ruriko, the secret gunslinger. There's nothing like an older woman slinging iron with the best of them. She steals the show for several reasons, one of which is the surprise of an older woman spotlighted in a Japanese movie.

So go and First Look you want to see this. Do it now. Because good movies are worth your time and effort, and this, my friends, is a great movie.