A Poem Because I'm Pissed

I Have To Have The Last Word

The blemished encounter of children

Led us down this wyrd path.

Of star crossed lovers,

And faithful circumstance.

The romantically outlandish combination was free from sin,

Understanding the lack of commitment.

Time developed levels of comfort,

Which became the cushion to cater to our individual disparity.

Until the moment,

When we fell in love.

You came to me in my darkest hour and awoke me with your light

We watched ourselves in mirrors

Our passion unmatched, and wildly untamed

Dancing, drugs, destiny

It left me blind.

But I enjoyed the darkness,

You can do no wrong through my blue kaleidoscope.

Until we saw the similarity between us

We let the light through;

Reality burned our bloodshot eyes.

Trouble, tricks, tears

All to save the other’s heart.

Doomed by a horoscope,

The stars were to carry on their path once crossed.

For one cannot dictate the direction of a star,

Their stubbornness leaves them lonely.

In fear of a poisonous,

 impending cloud of vain,

We hid like children beneath our sheets.

The tick of the bomb was terrifying.

Once the acid wore off and the colors were gone,

All that was left were the ashes of our love.

We tried to rebuild our temple to no avail.

Thy kingdom had come,

We shall be done.

The greatest ache is heartache.

Swollen eyes from ugly truths

That you’re in love,

With someone else.

I no longer believe in lover’s dreams

The hope can kill you.

For once your bosom beats betwixt his body,

He will steal the air from your lungs and the life from its cage.

Exasperated from dismay,

I find myself suffocating.

You stole my heart,

So it will always be with you.

Proof that a Play can Successfully become a Film

The factorial world of mathematics is a universe composed of symbols and complexity. If such an individual exists with the inhuman gift to understand such complicated language, their life’s purpose is to manifest it. The unique play turned film Proof is the story of a young woman accepting her arithmetic genius after the death of her beloved father. David Auburn wrote the conceptually complex play in 2001 and director John Madden turned it into a Miramax film in 2005. As someone who read the play prior to watching the film my expectations were high.

I first approved of Anthony Hopkins playing Robert because the ghost of a delusional mathematician seemed a natural fit for him. I was originally skeptical of Gwyneth Paltrow playing the mentally and emotionally tormented Catherine, but she proved her award winning acting abilities. For Hollywood purposes I guess it only seemed profitable to have Jake Gyllenhaal play Catherine’s love interest, Hal or formally Harold Dobbs. But Hope Davis was a relevant fit for the obsessive compulsive elder daughter Claire.

Simultaneous with the play and movie, the main setting was Robert and Catherine’s antique and gloomy looking Chicago home, heavy with unfinished business. The play was meant for a single stage but thanks to the infinite possibilities that a movie can provide; the story to took the necessary next step into reality to relate to a general audience.

Any movie that is based off of a play there will be changes made for cinematography reasons. One example that I didn’t mind was Madden made Catherine a year older than and Hal to either make their relationship seem less creepy or maybe because Gwen looks older than Jake. Other changes were added to give Claire more of a relatable character in the film possibly to heighten the lack of sisterly love. Nevertheless the movie could be followed along with the play, which satisfied me.

I thoroughly enjoyed the film’s use of flashbacks. In Auburn’s play the scenes skip to reflect a flashback or forward in time, which settled my confusion while watching the movie. The story begins the night before Robert’s funeral, Catherine is speaking with the ghost of her father and addresses the haunting question of insanity: “A very good sign that you’re crazy is the inability to ask the question, ‘Am I crazy?’” (Auburn, 11).

The theme of madness, I felt was supposed to be omniscient. However in the film Madden added a funeral scene where it seemed that Cat was seeking revenge rather than mourning her loss. In the film she rushed up to the podium and gave a morbid eulogy about the last insufferable years of Robert’s sickly life, ending it with, “I’m glad he’s dead.” Her speech was rough going down, especially since her character was supposed to have genuinely loved her father.

But Madden did redeem himself with the funeral’s reception, where Hal and his band of geeks rocked the house. The movie interpretation of the three-minute song of silence called “i” that stood for the “imaginary number” was so emotionally moving that it truly embodied the power behind a moment of silence in Robert’s memory. I also found it interesting that Claire was drunkenly giggling throughout the song to reflect her lack of awareness for this scientific world and her lack of care that her father just died. With the crack of lighting and simultaneous flash of Robert’s figure before Catherine, was both reassuring and an intense way to end the scene. 

The legendary Anthony Hopkins gave the true performance by bringing his own mad genius to truly become Robert. The inspiration for such an acclaimed character is within his charming love and dedication for both math and his daughter Catherine: “I (Robert) don’t mean to embarrass you. It’s part of the reason we have children. We hope they’ll survive us, accomplish what we can’t” (Auburn, 62).  

I had preconceived notions about Gwyneth Paltrow playing Catherine. I was proved to be in the wrong since she gave the appropriate balance of natural beauty and brains to Cat’s character. I was similarly skeptical about hunky Jake Gyllenhaal as Robert’s long time student because he is simply too good looking to become a math geek. But the scene during the morning after the funeral where Hal boyishly admits to Cat on the steps of her house, “I’d like to spend as much time with you as I can unless of course I’m coming on way too strong right now and scaring you in which case I’ll begin backpedaling immediately…”(Auburn, 35). Jake gave Hal the handsome he needed to make this line not sound creepy.

The ending was the only true difference between the movie and the play where Madden’s more dramatic finish was uplifting. In the play Claire and Catherine have not left yet for the airport but the insinuation that they are going soon is obvious. However in the film there was an additional scene where Hal chases after their taxi and in a perfect Frisbee-like toss, sends her notebook into the cab window and perfectly onto Cat’s lap as they drive away. Because of this, afterward while Cat and Claire are in the airport discussing New York, Cat has a moment of realization where she unexpectedly takes off running back to face her fate and Hal.

From my female perspective, what truly hit home for me was in the last scene. Hal is casually walking through his campus with his friends and upon noticing Cat waiting for him; he stops walking as his friends carry on, with this cheerful look on his beautiful face. Ugh, how romantic?

The last scene in the play for the most part coincided with the movie, as it should. Catherine is initially shy toward Hal until she shows him her notebook that contained, “a mathematical theorem about prime numbers, something mathematicians have been trying to prove since…since there were mathematicians, basically. Most people thought it couldn’t be done” (Auburn, 40). Hal, knowing how deeply important the work is to the math world and Cat, humbling begins asking questions about the proof.

The movie added an additional voice over to conclude the last shot of Hal and Cat. As the shot paned out Catherine spoke in rhetorical questions of her powerful new acceptance of her genius, which I found gave rise to her character’s awakening: “I'm outside a house, trying to find my way in. But it is locked and the blinds are down, and I've lost the key, and I can't remember what the rooms look like or where I put anything. And if I dare go in inside, I wonder... will I ever be able to find my way out?”

Coming from someone who is genuinely right-brained and has little appreciation for math, I found this movie and play to be sensational. I appreciated the lack of over dramatization in the film because this story was not one to become a box office smash but it was one to be seen. The audience is required to have a certain level of intelligence to fully appreciate and comprehend such a complex story, but that is why the film had super stars like Anthony, Gwen and Jake. All in all I thought the play was successfully created into a film. And credit must be given where credit is due. Touché Hollywood, touché. 

Looking Beyond the Horizon: Bros Before Hoes

Upon entering the Irish Repertory Theatre the intimate setting and calm background eased the audience into their seats. As the lights dimmed and the play began the boyishly handsome Rob opened the small stage with a monologue. He spoke so hopeful for a future and freedom abiding his uncle, Captain Dick Scott to explore the open ocean. The appropriately titled off Broadway play, Beyond the Horizon reminded me to take every opportunity to get off the farm.

Originally written by Eugene O’Neill, the play was successfully directed by Ciarán O’Reilly. The story reflects the early 20^th century theme of repressed freedom for the sake of duty and love. The story began in 1907 with the Mayo family on their farm in rural Massachusetts. From beginning to end the protagonist character of Robert Mayo, played by New York actor Lucas Hall, drastically transformed yet remained sanguine about what lay beyond the confinements of his farm life.

The first act set the setting with Robby’s bright potential plan for adventure and escape thanks to his uncle, Captain Dick Scott played by John Thomas Waite. Immediately after announcing his aspirations to liberate himself the wishy-washy love interest, Ruth Atkins played by Wrenn Schmidt, sways Rob to stay behind and marry her instead. A stereotypical woman.

The elder Mayo son, Andrew played by Rod Brogan, was secretly heartbroken that Ruth chose his brother and out of spite replaced Rob on his uncle’s ship. His parents James and Kate Mayo, played by David Sitler and Johanna Leister, rejected Andrew for leaving since he was the better farmer and they wanted him to marry Ruth. In absolute fury James disowns his son, telling him to never return. With the dimming lights I had chills.

The final scene in the first act is four years into the future to the melancholy summer of 1911. In the time elapsed Daddy Mayo died an acrimonious death. The farm was suffering from the now pitiful Rob, whose fateful mistake in marriage left him slowly dying from unhappiness. The only solace from is his nagging life was his adorable daughter Mary who was angelically played by Aimée Laurence. In the mean time delusional Ruth fantasizes about leaving Rob for Andy when he returns from the sea.

A refreshed Andy opens the second act the following day on the farm describing his time spent as a “dog’s life being on a ship”. Andy spoke of a job offer in the remarkable far away place of Buenos Aires. With much enthusiasm and encouragement, Rob displayed his brotherly love regardless the past. Andy also had a moment to put Ruth’s misapprehension to rest, saying he only saw her as a sister. He knows its bros before hoes.

The Mayo family is doomed throughout the second act as if there is no longer any chance for any change, except for the worse. The second scene begins in October of 1916 with the hapless acknowledgement that in the duration Rob and Ruth’s daughter Mary has died. Because of this Rob is rapidly decaying, both mentally and physically. In his sweet half dead state he still continued to fantasize about the future. But the only way out was to die.

The final scene is emotionally mixed with Ruth’s impudence for her dying husband and Andy’s regret for leaving his family and farm to rot. In a pitiful final wish, Rob asked for Andy to marry Ruth that she selfishly refused without care of question. In his inspiring final moments Rob sees the light through death, as it is the only thing that can take him beyond the horizon. “It isn’t the end it’s a free beginning.”

When the play ended and the actors took their bow, I still wanted to slap Ruth. The audience of senior citizens and college students roared with applause and adoration. The play left a carpe diem impression to seize an opportunity rather and remain optimistic no matter how miserable your situation may be. And to also never get married. 

Hollywood turned "The Lorax" into a Paradox

It is ironic how after 41 years Dr. Seuss’s “The Lorax” became an animated movie for Hollywood to monopolize off of. The film hardly captured the dark essence of capitalism, but nevertheless Universal Studios created a lot of hype and anticipation for the release on March 2, 2012.

            As one of the more political of Seuss’s books it is a shame that the plot of the film hardly had any of the original rhyme or phrases. Directed by Chris Renaud, the movie is based upon the timeless children’s book that was published in 1971. As a tribute to his genius and what would have been his 108^th birthday, the film was (as expected) a box office hit.

Because Dr. Seuss was a part of the past century of childhood bedtime stories the anticipated audience was of all ages but the added musical numbers were hardly memorable or even necessary. However the casting of the characters was entertaining with the famous voices of Danny DeVito as the Lorax, Zac Efron as Ted, Ed Helms as the Once-ler and Taylor Swift as Audrey.

The plot of the film revolves around the curious 12-year-old boy who approaches the Once-ler who is named Ted. The setting is in the materialistic metropolis of Thneed-ville. What the wasteful utopia lacked in nature it was over compensated with extraordinary technology: disco light trees and clean bottled air. The bottled air business is booming because of the heavy pollution, which was created and ran by the conniving midget of a man with bangs, Mr. O’Hare (voiced by Rob Riggle). The villain sees Ted’s curiosity to find the trees as a threat causing conflict: “You've got a beautiful town here, Ted! I can't think of any reason you'd want to leave town... ever again.”

As much as the film made it necessary for the Once-ler to be seen it destroyed the hidden message that Dr. Seuss implied as the ominous face-less big corporation. The sad story of the Once-ler became less important in the movie to fulfill Ted’s love interest. It was frustrating because Ted had a superficial driving force for the Truffula Trees to be discovered and planted, which probably had Dr. Seuss rolling over in his grave.

            Although it was necessary to give Ted a journey, the introduction of his town and the good vs. bad situation between a boy and the mayor seems ridiculous. The problem I had with the film in comparison with the movie was it lacked the message of capitalism and greed that was supposed to be embodied in the Once-ler. By giving the bad guy roll to a midget with bangs it is humorous but completely misses the mark.

 I also disagree with the way the Lorax was interpreted through the movie because in the book he was determined and persistent toward the Once-ler. In the movie, they made him look like an orange pushover with a mustache.

            “Why was it lifted and taken some where?” A question from the book that was never answered in the film because it was more important for Audrey to kiss Ted, who is ridiculous since she is allegedly in high school and is romantically interested in a 12 year old? That’s borderline creepy Universal Studios.

If can remember the book did not end that way at all, it was more concerned with hope for a better future especially to clean up the Earth. How did Dr. Seuss know the world would end up as filthy and as capitalistic as he thought? 

Dr. Seuss or Theodor Seuss Geisel’s books were for children yet they symbolically reflected his political and personal opinions during the post World War II era in America. With brilliant specific rhyme scheme and creative illustration these books had depth that children would not fear but adults could interpret.

The fable of The Lorax was a metaphor for anti consumerism and environmentalism. It is a paradox that in modern day that Hollywood took that message of anti capitalism and over produced the film leaving the morality of the original Lorax behind. 

            The over the top music numbers and juvenile story could have all been forgiven if they had included the ‘unless’ message that the Lorax left with in the book: “Unless someone like you cares an awful lot nothing is going to get better, its not.” These wise words of the orange mustache were included in the film but they left out the beautiful haunting image of the pile of rocks as the symbolic grave for the Lorax.

            Instead the end of the film was another useless dance number and the Once-ler’s curse had been forgiven. The ironic twist was the face of the Once-ler was once again revealed and he had a mustache similar to the Lorax: “Nice mustache.” Very unnecessary.

            It is true that the environmental movement to plant a tree and change the world is exactly what modern children need to subliminally take from a movie. But the moral message missed the mark in this film, leaving Seuss fan’s disappointed that the movie became exactly what it represented against. The Dr. said it the best, “But, business is business and business must grow.”

            

The Horny Hippo of Pablo Escobar

      Pablo Escobar is the legendary Columbian drug cartel that ran a cocaine empire throughout the 1980s. Although he has been dead since 1993 his name coincides with more than cocaine. Thirty years after Escobar’s rein his private stash of hippos became a violent threat. And multiplying…

    Animal Planet’s 60 minute special ironically called “Drug Kingpin Hippos” was split between Escobar’s cocaine legacy and chasing rampant horny hippos. Although most of the show had absolutely nothing to do with the hippo issue, the show emphasized the danger of these water bulls while simultaneously giving the audience a history lesson about the world’s most dangerous drug lord.

    The situation at hand is the 4 hippos that Pablo originally had increased to a staggering 32 creating a massive problem for the Columbian government. The daring veterinary team had a marshland obstacle course to overcome especially since these animals weigh about 4 tons each and are known for charging when threatened.  

    Though the plan was simple enough: to nip the problem in the nuts by castrating “Big Papa Hippo,” the narration made it seem like a joke by comparing the hippos escape tactics to the end of Escobar’s life, when he was hiding from the U.S and the Columbian governments. Would they kill this hippo if they could not catch him? Or would he kill himself like Escobar? “The hippo like Escobar would not go down without a fight,” which is exactly why the veterinary team had to confiscate his testicles.

     After several tranquilizer shots bounced off the hippo’s blubber, the team finally managed to sedate and castrate the animal before transporting him to a nearby secure facility. In the end the hippo much like Escobar, lost his manhood and freedom for the greater good of Columbia.

    Catch the “Drug Kingpin Hippos” special on Animal Planet from 2/28 until 3/14. Pay close attention to the creative Columbian veterinarians, especially the exceptionally excited female holding the massive hippo nuts! 

Wednesday

Creating my first blog resembles selling my soul to the devil.
I have what I wished for, but I'll pay for it later.