FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Francis Ford Coppola |||
Francis Ford Coppola

Coppola is an amazing talent whose inspiration and influence spans many generations. Virtually the link between the studio system of yesteryear and the independent minded filmmaker of the modern age, Coppola became the first major film director to emerge from a university degree program in filmmaking, thus legitimizing a now common route for many future filmmakers.

This Academy Award winner continues to enjoy an enormous critical and popular success due in large part to Coppola’s ability to break down an epic saga of crime and the struggle for power into the basic story of a father and his sons, punctuating the prevalent theme throughout Coppola’s oeuvre: the importance of family in today’s world. His personal portrait mixed tender moments with harsh brutality and redefined the genre of gangster films.

This intense, yet unassuming thriller has an impact that touches the viewer on a personal level and raises the question of privacy and security in a world of technology – thirty years ago! Coppola’s then virtually unknown cast is a roster of inevitable superstars, including Gene Hackman, Harrison Ford, and Robert Duvall. This Academy Award nominee for Best Picture, Best Original Screenplay, and Best Sound lost out to Coppola’s other great effort of the year, The Godfather: Part II.

Coppola's masterful Vietnam War-updating of Joseph Conrad's "Heart of Darkness" was the first major motion picture about the infamous “conflict”. This colossal epic was shot on location in the Philippines over the course of more than a year and contains some of the most extraordinary combat footage ever filmed. Unforgettable battle sequences and sterling performances from every cast member (including Marlon Brando, Robert Duvall, Dennis Hopper, Laurence Fishburne, Harrison Ford, Scott Glenn, and Martin Sheen) mark this Academy Award-winning drama as a must-see for any true film fanatic.

Recommended by CarrieSpecht

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Peace, Propaganda and the Promised Land

By EdwardHavens

January 26th, 2005

Some may agree it is always interesting to see an opposing point of view, even if only to solidify your own perspective. So while Bathsheba Ratzkoff and Sut Jhally’s documentary “Peace, Propaganda and the Promised Land: U.S. Media and the Israeli-Palestinian Conflict” reaffirmed my opinion that American news coverage of the Middle East conflict is unfairly one-sided in favor of the Israelis, it also confirmed my beliefs that, like Robert Greenwald’s recent “Outfoxed,” more and more documentary filmmakers today have zero qualms engaging in the very same polemic attitudes they and their films are supposedly denouncing.


“Peace, Propaganda and the Promised Land” does an admirable job in setting up its arguments. That Israel’s actions in the West Bank and the Gaza Strip are an illegal occupation of Palestinian land, condemned for more than thirty-five years by the United Nations. That Israel set up the Hasbara Project to ensure good press in the United States, and that all major American news organizations are in leagues with the Hasbara Project to present “news” from the Middle East conflict which always shows Israel in a positive light. And that since September 11th, efforts have been made to always show any and all Palestinian actions in the region, regardless of the levels of violence, as a terrorist act. Now, how much you believe these bullet points will depend on your own personal feelings of Israel, Palestine and war, and “Peace, Propaganda and the Promised Land” does its best to show the levels of difference in coverage, showing US network news covering an incident, followed by a BBC reporter covering the same situation. The disparity in reporting is often startling.

Yet, this film’s greatest strengths is also its biggest weakness. Outside of its small group of talking heads, including MIT linguist professor Noam Chomsky (the seemingly obligatory go-to guy for all discussions highly critical of the American media), “Peace, Propaganda and the Promised Land” uses almost exclusively BBC footage to make its case. Surely there must be one other non-Arab news organization in the world besides the BBC who is, in the filmmaker’s minds, properly covering the Middle East conflict. Could they not find a single clip from Australia’s Nine Network, Hong Kong’s TVB or Japan’s TV Asahi which would favorably add to their argument?

“Peace, Propaganda and the Promised Land” remains engaging as it provokes viewers to consider not only a civilization half a world away but our own premonitions and prejudices. But by employing the very practice it seeks to condemn, the film will ultimately leave viewers just as angry and frustrated about the conflict at the end as they were at the start.

My rating: C