Roger Ebert

Letters to the Editor

Roger Ebert agrees: Critics get a raw deal. Plus: Debating disabled scholarship; don't let AT&T control our Internet!

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Critics: Who needs ‘em?
BY CHARLES TAYLOR

(08/18/99)

I enjoyed Charles Taylor’s lament about being a well-qualified film
critic in a world where hardly anyone values such expertise.

When a viewer wrote suggesting that I should have a 15-year-old
guest critic on the TV show to express a teenager’s point of view, I
replied that when I was 15 I was reading Dwight Macdonald in Esquire and
trying to learn more about the movies. He shot back that I was a “rude
snob.”

Once at the Sun-Times my telephone rang and it was a reader saying,
“We’re going to the movies tonight and the Wilmette theater is playing
‘Cries and Whispers.’ What can you tell us about it?”

“I think it’s the year’s best movie,” I said.

“Oh,” he replied. “That doesn’t sound like anything we’d like to see.”

– Roger Ebert

Film critic, Chicago Sun-Times

What sensitive artiste — author, musician or filmmaker — doesn’t encounter
a bad review at some time or another, and feel compelled to dash off a
letter, correcting the myopic critic in question? If the creator’s
publicists are any good, though, they’ll nix the rebuttal before the stamp
gets licked: They know that such missives almost invariably come off as
petulant whines. So what do we make of a critic who feels the need to
respond to the crank e-mails of his readers? Well, in the case of Charles
Taylor, we make him out to be a self-infatuated blowhard.

Taylor contends that honest critics
such as himself are an endangered species. Sure, hype and gloss permeate
the world of entertainment journalism, with its celebrity profiles and
movie previews. But the review pages of the publications I read all feature
a healthy mix of pans and praises. Yet Taylor would have us believe that
giving “The Phantom Menace” a bad review should earn him a medal of valor.

The criticisms Taylor cites as emblematic are so witless, so
insubstantial, so self-evidently wrong-headed that I have to wonder why
they upset him as much as they evidently do. That he considers such points worth responding to suggests that he should have thought twice about ascribing the motives of others to
“an element of insecurity.”

– Derek Weiler

Charles Taylor is correct that we all need discerning minds to help sort out the hype and make reasonable choices. He failed, however, to address a big problem with many critics, which is giving away the end of the story. True critics are few and “reviewers” are many. They write (or broadcast) little more than summaries, giving away key plot points and depriving their audience of the chance to be surprised by the films themselves. Salon often has printed reviews and features that gave away too much, from Stephanie Zacharek’s piece on “In & Out” (you really got flamed for that one, too) to Gary Kamiya’s feature on “Saving Private Ryan.”

One high-profile critic who rarely lapsed this way was Gene Siskel. I sometimes disagreed with his judgment, but he could describe a film and discuss his experience of watching it without depriving his viewers/readers their own first-hand experience. He set a standard Taylor and his colleagues should emulate.

– Tim Merritt

Atlanta


Enabling disabled scholarship

BY NORAH VINCENT

(08/18/99)

I am a writer on disability issues and a polio quadriplegic, since 1952.
I congratulate you on your Salon piece. SDSers seem to be ever more off
their nut. A Not Dead Yet official said recently he would not rest until
newspapers carried the truth in their headlines, “Society hates the
disabled.” This is a society that spends billions of dollars each year in the
care, housing, education and job placement of disabled people. A society
that in my lifetime has remade the environment to be accessible to people
with disabilities. A society that has given overwhelming support to the
most sweeping civil rights law in our history, the Americans with Disability
Act.

The dirty truth is that far from society hating disabled people, it is these
disabled people (or at least the more vocal) who hate society, hate the
able-bodied. Their firmly held belief that doctors and politicians are out
to destroy them is paranoid and speaks of low self-esteem.

As one of the founders of the disability rights movement, I am afraid today’s
leaders have shrilly distorted and obscured the core purpose of the movement
– to obtain the full and equal civil rights for people with disabilities.
In so doing the are driving away the supporters of the movement and they are marginalizing themselves in the national political discourse.

The Rap Browns and “Burn baby burn” brought down the civil rights movement of
the ’50s and ’60s. I am afraid there are those in SDS who are doing much the
same thing. Too bad.

– Hugh Gallagher

Author, “FDR’s Splendid Deception”

What’s missed in Vincent’s article on disability studies is that the discipline’s goal is not to produce more disabled bodies or to hinder scientific research, but to examine the goals of those who are trying to stop disability.

What’s needed is acceptance of the disabled, not a constant desire to “fix”
those who aren’t “normal.” This manifests itself in many ways — from Janet
Reno refusing to resort to clutching a pen to make the rest of us feel
“comfortable” as she battles Parkinson’s disease to those who decide that
they’d rather be in a wheelchair than spending hours each day learning how
to walk. Disability studies can be empowering, allowing individuals (and not a doctor or a government agency) to decide what’s normal for them.
Vincent’s assertion that SDS can not be “group therapy” shows that she does
not realize the real goal of SDS.

– Martin Johnson

I‘ve looked with horror at the growing disability rights movement over
the past several years, because I could see that it was heading in the
foolish directions that you so ably described in your Salon article. I
certainly never want to be part of a crowd that is running in the
direction of self-delusion.

I was born with spina bifida, with a variety of problems (orthopedic and
urological) and believe me, I would be exceptionally happy to have it
all fixed. The idea that I’m somehow superior to those poor, benighted
able-bodied people who can walk without pain, and who don’t get to spend
too much of their time in the company of doctors is simply ludicrous.

For a while, I was active on a spina bifida mailing list. I unsubscribed, though,
because there were too many people who thought that when I stated that
I’d like to be able-bodied, it was somehow an attack on them. And you
should have seen the uproar when I suggested that parents who knew
(through amniocentesis or other prenatal care) that their unborn children
would have severe disabilities, and had the kids anyway, were committing
an act I considered to be unwise and unethical.

– Tom Negrino

Norah Vincent, in what I took to be the heart of her argument in “Enabling
Disabled Scholarship,” writes that “it’s hard to deny that something called normalcy exists. The human body is a machine, after all … How then can we make the
case that blind eyes, or deaf ears, or mute tongues are serving the
purpose for which they evolved?”

If this is science, it’s science with an almost Kansan misunderstanding of
evolution. Eyes, ears, and tongues did not evolve for seeing, hearing,
and speaking; they just happened to work well for those purposes and stuck
around. Preferring sight to blindness is not eugenics, but defending that
preference on evolutionary grounds is.

I assume by “normalcy” that Vincent meant “normality,” but the slip is
illuminating. Normalcy is a conservative, culturally accepted, hegemonic
assumption of the way the world should be. And yes, normalcy exists; it’s
exactly what disability scholars are trying to fight. The human body may
be a machine, but humans are the ones who decide to what purpose to put
that machine. Such normative questions should always be open for debate,
and it is hard to understand why anyone would begrudge disabled scholars
the right to theorize their own bodies. However peculiar disability
studies is (for example, its intellectual success seems to me to depend,
like much postmodern theory, on its continued political failure) it cannot
be accused of being “anti-intellectual.”

– Jared Bjornholm

As a successful person with a disability, I found Norah Vincent’s article
to be ignorant and offensive on numerous levels. I am flabbergasted,
however, by the audacity of this quote: “SDS theory is
also self-contradictory … How can we say that Western culture has demonized, oppressed or
ignored the disabled, and then turn around and claim that many of
the great works of Western culture were created by illustrious
disabled people whose disabilities deeply influenced their work?”

Would anyone be taken seriously if they said the same thing about African-Americans, women or gays? The fact that James Baldwin, Virginia Woolf and Oscar Wilde made illustrious
contributions to literature (that were influenced by their identities) does not mean that
racism, misogyny and homophobia never existed. To try to apply this
fallacy to disabled studies and the disabled community proves just how
much our society needs disabled studies.

The fact is that historically, disabled people have been abused and
marginalized by society’s need to create an Other. The liberation movements for other
similarly marginalized groups used both street-level and academic activism to meet their goals. Disability studies is our academic activism; there are several street-level activism groups, as
well. The author’s notion that somehow disabled studies is sucking away funding from
these groups to educate disabled people would be laughable if the lack
of intellectual rigor it displayed weren’t so sad.

The disabled studies scholars I have read demonstrate a
key understanding of society’s construction of normal. Yes, the body
undoubtedly has its standards of “normal” and “abnormal” behavior, but what disabled
studies is trying to teach — a point the author misses — is that because the body
is abnormal does not mean that the person is abnormal. And that is not a
distinction that is made in the world today.

Disabled studies is important because, at its best, it explains these
phenomena to the academic elite and those without disability, and says that having a
disability is no less normal than having brown hair instead of blonde.

– Eric Brunick


Local regulators and the Net

BY MARK GIMEIN

(08/17/99)

Mark Gimein argues that if local regulators are allowed to restrict AT&T’s
demand to have a monopoly, it will supposedly open the door for local
regulations to restrict other things. The examples he then gives are a
prosecutor in Tennessee seeking to sanction a pornographer in California,
the U.S. government blocking the Web site of a casino in Antigua and China
trying to shut down a pro-Taiwan Web site in New York. In all three cases, however, jurisdiction is the defining issue: The governmental body does not have its opponent within
its domain, so its power to regulate simply doesn’t exist. AT&T, however, having obtained an exclusive contract with the local government agencies (such as
Portland) trying to regulate AT&T’s never-agreed-upon use of cable lines,
is most certainly under the jurisdiction of these local governments.

Gimein then tries to bring up the boogeyman of content suppression,
indicating that allowing local governments the right to regulate business
contracts opens up the door to restricting certain Web pages through its
service. This again is a frivolous argument. Restricting Web pages is an
issue of First Amendment rights, issues not even remotely
involved with in the AT&T battle, despite the company’s whine. This is
an issue involving contractual rights, not constitutional rights. Last time
I checked, AT&T did not have a constitutional freedom to screw customers on
a whim with sweetheart business deals.

In fact, Gimein misses the reverse danger of giving AT&T free rein
over Internet access: that the company may regulate access to the Net for its own
benefit. It is quite possible that AT&T may restrict the access of Web
pages critical to its business dealings or those high up in its corporate
structure. Should local governments allow them to do this blindly?

– Robert Sterling

Editor, the Konformist


Shootout among Arkansas Republicans


BY SUZI PARKER

(07/16/99)

Suzi Parker’s story is shot
through with errors. There is one significant error of fact that we’d like
to discuss immediately below, but we feel that her errors of judgment and
representation are at least as significant.

Parker alleges that our magazine, the Arkansas Review, stated that the
governor of Arkansas “refused” to sign a fund-raising letter. This is false:
We stated specifically that the fund-raising mishap “occurred without the
governor’s knowledge.” She then suggests that we “didn’t tell the whole
story” and quotes a gubernatorial spokesman to the effect that the governor
wanted to wait until after he had finished with an election campaign to get
involved with a fund-raising campaign. This is also false: The Arkansas
Review discussed exactly that gubernatorial explanation just two paragraphs
after the one that Parker misinterpreted.

But the errors of judgment she made were in some respects more severe. For
instance, her story uses three paragraphs to reproduce three different
allegations from three different people that we made errors in the coverage
of a local political campaign. But her story never discusses the errors we
purportedly made. In a two-hour interview, she never bothered to ask us
about any of the details of this story — the one that she claims “appears
riddled with errors.” Although her apparent reportorial method –
reproducing controversial allegations without doing any work to see if
they’re true — would make things a lot easier for journalists, it would
also make journalism close to worthless.

Just as important, though, is her fundamental lack of fairness in her
representation of the interview she conducted with our magazine’s staff. We
recall making a simple point, again and again, during this interview in
tiresome detail: that our magazine’s accuracy is extraordinarily important,
we take great pains to get our facts right, and we take any suggestions
that we fail to do that very seriously and are eager to make retractions if
we get things wrong.

Through the magic of creative redaction, this was transformed into two
remarkable epigrams: “‘Factual mistakes will happen in any publication,’
adds Greenberg. ‘You can’t take this too seriously.’” No fair-minded
person who heard any significant portion of the interview would take this
as remotely representative of our conversation. More generally, no
fair-minded person would reproduce a pronoun as she does without being
scrupulous about its referent, or reproduce what is obviously an
extraordinarily ambiguous sentence without its appropriate context.

Hilariously, Parker’s article is in large part a discussion and criticism
of our “journalistic integrity and ethics.” Some integrity. Some ethics.

– Dan Greenberg

Editor, Arkansas Review

SALON NEWS EDITOR JOAN WALSH RESPONDS …

The Review reported that the “governor’s office refused” to sign the certificates in question. The Review article gave odds on various people as having been behind the decision not to sign the certificates — including the governor. Salon reported correctly that the governor “was livid when the Review claimed he refused to sign” the certificates.


Uncle Sam wants you — in the dark

BY JEFF STEIN

(08/18/99)

I was employed by Sandia National Laboratories, in Albuquerque, N.M., when the explosion on the USS Iowa occurred, and when one of our top scientists at the laboratory assembled a group that investigated the accident. The findings were
published, in our company organ, “Sandia Lab News,” as well as
disseminated to the local media, the Department of Energy, the
Department of Defense and the Navy.

The report clearly pointed the finger
at the Navy, even though it was somewhat embarrassing to the lab to do
so, because as prime contractors to the Department of Energy, the lab works closely with the U.S. military in the design, development, oversight of production, deployment,
retirement and dismantling of all nuclear weapons. The government funded the investigation, and the results — clearly pointing at the
Navy as responsible, and clearing the allegedly “gay” sailor –
could not be considered a coverup by the government. The full report should be available from: Sandia National Laboratories, Office of Information Services, P. O. Box 5800, Albuquerque, NM 87085-0165.

– George W. Perkins

Apache Junction, Ariz.

Five pop culture items we missed

Today's catch: Gwyneth Paltrow is a 9/11 hero, Gerard Depardieu pees on people, and "Lone Ranger" nixes werewolves

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Five pop culture items we missed"What do you mean we-rewolves, kemosabe?"

1. Cause of the day: Kate Winslet founds “British Anti-Cosmetic Surgery League” (for very famous people) along with Emma Thompson and Rachel Weisz. Maybe they can be like sister suffragettes and battle the Barbie Mom!

2. Celebrity story involving airlines and urine of the day: When Gerard Depardieu wasn’t allowed to use the toilet during takeoff, he peed all over fellow passengers on an Air France flight. Says Air France spokesperson: “I confirm the fact that he [Depardieu] did indeed urinate in the plane.” That is all.

3. “Gwyneth Paltrow saved my life on 9/11″ story of the day: Wait, really? I could almost forgive Paltrow for her multitude of sins if she acted heroically on Sept. 11. So let’s check it out:

“Clarke, then a 24-year-old account manager at Baseline Financial Services, was on her way to work shortly before 9 a.m. and about to jaywalk across the street to catch the 1/9 train in Tribeca when the Oscar winner abruptly cut her off in her silver Mercedes.”

Oh wait, so Paltrow almost ran over a woman, inadvertently making her late for work at the World Trade Center? Man, and here the firefighters got to take all the credit. 

4. Narrowly averted train wreck of the day: Disney has split with Jerry Bruckheimer on “The Lone Ranger” movie, apparently because the director’s insistence on adding werewolves and “Indian spirits like Obi-Wan Kenobi” to the plot was getting too expensive.

5. Must read of the day: Roger Ebert’s new memoir, of which he’s posted the first several pages on his blog. It begins, “I was born inside the movie of my life,” which might be the best opening line since that Dickens book people are always quoting when they want to reference a good opening line.

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Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrew.

Ryan Dunn’s alcohol level played factor in fatal crash

Police now confirm that the "Jackass" star was more than two times over legal drinking limit at time of death

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Ryan Dunn's alcohol level played factor in fatal crashRyan Dunn

Ryan Dunn, the “Jackass” star who died in a fatal car crash on Monday, had a blood alcohol level of .196 percent at the time of his death, police told the press today. That is over twice the legal amount, confirming reports that Dunn had been intoxicated when he drove home from a Pennsylvania bar early that morning.  Dunn’s death has been at the center of a media firestorm for the past three days, with “Jackass” fans lashing out at Roger Ebert after the critic tweeted about “not letting Jackasses drink and drive.”  Photos of Dunn doing shots with friends surfaced on Twitter hours before his death, but until now there was no confirmed evidence that alcohol played role in the crash.

Dunn and his passenger, a Navy SEAL named Zachary Hartwell, skidded off the road at 3 a.m. in Dunn’s Porsche. The car was going approximately 132-140 mph when it hit a tree, causing the vehicle to catch on fire. Their deaths were caused by “blunt and thermal trauma,” according to the autopsy report.

 

Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrew.

The best and worst celebrity tweets about Osama’s death

Steve Martin, Charlie Sheen and Rob Lowe: Who had the craziest reaction to the killing of bin Laden?

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The best and worst celebrity tweets about Osama's death

Yesterday we asked two very important questions about people’s reactions to Osama bin Laden’s death: “Is it too soon to laugh?” and “Can celebrities be held responsible for their (or their kids’) tweets on historic occasions?

As it turns out, the answer is “yes” and “yes.” While some comedians actually provided clever and insightful commentary on yesterday’s news, far more went the easy route and just added to the deafening roar of bloodthirsty pro-America shouting. Today we look back and find the good, the bad and the ugly of celebrity Twitter reactions to Osama’s death.

First, there was the “What about ME?” response: Both Lily Allen and The Rock celebrated their birthdays yesterday and didn’t want that fact to get overshadowed in all the hubbub.

On the complete opposite side of the spectrum, there were the thoughtful responses from men like Rob Lowe, Roger Ebert, and — not joking — MC Hammer:

 Some people bordered on the brink between knee-jerk response and good taste, like Jim Carrey, Judd Apatow and a somewhat restrained tweet from Charlie Sheen:

 Other celebs used the time to start a death certificate conspiracy club, like Johnny Weir:

 … or just sidestep the issue completely with a pithy remark, like Aziz Ansari:

But by far the award for the weirdest response goes to Steve Martin, whose reaction to America catching the #1 most wanted man in the world was to make a completely bizarre joke about drugs and flying body parts:

Too soon? We doubt this joke would have been funny even if we gave it a year.

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Drew Grant is a staff writer for Salon. Follow her on Twitter at @videodrew.

Ebert attacks my “Secretariat” review — it’s on!

My response to the critic's takedown of my takedown

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Ebert attacks my Diane Lane in "Secretariat"

I recently published a review of the new Disney film “Secretariat” that took an unorthodox and admittedly inflammatory approach to a would-be inspirational movie about a lady and a racehorse. Nearly all viewers will choose to see or not see the movie based on their level of interest in watching Diane Lane in an awesome array of early-’70s fashions, or watching exciting re-creations of the 1973 Triple Crown races. I accused the film of concealing — or embodying, that’s a better word — an ideological worldview that is never made explicit but is present in every frame.

I don’t claim the review makes its case with perfect clarity, and I didn’t expect many people to agree completely. Being forcefully told that you’re full of crap goes with the job description, especially in an inherently subjective endeavor like movie criticism. I was gratified that a lot of people read the review, and e-mailed or Tweeted it onward — and was somewhere between flattered and startled that Roger Ebert posted a lengthy takedown of my review on his Chicago Sun-Times blog. Like almost everyone in this insular field, I venerate Roger as a passionate movie lover, a generous spirit, and an old-school journalist who has made the transition to new media and now pretty much owns the joint.

I thought Roger’s response was worth a response of my own, partly because I think he’s misreading or misinterpreting me, but mostly because I think the cultural gulf between our understandings of “Secretariat” offers a fascinating opportunity to talk about all kinds of stuff film critics don’t generally discuss: the nature and meaning of propaganda, the ideology (or lack thereof) of Hollywood movies, the role of religion in public discourse and maybe the gap between idealism and cynicism when considering movies, or the world. (Actually, activists and commentators on the right are way ahead of us: They talk about this stuff all the time, and have compelled Hollywood to understand that there’s enormous demand for a movie like “Secretariat.”)

UPDATE: I also posted this to Roger’s blog, where he has responded. Scroll to the bottom of the page to read that.

——————–

Well, gee. Thanks, Roger. (I think.)

I’m not eager to get into a public dispute with you over a Disney movie that you found “straightforward” and “lovingly crafted” and I found weird, fake and inexplicably disturbing, which may be all this boils down to. The world isn’t likely to care much, and will render its verdict without our help.

I appreciate that you opened and closed this piece with some kind words, and I have great respect for you as a man and a critic. That said, I think the only place where we agree here is when you say, “O’Hehir’s reading [of 'Secretariat'] is wildly eccentric.” I’ll cop to that happily — my review of the film was willfully hyperbolic, even outrageous, in hopes of getting people to look at a formulaic Disney sports movie through fresh eyes. I know I don’t have to explain the function or uses of hyperbole to you, since it’s a technique you often employ (here and elsewhere). My hyperbole in the “Secretariat” review was supposed to be funny, and also to provoke a response. I appear to have succeeded brilliantly with the second part! The results on “funny” are more mixed.

Now, clearly I could have written a more “normal” review, in which I said something like: “Secretariat” was kind of fun to watch, but it bugged me. It presents a prettied-up, phony-baloney vision of America in the early ’70s, in a transparent effort to appeal to the “family-values” crowd who ate up “The Blind Side” — people who want a comforting and unchallenging movie without any sex or swearing. There’s nothing wrong with that as a way to make a buck, but this example is ultra-tame, scrubbed clean of any genuine conflict or drama, and I pretty much think it’s crap.

Now, I gather you would have disagreed with that, and pretty sharply, but I very much doubt you’d have bothered writing several thousand words ripping me apart. Now perhaps you see the genius of my plan!

Seriously, that is what I think — and pretty much what I said, albeit in somewhat stronger language. In your haste to take me down, I think you frequently read my gag lines as being deadly serious, mix or conflate different aspects of my argument (e.g., I don’t say or think anything about the horse being evil, or representing evil), and confuse events in real life with what we see in the film.

Now then: I do indeed compare “Secretariat” to “master-race propaganda almost worthy of Leni Riefenstahl,” a deliberately outrageous claim that, I suspect, pissed you off right at the outset. Let me elaborate a little. In my view, the most effective propaganda movies are not the ones about dudes with guns that espouse militarism, or the Soviet boy-meets-tractor films, or the Nazi cartoons about Jews. Those are too obvious. The most effective kind of propaganda depicts normal life, or rather an idealized vision of normal life, one that (as one of my readers put it) “makes a particular worldview seem natural, right and appealing.” Viewed that way, of course, a very large proportion of Hollywood movies could be considered propaganda, which is a subject for another time. (The shoe may fit.)

Of course it’s offensive to compare a contemporary filmmaker to Riefenstahl — although she was unquestionably a great director — but I never said or suggested that Randall Wallace had consciously or deliberately created a film whose primary purpose was ideological. It’s more like the ideology of reassurance and comfort and gorgeous images — what I refer to as the “fantasia of American whiteness and power,” which is, yes, going kind of far — is so built into this kind of movie you can’t get it out. I do, however, see Wallace’s desire to appeal to Christian audiences and a never-enumerated set of “middle-American values” as politically coded, at least to some degree. (Or rather, it’s coded if you want it to be; of course he’s happy with secular left-wing types watching the movie too.)

You believe, or suggest, that I damn the film for not noticing Vietnam or Watergate, but that isn’t quite right. As I think I make clear, I was struck by the oddness of the film’s idealized, “Ozzie and Harriet” portrait of American life, which feels more like the ’50s, being set in one of the most tumultuous periods of American history. That’s a suggestive fact, an element of the overall picture, not an indictment. You indulge in some hyperbole of your own in suggesting that I accuse Penny Chenery (the movie character? the real person? I am not sure) of being an evil right-winger, when I never say, and do not know, anything about her politics. Watch out for the “O’Hehirian Riefenstahlian TeaPartyite” clique, though –we’re on the rise!

I could go on, and I guess I will just a little: I never say or suggest that anyone considered the Triple Crown victories “as a demonstration of white superiority.” (I honestly don’t believe you don’t get the “Nietzschean Überhorse” joke. Secretariat was a product of eugenics if any living creature ever was.) You suggest that I attack Randall Wallace for his religious faith, but I do not, and you cite nothing to support this. You say that I see “a repository of Christianity (of the wrong sort, presumably)” in the film, when I say clearly that religion plays almost no role in the story. On the other hand, it’s simply a fact that Disney is marketing the film to Christian conservatives, and neither of us is required to have an opinion about it. And I’m not sure what you mean when you say you refuse to allow me to define the film as “Tea Party-friendly.” Is Sarah Palin not allowed to like it?

On the film’s racial issues: You suggest that I am demeaning the real-life Eddie Sweat, Secretariat’s groom. I say nothing about Eddie Sweat. I am discussing a fictional character, the only black person ever seen in the film, who is presented as subordinate, unreflective, constantly cheerful and uniquely well equipped to communicate with an animal. Could there be such a person? Of course. But in the context of my perception of the film’s total universe, this feels like an unwholesome and old-fashioned stereotype (for which there is a borderline-offensive name I will not use).

Similarly, I have a tough time believing you don’t get what I’m trying to say about the Pancho Martin character. Those who reported on the Triple Crown at the time have said that the real Pancho Martin was neither talkative nor boastful, and had no particular adversarial relationship with Penny Chenery. That stuff we saw in the movie did not happen. But the filmmakers have taken the one faintly “ethnic” or non-American character in the movie, and made him thoroughly despicable. What was that? An accident? An aesthetic choice? Or a lazy and coded shortcut?

For me, all in all, “Secretariat” adds up to something that looks pretty but tastes pretty bad, and apparently I expressed that view with a degree of force you found “insane.” Frankly, I wish you had avoided those kinds of epithets, and focused more on areas where we may have real differences of philosophical or political or aesthetic opinion and interpretation to discuss. I’m inclined to believe that you understood my argument well enough — better than you claim to, at least — but that it pissed you off so much you just didn’t want to deal with it. But that’s only a theory, and I assure you that my faith in Roger Ebert remains. Generally speaking.

——————–

UPDATE: Ebert’s response, just posted on his Sun-Times blog, is typically concise and gracious, and comes with a zinger or two:

Thanks for responding. I understand your points, and have had similar thoughts of my own about some films. But you’re correct: I didn’t read it as satire, maybe because I’ve been softened up by so many similar Armond White reviews that he (apparently) writes seriously.

We can agree perhaps on one thing: Your review helps us define what Rotten Tomatoes considers “positive.”

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Not eating, but still cooking: Roger Ebert pens cookbook

Critic was inspired by responses to a blog post about ... rice cookers?

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Cancer may have robbed Roger Ebert of the ability to eat, but it won’t stop him from dishing out cooking advice.

Four years after cancer surgery left the famed film critic unable to speak or eat, Ebert is publishing a cookbook dedicated to rice cookers, a kitchen appliance he lovingly calls “The Pot” and champions as an answer for those strapped for cash, time and counter space.

“To be sure, health problems have prevented me from eating,” Ebert writes in the book. “That did not discourage my cooking. It became an exercise more pure, freed of biological compulsion.”

The idea for the book came after a 2008 blog post he wrote about rice cookers prompted hundreds of comments, with many readers including their favorite recipes. “I think I was somewhat frustrated by not being able to eat and I wanted to live vicariously,” the 68-year-old said during an interview at his Chicago home, his laptop computer speaking his typed answers.

The book includes many of those comments, as well as more than two dozen recipes for dishes such as chili, risotto, jambalaya and oatmeal — Ebert’s favorite. He took a witty and funny tone when writing it; he says he didn’t want it to sound too specialized or difficult.

“The basic recipe is: throw everything in the pot and slam on the lid,” said Ebert, who has battled cancer in his thyroid and salivary gland over the last eight years. He now uses a feeding tube for nourishment. His book, “The Pot and How to Use It. The Mystery and Romance of the Rice Cooker,” will be released Sept. 21.

During his recovery, Ebert turned to social media such as Twitter and his blog, cultivating a tremendous following. And increasingly he’s reached out to mainstream media to tell his story. In February, for example, he talked to Esquire magazine about missing his former late movie review show co-shot Gene Siskel, who died in 1999 from complications following surgery to remove a growth from his brain.

And in March, Ebert appeared on “The Oprah Winfrey Show.” During the appearance, he made his Oscar predictions using a computer voice patterned after his own.

Ebert fell in love with the rice cooker after receiving one as a present for his 1992 wedding. The Chicago Sun-Times critic says he even took the rice cooker with him to the Sundance Film Festival, where he would cook with it during his busy movie-viewing schedule.

“We used to take the rice cooker almost everywhere we went,” his wife, Chaz Ebert, said.

Ebert urges his readers to improvise with the recipes and ingredients, saying there are no rules. He also says it is easy to adapt recipes not written for the rice cooker. Someone could go a week using the rice cooker three meals a day, he said.

And how do you learn to use a rice cooker?

“With experience you develop a sixth sense,” he said.

But writing a cookbook when you can’t eat?

It isn’t as sad as one might imagine that he is unable to eat or drink, he wrote in a blog post earlier this year. Rather, he misses the loss of dining with friends and family, rather than the loss of the food itself.

“The food and drink I can do without easily,” Ebert wrote. “The jokes, gossip, laughs, arguments and shared memories I miss.”

And his memory for flavor hasn’t faded. He wrote he has vivid memories of “an entire meal at Steak ‘n Shake, bite by bite” and for the “taste and texture of cheap candy.”

Anna Thomas, author of the cookbook “The Vegetarian Epicure,” wrote an introduction to Ebert’s book. She calls Ebert, who won a Pulitzer in 1975 for his newspaper film criticism, “a Renaissance man” who combines elements of standup comedy and memoir.

“Cooking, for him, I think in the last few years has become a very selfless act,” Thomas said. “This really tells you about Roger. He doesn’t stop living, doing things or being interested in things or having a good time because in a way something changes. But Roger does not get discouraged. He has such a zest for life.”

That zest is reflected in the book’s many small quips: “Grind it fresh in a mortar and pestle,” he writes about cooking with flax seeds. “You don’t have a mortar and pestle? People these days want everything done for them. Do like the Indians did and grind it with the end of a stick in the depression of a boulder.”

Thomas said she sees Ebert enjoying the social aspect of food, the kitchen and cooking.

“It’s something that he has always loved, so it’s not for him that if ‘I can’t taste it and eat it and swallow it then I’m not interested,’” she said. “For Roger, it’s very much his family, his friends and the people around him. He’s there’s for it. He loves it.”

Ebert even says in his book that he wrote it “simply to establish that I enjoy cooking.” Chaz Ebert says though her husband doesn’t cook as much as he used to, he still spends time in the kitchen. She said he chops apples into thin slices for her.

“I think it’s more of an art form for you and the kitchen is such a relaxing place for you,” she told Ebert.

Ebert explains it more simply saying the reason he cooks: “Satisfaction.”

——

Online:

http://blogs.suntimes.com/ebert/

http://rogerebert.suntimes.com/

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