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| Food, Inc.
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Food, Inc. lifts the veil on our nation's food industry, exposing how our nation's food supply is now controlled by a handful of corporations that often put profit ahead of consumer health, the
livelihood of the American farmer, the safety of workers and our own environment. Food, Inc. reveals surprising and often shocking truths about what we eat, how it's produced and who we have become as a nation.
Q&A with Producer/Director Robert Kenner, Co-Producer/Food Expert Eric Schlosser, Food Expert Michael Pollan and Producer Elise Pearlstein
How did this film initially come about?
Kenner: Eric Schlosser and I had been wanting to do a documentary version of his book, Fast Food Nation. And, for one reason or another, it didn't happen. By the time Food, Inc. started to come together, we began talking and realized that all food has become like fast food, and all food is being created in the same manner as fast food. How has fast food changed the food we buy at the supermarket?
Schlosser: The enormous buying power of the fast food industry helped to transform the entire food production system of the United States. So even when you purchase food at the supermarket, you’re likely to be getting products that came from factories, feedlots and suppliers that emerged to serve the fast food chains. How many years did it take to do this film and what were the challenges?
Kenner: From when Eric and I began talking, about 6 or 7 years. The film itself about 2 ½ years. It has taken a lot longer than we expected because we were denied access to so many places. Pearlstein: When Robby brought me into the project, he was adamant about wanting to hear all sides of the story, but it was nearly impossible to gain access onto industrial farms and into large food corporations. They just would not let us in. It felt like it would have been easier to penetrate the Pentagon than to get into a company that makes breakfast cereal. The legal challenges on this film were also unique. We found it necessary to consult with a first amendment lawyer throughout the entire filming process. Who or what influenced your film?
Kenner: This film was really influenced by Eric Schlosser and Fast Food Nation, but then as we were progressing and had actually gotten funding, it became very influenced as well by Michael Pollan and his book Omnivore’s Dilemma. And then, as we went out into the world, we became really incredibly influenced by a lot of the farmers we met. What was the most surprising thing you learned?
Kenner: As we set out to find out how our food was made, I think the thing that really became most shocking is when we were talking to a woman, Barbara Kowalcyk, who had lost her son to eating a hamburger with E. coli, and she’s now dedicated her life to trying to make the food system safer. It’s the only way she can recover from the loss of her child. But when I asked her what she eats, she told me she couldn't tell me because she would be sued if she answered. Or we see Carol possibly losing her chicken farm … or we see Moe, a seed cleaner who’s just being sued for amounts that there’s no way he can pay, even though he’s not guilty of anything. Then we realized there’s something going on out there that supersedes foods. Our rights are being denied in ways that I had never imagined. And it was scary and shocking. And that was my biggest surprise. So, what does our current industrialized food system say about our values as a nation?
Pollan: It says we value cheap, fast and easy when it comes to food like so many other things, and we have lost any connection to where our food comes from. Kenner: I met a cattle rancher and he said, you know, we used to be scared of the Soviet Union or we used to think we were so much better than the Soviet Union because we had many places to buy things. And we had many choices. We thought if we were ever taken over, we’d be dominated where we’d have to buy one thing from one company, and how that’s not the American way. And he said you look around now, and there’s like one or two companies dominating everything in the food world. We’ve become what we were always terrified of. And that just always haunted me – how could this happen in America? It seems very un-American that we would be so dominated, and then so intimidated by the companies that are dominating this marketplace. How has the revolving door relationship between giant food companies and Washington affected the food industry?
Pearlstein: We discovered that the food industry has managed to shape a lot of laws in their favor. For example, massive factory farms are not considered real factories, so they are exempt from emissions standards that other factories face. A surprising degree of regulation is voluntary, not mandatory, which ends up favoring the industry. What have been the consequences for the American consumer?
Kenner: Most American consumers think that we are being protected. But that is not the case. Right now the USDA does not have the authority to shut down a plant that is producing contaminated meat. The FDA and the USDA have had their inspectors cut back. And it’s for these companies now to self-police, and what we’ve found is, when there’s a financial interest involved, these companies would rather make the money and be sued than correct it. Self-policing has really just been a miserable failure. And I think that's been really quite harmful to the American consumer and to the American worker. Pearlstein: The food industry has succeeded in keeping some very important information about their products hidden from consumers. It’s outrageous that genetically modified foods don’t need to be labeled. Today more than 70% of processed foods in the supermarket are genetically modified and we have absolutely no way of knowing. Whatever your position, you should have the right to make informed choices, and we don’t. Now the FDA is contemplating whether or not to label meat and milk from cloned cows. It seems very basic that consumers should have the right to know if they’re eating a cloned steak. Is it possible to feed a nation of millions without this kind of industrialized processing?
Pollan: Yes. There are alternative ways of producing food that could improve Americans’ health. Quality matters as much as quantity and yield is not the measure of a healthy food system. Quantity improves a population’s health up to a point; after that, quality and diversity matters more. And it’s wrong to assume that the industrialized food system is feeding everyone well or keeping the population healthy. It’s failing on both counts. There is a section of the film that reveals how illegal immigrants are the faceless workers that help to bring food to our tables. Can you give us a profile of the average worker?
Schlosser: The typical farm worker is a young, Latino male who does not speak English and earns about $10,000 a year. The typical meatpacking worker has a similar background but earns about twice that amount. A very large proportion of the nation’s farm workers and meatpackers are illegal immigrants. Why are there so many Spanish-speaking workers?
Kenner: The same thing that created obesity in this country, which is large productions of cheap corn, has put farmers out of work in foreign countries, whether it’s Mexico, Latin America or around the world. And those farmers can no longer grow food and compete with the U.S.’ subsidized food. So a lot of these farmers needed jobs and ended up coming into this country to work in our food production. And they have been here for a number of years. But what’s happened is that we’ve decided that it’s no longer in the best interests of this country to have them here. But yet, these companies still need these people and they’re desperate, so they work out deals where they can have a few people arrested at a certain time so it doesn’t affect production. But it affects people’s lives. And these people are being deported, put in jail and sent away, but yet, the companies can go on and it really doesn’t affect their assembly line. And what happens is that they are replaced by other, desperate immigrant groups. Could the American food industry exist without illegal immigrants?
Schlosser: The food industry would not only survive, but it would have a much more stable workforce. We would have much less rural poverty. And the annual food bill of the typical American family would barely increase. Doubling the hourly wage of every farm worker in this country might add $50 at most to a family’s annual food bill. What are scientists doing to our food and is it about helping food companies’ bottom line or about feeding a growing population?
Schlosser: Some scientists are trying to produce foods that are healthier, easier to grow, and better for the environment. But most of the food scientists are trying to create things that will taste good and can be made cheaply without any regard to their social or environmental consequences. I am not opposed to food science. What matters is how that science is used … and for whose benefit. Can a person eat a healthy diet from things they buy in the supermarket if they are not buying organic? If so, how?
Pollan: Yes, the supermarkets still carry real food. The key is to shop the perimeter of the store and stay out of the middle where most of the processed food lurks. How are low-income families impacted at the supermarket?
Kenner: Things are really stacked against low-income families in this country. There is a definite desire of the food companies to sell more product to these people because they have less time, they’re working really hard and they have fewer hours in their day to cook. And the fast food is very reasonably priced. Coke is selling for less than water. So when these things are happening, it’s easier for low-income families sometimes to just go in and have a quick meal if they don’t get home until 10 o’clock at night. At the moment, our food is unfairly priced towards bad food. And, in the same way that tobacco companies went after low-income people because they were heavy users, food companies are going after low-income people because they can market to them, they can make it look very appealing. What can low-income families do to eat healthier?
Schlosser: As much as possible, they can avoid cheap, processed foods and fast foods. It’s possible to eat well and inexpensively. But it takes more time and effort to do so, and that’s not easy when you’re working two jobs and trying to just to keep your head above water. The sad thing is that these cheap foods are ultimately much more expensive when you factor in the costs of all the health problems that come later. Pollan: It’s possible to eat healthy food on a budget but it takes a greater investment of time. If you are willing to cook and plan ahead, you can eat local, sustainable food on a budget. If someone wanted to get involved and help change the system, what would you suggest they do?
Pearlstein: I hope people will want to be more engaged in the process of eating and shopping for food. We have learned that there are a lot of different fronts to fight on this one, and people can see what most resonates with them. Maybe it’s really just “voting with their forks” – eating less meat, buying different food, buying from companies they feel good about, going to farmers markets. People can try to find a CSA – community supported agriculture – where you buy a share in a farm and get local food all year. That really helps support farmers and you get fresh, seasonal food. On the local political level, people can work on food access issues, like getting more markets into low income communities, getting better lunch programs in schools, trying to get sodas out of schools. And on a national level, we’ve learned that reforming the Farm Bill would have a huge influence on our food system. It requires some education, but it is something we should care about. What do you hope people take away from this film?
Schlosser: I hope it opens their eyes. Kenner: That things can change in this country. It changed against the big tobacco companies. We have to influence the government and readjust these scales back into the interests of the consumer. We did it before, and we can do it again. Pollan: A deeper knowledge of where their food comes from and a sense of outrage over how their food is being produced and a sense of hope and possibility of the alternatives springing up around the country. Food, Inc. is the most important and powerful film about our food system in a generation.
For most Americans, the ideal meal is fast, cheap, and tasty. Food, Inc. examines the costs of putting value and convenience over nutrition and environmental impact. Director Robert Kenner explores the subject from all angles, talking to authors, advocates, farmers, and CEOs, like co-producer Eric Schlosser (Fast Food Nation), Michael Pollan (The Omnivore's Dilemma), Gary Hirschberg (Stonyfield Farms), and Barbara Kowalcyk, who's been lobbying for more rigorous standards since E. coli claimed the life of her two-year-old son. The filmmaker takes his camera into slaughterhouses and factory farms where chickens grow too fast to walk properly, cows eat feed pumped with toxic chemicals, and illegal immigrants risk life and limb to bring these products to market at an affordable cost. If eco-docs tends to preach to the converted, Kenner presents his findings in such an engaging fashion that Food, Inc. may well reach the very viewers who could benefit from it the most: harried workers who don't have the time or income to read every book and eat non-genetically modified produce every day. Though he covers some of the same ground as Super-Size Me and King Corn, Food Inc. presents a broader picture of the problem, and if Kenner takes an understandably tough stance on particular politicians and corporations, he's just as quick to praise those who are trying to be responsible--even Wal-Mart, which now carries organic products. That development may have more to do with economics than empathy, but the consumer still benefits, and every little bit counts. --Kathleen C. Fennessy
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| Life (narrated by David Attenborough) [Blu-ray]
![Life (narrated by David Attenborough) [Blu-ray]](http://ecx.images-amazon.com/images/I/51McC7ODtwL._SL160_.jpg)
List price: $69.99
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Brand: WARNER HOME VIDEO
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From the award-winning BBC Natural History Unit, makers of Planet Earth and The Blue Planet: Seas of Life, this is the original UK broadcast version of Life, with narration by renowned naturalist David Attenborough and music by Oscar® and Emmy® winning composer George Fenton In Planet Earth, we brought you the world as you’ve never seen it before. Now, get closer with Life. Four years in the making, filmed over 3000 days, across every continent and in every habitat, with breathtaking new high definition filming techniques developed since Planet Earth, Life presents 130 incredible stories from the frontiers of the natural world, 54 of which have never been filmed before. Packed with excitement, revelation and entertainment, this remarkable 10-part blockbuster captures unprecedented, astonishingly beautiful sequences and demonstrates the spectacular and extraordinary tactics animals and plants have developed to survive and thrive.
This enthralling BBC series examines "the lengths living beings go to to stay alive," in the words of Sir David Attenborough (Oprah Winfrey narrates the Discovery Channel version). Aided by breathtaking high-definition cinematography, the makers of Planet Earth explore the more colorful strategies the world's creatures employ to procreate, evade predators, and obtain nourishment. Cameras travel though the air, under the water, and right into the faces of insects, like the alien visage of the stalk-eyed fly. Except for "Challenges of Life" and "Hunters and Hunted," each episode covers a different category, such as mammals and birds. Among the more memorable images: three cheetahs move with the relentless rhythm of mobsters, a school of flying fish glides through the air with the grace of ballerinas, and a Jesus Christ lizard skips across the water, like, well, you know. The strangest sights range from a pebble toad bouncing away from a spider like a rubber ball and brown-tufted capuchin monkeys pounding palm nuts with stone tools like the apes in 2001: A Space Odyssey. Witty writing and skillful editing, which distills thousands of hours of footage, make the learning go down easy (at one point, Sir David references Jurassic Park, which featured his brother, Richard). If the sound effects seem overamped, George Fenton's score is always on the money, adding humor and suspense at crucial moments (martial drums for the mud skippers, woozy brass for the Darwin's beetle). Nonetheless, delicate sensibilities may find some sequences disturbing, as when Komodo dragons feed on a water buffalo or when a leopard seal dines on a penguin (according to Attenborough, the Komodo siege caused the camera operators "emotional turmoil"). More often, the filmmakers capture the moment of impact before moving on. The set comes complete with 10 featurettes on the four-year production. --Kathleen C. Fennessy Stills from Life (Click for larger image)
Features:
- Narrated by David Attenborough
- BBC Version
- Includes 4 Blu-ray Discs
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| Life (narrated by David Attenborough)
List price: $59.98
Lowest new price: $21.72
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Brand: WARNER HOME VIDEO
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Four years in the making, filmed over 3000 days, across every continentand in every habitat, Life is the latest wildlife blockbuster from the BBC’s award-winning Natural History Unit, the producers of Planet Earth and The Blue Planet. Packed with excitement, revelation, entertainment, and stunning screen firsts, this breathtaking ten-part epic presents 130incredible stories from the frontiers of the natural world. Discover theglorious variety of life onEarth and the spectacular and extraordinary tactics animals and plants have developed to stay alive. This is evolution in action; individual creatures under extreme pressure to overcome challenges from adversaries and their environment, pushing the boundaries of behavior.
This enthralling BBC series examines "the lengths living beings go to to stay alive," in the words of Sir David Attenborough (Oprah Winfrey narrates the Discovery Channel version). Aided by breathtaking high-definition cinematography, the makers of Planet Earth explore the more colorful strategies the world's creatures employ to procreate, evade predators, and obtain nourishment. Cameras travel though the air, under the water, and right into the faces of insects, like the alien visage of the stalk-eyed fly. Except for "Challenges of Life" and "Hunters and Hunted," each episode covers a different category, such as mammals and birds. Among the more memorable images: three cheetahs move with the relentless rhythm of mobsters, a school of flying fish glides through the air with the grace of ballerinas, and a Jesus Christ lizard skips across the water, like, well, you know. The strangest sights range from a pebble toad bouncing away from a spider like a rubber ball and brown-tufted capuchin monkeys pounding palm nuts with stone tools like the apes in 2001: A Space Odyssey. Witty writing and skillful editing, which distills thousands of hours of footage, make the learning go down easy (at one point, Sir David references Jurassic Park, which featured his brother, Richard). If the sound effects seem overamped, George Fenton's score is always on the money, adding humor and suspense at crucial moments (martial drums for the mud skippers, woozy brass for the Darwin's beetle). Nonetheless, delicate sensibilities may find some sequences disturbing, as when Komodo dragons feed on a water buffalo or when a leopard seal dines on a penguin (according to Attenborough, the Komodo siege caused the camera operators "emotional turmoil"). More often, the filmmakers capture the moment of impact before moving on. The set comes complete with 10 featurettes on the four-year production. --Kathleen C. Fennessy Stills from Life (Click for larger image)
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| Planet Earth: The Complete BBC Series
List price: $79.98
Lowest new price: $22.89
Lowest used price: $14.97
Brand: Warner Brothers
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With an unprecedented production budget of $25 million, and from the makers of Blue Planet: Seas of Life, comes the epic story of life on Earth. Five years in production, over 2,000 days in the field, using 40 cameramen filming across 200 locations, shot entirely in high definition, this is the ultimate portrait of our planet. A stunning television experience that captures rare action, impossible locations and intimate moments with our planet's best-loved, wildest and most elusive creatures. From the highest mountains to the deepest rivers, this blockbuster series takes you on an unforgettable journey through the daily struggle for survival in Earth's most extreme habitats. Planet Earth takes you to places you have never seen before, to experience sights and sounds you may never experience anywhere else.
As of its release in early 2007, Planet Earth is quite simply the greatest nature/wildlife series ever produced. Following the similarly monumental achievement of The Blue Planet: Seas of Life, this astonishing 11-part BBC series is brilliantly narrated by Sir David Attenborough and sensibly organized so that each 50-minute episode covers a specific geographical region and/or wildlife habitat (mountains, caves, deserts, shallow seas, seasonal forests, etc.) until the entire planet has been magnificently represented by the most astonishing sights and sounds you'll ever experience from the comforts of home. The premiere episode, "From Pole to Pole," serves as a primer for things to come, placing the entire series in proper context and giving a general overview of what to expect from each individual episode. Without being overtly political, the series maintains a consistent and subtle emphasis on the urgent need for ongoing conservation, best illustrated by the plight of polar bears whose very behavior is changing (to accommodate life-threatening changes in their fast-melting habitat) in the wake of global warming--a phenomenon that this series appropriately presents as scientific fact. With this harsh reality as subtext, the series proceeds to accentuate the positive, delivering a seemingly endless variety of natural wonders, from the spectacular mating displays of New Guinea's various birds of paradise to a rare encounter with Siberia's nearly-extinct Amur Leopards, of which only 30 remain in the wild. That's just a hint of the marvels on display. Accompanied by majestic orchestral scores by George Fenton, every episode is packed with images so beautiful or so forcefully impressive (and so perfectly photographed by the BBC's tenacious high-definition camera crews) that you'll be rendered speechless by the splendor of it all. You'll see a seal struggling to out-maneuver a Great White Shark; swimming macaques in the Ganges delta; massive flocks of snow geese numbering in the hundreds of thousands; an awesome night-vision sequence of lions attacking an elephant; the Colugo (or "flying lemur"--not really a lemur!) of the Philippines; a hunting alliance of fish and snakes on Indonesia's magnificent coral reef; the bioluminescent "vampire squid" of the deep oceans... these are just a few of countless highlights, masterfully filmed from every conceivable angle, with frequent use of super-slow-motion and amazing motion-controlled time-lapse cinematography, and narrated by Attenborough with his trademark combination of observational wit and informative authority. The result is a hugely entertaining series that doesn't flinch from the predatory realities of nature (death is a constant presence, without being off-putting), and each episode ends with 10-minute "Planet Earth Diaries" (exclusive to this DVD set) that cover a specific aspect of production, like "Diving with Pirahnas" or "Into the Abyss" (the latter showing the rigors of filming the planet's most spectacular caves, including the last filming ever officially permitted in the "Chandelier Ballroom," a crystal-encrusted cavern found over a mile deep in New Mexico's treacherous Lechuguilla, the deepest cave in the continental United States.) With so many of Earth's natural wonders on display, it's only fitting that the final DVD in this five-disc set is devoted to Planet Earth: The Future, a separate three-part series in which a global array of experts is assembled to discuss issues of conservation, protection of delicate ecosystems, and the socio-economic benefits of understanding nature as a commodity that returns trillions of dollars in value at no cost to Earth's human population. At a time when the multiple threats of global warming should be obvious to all, let's give Sir David the last word, from the closing of Planet Earth's final episode: "We can now destroy or we can cherish--the choice is ours." --Jeff Shannon Stills from Planet Earth (click for larger image)
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| Planet Earth: The Complete BBC Series [Blu-ray]
![Planet Earth: The Complete BBC Series [Blu-ray]](http://ecx.images-amazon.com/images/I/51vOcFKASRL._SL160_.jpg)
List price: $99.98
Lowest new price: $33.07
Lowest used price: $28.16
Brand: Warner Brothers
|
With an unprecedented production budget of $25 million, and from the makers of Blue Planet: Seas of Life, comes the epic story of life on Earth. Five years in production, over 2,000 days in the field, using 40 cameramen filming across 200 locations, shot entirely in high definition, this is the ultimate portrait of our planet. A stunning television experience that captures rare action, impossible locations and intimate moments with our planet's best-loved, wildest and most elusive creatures. From the highest mountains to the deepest rivers, this blockbuster series takes you on an unforgettable journey through the daily struggle for survival in Earth's most extreme habitats. Planet Earth takes you to places you have never seen before, to experience sights and sounds you may never experience anywhere else.
As of its release in early 2007, Planet Earth is quite simply the greatest nature/wildlife series ever produced. Following the similarly monumental achievement of The Blue Planet: Seas of Life, this astonishing 11-part BBC series is brilliantly narrated by Sir David Attenborough and sensibly organized so that each 50-minute episode covers a specific geographical region and/or wildlife habitat (mountains, caves, deserts, shallow seas, seasonal forests, etc.) until the entire planet has been magnificently represented by the most astonishing sights and sounds you'll ever experience from the comforts of home. The premiere episode, "From Pole to Pole," serves as a primer for things to come, placing the entire series in proper context and giving a general overview of what to expect from each individual episode. Without being overtly political, the series maintains a consistent and subtle emphasis on the urgent need for ongoing conservation, best illustrated by the plight of polar bears whose very behavior is changing (to accommodate life-threatening changes in their fast-melting habitat) in the wake of global warming--a phenomenon that this series appropriately presents as scientific fact. With this harsh reality as subtext, the series proceeds to accentuate the positive, delivering a seemingly endless variety of natural wonders, from the spectacular mating displays of New Guinea's various birds of paradise to a rare encounter with Siberia's nearly-extinct Amur Leopards, of which only 30 remain in the wild. That's just a hint of the marvels on display. Accompanied by majestic orchestral scores by George Fenton, every episode is packed with images so beautiful or so forcefully impressive (and so perfectly photographed by the BBC's tenacious high-definition camera crews) that you'll be rendered speechless by the splendor of it all. You'll see a seal struggling to out-maneuver a Great White Shark; swimming macaques in the Ganges delta; massive flocks of snow geese numbering in the hundreds of thousands; an awesome night-vision sequence of lions attacking an elephant; the Colugo (or "flying lemur"--not really a lemur!) of the Philippines; a hunting alliance of fish and snakes on Indonesia's magnificent coral reef; the bioluminescent "vampire squid" of the deep oceans... these are just a few of countless highlights, masterfully filmed from every conceivable angle, with frequent use of super-slow-motion and amazing motion-controlled time-lapse cinematography, and narrated by Attenborough with his trademark combination of observational wit and informative authority. The result is a hugely entertaining series that doesn't flinch from the predatory realities of nature (death is a constant presence, without being off-putting). At a time when the multiple threats of global warming should be obvious to all, let's give Sir David the last word, from the closing of Planet Earth's final episode: "We can now destroy or we can cherish--the choice is ours." --Jeff Shannon Stills from Planet Earth (click for larger image)
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| America: The Story of Us
List price: $39.95
Lowest new price: $27.49
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From executive producer Jane Root of Planet Earth, comes the breathtaking journey through history--unlike any other in the past 40 years--with live-action recreations of key historical events through the use of cutting edge CGI animation, giving viewers an immersive view of history in the making.
Stills from America: The Story of Us (Click for larger image)
With 12 chapters spread out over three discs and a total running time of more than nine hours (not including bonus material), the History Channel's America: The Story of Us is a sprawling primer on the history of the country and its people. Starting about 100 years after Columbus with the arrival of the earliest white settlers from across the Atlantic and finishing in the present day, the series can boast episodes devoted to major conflicts like the Revolutionary War, the Civil War, and World War II; the more gradual but still significant developments that helped shape the nation (like western expansion and the mass migration to major cities); and the various elements and forces (the discovery of oil; the growth of industry, engineering, and infrastructure; the development of the automobile and other means of mass transportation, and, of course, the accumulation of vast economic and military might) that combined to make the United States the world's dominant superpower in the 20th century and beyond. To the filmmakers' credit, the darker aspects of this history--slavery and racial strife, the treatment of Native Americans, the internment of Japanese Americans during WWII--are not given short shrift. And while much of the material is dealt with in fairly broad strokes, there are also various enlightening details in each chapter. Who knew that George Washington established a network of spies who wrote notes in invisible ink in order to deceive the British, or that the most valuable currency for those who first explored the West was beaver pelts? A combination of reenactments, photos, CGI, models, and other elements delivers a great deal of information here, along with frequent references to Americans' pioneer spirit, devotion to hard work, and belief that if you can dream it, you can do it. Yet this isn't an especially scholarly document. The events depicted, from the Boston Tea Party and Paul Revere's midnight ride to the Alamo and the Gettysburg Address, not to mention more lurid tales like the Donner Party and the St. Valentine's Day Massacre, should be familiar to those with even a cursory knowledge of US history. The emphasis on star power, be it the comments from a parade of talking heads including actors, musicians, politicians (President Barack Obama among them), athletes, soldiers, and so on, or the focus on charismatic historical figures like John Brown, Daniel Boone, and many others, reflects our celebrity-obsessed culture. And the constant hyperbole (narrator Liev Schreiber intones some variation of "What's about to happen will change things forever!" at least half a dozen times in the first episode alone) becomes tedious. Then again, considering the number of Americans who can't find their own country on a map, presenting the material like a dramatic TV show instead of textbook was a shrewd idea. --Sam Graham
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| When the Levees Broke - A Requiem In Four Acts (Documentary)
List price: $19.98
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Brand: HBO Home Video
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One year after Hurricane Katrina decimated New Orleans, director Spike Lee presents a four-hour, four-part chronicle recounting, through words and images, one of our country?s most profound natural disasters. In addition to revisiting the hours leading up to the arrival of Katrina, a Category 5 hurricane before it hit the coast of Louisiana, When the Levees Broke: A Requiem in Four Acts tells the personal stories of those who lived to tell about it, at the same time exploring the underbelly of a nation where the divide along race and class lines has never been more pronounced.
Director Spike Lee's When the Levees Broke is the definitive document of the unmitigated disaster that was, and is, Hurricane Katrina. It's also a contemporary manifestation of an ancient tradition: an oral history, told by the people who lived it, with no narration and only the occasional use of archival cable and broadcast news footage in addition to Lee's own film. And a grim tale it is, an "American tragedy" subtitled "a Requiem in Four Acts," each of them about an hour long ("Act V," appearing on the third of the set's three discs, is a lengthy epilogue with new material not included in the original HBO broadcast) and focusing almost exclusively on New Orleans, as opposed to the Gulf Coast region in general. Act I sets the scene; as the hurricane nears the Crescent City, some residents leave town, while others stay behind, figuring they'll just ride the storm out (Mayor Ray Nagin's "mandatory evacuation" order rings fairly hollow, as there's no public transportation provided for the many who don't own vehicles and thus couldn't get out even if they wanted to). The real problems begin after Katrina makes landfall on August 29, 2005. Displaced New Orleaneans crowd into the Superdome, soon to become a living hell for those stuck there; the incredibly poorly engineered levees break, flooding some 80 percent of the city; and people start dying by the hundreds, victims of drowning, lack of food, water, and medicine, and other causes. And so it goes. Act II finds the survivors struggling to keep it together while the federal, state, and local assistance they've been promised fails to show up; Act III traces the dispersal of these so-called "refugees" (as one man puts it, "Refugees? You mean they took away our citizenship, too?") all over the country, not knowing where their families, friends, and neighbors are, or even if they're still alive; and Act IV deals with the slow rebuilding of the city while insurance companies refuse to pay claims and money keeps going toward the Iraq war effort instead. Several themes predominate here. One, of course, is the appalling performance of authorities on nearly every level, who ignored specific warnings about the levees and then professed ignorance after the fact; Lee doesn't have to go out of his way to make George W. Bush, FEMA chief Michael Brown, and other members of the Bush administration (not to mention his own mother) look bad, as they do an excellent job of that themselves. Another is the shameful ineptitude of the response; it's hard not to be disgusted when it's pointed out more than once that while we were able to provide supplies and assistance to Indonesians within two days of the 2004 tsunami, American citizens were virtually ignored for five days or more. Most of all, When the Levees Broke (which includes optional commentary by Lee for all four acts) leaves us feeling the sheer rage of the poor and dispossessed of New Orleans, where the population is 70 percent African-American. Confronted with the ignorance, arrogance, and callousness of the people whose job it was to protect them, they can point to just one cause: racism. --Sam Graham
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| The Civil War - A Film by Ken Burns
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Brand: Paramount
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Hailed as a film masterpiece and landmark in historical storytelling, Ken Burns's epic documentary brings to life America's most destructive-- and defining--conflict. With digitally enhanced images and new stereo sound, here is the saga of celebrated generals and ordinary soldiers, a heroic and transcendent president and a country that had to divide itself in two in order to become one.
The most successful public-television miniseries in American history, the 11-hour Civil War didn't just captivate a nation, reteaching to us our history in narrative terms; it actually also invented a new film language taken from its creator. When people describe documentaries using the "Ken Burns approach," its style is understood: voice-over narrators reading letters and documents dramatically and stating the writer's name at their conclusion, fresh live footage of places juxtaposed with still images (photographs, paintings, maps, prints), anecdotal interviews, and romantic musical scores taken from the era he depicts. The Civil War uses all of these devices to evoke atmosphere and resurrect an event that many knew only from stale history books. While Burns is a historian, a researcher, and a documentarian, he's above all a gifted storyteller, and it's his narrative powers that give this chronicle its beauty, overwhelming emotion, and devastating horror. Using the words of old letters, eloquently read by a variety of celebrities, the stories of historians like Shelby Foote and rare, stained photos, Burns allows us not only to relearn and finally understand our history, but also to feel and experience it. --Dave McCoy On the DVD
The DVD features on The Civil War provide a wealth of insight, creative philosophy, historical perspective, and educational enjoyment. Twelve years after its premiere broadcast, the film was given a digital facelift, sharpening image clarity, correcting color, and enriching its soundtrack with a remastered 5.1-channel mix, as demonstrated in the "Civil War Reconstruction" featurette. In interviews from 2002, producer-director Ken Burns, historian Shelby Foote, journalist George Will, author Stanley Crouch, and composer-musicians Jay Ungar and Molly Mason reflect upon The Civil War's enduring significance. And Burns's eloquent commentary--selectively included on each disc and totaling five hours--illuminates the historical importance and creative impulse behind crucial chapters of the film. Fifty-seven onscreen biography cards detail important North, South, and civilian figures, and two 1990 featurettes—"Making History" and "A Conversation with Ken Burns"--provide a more personal perspective on the creation of this extraordinary film. Useful for both personal and academic study, these features stand as a fitting supplement to one of the greatest documentaries ever produced. --Jeff Shannon
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Elmer Elasmosaurus :The Pteranodon family travels on the Dinosaur Train with the Aquacar to an underwater train station to transport Elmer Elasmosaurus back to his home in the ocean. Carla Cretoxyrhina: On this underwater excursion, the Pteranodon family meets up with Carla Cretoxyrhina, a young shark who turns out to be much nicer than her reputation suggests. The Amazing Michelinoceras Brothers: The Pteranodon family travels deep underwater on the Dinosaur Train to view two backwards-bounding brothers named Max and Mitch Michelinoceras. Paulie Pliosaurus: The Pteranodon family takes the Dinosaur Train underwater to visit a marine reptile called Paulie Pliosaurus, a creature known as the "T. rex of the Ocean." Elmer Visits the Desert: Our Pteranodon family takes their ocean friend Elmer Elasmosaurus on the Dinosaur Train to a place he's never been before: the desert! Shiny's Sea Shells: Shiny, with help from Buddy, Tiny and Don, looks for the shiniest sea shells she can find, but ends up making a new friend named Henry, a hermit crab. Jess Hesperornis: The Pteranodons venture to the Big Pond to find out if dinosaurs can live in the water. The Old Spinosaurus and the Sea: Dad takes the kids on the Dinosaur Train to fish in a new place, where they meet a huge, grumpy old dinosaur, called a Spinosaurus, that doesn't want the kids in his sea.
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Counter Culture Blues-Lewis finds himself in the unfortunate position of policing the heroes of his youth when he's sent to censure a rock legend for firing off his hunting rifle during the local Sunday service. Already somewhat starstruck at the prospect, he is shocked to come face to face with the band's singer, Esme Ford (Joanna Lumley), believed to have drowned years ago. But before word gets out, or the band can reunite, Lewis and Hathaway need them to answer some questions about a roadie with a drug problem, a garroted professor, and a closet full of skeletons. The Dead of Winter-Still reeling from a recent, grueling case-ending with the discovery of a murdered young girl-Hathaway finds himself investigating the murder of Dr. Stephen Black at Crevecoeur Hall, a sprawling Oxford estate on which Hathaway spent much of his childhood. And as it becomes clear that Hathaway is less interested in solving the case than he is in the glamorous Scarlett Mortmaigne, daughter of Crevecoeur's owner and his childhood sweetheart, Lewis feels his relationship with Hathaway pushed near the breaking point-and starts to question his young partner's future with the police. Dark Matter-Andrew Crompton, Master of Gresham College and amateur astronomer, is found dead at the foot of the University Observatory stairs only days before he expected to experience "an excess of joy," leaving Lewis and Hathaway to unravel a puzzle fraught with campus intrigue spanning decades. Days later, Dr. Ella Ransome, Crompton's wife's best friend, is also murdered. Are the two crimes connected? Facing a list of suspects that includes everyone from the senior college tutors right down to the head porter, Lewis uncovers a college-wide blackmail plot that may hold the key to unraveling the murder of the Masterand much more. Your Sudden Death Question-Lewis and Hathaway find themselves cancelling their August Bank Holiday plans when a private trivia weekend at Chaucer College kicks off with the murder of its standout competitor, Ethan Croft. The duo quickly learns that Croft was a womanizer with a number of secrets, a brilliant Russian linguist turned primary school teacher whose professional career suffered some shadowy disgrace behind Oxford's closed doors years ago. But did he end up floating in the fountain after a tryst gone awry? Or is there more to the whispered tales in the hallways than just spurned lovers and cuckolded husbands? Falling Darkness-On Halloween, called to a scene as she's leaving for the evening, Dr. Hobson finds the friend she was on her way to meet dead, with a stake through her heart and garlic in her throat. Though the pathologist is officially removed from the case, Lewis and Hathaway are happy to have a trusted face in their investigation. But when a student turns up murdered the next day-in the house Hobson shared with her university friends years ago-the two are put in the uncomfortable position of conducting a more intrusive investigation into her past to determine what, if any, role she plays in the current case. Though Lewis is hesitant to list her as a suspect, when a third body turns up he is forced to acknowledge that Laura Hobson might know more about these deaths than she is letting on.
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