Sunday, January 04, 2009

Public School Funding

Today's Miami Herald and Sun Sentinel have two interesting and unintentionally related stories. The Herald reports that the state budget is being pared to cover a shortfall. Each agency is being asked to accept a 4% cutback. The Sun Sentinel reports that South Florida's population is declining, with Broward's school enrollment down 6% since 2005. But the real question here is should not there be a natural reduction in the education budget to reflect the decrease in the number of students being educated? If a hot dog stand employs ten people and its sales decrease 6% per year, is it not normal to reduce the work force accordingly? But the debate over school funding will never be framed in economic terms. The focus of those groups opposing the reductions is always moral: the reductions are not due to a natural reduction in demand for the services provided but to the greed and ruthless cold heartedness of those legislators proposing the change. So keep an eye on this debate as it unfolds and ask yourself: why is it natural for a private business to adjust its budgets to reflects a change in consumer preferences but not so when government tries to accomplish the same?

Sunday, March 04, 2007

Movie Review: Film Noir Collection D.O.A.

The plot in this movie is too complex for my taste. One reviewer compares it to The Big Sleep and is right on the money. But Edmond O'Brien turns in a stellar performance as an ambivalent batchelor/accountant who is the target of a murder for a document he notarized years ago which might expose the shenanigans of a criminal organization peddling stolen property. The film employs a flashback format to explain the intricacies of too many characters with too many motives. But O'Brien's character is embelmatic of a personality type of the era, 1946, who would be looked upon as a thug today: the independent tough guy. He walks into an office and literally strong arms a secretary into revealing information to him. His rough attitude towards woman comes off as necessary and socially accpetable. Today, such conduct would make him a social pariah. The ending scene is quite a hoot. A San Francisco detective, after hearing the whole story and watching O'Brien drop dead on the floor, asks how to classify the case. His supervisor, in a tone about as full of emotion as ordering a cup of coffee, tells him to label it "dead on arrival." All in all, a fun movie to watch. And I have to wonder, why do Hollywood lowlifes of the 1940's and 50's all wear custom made suits?

Movie Review: Sweet Smell of Success

This movie suffers from an unreal premise: some big shot gossip columnist is so protective of his younger sister that he will do anything to prevent her from dating a seemingly honest and straight up jazz musician. Tony Curtis plays the sycophant yes man to Burt Lancaster's portrayal of Walter Winchell. Curtis and Lancaster play mind games with each other as they traverse the slimy underbelly of New York showbiz nightlife to ensnare the would be boyfriend so that he is damaged goods. Alas, it does not work and they are both exposed for the frauds that they are. The acting is first class as it should be with Curtis and Lancaster. But the plot is so far fetched that it takes everything else down with it. Maybe it was different back then but the spectre of a newspaper columnist having the power to make and break people as he dines nightly at a fancy nightclub while politicians fawn over him is laughable. If you watch this film, do so for the acting; at least you will not be disappointed.

Movie Review: Gangs of New York

This was not a good movie. And here's why. 1. The Plot. From the first five minutes, it is clear that there will be a final confrontation between Daniel Day Lewis and Di Caprio. But there is no development other than a constant stream of images of civil war era New York, all of them untrue. 2. Historical accuracy. Even the best timepiece movies contain fiction but this is absurd. The sub title to this movie should be "Where Are The Cops." We have the opening scene carnage in which hundred of men are involved in a fight with knives, hammers, and meat cleavers. There are no police and no bystanders to stop or witness this slaughter. The scene is implausible. Next, there is arson sanctioned by the rogue fire department wherein buildings are torched in the middle of the city while looters walk into burning cauldrons. But the award for sheer incredulity goes to the scene where Daniel Day Lewis is shot in a public theater in front on thousands. His assailant is killed. Yet no police. And speaking of police, Di Caprio murders one at night and we next see the dead officer's body hanging in a public square in broad daylight while Boss Tweed's stands by helpless. the whole spectacle is laughable for its lack of realism. Lastly, the final scene which pits two gangs in a life or death struggle within 100 feet of one another. One of the gangs is assaulted by cannon fire from a ship in the harbor which must be a few miles away. The whole notion of the Union Army intervening in a gang dispute is crazy. But what made me laugh was that cannons were never accurate enough to hit their targets within 100 feet from a few miles offshore. The entire movie is filled with historical blunders. I am an admirer of Martin Scorsese but this film is bad.

Sunday, February 18, 2007

Kiss of Death (1947)
This movie can be broken down into two parts: the acting and the plot. The former is first rate and the latter is utterly predictable. Victor Mature plays a career stick up man who gets nabbed in a jewelry heist and refuses to snitch on his accomplices. He goes to prison with a promise from the gang’s lawyer that his family will be provided for. It never happens; his wife commits suicide. He then has a change of heart and agrees to start ratting out his old friends, one of whom is Richard Widmark, a former inmate now free. The rest of the movie centers around the conflict between Widmark and Mature.
The plot is mundane: despair, redemption, disappointment, and finally happiness (after the bad guys are all dead or in jail). For emotional overkill, we have the image of Mature’s two children, cherubic and innocent, and his former friend and now wife acting like June Cleaver. The lack of realism here is almost laughable: a career thief who has been in and out of state prison having two lovable children and an adoring wife and living in a modest brick house is a little over the top as they say.
But the movie has a lot to recommend it. For purists, there are some classic noir features: the imagery is top notch, with the requisite shadows, music, and mood. And, oh yes, the clothes! At least crooks back then did their deeds in style. Every crime is committed in a tailor made suit. The main attraction, though, is the acting of Widmark and Mature. That alone take this film from zero stars to three. The only noir feature missing is an evil woman to blame for everything that goes wrong.

Sunday, February 11, 2007

Book Review: A Well Paid Slave

This book is about Curt Flood’s lawsuit against major league baseball to have the reserve clause declared a violation of federal and state law. Want a book that has heroes and villains and a happy ending? Read a Western. Want a dose of reality, circa, 1970, in American sports? Read this book. While sympathetic to Curt Flood, Brad Snyder uncovers the missteps, failings, and prejudices of the participants and reflects the era in which it all happened. There are no heroes; only a long list of failed characters that might have worn the mantle. And they are: Flood the person, Flood as a symbol of the civil rights era of the time, Arthur Goldberg, the inability of the federal judiciary to suppress its sentimental and syrupy attachment to baseball lore, Bowie Kuhn, and the baseball union’s reluctance to go all out for Flood. And the final chapter of it all, a crop of ingrates who play the game today, not one of whom attends Flood’s’ funeral or even know who Curt Flood was.
Curt Flood was a flawed human being and a very talented baseball player. It is safe to say that if God did not bestow upon him the ability to hit major league pitching, he would have ended up on skid row, a drunken whoremonger and ne’er do well. Even with his considerable skills, he almost ended up there anyway. To understand Flood, one has to appreciate the era in which he played: a combination of vitriolic bigotry from fans and fellow players and the condescending racial attitudes of management. Snyder touches upon the struggles not only of Jackie Robinson but of countless others who experienced cruel hatred in the minor leagues of the 1950’s and early 60’s (for a more thorough treatment of the subject, one should read David Halberstam’s October, 1964). Flood was a strong willed person who came up in the Cincinnati Reds’ organization in the late 50’s. The Reds signed Vada Pinson and Frank Robinson; Flood would have comprised the third black man in the outfield, a fact that baseball may not have been willing to accept or so Snyder implies. He was traded to St, Louis where he struggled under a bigoted manager until Johnny Keane took over, at which time Flood blossomed into one of the league’s best centerfielders. But, as with his teammates Bob Gibson and Bill White, Flood never forgot the road he traveled to get where he was. After 1969, the Cardinals traded Flood to the Philadelphia Phillies. And here the story begins.
Flood refused to report to Philadelphia. Ostensibly, he claimed the reserve clause made him feel like a “well paid slave.” Hence the eye catching title. But did Flood really object to the reserve clause or did he just not want to play for a losing team in a city that was not known for its hospitality to black players (i.e., Richie Allen)? Snyder dances around this subject but one wonders why Flood never made any waves when he was with the Cardinals. He was making $90,000.00, a huge sum then. Arguably he could have made much more on the open market. Why did he not declare his independence in say, 1964 or 1967, after the Cardinals won the World Series. And let us suppose that he were traded in 1960 to the Orioles for Paul Blair or the Mets for Tommie Agee, or the Reds for Pete Rose. Would he have minded playing for those pennant contenders? Probably not.
Flood, through his local St. Louis lawyer, starts to plot a legal challenge to the reserve clause. He meets with Marvin Miller, the brilliant baseball labor strategist, to weigh the pros and cons of such a maneuver. Miller, who comes across as determined as he is pessimistic, tells Flood that his case is a long shot; his main question is whether Flood has the commitment necessary to make such a sacrifice. After all, Flood’s career, win or lose, will effectively be over. He is the proverbial sacrificial lamb being offered up to promote the careers of players who can reap the benefits of his gamble and yet remain publicly indifferent to his cause. But Flood persists and insists. Snyder tries vainly to ascribe Flood’s years of experiencing racial bigotry as the reason for his determination but the reader cannot help but wonder if there is something else that motivates Flood. He is 31, a pathological womanizer, an alcoholic, and aspiring artist (although even here Snyder points out that his prints were more often than not fakes). One wonders if Flood was just tired of being a baseball player and wanted to become a celebrity martyr instead.
Nevertheless, the decision is made to move ahead. Now, a legal team must be assembled. Enter Arthur Goldberg. America has no royal lineage; in its place we have substituted a collection of older men whose accomplishments in politics, law, business, and diplomacy have put them above reproach and who have earned the respect of their peers, mainly because the people who know what they were really like are dead and the rest are too young to remember or too respectful to speak the truth. One can think of such people as Henry Kissinger, James Baker, and Dean Acheson, Truman’s former Secretary of State, whom Kennedy called upon for counsel during the Cuban missile crisis. Adjectives such as revered, esteemed, distinguished, astute, go hand in hand with their names. In legal circles, circa 1970, Goldberg was such a luminary. A former United States Supreme Court Justice, Secretary of Labor, and United Steel Workers lawyer, he was now a partner at a large New York law firm. He insisted on being called “Mr. Justice” by his colleagues. Whatever he was then is not as relevant as what he becomes at the end of this book: egomaniacal, unprepared, and not a man of his word.
But the reader might ask an obvious question: why is Goldberg a “former” United States Supreme Court justice? Is not that like being a former Pope or mafia don? The answer is it should be but is not, at least when two super egos collide. Snyder does a wonderful and almost humorous job weaving the tale of how this circumstance came to be. In 1968, Lyndon Johnson, a man who was known to personally employ physical intimidation to persuade his political allies to do what he wanted, convinced Goldberg to resign his Supreme Court seat and become Secretary of the United Nations. In return, he offered Goldberg the possibility of the vice presidential nomination in 1968 and appealed to his patriotism because the country desperately needed him at this crucial juncture in history. Goldberg fell for it hook, line, and sinker. He actually believed that, by taking LBJ’s word at face value, he was headed for bigger and better things as a public servant. One year later he was a private citizen. Miller, who knew Goldberg from his union days with the steelworkers and called him “Arthur,” had one condition before he was hired: that Goldberg promise him that he would not run for governor of New York in 1970 so that he could devote full time to the case. Goldberg assured him it would not happen.
Flood needed the support of his own union, a not so united collection of players with their own agendas and prejudices. The baseball player’s union was in its infancy in 1969, a mere shell of what it is today. Miller had just begun developing a strategy to bring more parity to the bargaining table. But his venue was just that: the bargaining table. It is doubtful that he or anyone else seriously contemplated using the courts to eliminate the reserve clause. First, there were two previous cases that held that baseball was not subject to the antitrust laws that all other business had to comply with. Second, finding someone who was willing to put his neck on the line and incur the wrath of the owners was difficult. When Flood volunteered for the role, for whatever reason, Miller was willing to obtain the union’s support albeit with severe reservations about the ultimate success of the venture. The union agreed to fund Flood’s lawsuit (this was made a little easier by Goldberg’s unilateral decision, which caused strife with his partners, to do it pro bono except for his underlings who were paid their hourly rate). But the players, many of whom were adamantly opposed to Flood’s case, never gave it their all. No one showed up at the trial or at the appellate arguments; and finally, not one living player attended Flood’s funeral. This case originated not with them but was the brainstorm of Flood’s local St. Louis attorney that was referred to Miller. One gets the impression it was foisted upon them almost unwillingly. And after all, why not fund it? What did they have to lose? Nothing. If Flood won, they won and would reap greater salaries and if he lost, it was his loss and not theirs. It would not be a loss anyway since they had nothing to lose. The union was making progress anyway on other fronts: the arbitration decisions of Andy Messersmith and Dave McNally were but a few years away.
The history of Flood’s litigation is a study of judicial overkill. There was only one seriously contested issue: should the so-called Sherman Act apply to major league baseball? There was no need for testimony. The case should have been disposed of at the trial level on a preliminary motion and then wound its way through the appellate and supreme courts, where a decision to overrule previous cases could properly have been argued. But that was not to be. Instead we have the spectacle of a frail Jackie Robinson testifying about what he thought about the reserve clause fifteen years before and Flood himself bumbling through his mostly irrelevant testimony by forgetting when he started to play or what his batting average was in his rookie year. Throughout the trial, Goldberg is preoccupied with his run for governor, having gone back on his word to Miller, and is incredibly unprepared. Flood loses at the trial level. The Second Circuit Court of Appeals affirms the trial judge’s ruling and issues a decision that genuflects at the altar of baseball mythology, placing baseball outside the reach of the Sherman Act not because it is not interstate commerce, an absurd position, but because Congress must have consented to such an arrangement because it never passed any legislating correcting the ill advised court decisions. The appellate opinion is written in language that elevates baseball to a religious experience and the reserve clause akin to the Ten Commandments. Snyder does a good job portraying the silliness of grown men losing perspective as they substitute their childhood fantasies for sound legal reasoning. The case actually makes it to the Supreme Court, a long shot even with the strongest of cases. Contrary to his own expectations, Goldberg is not treated with reverence by his former colleagues. He is again unprepared. Flood loses. Snyder treats the reader to an interesting behind the scenes look at the jockeying for votes by various justices but the result stays the same.
Flood returns to baseball thanks to Robert Short, then the owner of the Washington Senators, who were managed by Ted Williams. Flood does not last long. He goes AWOL in the middle of the season after it becomes painfully obvious he has lost his talent. He flies to Spain where he takes up residence somewhere as a bartender/tavern owner. He meanders through life here and there until he dies in 1997.
Could the players’ union have done more to support Flood? Yes. Would it have mattered? No. Time was on their side no matter what the outcome. With the advent of arbitration, the union would get its way. But the interests of Flood and his union were not always the same. At the trial, most players, while supporting Flood, testified that they wanted a limited reserve clause, a position that they hold today. Flood wanted to be treated like a Burger King cashier: to work wherever and whenever he wanted. If Flood were white, would the union have cared more? That all depends. Baseball, circa 1970, was no different from society at large. It pitted an older generation of conservative players against a newer breed of black hipsters and white counter-culturalists. If a black player such as Willie Mays or Hank Aaron bucked the system and filed suit, there may have been more sympathy; if a renegade white player such as Denny McLain or an egomaniacal Reggie Jackson filed suit, it is doubtful the union would have offered any help regardless of each person’s skin color.
The owners and Marvin Miller come through as astute and predictable. The case ended exactly as Miller thought it would. But at the same time he was opening up another front and winning so this case, for him and his union, was the equivalent of betting on an exacta when you knew you had a sure fire winner in the next race. And what of the owners? Sure, they won the legal battle. They hired top-flight lawyers to protect their narrow self-interests; that is what business people do when they get sued. After winning this landmark victory, the owners spent the next thirty years losing one battle after another while at the same time seeing the value of their franchises skyrocket. Every year, owners complain that they are losing money and beg politicians to finance their “losing” ventures with new stadiums and the like. It is as funny as it is contrived. But there is a final and ironic footnote to this story: Flood, and hundred of black players of his generation, saw themselves as trailblazers for younger blacks who could succeed in professional baseball without experiencing the brutality of rabid racism. From the early 50’s to the late 80’s, the percentage of blacks in baseball increased dramatically. Now, it has decreased just as precipitously. And why? For one reason: money. A good black athlete can make more money playing football or basketball at a younger age than he can playing baseball where a player does not reach his prime until his late 20’s. In other words, there are no more barriers. Call it progress.

Sunday, October 01, 2006

Raging Bull

An excellent movie about a bad person. That it was made in black and white only adds to the depression. Give Scorsese a lot of credit. It must have been tempting to portray La Motta as a victim of his environment, a good man wronged by the bad people with whom he associated. It was not to be. De Niro gives a splendid performance. From the beginning, he is ruthless, untrusting, paranoid, insecure, and violent. In his later years, he is all of that and boorish to boot. In fact, the post retirement part of this movie is what makes it a great film. Stripped of his boxing skills, he is in middle life what he always was before: a low class brute, an embarrassment to those who tried to give him a modicum of respect and dignity. He sinks to the lowest level that a public figure can fall: not forgotten, not pitied, but laughed at and ridiculed. If you like your coffee strong and black, your whiskey straight up, and believe that there are famous people with no redeeming social qualities, then this movie is for you. In retrospect, one cannot help but draw an analogy to Goodfellas. There are many scenes in this movie that are strikingly familiar to ones in Goodfellas. Many of the second tier actors are the same. But this movie is better. There is no panache or make believe bravado. So watch it and then watch it again. And then take your hat off to Scorcese. This is one of a kind.

Sunday, March 19, 2006

Murder, My Sweet
Average all the way. The plot is complicated and the characters are not focused. The ending is very un noir: boy and girl go off happily.