REVIEW: Last Days in Vietnam – The Exodus

There was a sea of humanity.  This phrase echoed the first time you heard it.  Then it was resounded again in images of overcrowding groups of Vietnamese civilians trying to enter the gates of the U.S. embassy, and again boarding commercial ships, then fighting for a place on a helicopter air lift.

Graham Martin, U.S. ambassador to South Vietnam, was one of the central characters in the story of the days leading up to the Fall of Saigon.  Along with his position, Graham Martin was also the authority in case an evacuation of the U.S. embassy would be required.  In the beginning of the film, there seemed to be a sense of healing and imminent peace.  It was a calm time in the capital of Saigon.  The Paris Peace accords had just been signed and President Nixon had promised that in the event the North Vietnamese came to occupy the South, the U.S. would respond with full force.  President Nixon represented an intimidation factor for the North Vietnamese government.  They believed him to be a madmen, and it felt like the North Vietnamese army would not act in violation of those accords.

What followed were the seas of people from the opening scenes, surrendering everything physical they owned, surrendering the city of Saigon itself, to escape.

“You start out telling jokes in Vietnamese and making them laugh in Vietnamese.  Soon, you start dreaming in Vietnamese.”  This is a loose quotation from one of the U.S. marines stationed at the U.S. embassy in Saigon.  He, along with many other U.S. citizens in Vietnam believed, during those early peaceful days of the signing of the Paris Peace accords, that their job was only to keep the embassy operational.  It did not occur to them that the North Vietnamese would ever come.  The U.S. embassy was filled with dreamers.

First were the friends of U.S. workers at the embassy.  Vietnamese spouses of Americans, children of Vietnamese-American couples, these groups of people were the first to leave.  Then as the North Vietnamese began their advancement and the U.S. maintained their silence, a growing number of Vietnamese looked for ways of escape.  Martin more than anyone wanted to believe that the U.S. would come through on their promise in the Paris Peace accords.  He did not want to leave the country his son had died fighting for.  But the American people were tired of the war in Vietnam, and President Ford could garner no votes from congress to provide the military and financial support required for the aid of South Vietnam.  Once the bombings started, the panic mounted, and everyone associated with the U.S. knew they need to get out was real.

Bing Cosby’s ‘White Christmas’ was airing on the radio the day following the initial bombing of the only air strip in Saigon, the day before the Fall of Saigon.   Evacuation was on everyone’s mind now, and it was in the safe evacuation of oneself and one’s family that the only comfort could be found.  South Vietnamese were getting airlifted from the grounds of the embassy to U.S. ships off the coast.  Pilots, whose own captains had either left already or deserted, used what they had, taking their helicopters to bring themselves and their families out to the American ships where safety was guaranteed.  Some made daring leaps of trust and faith and U.S. troops responded with as much empathy as they could muster.  There just wasn’t enough space or resources.  There was not enough time.

What was the fate of those South Vietnamese left in Saigon?  The 30th of April 1975, South Vietnam surrendered.  Large groups of under-supplied South Vietnamese troops disrobed down to their underwear and burned their identification cards.  Politicians destroyed any evidence of their association with the South Vietnam government.  Just like that, no one left behind wanted to have any association with the identity of being South Vietnamese.  The exact numbers are not known, but many were executed and large numbers were placed in re-education camps where they were forced to do manual labor for a few years to a life sentence.  The outlook was not bright.

And on the ships filled with U.S. troops and refugees, they rose the flag of South Vietnam and sang the national anthem of a country in which the freedom to sing and have such pride was now limited to boats at sea.  The movie told a story not only of displacement and exodus, but of camaraderie and the significance of relationships between individuals being more powerful than governments or military power.


http://upload.wikimedia.org/wikipedia/commons/d/df/South_Vietnamese_flag_parade.jpg

PREVIEW: FoodCorps at the Michigan Theater

The Penny Stamps Speaker series is an awesome lineup of artistic and activist personalities that come to the Michigan Theater Thursday evenings during the school year.

What FoodCorps? They connect with and educate children about healthy eating and good food! Ian Cheney & Kurt Ellis, the founders, have also made documentaries and founded other food-based ventures intent on changing our gastric landscape. You can check out more here.

When: Thursday, October 16 at 5:10 PM

Where: The Michigan Theater

Come and learn about the future of food and the big ideas on the way…

Food Corps in action

PREVIEW: Last Days in Vietnam

Last Days in Vietnam is a documentary by director Rory Kennedy about the evacuation of US forces from South Vietnam.  When the US government orders troops to vacate, there is a looming sense of what this means as Americans and South Vietnamese allies realize what will follow such an exit.

Come out and watch for a detailed account of one of the lesser known parts of the Vietnam War, or just to learn more about a war whose effects are still being felt today.

Michigan Theater

Tuesday, Oct 14 4:45
Wednesday, Oct 15 4:30

Trailer:  http://www.lastdaysinvietnam.com

Preview: Cabaraet – for it is indeed life, old chum

What: Cabaret

Where: Lydia Mendelssohn Theatre

When: Oct. 9-19 at various times

How Much: Student tickets: $10 — General Admission: $22 – $28

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Cabaret is a musical set in Weimar era Berlin Germany as the Nazis were coming to power. The plot focuses on Cliff, an American novelist, and Sally Boules a performer at the infamous Kit Kat Klub. The story develops both inside the club and in the city of Berlin as Sally and Cliff develop a love affair during this tumultuous period of wild sex, creativity and the rise of the Third Reich.

The Michigan School of Music, Theater and Dance has a truly amazing group of students in its Musical Theater department. The challenges presented by this show reach into the historical and the physical. Cabaret is a musical with a large dose of darkness and social significance, which not all performers are frequently required to interact with.

Cabaret has won multiple Tony awards over the years and is currently on Broadway.

Cabaret is based on Christopher Isherwood’s collection: ‘The Berlin Stories.’

For more information visit the University of Michigan School of Music, Dance and Theater Website.

Review: Marilyn Horne Masterclass

On Friday afternoon, Ms. Marilyn Horne presented a masterclass as a part of the Jesse Norman Masterclass series. A master of her craft, she worked with four immensely talented students earning their Master of Music or Doctorate of Musical Arts in Vocal Performance.

Master classes typically follow a standardized routine. Each student is given a set amount of time to work with the instructor (typically 15, 20 or 30 minutes) in which they sing through a song or aria in its entirety and then work through specific sections with the instructor.

While the masterclass followed the set routine, there was nothing ordinary about this masterclass. Held in Stamps auditorium, attendance was extremely high including the entire Vocal Performance department, SMTD faculty, and numerous members of the public. Arriving 15 minutes early I still faced a limited choice of seats, but decided to sit in the very first row a few feet away from where Ms. Horne would sit, rather than climb the stairs to the back half of the auditorium where seating was still available.

After a brief introduction by Professor Stephen West, Professor Martin Katz spoke about his 40 year collaboration with Marilyn Horne and welcomed her to the stage. With assistance from Professor Katz, Ms. Horne took her seat downstage stage left to a thunderous standing ovation.

Addressing the audience Marilyn Horne offered a simple disclaimer before the beginning of the class, stating that “this is all I know” and that if a voice professor should take issue with any of the comments she made that she would be unable to comment further.

The first singer of the evening was Katherine Calcamiggo singing Abscheulicher!…Komm, Hoffnung from Beethoven’s Fidelio. Fidelio was Beethoven’s only opera and is notoriously difficult for singers. Abscheulicher!…Komm, Hoffnung is one aria which is considered by many a true test of a soprano. This was a test which Katherine Calcamiggo passed. With great stamina, Ms. Calcamiggo filled the room with her sound and provided beautiful contrasting colors throughout the aria while showing her technical prowess. Following Ms. Calcmiggo’s performance of the aria, Ms. Horne began work on specific sections of the piece sighting a need for a quicker, consistently steady breath and reminding the audience to “get your buns in order” (squeezing your gluteus maximus) when running out of air to get a few extra beats of supported tone.

Anthony LaFrinier sang Pace non trovo from Ertes Sonett von Petrarca by Lizst. He gave a strong musical performance, but lacked the resonance to fill the hall and his time with Marilyn Horne was spent trying to find a good, bright, resonant sound which originally only appeared in his high register. To find this brighter sound he was disallowed from using his chin and jaw to form and manipulate the sound. Instead of relying on the “resonators” located behind the cheek bones Mr. LaFrinier used the chin to support the sound as well as intense air pressure, and pushing from the chest. With greater support from the lower diaphragm the low notes began to have the same beautiful resonance which his top notes so easily obtained.

The surprise of the evening followed Ashley Dixon’s performance of Meybeer’s Nobles seigneurs, salut! from Les Huguenots. Marilyn Horne sat in her chair beaming throughout the performance, mouthing “great” with arms raised in applause after the aria’s conclusion. Stating that she had nothing to say about that performance technically, dramatically or musically Ashley Dixon received no coaching for her aria from Marilyn Horne and was excused almost immediately. However, she was quickly called back for one comment: that her low cut, red dress (while completely tasteful) was probably more appropriate for when she sings Carmen and not when she sings a pants role (a role in which a mezzo soprano sings the part historically sung by male castrati and so is dressed up as a man).

Sarah Coit finished the program with a fabulous rendition of Una voce poco fa from Rossini’s Il barbiere di Sigviglia. Having performed Rosina in the university’s fall 2013 production of the opera, Sarah Coit was extremely comfortable with aria and the character which she was portraying. Marilyn Horne focused on bringing the youthfulness of the character into the sound which Ms. Coit produced, reducing the heavy power on the low notes which is appropriate in much of the repertoire but not when portraying a 15 year old girl.

The masterclass concluded with a brief Question and Answer session in which Ms. Horne stressed the importance of fluency in the languages which one sings. Additionally, Ms. Horne told stories about her time on Sesame Street, voicing Carmen Jones in the hit film and was even asked by a student “What is the most embarrassing story you have about Professor Katz?”

Following the masterclass students rushed to get photographs and autographs from Marilyn Horne, knowing the importance of her career and the knowledge which she had shared with us that afternoon.

Jump

I sadly have to give this movie not the best grade. I was looking really forward to seeing this movie, as it turned out that this was the first movie of the Polish film series that I had went to see. So I was filled with anticipation. But the movie was incredibly underwhelming.
In one of the first scenes, the protagonist falls out of a train, into what we learn is the town/village in Poland where he came from ( or did he?) prior to World War II. This person seems to be running from some people (real/imagined) as he makes it down one of the streets in the village. A bit later, he is actually chased down the street by a dog. Then he goes into a man’s house where the man doesn’t recognize him. Nevertheless,after talking and convincing the man that protagonist did actually remember him prior the war- the man let’s him stay.
This movie at it’s best is an existential analysis of who our protagonist is in regards to how he views his own identity, and how other’s view him. To some people he is seen as a prophet- especially is he ‘makes some children feel better’ (although if you ask me, it was just coincedence). To others he is nothing but a charlatan; someone on the lamb, a drifter, etc. All of this really highlights, who is this man? And perhaps to a larger degree, who are Polish men after the war? Who are Polish men who served in the war? What happens to men who might have lost their way post war?
BUT THE WAY THE MOVIE GOES ABOUT THIS HAS SUCH A CONFUSING WAY TO IT. The character ( and everyone else) seemed so confused about who this man was- that it gave the movie a very confusing feel. It was hard to focus, and I was itching to get out of the theater. In fact, once the movie was over, EVERYBODY rose from their seats to get out. Nobody seemed to have felt moved enough to see the credits, or sit with their emotions for a bit. Some people let out some exasperated groans.
But some scenes did move me a bit- and didn’t leave me as exasperated.
The scene at the end where the villages hear from his wife about how he is drifter who has abandoned his family, and consequently drive ( and stone) him out of town is a little hard to watch.
And perhaps the larger message it carries is that in post War-Polish society, a man doesn’t know who he is, doesn’t know his place in society, nor do these communities who lent these men to the war effort know these men anymore. Furthermore, the sad truth of the matter is that post-War II Polish society has a bit of a general disturbed, distrustful state, and can turn on their fellow Polish man via Primitive ways- as we witnessed with how the Protagonist was not only run out of town, but stoned by the town, too.
This movie in some ways reminds me of the post World War II Polish society’s version of the movie Taxi driver, starring Robert Deniro. True Robert Deniro’s character was a lot more deranged than our protagonist in Jump (in addition, this protagonist is more fumbling, rather than deranged).
In sum, the movie tries to tackle some big questions, but the flow of the film could have been less confusing.
Grade: C-