Posts Tagged ‘Harris Theater’


Summer Wars

January 9, 2011

Have you ever done math so hard that your nose bled? Summer Wars, a Japanese animated film, is about a young boy who goes on vacation to meet his friend’s family and finds himself accidentally enabling an evil AI to overtake the internet. This boy, Kenji Koiso, is a math prodigy, and, as with most young geniuses, is shy and nervous around girls. He receives a message on his cell phone that is a string of digits. He manages to decrypt it in a single night, thinking it is an amusing puzzle. In so doing, he inadvertently allows an AI to take over not only his account, but a variety of other online functions. To take back the internet from this AI before disaster hits, Kenji must use pure math to decrypt numerical sequences at break-neck pace, hence causing a nosebleed.

The internet in Summer Wars, called Oz, is basically an ultra facebook on which people store all their information, conduct their business, and run their jobs. This means that not only is credit card information on the internet, but also launch codes to nuclear missiles and global positioning systems for satellites. So, if a hacker with bad intentions were to access this site, he could disrupt all aspects of life, from traffic signals to medical information to defense. Which of course happens.



Oz is a wildly colorful, neon pastel-on-white wonderland of wacky animal avatars. The entire space is reminiscent of Takashi Murakami‘s work, blending cuteness, commercialism, and manga to create a coherent alternate reality. In it any function that one would ever conceive to do online can be done. This includes martial arts sparring, which ends up being a venue for attempting to take down the evil AI that overtakes people’s accounts. A note about this AI: it was created at “a robotics school in Pittsburgh,” and bought by the US government. It was never meant to be evil, it just got out of hand.

Luckily, by visiting his friend’s family’s house in the countryside, Kenji coincidentally is in the same house with the creator of the AI and the coolest fighting rabbit avatar owner that Oz has to offer. Said owner is about 11 years old, but can type really quickly.

The film does not entirely center around Oz, it mainly centers around the family, which has come together to celebrate the 90th birthday of its matriarch. The family consists of men who are vocal but passive, and women who are assertive, yet spend much of their time and energy in the kitchen. While the women remain unaware of the imminent devise of the Earth, the men find a way to get a supercomputer into their house, and play video games in such a way as to save the world.

This outside world, although visually not as fantastic as Oz, is nonetheless more compelling for its ability to



contain stories, conflict, depth and food. The film does not explore people’s actual lives getting taken over by the internet, but rather their virtual lives, namely, the information over which they have power. All the numbers and codes with which a person is associated, from his bank account to, say, the access codes to the city sewer authority computers, if one is the head of the sewer authority, are all kept in Oz. Although a person’s identity can’t be overtaken, his function can be assumed and abused. The repercussions reverberate in the actual world. This abuse is made visual by having the AI, whose avatar is a tattooed warrior, knock around the pieces of graphs, topple dominoes with points of data, and rearrange plates containing the commands to traffic signals. Luckily, there are young math geniuses and computer gurus to save the day.

Summer Wars is playing at the Harris Theater through January 19th.



September 22, 2010

The 1992 film Orlando, based on the eponymous novel by Virginia Woolf, is playing at the Harris theater through the 23rd.

In the film, Orlando, at the time a young man and lover of the old queen, is told by Queen Elizabeth I to stay young forever. He does so, and, in the process, has a variety of the sort of intense and short lived relationships of a young man. As a man, Orlando feels that his passion for a woman is reason for him to possess her. The women in his life tend to disagree, leaving him heartbroken. He falls not only for women, but also for poetry. When he turns to poetry as an outlet for his youthful intensity, he discovers that his feelings, though intense and universal, are trite and laughable when translated into rhymes. There is a certain ennui associated with immortality, and a sense of endlessly waiting for the future, which is said to be brighter and grander than the base and tedious present.

Orlando as a manOrlando becomes an ambassador to Constantinople, and, despite the city’s intrigue and beauty, remains seemingly unphased, even when nearly killed in a conflagration. It is in Constantinople that, after sleeping for 11 days, Orlando wakes up as a woman. She takes this in stride, perhaps due to her having lived such an unnaturally long life already. Of course, the simple fact of being a woman changes her relationship with society. She is at risk of losing her home, an isolated castle in the British countryside, and is proposed to by men who claim that marrying them would be the best way to avoid insolvency and homelessness. At the time in history when she became a woman, it was illegal for a woman to own property, so marriage to a wealthy woman was a business opportunity for the men of her day.

Orlando as a womanOrlando wasn’t just a woman, she was a beautiful woman, and beauty comes with its own set of problems. Men adored her, and wanted to possess her for that reason, much like she had wanted to do when she was a he. Beauty also involves the maintenance of beauty, which in Victorian England involved a staff of cosmetic and clothing engineers. Being a woman wasn’t a simple fact, it was a process.

When we discuss women’s history, we see a progression toward freedom and self-determination, with each generation gaining more ground, yet each stage in the process being lived by different women. The joy of Orlando is that the gradual liberation of women is experienced by the same woman over hundreds of years. She seems to be waiting for the time when she can be treated as an equal to men, when she can retake her home, raise children, and dress herself without an entourage of handmaidens.

This time does eventually come, and toward the end of the movie we see Orlando driving, which, in 1928 when the book was written, was a symbol of liberation for women. The movie ends in the 1990’s, rather than the 1920’s, but brings to modernity the elegance and calm that run throughout the entire movie.


Survival of the Dead

June 17, 2010

Most monsters are essentially predators. They aren’t necessarily evil, just hungry, and humans have the bad luck of being their food. This type of monster resonated with humanity’s sense of cruelty and evil for much if its existence, when predation was a viable threat. However, in our wacky modern world, we need a new type of monster. A lion, a dragon, a Grendal just won’t cut it. We need a monster that represents the greatest threat to humanity, namely, mass stupidity. We need zombies.

survival of the deadWhy are zombies so awesome?  They aren’t just plain evil for the sake of evil; they’re mindless evil. They are the creatures whose unreflective bloodlust poisons and destroys everything. They are monsters whose creepiness comes from their incessantly continuing in the same direction, slowly plodding down a path of destruction. They are the shell of humanity around a rotting core. They are acting as they’re programmed to, without thought or reflection.

They are monsters that go to the mall.

survival of the deadNo one has explored these themes better than Pittsburgh’s local filmmaker George Romero, whose Survival of the Dead will be playing at the Harris Theatre. His films explore two aspects of zombies, first, what the zombies themselves represent, and second, what happens to the human survivors during zombie outbreaks. His films comment on phenomena from social class (the zombie outbreak beginning in a slum, but only being reported on by the press once it had reached the middle class), to social cohesion (people forming factions, suffering from internecine warfare when they could otherwise team together to deal with larger problems, such as zombies).

And there is something satisfying about watching a zombie take a heavy hit to the body, lose a limb or two, stutter a little to regain his footing, then continue blundering along.

Survival of the Dead will be playing at the Harris Theater from June 18 to June 24.


The Girl with the Dragon Tattoo

June 14, 2010

Note: The following post is intended for a female audience. It is explicit and graphic.

According to a 1998 Department of Justice Report, 1 out of 6 women are the victim of rape or attempted rape. The National Victim Center found that 83.8 percent of women who were raped were under the age of 25, 61.6 % were under 18, and 30% were under 10. One thing that the statistics do not show is how many women were repeatedly raped by the same person. Quite often, a woman is the target of abuse on a daily basis for weeks, months, or years.

Although The Girl with the Dragon Tattoo is a murder mystery, it is really about rape. There are many ways to deal with victimization, but, no matter what you do in reality, you will most likely have violent revenge fantasies. Years later, you have a family, children, you feel safe and happy. But then at night, you’re lying there imaging that you had gouged out his eyes, had cut his stomach open, filled it with rocks, and pushed him off a cliff. You wish you could have tattooed ‘sadist’ on his chest. Mostly you imagine stabbing him repeatedly. There are certain places where no one may ever touch you, not even your husband or wife. When they ask why, you just say, ‘because.’

The Girl with the Dragon Tattoo is therapeutic because, in it, the characters enact revenge. They kill, beat, and tattoo their tormentors. Jhonen Vasquez once said that our violent fantasies prevent us from committing violence. They are our healthy escape. Yet we never feel quite right telling people, ‘I spent an hour today imagining new ways to tear a trachea.’ So we just don’t talk about our violent fantasies; we let them stew.

For many women this film will be a relief. And there is enough going on in the film that, after it’s over and you go to the local pub to discuss it, you can talk about the clues, the suspense, the main character’s clothing, and not have to mention that what you saw is aligned with the world of dark, paranoid fantasies that we all silently share.

The Girl with the Dragon Tattoo will be playing at the Harris Theater June 14th through June 17th.


Exit through the Gift Shop at the Harris

June 3, 2010

If the streets belong to us, why can’t we make them in our own image? Graffiti is the practice of making public art at personal expense.  At its best it is social commentary, and fittingly so.

As part of the Three Rivers Film festival, the Harris Theater will be showing the film Exit through the Gift Shop, a film about graffiti and street art directed by Banksy, one of the most notorious and elusive graffiti artists.

Banksy’s art comments on society, politics, nature, art and even other graffiti. He incorporates pieces of the urban landscape into his works, which tend to show a nostalgia for nature and preurbanization. Many convey the sense of imprisonment, showing people locked up or immobilized. His art is often sarcastic, poking fun at politicians, businessmen, and the masses.


The film itself is a documentary about a man who attempted to make a documentary about Banksy. Thierry Guetta happened to start filming his cousin, known also as Space Invader, a man who created images of space invaders and plastered them around Paris. Through his cousin, he became acquainted with other makers of street art, such as Shephard Fairey, and, over the years, collected hundreds of hours of footage of their lives and works. Guetta met with a variety of artists, but would not be satisfied until he met Banksy, the most famous one. He eventually found him, and was even permitted to film him. Banksy appears in the film hooded and in shadow, his voice modified.

However, Banksy found Guetta to be himself an interesting subject matter and thus turned the film into a study of his work, and the history of the street art movement. Guetta becomes the central figure of the film. He is wacky and energetic, perpetually moving and filming, even when there is nothing of note to be filmed.

Some moviegoers see the film as sincere, while others are certain the whole thing is a stunt perpetrated by Banksy at the expense of the masses.