Book Review: The Hunger Games

Two issues, one cultural, one technological, led me to this book. Ever since The Hunger Games film was released earlier this year, it has been a blockbuster success and pop culture phenomenon. Naturally, I was intrigued by it, but was always indecisive about seeing the movie. In addition, a member of my social group had read the book and said that, although the story itself wasn't bad, the writing and certain aspects of the plot just didn't seem logical.

The technological issue runs a little bit deeper. For a long while now, I have heard about, and been involved in, the debates between traditional literature formats and the rapid rise of e-readers (Kindle, Nook, iPad, take your pick). I'd long been reluctant to try my mother's kindle (I just didn't think I'd get the same feeling as actually holding a book in my hands), but when a friend loaned her the first volume of Suzanne Collins' trilogy, I figured "why not?", and finally took the plunge into e-reading.

As a book, The Hunger Games was not exactly groundbreaking, but certainly not the worst thing I've ever read. In a dystopian future United States, 24 young men and women are chosen by annual lottery to compete in "The Hunger Games" (basically, they are made to fight to the death on national television and the winner gets honored with lifetime wealth and glory) as punishment for a past rebellion against the government. One of this year's competitors, Katniss Everdeen, however, is unlike any previous tribute and gives the country a show they'll never forget.

A few aspects of the book make it noteworthy in spite of its somewhat cliche plot line. First and foremost, the story is told in first person from the perspective of Ms. Everdeen, so the entire plot is almost like a psychological analysis of this one main character in relation to her surrounding environment. I've read first person narratives before, but this focused so specifically and intensely on Katniss' thoughts and emotions that it seemed like you were literally seeing the world through her eyes.

Another intriguing feature of the book dealt with themes of tyrannical government and propaganda. While the Capitol city has more food and luxury than it knows what to do with, many people in the districts (and Katniss' district in particular) are on the brink of starvation and living in squalor and poverty. Also, the games themselves serve as a reminder to the people that the government has absolute power and can take away their freedom and their lives at will. As a history buff, these themes really stuck with me and, although heavily caricatured  and "cartoon-ized", could serve as a mirror for dozens of totalitarian and oppressive regimes the world over.

Collins also does an excellent job describing the imagery of the various items, characters, locations and events throughout the story and linking them to the views of Katniss Everdeen. To put it simply, the book contains more than its share of colorful moments.

At this point, I'm still a little unsure about seeing movie, but regardless, I am interested in looking at the second and possibly third book in the trilogy, as the first volume left off on rather a curious high note.

CHECK OUT MY COMPARISON TO THE FEATURE FILM

Restaurant Review: Boat Basin Cafe

One of the best features of New York City is that, despite the bumper-to-bumper buildings, there are plenty of green park spaces to unwind, exercise and generally escape from the streets and noise. Although Central Park has the bigger reputation, Riverside Park has always held the more important place in my heart (though this obviously biased, since I grew up less than a stone's throw away from it). If you know where too look, Riverside Park holds many delightful secrets. Since the weather was so absolutely gorgeous today (4/8/12- strong sun, cloudless sky, perfect breeze, the whole nine yards), my parents and I took a walk in the park and ended up at the 79th Street Boat Basin on the Hudson River. I had passed this cafe several times before, but never tried it. In the end, we gave into temptation.

Although the menu at the Cafe was somewhat limited, the food itself was perfectly scrumptious, and it more than made up for a small menu in location, location, location. As you can see from the image to the left, the terrace is set above and right beside the river, providing a fresh breeze (albeit a little too strong on this particular day) as well as perfect exposure to however much sun each patron desired.

The second layer of the restaurant (right) was directly behind the terrace and separated by heavy plastic screens. It contained a vast open space with a full bar, plenty of tables and, of course, big screen TVs. Despite the fact that it was Easter Sunday (when I assumed most people would be at home with their families), it was a full house with patrons shouting and cheering at whatever game was playing (although honestly it got a bit annoying after a while).

The most unique layer of the restaurant was the furthest in (left). For those not familiar with the area, 79th Street & Riverside Drive is notable for its large traffic circle leading to the Westside Highway, and the third layer of the restaurant was sunk directly into the circle (that curving path on top of the arches is what the cars drive on)! Aside from offering the most sun for any interested patrons, this third layer is a pretty cool spot.

If fancy food is not your preference, but you love outdoor seating and a casual environment, then this is place for you. Drop by on the next sunny day. http://www.boatbasincafe.com/ 

War Horse: Movie/Play Comparison

After seeing a moving performance of the original War Horse (see my review) at Lincoln Center last month, I was curious to see how Steven Spielberg's feature film stacked up. Now that I have viewed both, I think I can safely say that, despite their differences, both are fine pieces of work in their own rights.

In terms of plot line, both the play and the film are essentially the same. Various elements were altered, added or omitted (ect..., ect...) throughout the film, but most of these were relatively minor, and didn't take away from the main message of the story. On the plus side, several distinctive scenes from the play (plowing the field, English and Germans working together to release the star- that would be the horse, Joey- from a trap of barbed wire, and the first appearance of a tank the the battlefield) were beautifully preserved in the film, retaining the spirit and passion seen in the live performance.

In one respect, the film actually out-performed the play. Throughout the story, the horse Joey passed through the care of many different people, French and Germans as well as English. Despite the searing conflict of WWI that served as a backdrop for the story, and no doubt the bitter feelings between these nations, Joey had the ability to bring out the finest qualities in whoever he met (the barbed wire scene referenced above is a perfect example). This theme was visible in the play as well, but Spielberg's abilities brought it further to the main, strengthening the all-powerful theme of hope present in both play and film.

Overall, I would say that Spielberg has done an excellent job preserving the vision, scope and, above all, the spirit of the original War Horse. For anyone unable to see the live performance, his film would be a fine substitute. Go and enjoy.
 

Engineering an Empire

I first discovered this remarkable series essentially by accident, but the results were mindblowing. After viewing a few episodes on YouTube, I was craving for more almost immediately. Hosted by actor Peter Weller (of Robocop fame and apparently holding a Master's Degree in Italian Renaissance art history- see "Da Vinci's World"), the series originally premiered in 2006 and is divided in 14 episodes, each covering a specific culture and/or time period:

1- Rome
2- Egypt
3- Greece
4- Greece: Age of Alexander
5- The Aztecs
6- Carthage
7- The Maya: Death Empire
8- Russia
9- Britain: Blood and Steel
10- The Persians
11- China
12- Napoleon: Steel Monster
13- The Byzantines
14- Da Vinci's World

I've always been a fan of historical documentaries, but Engineering an Empire was something else altogether. In addition to superbly rendered 3-D virtual reconstructions of famous monuments and palaces,  much of the series was filmed on the actual locations where many of the events took place. To cap it all, actors dressed up in historically accurate costumes to portray the famous rulers and other personalities that once walked through those locations and made those events possible. All of these features make the history easier to relate to and well as adding more "realism" to the mix, setting Engineering apart from almost any other documentary series ever made.

The one small drawback of the series (although not one immediately obvious to me- it came via later contemplation) was that there was a little too much emphasis on "western" cultures. The Aztec, Mayan, Persian and Chinese episodes were all well and good, but on the DVD set the Roman and Egyptian episodes were each given their own disks, while the other disks each contained three episodes. Granted, those two episodes were twice the length of all the others, but 4 more episodes would have balanced the whole set out (I thought coverage of India, Japan, the Mongols and the Incas would round out the series very nicely).

In spite of this minor issue, I can safely say that this is one of the most remarkable and diverse historical documentary series' ever produced, and have no qualms about calling it a 'must-have' for any history or engineering enthusiast.

Death of a Salesman at the Ethel Barrymore

 

These days, it's said that the cornerstone of any successful relationship is knowing how to listen (something a favorite college professor of mine made very clear). While that may be true, apparently Willy Loman didn't get the memo. One of Arthur Miller's most famous works, Death of a Salesmen captures the essence of proud, foolish man with an overblown ego who, in the long run, didn't really deserve the cruel hand that fate dealt him and his family.

Although not very familiar with Arthur Miller's work (the only other play of his I've seen or read is All My Sons), I have always been aware of the reputation of Death of a Salesman. While the magnitude of that reputation is certainly true, the foundation of the play is built on surprisingly simple and easy-to-relate-to themes. Philip Seymour Hoffman and his fellow players bring to life everyday issues such as family quarrels, frustration with routine, a difficult job market and, above all, the dramatic and devastating consequences that can result from failing to communicate properly. The case of Willy Loman's two sons could serve as a model for half of the college graduates in this country; working a series of low-level jobs while trying to find their path in life, yearning for social and financial independence and, more than anything else, the burning desire to make successful names of themselves (all in all, the American Dream, as Willy puts it).

The one confusing part of the performance were Willy's (for lack of a better term) flashbacks. Many of the most significant plot points were related via mental recollections of his "past glory" and conversations with his now-dead brother (the guy definitely had problems, let's leave it at that). Most of the time, whenever these mental episodes came into play, the stage was darkened and covered with a projection of golden leaves, but during the few occasions where this feature was left out, it took some time to realize what was "current" and what was just a memory.

The character of Willy Loman reminded me of personality traits present in two characters from short stories I read in college; Abner Snopes in William Faulkner's Barn Burning and Mr. DiMaria in W.D. Wetherell's The Man Who Loved Levittown. Overall, the show was filled with passionate and powerful performances that make it a worthy addition to the Broadway scene.

A little side note; besides the presence of Hoffman, it was apparently a star-studded night all around. On the night I saw the performance (4/3/12), my parents spotted Ethan Hawke in the audience several rows in front of us, and in the restroom during intermission, I ended up washing my hands right next to Owen Wilson. Who else was there that night, I wonder...?

Movie Review: Mad Love

Most people have heard of Katherine of Aragon, the first wife of England's infamous King Henry VIII. Fewer people, perhaps, have heard the story of Juana, Katherine's older sister and wife of Duke Philip of Burgundy. The third daughter of King Ferdinand and Queen Isabella of Spain, Juana's erratic behavior and bouts of hysteria earned her the moniker Juana la Loca ("Joan the Mad"). Spain's official entry for the 2002 Academy Awards, Mad Love captures Juana's story in a powerful and dramatic rendition.

I know very little about Juana's life (although I recently purchased a dual biography of her and Katherine that I plan on reading when able [link]), so cannot fully vouch for the historical accuracy of the film. One thing I can vouch for, however, is the power of performance. Juana (played by Pilar López de Ayala), despite her husband's many infidelities and his attempts to usurp her political power, remains fiercely devoted to him and refuses to let anything stand in her way maintaining both her marriage and her rule. Even at her most erratic moments, de Ayala brings nothing less than pure passion to her portrayal of this vastly misunderstood and powerful woman.

In addition to great performances, the film is superbly costumed, photographed and scored. The only drawback is the narration- every time the narrator describes a scene or plot point, it usually is set several years later along the time line of the film than his previous one, which makes the various sections of the film feel slightly disconnected from each other. Nonetheless, the storyline and powerful performances make the film a must-see for anyone interested in Spanish history