I'm Not There

Just watched I’m Not There, a movie about Bob Dylan’s life. Watch it. When you do,

What will you see my blue eyed sons?
What will you see my darling young ones?
You will see a highway of diamonds with nobody on it,
You will hear the song of a poet who died in the gutter,
You will meet one man who was wounded in love,
You will meet another man who was wounded in hatred.
You will know how it feels to be with the princess on the steeple and all the pretty people, amused at Napoleon in rags and the language that he used.
You will know how it feels to be on your own, like a complete unknown, like a rolling stone.

And you will struggle throughout the film to figure out what is going on and why, which is entirely appropriate for a movie about Dylan.

I’m Not There features six avatars of Bob Dylan, played by six different actors, set in different places and periods, beautifully shot in six different styles. The six actors playing Dylan don’t look like Dylan. The one who looks most like Dylan is Cate Blanchett, playing the stoned superstar who hangs out with the Beatles in London in 1966. Another avatar is a little black boy who travels around America in empty railway wagons, accompanied by his guitar, singing songs about the Depression. A third avatar features a folk singer singing political protest songs along with his Joan Baez-like girl friend. There really could have been many more avatars; there is no room for one featuring a middle class Jewish kid growing up in Hibbing, Minnesota.

The soundtrack is great. You will hear more than a trace of skipping reels of rhyme. Like Dylan songs, the movie floats along on a current of metaphor and imagery. It takes you on a trip upon a magic swirling ship, through the smoke rings of your mind, down the foggy ruins of time. Each scene feels rich with layered meaning, every shirt or jacket, every chance encounter and every throwaway phrase feels like an oblique reference to the god behind the avatars. I am glad I watched this film on DVD rather than at the movies. I had to pause multiple times to google up references. Is that girl meant to be Suze Rotolo? Or Sara Lownds? Both, it turns out.

Sure, it is fun to watch, especially for someone brought up with Dylan-lore. But how does it work as a movie? There is no obvious narrative tension. None of the avatar sub-plots have knots that need to be resolved.

Does this movie bust the theory, previously posited on this blog, that all great stories are built around somebody wanting something really badly, and having difficulty getting it? I thought it did, until I realized that the movie is not about the avatars but about Dylan himself.

Leave your stepping stones behind, something calls for you.
Forget the dead you’ve left, they will not follow you.
The vagabond who’s rapping at your door
Is standing in the clothes that you once wore.
Strike another match go start anew...

Dylan did strike another match and start anew, time and again. Leaving behind the orphan with his gun, crying like a fire in the sun. Yet just when the saints should be coming through, he settles into a new pattern, which becomes as limiting as the one he left. Maybe it ain’t over baby blue, until Bobby realizes that freedom’s just another word for nothing left to lose.

Freddy, meet Mac

Its a lazy, sunny Saturday afternoon. Went swimming with the kids in the morning, had upma for lunch. The rest of the family are settling into siestas. I am settling down in front of the telly, to watch Freddy Flintoff come out to bat in his last test innings, and reflecting that Flintoff is cricket's McEnroe.

Both Flintoff and McEnroe were unbelieveably gifted. They've treated us fans to some sheer magic: the Ashes in 2005, the Wimbledon finals in 1980 and 1981. Yet, especially when compared with their natural talent, both are underachievers.

Michael Atherton talks here about Flintoff's disappointing career stats. Flintoff averages 32.06 with the bat and 32.59 with the ball. The decimals show that his batting average is slightly lower than his bowling. To put that in perspective, Imran Khan averaged 37 with the bat and 22 with the ball. Botham averaged 33/28. Among Flintoff's contemporaries, Shaun Pollock comes in at 32/23. Flintoff's bowling average is about the same as Kallis; however, Kallis averages more than 50 with the bat.

Given how good Flintoff can be, especially with the ball, his returns are surprisingly meagre. Like McEnroe's seven grand slam titles.

Yet, the Flintoff we want to remember is not the Flintoff we see in the statistics, but the Flintoff who beat South Africa in 2003, who bowled this over at Edgbaston in 2005. Like the McEnroe in the mind is the one who beat Bjorn Borg in 1981.

So long, Freddy. Thanks for all the fun.

Boo Ponting and Boo Hoo Colly

When Australia won the fourth test in two and a half days, Ricky Ponting went up to the podium to receive the winning captain's magnum of champagne, and he was roundly booed by the Headingley crowd.

The was not the first time Ponting was booed this Ashes series. It started back in Cardiff. It has continued through to Headingley, despite the ECB president Giles Clarke's calls to cease and desist. The Australian captain has ignored the booing.

Nor is this the first time booing has been in the news this summer. Paul Collingwood, the then reigning England captain, spoke in a hurt, injured tone about being booed by a predominantly Indian Lord's crowd during the Twenty20 World Cup. At the subsequent India v. South Africa game at Trent Bridge, there was much sanctimonious commentary (by Jeremy Coney, I think) about how it is nicer to cheer your own team than to boo the other team. Many of my Indian friends and family cringed. Are we really the cricket world's most boorish nation?

Well, the Ashes experience suggests that English fans aren't all that different from the Indian fans. English fans will boo Australia even when England are not playing, as I discovered at the Australia v. Sri Lanka T20 game at Trent Bridge.

Expanding the frame a bit, yes it is undeniably nicer to cheer your own team than to boo the other team. But it is easy to over-steer.

Ultimately, cricket is fun because it is theatre. Banter is a part of the theatre. Like booing a villain at the pantomime is a part of the fun. There is a very fine line between banter and sledging, defined mostly by the spirit in which the words are spoken and received.

Sure, maybe the booing at Headingley and Lord's was not in the right spirit. But the English ODI captain can surely learn a thing or two about stiff upper lips from his Australian counterpart.

Going Dutch...the gezellig way

Gezellig: a useful new word to import into the English language. Or, more importantly, into Anglo-Saxon (or Tamil Brahmin) culture.

Gezellig, pronounced heh-SELL-ick, is apparently at the heart of Dutch culture. It is the spirit which animates Dutch life. It has this sense of people and space coming together in harmony. It can't be translated. It can't be defined. You know it when you see it.

Friends enjoying a picnic on a canal bank, laughing fondly, sharing a bottle of red wine - clearly gezellig. A slob wolfing down fast food as he sprints to a meeting - not so gezellig. A brown cafe in Amsterdam, panelled in wood that has been darkened by generations of smokers - clearly gezellig. A formica-themed dentist's office - not so gezellig. A ramble in the woods with a big shaggy dog - clearly gezellig. Competitive rock-climbling - not un-worthy, but not so gezellig.
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Disclaimer: My knowledge of gezellig is not through first-hand exposure to Dutch culture. I found the word in this free magazine I picked up at the Paris airport.

Dumbo, the great educator

Psychologists think the ability to delay gratification is central to academic achievement, and more generally, to emotional intelligence.

Consider this Stanford psychology study: four year old children were given the option of a treat right now, say, a marshmallow, or waiting for two marshmallows. Years later, the children who were able to wait had better academic performance (SAT scores) and life outcomes (stronger friendships, fewer behavioural problems) than their more impatient cohorts.

Given this evidence, training children to delay gratification ought to be a central goal of education. The question is how?

The answer: take them to Disneyland.

Last weekend, I witnessed hundreds of children aged between four and twelve stand in line uncomplainingly for over an hour, on a hot, sultry Paris afternoon, to ride Dumbo, The Flying Elephant. The ride itself lasts between two and three minutes. The ride is pretty cool, the rider can make Dumbo fly higher or lower by toggling a little lever. Nonetheless, this was an impressive display of delayed gratification.

If this is what today's youngsters are capable of, it bodes well for the future of civilization.

Play up! play up! and play the game!

There is a breathless hush at the close tonight -
Ten to make and a match to win -
A bumping pitch and a blinding light,
An hour to play and the last man in.

And it's not for the sake of a ribboned coat,
Or the selfish hope of a season's fame,
But his captain's hand on his shoulder smote
Play up! play up! and play the game!

My family's primary religion is cricket. I grew up with these words echoing inside my head, reminding me that cricket is our spiritual calling.

When I recited this poem at my grandparent's dinner parties, or at junior school elocution competitions in Madras, I was vaguely aware that there was more to the poem. But I stopped the recitation at this point. That was probably a good thing. In the Victorian original the next stanzas go:

The sand of the desert is sodden red -
Red with the wreck of a square that broke
The gatling's jammed and the colonel dead,
And the regiment blind with dust and smoke.
The river of death has brimmed its banks,
And England's far, and Honour a name,
But the voice of a schoolboy rallies the ranks -
"Play up! Play up! And play the game!"

This is the word that year by year,
While in her place the school is set,
Every one of her sons must hear,
And none that hears it dare forget.
This they all with a joyful mind
Bear through life like a torch in flame,
And falling fling to the host behind -
"Play up! Play up! And play the game!"

Jeremy Paxman quotes this poem, Vitai Lampada, in The English. Paxman's take on the poem:

It is hard not to be carried along in its rhythm, even if there is something so breathtakingly stupid about the poem that it is hard to imagine how on earth it could ever have been taken seriously. Yet, in the balmy days before August 1914, the idea that life was essentially a version of the Game seemed almost plausible.

"The sand of the desert is sodden red, red with the wreck of a square that broke", is a reference to the seige of Khartoum, a colonial misadventure which ended with the entire garrison at Khartoum slaughtered and General Gordon, the British officer in charge of the garrison, beheaded by the Mahdi army.

And that is somehow like a game of cricket? Paxman is spot on: breathtakingly stupid.



Reminds me of Lance Klusener. He was asked how he stayed so calm after South Africa crashed out of the 1999 World Cup semi-finals in one of the greatest games ever. Klusener said "nobody died".

Good perspective. Must remember next time India are playing.