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dweemeister · 3 years

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NOTE: This is the third film released theatrically during the COVID-19 pandemic that I am reviewing – I saw Raya and the Last Dragon at the Regency Theatres Directors Cut Cinema’s drive-in operation in Laguna Niguel, California. Because moviegoing carries risks at this time, please remember to follow health and safety guidelines as outlined by your local, regional, and national health officials.

Raya and the Last Dragon (2021)

As Raya and the Last Dragon, directed by Don Hall and Carlos López Estrada and written by Qui Nguyen and Adele Lim, made its theatrical and streaming bow, the United States was grappling with a wave of highly-publicized hate incidents towards Asian-Americans in the midst of the COVID-19 pandemic. This spike in racially-motivated verbal abuse, assaults, and homicides began with the pandemic and, frustratingly, had only been receiving national attention in these last few weeks. Despite the nation’s racist origins entwined with chattel slavery of black people and its continued unequal treatment of minorities including Asian-Americans, I am not qualified to say if the U.S. is “more” or “less racist” than other countries. But I can hardly think of any other people that interrogate racial inequality and oppression as much (and as publicly) as Americans – an undeniable strength. There was no way Raya and the Last Dragon’s cast and crew could have anticipated the film’s fraught timing, but the film provides a much-needed, positive, and heavily flawed, action-adventure romp drawn from Southeast Asian cultures.

The very notion that Walt Disney Animation Studios was attempting to craft a film using an amalgam of Southeast Asian cultures stoked my excitement and dread. Southeast Asian cultures – including, but not limited to, Cambodia, Indonesia, Laos, Malaysia, Myanmar, the Philippines, Thailand, and Vietnam – are often lumped into those of East Asia (China, Korea, Japan), which dominate Asian-American depictions or Asian-influenced media in the United States. What gave me pause is that Disney’s track record in films featuring non-European-inspired characters and places inspired by non-European cultures is mixed. Aladdin (1992) and Pocahontas (1995) are aggregations of (and indulge in stereotypes towards) Arabs and indigenous Americans alike, especially in their presentations of “savagery” (Pocahontas in particular is guilty of false equivalences).

Cultural aggregations in fictional settings are not insensitive, per se. Yet, Disney’s stated intentions on this film are undermined by a voice cast ensemble almost entirely composed of actors of Chinese and Korean descent – you can bring up Adele Lim’s response to the voice casting controversy all you want, but her response contradicts the film’s promotion. Amid its gorgeous production and character design, Raya manages to avoid the worst mistakes of its Disney Renaissance predecessors. But its hero’s journey is too cluttered and too littered with the anachronistic and metatextual jokes plaguing the last decade’s Disney animated features.

Five centuries before the events of Raya and the Last Dragon, the land of Kumandra saw its people live in harmony with dragons. That relationship, however, would be devastated by the appearance of the Druun – a swirling, purple vortex that turns living beings into stone. In the conflict against the Druun, the last dragon, Sisu (Awkwafina), makes a fateful sacrifice to save Kumandra by concentrating the dragons’ collective power into a magical orb. Soon after, Kumandra’s five tribes – Fang, Heart, Spine, Tail, and Talon (named after parts of a dragon) – fight amongst each other for control of the orb (Heart eventually gains possession of it), effectively partitioning the land. In the present day, the Heart tribe’s Chief Benja (Daniel Dae Kim) proposes and hosts a feast-summit to discuss and heal Kumandra’s divisions. Benja has taught his daughter, Raya (Kelly Marie Tran), the ways of a warrior and the necessity for Kumandra’s tribes to realize their oneness. At the feast-summit, Raya befriends Namaari (Gemma Chan; Jona Xiao as young Namaari), the daughter of Fang Chief Virana (Sandra Oh). Predictably, Namaari betrays her new friend in an orchestrated ploy to pilfer the dragons’ orb for Fang. Just as the Druun make a surprise invasion of Heart, the botched heist sees the orb break into five, and each of the tribes makes off with part of the orb. It will be up to Raya to recover the other four pieces of the orb, lest Kumandra succumb to the Druun.

The film’s screenplay is, charitably, a mess. Though Qui Nguyen (primarily a playwright) and Adele Lim (2018’s Crazy Rich Asians) are the credited screenwriters, Raya’s phalanx of story credits (mostly full-time, white employees at the Disney studios) suggest studio interference. Raya seems as if it is trying to cleanly differentiate certain tribes as based on a certain Southeast Asian nation. Instead, it comes off as a brew of mish-mashed parts (this problem extends to the otherwise stunning animation). With the exception of those from the militant Fang, the bit characters from the various tribes do not behave any differently from the members of other tribes. The partition of Kumandra, five hundred years before the events of Raya, feels like as if it had never existed for lengthy stretches in this film.

After Kelly Marie Tran, as Raya, narrates the mythology and history of Kumandra in the opening minutes, the film’s structure tethers itself predictably to the monomyth. The fracturing of the dragon’s orb into five parts sends Raya onto a tedious adventure: the physical travel to a new part of Kumandra, introduction of a sidekick (all of them are comic reliefs), an action setpiece involving a necessary assist from new sidekick, and the integration of that sidekick into Raya’s ever-growing party. Lather, rinse, repeat. To squeeze the four other tribes into the film’s 107-minute runtime and set up a climax and resolving actions results in a frantically-paced movie. Almost all of the film’s dialogue is subservient to its structure, the hero’s journey. This disallows the viewer to learn more about our lead and her fellow adventurers. In arguably the most important example in how the dedication to story structure undermines the characters, take Raya’s repeated mentions to her newfound confidants that she has difficulty trusting others. Six years have passed since the day of Namaari’s betrayal and Raya’s discovery of Sisu. How has Raya’s sense of distrust evolved over time, and how does it manifest towards those of other tribes? Does it appear in moments without consequence to her quest, in gusts of casual cruelty? In terms of characterization, Raya is showing too little and telling just the basics – a dynamic that also applies to the film’s most important supporting characters.

Ever since Tangled (2010), the films of the Disney animated canon have increased their use of metatextual and anachronistic humor (e.g. Kristoff’s comment about Anna’s engagement to a person she just met in 2013’s Frozen and Maui’s Twitter joke in 2016’s Moana that still makes me gnash my teeth when I think about it). Invariably, the success of the Marvel Cinematic Universe (MCU) has seen its brand of pathos-destroying humor bleed into the Disney animated canon and Star Wars. Like so many films in the Disney animated canon, Raya takes place in a fantastical location in a never-time far removed from the present. From the moment Raya meets Sisu, the circa-2020s humor is ceaseless. For Disney animated movies set in fantastical worlds, this sort of humor suits films that are principally comedies, such as The Emperor’s New Groove (2000) – a work that owes more to Looney Tunes than anything Disney has created. Instead, Raya’s comedy will suit viewers who frequent certain corners of the Internet, “for the memes.” Do Disney’s animation filmmakers believe the adults and children viewing their films so impatient and unintelligent about human emotions? That they will not accept a scene that deals honestly with betrayal, disappointment, heartbreak, or loss unless there is a snide remark or visual gag inserted within said scene or shortly afterward?

Raya seems like a film set to portray its scenarios with the gravity they require. But overusing Awkwafina’s Awkwafina-esque jokes and a DreamWorks- or Illumination Entertainment-inspired infant causing meaningless havoc will subvert whatever emotions Nguyen and Lim are attempting to evoke. These statements are not arguing that Raya and Disney’s animated films should be humorless, that Disney should stop casting an Awkwafina or an Eddie Murphy as comic relief. Instead, Raya is another case study in how Disney’s brand of ultramodern humor is overtaking their films’ integral dramatics. Raya is noisy, clamorous – no different than anything Disney has released in the last decade, save Winnie the Pooh (2011).

Production designers Helen Mingjue Chen, Paul A. Felix, and Cory Loftis have worked on films like Wreck-It Ralph (2012), Big Hero 6 (2014), or Zootopia (2016). Each of these films feature glamorous, near-future metropolises or sleek digital worlds. Where the tribespeople of Kumandra might not be behaviorally-differentiated, the color coding, lighting, and biomes of each of the five lands comprising Kumandra ably distinguishes Fang, Heart, Spine, Tail, and Talon from each other. As if taking cues from the production designs of Big Hero 6’s San Fransokyo and, to some extent, The King and I (1956), it is difficult to pin down specific influences on the clashing architectural styles within the lands, in addition to the unusually empty and cavernous palaces and temples and varying costumes. As picturesque as some of these lands are, the art direction does not help to empower the characteristic of the tribes and their native lands. Nor does James Newton Howard’s thickly-synthesized grind of an action score, which prefers to accompany the film’s excellent combat scenes rather than stake a clearer thematic identity for its own. Howard uses East and Southeast Asian instrumentations and influences in his music, but, disappointingly, they are heavily processed through synthetic elements and are played underneath the film’s sound mix.

Character art directors Shiyoon Kim (Tangled, 2018’s Spider-Man: Into the Spider-Verse) and Ami Thompson (2017’s MFKZ, 2018’s Ralph Breaks the Internet) embrace the (generally) darker and varying skin complexions of Southeast Asian peoples. The skin textures are among the best ever produced in a Disney CGI-animated feature, and the variety of face shapes – although still paling in comparison to the best hand-drawn features – is a pleasure to witness.

The number of films starring actors/voice actors of Asian descent (all-Asian or majority-Asian), animated or otherwise, and released by a major Hollywood studio makes for a brief list. Raya and the Last Dragon joins an exclusive club that includes the likes of The Dragon Painter (1919), Go for Broke! (1951), Flower Drum Song (1961), The Joy Luck Club (1993), and Crazy Rich Asians (2018). Among those movies, Raya is the only entry specifically influenced by Southeast Asian cultures. Its cast may be headlined by Kelly Marie Tran (whose skill as a voice actor is one of the film’s most pleasant surprises), but most of the roles went to those of Chinese or Korean descent. No disrespect intended towards Gemma Chan, Sandra Oh, or veteran actress Lucille Soong, but the majority East Asian cast only serves to further monolithize Asians – as the amalgamated story, plot details, and production design have already done. I will not second-guess any fellow person of Southeast Asian descent if they feel “seen” through Raya. What a compliment that would be for this film. How empowering for that person. But the life experiences of those of East Asian and Southeast Asian descent are markedly different. Disney’s casting decisions in Raya – all in the wake of the disastrous Western and Eastern reception of the live-action Mulan (2020) – have revealed a fundamental lack of effort or understanding about the possibilities of a sincere attempt at representation.

To this classic film buff, the discourse surrounding Raya strikes historical chords. When Flower Drum Song was released to theaters, the film was labeled by the American mainstream as the definitive Asian-American movie. Opening during the height of the American Civil Rights Movement, the film (and the musical it adapts) looked like nothing released by Hollywood (and on Broadway) at that time. In that midcentury era of rising racial consciousness and the lack of opportunities for Asian-Americans in Hollywood, the marking of Flower Drum Song as the absolute pan-Asian celebration was bound to happen – however unfair the distinction. Even though Rodgers and Hammerstein (two white Jewish men who made well-meaning, problematic attempts to craft musicals decrying racial prejudice and social injustices) composed the musical and zero Asian people worked behind the camera, those labels remained. With some differences in who wrote the source material, The Joy Luck Club and Crazy Rich Asians have followed Flower Drum Song’s fate in their categorizations. Will Raya? Time will be the judge, the only judge.

Before time passes judgment, we have some present-day hints. Though not released by major studios, the quick succession of The Farewell (2019) and Minari (2020) point to an experiential specificity that Raya attempts, but never comes close to achieving. Whether through aggregation or specificity, Hollywood benefits from the perspectives of underrepresented groups. Widespread claims that Raya too closely copies Nickelodeon’s Avatar: The Last Airbender (2005-2008) reflect that dearth of East Asian and Southeast Asian representation in American media. For too many, ATLA is the Asian fantasy. These simplistic observations and bad-faith criticisms (one could rebuke Disney’s vaguely-European princess films on the same principles, but I find this as lazy as the bad-faith ATLA criticisms) also suggest a lack of understanding that Asian-inspired stories are drawing from similar tropes codified by Asian folklore and narratives centuries old. If one reads through this reviewer’s write-ups, you will find an abiding faith in the major Hollywood studios – past, present, and future – to be artistically daring and to genuinely represent long-excluded persons. Many might see this faith as misplaced. But even in the major studios’ flawed attempts to depict underrepresented groups, like Raya, they concoct astonishing sights and form moving links to the cinematic past.

Assuming you have not skipped to this paragraph, the write-up that you have read may seem scathing to your eyes. Raya is no Disney classic – there has not been one for some time. However, I thoroughly enjoyed my first viewing of Raya. After a few weeks’ worth of keeping my agony private over the recent uproar over attacks on persons of Asian descent in America, it was a surreal experience to see even an amalgamated celebration of Southeast Asian culture. Over this last year, we have lost people and things that emboldened us and ennobled us. In this season of unbelonging and otherizing feelings for Asians in America, Raya’s timing is fortuitous. It is emboldening and ennobling.

My rating: 6/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Raya and the Last Dragon #Don Hall #Carlos López Estrada #Kelly Marie Tran #Awkwafina #Izaac Wang #Gemma Chan #Daniel Dae Kim #Benedict Wong #Sandra Oh #Thalia Tran #Lucille Soong #Alan Tudyk #Qui Nguyen #Adele Lim #James Newton Howard #Disney #My Movie Odyssey

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richfieldbranch · 4 years

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Mike’s Picks - Week of April 6th

Hello again to all our Richfield Library Patrons. We’re back this week with more suggestions to keep you busy while you're stuck at home. All library programs, outreach, and meeting rooms have been canceled until at least May, so hang in there! The books are all available through Hoopla or Overdrive, you can click the title to access it’s listing, or find all our materials at https://akronlibrary.org/browse/digital. As always, I miss you, and please send me an email to let me know how you're doing, or if there's anything I can do for you.

Mike Daly, Adult Services Librarian

[email protected]

Crafts:

For all you Richfield Crafters out there missing your monthly crafting fix, I have attached a couple of timely links to help you pass the time during the great quarantine.

Do-it-yourself Covid Masks

The first link was posted by the U. S. Surgeon General Jerome Adams. It's very simple and doesn't require sewing. You can find the video at:

https://www.wwlp.com/news/health/coronavirus-local-impact/surgeon-general-heres-how-you-can-make-a-cloth-mask-today-in-just-a-few-easy-steps/

NPR also explains how they should be worn, and offers some different options for making them (including one where you just cut up an old t-shirt, no sewing or stapling or anything):

https://www.npr.org/sections/goatsandsoda/2020/04/03/826996154/coronavirus-faqs-is-a-homemade-mask-effective-and-whats-the-best-way-to-wear-one

This one is what my wife used to make our family's masks. It does require a sewing machine, but the results were quite professional and easy to wear. There are hundreds of online tutorials if you do an internet search for “making Covid masks”. This one is from USA Today:

https://www.usatoday.com/in-depth/news/2020/04/04/coronavirus-face-mask-tips-how-make-fabric-instructions/2945209001/

And finally, Joann Fabric has provided this pattern that does not require elastic or string, but instead has fabric straps:

https://www.joann.com/on/demandware.static/-/Library-Sites-LibraryJoAnnShared/default/dw4148ae36/static/landingpage/assets/MaskInstructions_V2.pdf

Easter Pom-Pom Craft

Here's a couple of simple craft for all ages. They're really easy and the end products are very cute. All you need are scissors, rubber bands, old fabric, and some yarn. For bunnies:

https://www.youtube.com/watch?v=q8DYHOSpL50

and for chicks:

https://www.youtube.com/watch?v=Oz0o-dBhAKA

There are many more available on You Tube.

Books:

Non-Fiction

The Pioneers: The Heroic Story of the Settlers Who Brought the American Ideal West by David McCullough

McCullough tells the story of the settling of the Northwest Territory, at the time a wilderness northwest of the Ohio River containing the future states of Ohio, Indiana, Illinois, Michigan, and Wisconsin. His main focus is on the founding and growth of Marietta, Ohio. Included in the Northwest Ordinance were three remarkable conditions: freedom of religion, free universal education, and most importantly, the

prohibition of slavery. McCullough tells the story through five major characters: Manasseh Cutler, Revolutionary War veteran General Rufus Putnam, Cutler’s son Ephraim; and two other men, one a carpenter turned architect, and the other a physician who became a prominent pioneer in American science. A must read for anyone interested in Ohio history.

Code Name: Lise, the True Story of the Woman Who Became WWII's Most Decorated Spy by Larry Loftis

This book was an exciting read. I had never heard of Odette Sansom or the women of the SOE. In 1942 Odette Sansom, a French woman married to and English man, decides to follow in her war hero father’s footsteps by becoming an SOE agent to aid Britain and her beloved homeland, France. Five failed attempts and one plane crash later, she finally lands in occupied France to begin her mission. It is here that she meets her commanding officer Captain Peter Churchill. Loftis paints a portrait of true courage, patriotism, and love—of two incredibly heroic people who endured unimaginable horrors. He weaves together the touching romance between Odette and Peter and the thrilling cat and mouse game between them and a wily Gestapo agent.

Fiction:

This week I've been rereading some of my favorite books. The titles listed below are an eclectic mix, so everyone should find something to like. They are also long which will help you kill some time while stuck at home.

The Lord of the Rings by J.R.R. Tolkien

This was my favorite book in high school. Lose yourself in the adventures of Frodo and Gandolf in their epic battle of good versus evil. All three titles, The Fellowship of the Ring, The Two Towers, and The Return of the King are available for down as Ebook or audio on the library website.

The Life And Adventures Of Nicholas Nickleby by Charles Dickens

Although not as well known as Great Expectations or Oliver Twist, this Dickens classic is my favorite. A serial romp through Victorian England, this book is in turns funny, sad, and touching. Don't give up because the 19th Century language is unfamiliar. You will be rewarded if you persevere.

The Ebook is available through Project Gutenberg:

https://www.gutenberg.org/files/967/967-h/967-h.htm

and the audio book is available at LibriVox:

https://librivox.org/the-life-and-adventures-of-nicholas-nickleby-by/

Pillars of the Earth by Ken Follett

The first and best of Follett's historical novels about the fictional English city of Kingsbridge, it's an Oprah Book Club choice as well. The Pillars of the Earth tells the story of Philip, prior of Kingsbridge, a devout and resourceful monk driven to build the greatest Gothic cathedral the world has known, of Tom, the mason who becomes his architect, and of the beautiful, elusive Lady Aliena. The book tells of the struggle that will turn church against state and brother against brother. The book, as well as the two sequels, A World Without End and A Column of Fire, are available for download as Ebook or Eaudio on the library website.

And finally.................

Monday April 9th is

Fresh Tomato Day

“A tomato may be a fruit, but it is a singular fruit. A savory fruit. A fruit that has ambitions far beyond the ambitions of other fruits.” E. Lockhart

“Knowledge is knowing a tomato is a fruit; wisdom is not putting it in a fruit salad.” Miles Kington

“It's difficult to think anything but pleasant thoughts while eating a homegrown tomato.” Lewis Grizzard

Tuesday April 7h is

National Beer Day

“Beer is proof that God loves us and wants us to be happy.” Benjamin Franklin

“I am a firm believer in the people. If given the truth, they can be depended upon to meet any national crisis. The great point is to bring them the real facts, and beer.” Abraham Lincoln

“Beer's intellectual. What a shame so many idiots drink it.” Ray Bradbury

Wednesday April 8th is

International Feng Shui Day

“You don't have to believe in Feng Shui for it to work. I just know it brings me money.” Donald Trump

“I once drew a picture of Jack Nicholson in The Shining. But I put it away after a Feng Shui expert told me about the bad vibes” David James

“My view on Feng Shui: don’t put your bed in front of the door because you won’t get in.” Jonas Eriksson

Thursday April 9th is

National Gin and Tonic Day

“The gin and tonic has saved more Englishmen’s lives, and minds, than all the doctors in the Empire.” Winston Churchill

“Of all the gin joints, in all the world she walks into mine.” Humphrey Bogart as Rick Blaine in Casablanca

“I don't know what reception I'm at, but for God's sake give me a gin and tonic.” Dennis Thatcher, husband of Margaret Thatcher

Friday April 10th is

Global Work from Home Day (Very Appropriate!)

“All happiness depends on courage and work.” Honore de Balzac

“Without ambition one starts nothing. Without work one finishes nothing. The prize will not be sent to you. You have to win it.” Ralph Waldo Emerson

“In the name of God, stop a moment, cease your work, look around you.” Leo Tolstoy

Saturday April 11th is

National Pet Day

“Sometimes losing a pet is more painful than losing a human because in the case of the pet, you were not pretending to love it.” Amy Sedaris

“Pets are humanizing. They remind us we have an obligation and responsibility to preserve and nurture and care for all life.” James Cromwell

“Such short little lives our pets have to spend with us, and they spend most of it waiting for us to come home each day. It is amazing how much love and laughter they bring into our lives and even how much closer we become with each other because of them.” John Grogan

More to come next week!

#books #movies #book recommendations #crafts #masks #diy mask #pom pom #classics #librarians #lovemylibrary

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