Come on you world, won’t you give a damn?
Turn on some lights and see this garbage can
Time is the essence if we plan to stay
Death is in stride when filth is the pride of our home
-from “Powerful People” by Gino Vanelli
So, do you do anything special for Earth Day? It almost seems counter-productive to have a once-a-year Earth “day”, because when you stop to think about it for about, oh, 5 seconds, shouldn’t every day be “earth day”? It sort of devalues the importance of taking care of our planet (since we appear to have only been issued the one, far back as I can remember). At any rate, in honor of Earth Day, I’ve cobbled together my picks for the Top 10 “eco-flicks”. Per usual, my list is alphabetical; no ranking order. And, as long as you don’t print out a hardcopy, this week’s post is 100% biodegradable (it’s a com-post!).
Chasing Ice - Jeff Orlowski’s film is glacially paced; meaning: these days, “glacial pacing” ain’t what it used to be. Glaciers are moving along (”retreating”, technically) at a pretty good clip. This does not portend well for the planet. To put it in a less flowery way…we’re fucked. After all, according to renowned nature photographer (and subject of Orlowski’s film) James Balog, “The story…is in the ice.” Balog’s fascinating journey began in 2005, while he was on an assignment in the Arctic for National Geographic to document the effect of climate change. Up until that fateful trip, he candidly admits he “…didn’t think humans were capable” of affecting weather patterns in such a profound manner. His epiphany gave birth to a multi-year project utilizing specially modified time-lapse cameras to capture irrefutable proof that affective global warming had transcended academic speculation. The resulting images are beautiful and mesmerizing, yet troubling. Orlowski’s film itself mirrors the dichotomy, being in equal parts cautionary eco-doc and art installation. The images handily trump the squawking that emits from bloviating global climate deniers in the opening montage, and proves a picture is worth 1000 words.
Emerald Forest - Although it may give an initial impression as a heavy-handed (if well-intentioned) “save the rainforest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper. Powers Boothe portrays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting him at his job site on the edge of the rainforest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally (and serendipitously) reunited with his barely recognizable, now-teenaged son (Charley Boorman), the challenge becomes a matter of how he and his heartbroken wife (Meg Foster) are going to coax the reluctant young man back into “civilization”. Tautly directed, lushly photographed and well-acted.
Godzilla Vs. Hedorah - Yeah, I know what you’re thinking: there’s no accounting for some people’s tastes. But who ever said an environmental “message” movie couldn’t also provide us with some mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie!)
An Inconvenient Truth- I re-watched this on cable recently; I hadn’t seen it since it opened in 2006, and it struck me how it now plays less like a warning bell and more like the nightly news. It’s the end of the world as we know it. Apocalyptic sci-fi is now scientific fact. Former VP/Nobel winner Al Gore is a Power Point-packing Rod Serling, submitting a gallery of nightmare nature scenarios for our disapproval. I’m tempted to say that Gore and director Davis Guggenheim’s chilling look at the results of unchecked global warming only reveals the tip of the proverbial iceberg…but it’s melting too fast.
Koyaanisqatsi- In 1982, this innovative, genre-defying film quietly made its way around the art houses; it’s now a cult favorite. Directed by activist/ex-Christian monk Godfrey Reggio, with beautiful cinematography by Ron Fricke (who later directed Chronos, Baraka, and Samsara) and music by Philip Glass (who also scored Reggio’s sequels), it was considered a transcendent experience by some; New Age hokum by others (count me as a fan). The title (from ancient Hopi) translates as “life out of balance” The narrative-free imagery, running the gamut from natural vistas to scenes of First World urban decay, is open for interpretation. Reggio followed up in 1988 with Powaqqatsi (“parasitic way of life”), focusing on the First World’s drain on Third World resources, then book-ended his trilogy with Naqoyqatsi (“life as war”) in 2002. Do yourself a favor-clear a weekend!
Manufactured Landscapes -A unique eco-documentary from Jennifer Baichwal about photographer Edward Burtynsky, who is an “earth diarist” of sorts. While his photographs are striking, they don’t paint a pretty picture of our fragile planet. Burtynsky’s eye discerns a terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated modernization. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on an almost gothic, cyber-punk dreamscape. The photographs play like a scroll through Google Earth images, as reinterpreted by Jackson Pollock. This one is a real eye-opener.
Princess Mononoke - Anime master Hayao Miyazaki and his cohorts at Studio Ghibli have raised the bar on the art form over the past several decades (that’s why I was sad when Miazaki-san announced his retirement from directing). This 1997 Ghibli production is one of their most visually resplendent offerings. Perhaps not as “kid-friendly” as per usual, but most of the patented Miyazaki themes are present: humanism, white magic, beneficent forest gods, female empowerment, and pacifist angst in a ubiquitously violent world. The lovely score is by frequent Miyazaki collaborator Joe Hisaishi. For another Miyazaki film with an environmental message, check out Nausicaa Valley of the Wind.
Queen Of The Sun - I never thought that a documentary about honeybees would make me both laugh and cry-but Taggart Siegel’s 2010 film managed to do just that. Appearing at first glance to be a distressing, hand-wringing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its accelerated frequency of occurrences over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these seemingly insignificant yet complex social creatures are to the planet’s life cycle. We bipeds might harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these “lowly” insects are, in fact, the boss of us.
Silent Running - In space, no one can hear you trimming the verge! Bruce Dern is an agrarian antihero in this 1972 sci-fi adventure, directed by legendary special effects wizard Douglas Trumbull. Produced around the time that “ecology” was a buzzword, its message may seem a little heavy-handed today, but the film remains a cult favorite to SF fans. Dern is the resident gardener on a commercial space freighter that houses several bio-domes, each one dedicated to preserving a species of vegetation (in this bleak future, the Earth has become barren of organic growth). While it’s just a 9 to 5 drudge to his blue collar shipmates, Dern’s character views his cultivating duties as a sacred mission. When the interests of commerce demand that the crew jettison the domes to make room for a more lucrative cargo, Dern goes off his nut, eventually ending up by his lonesome with two salvaged bio-domes and a trio of droids (named Huey, Dewey and Louie) who play Man Friday to his Robinson Crusoe. Joan Baez contributes two songs on the soundtrack.
Soylent Green - Based on a Harry Harrison novel, Richard Fleischer’s 1973 film is set in 2022, when traditional culinary fare is but a dim memory, due to overpopulation and environmental depletion. Only the wealthy can afford the odd tomato or stalk of celery; most of the U.S. population lives on processed “Soylent Corporation” product. The government encourages the sick and the elderly to politely move out of the way by providing handy suicide assistance centers (considering the current state of our Social Security system, that doesn’t sound like much of a stretch anymore, does it?). Oh-there is some ham being served up onscreen, courtesy of Charlton Heston’s scenery-chewing turn as a NYC cop, investigating the murder of a Soylent Corporation executive. Edward G. Robinson nearly steals the film; his moving death scene has the added poignancy of preceding his passing (from cancer) by less than two weeks after the production wrapped.
…and singing us out, Gino Vanelli (try to get past the skintight elephant bells, chest hair and disco moves, and focus on the lyrics…
- Although it may give an initial impression as a heavy-handed (if well-intentioned) “save the rainforest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper. Powers Boothe portrays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting him at his job site on the edge of the rainforest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally (and serendipitously) reunited with his barely recognizable, now-teenaged son (Charley Boorman), the challenge becomes a matter of how he and his heartbroken wife (Meg Foster) are going to coax the reluctant young man back into “civilization”. Tautly directed, lushly photographed and well-acted.
- Yeah, I know what you’re thinking: there’s no accounting for some people’s tastes. But who ever said an environmental “message” movie couldn’t also provide us with some mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie!)
- I re-watched this on cable recently; I hadn’t seen it since it opened in 2006, and it struck me how it now plays less like a warning bell and more like the nightly news. It’s the end of the world as we know it. Apocalyptic sci-fi is now scientific fact. Former VP/Nobel winner Al Gore is a Power Point-packing Rod Serling, submitting a gallery of nightmare nature scenarios for our disapproval. I’m tempted to say that Gore and director Davis Guggenheim’s chilling look at the results of unchecked global warming only reveals the tip of the proverbial iceberg…but it’s melting too fast.
- In 1982, this innovative, genre-defying film quietly made its way around the art houses; it’s now a cult favorite. Directed by activist/ex-Christian monk Godfrey Reggio, with beautiful cinematography by Ron Fricke (who later directed Chronos, Baraka, and Samsara) and music by Philip Glass (who also scored Reggio’s sequels), it was considered a transcendent experience by some; New Age hokum by others (count me as a fan). The title (from ancient Hopi) translates as “life out of balance” The narrative-free imagery, running the gamut from natural vistas to scenes of First World urban decay, is open for interpretation. Reggio followed up in 1988 with Powaqqatsi (“parasitic way of life”), focusing on the First World’s drain on Third World resources, then book-ended his trilogy with Naqoyqatsi (“life as war”) in 2002. Do yourself a favor-clear a weekend!
-A unique eco-documentary from Jennifer Baichwal about photographer Edward Burtynsky, who is an “earth diarist” of sorts. While his photographs are striking, they don’t paint a pretty picture of our fragile planet. Burtynsky’s eye discerns a terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated modernization. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on an almost gothic, cyber-punk dreamscape. The photographs play like a scroll through Google Earth images, as reinterpreted by Jackson Pollock. This one is a real eye-opener.
- Anime master Hayao Miyazaki and his cohorts at Studio Ghibli have raised the bar on the art form over the past several decades (that’s why I was sad when Miazaki-san announced his retirement from directing). This 1997 Ghibli production is one of their most visually resplendent offerings. Perhaps not as “kid-friendly” as per usual, but most of the patented Miyazaki themes are present: humanism, white magic, beneficent forest gods, female empowerment, and pacifist angst in a ubiquitously violent world. The lovely score is by frequent Miyazaki collaborator Joe Hisaishi. For another Miyazaki film with an environmental message, check out Nausicaa Valley of the Wind.
- I never thought that a documentary about honeybees would make me both laugh and cry-but Taggart Siegel’s 2010 film managed to do just that. Appearing at first glance to be a distressing, hand-wringing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its accelerated frequency of occurrences over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these seemingly insignificant yet complex social creatures are to the planet’s life cycle. We bipeds might harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these “lowly” insects are, in fact, the boss of us. 
- In space, no one can hear you trimming the verge! Bruce Dern is an agrarian antihero in this 1972 sci-fi adventure, directed by legendary special effects wizard Douglas Trumbull. Produced around the time that “ecology” was a buzzword, its message may seem a little heavy-handed today, but the film remains a cult favorite to SF fans. Dern is the resident gardener on a commercial space freighter that houses several bio-domes, each one dedicated to preserving a species of vegetation (in this bleak future, the Earth has become barren of organic growth). While it’s just a 9 to 5 drudge to his blue collar shipmates, Dern’s character views his cultivating duties as a sacred mission. When the interests of commerce demand that the crew jettison the domes to make room for a more lucrative cargo, Dern goes off his nut, eventually ending up by his lonesome with two salvaged bio-domes and a trio of droids (named Huey, Dewey and Louie) who play Man Friday to his Robinson Crusoe. Joan Baez contributes two songs on the soundtrack.
- Based on a Harry Harrison novel, Richard Fleischer’s 1973 film is set in 2022, when traditional culinary fare is but a dim memory, due to overpopulation and environmental depletion. Only the wealthy can afford the odd tomato or stalk of celery; most of the U.S. population lives on processed “Soylent Corporation” product. The government encourages the sick and the elderly to politely move out of the way by providing handy suicide assistance centers (considering the current state of our Social Security system, that doesn’t sound like much of a stretch anymore, does it?). Oh-there is some ham being served up onscreen, courtesy of Charlton Heston’s scenery-chewing turn as a NYC cop, investigating the murder of a Soylent Corporation executive. Edward G. Robinson nearly steals the film; his moving death scene has the added poignancy of preceding his passing (from cancer) by less than two weeks after the production wrapped.