Search

Begin New Search Content Type Journal Article

4061. Les Misérables

Author:
Zachary Huffman (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Les Misérables, the recent film adaptation of the beloved musical based on Victor Hugo's epic novel, carries viewers through a sweeping tale of revolution, romance, and redemption. Set in 19th-century France, the film captures the drama and hardship of life during a time of revolutionary turmoil while providing a testament to the inner hero of man and his capacity to live as an embodiment of his values. The film opens with the release of ex-convict Jean Valjean (Hugh Jackman) on parole from a nineteen-year prison sentence he suffered for stealing a loaf of bread and repeatedly attempting to escape. Valjean attempts to resume a normal life under the watchful eye of his nemesis, the rigid Inspector Javert (Russell Crowe). Valjean soon realizes that the only way he can be truly free is to violate his parole, disappear, assume a new identity, and begin his life anew. In fleeing his parole, Valjean infuriates Inspector Javert, who vows never to rest until he has captured Valjean and administered "justice." From this point on, Javert's pursuit of Valjean dominates much of the story; however, numerous other story lines develop as well, the most important involving Valjean's adoption of Cosette (Amanda Seyfried). Cosette's mother, Fantine (Anne Hathaway), is thrown into abject poverty when a foreman at Valjean's factory unjustly terminates her employment. Eventually Valjean learns of Fantine's plight and vows to care for Cosette, whom he showers with love. The story leads to the June Rebellion of 1832 in Paris, .
Political Geography:
France

4062. Oz the Great and Powerful

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
Oscar "Oz" Diggs is a charlatan. Although his heroes are Harry Houdini (the great illusionist and escapist) and Thomas Edison, Diggs is neither a great performer nor a great scientist. He scrapes by as part of a traveling circus, passing himself off as a supernaturalist, allegedly raising spirits of the dead. In his off hours, Diggs is a womanizer, pushing away his true love in favor of cheap, short-term "relationships." Oz the Great and Powerful, the story of Diggs, is fundamentally the story of a man in search of self-esteem. Diggs lacks integrity, and so he lacks respect for himself. He allows himself to languish in a career he hates and in a series of unfulfilling relationships. He is basically a lying dirtbag who knows he has poor character-and, at the beginning of the story, he has little desire to improve his character. Early in the film, Diggs says, "I don't want to be a good man, I want to be a great one." Over the course of the story, however, Diggs learns that goodness-strength of moral character-is a precondition both of greatness and of personal happiness. Oz the Great and Powerful, then, explores the interconnections between the moral issue of character and the psychological issue of self-esteem. As he chooses to do the right thing, Diggs holds himself in greater esteem; and, as he learns to trust and value himself, he gains a greater desire and ability to act morally. For a film based on children's books, its theme is remarkably sophisticated. Oz the Great and Powerful serves as a prequel to the classic 1939 film The Wonderful Wizard of Oz. Diggs, escaping the angry boyfriend of one of his conquests by flying away in a hot-air balloon, finds himself in the eye of a tornado. And then he finds that he is not in Kansas anymore . . .

4063. Star Trek: The Original Films

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
With the latest Star Trek film, Star Trek into Darkness, coming out on DVD, now is a good time to recount the virtues of the original films, which date back to 1979 and are worth watching or rewatching, as the case may be. Viewers of the newest film, which includes many of the same characters as the original films but in an altered timeline, will notice numerous interesting parallels to the stories of the originals.Star Trek: The Motion Picture Directed by Robert Wise.Story by Alan Dean Foster.Screenplay by Harold Livingston.Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, and Persis Khambatta.Distributed by Paramount Pictures.Released December 7, 1979.Rated PG for sci-fi action and mild language.Running Time: 132 minutes. Star Trek, the original series, first aired on television from 1966 to 1969. Due to the series's popularity in syndication, as well as the popularity of the 1977 science-fiction films Star Wars and Close Encounters of the Third Kind, Paramount Pictures decided to reinvigorate its major science-fiction property as a film. The result was Star Trek: The Motion Picture. Of all the Trek films, the original fits best in the genre of classic sci-fi. It is also the film with the least physical action. The story involves the crew of the starship Enterprise and its interactions with a strange being from the distant reaches of space, a machine on a quest to join its creator. This gigantic space-faring machine, surrounded by a mysterious cloud, attacks ships it regards as threatening. In an attempt to communicate with the crew of the Enterprise, the machine kidnaps and duplicates a crew member, killing her in the process. With its psychedelic portrayal of the machine's inner being (into which the Enterprise travels) and its jangling soundtrack, this film is rather dated. Thankfully, the performances make the best of the material, and Persis Khambatta creates an especially memorable character as the duplicated crew member. Thematically, the film leaves little to remember it by (although Freudians could have a field day analyzing its portrayal of a machine trying to "merge" with its creator). But the film is good, classic science fiction, and it is a work that will continue attracting the interest of science-fiction fans. Star Trek II: The Wrath of Khan Directed by Nicholas Meyer.Story by Harve Bennett, Jack B. Sowards, and Samuel A. Peeples. Screenplay by Jack B. Sowards and Nicholas Meyer.Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, Kirstie Alley, and Ricardo Montalbán.Distributed by Paramount Pictures.Released June 4, 1982.Rated PG for violence and language.Running Time: 113 minutes. In The Wrath of Khan, released in 1982, Ricardo Montalbán-then famous for leading the television series Fantasy Island-creates the most memorable Star Trek villain, Khan Noonien Singh, a maniacal but intelligent man bent on the destruction of James T. Kirk, former captain of the Enterprise and now an admiral in Star Fleet. . . .
Topic:
War

4064. The Men Who Lost America: British Leadership, the American Revolution, and the Fate of the Empire

Author:
Alexander V. Marriott (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
“If America should grow into a separate empire,” British Prime Minister Frederick Lord North warned in late 1778, “it must of course cause . . . a revolution in the political system of the world” (p. 15). In his latest book, The Men Who Lost America: British Leadership, the American Revolution, and the Fate of the Empire, Andrew Jackson O'Shaughnessy examines the lives of the ten British political leaders, generals, and admirals most responsible for attempting to prevent that revolution from succeeding. O'Shaughnessy sympathetically discerns how and why they failed—and why America succeeded. O'Shaughnessy, professor of history at the University of Virginia, also examines the revolution from an outsider's perspective in his masterful An Empire Divided: The American Revolution and the British Caribbean (2000).1 Whereas his previous work sought to answer the question of why the other British colonies in the Americas—Canada and the sugar islands in the Caribbean—did not join with the American revolutionaries, The Men Who Lost America sets forth to save the British leadership from the historical ignominy of being remembered as “incompetent and mediocre” or “hidebound” (p. 5) and “novices” (p. 8). With a much more intimate biographical knowledge of these principal actors—including George III; generals Cornwallis and Clinton; Lord North; and the secretary of state for America, Lord George Germain—O'Shaughnessy seeks to reconstruct the perspective of the British war effort, which is, he contends, “essential for making the war intelligible” (p. 9). Among the strengths of the book, O'Shaughnessy artfully weaves the entire breadth and sweep of the wars of the American Revolution through nine biographical chapters (with one chapter devoted to the brothers General Sir William Howe and Admiral Lord Richard Howe). O'Shaughnessy also destroys certain deeply entrenched myths about the American Revolution and inculcates greater appreciation for the victory gained by the revolutionaries over a collection of determined, intelligent—and in many cases quite sympathetic—adversaries. The main recurring theme of the book, apparent in the experience of every figure examined, is the fundamental misunderstanding among British policy makers of the nature of the revolution and the depth of support for it among the colonists. “It was indeed an axiom of British policy,” writes O'Shaughnessy, “that the majority of Americans were loyal, and that the revolution was nothing more than a coup achieved by 'the intrigues of a few bold and criminal leaders'” (p. 98). Many modern American admirers of the American Revolution also unwittingly hold on to this view, often encapsulated in the convenient notion that the Americans were divided roughly into thirds: revolutionaries, loyalists, and the indifferent. As the British learned only very slowly, too slowly to alter their strategy, the loyalists were not anything close to a majority or even a consistent minority large enough to count on. . . .
Political Geography:
America

4065. The Real Crash: America's Coming Bankruptcy

Author:
Michael Dahlen (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
From 2006 to 2007, Peter Schiff, CEO of Euro Pacific Capital, was one of few people warning that the U.S. economy was fundamentally unsound and that real estate was grossly overpriced. In his first book, Crash Proof: How to Profit From the Coming Economic Collapse (2007), he predicted that the economy, the housing market, and the stock market would fall apart. He also voiced these predictions on several cable news shows, yet few people heeded his warnings. Some hosts and other guests even mocked and ridiculed him. But Schiff was right. In his recent book, The Real Crash: America's Coming Bankruptcy-How to Save Yourself and Your Country, Schiff says that the worst is yet to come and that the 2008-2009 economic crisis was merely a "tremor before the earthquake." Schiff argues that the main culprit of our economic instability is America's central bank: the Federal Reserve. Through its control of the money supply and the effect this has on interest rates, the Fed artificially inflates the prices of various asset classes, creating so-called "bubbles," and when those prices inevitably collapse, the Fed then inflates the prices of other asset classes. "Throughout the 1990s," Schiff observes, "we had the stock bubble and the dot-com bubble. The Fed replaced that with the housing bubble and the credit bubble. Now, the Fed and the administration are replacing those bubbles with the government bubble" (p. 20). By "government bubble," Schiff is referring to the U.S. dollar and Treasury bonds. When asset prices collapse and recessions ensue, Schiff notes, the Fed-via bailouts and low interest rates-props up insolvent banks and other companies (while also helping to finance government debt). It has taken these actions allegedly to minimize the short-term pain of recessions, but in doing so, the Fed has prevented the economy from correcting itself, making it increasingly unsound. "If you keep replacing one bubble with another, you eventually run out of suds. The government bubble is the final bubble" (p. 23). If the Fed keeps interest rates artificially low and if the government keeps running massive budget deficits, the day will come, Schiff argues, "when the rest of the world stops trusting America's currency and our credit. Then we'll get the real crash" (p. 1). In his introduction to the book, Schiff explains that he is taking a different approach here than he took in his previous books: "[T]his time I have decided that rather than simply predicting doom, I would lay out a comprehensive set of solutions. That's why I wrote this book" (p. 2). After diagnosing our economic problems, Schiff explains how we can fix them. . . .
Topic:
Economics and Government
Political Geography:
America

4066. Living Proof

Author:
Mikayla Callen (reveiwer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
In her debut novel, Living Proof, Kira Peikoff addresses one of the hottest issues today-religious dogma versus individual rights-in the form of a conflict between the "rights" of embryos and the rights of people to engage in embryonic stem cell research. Living Proof is set in the not-too-distant future, the year 2027, in which the government has placed bans on any type of research on embryos and embryonic stem cells as part of an embryonic rights movement. The legal manifestation of this movement is the Department of Embryo Preservation, or DEP, whose sole purpose is to ensure that no embryos are used for research or destroyed in any way. The devoutly religious director of the DEP, Gideon Dopp, prides himself on his position at "the noblest of all government agencies" (p. 332), where he is responsible for "weeding out sinners to protect innocents" (p. 331). He makes it his personal goal to ensure that no embryos are harmed. [The DEP] mandated that all fertility clinics "preserve the soul of every embryo." In keeping with the law, the department required that clinics report, once a month, the number of embryos left over from every patient's attempt at in vitro fertilization-a number the inspectors verified with their visits. To ensure accurate reporting, the department periodically conducted random audits. . . . (p. 14) If an unfortunate doctor fails an audit, there are "serious consequences for the clinic: probation and heavy fines" (p. 15). The authorities mete out far more severe punishments for the "crime" of destroying an embryo, an act that is grounds for shutting down the clinic and charging the doctor responsible with first-degree murder. In this setting, the reader follows Arianna Drake and Trent Rowe in a conflict-ridden love story. . . .
Topic:
Government

4067. The Chronicles of Prydain

Author:
Daniel Wahl (reviewer)
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
In his introductory remarks to The Chronicles of Prydain, Lloyd Alexander notes that the story is fantasy, yet not far removed from reality. Although the series includes enchanters, invisible dwarfs, and other impossibilities, the protagonists must strive constantly to live up to their highest potential in order to achieve their goals; and they must judge other people, who may not be completely good or evil and who may be much better or worse than they initially appear. So, too, notes Alexander, must we all. This is the way the real world is. The Chronicles of Prydain is ideal for young readers from about fourth through sixth grades, or for parents to read aloud to third or fourth graders. The series consists of five books: The Book of Three, The Black Cauldron, The Castle of Llyr, Taran Wanderer, and The High King. The Book of Three introduces the main character of the series: Taran, a young boy nicknamed "assistant pig keeper" for his role on the farm where he lives and works. At the start, he is worried that he will never become anyone special, but after setting out to retrieve the escaped pig he is in charge of, and over the course of many adventurous trials that ensue, Taran develops into a heroic young man. He learns how to make tough choices, to weigh his alternatives by means of his best judgment, to judge individuals' characters, to acknowledge his errors, and to persist in the pursuit of his goals even in the face of grave danger. In short, he learns how to fight for the people he loves and the world he wants. In proving himself far more capable than he initially appears, Taran is much like Eilonwy, Gurgi, Doli, and Fflewddur Flam, the other four main characters and his close friends throughout the series. Eilonwy at first seems like a scatterbrained, excessively talkative girl of little substance. Although she remains talkative to the end, seemingly having a simile for everything, she proves to be wise and as courageous as they come. Gurgi at first seems like a disgusting and shifty creature, half man, half beast, and grossly incompetent. Nevertheless, he proves to be loyal, competent, even lovable. Doli initially seems like a dwarf among enchanted dwarfs. Among other quirks, he repeatedly fails at turning invisible and apparently excels at being irascible. Although his grumpy exterior never changes, it proves to be only on the surface-unlike his abilities, which turn out to be deep and vital. Finally, among the main characters, is Fflewddur Fflam, who at first seems to be the last person you would want on your side on a long and dangerous quest. Flam, as his friends call him, routinely exaggerates the truth and thus gives the impression of being unreliable. But he, too, proves the opposite: He is a loyal friend and a brave man who can be counted on, no matter the danger. By the end of The Book of Three, these characters have experienced much together; and, with their help, Taran has completed his initial quest of retrieving the aforementioned (and highly remarkable) pig-along with another victory of much greater import. In the books that follow, Taran sets out on many more adventures. . . .

4068. Killing Floor

Author:
Ari Armstrong
Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
I was arrested in Eno's diner. At twelve o'clock. I was eating eggs and drinking coffee. A late breakfast, not lunch. I was wet and tired after a long walk in heavy rain" (p. 1). This is the scene in which Lee Child introduces the world to Jack Reacher, an American wanderer and former homicide investigator with the military police who manages to get himself into all kinds of trouble, despite his efforts to avoid it. Even with only these opening lines of Killing Floor-Child's first novel, originally published in 1997-we get a sense of Reacher's character. He is a man who likes to get to the point. He narrates in concise statements. He is rarely ruffled, never intimidated. Reacher, tired of his regimented military life-he was born on a military base in 1960 and never left the military until six months before the novel begins-decides to try the freedom of the open road. He wants to go where he pleases, see the country, and not get tied down. His only stable contact is his bank, which wires him cash from his military pension and sends him mail. On a whim, Reacher wanders into Margrave, Georgia, to learn the story of a long-deceased musician called Blind Blake, whom his brother had mentioned to him in a letter. His plan is to look around, get the lowdown on Blind Blake, then hop on a bus and leave. Unfortunately, Reacher wanders into town around the time police discover the bodies of two men, brutally murdered, found near the highway where Reacher got off the bus. Plenty of people saw him walking near the scene of the crime. So, he is arrested for murder. Initially, Reacher's goal is to beat the murder rap and leave town as quickly as possible. Unfortunately for his plans-but fortunately for those seeking justice-Reacher learns that the murders are part of a bigger crime, a crime that, unexpectedly, involves someone he knows. After beating the rap, Reacher decides to stick with the case and help solve it. . . .

4069. From the Editor

Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
No abstract is available.
Political Geography:
Chicago

4070. Letters to the Editor

Publication Date:
10-2013
Content Type:
Journal Article
Journal:
The Objective Standard
Institution:
The Objective Standard
Abstract:
No abstract is available.
Topic:
Government
Political Geography:
United States