journalism

LIKE A ROLLING STONE: THE LIFE AND TIMES OF BEN FONG-TORRES: tell me more

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Photo caption: Ben Fong-Torres in LIKE A ROLLING STONE: THE LIFE AND tIMES OF BEN FONG-TORRE. Courtesy of Netflix.

The documentary Like a Rolling Stone: The Life and Times of Ben Fong-Torres lives up to its title, which is a very good thing. Fong-Torres, the longtime music editor of Rolling Stone magazine, is an accomplished man in the most interesting times. Like a Rolling Stone is a satisfying combo of Fong-Torres helping to invent rock music journalism, the history of Rolling Stone magazine, and Fong-Torres’ personal journey growing up the son of Chinese immigrants in baby boom America.

For rock enthusiasts, Like a Rolling Stone: The Life and Times of Ben Fong-Torres is filled with nuggets like:

  • Ray Charles, having been made comfortable by Fong-Torres, unleashing his resentment of racism and the mainstream co-opting of black music.
  • Fong-Torres himself interviewed about his Marvin Gaye interview, the first popular introduction of Gaye and how he thought of his artistry.
  • The audiotape of a candid moment ith Jim Morrison, apparently in a liquor store.

Fong-Torres reminds us that the coolest people are those who are not trying to be hip. A humble man among raging narcissists and ever the consummate professional, Fong-Torres behaved professionally even amid the hardest core rock star partying.

As his rock critic protege and now movie director Cameron Crowe describes him, Fong-Tores projects “a lightness and a gravitas at the same time“.  The best interviewers are, as is Fong-Torres, good listeners; Fong-Torres’s signature technique has been to follow-up the answers to his question with a simple “tell me more“.

The documentary also gives Fong-Torres the chance to reveal the origin of his puzzling name: His Chinese father came to the US under a false Filipino passport as “Ricardo Torres” to evade the Chinese Exclusion Act.

Like a Rolling Stone: The Life and Times of Ben Fong-Torres is streaming on Netflix.

DATELINE-SAIGON: the truth will out

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David Halberstam (left) and Malcolm Browne (center) in DATELINE-SAIGON

Dateline-Saigon documents the efforts of five journalists to cover the Vietnam War in the face of a US government which did not want the facts to be told. The five were Malcolm Browne, Neil Sheehan, Horst Faas, David Halberstam and Peter Arnett, who amassed a bucket of Pulitzers between them.

What they found in Vietnam was that American policy was not working, because (among many factors) the Diem regime was alienating most of its own population, the South Vietnamese Army was less motivated to fight than the Viet Cong, and that Americans were more directly involved in combat than had been acknowledged. And the US government didn’t want any of this reported.

As Dateline-Saigon says, “When these patriotic journalists arrive in Vietnam, they had no idea they would become the enemy“, meaning the truth-wielding enemy of the US government propaganda. The reporters describe the government efforts to obscure, mislead, spin, hide and controvert the facts as a “vast lying machine” and the “Truth Suppressors”.

Quang Lien and Malcolm Browne (center) in DATELINE-SAIGON (AP Photo)

All television news viewers (especially a ten-year-old The Movie Gourmet) were shocked by the 1963 Buddhist monk’s self-immolation to protest the Diem regime in 1963. No one was more shocked than Browne, who was covering the Buddhist march, and, to his surprise and horror, had this unfold a few steps in front of him.

Sheehan is famous for uncovering the Pentagon Papers. Beginning with The Best and the Brightest, Halberstam banged out bestseller after bestseller on 20th century American history. Arnett went to cover dozens of conflicts interview Osama Bin-Laden and was a major media face of the Iraq War.

This is a Must See for students of journalism and of the Vietnam War Era of American History. You can stream Dateline-Saigon on iTunes.

SPOTLIGHT: edge of the seat drama

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Rachel McAdams, Michael Keaton and Mark Ruffalo in SPOTLIGHT
Rachel McAdams, Michael Keaton and Mark Ruffalo in SPOTLIGHT

Bolstered with some superb supporting performances, filmmaker Tom McCarthy turns a journalistic procedural into the riveting. edge-of-your-seat-drama Spotlight. The story centers on a team of Boston Globe investigative reporters (Michael Keaton, Rachel McAdams, Mark Ruffalo, Brian d’Arcy James, John Slattery and LievSchrieiber) as they untangle the sex abuse scandal in the Boston Archdiocese. Starting with the already-known Father Geoghan case, they uncover sexual abuse by two Boston priests, then four, then thirteen and soon an unthinkable magnitude, all intentionally covered up by the Church. Reminiscent of All the President’s Men, the team’s shoe leather efforts nets the Big Story.

We already are familiar with the horrible and disgusting revelations. But writer-director Tom McCarthy builds suspense and keeps us totally engaged in this brilliantly paced movie. McCarthy also wrote and directed the brilliant, character-driven fictional films The Visitor and The Station Agent.

Michael Keaton, coming off his tour de force in Birdman, is especially good here, especially in a reflective scene near the end. McAdams and Schreiber are also solid. Ruffalo has the most showy part, as a frenetic and volatile reporter.

But this most compelling acting comes from several of the supporting players, especially Michael Cyril Creighton, Jimmy LeBlanc and Anthony Paolucci as survivors of sexual abuse. The ever-reliable Jamey Sheridan is superb as a diocesan lawyer. Richard O’Rourke is affecting as an addled pedophile priest. Paul Guilfoyle, so convincing as true blue guys in CSI and Primary Colors, gets to play convincingly smarmy here. I don’t see Richard Jenkins in the credits, but the voice of an expert psychotherapist sure sounds like him.

At the end, McCarthy uses epilogue titles to effectively show the extent of the horrors revealed.

All in all, Spotlight is the first top rate movie of the Fall.