Let me start by saying that ‘I am an American’ Ok, there I have admitted it. But let me go on to make myself slightly more unpopular by suggesting that our American society does present us with a range of valuable and positive aspects. (no – I am not being ironic yet) Before you stop reading, let me counter that by suggesting what I see as the greatest fault of our modern society. A self absorbed US-centric attitude? A destructive ill conceived foreign policy that is destroying our reputation across the globe? No, neither of these. In my opinion the greatest tragedy is the lack of widespread irony in our daily lives and conversations.

So what is irony? Let me start by explaining the concept, so that at least my fellow Americans can understand the idea even if they do not get it. Merriam Webster Dictionary (http://www.m-w.com) provides several definitions, with the following providing a succinct and accurate explanation: “the use of words to express something other than (and especially) the opposite of the literal meaning. So if I trip over and say ‘Gee – I’m co-ordinated today’, that would be an example of irony. The act of falling over is opposite to the literal words. I have used this example, because some of you may be thinking ‘Hang on, but isn’t that the same as sarcasm?’ I could of course answer by saying ‘Gee- aren’t you clever today’, but I will stick to the shorter answer of ‘no’.

Although I have provided a single definition of irony above, there are in fact several forms of irony. Sadly, for those people who mix and match these concepts – sarcasm is not one of these forms. The difficulty is that sarcasm is ‘usually’ said in an ironic way, but this is not always the case. In short, it is possible to have either sarcasm or irony without having the other. Going back to my original example where I fell over, if you had mocked me and said ‘Gee – you’re co-ordinated today’, that would be sarcastic because of the scornful snigger. But as you will remember from above it is also defined as irony. However, if you had mocked my poor mishap by saying ‘Gee – aren’t you unco-ordinated’, then you will have lost the touch of irony and simply descended to the lowest form of wit – sarcasm. (For a further explanation of the difference between these two concepts see http://en.wikipedia.org/wiki/Talk:Irony#Irony_vs_Sarcasm)

So in essence irony can be misunderstood as sarcasm because the two concepts do overlap. Sarcasm must have the mocking or sneering tone, and the confusion therefore arises because so often sarcasm occurs when making ironic statements which are positive when clearly something negative is intended. Just to be confusing, I note the potential for both parody and satire to incorporate both irony and sarcasm for even greater effect. (http://www.modern-masterpieces.com)

So, do Americans really not understand irony? It would seem unlikely given its close connection with sarcasm, but still possible. It is true that many English comedians find the American circuit more difficult for this very reason. The fact that irony is used to different effect in the US does not mean that it is not used to significant and striking purpose.

The world wide success of shows like The Simpsons and Seinfeld is partially attributed to their fantastic use of irony. These shows both allow ironic humor to seep out, in stark contrast to the more traditional comedy setups of so many American sitcoms, which are far more gag focussed.

To conclude this section of self congratulatory praise for how us Americans DO actually understand and use irony, I note the two (American) Golden Globes awarded to the very ironic English sitcom The Office (http://www.bbc.co.uk/comedy/theoffice).

What is that you say? The Globes are voted for by Hollywood’s foreign press too, and this is likely to have been a big influence, especially given the relatively small scale success of the show in America. Ok, a fair comment I guess. But secondly, and far more distressingly, The Office has been remade for the US market. So, firstly we heap accolades on this fine piece of television and then we deconstruct it, de-irony it, Americanise it and repackage it. Perfect! I think the whole argument could be lost on this sad point alone.

Do not distress however, the surge of irony is coming, and will not be stopped. It has been said that Americans take themselves too seriously to drop irony into everyday conversations. Well, there is little doubt in my mind that this is changing. Lines from shows such as The Simpsons are being copied and used by millions of children across this great land, and slowly but surely the old gags that amused former generations will give way to this higher form of humor – ‘irony’.

Well, I think that cleared up issue – not!

Biography:

Michael Watson studied English Literature at University, where he gained an interest in literary criticism particularly relating to drama and prose fiction. Michael has more recently focussed on genres of literature and literary techniques. As a side interest Michael manages http://www.celebritycomparison.com

Bibliography:

http://en.wikipedia.org/wiki/Talk:Irony#Irony_vs_Sarcasm

http://www.modern-masterpieces.com

It must have been fate that Bryan Singer would direct the new film Superman Returns, the fifth in the series of Superman films. Singer loved the George Reeves Superman TV series when he was young, and was a huge fan of the Dick Donner-directed films from the 70s and 80s that starred Christopher Reeves as the Man of Steel. “I identify with Superman. I am adopted, I am an only child, and I love the idea that he comes from another world, that he’s the ultimate immigrant. He has all these extraordinary powers, and he has a righteousness about him,” said Bryan.

After attending the School Of Visual Arts in New York City (but not graduating), he graduated from the USC cinema school (where, incidentally, he met John Ottman who wrote the score for Superman Returns), Singer’s first commercial success was as the producer/director of The Usual Suspects in 1995.That film saw him work with Kevin Spacey for the first time, and Singer and Spacey are re-united, again in Superman Returns, as Spacey plays arch villain Lex Luther, just out of prison and again set to rule the world.

However, it is as an adapter of comic books, bringing superheroes to life, that Singer has carved a niche for himself in the movie world.

In 2000, as writer and director, he introduced Wolverine, Magneto and the rest of the X-Men to the movie world in a hugely successful adaptation, before reprising the characters in the follow-up, X2. Singer left the X-Men franchise to develop Superman Returns and did not work on the 3rd film The Last Stand.

Now an established player in Hollywood with a number of big projects lined up for the future, who would bet against his favourite being the recently-announced sequel for Superman Returns in 2009?

Filmography

• Superman Returns (2006) (producer/director/writer)
• X2 (2003) (executive producer/director/writer)
• X-Men (2000) (director/writer)
• Apt Pupil (1998) (producer/director)
• Burn (1998) (executive producer)
• The Usual Suspects (1995) (producer/director)
• Public Access (1993) (executive producer/director/writer)
• Lion’s Den (1988) (director)

Niall is a huge fan of the original Superman film, and is looking forward to the release of Superman Returns. For news and information about the new film visit his site at http://www.SupermanReturnsNews.com.

This article may be reprinted in full so long as the resource box and the live links are included intact. All rights reserved. Copyright http://www.SupermanReturnsNews.com

PLATOON (1986), nominated for 8 and garnered 4 Oscars in 1987 (Best Director for Oliver Stone, Best Picture for Arnold Kopelson, Best Sound, and Best Editing for Claire Simpson) is a Vietnam War movie about the “evils of war,” a staple approach to any such movie. However, it is also a courageous and in-your-face look at the chaotic nature of warfare and the taboo of “friendly fire.”

Looked at from the vantage point of the year 2006, and having seen many other Vietnam movies like Apocalypse Now or Full Metal Jacket since 1986, I now realize that this is still one of the tamer and straight-forward examples of the genre. This still stands comfortably on its legs as an ensemble piece with its moments and works well as an indictment of a massive letdown in which the grunts trying to do their assigned duties in the death-infested swamps of Vietnam were perhaps the last ones to blame.

The film, shot in the forbidding jungles of Philippines, boasts a high-powered cast including Tom Berenger (as SSgt. Bob Barnes), Willem Dafoe (Sgt. Elias Grodin), an 18 year old Charlie Sheen (Pvt. Chris Taylor), Johnny Depp (Pvt. Gator Lerner), Forest Whitaker (Big Harold), Francisco Quinn (son of the great Anthony Quinn, as Rhah), to name a few.

Writing by Oliver Stone (who won the screenwriting Oscar in 1978 for his Midnight Express as well as another Best Director Oscar in 1989 for Born on the Fourth of July) is well paced, preserving a good rhythm between scenes of carnage and reflection. The dialogs are crisp and realistic.

The voiceover provided by the main character Chris Taylor is without an equal because it addresses Taylor’s grandmother. I thought that was such a poignant touch for a young private lost in the world, who does not even have a girlfriend yet, to take refuge in the wisdom of his grandmother while all hell is breaking loose around him.

The plot, unfolding from the view-point of Pvt. Taylor, actually does not have too much meat in it. This movie shines on character and setting, on predicament and context, rather than on clever plot twists and turns. It can be summarized as one long story of a platoon either engaging the Viet Cong in the slug and snake infected jungle swamps, often under tropic rain, or getting stoned out of their minds to suspend the harrowing reality for an hour or two.

When the two top dogs of the platoon, the over-the-edge nihilistic Ssgt. Barnes and Sgt. Elias who can still rely on his conscience and basic moral values, clash heads, they divide the platoon into two bickering factions. The result of such infighting and accumulating resentment is not pretty.

The metaphysical horror of war has been exposed with more dramatic authority by one-of-a-kind movies like Apocalypse Now. Platoon does not go that deep but it is still a bona fide Vietnam War movie that should be on every movie fan’s must-see list.

An 8 out of 10.

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