Arts & Life



‘THE MISTY EXPERIMENT’ ON PUBLIC TELEVISION

The consequences of the Vietnam War remain arguable and controversial. Nearly 50 years after the infamous fall of Saigon, one can easily debate why victory proved unattainable or how we ended up in an unfortunate quagmire.

Was it the failure of political leadership? After all, Vietnam figured mightily in Lyndon Johnson’s decision not to seek reelection for the presidency in 1968. Was it the struggle of fighting an enemy that uses guerrilla tactics and the dense jungle for cover?

Airing on public television stations across the country in time for Memorial Day, “The Misty Experiment: The Secret Battle for the Ho Chi Minh Trail” tells the largely unknown story of U.S. Air Force pilots volunteering for a treacherous secret mission.

By 1967, American forces in Vietnam had entered a stage of expanded air and ground battles throughout Southeast Asia during a time of increased southward flow of weapons and supplies from North Vietnam.

Convoys of trucks carrying Chinese and Russian supplied weapons traveled on newly carved or expanded roads through the jungles of Cambodia and Laos, known as the Ho Chi Minh Trail.

Traditional intelligence flights, the Air Force’s Forward Air Controllers, were hobbled by slow aircraft that made them easy targets. It became clear the U.S. needed to fly closer and faster to gain the advantage.

Quietly, an elite squadron of combat-seasoned pilots was recruited, supported by on-the-ground intelligence and ancillary personnel. Referred to by their radio call sign, the so-called “Mistys” would spend months flying into danger.

The select pilots knew they had a 30 percent chance of being shot down, killed or taken as prisoners of war. The latter possibility was not a good one, as the horrors of internment were well-known. The late Sen. John McCain was a poster boy for POW torture.

“The Misty Experiment” chronicles how judgments by American military leaders resulted in not being allowed to hit ports where supplies to North Vietnam were coming in. The decisions were made to keep Chinese forces from moving into the battle.

As supply routes were left open for North Vietnam to exploit, the U.S. government became convinced a new approach was necessary. Air Force commanders designed an experimental method that needed pilots with steely nerves.

As seen in the film, Misty pilot Don Sheppard, who flew 58 missions and later became Major General, says when the nation was not willing to bomb the harbors, “we were the ones who had to pick them off, truck by truck.”

The pilots “were a bunch of guys who would do anything to accomplish the mission we were given … an impossible mission to stop the flow of arms and material coming south,” Sheppard says.

Unlike today’s automated drones and satellites that pinpoint target areas, the Mistys relied on human observational skills to root out enemy movements.

The pilots developed “Misty eyes” in the ability to spot signs of enemy troops such as dust accumulations on tree leaves indicating nearby movements, tell-tale splash patterns on creek beds pointing to truck traffic, or too-perfect canopies that suggested man-made camouflage.

The Mistys flew hours-long daily missions, putting their bodies through extreme physical stress from G-forces during quick evasive maneuvers, while also taxing their eyes and brains to identify and remember enemy locations.

Upon their daily returns, and often finding their planes riddled with battle damage, the pilots would debrief for hours with intelligence officials to create detailed maps with the crucial information they recounted.

“There was an atmosphere of innovation,” says Misty Intelligence Officer Roger Van Dyken in the film. “One flight reconnaissance fed into the next. The next day’s group of pilots tested the theories from the day before. There was constant pressure.”

The missions began showing results after just a few weeks, and the thrill of flying risky sorties proved undeniable to the plots. The physical and mental strains of flying F100s caused the Mistys to be limited to 100 missions in 120 days.

“There were a few of us thought ‘gee, this is so much fun. How can I can back to South Vietnam? This is where the action is,” says Misty pilot and military history author Dick Rutan, who appears in the film and was himself shot down and then rescued.

Of the 157 Misty pilots who served, 34 were shot down; eight were killed and four became prisoners of war. About half of the men who served are living; many are in their late 70s and 80s.

The discipline required for these missions translated into other successes after leaving the missions. Two pilots became Air Force Chiefs of Staff; two more became astronauts. Many became industry CEOs. One Misty alumnus received the Medal of Honor for his service.

Those interested in history and military history buffs, in particular, are bound to find “The Misty Experiment: The Secret Battle for the Ho Chi Minh Trail” a fascinating look at the bravery of men called to duty in a war that divided the nation.

Tim Riley writes film and television reviews for Lake County News.

Kwame Dawes. Courtesy photo.

Though born and raised in Jamaica, Stacy Ann Chin has lived in the United States for many years, long enough to have become naturalized to the seasonal patterns of the temperate climates of the northeast.

In “First Green” she uses words to paint a surrealist study of the changing season. Her images present like the speckling of a painting, each new image morphing into another fresh and distinctive image, ending with the promise of warmer days.

No doubt, Chin’s body still hungers for her warmer beginnings.

First Green
By Stacy Ann Chin

Earmark me images
speckles pretty
with the tears of a child

open windows and summer
approaching
ominous air-marked with the first green

leaf
over-turned poems
forgotten
mouths tinkling humor

pages rustling
soft
sensible shoes
cushion/support/words

they unwind me
orange and gray laces

you/me entwined/separate
swirled
ice cream hinting the weather

may soon be
warmer


American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2019 by Staceyann Chin, “First Green” from Crossfire (Haymarket Books, 2019.) Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.




‘MEMORY’ Rated R

There is no quit when it comes to Liam Neeson taking the leading role in action thrillers, and “Memory” proves to be no exception when calling for the seemingly ageless actor to display the requisite physical toughness.

However, the stereotype of Neeson the action figure that has gained traction since his role of revenge hero in the first “Taken” film is upended this time in the part of Alex Lewis, a professional hitman afflicted with incipient dementia.

Not straying too far from his screen persona of righteous avenger, Neeson’s character is a bad guy with scruples, which means he has no compunction about killing sex traffickers or sleazy businessmen but draws the line on the more vulnerable.

Our first glimpse at Alex’s trade and his diminished mental capacity is a gruesome hit in a Mexican hospital, followed by his predicament of remembering where he put his car keys for a quick getaway.

As an assassin working both sides of the Texas/Mexico border, Alex’s fading memory is cause for retirement but he’s persuaded to take one last job because, even though unstated, he’s still got “a particular set of skills.”

Unable to resist the insistence of his Mexico City contact offering a large wad of cash for another job, Alex is instructed to kill two people in El Paso, which happens to be his home turf.

The first job is to eliminate wealthy businessman Ellis van Camp (Scot Williams) and retrieve the flash drive stored in his safe. Pulling off this part of the assignment is easily accomplished.

Upon discovering that the second victim is 13-year-old Beatriz (Mia Sanchez), who had been pimped out by her father (Antonio Jaramillo) to the entitled son of a prominent developer, Alex won’t kill a child.

Meanwhile, undercover FBI agent Vincent Serra (Guy Pierce) is hell-bent on stopping the sexual abuse of children, along with his partner Linda Amistead (Taj Atwal) and Mexican cop Hugo Marquez (Harold Torres).

Davana Sealman (Monica Bellucci), the well-known real estate mogul, along with her depraved son Randy (Josh Taylor), runs a sordid criminal enterprise of drugs and underage sex trafficking.

Connected with corrupt officials, the villainous Sealman has wide berth in El Paso for her nefarious endeavors, such that local detective Danny Mora (Ray Stevenson) rebuffs FBI agent Serra’s dogged pursuit of justice.

For his part, Alex is not deterred from going after Sealman even if she’s protected by lawmen and a feckless district attorney thwarts the determination of the FBI agents to bring down Sealman’s sex ring.

There may be a turf war between the El Paso authorities and the feds, but Alex goes about the business of dispatching the thugs not so easily apprehended by Serra’s crew even when his memory starts to falter.

An interesting twist is that Serra is so focused on cracking Sealman’s sex ring that he ends up in the tight spot of aligning with Alex in the takedown of sleazebags.

Arguably, “Memory” is the type of action thriller that might have been more suitable for a streaming service or straight-to-video, notwithstanding it’s better than Neeson’s recent “Blacklight.”

Nevertheless, “Memory” is a serviceable B-movie that delivers the action goods craved by Liam Neeson fans, even if it offers temporary enjoyment before eventually dropping into a memory hole.

FOREIGN FILMS ON DVD

Proving that action films don’t have to be homegrown, “Indemnity,” set for release on May 10th, is South Africa’s most ambitious thrill ride packed with stylishly choreographed fights, car crashes, explosions and daring fire rescues.

Traumatized Cape Town ex-fireman Theo Abrams (Jarrid Geduld) wakes up next to his wife’s corpse, with no recollection of what transpired and all evidence pointing to him as the killer.

Labeled the prime suspect, Theo quickly finds himself hunted by sinister forces and a ruthless deputy chief of police and embarks on a breakneck mission to uncover the truth behind his wife’s death.

As the former firefighter struggles to survive, connections are revealed between his past, the mysterious death of his spouse, and a government conspiracy with terrifying implications.

A newcomer to the genre, lead actor Jarrid Geduld spent three months with stunt masters and performed all his own stunts, including a record-breaking hanging suspension stunt performed outside a 21st floor window.

In 1969, the Norwegian government announced their discovery of one of the world’s largest oil fields in the neighboring North Sea, which launched a prosperous period of offshore drilling.

The disaster in “The Burning Sea” comes fifty years later, when a crack opens on the ocean floor causing a rig to collapse and it becomes clear there would be environmental consequences for these actions.

When a team of researchers, including submarine operator Sofia (Kristine Kujath Thorp), rushes in to search for the missing and assess the damage, they discover this is just the start of a possible apocalyptic catastrophe.

As rigs are evacuated, Sofia’s loving companion Stian (Henrik Bjelland) becomes trapped in the depths of the sea, and she must attempt one last life-saving measure by diving in for a rescue.

Tim Riley writes film and television reviews for Lake County News.

LAKE COUNTY, Calif. — While the COVID pandemic has many members of the community feeling uncertain and unsafe gathering in public just yet, Lake County’s Poet Laureate Georgina Marie Guardado, who was appointed at the onset of the pandemic in March of 2020, wanted to begin offering poetry in-person in a small, relaxed way.

During the pandemic local resident, massage therapist, sound healer and yoga instructor Laurel Lind also started her new business, Studio 127, in downtown Lakeport, located at 127 N. Main St.

Lind specializes in the sacred art of self-care. She offers a place undisturbed by the rush and flurry of each day, a place to recharge and re-energize, and a haven for relaxation, as well as rejuvenation. To walk through the doors of her business is to embark on a journey of stillness and radiance.

While she offers sound healing, yoga, and more in a large, quiet space with hardwood floors and a silver ceiling, in the front of her business is a magical shop with loose leaf tea, crystals, candles, clothing, mystical wares, and organic products for skin, face, and body care.

Guardado, an advocate and practitioner of self-care regimes, such as breath work, mindfulness, massage, and yoga, partnered with Lind to create the monthly Tea & Poetry offering at Studio 127, which began in February 2022.

The next Tea & Poetry will take place on Saturday, May 21, from 4 to 5 p.m.

Tea & Poetry is open to everyone, whether you’re new to poetry or an experienced writer, a fan of reading poetry, or a complete beginner to any creative writing.

Participants are invited to bring a meaningful item to add to an altar and/or a favorite poem to share, and pen and paper to free-write from prompts offered to the group. Participants will choose a loose-leaf tea from the studio’s varied selection to enjoy while reading and writing.

Email This email address is being protected from spambots. You need JavaScript enabled to view it. with any questions or to RSVP. A suggested donation of $10 is requested however no one is turned away due to lack of funds. Seating is limited to eight spaces.

Visit Studio 127 online at https://thestudio127.com/ and Guardado’s website at https://www.georginamariepoet.com/.




‘THE UNBEARABLE WEIGHT OF MASSIVE TALENT’ Rated R

Nicolas Cage as a fictionalized version of himself in “The Unbearable Weight of Massive Talent” has odd parallels to troubled legal, real estate and tax issues in his past.

For all his perceived quirks, Cage is more than just an actor. In the words of director/co-writer Tom Gormican, Cage has become not only “a cultural figure,” but the “patron saint of strangeness” and this film sets out to prove it.

In the dramatized tale of this film, Cage is first seen deep into compounding his personal and professional difficulties. His career is floundering and huge debts are about to put him out on the streets.

Divorced from makeup artist Olivia (Sharon Horgan) and not relating well to their teen daughter Addy (Lily Sheen), Cage receives the distressing news that he’s not getting a great role that could easily launch his comeback.

Hallucinating at times with the surreal presence of his younger self named Nicky, apparently from his “Wild at Heart” era, Cage is admonished that he’s a movie star and not an ordinary mortal dealing with family and career issues.

But the best that his smarmy agent Richard Fink (Neil Patrick Harris) can come up with is a strange invitation to collect one million dollars to attend the birthday celebration of obsessed fan Javi Gutierrez (Pedro Pascal).

With no other options on how to pay $600,000 owed to his hotel residence, Cage ends up as the guest of honor at the eccentric billionaire’s oceanfront estate on the Spanish island of Mallorca.

The movie-obsessed Javi, who includes “Paddington 2” as one of his personal favorites, maintains his own little museum of Nicolas Cage memorabilia, including film props and a life-size wax figure brandishing two golden handguns.

Bonding over a love of cinema, Javi persuades Cage to take a look at a screenplay that offers a chance for their incipient friendship to evolve into a working collaboration that could easily be a caricature of Hollywood fantasy.

The wrinkle to this tale of fandom is that Javi is an international arms dealer, and two CIA agents (Tiffany Haddish and Ike Barinholtz) enlist Cage on a spy mission to rescue a kidnapped daughter of a political leader.

The movie turns into the kind of action thriller that was once the staple of Cage’s career, and now he’s mired in his screen persona of confronting thugs in the Gutierrez crime family with some gunplay and a car chase through quaint Spanish streets.

More than anything, “Massive Talent” places Cage in absurd situations of living up to his own legend, channeling his most iconic screen characters in order to save himself and his loved ones.

TCM CLASSIC FILM FESTIVAL FINALE

The 13th TCM Classic Film Festival, or as I prefer to call it the 11th because the last two gatherings were virtual, came to an end with the usual flourish.

Classic films on display include fan favorites that most cinephiles have already enjoyed over the years. It’s great to see Humphrey Bogart in “Key Largo” or Paul Newman and Robert Redford in “The Sting” on the big screen.

On the last day of the festival, the better option was to choose films not as readily available. Watching Piper Laurie and Rock Hudson as young actors in 1952’s “Has Anybody Seen My Gal” was a welcome treat.

Ostensibly, the star was Charles Coburn in the role of aging bachelor Samuel Fulton, a millionaire without an heir, who wants to find out if the family of the woman who rejected his marriage proposal decades ago deserves to inherit his fortune.

Fulton finagles his way into the home of the Blaisdell family as a boarder under an assumed name and arranges for them to receive an unexpected windfall and sits back to observe the results of his anonymous beneficence.

The family patriarch (Larry Gates), who runs a pharmacy and soda fountain in a small town, is prompted by his social-climbing wife (Lynn Bari) to sell the family home and business in order to relocate to a wealthy neighborhood.

Piper Laurie’s Millicent, the eldest Blaisdell daughter, is romantically linked to Rock Hudson’s soda jerk Dan Stebbins, but her disapproving mother tries to arrange a marriage with a rich socialite.

The nouveau riche status of the Blaisdells is soon derailed by poor decisions, and the family finds themselves broke and returning back to their old lives. Yet, everyone seems to be happier, and a life lesson proves that the grass is not always greener on the other side

“Has Anybody Seen My Gal” is a remarkably agreeable and charming comedy, mostly due to Coburn’s bluffing his way into an ordinary lifestyle, going so far as to train as a soda jerk with hilarious mishaps.

A bonus for film buffs at the screening was seeing James Dean in a cameo appearance as a soda fountain customer and hearing from Piper Laurie in person that Charles Coburn’s fondness for pinching young ladies was problematic even back then.

Tim Riley writes film and television reviews for Lake County News.



Kwame Dawes. Courtesy photo.

Kimberly Blaeser’s creed “What I Believe,” unfurls as a series of loaded riddle-like koans that lend themselves to meditative practice.

For her, the cost of faith and belief is a commitment to personal reflection and not the giving of “indulgences.”

At the heart of these reflections is a productive relationship between the human body and nature, and yet, in the end, there is a wonderful expression of the connections that exist between the living and the dead, and the spirits that populate our seen and unseen worlds: “…and that eyes we see in water are never our own.”

Sometimes a poem, like a prayer, rewards the ritual of repetition. This is such a poem.

What I Believe
By Kimberly Blaeser
after Michael Blumenthal

I believe the weave of cotton
will support my father's knees,
but no indulgences will change hands.

I believe nothing folds easily,
but that time will crease—
retrain the mind.

I believe in the arrowheads of words
and I believe in silence.

I believe the rattle of birch leaves
can shake sorrow from my bones,
but that we all become bare at our own pace.

I believe the songs of childhood
follow us into the kettles of age,
but the echoes will not disturb the land.

I believe the reach of the kayak paddle
can part the blue corridor of aloneness,
and that eyes we see in water are never our own.


American Life in Poetry does not accept unsolicited manuscripts. It is made possible by The Poetry Foundation, publisher of Poetry magazine. It is also supported by the Department of English at the University of Nebraska-Lincoln. Poem copyright ©2019 by Kimberly Blaeser, “What I Believe” from Copper Yearning, (Holy Cow! Press, 2019.) Poem reprinted by permission of the author and the publisher. Introduction copyright ©2022 by The Poetry Foundation. The introduction’s author, Kwame Dawes, is George W. Holmes Professor of English and Glenna Luschei Editor of Prairie Schooner at the University of Nebraska.

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