The nomination of Sonia Sotomayor '76 raises an important point for Princeton students to consider as they progress through the University. Namely, you should make sure that your senior photo for the Nassau Herald Yearbook is good, because if you become famous it will end up on show for the world or at least the diners at the Yankee Doodle Tap Room.
Some recent examples of yearbook photos which saw interest beyond members of their class and proud parents include Samuel Alito '72, Sonia Sotomayor '76 and Michelle Obama '85.
Wednesday, May 27, 2009
Famous Photos: Obama '85, Sotomayor '76 and Alito '72
Tuesday, May 26, 2009
OBAMA CHOOSES SOTOMAYOR '76 FOR SUPREME COURT
President Obama has nominated Judge Sonia Sotomayor '76 to replace Justice David Souter. If confirmed, she will be one of two Princetonians, along with Justice Samuel Alito '72 on the Supreme Court.
From The New York Times:
President Obama will nominate Judge Sonia Sotomayor of the United States Court of Appeals for the Second Circuit as his first appointment to the court, officials said Tuesday, and has scheduled an announcement for 10:15 a.m. at the White House.
If confirmed by the Democratic-controlled Senate, Judge Sotomayor, 54, would replace Justice David H. Souter to become the second woman on the court and only the third female justice in the history of the Supreme Court. She also would be the first Hispanic justice to serve on the Supreme Court....
Monday, May 25, 2009
Recession Creates Uncertainty for 2009 Grads
The headlines are bleak. "Graduating US college seniors entering grim market." "Graduates brace for worst job market in years." "Even Stanford grads Are Hurting in the Downturn."
Indeed, less than twenty percent of graduating seniors nationally who are looking for jobs have found one. Only 60 percent of seniors are even looking.
The recession has affected Princeton students too. It's unlikely that many Princeton seniors will be jobless and destitute next year, but many have changed their expectations and methods used to find jobs. In April, Princeton Alumni Weekly article reported that even though students have landed finance and consulting jobs, many are still uneasy about the future. A senior who got a job with McKinsey worried that her co-workers from a summer internship at Goldman Sachs did not receive offers. Andy Chen, Pyne Prize winner, stated that there's "a culture of anxiety."
Chen is pursuing graphic design. Though this field is only indirectly affected by the recession, Chen has changed his methods of looking for jobs. "This year, I was a lot bolder in the steps I took in terms of reaching out to personal contacts I had formed in my field," he wrote in an email. "While I don't like to think of this as "networking," it does involve some degree of tapping personal relationships for instrumental purposes."
It's unknown how the Class of 2009 has fared in the job hunt. When asked for statistics or comments on the results of the senior check-survey, Anthony Chiappetta, Associate Director of Career Services, wrote "At this time we are still in the process of gathering data concerning the Class of 2009 therefore, we are unable to provide statistics or comment on the future plans of the senior class."
In the mean time, watch this space over the next few weeks for stories on how the recession is affecting the way seniors and recent alums are looking for jobs, thinking about future plans, and exploring options.
Saturday, May 23, 2009
Princeton at the Cannes Film Festival: Tarantino's Inglourious Basterds
The fifth day at the Cannes Film Festival started out with a bang thanks to Quentin Tarantino's Inglourious Basterds. Given that the film has such a high profile, I've decided to review it in a special edition of the blog series.
Inglorious Basterds dir. Quentin Tarantino- In Competition
Winner of the 1994 Palm d'Or for Pulp Fiction, Quentin Tarantino has made a career through his energetic visual style and signature dialogue. Since his 1994 masterpiece, Tarantino has often entertained me but rarely impressed. The kung fu revenge pastiche Kill Bill felt like an overloaded exercise in genre, preferring to wallow in its various homages then aim for something truly new and spectacular. His follow-up, the underrated grindhouse thriller Death Proof, was far tighter bursting with an undeniable energy. With its beautiful mix of a kinetic direction and a toe tapping score, the lap dance scene from the exploitation film crackles with a magnetic intensity:
Watching the trailer for his latest World War II flick, I felt that the filmmaker was not going to deliver another Death Proof but a Kill Bill - an epic that never really transcends its genre trappings. Boy, was I wrong! Through the lens of a World War II film, Tarantino gains a new found provocative voice, supplementing his ever-present directorial panache with an unexpected amount of political incorrectness.
The term Inglourious Basterds derives from the moniker of a small group of a Jewish American soldiers sent covertly into occupied France to exterminate as many Nazis as possible. Led by the crazed Lieutenant Aldo the Apache (Brad Pitt), the covert team seeks to inflict cruelty on the Nazis in the attempt to collect hundreds of Nazi scalps. The other main thread of the narrative deals with the beautiful Shoshanna, an escaped Jew in hiding who runs a small Paris movie theater. She gets her opportunity to enact revenge upon her Nazi tormentors when the fascist party decides to hold a premiere of a propaganda film at her establishment. She hopes to achieve vengeance by transforming her cinema into an explosive deathtrap using antique nitrate film (which as the helpful commentary narrated by Samuel L. Jackson points out, “burns three times faster than paper.” Who knew?).
With its emphasis on "killing Nazis," the film's original trailer promises a few hours of nonstop violence. Certainly, the film contains enough blood and gore to satisfy even most ardent Reservoir Dogs fans. Hinting at the skewed mentality of the American heroes, Tarantino's camera lingers unflinchingly on the violence they commit. While Brad Pitt's Aldo the Apache interrogates a beautiful German double agent suspected of treason, he nonchalantly presses his finger into a bullet wound on her leg. As he inflicts this pain, the camera cuts to a tilted close-up of the wound being manipulated. Even with such graphic scenes, the film is much more than simply 'Kill Bill Goes to War,' sidestepping constant brutality for a far more intriguing suspenseful tone. The titular Basterds are not the focal point of the film; rather, the narrative focuses more upon Shoshanna and the film's most intriguing creation, the villain Hans Landa (Christoph Waltz).
Nicknamed "The Jew Hunter," Lander dominates the first chapter of the film which begins with the wistful inter-title "Once upon a time... in Nazi occupied France." The long opening, where Landa assesses if a French farmer hides a Jewish family, has little directorial ornamentation signaling that this film stands apart from Tarantino's recent work. Rather it uses the villain's disquieting charm and verbose nature, to build an almost unbearable suspense. He continually complements the interrogated farmer with a sincerity and zeal. This complete disregard for the typical methods of intimidation hints at Lander's unhinged nature. Later on, when he unexpectedly joins the disguised Shoshanna for strudel, he demands that she "Wait for the cream!" before eating. The actor Christoph Waltz spews forth this comment on dining etiquette with an unnerving intensity. His every word, even the most innocuous, becomes a threat transforming Lander into the best type of onscreen villain, one who is as captivating as he is repulsive.
While some supporting performances are great, others feel a bit more derivative, particularly Mike Myers' cameo as a British general. Whereas Tarantino has often reinvigorated actors caught in a rut (see John Travolta), Myers plays his aged military man with all the finesse of an Austin Powers reject. In a film where some of Tarantino's characters are so fresh, the stale quality of Meyer's performance stands out all the more.
The film quickly reveals its intentions to be something quite different from a Saving Private Ryan-like reenactment of history through its opening score. The music quietly brings together Beethoven's Moonlight Sonata with a Western-sounding guitar. Never does the film promise to slavishly reenact the past; rather, it is a cinematic fantasy. And like any good fantasy, Tarantino transports the viewer to another world - refashioning the tired World War II genre anew and making it his own in the process.
His visionary eye leaves its imprint on all facets of the genre from firefights to wartime intrigue. When Shoshana prepares for her evening with the Nazi party, Tarantino transforms her cosmetic process into a warlike ritual. As Shoshana applies rouge to her cheeks, the film captures the stern female as though she applies war paint. Although not a single drop of blood is spilled, the pulsating sequence is riveting in its unfettered view of a powerful femme fatale.
It was rumored that Tarantino was still editing the film a day before its Cannes premiere. While Inglourious Basterds does have an unfinished quality (expect to see more Pitt in the final cut), at its core, it remains something wholly unique for Tarantino. Already the director has fashioned a work that has the indefinable pulse that marks his best films. With a bit more refinement, the tale could possibly be Tarantino's next masterpiece.
Thoughts on the Offensive Side of Tarantino
While I found much to enjoy in Tarantino's latest, several film critics lodged rather intense complaints against the film. One journalist mentioned that she "hated" the film, for presenting an ultra-American slant on European history. I find that this criticism, against its blatant retooling of the war, highlights a larger critical resistance to play by the rules of the film. Never does Inglourious Basterds promise to realistically honor the past and remains clearly a sort of fairy tale from the very first scene. After speaking impeccable French with the farmer he interrogates, Lander states that he has exhausted his vocabulary and asks "mind if we speak English?" The tongue-in-cheek moment illustrates Tarantino's intentions to play with history embracing theatricality rather than reality. Other World War II films at the film festival, including the dull Vincente and the equally blasé The Army of Crime, illustrate how a reverence towards history can be artistically stifling.
L’Armee du Crime (The Army of Crime) dir. Robert Guediguian
Whereas Tarantino takes World War II in strange and new directions, director Robert Guediguian's L’Armee du Crime is a rigidly by the numbers affair. Seen in conjunction with Inglourious Bastards, it only underscores how derivative this type of film has now become.
Detailing the exploits of Parisian-based resistance fighters during the occupation, the film presents an unnervingly glossed over and simplistic view of war. The resistance fighters give grand speeches on the principals of war quickly devolving into pure caricature. Oddly, these exaggeratedly noble aspects of their personalities clash with the very real violence of the struggle. In attempting to capture such ideals in a non-allegorical reality (unlike Tarantino's fairy tale), the film forces history into an uninvolving muddle. Typical of L’Armee du Crime, is a scene where the resistance leader uses very high-minded rhetoric to discuss his changing view upon the validity of revenge. Keep in mind, the leader does not deliver this speech in a public forum but rather in the midst of a quiet conversation. The film is so devoted to detailing the glorious aspects of their struggle that its more compelling subtext, such as the nascent divisions of French society during the Occupation, goes largely unexplored. Its inert and unremarkable presentation falls flat making a convincing case that a change needs to occur in the period war drama. Unlike Tarantino's involving film, L’Armee du Crime did nothing but bore me.
After festival comes to a close in the coming weekend, expect many more reviews from Cannes including Michael Haneker's The White Ribbon and Jacques Audiard's A Prophet.
Friday, May 22, 2009
UPDATED: Could Fisch '11 pull off an upset?
There are now 400 reasons that Mendy Fisch '11 could win the June 2 Democratic primary for the Princeton Borough Council.
Fisch's campaign has helped 399 students request absentee ballots, a number "significantly more than usual," the Princeton Packet reported Thursday night.
What does Borough Council President Andrew Koontz have to say about all this love for democracy Princeton students are showing?
"It is important to verify these requests are coming from the people they say they are coming from."
Not only that, Koontz says while there is "no indication of misconduct", the the high number of absentee ballots means that "caution needed to be exercised." Real classy, Andrew.
WHY are folks nervous? Because candidates in the Borough Council's Democratic primary often win with a lot less than 400 votes.
Will the work pay off? Who knows. Campaign volunteers have gone crazy this spring, knocking on the same dorm doors five or six times to make sure students were registered. But now comes the hard part: Students will receive the ballot in the mail and will have to fill it out and send it back to the Borough.
Three candidates are running for the two seats being contested: incumbent Kevin Wilkes '83, Borough resident Jenny Crummiller and Fisch, who is also a senior writer for The Daily Princetonian. Though incumbent Margaret Karcher was expected to seek re-election, her name does not appear on the ballot. With no Republican candidates, the two candidates with the most votes on June 2 win the race.
Thursday, May 21, 2009
Princeton at the Cannes Film Festival: Days 3 & 4
Over the 3rd and 4th day of the Cannes Film Festival, I dealt with the unique rigors of student journalism (in that I still needed to take exams for class... does Roger Ebert ever have to do such a thing?), saw Almodovar's latest, and came face-to-face with French politics.
Reflecting on Antichrist All the while, I've engaged in debates with other journalists regarding Von Trier's latest film Antichrist. If you have read any of the other reviews from the festival, you have probably noticed that this is the event's whipping boy. It has been labeled as nothing more than simple shock, and pure intellectual drivel from European cinema's enfant terrible. I've been more than a bit confused by this argument, which seems to be most disturbed by the extreme confluence of gore and sex in the production.
As I've said in an earlier comment, to so ably disturb a room full of journalists who have everything that cinema offers stands as a success in itself (one journalist told me that Antichrist marked the first time that she ever screamed aloud while watching a film). Furthermore, that shock is somehow emblematic of lesser art ignores a fundamental artistic philosophy that views the emotion as a catalyst for change and insight (Dadaism comes for example). The current critical consensus towards Von Trier's latest ignores its nuance in favor of a rather superficial assessment. To get lost in the visceral aspects of Antichrist (or any Von Trier), is to ignore its profound artistic stakes.
Day 3
Studying for my final exam of my
Tzar dir. Pavel Lounguine - Un Certain Regard
Focusing on the head of the Russian Orthodox Church who stands up against the 16th century monarch Ivan the Terrible, Tzar's most striking feature is its glorious color palette. The film has the same visual excess of golden religious icons and is always visually captivating. At the same time, every performance has a disquieting theatricality about it. While capturing history in operatic terms could have been interesting conceit, the film seems lost within its constant bombast. Instead of pulsating with emotion, the central narrative of a cleric's break away from the clutches of power comes across as oddly empty.
Day 4
With an exam looming in the evening, I set out to view at least a respectable number of films (though the tensions of French life made this simple goal oddly difficult to execute).
Los Abrazos Rotos (Broken Embraces) dir. Pedro Almodovar - In Competition Another day at
The film centers on a charming Harry Caine, a successful blind screenwriter who beds women as effortlessly as he writes in the story. Yet Caine has a dark secret, he is nothing more than a pseudonym for the former film director named Mateo Blanco. Slowly, the film unveils the complicated life of the two-faced hero whose life was ruined when he fell in love with Leda (Penelope Cruz), an aspiring actress tied to the deranged millionaire named Ernesto. Through shots that contain acrylic tableaux of revolvers looming behind characters, the filmmaker accentuates the noir elements of the story quietly suggesting how close the characters linger on the precipice of destruction while involved with a scheming millionaire.
The Spanish auteur employs his dark story to commit a very meta-exploration of his medium. The film telegraphs its introspective intentions in the very first shot: an extreme close-up of an eye watching director Mateo. During such moments of reflection, the film gains an affecting sway it otherwise lacks. In one scene, the image of Matheo and
Almodovar explicitly references the classic film Peeping Tom, a work devoted to all aspects of the obsessive gaze. These allusions illustrate that the filmmaker seeks to play with his almost perverse fetishization at the core of his artistic relationship with Penelope Cruz. No other director lingers so luxuriously on Cruz’s curves and seems so captivated by the actress. Highlighting the inception of the camera for the actress's filed body, the film presents x-rays of Cruz's skeleton. It's a powerful moment where the director confronts his deep-seated and penetrating ardour for his muse.
Penelope Cruz plays
Vincere dir. Marco Bellochio - In Competition
While I have never seen any other of Italian director Marco Bellochio's films, he has been in the competition six times. I initially thought this to be a sign of a filmmaker of remarkable quality and innovation. Boy, was I wrong! Vincere, detailing the struggles of Mussolini's abandoned wife, is a flawed biopic. Nothing more.
The show opens promisingly enough with a scene where the young dictator speaks against a church council. With verve and brio he announces "I defy God!" and asks the creator to strike him down. If he does not end Mussolini's life within five minutes, it will be proof that He doesn't exist. It's an intense scene that stands as a
Worse still, the film keeps most of its attention not on Mussolini, but upon his abandoned wife Ida Dalser whose union with the dictator has all but been erased from the history books. After their initial dalliance and marriage, Dalser spends the rest of her life trying to get acknowledgment from her fascist love. During her scenes with Mussolini, the woman stares longingly into the distance. When he is off-screen, which is unfortunately far too much of the film, she stares desperately ahead at nothing. In truth, the script gives the lead actress Giovanna Mezzogiorno little to work with outside of the requisite "I'll never give up!" line. Furthermore, the film becomes dramatically dead when she is forced into a mental institution. For long stretches of time, nothing at all happens and the viewer is forced to put up with her overwhelming angst.
Part of the "drama" of the thing is that Dalser is separated not only from her husband but also her son, Benito. You know a movie has failed to resonate emotionally when it uses large portions of the abandonment scene from Charlie Chaplin's The Kid to evoke sympathy from the audience. The film cannot stand out its own.
Vincere is the first selection of the festival to evoke the worst response from me, "meh"... otherwise known as pure indifference. The film actually adds fire to the argument against the selection committee for choosing established filmmakers who have been to the dance before. Director Marco Bellochio's sixth entry should have stayed far away from the festival. Its driving mediocrity makes it by far the worst film I've seen in competition.
Fareed's Unfortunate Brush with French Politics dir. Fate - Out of Competition
Wanting to wash the taste of that blasé production from my mouth, I decided to search out a random action movie D13 Ultimatum (sequel to District B-13) playing in the
Unfortunately, this was a day when French workers decided to express their political right to strike against the
Had I been in negotiations with these people I would've broken down instantaneously and given into all of their demands. After all, you know people are serious when they're willing to take random French action movies away from innocent journalists like myself.
Workers on strike making their presence felt
Rushing to a theater on other side of town, I came face to face with my tormentors. They looked serious and I hoped that they might show some mercy and not completely turn off the light fantastic. Luckily, they showed their generosity towards the other theater and I was able to catch an Israeli comedy Matter of Size playing as part of the
As the protagonist recounts the death of his equally overweight father, the film flashbacks to the fateful day. Standing on the balcony, the father tells his son to grab a newspaper inside. While the boy completes the chore, the balcony breaks off and the father falls to his death. Rather than react with horror, the son breaks out laughing. This moment of unfettered delight mixed into such a serious situation comes out of nowhere striking an undeniably humorous tone while brazenly defying narrative convention. I laughed so hard I almost wished the scene was longer. Let me tell you, this moment was far better than the entirety of Vincere!
Following these two days of relatively few movies, I'm now back into the groove of things! And let me tell you, movies have been watched. Stay tuned for thoughts on Tarantino's most surprising, political and offensive film Inglourious Basterds.
Wednesday, May 20, 2009
On Colbert, Kirn '83 speaks truthiness to Princeton
Walter Kirn '83, author of the new book Lost in the Meritocracy spoke last night on The Colbert Report with the Class of 2008 Class Day speaker Stephen Colbert. Kirn believes that Ivy League institutions like Princeton are not properly preparing students for the world.
| The Colbert Report | Mon - Thurs 11:30pm / 10:30c | |||
| Walter Kirn | ||||
| ||||
Death reported in Harvard shooting
The identity of the "college age" male shot at Harvard yesterday evening has been released and his death has been reported.
Justin Cosbey, 21, was a former Salem State University student who appears to have had no ties to the university. Cosbey died early Tuesday morning after being shot at the entrance to Kirkland House, one of Harvard's residence dorms.
Kirkland House Master Tom Conley told The Crimson that the crime was "in most likelihood, a targeted shooting." The Cambridge Police Department reported last night there was no information on the identity of any suspects.
Monday, May 18, 2009
New Princeton Tell-All
Walter Kirn, author of novel-turned movie Thumbsucker, just came out with a book called Lost in the Meritocracy: The Undereducation of an Overachiever . It's supposed to be a memoir about the strangeness of the American education system, but it mostly focuses on Princeton. Its publishers are promoting it this way:
I think things are different now and it should be interesting to compare. The book comes out tomorrow. Expect a review soon!
Working his way up the ladder of standardized tests, extracurricular
activities, and class rankings, Kirn launched himself eastward from his rural
Minnesota hometown to the ivy-covered campus of Princeton University. There he found himself not in a temple of higher learning so much as an arena for gamesmanship, snobbery, social climbing, ass-kissing, and recreational drug use, where the point of literature classes was to mirror the instructor's critical theories and actual reading of the books under consideration was optional.
Kim '01 kicks off campaign for NY City Council
Kim made things official a couple weeks back and threw his hat into the District 1 race. He’s got a snazzy new website, a Facebook site with 1,300 supporters and has already raised $70,000 for the Sept. 15 Democratic primary in which he will face four opponents, including incumbent Alan Gerson.
The son of Korean immigrants, Kim went to McKinsey after graduation before heading to Harvard for a joint MBA/MPA. A
The real estate Kim hopes to represent couldn’t be sweeter:
Kim’s tenure at the helm of the USG was busy time for the University. The trustees voted for the plan to expand the undergraduate population from 4,800 to 5,200 students — a goal that will finally be realized in 2012. Kim also presided over the USG meeting where Dean of the College Nancy Malkiel first announced the idea of a required writing seminar for freshmen. Kim also sat on the selection committee that ultimately made Shirley Tilghman the University’s 19th president.
Kim was also president when the U. decided — without soliciting any undergraduate student input — to convert Chancellor Green, which was a popular café at the time, into academic library and study space. After students piled on the criticism of the move, Kim said the issue meant "[administrators] can't just do business as usual, which is to steam roll it through."
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