SHERLOCK HOLMES
Director: Guy Ritchie
Stars: Robert Downey Jnr, Jude Law, Mark Strong, Rachel McAdams
Roadshow
Review: Suzan Ryan
I must admit tomixed feelings about this film; I wanted it to be good. Really good. But I feared that it could be very bad—another remake of Lock, Stock and Two Smoking Barrels (1998) by director Guy Ritchie, who has yet to stray from the proven fast-cut formula he employed so successfully in that film (which is somewhat understandable when you consider the abominable Swept Away (2002) as Ritchie's only other attempt at diversity).
While I had no reservations that Downey Jnr would deliver an excellent and witty performance as Sherlock Holmes, when it came to picturing Jude Law as Dr Watson, I expected a bearable-yet-wooden performance. At best.
And what of the decision to cast Rachel McAdams as female lead, the sassy Irene Adler? From what I've seen of Ms McAdams' work, she failed to impress as the spunky journalist in State of Play (2009), relying on dimpled smiles and harried gestures to define her character, and was given only limited range as the good girl targeted by the bad guy in Red Eye (2005).
However, casting Mark Strong as Holmes' nemesis, the evil Lord Blackwood, is a welcome treat, following his riveting performance in Ridley Scott's Body of Lies (2009), in which he played the genteel-yet-uncompromising boss of the Jordanian secret service, Hani Salaam—outshining the performances of both Russell Crow and Leonardo DiCaprio. No easy feat.
Sherlock Holmes begins with the capture of serial killer and black arts practitioner Lord Blackwood (Strong) by the cocky-yet-camera-shy Holmes (Downey Jnr) and his able assistant Dr. Watson (Law), in what is to be the pair's final case before Watson marries fiance Mary (Kelly Rielly) and returns to working as a doctor.
But when Blackwood returns from the grave and resumes his killing spree, Holmes and a reluctant Watson agree to work with Scotland Yard to locate and apprehend the elusive killer.
Simultaneously sullen and oafish when forced to interact with Watson's fiancée (and contemplate the end of a long and cherished relationship), Holmes hits the bottle, along with plenty of bodies, working out his anger in bare-knuckle boxing fights, where he uses his intellect to disable opponents as effectively as his hands.
And it's in these fight scenes where Guy Ritchie most effectively flexes his directing muscles, providing his trademark slowed-motion-interspersed-with-live action scene-play and character voice-over to invigorate the movie and maintain pace.
There is chemistry between Downey Jnr and Law, providing depth to their characters' banter while simultaneously offering respite from the film's sinister undertones and interesting plot twists.
Sherlock Holmes is a solid, enjoyable, well-made and well written movie. It also marks a watershed moment in the career of Guy Ritchie, who at last—and to our great relief—has graduated and evolved as a director. Well done.
Sherlock Holmes opens in cinemas nationally on December 26.
Smells Like Pure Gasoline
60 per cent of the time, it works every time
Thursday, December 17, 2009
Thursday, November 12, 2009
Meet Robert K. Ressler,
the man who studies serial killers.
Ressler’s notion that serial killers often act according to a predictable pattern, and his unparalleled access to interview America'smost prolific killers, resulted in the creation of FBI’s Behavioral Sciences Unit.
Interview:
You were born in
"My father was in the newspaper business, and so I was constantly in the habit of scanning the pages of the daily newspaper. I became fascinated with the Lipstick Murder case as it was in the news everyday and had the city on edge. Phillip Kozlowski and I formed the RK-PK Detective Agency and its headquarters were in the basement at Phillip’s house. We did not wear any disguises, but during the summer we did carry a cap gun.
"Even as a child, I was drawn to the investigative aspects of crime solving—especially high-profile cases. At the time, I did not realise that this interest was to later become my passion. I was a boy doing what boys like to do; it’s just that I pursued it more than your average middle-school boy did."
Is it true that notorious serial killer John Wayne Gacy once delivered groceries to your home as a teenager?
"Gacy lived on the same street as I did, but about two blocks away. It is true that he delivered groceries to our house—that was certainly very common in those days, and because of his proximity it really wasn’t that unusual to learn that later on. It was a sort of macabre preview of our later connection."
Most people have an inherent ability to find a particular skill-set easier to pursue than others—the left brain/right brain skew. Did you always feel this with detection and investigation?
"I think I was predisposed towards the challenges of conducting investigations, as evidenced by my boyhood sleuthing. Perhaps I inherited that curious nature from my father? My father was an investigator of sorts, working for the Chicago Tribune and writing, so I was cognisant of whatever crime stories were in the news.
"I have always felt completely comfortable in a law-enforcement environment and was drawn to the investigation of violent crimes, especially homicide.
"I am fascinated by the diverse and complex nature of human behaviour. There is nothing more egregious than the murder of one human being by another. It is often a difficult and perplexing crime to solve because the victim is unable to assist you or provide any substantive information—except, of course, indirectly through evidence.
"Some homicides are straightforward—where you can discern a motive quickly and there is a history between the victim and the offender that provides significant useful information, but when you fuse together extreme violence, sexual components and substance abuse or mental health issues in the homicide, the outcome can be very complex.
"Motives can be multi-layered and obscure one another. They can rise and fall in importance, and even develop during the crime. It is the study of such dynamic and aberrant behaviour that focused my interests."
You once said that one must be careful when looking into the abyss, as the abyss looks back. Did this understanding of balance come to you naturally, or incrementally via your hundreds of interviews with violent criminals?
"Actually, the quote you mentioned, “Whoever fights monsters should see to it that in the process he does not become a monster, and if you gaze long enough into an abyss, the abyss will gaze back into you,” is from Friedrich Nietzsche’s Beyond Good and Evil.
"Things get added to our personalities because of our mere presence. In studying some of the worst human behaviour, we must take care that in spending so much time in such toxic environs we do not assimilate those parts of evil.
"It is a process of finding balance and maintaining objectivity. A key aspect that makes one successful at conducting these analyses is the ability to remain emotionally disconnected from the trauma of what you are assessing. This should not be interpreted to mean that you are not empathetic or don’t care—quite the opposite.
"If you become emotionally involved with the crimes, distracted by the brutal nature of the violence, or attached to the victims or offenders, your ability to conduct an objective and accurate assessment of the dynamics of the crime become compromised."
You majored in criminology and joined the army, where you gravitated towards the Criminal Investigation Division (which led to the FBI, in 1970). Did some of the work you did there shape your later career?
"I was the Provost Marshal in
"As the head of CID, I didn’t like the fact that I wasn’t able to engage in the role of investigator as often as I would have liked. When the opportunity presented itself, I would accompany my investigators to crime scenes; I always wanted to be out with the men in my command, and not stuck in the office pushing papers around."
“As a child, I was drawn to the investigative aspects of crime solving. At the time, I did not realise that this interest was to later become my passion”
What were your experiences with understanding the mind and motive of a killer in your early years at the FBI, before behavioural profiling was officially used, or even consciously understood?
"My early years in the FBI were in the Cleveland Division. I eventually transferred to the
"At the time I didn’t have FBI permission to do these interviews, but eventually I developed a protocol to conduct them. The FBI recognised the importance of such interviews and eventually I was able to garner its support for moving the research forward. I wanted to understand how these men felt about their crimes, their victims, getting caught, and the effectiveness, or lack thereof, of the attempts by law enforcement to track and capture them.
"This was something completely new for the FBI. We were breaking new ground and essentially making it up as we went. We were unencumbered by the laws that are now in place to protect these killers. Today, all interviews with offenders have to be reviewed by Institutional Review Boards. These IRBs decide whether it might be harmful for these men to relive their crimes by talking about them. By the time you get through with the paper work the inmates have to sign, most won’t talk with you."
How was your early work with the FBI received by other law-enforcement agencies, considering the attitude towards ‘head-shrink’ strategies during that time?
"Our approach was always to try to do what was best for the law-enforcement agency we were assisting. Our goal was, and continues
"What made it valuable was that this was not strictly an academic exercise but an attempt to better understand these offenders so that we could identify them more quickly and get them off the street. When you are dealing with a serial killer, every day that he remains on the street people are at risk of being killed. That is exactly what we were trying to prevent."
I understand that former head of the FBI, William Webster, was instrumental in providing support to begin this new facet of official crime study and analysis…
"Actually, Director Webster did nothing to help. us, or further this cause. My real mentor was Ken Joseph. He was the Assistant Director in charge of the
“I wanted to understand what these men felt about their crimes, their victims...and the effectiveness, or lack thereof, of law enforcement’s attempts to track and capture them”
Your interviews with
"It was important to understand the person you were going to interview. You had to know the crimes they committed inside and out because they would test you to see if you really knew what you were talking about.
"Many of these offenders’ cases had been adjudicated years before and they were languishing in prison. They were anxious to talk to us because we were going to give them some personal attention. They could become the teachers and we the students, and they liked the thought of that.
"Many of the offenders we interviewed had narcissistic qualities. They thought very highly of themselves and wanted to tell you how good a criminal they were, and how much smarter they were than the cops who hunted them. Of course, we were also keenly aware that they were very good liars, so it was important to know their cases very well. When they started to minimise their role or change the facts, we could call them on it. They knew we had done our homework and, in a sense, respected that.
"We often played to their egos, letting them teach us. In most cases, that is exactly what we wanted to do. We were in a different place than the police investigators who came to them hoping to solve cases. We were there to learn from them, to understand why they did what they did and how they felt when they were doing it."
Were the majority of these serial killers what you refer to as ‘organised types’? Men who understand right and wrong and actively plan their crimes, but are sociopathic in their lack of empathy and driven to continue killing?
"The typology of killers being organised, disorganised and mixed was developed in the Behavioral Unit as a way to classify lust killings. Today, law enforcement uses the term rather loosely to include all types of killers.
"In general, when you examine a serial killer’s degree of organisation, the amount of planning they engage in and the steps they take to avoid being identified and apprehended, most serial killers are going to exhibit more rather than less organisation.
"Most serial killers are also psychopaths. The motto for a psychopath is, “What is mine is mine, and what is yours is mine”. It is their lack of empathy that allows them to carry on after a murder as if nothing has happened. They are unencumbered by feelings or guilt or remorse because they do not feel them. They continue to kill because it satisfies a psychological or emotional need—and they enjoy it."
You say that you found Ted Bundy to be such an unusually organised killer that he might even require a unique profile. Can you clarify what you mean by this?
"Bundy was very good at using his superficial charm to engage people and bring them over to his way of thinking. He was very charismatic. Most people could not square the fact that he was a sadistic monster when they saw the public persona he projected.
"I saw Bundy as a higher-functioning individual than most of the killers I had met, and he was better educated. Rather than requiring a unique profile, I would say that he used his intelligence, education and superficial charm to get what he wanted, and this combination made him a more successful and prolific killer than most."
With the majority of serial crimes featuring a sexual aspect, some research suggests that sex crimes could be reduced dramatically by legalising prostitution. What are your thoughts on this?
"I do not think that legalising prostitution would reduce sex crime offences—especially those that end in homicide. Offenders who choose to commit violent crimes within a sexual context will do so regardless of whether their access to prostitutes is legal or not.
"When you fuse together violence, sexual gratification and a need to engage in both, the result is unpredictable. Add in mental health issues and/or substance abuse, and that mixture can be lethal.
"The argument for legalising might be that what motivates these offenders is the need for sex and having access to it legally makes it both more accessible and acceptable. We know from well-documented research—including my own—that most of these offenders are not motivated by sexual desire but by the need for power and control over their victims.
"Legalising prostitution may impact other criminal activities, such as drug offences, theft and robbery, but I would not expect it to impact sex crimes."
Explain the genesis of Vi-CAP (Violent Criminal Apprehension Program). It seems incredible to have achieved national co-ordination and maintenance of so many separate law-enforcement entities. Was there a catalyst for its adoption?
"Pierce Brooks, a Los Angeles Police homicide detective, and I first discussed the concept of a system that could be used to identify commonalities in certain types of violent crimes—especially serial homicide and serial rape. We knew that we were developing the ability to link various homicide cases by the behaviour demonstrated at the crime scene, but there was no systematic way to identify and link such cases across police jurisdictions, especially those in different states.
"Pierce became the first director of Vi-CAP, which was housed at the
“If you observe something long enough, aspects of it can become part of you. In studying the worst human behaviour, we must take care…that we do not assimilate those parts of evil”
"We also encouraged the submission of missing-persons cases and unidentified dead, where it was strongly suspected that foul play was involved. Although the VI-CAP system is not mandated by either State or Federal statute, it has widespread support among law-enforcement agencies. A number of other countries—including
You also endorse the work of crime psychics—a landmark in the usually conservative world of law enforcement. Cops have long stated that cases are solved with a combination of gut instinct and evidence, so why not other insight?
"It is very important to keep an open mind when thinking about ways to improve our crime-fighting abilities.
"We use cadaver dogs, toxicology, the analysis of trace evidence [hairs and fibres] and psycholinguistics [the analysis of threatening communications]. Most of these were unheard of 30 years ago. You only have to watch television shows like CSI, Criminal Minds and Bones, along with reality forensic shows, to see how much more we know.
"I suspect that in 20 years we will know that much more. It is important not to close your thinking to any new avenue of investigation."
Your work has inspired not only generations of law enforcement, but also popular culture in the understanding of what drives the criminal mind. What is your take on this?
"In the early years of our efforts to understand the criminal mind and what motivated serial killers and violent sexual offenders, I had no idea how fascinated the general public, academia, and law enforcement would become. I feel very fortunate to have been presented the opportunities to engage in this research, and to surround myself with other experts who shared the same passion I did for the journey, the cases, and what we discovered in the process.
"I feel honoured to know that I have contributed to the knowledge of man for the greater good. It is a very satisfying feeling."
Your work has inspired books and films, including Red Dragon, The Silence of the Lambs, Copycat, and The X-Files. Do you consult with authors or producers in the entertainment industry?
"Yes. I consulted with Thomas Harris on Red Dragon and The Silence of the Lambs, and with Angelina Jolie on Taking Lives, which is about an FBI profiler tracking a serial killer. I have consulted on a number of shows, as well as offered insight for various reality and forensic programs.
"I have always enjoyed sharing my insight into these offenders, since most people simply cannot comprehend what drives these people to commit such unspeakable and horrible crimes, or how someone like me can study such aberrant and disturbing human behaviour through the detailed analysis of the crimes they commit."
Some people claim that TV shows such as CSI assist criminals in avoiding detection, but with serial killers, do you believe their arrogance will always be their downfall?
"There are many shows on TV now that in one way or another educate criminals. These shows range from fiction, like CSI, to reality shows, like The New Detectives. I don’t think anyone would argue that criminals have become aware of various law-enforcement and forensic techniques that they have used in order to avoid being apprehended."
“Most serial killers are psychopaths as well. The mottor for a psychopath is: ‘What is mine is mine, and what is yours is mine’. They are unencumbered by feelings or guilt or remorse because they do not feel them”
"I believe that serial killers in general share traits of psychopathy and narcissism that make them feel superior to others. They think they are smarter than the police, and the fact that they got away with murder only reinforces this belief. I would not go so far as to attribute their eventual arrest solely to their level of arrogance, but it certainly is contributory.
"Since your retirement from the FBI, you’ve helmed Forensic Behavioral Services, consulting on serial and sexual homicide, threat assessment and analysis, and interpreting offender behaviour and motivation. What sort of non-law enforcement work do you do there?
"Although I am still the Director of Forensic Behavioral Services (www.FBSInternational.com), I don’t do much of the work these days. Most of the work is handled by my partner, Mark Safarik, who I lured away from the FBI. He retired from the Bureau in 2007, serving his last 12 years as a senior behavioural profiler.
"In the FBI, we were only allowed to receive assistance requests from law-enforcement agencies or prosecutors’ offices. Now we do work for both criminal and civil attorneys.
"In work for civil attorneys, we have been hired by both the plaintiff and defence. Even though the cases are civil, most of them have arisen out of a prior violent crime such as homicide, sexual assault, or armed robbery.
“I’ve consulted with Thomas Harris on Red Dragon and The Silence of the Lambs, and Angelina Jolie on Taking Lives, as well as offering insight for various reality and forensic programs”
What are your thoughts on criminological organisations such as the Vidocq Society?
"Both Mark and I are members of the Vidocq Society, which is headquartered in
Do you think that no matter what your course, you may have always ended up doing what you have?
"As much as people like to think I use a crystal ball and Ouija board to predict some types of human behaviour, I can’t really predict what else I might have done. However, the nature of my interests and personality inevitably led me into an investigative field, where I thrived as a military officer, and later as a law-enforcement agent. I have thoroughly enjoyed the adventures I’ve had in my career and do not have any regrets."
With your career spent studying the darkest facets of human behaviour, how did you maintain the light in your personal life?
"There must always be balance. You cannot allow yourself to be enveloped and consumed by the human tragedy you study. The balance in my life has always come from my wife, Helen—the love of life—and my three great children. It is my family that has always kept me on an even keel. They made me realise that the aberrations in human behaviour I spent my life studying and writing about are the exceptions and not the rule."
What is the most resonant fact that you have learned about human behaviour?
"Just when I think I could not be shocked by the depth of human depravity, I take on another homicide case and am rudely jolted back to reality. I have never ceased to be amazed at the capacity for cruelty one human being can have for another."
Sunday, October 11, 2009

FIT TO PRINT: MISREPRESENTING THE MIDDLE EAST
JORIS LUYENDIJK / SCRIBE
AN INSIGHTFUL, honest and informative examination of the process behind television and newspaper foreign news journalism and, more importantly, the truth about what's left out; what you don't see. If you believe that you're getting accurate information about world events by watching television news, you are dead wrong.
Luyendijk is a Dutch reporter who, with refreshing directness and honesty, reveals the drudgery, information limitations and deadlines involved in television and newspaper reporting, where reports are often based on government-supplied media releases (complete with government suggested interview leads), the assumptions and biases of individual reporters, and stories selected on audience appeal rather than news relevance due to television networks' insatiable hunger for ratings.
Luyendijk examines many failings of the news media--specifically, news media coverage of the Middle East, his specialty. What ends up on film is rarely the most important--or accurate--story.
With his stomach-full of government and military spin doctors, disinterested editors, war-room buffet tables and tired colour pieces, the author chooses to recapture his passion for reporting by getting involved with the country and people. His experiences in living in Palestine-settled East Jerusalem to see first-hand what life is like in the occupied territories, rather than writing about it from the distant safety of the patrolled city areas, are both surprising and shocking.
Far from being a depressing or politics-heavy read, Fit To Print is infused with humour, and the author skillfully applies his writing skills to entertain and inform the reader in equal measure, while also putting to rest fallacies such as: religious fundamentalism is a threat to Western civilisation; that the nation of Israel is a long-suffering and repressed state under siege by its aggressive (and war-hungry) Arab neighbours; and that non democratic governments are both less evolved and more repressive than western society. Fit To Print is essential reading.
Wednesday, July 29, 2009
The Absolute Sandman: Volume Three
Written by Neil Gaiman / Cover by Dave McKean
Vertigo
An involving and rewarding effort from the master of surrealist fantasy graphic novels.
It is difficult to find fault with such an iconic and perfectly presented book, other than to say that Volume Three is more a bridging-middle to the series than the snap-crackle-pop introductory story arcs of the two preceding books.
Naturally, it’s wise to begin your Gaiman journey with Volume One, as these are not the kind of books you just pick up and start reading from any point; the stories are deep, broad and complex—written for adults who prefer to delve into the depths instead of the shallows, with themes of morality, mythology, life after death, faith and love.
Volume Three’s major story arc is ‘Brief Lives’ (it also features the single-issue prequel ‘Song of Orpheus’), the plot focuses on The Sandman’s sister, Delirium, and her quest to find their missing brother, Destruction. Accompanied by Dream (who carries a hidden-agenda), the pair embark on a fruitless search that throws up more questions than answers—especially between The Sandman and his son, Orpheus.
‘World’s End’, travellers’ stories about how the duo became moored at the Inn at Worlds End, provides a welcome and interesting divergence. The book also features several single-issue stories, including the acclaimed ‘Ramadan’: the story of a boy-king of ancient Baghdad and the deal he brokers with The Sandman to grant his city immortality—featuring stunning illustrations by P. Craig Russell (The Jungle Book); and ‘A Parliament of Rooks’, a prequel that examines the childhood lives of Dream and Death.
First-time bonus features include: pin-up pages from galleries in The Sandman #50 and Sandman Special #1; the ‘Desire’ story from Vertigo: Winter’s Edge #3; The Endless Gallery #1; script and thumbnails from The Sandman #50, a section on Endless products (such as poster, statues, t-shirts and more); plus an introduction by artist, Jill Thompson.
This beautifully bound book of more than 600 pages is presented in a sturdy, illustrated hardcover slipcase.
Friday, May 29, 2009
Film Review: Terminator Salvation
Terminator Salvation
Warner Bros Pictures
Review: Suzan Ryan
“No fate but what we make”, the adage extolled by the young and naïve Sarah Connor in the original The Terminator, is clearly the same belief that director McG wisely assumed in following the James Cameron franchise to its denouement.
Few movies are burdened with the history, expectation and over-delivery demanded of the Terminator series—excluding, naturally, fellow classic series, Star Wars and Indiana Jones. Failure, at this level, is simply not an option.
Thankfully, Terminator Salvation delivers. In fact, it over delivers; scriptwriters John Brancato and Michael Ferris have conceived a considered and clever approach to working in the 25 years of Terminator lineage—from the nuanced to the overt—without ever falling into the gratuitous; the casting is solid (aside from the single-faceted performance by rapper, Common); the CGI is incredible and the storyline is both relevant and believable.
Sam Worthington (Marcus Wright) is impressive and memorable in his first major Hollywood role, easily holding his own against Christian Bale as John Connor—no easy feat; and while he has always been good, in this role Worthington is great.
The plot is thus: the broad strokes focus on the weeks leading to the resistance’s final attack on Skynet and John Connor’s search to find the man who would become his father, Kyle Reese (Anton Yelchin, Star Trek). The debilitated underground, led by John Connor on the ground and by General Ashdown (the inimitable Michael Ironside) in the ranks, is facing extinction. However, the film’s humanity lies in the internal struggle of former killer Marcus Wright, a man trying to find redemption in a life wasted. His journey through the wastelands of a world he doesn’t remember (post apocalypse Los Angeles), takes a turn when he meets teenage resistance fighter, Reese, and is forced to defend him against the rampaging T600s.
Terminator Salvation has heart, and balls. Perhaps director McG’s unusual abbreviation actually stands for McGyver, because this is one director who has created something wholly original from a multitude of other parts.
Thursday, May 28, 2009

BELOW: Robert Baer speaks with an Iranian cleric in a
scene from his BBC documentary about suicide bombers 
THE DEVIL YOU KNOW
His book See No Evil provided a frank and scathing look at the CIA’s flawed approach to the war on terrorism, and inspired the movie, Syriana. Now, former CIA Middle East specialist, Robert Baer, turns his focus to
Interview:
You have said that
"More annexing, and I think we’re gonna see a relationship like what the United States has with Canada, where Canada really can’t afford to challenge us on national security issues. Our security is intimately attached, and I think we’re gonna find that with
You say
"Absolutely. It comes down to
Considering the west’s experience with guerrilla tactics—the Sandinistas in
"Yes, because foreign policy isn’t taken seriously here. If we avoid a war with
“The Americans have taught the Iraqis more about corruption than
they thought they could ever learn”
Is
"It’s ideological, that’s the problem: that there is such a thing as ‘American exceptionalism’; that we can improve the world, we can perfect it, we can impose the American way of life. It’s an arrogance [and] truly a religious type of belief that as the world—as history—progresses, that “God is on our side”. It’s a Jacobin/Christian view that man is perfectible; that we’re obligated to do it; and that we are right."
We did the same thing with
"Yeah, and we had all their rocket plans from the 60s, and their designs were all flawed, but no-one wanted to believe the CIA. With
"Americans have taught the Iraqis more about corruption than they thought they could ever learn. The Iraqis I talked to are stunned with the corruption in the American occupation."
Instead of backing
"Absolutely.
"We did them a favour in removing Saddam, now the millions of exiled Shia are returning to
But isn’t
"It’s a step on the march, but what they’re gonna do is put [the annexed regions of]
"The Iranians are saying, 'Who is protecting the Christians in the world? It’s us. Who is killing them? American allies—the Wahhabi [Saudis]'. The Iranians don’t care; they let Christian churches [operate] in
"Iran has a huge Jewish community which they protect, and it’s so weird because in Saudi Arabia you can’t even put out a Christmas tree without being picked up by the religious police, yet in Iran you can dress as Santa Claus and drive around Tehran for all they care.
"The Iranians have a pseudo democracy, and yes there is a huge problem with unemployment and inflation, and yes the mullahs could be edged out, but you’re gonna find the liberals, the younger students, are gonna share the same feelings about the Shia in Iraq. They’re not gonna pull out; it’s not gonna happen."
“People are so fed up with Washington and Wall Street; they’re
disgusted with foreign policy”
Fear of a global Islamic fundamentalist takeover seems trite when we consider that Christians have been doing the same thing for centuries—converting ‘the unwashed masses’ by force or by choice...
"There are plenty of religious representatives in Iraq trying to convert the country—and they’re not Muslim, they’re Christian. The sooner that Christian-based policy leaves American politics, the better. When [religion] becomes the basis of our intellectual approach to the world, you need to get away from it."
You say that one option is to withdraw from Iraq and leave Iran as the ‘occupier state’. Is that likely?
"I think we’re gonna withdraw and effectively leave the country to Iran, but I don’t think we’re ever gonna say that. Iranians understand Americans very well, and what they understand is to let America back out of Iraq.
"They’re not gonna send troops in to fill it because they’re Persians—they know they can offend the Arabs in Iraq, so they’re going out of their way not to offend the Arab Shia; they’re very careful to guard themselves against that.
"The Iranians know their limits, they’re not asking for a lot. They want to close down the MEK [People’s Mujahadeen Organization of Iran], they want Americans out by 2011—all the demands are very easy [and, in return, they say] we’re gonna protect you, we’re gonna help you take Baghdad and the other major cities and they’re gonna be Shia, and we’re gonna do this in a very reasonable, systematic way. That’s the message coming across."
So the US should quietly withdraw while the world’s eyes are on something else?
"Yeah, and then people forget it. These wars you can’t win. We’re not losing in Iraq, but you can’t win. You just claim victory and leave."
I think President Bush did that on an aircraft carrier five years ago...
"[laughs] Yeah, but what Obama doesn’t want to happen is for the Iranians to start crowing about this. If they’re smart, the Iranians will just deny they have any influence on the outcome at all and allow us the fiction."
That’s another point you detail succinctly in the book, that Iran is happy to not take credit, to keep the wires hidden.
"That’s right. They don’t want to take credit because that reveals the [rule by] proxies. But it’s strange, the [former] Iranian ambassador to Syria [Mohammad Hassan Akhtari] admitted in an interview about a year ago that Iran supported the Islamic Jihad Organisation, which is extraordinary—extraordinary that we ignored it.
"The Iranians have the capacity to really mess us up. And what’s really going to make a difference are the Israelis."
How so?
"If [Avigdor] Lieberman got his way and expelled the Arabs [The 2004 Lieberman Plan proposed a population exchange between Arabs and Jews], or if it gets to the point where people are starving on the West Bank, or Hamas takes it over, or they go into Gaza and really make a mess of it, then all bets are off.
"There’s also the price of oil. If the price of oil goes down to US$10 a barrel and there’s chaos in the Gulf—as there will be in China very soon—then I can’t tell you what’s gonna happen."
Hillary Clinton says that she will push for diplomacy in US/Iran relations because “nothing else has worked”. Does this offer hope for legitimate gains via new security for oil and gas?
"There’s hope. Iran will give it a chance, but wait and see. Look, I live in a world of patriots—ex-CIA and security people—and even they’ve had enough. They say, 'Let it [the Capitol] burn'.
"People are so fed up with Washington and Wall Street; they’re disgusted with foreign policy. No-one’s in charge of the State Department at the moment; there are so many personal power plays..."
The Devil We Know: Dealing with the New Iranian Superpower (Scribe) is available now in bookstores nationally.

THE GODFATHER FAMILY ALBUM
Photographs by Steve Schapiro
Taschen
THIS silk-and-leather large format art book offers homage to one of the greatest movie franchises of all time: Francis Ford Coppola’s The Godfather series.
The numbered books (1200 copies plus 126 artist proofs—the first 200 featuring an original print by Steve Schapiro) are both diary and memento. Filled with interviews, screen shots, behind-the-scenes and candid photography, and so much more, this tome is a treasure.
The beautifully presented book is lovingly and masterfully crafted from the first page. The forward by Schapiro—the photographer commissioned by Life magazine to shoot the making of the film for an exclusive pre-release editorial feature—is informative, nostalgic and humorous. Schapiro took two of the movie’s most iconic photographs (as well as all interior photography): Brando as Don Corleone holding the cat (a stray found on set by Coppola), and Bonasera (Salvatore Corsitto) whispering into the Don’s ear. His eye behind the lens is undeniable.
Author of The Godfather novels, Mario Puzo, presents an 11-page examination of what it was like to write the book and the process of having it translated to film; this is no fluff piece, the many interviews discusses internal struggles, the financial strains, the personality clashes, intimidation by the real New York City Mafia and Frank Sinatra’s attempts to stop the film from being made, delivering new understanding of the process of producing movies.
Numerous exceptionally enlightening interviews with Brando, Pacino and Coppola, paired with varied, detailed on-set reports, anecdotes (the studio resisted Al Pacino in the role of Michael Corleone, so Francis Ford Coppola made him get a preppie hair cut, telling the barber he was to play Michael Corleone in The Godfather—which caused the barber to have a heart attack), unforgettable photography and memorable quotes from the films’ characters may read, on this page, as barely here nor there. How wrong such an assumption would be.
The Godfather Family Album is the cinematic love-note of a lifetime, an heirloom that is as much high-end gallery book as it is deeply personal and intimate diary. The albums are made-to-order and are numbered for posterity. Priced at AU$1300 for the standard version, as the enigmatic Marlon Brando says, this is an offer you can’t refuse.
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