Clint Eastwood proves that he is at the top of his game with his latest effort, Gran Torino. Revolving around the story of Walt Kowalski (Clint Eastwood), a retired Ford employee and decorated Korean War vet, the movie explores themes of loss, coming to terms, friendship, and ultimately, sacrifice and redemption.
Set in the present day, the film begins with Walt burying his wife of many years. His grown-up children have strained relations with him, and he sets to living out the rest of his years wandering about in his home, tinkering around in his garden, sitting on his porch drinking beer and taking care of his prized possession, a 1972 Ford Gran Torino. He refuses to fulfill his wife’s dying wish, to confess to a "27-year-old, over-educated, virgin priest."
He is bitter about many things, mainly about how the world has changed from his viewpoint, and how his neighborhood has slowly been encroached upon by a group of Asians known as Hmongs. He has a fast and dirty mouth, and isn’t the type of guy who would waste a second of his remaining days on anything sentimental.
The gangs that roam his neighborhood force Kowalski out of his self-imposed exile. In a twist of fate, the only piece of property that is valuable to him (his Gran Torino) sets the stage for a series of events that chip away at Walt’s hard exterior, ultimately leading up to the most climactic ending that I’ve seen in recent years.
Based on a story written by first-timer Nick Schenk, Eastwood makes the film work mainly on the basis of his screen image. He summons shades of every major character he has played: the tough Man with No Name in A Fistful of Dollars, the jaded, disgruntled cop in Dirty Harry, the widowed avenger in The Outlaw Josey Wales, the terminally ill singer-drifter in Honkytonk Man, the avenging preacher in Pale Rider, the foul-mouthed drill sergeant Thomas Highway in Heartbreak Ridge, and the retired assassin Will Munny called back into action one more time in Unforgiven. The only significant difference in Gran Torino is that the gun that he has held in his hand for so many years has been replaced by, among other things, a finger and a lighter, which plays a major role in the heart-wrenching climax.
Those who are not familiar with Eastwood’s previous work may find this movie bland and politically incorrect, as Walt Kowalski growls and grunts throughout the film, calling out every available racial epithet one can think of. I would then suggest going back and checking out his previous films to get in context with Torino. It is all at the same time dramatic, dark, suspenseful, and surprisingly humorous. But without over-analyzing, the film is simply about one man’s initial refusal to accept change; as he slowly yields, he finds his own redemption.
There are moments in the film that are quite comical, mostly involving Kowalski’s “mentoring” the young Thao (played by Bee Vang), but it is always balanced out mainly by the presence of the other essential characters: the young pragmatic priest (Christopher Carley) who continually hounds Kowalski to confess his sins, and Thao’s older sister Sue (Ahney Her), who introduces Walt to the Hmongs and eventually serves as Walt’s trigger to play out his final act.
Much has been said about Gran Torino being Eastwood’s last acting role. Having watched the film, I wish it isn’t. At 78, he anchors the film with his larger than life presence, displaying blatant machismo, shades of classic humor, and quiet sensitivity, in a role that demands Academy Award recognition. He plays it as he sees it, both as actor and director; you will not find over-the-top, method acting here. Essentially, it is Eastwood playing Eastwood directed by Eastwood, and, all things considered, it is probably one the finest acting jobs he has done thus far. Compared to today’s fast-paced, effects-ridden contemporary films, this movie comes out of nowhere to remind of you of life’s basic mores and values by none other than the anti-hero himself. It is also difficult to find a role befitting a man of his age and stature, so much can be said about Eastwood's nose for the good story by Schenk.
Words like “masterpiece” or phrases like “tour de force” seem clichéd and misleading, so it is hard to summon up a definitive word to describe the themes and feelings that Gran Torino evokes, but there is a piece of dialogue in the movie that mentions the word “bittersweet.” It goes something like this: “It’s bitter because of the pain, but sweet because you’re at peace.” Rest in peace, Clint. But only for a while, because knowing the way you work, you won’t stop.
Saturday, January 24, 2009
Movie Review: "Milk" Is Lukewarm
Written by Clarence Yu
Milk tells the real-life story of Harvey Milk, the first openly gay man ever elected to public office. Based on actual events, the premise of the movie seems inspiring: the struggle of a man representing a hated, minority community who overcomes all obstacles to win representation in government.
Looks can be deceiving, however. The movie's running time just doesn't give enough to build on Harvey Milk's character, aptly portrayed by Sean Penn in a fine performance.
The film, directed by Gus Van Sant, covers Milk's life from 1970 to 1978, the time in which he begins his rapid ascent from a down and out, 40-year-old insurance executive to his final years as a gay/civil rights activist and eventually, an elected public official, serving as a City Supervisor of San Francisco.
While the film enlightens viewers on the career of Harvey Milk, it lacks a certain sort of dynamic tension needed to justify the climax; there are scenes that show a promise of build-up, but then it just veers off into various sub-plots that tend to irritate rather than to punctuate. You just don't get that feeling of victory as the movie ends.
What is good about Milk is its feel for the time and the superb acting by Penn, James Franco, and Josh Brolin. You don't expect an actor like Penn to take on a role like this, so apart from his superb performance, it is a brave one as well. He is consistently sweet and amiable throughout without any of the fits of rage or anger that characterize his previous work. Josh Brolin proves he has the acting mettle to match Penn as he takes on the pivotal role of Dan White. Brolin captures the frustration and mild insanity that the role demands.
With all the hype surrounding Milk, many will expect it to be cheesy in a good way, but get set for a mild disappointment. The film is certainly entertaining, but the scenes could have been woven tighter in a way that would have made the actors' performances really shine. The movie tells the story of an extraordinary man, but there is nothing extraordinary in its telling.
Milk tells the real-life story of Harvey Milk, the first openly gay man ever elected to public office. Based on actual events, the premise of the movie seems inspiring: the struggle of a man representing a hated, minority community who overcomes all obstacles to win representation in government.
Looks can be deceiving, however. The movie's running time just doesn't give enough to build on Harvey Milk's character, aptly portrayed by Sean Penn in a fine performance.
The film, directed by Gus Van Sant, covers Milk's life from 1970 to 1978, the time in which he begins his rapid ascent from a down and out, 40-year-old insurance executive to his final years as a gay/civil rights activist and eventually, an elected public official, serving as a City Supervisor of San Francisco.
While the film enlightens viewers on the career of Harvey Milk, it lacks a certain sort of dynamic tension needed to justify the climax; there are scenes that show a promise of build-up, but then it just veers off into various sub-plots that tend to irritate rather than to punctuate. You just don't get that feeling of victory as the movie ends.
What is good about Milk is its feel for the time and the superb acting by Penn, James Franco, and Josh Brolin. You don't expect an actor like Penn to take on a role like this, so apart from his superb performance, it is a brave one as well. He is consistently sweet and amiable throughout without any of the fits of rage or anger that characterize his previous work. Josh Brolin proves he has the acting mettle to match Penn as he takes on the pivotal role of Dan White. Brolin captures the frustration and mild insanity that the role demands.
With all the hype surrounding Milk, many will expect it to be cheesy in a good way, but get set for a mild disappointment. The film is certainly entertaining, but the scenes could have been woven tighter in a way that would have made the actors' performances really shine. The movie tells the story of an extraordinary man, but there is nothing extraordinary in its telling.
Music Review: Joe Perry - "Run Rudolph Run"
by Clarence Yu
article also available at http://blogcritics.org
Aerosmith’s Joe Perry pays homage to his idol Chuck Berry with his own recording of "Run Rudolph Run", and it’s about time.
According to Aerosmith’s official fan website, AeroForceOne, "Joe has always loved Chuck Berry’s and Keith Richards’ version of this song and has wanted to record it for years now. He also wants to share it with all the fans right here at AF1."
A diverse list of artists who have covered the song include Bryan Adams, Lynyrd Skynyrd, The Grateful Dead and Billy Idol, a testament to the long lasting recognition of the song first made popular by Chuck Berry in 1958.
Perry is reputed to be an ardent admirer of Berry, and it shows in his previous guitar work on songs like "My Girl" off Aerosmith’s Pump (1990) and the axeman often employs Berry’s trademark double-stop licks on his own guitar solos.
The recording, available for free download at AeroForceOne, follows the tradition of a swinging, rockabilly beat as previously recorded by Keith Richards. Perry’s voice is ice cool in its lack of emotion, and it is obvious that the recording was engineered to sound like a classic ‘50’s rock and roll song: high on the reverb, with a lot of bar chords, heavy on the crash drum cymbal, with bits of piano flourishes.
Perry adds his own mark on the song with his signature buzz sounding solos throughout the song. An accompanying video recorded for the song can be viewed at youtube.
While the song may only be of interest to die-hard Perry and Aerosmith fans, much can be said about Perry’s gesture of making the song free for download. The legendary guitarist has nothing more to prove, and in making this his gift to his fans, it shows a tender side of Perry that he rarely reveals in the rock arena. It can be viewed then as a simple gift from a human being using his God-given talent. Which is, in essence, part of the true spirit of Christmas. Download it now.
article also available at http://blogcritics.org
Aerosmith’s Joe Perry pays homage to his idol Chuck Berry with his own recording of "Run Rudolph Run", and it’s about time.
According to Aerosmith’s official fan website, AeroForceOne, "Joe has always loved Chuck Berry’s and Keith Richards’ version of this song and has wanted to record it for years now. He also wants to share it with all the fans right here at AF1."
A diverse list of artists who have covered the song include Bryan Adams, Lynyrd Skynyrd, The Grateful Dead and Billy Idol, a testament to the long lasting recognition of the song first made popular by Chuck Berry in 1958.
Perry is reputed to be an ardent admirer of Berry, and it shows in his previous guitar work on songs like "My Girl" off Aerosmith’s Pump (1990) and the axeman often employs Berry’s trademark double-stop licks on his own guitar solos.
The recording, available for free download at AeroForceOne, follows the tradition of a swinging, rockabilly beat as previously recorded by Keith Richards. Perry’s voice is ice cool in its lack of emotion, and it is obvious that the recording was engineered to sound like a classic ‘50’s rock and roll song: high on the reverb, with a lot of bar chords, heavy on the crash drum cymbal, with bits of piano flourishes.
Perry adds his own mark on the song with his signature buzz sounding solos throughout the song. An accompanying video recorded for the song can be viewed at youtube.
While the song may only be of interest to die-hard Perry and Aerosmith fans, much can be said about Perry’s gesture of making the song free for download. The legendary guitarist has nothing more to prove, and in making this his gift to his fans, it shows a tender side of Perry that he rarely reveals in the rock arena. It can be viewed then as a simple gift from a human being using his God-given talent. Which is, in essence, part of the true spirit of Christmas. Download it now.
Thursday, December 18, 2008
Review: AC/DC - Black Ice
by Clarence Yu, also on Blogcritics.org, here
AC/DC is like comfort music to me. With their latest release, Black Ice, these seemingly unstoppable and stubborn rockers just refuse to quit. Why should they? The music they’ve created over the past 35 years seems timeless, and you can always be sure of satisfaction. And they know it.
Produced by Brendan O’ Brien (Pearl Jam, Bruce Springsteen), Black Ice is also a return to the sound reminiscent of the band’s previous studio efforts, Highway To Hell (1979) and Back In Black (1980), with renowned producer Robert “Mutt” Lange (Def Leppard, Bryan Adams, Shania Twain).
Whether this is a conscious effort or not, the results are decidedly for the better. The various producers the band have chosen over their previous releases either gave this signature sound a slightly more commercial feel (the late Bruce Fairbairn with 1990's The Razor’s Edge), or a less radio friendly, harder edged twist (Rick Rubin, with 1995's Ballbreaker). Of course, the challenge with each producer is to try to capture the legendary bands' sound as they envision it, so credit is due to Brendan O’ Brien, who rises above the pack.
Black Ice is also a classic example of an album that doesn’t really need titles to make its point. The sequencing of the songs make the album sound seamless: each track segues into the other without much ado, and this is an album you can listen to over and over without having an epiphany of any kind.
The lead single off the album, "Rock And Roll Train," also demonstrates the band’s great songwriting skill. Take the intro of the Rolling Stones’ "Start Me Up," and add a bit of distortion to it, or take the verses from "Highway to Hell," and mix it in with the chorus from "You Shook Me All Night Long," and you’ve got a new, fresh sounding song.
The album contains all the elements of classic AC/DC themes: war ("War Machine" with its signature chants reminiscent of "TNT"), sex ("She Likes Rock and Roll") and rock (four songs on the album have the word "rock" in the title, so it's quite obvious). Outstanding cuts include the funky "Decibel," "Rocking All The Way" with some low-octave, bluesy singing from vocalist Brian Johnson, and the closest thing they’ve done to a ballad in a while, "Anything Goes," which sounds like a cross between Def Leppard’s "Hysteria" and their own "Touch Too Much" off Highway to Hell.
The band also teaches a thing a two about dynamics. Throughout the album, the only thing that constantly breaks the monotony of the basic 4/4 pounding by drummer Phil Rudd is the tempo, and whatever tempo changes that occur are always augmented by the intricate yet deceivingly simple guitar interplay between the Young brothers Angus and Malcolm. Bassist Cliff Williams knows when to play and more importantly, when not to.
AC/DC has, if anything, proven with Black Ice that there doesn’t need to be much thinking in rock n’ roll. It’s also enough to quiet all the “too old to rock” pundits who started criticizing bands of AC/DC’s stature long since grunge reigned for a time. Labels such as "metal" and "headbanging" have always been applied to describe the band's music, but much harder sounding bands have come since their inception in 1973. Basically, it’s just no fuss and no frills — a welcome respite from today’s contemporary rock. And surely, a message that rock is definitely here to stay for good.
AC/DC is like comfort music to me. With their latest release, Black Ice, these seemingly unstoppable and stubborn rockers just refuse to quit. Why should they? The music they’ve created over the past 35 years seems timeless, and you can always be sure of satisfaction. And they know it.
Produced by Brendan O’ Brien (Pearl Jam, Bruce Springsteen), Black Ice is also a return to the sound reminiscent of the band’s previous studio efforts, Highway To Hell (1979) and Back In Black (1980), with renowned producer Robert “Mutt” Lange (Def Leppard, Bryan Adams, Shania Twain).
Whether this is a conscious effort or not, the results are decidedly for the better. The various producers the band have chosen over their previous releases either gave this signature sound a slightly more commercial feel (the late Bruce Fairbairn with 1990's The Razor’s Edge), or a less radio friendly, harder edged twist (Rick Rubin, with 1995's Ballbreaker). Of course, the challenge with each producer is to try to capture the legendary bands' sound as they envision it, so credit is due to Brendan O’ Brien, who rises above the pack.
Black Ice is also a classic example of an album that doesn’t really need titles to make its point. The sequencing of the songs make the album sound seamless: each track segues into the other without much ado, and this is an album you can listen to over and over without having an epiphany of any kind.
The lead single off the album, "Rock And Roll Train," also demonstrates the band’s great songwriting skill. Take the intro of the Rolling Stones’ "Start Me Up," and add a bit of distortion to it, or take the verses from "Highway to Hell," and mix it in with the chorus from "You Shook Me All Night Long," and you’ve got a new, fresh sounding song.
The album contains all the elements of classic AC/DC themes: war ("War Machine" with its signature chants reminiscent of "TNT"), sex ("She Likes Rock and Roll") and rock (four songs on the album have the word "rock" in the title, so it's quite obvious). Outstanding cuts include the funky "Decibel," "Rocking All The Way" with some low-octave, bluesy singing from vocalist Brian Johnson, and the closest thing they’ve done to a ballad in a while, "Anything Goes," which sounds like a cross between Def Leppard’s "Hysteria" and their own "Touch Too Much" off Highway to Hell.
The band also teaches a thing a two about dynamics. Throughout the album, the only thing that constantly breaks the monotony of the basic 4/4 pounding by drummer Phil Rudd is the tempo, and whatever tempo changes that occur are always augmented by the intricate yet deceivingly simple guitar interplay between the Young brothers Angus and Malcolm. Bassist Cliff Williams knows when to play and more importantly, when not to.
AC/DC has, if anything, proven with Black Ice that there doesn’t need to be much thinking in rock n’ roll. It’s also enough to quiet all the “too old to rock” pundits who started criticizing bands of AC/DC’s stature long since grunge reigned for a time. Labels such as "metal" and "headbanging" have always been applied to describe the band's music, but much harder sounding bands have come since their inception in 1973. Basically, it’s just no fuss and no frills — a welcome respite from today’s contemporary rock. And surely, a message that rock is definitely here to stay for good.
Clint Eastwood and Gran Torino: Does He Still Feel Lucky?
by Clarence Yu, also on blogcritics.org, here
When Clint Eastwood uttered the now famous lines, “Do you feel lucky? Well, do you, punk?” in the polarizing, landmark 1971 cop drama Dirty Harry, he might as well have been talking to himself, minus punk, as he enters another interesting phase of his storied career.
Gran Torino, which opens this December in limited release and wider in January, has been receiving mostly positive reviews as it makes its premiere rounds with the usual critics. The particular emphasis now is on Eastwood the actor, in his first starring role since 2004’s Million Dollar Baby, and also rumored to be his last thespian effort.
Eastwood’s acclaim owes much to his directorial efforts: Unforgiven (1992) and Million Dollar Baby (2004) won him two Oscar awards for Best Director and Best Picture, and Mystic River (2005) and Letters From Iwo Jima (2006) garnered Best Picture and Director nominations as well. He is reputed never to shout or disrupt his actors when directing, keeps his set relatively calm and focused, and delivers his films under budget and with great speed.
Being a lifelong fan of Eastwood, the actor, has been no easy task for me, personally. The stereotype he virtually created — laconic, lean, mean, mysterious, and anonymous — has been particularly hard to defend against nonsensical accusations (especially from vicious personal friends out to hurt my feelings) painting Eastwood as a lazy actor. I always argue that he acts in terms of gesture and economy of dialogue, but that is another story altogether.
I have mixed feelings about why critics get to see a movie like this before I do, but in large part due to Ben Stiller’s terrific Tropic Thunder, I can accept the logic easier now. The film is obviously up for the Academy’s consideration, and there is always this drawn out process of taking out ads and lobbying for votes. Releasing two pictures this year in the late fall has been the same strategy that Eastwood employed in 2006 (Letters from Iwo Jima and Flags of Our Fathers), the other film being a directorial effort, The Changeling, starring Angelina Jolie.
Nonetheless, I am absolutely frantic in anticipation of seeing Gran Torino. I loved the trailer, and have heard the tear-jerking closing credits song (co-written and sung by Eastwood himself in a duet with English jazz singer Jamie Cullum). I’m reading all the reviews I can possibly find. I’m being sucked in slowly but surely, the same way I was during Million Dollar Baby’s pre-Oscar rituals. My crazy theory is that he lost out for Best Actor in Unforgiven and Million Dollar because of a stellar but overshadowing supporting cast (Torino's supporting cast are unknowns) that garnered both Gene Hackman and Morgan Freeman their supporting actor trophies. One feels that, at 78, perhaps wanting to go out with the biggest bang possible, Eastwood the actor wants to make sure that all bases are checked and is relying less on luck to bring in his potential first acting Oscar.
Whatever the outcome will probably not diminish his status, but a win against Sean Penn (directed by Eastwood in Mystic) and Dustin Hoffman, amongst others, would surely be a fitting coda to Eastwood’s distinguished career.
Book Review: Crash Proof - How to Profit from the Coming Economic Collapse
(also featured on blogcritics.org, here)
By Clarence Yu
I have to admit that I discovered author Peter D. Schiff the new-fashioned way: via YouTube. A friend of mine insistently kept sending me links to his televised appearances on Fox News and CNBC, so, one day, I finally relented and watched a clip. His words were enough to make me go out and buy the book Crash Proof, which he wrote with John Downes (also by Schiff: The Little Book of Bull Moves In Bear Markets: How to Keep Your Portfolio Up When the Market is Down).
Crash Proof is a book about economics, specifically sub-titled as How to Profit from the Coming Economic Collapse, and was published in 2007, way before the current worldwide economic crisis hit us. If you're thinking that this was a book that should have been bought and read in 2007, think again. This book has way too much information in it to be treated just as a "how to" guide, and offers plenty of invaluable advice, whether or not we are in a crisis situation.
In Crash Proof, Mr. Schiff gives the reader a back-to-basics lesson in fundamental economics, dispensing with technical economic jargon and instead using conventional day to day conversational language. Mr. Schiff doesn't pretend that you know everything, nor does he spoon feed you with perfect information, so the layperson reading the book is able to stop once in a while and think before continuing on.
Slowly but surely, the reader is treated to doses of common sensical insight and concepts about the mysterious world of economics---for example, carefully explaining what the trade deficit is about and why a capital surplus isn't always that good, among other things. Or what the gold standard was, and what the Fiat system currently is. I never learned that when I was taking up economics in college (perhaps I wasn't listening), but the point I'm making is that I wouldn't be able to explain this to you now had I not read this book. On that point alone, this book is worth its price, and more.
Building from this momentum, Schiff argues on several points on why and how the U.S. economy is in its current state, and offers specific strategies on how to protect yourself from the real estate debacle that already happened (again, the book was published in 2007), what to buy, what not to buy, but most importantly, he presents the logic on which he builds his strategies with a simplicity that is so understandable, until there is absolutely nothing left to explain. In my case, I had to check Wikipedia a few times to check out some definitions in the book, but not nearly as much as when I read the newspapers or when I inadvertently happen to find myself in the middle of a conversation on economics (not my favorite topic, now and forever).
But what is most admirable and noteworthy about Mr. Schiff's approach is his apparent ideology: he advocates a shift in American economic policy back to manufacturing goods (production), living beneath your means, saving your hard earned money, and emphasizes, in so many words, the value of hard work, as opposed to borrowing to fund your needs. Work and use common sense, Schiff seems to be saying, and you will reap. Followers and worshippers of the Federal Reserve, Allan Greenspan, and Ben Bernanke may have trouble reading this book, but nonetheless, it can’t be denied that the advice Schiff dispenses is invaluable and logical.
The title Crash Proof: How to Profit from the Coming Economic Collapse doesn’t really do the book enough justice, for the content is more than just about that. And though most of the scenarios painted within the book aren't exactly all about sunshine and rainbows, the context in which Mr. Schiff writes --- the worldwide economic crisis --- allows for him to explain economic concepts which are much more understandable to the reader, because of the immediate urgency of this context.
For anyone who has always wanted a solid, easy to read and practical book about economics, but has always been put off by the usual difficult economic terminology, have no fear. Crash Proof will not exactly show you the way out of the tunnel, but it will enlighten you, amuse you and inform you along the way.
Sunday, December 7, 2008
Manny Pacquiao should fight everyday
Manny Pacquiao, now the undisputed wonder of the boxing world, should start fighting everyday. According to this report from USA Today, the crime rate during his fight versus Oscar De La Hoya was virtually nil.
What do you say, Manny? If you really want to make a change, instead of running for Congress or public office, just fight everyday. But I'm not sure you'll do that. You'll probably come home to a ticker tape parade, bestowed with more accolades, record more "Pacman" audio CD's, and enter into more advertising, licensing and franchising deals, which will no doubt plaster your mug around Manila's crowded city highways on giant, monstrous billboards (by the way, do those painkillers really work?) Which is fine. After all, you deserve it. You won the fight. You made the Filipino nation proud. What's the problem with making a few bucks while uplifting the dignity of one of the poorest third world nations?
I just hope one day when you wake up years from now, after all the champagne is sipped, after all the giant, sprawling advertising billboards in the Philippine metropolis bearing your name and a product long gone, your CD and DVD sales all spent and your youthful energy exhausted, that you will realize the potential you had in effecting real change. The Filipino nation, tired of hearing bad news of corruption and governmental scandals, is literally at your command. The irony here is not wasted on some like me: with good news of your continuous wins, the newspapers choose to flash you on their front pages instead of what real news is about. Why don't you start speaking about the real truth?
You, of all people, the people's champion, have the mandate to do this: borne into a world of poverty: the poor boy, who thru hard work, discipline and divine providence, captures a world boxing championship crown and wins more respect than any "elected" official of the Filipino nation. The people who afford you this respect are the very people suffering today from the unfair and corrupt practices (of which, I'm sure you suffered from during your difficult rise to the top) of the Filipino government and commerce --- who, oops, also happen to be, by the way, your prime sponsors and backers.
To say that your victory is a victory for the Philippines is a fallacy, borne of flawed logic, allowing government officials to effectively sweep more corruption related problems and scandals under an already overcroweded and dirty carpet.
This victory is yours, and yours alone. You can offer the victory to the Philippines, but it is not theirs. Cherish it, do not abuse it. Honor your fallen fellow boxer and countryman Rolando Navarette. And while there is still time, use your power wisely. If you are not afraid to step into the ring with deadly prizefighters, at the risk of shedding blood and feeling enormous physical pain, surely, then you should not be afraid in using your celebrity as a starting point in taking on other deadly fighters (of the economic and political kind). After all, we've heard more outrageous stories: A housewife with minimal knowledge of her nation's politics, whose husband was once murdered by a tyrannical President, led a revolution and became it's first woman President. Her name was Corazon Aquino.
What do you say, Manny? If you really want to make a change, instead of running for Congress or public office, just fight everyday. But I'm not sure you'll do that. You'll probably come home to a ticker tape parade, bestowed with more accolades, record more "Pacman" audio CD's, and enter into more advertising, licensing and franchising deals, which will no doubt plaster your mug around Manila's crowded city highways on giant, monstrous billboards (by the way, do those painkillers really work?) Which is fine. After all, you deserve it. You won the fight. You made the Filipino nation proud. What's the problem with making a few bucks while uplifting the dignity of one of the poorest third world nations?
I just hope one day when you wake up years from now, after all the champagne is sipped, after all the giant, sprawling advertising billboards in the Philippine metropolis bearing your name and a product long gone, your CD and DVD sales all spent and your youthful energy exhausted, that you will realize the potential you had in effecting real change. The Filipino nation, tired of hearing bad news of corruption and governmental scandals, is literally at your command. The irony here is not wasted on some like me: with good news of your continuous wins, the newspapers choose to flash you on their front pages instead of what real news is about. Why don't you start speaking about the real truth?
You, of all people, the people's champion, have the mandate to do this: borne into a world of poverty: the poor boy, who thru hard work, discipline and divine providence, captures a world boxing championship crown and wins more respect than any "elected" official of the Filipino nation. The people who afford you this respect are the very people suffering today from the unfair and corrupt practices (of which, I'm sure you suffered from during your difficult rise to the top) of the Filipino government and commerce --- who, oops, also happen to be, by the way, your prime sponsors and backers.
To say that your victory is a victory for the Philippines is a fallacy, borne of flawed logic, allowing government officials to effectively sweep more corruption related problems and scandals under an already overcroweded and dirty carpet.
This victory is yours, and yours alone. You can offer the victory to the Philippines, but it is not theirs. Cherish it, do not abuse it. Honor your fallen fellow boxer and countryman Rolando Navarette. And while there is still time, use your power wisely. If you are not afraid to step into the ring with deadly prizefighters, at the risk of shedding blood and feeling enormous physical pain, surely, then you should not be afraid in using your celebrity as a starting point in taking on other deadly fighters (of the economic and political kind). After all, we've heard more outrageous stories: A housewife with minimal knowledge of her nation's politics, whose husband was once murdered by a tyrannical President, led a revolution and became it's first woman President. Her name was Corazon Aquino.
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