What We Are Reading Today: City of Dreams by Jerald Podair

Updated 23 June 2019

What We Are Reading Today: City of Dreams by Jerald Podair

When Walter O’Malley moved his Brooklyn Dodgers to Los Angeles in 1957 with plans to construct a new ballpark next to downtown, he ignited a bitter argument over the future of a rapidly changing city. 

For the first time, City of Dreams tells the full story of the controversial building of Dodger Stadium — and how it helped create modern Los Angeles by transforming its downtown into a vibrant cultural and entertainment center, says a review on the Princeton University Press website.

In a vivid narrative, Jerald Podair tells how Los Angeles was convulsed between 1957 and 1962 over whether, where, and how to build Dodger Stadium. 

Competing civic visions clashed. Would Los Angeles be a decentralized, low-tax city of neighborhoods, as demanded by middle-class whites on its peripheries? Or would the baseball park be the first contribution to a revitalized downtown that would brand Los Angeles as a national and global city, as advocated by leaders in business, media, and entertainment?


‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world

Suleiman, who plays the lead role as himself, explores identity, nationality and belonging. (Supplied)
Updated 23 October 2019

‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world

MUMBAI: Elia Suleiman’s “It Must Be Heaven,” which was screened at the Mumbai Film Festival, is pure cinema. Like his earlier works, here too the Palestinian director uses wit, sarcasm and minimalism, this time to present a series of vignettes that are funny but also a powerful lambast of the world we live in. Suleiman, who plays the lead role as himself, explores identity, nationality and belonging.

He says people worldwide now live in fear amid global geopolitical tensions. Today, checkpoints are just about everywhere: In airports, shopping malls, cinemas, highways — the list is endless.

“It Must Be Heaven” was screened at the Mumbai Film Festival. (Supplied) 

Suleiman’s earlier features, such as “Chronicle of a Disappearance” and “Divine Intervention,” showed us everyday life in the occupied Palestinian territories. This time, it is Paris and New York. 

The first scene is hilarious, with a bishop trying to enter a church with his followers. The gatekeeper on the other side of the heavy wooden door is probably too intoxicated and refuses to let the priest in, leading to a comical situation. Suleiman’s life in Nazareth is filled with such incidents — snippets that have been strung together to tell us of tension in society. Neighbors turn out to be selfish, and only generous when they know they are being watched. 

The Palestinian director uses wit, sarcasm and minimalism, to present a series of vignettes that are funny but also a powerful lambast of the world we live in. (Supplied)

In Paris, the cafes along the grand boulevards, and the young women who pass by, are typical of France’s capital. But a cut to Bastille Day, with tanks rolling by in a show of strength, jolts us back to harsh reality. In New York, Suleiman’s cab driver is excited at driving a Palestinian. 

The film has an interesting way of storytelling. The scenes begin as observational shots, but the camera quickly changes positions to show Suleiman watching from the other side of the room or a street. The camera then returns to where it first stood, and this back-and-forth movement is delightfully engaging.

The framing is so perfect, and the colors so bright and beautiful, that each scene looks magical. And as the director looks on at all this with his usual deadpan expression, a sardonic twitch at the corner of his mouth, we know all this is but illusion. There is bitter truth ahead!