There is a point in Homer's "The Odyssey" where Odysseus is washed ashore from a shipwreck. In his desperation, a young woman comes to his aid, rescuing him from his end. She was Nausicaa, lover of nature, and eventually serving as a mother of his rebirth.

In Hayao Miyazaki's first masterpiece "Nausicaa of the Valley of the Wind" he heralds a protagonist of similar inspiration, whose own odyssey and heroism would also take on Homeric proportions.

The film's story takes place in a dystopian timeline where human civilization appears to be in its last throes. A vast toxic jungle envelops the land, teeming with monstrous insects, hostile to anything that disturbs the expanse. A few kingdoms remain, at war with the jungle and each other. One remaining beacon is the Valley of The Wind, a peaceful and prosperous feudal community, seemingly protected from the jungle by its bordering forest and strong winds.

The Valley's princess, Nausicaa, is a free spirit and genuine "renaissance man." Puzzled by the jungle's nature, she frequents its depths for resources and answers. Aside from mastering flight, she's also a ferocious warrior when need be. But what truly defines her is her uncanny rapport and devotion to all living things.

One day she is visited by Lord Yupa, a noted Valley resident revered for his wisdom and unparalleled swordsmanship. He has returned from his search for a prophesied savior only to return with grim news.

That same evening a massive airship crashes near the valley, attacked by an insect swarm. Having come from the neighboring jungle, it brings spores which threaten the Valley's forest, as well as an uneasy cargo.

The Valley soon learns that its ominous load is a prize sought by warring kingdoms, one of which lays siege to the Valley. This leads to various adventures, escapes, revelations, and locales of staggering creativity. Ranging from underground caverns, to heart of the toxic Jungle, and even to the very stratosphere.

The film is considered to be the first of Miyazaki's works to showcase his strong environmental inclinations. In every film since he has made his case for man to grow closer to nature as a return to the olden days. He does so with positive reinforcement, hardly ever resorting to demonizing, moralizing, or sermonizing. Here, the toxic jungle isn't so much an inhospitable realm as it is a fearsome marvel of nature. It's huge arthropod denizens never come off as oozing grotesques, but wondrous (though scary) creatures. The film's largest creations, the ohmus, are wholly original, and are almost proof that the eyes are the window to the soul.

Miyazaki's refusal to narrow down conflict to two or even three sides is refreshing, and quite admirable considering its target audience. The film's story does concern good versus evil, but they aren't manifested in simplistic ways. Each populace has its own motivations. Each conflict has its reason. Wars exist among man and against nature. Several stakes exist. Even death is hardly out of bounds. For much of the film, there is no one problem/solution. But despite this moral complexity for an animated film, it all fits Miyazaki's big picture, and in the end we see it.

It takes a deep wisdom and understanding of youth to be able to carry out this vision. To know that children will grasp and want to grasp his story and ideas. Miyazaki accomplishes this not only by his storytelling techniques, but also through his visual artistry. Like the very best of Japanese animation, there is a warmth and softness to his illustrations (thanks to his pristine watercolor motifs) that make it almost effortless for viewers to accept and acclimatize to what unfolds on the screen. It allows for his characters and narrative to "breathe" (and breathe deeply), with moments of contemplation and authentic feeling taking hold. Compare this to his contemporaries who have to rely on cutesy gimmicks, frantic pacing, or glitzy style to draw in audience interest.

But its "what" he illustrates that captures our hearts as well as our minds. Much of anime in the past 20 years has concentrated on a utopian future, filled with technological wizardry and innovation, which is abundant in Japanese culture. But Miyazaki tends to look back instead of looking forward, inward instead of outward, looking at treasures of futures past that might have been. Like most of his films, his timeline here isn't technological, but pastoral, with people relying more on each other and the Earth.  He favors gorgeous green panoramas usually near blue bodies of water. He is in love with flight with his heroes soaring through the sky, representing our dreams of breaking through our limitations. We sense his hope in women more than men, believing them to be the key to humanity's progress as opposed to man's history of violence. These creeds and themes are held dearly and instinctively by the young and hopeful, and its Miyazaki's ability to convey these naturalistic ideas through his visual imagination, which makes him unique.

And his imagination. My God is it breathtaking. Only Pixar has been able to rival Miyazaki's creative energies in forming entirely new sights, sounds, and stories with each subsequent film. But Pixar is a collection of talent (all of whom pretty much worship him), while Miyazaki is a singular force. While even the greatest of directors have to rely on cast and crew to carry out their visions, Miyazaki pretty much IS the film. He might be the closest thing to the idea of an "auteur" which filmdom has.

Yes I effuse praise for Hayao Miyazaki, but to write about his films can only lead to discussing the marvel that is the man. No other animator has produced such an admired body of work in the past 30 years, nor has influenced so much of its workings. And in the world of animation "Nausicaa of the Valley of the Wind" is one of its brightest stars, giving birth to Studio Ghibli and its priceless body of work. It is the seminal Miyazaki film, breathing wonder, tenderness, and life into worlds where we'd all like to live in.

The 60s were a rough transition for America. Major shifts seemed to be occurring in every fabric of society from civil rights to sexual mores. The worsening course of the Vietnam war fueled distrust in political institutions. Women's rights highlighted a breaking from oppressive traditions. The old seemed to be fading away more radically than ever before.

Like the era it was made in, "Hud" was a key shift. As film critic Emmanuel Levy correctly puts it, it is "a transitional film between the naive films of the early 60s and the more cynical ones later in the decade."  Though it plays as a compelling drama of small town life and family tribulation, through its lens of father-son conflict, it also captures the angst in the loss of authority, the gap between of two different generations, and an elegy for the good ole' days.

Based on the novel "Horseman, Pass By" written by that marvelous writer of the contemporary west Larry McMutry (best known for "Lonesome Dove"), "Hud" chronicles the hardships of the O'Bannon family, headed by its elderly patriarch Homer (Melvyn Douglas). He owns a cattle ranch and runs it with the help of his son Hud (Paul Newman), and Hud's wide-eyed nephew Lonnie (Brandon De Wilde).  While the O'Bannon boys run the ranch, their housekeeper Alma Brown (Patricia Neal) runs the household.

The film draws much of its power from its relationships, told mainly through Hud's exploits and conversations. A drunk and a womanizer, he can't help but switch from ranch hand to ladies man any chance he gets. Though he is weak with vice he possesses a certainty and a bravery that doesn't quite cross into foolishness. He's sly and not shy.

His father Homer is almost always on his case, and a model of calm unrelenting virtue, which might not be a virtue itself. He harbors a disappointment and bitterness in his son, which may seem apparent to Hud and to us, but goes deeper. Lonnie on the other hand is a true innocent who likes being with Hud because he's the closest thing to being a father figure and a big brother rolled up into one.

One day Homer finds one of his cattle dead, leaving both he and Hud puzzled as to the cause. Both find out soon enough that it is the worst thing that could happen to their way of life. It only brings out the ugliest in both their bitterness towards each other and ethical questions on how to cope with what is to come.

These doubts along with the animosity between father and son reflected the uncertainty of the times "Hud" existed in. Though the story seems to be set in the 50s with its careful attention to rural Americana, it only enhances an elegiac mood of a passing era, which Homer fully embodies. And as his soul seems to wither, his ranch transforms slowly and sadly in step, from buzzing to barren (pictured in gorgeous black and white by legendary cinematographer James Wong Howe).  Melvyn Douglas plays him with a authentic dignity that is felt throughout his performance, regardless of how simplistic or vague his characterization is. Even with a simple sing-along moment, he finds away to bring out his heart.

Though Homer might be the counterpoint which Hud plays against, but it's his relationship with Lonnie which helps us sympathize with him. Brandon De Wilde completely conveys a guilelessness which we can't help but reminisce on and care for. We relate to how he admires his grandfather, as it reflects our own hopes in acquiring the wisdom of our elders. But we also understand why he gravitates to Hud as he seeks a fellow exuberant spirit. When we see Hud take Lonnie under his wing, hesitantly revealing secrets, we understand him. Without Lonnie, Hud would be nothing but an ingrate.

Another one of the film's treasures is Alma Brown who arouses desire. Ideal in Lonnie, carnal in Hud. Played by the late Patricia Neal, she provided a refreshing change from the primped up cowboy beauties of the 50s (e.g. Angie Dickinson in "Rio Bravo") and provided a glimpse of the earthier female personas yet to come (e.g. Claudia Cardinale in "Once Upon A Time In The West"). But before or since, has there ever been a tougher or more memorable female character in a contemporary Western than Alma? She shows sensuality without trying to be sexy. She marks interest in Hud without revealing weakness, and her no-nonsense approach was ahead of its time. She more than held her own against Paul Newman, which only adds to her and the film's appeal.

And of course we have the inimitable Paul Newman whose role here would cement his place in the Hollywood firmament (and supply him pretty much a dry run for his most famous role of "Cool Hand Luke"). It should be said the novel portrayed Hud as a man without merit. But here, with grace and gravitas, he supplies Hud with inklings of a soul. We understand why he went wrong, find an hint of where he may have gone wrong, and realize that inflexible nobility can produce its equivalent opposite.

Paul Newman was said to have been shocked that so many viewers felt for Hud O'Bannon instead of viewing him as a villain. Though many people see him as Alma rightly called him, "a cold-hearted bastard," he's more than that. "Hud" as a character of his time embodied a new ethos (right or wrong) longing to break free from old norms and seeking acceptance. As a film, it marked the entry of a new type of Western, one that was more intimate, more cynical, and more authentic than those before it.

I met a father and son who had been coming to Ebertfest for the past 3 or so years, the father being supportive of his son's love for films. We saw film critc/journalist David Poland introduce his lovely 3-month old (most likely conceived during last year's Ebertfest?) to Roger and Chaz. Grace Wang took pictures of our feet (Guess who's who!) and I was able to get a surprisingly private moment with Roger. What he told me I will forever hold in my heart.

Off to the films we went. The first showing being MUNYURANGABO, the story of two Rwandas of different ethnicities. Both on a journey of revenge, but life happens along the way, affecting them in ways no one will expect. If any word describes this film, it is contemplative, seeming infinitely more in tune with the rhythms of life than the pace of a mainstream movie. To the uninitiated it will feel slow and even meandering, but it comes together brilliantly and poignantly in many genuinely heartbreaking moments. None more so than in a poem that hits you like a lightning bolt.

I had met with the film's director Lee Isaac Chung the day before, and the first thing that struck me was how young he was. At the festival's opening gala, I sincerely thought he was one of the student volunteers! Upon realizing who I was talking to, I tried to gather myself, noting what a remarkable film he made. He was without affectation or pretense, looking like a regular (yet smart) guy just happy to be here. Perhaps he was.

His participation in the Q&A with his fellow producers Sam Anderson and Jenny Lund revealed many surprises. Their film took only 11 days to make, when I was almost certain that it could have taken much longer. His project didn't arise out of any need to preach racial acceptance, but as a means to teach film to locals while his wife was participating in humanitarian efforts in Rwanda. Lee himself originally intended to pursue being a doctor, but got sidetracked into filmmaking in his senior year at Yale. And the film's most crucial scene was delivered impromptu by a local actor. Such fortunate circumstances, such a cinematic blessing.

Being deprived of sleep for the past few days (averaging 4 hours a day), I decided to skip the next screening of Michael Tolkin's THE NEW AGE, which I had already seen before. I wish I didn't have to, knowing that this was the same guy who penned Robert Altman's THE PLAYER, but it was either that or miss APOCALYPSE NOW: REDUX, which I had never seen on the big screen. Sorry sir!

Thus came Francis Ford Coppola's masterpiece. Since Walter Murch, the film's editor and sound designer could not attend due to the Icelandic volcano's rampage on European airspace, David Bordwell introduced the film, and gave me a moviegoing tip that will stick with me forever. He told the audience to played close attention to use of sound, noting that Mr. Murch was one of the very few geniuses working in film today. He cited his careful modulation of mosquito buzzings in the film's opening hotel room scene. Anyone paying that much attention to detail deserves to be noticed.

And Mr. Bordwell was dead-on. I have seen films that have had much larger action pieces, or more frenzied scenes of devastation (e.g. SAVING PRIVATE RYAN), but somehow, Walter Murch's use of sound in APOCALYPSE NOW enlarges the film even further. Wagner's "Ride of the Valkyries" has never been used better, or been imagined so much more terrifying. Vietnamese jungles have never felt deeper. And Brando's last whispers truly magnify, "The horror. The horror."

What a terrific night it was. And it only got better, as Carol (The Eberts' personal assistant) invited us out for a Steak N' Shake session (my second). That was four meals available to us today (1. Meet N' Greet; 2. Lunch; 3. Dinner; 4: Steak N' Shake). Carol welcomed some Oregon students who were planning to attend the whole week. She also showed how tall she was next to Omer. Grace finally got her Steakburger and Milkshake fix. And I got to hang out with my first and probably only fan (I'll blog about him later). Thank God I skipped dinner.

  

So Seongyong, Gerardo, Mrs. (Monica) Gerardo, Ali and me were picked up by my "host" Spencer Turkin, who for some reason was the only one available at the time to take us out for lunch (a guy you can depend on). We got to Steak N' Shake and made our orders.

It was the best burger I've ever had. Not too soft, not tough, not too big, not just simply beef. It had a rich and varied flavor with a size I can only describe as perfect. I have been on a successful diet for the last month and half and have lost 7kg in that time, so I did not order a "Chocolate Fudge Milkshake" that would decimate my efforts. It was so good that I had one to go. Ali liked it so much he had another one right there and then (but he's a runner, so his metabolism takes care of it).

And as if our trip wasn't amazing enough, Spencer noticed that a camera crew from the local ABC News Channel 15 had staked us out. Apparently, they must've picked up on Roger's tweet of us heading to Steak N' Shake. Reporter Ryann Monahan asked to interview several of us and film us conversing over lunch. I found it surreal and was stunned (I still don't know how I should have reacted). Ali was a pro and took care of it. You can see the results.

Never before have I been asked for a broadcast interview, let alone twice in one day. Even Spencer thought it was a blast. Thanks Rog! :)

We headed back to the Union for some rest, to get ready for the Opening Night gala and film showings. I wanted to come off looking professional, but I think I came across more as a Secret Service Agent.

Too late to dress down, we proceeded to the University President's residence, which was elegant and picturesque. It was there I met the rest of the Correspondents: Grace Wang, Omer Mozaffar, and Omar Moore.

It was truly wonderful being in each other's company. Roger's patronage of our passion for movies didn't only move our hearts, but it also gave us a whole new set of friends, those I personally can talk to in the language of film which I am not able to share with even those dearest to me. I finally have these cinephiles I can relate to.

As the gala went on, the University President, his wife, and other dignitaries praised him, his festival, and those who helped make it happen. I thought that was that, and then mingle time (something I'm kind of dreadful at). But Roger, through Chaz, highlighted us correspondents once more, asking us to come up front, soak the applause, and sit near him (I don't think I've ever received that kind of reception in my entire life). He then introduced the rest of the festival guests who were present, with the great film writers/directors Charlie Kaufman and Michael Tolkin, amount others. His introduction of Claire Sardina, was especially touching.

Time flew, and before you knew it, everyone was headed towards the Virginia Theater. I used my VIP pass, an object I am totally unfamiliar with, and headed into the theater. Its rustic ruby-lit atmosphere, along with its large size (for 35-70mm projections) was beautiful. The tireless Chaz Ebert once again addressed the audience. And though I thought my bouts of shyness would be over, she highlighted us again, one by one, to an even larger, warmer applause. That's twice in one day, that I've experienced something surreal and immensely special, twice more.

After Roger was honored by Illinois Governor Pat Quinn with today being honored as "Ebertfest Day," the first film showd was Pink Floyd's THE WALL. I had heard about the film before as a child, but nothing could have prepared me for its power, its creativity, its grotesqueness, its music, and its unbridled passion. Roger is right when he considers it a "Great" Movie.

Ali Arikan takes the stage as a panelist, conversing with the splendid AP film critic Christy Lemire and musician Tom Dark, and he is absolutely in his element, bringing up interesting points of view and analysis. Yes I sound like a play-by-play announcer, but I can't help but root for my fellow FC! We have to represent! Ok I'll stop.

The next showing was that of DU LEVANDE (YOU, THE LIVING), A Swedish film that can be both depressing and joyful, and definitely unforgettable. The film was moderated by Michael Phillips, co-host of Roger's former show "At The Movies," the great film critic Elvis Mitchell, a professor from the University of Georgia whose name I have forgotten, fellow correspondent Gerardo Valero, and Roger Ebert. I found it wonderful to listen to Elvis once again (I just had to), as I miss his reviews at the New York Times, and was lucky and honored to interact with both he and Mr. Phillips. If only we could do it once more at length.

Who knows there are 4 more days to go. The night ended with tired movie lovers, but replenished souls. Here's to Day 2.

The day before Ebertfest was fairly uneventful, with the whole morning spent touring the campus grounds, which was quite something for me since I haven't walked that much since my previous University days (has it really been 15 years?).

For those new to the festival, it is held at Urbana, Illinois, right on the outskirts of the campus of the University of Illinois in neighboring Champaign. I've been to large campus grounds before, but UIUC is in a league of its own. Spanning over 3 zip codes and holding 40,000 students, it's a virtual city of youth with sprinklings of small town flavor and historic America. I don't think I've ever been in a city with such dominant and varied shades of rustic brown and mahogany. Even new buildings are purposely built to fit in with the old.

My campus guide is Spencer Turkin, who does play-by-play announcing for major sporting events. I find it remarkable that despite being an out-of-state sophomore, he knows more about his campus than most University seniors I have known all my life. He tells me he just has a real love for his school, and that it helps him a lot during his broadcasts when he has to "fill in" lulls with information.

We walked and we walked and we walked. Over two zip codes I believe. There were fascinating science and research buildings (first time I've ever been to one doing Nuclear Engineering), including a facility that houses Blue Water, which might be the most powerful supercomputer in the world (HAL!). And old style campus buildings with glorious green scenery (the main quadrangle is a student's dream).

But the highlight of my tour was being able to visit Memorial Stadium, my only experience to step into a real life football field (Yes, I had my RUDY moment walking out into the stands). It's a unique thing stepping into a facility that can house over 60,000 people, which is still considered small compared to its rivals.

I walked to the field across to the 50-yard line on the 'I' of the Illini initial, the first time I grasped the vastness of the playing field, and further appreciated the speed which football players are able to traverse what I wouldn't even be able to sprint full length. Spencer said I was lucky that the facility wasn't locked as it usually is (Heavens be praised!).

And what an honor to see the World War 2 tributes outside the stadium, and especially see Grange Rock, a huge slab of Indiana quarry used to build the stadium dedicated to Red Grange, one of American football's icons. 

I've been to the US many times before, on both coasts and around the Midwest, but visiting these campus landmarks was really special; definitely unique.

I headed back to my quarters to prepare for last night's Pizza Party at Cowboy Monkey, which was held for the Festival's volunteers. I met Clare Margiotta, a teacher who said she had been volunteering for years now. I met Nate Kohn the Festival director who was with there with Roger Ebert from its inception. Nate asked me to participate in a radio interview the next morning, which will be a first for me. I also met Mary Susan Britt, who is Nate's right hand in getting the festival to fruition.

I happily was able to meet Seongyong Cho (South Korea) and Gerardo Valero with his lovely wife Monica (Mexico). We recognized each other immediately from seeing our video reviews. Their love of films was clearly evident, as we talked about it often through the night. We kept asking how did we get here, and they were interesting stories with a lot in common, Roger of course.

Speaking of which, Roger Ebert, his wife Chaz, and their assistant Carol arrived later that evening as they had driven into town that very day. Though you wouldn't call the Bar crowd a throng, it certainly did gravitate his way. It was the first time I got to see him in person (Seongyong that lucky devil got to meet them while he was sightseeing in Chicago), and the moment I spotted him, something knotted up in me. It wasn't the pizza.

Call it a mix of disbelief, immense gratitude, deep realization, and just a plain case of being starstruck, My eyes welled up. Seongyong, Gerardo, Monica and I were at the end of the bar, and the night's couple were making their way in our direction. My eyes met Roger's and we knew each other right away. He reached out to hug me, patted me on the back. I patted my left hand on my heart, showing him it was a very special moment. He knew.

Inner voice to self: Too many cameras! No crying! Must maintain dignity!

Chaz then took the mic and took the time to thank everyone who had attended, Including Vincent P. Falk, the subject of the documentary VINCENT: A LIFE IN COLOR. Names were mentioned, gratitude was sincerely given, and if you've never seen anybody smile with their eyes, you should've seen Roger that night. His peepers lit up with joy seeing everyone's efforts bear fruit. Personally I wanted to pull him aside take a picture, but hell, everybody there wanted to. So did Entertainment Tonight (which was there to interview him and Chaz).

But he did take our picture in a group photo. He sent us a copy when the night was over (the man never rests!). By the way, I gave the flowers!