Iron Man 1987
Sergei Chime
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Background: Health authorities recommend that populations consume a diet providing sufficient iron, and in order to prevent iron deficiency, a number of countries have fortified certain foods with iron. In Denmark, flour was fortified with iron from 1954 until 1987, at which time the mandatory fortification was stopped. This study examines the effect of iron fortification on iron status by comparing the intake of iron with serum ferritin over time and in relation to the removal of flour fortification.
Results: In 1987/1988 the fortification may have supplied up to 25% of total iron intake, and without this enrichment some 35% of the men and 73% of the women may have had iron intakes lower than 10 mg/day. Assuming that no flour was enriched, iron intake was constant during the 6-year study period. Despite this, after flour fortification was stopped in 1987, serum ferritin increased among both men and postmenopausal women.
Conclusions: Considering that mandatory iron fortification of flour affects the entire population, including subjects who are at risk for chronic diseases because of too-high iron stores, the decision to stop the mandatory fortification in Denmark seems to have been well-founded.
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Adam (Andrew Scott) lives in a corner of London that might as well be at the edge of the world. He can see the bustling city in the distance from his apartment, but it doesn\u2019t seem to hold much interest for him. He\u2019s one of the few residents of a newly constructed high rise seemingly designed for the lonely. It\u2019s both residence and workspace for the fortysomething writer, a place to turn out TV scripts that he talks about dismissively when he talks about them at all. But that starts to change one night when, after a fire drill, he meets his younger neighbor Harry (Paul Mescal). Harry\u2019s drunk and makes a sloppy pass that Adam politely, and reluctantly, bats away but the encounter seems to have stirred something in him. The next day, he opens a new file and taps in the words \u201CEXT. SUBURBAN HOUSE 1987,\u201D the first step of a journey to the past.
The latest film from Andrew Haigh (Weekend, 45 Years), All of Us Strangers adapts the 1987 novel Strangers by Japanese writer Taichi Yamada (who died a few weeks ago at the age of 89). Like the novel, it\u2019s a ghost story, but Haigh treats its ghosts matter-of-factly. When Adam travels by train to the suburban town in which he grows up and meets his dad (Jamie Bell) and mom (Claire Foy), both parents and child understand the situation. They\u2019re no longer among the living, having died in a car accident when Adam was twelve and though they\u2019re pleased to see their grown-up son, they\u2019re mostly content to continue an afterlife existence much like the lives they led before, puttering around the house, doing laundry, and going on the occasional errand.
But it\u2019s the mundaneness of this life, with all of its unspoken acknowledgements and unfinished business, that makes Adam\u2019s return home so powerful for him, and gives All of Us Strangers its emotional charge. Adam has somehow been given a second chance to explore the parents he\u2019s lost and the world he left behind with adult clarity. The passing of the years haven\u2019t made what he sees any less searing.
Even without knowing that Haigh used his own childhood home as Adam\u2019s, the film would feel personal. Between visits with his parents, Adam begins a relationship with Harry that feels freeing\u2014at the very least, it gets him out of his apartment\u2014but also brings to mind fears of his youth that Harry never experienced: the need to be closeted, the understanding that his parents knew about his sexuality but never talked about it, the feeling that sex could be deadly, and the dissonance of a homophobic \u201980s culture that nonetheless made heroes of sexually ambiguous pop stars. Scott\u2019s understated performance drifts through a dreamy, melancholy landscape that blurs the lines between past and present until the line doesn\u2019t matter anymore. The past is always with us. Its ghosts are never silenced. But it\u2019s looking away that allows them to haunt. \u2014Keith Phipps
It\u2019s revealing in more ways than one that The Iron Claw, a biopic about the Von Erich family of wrestlers, recounts a cascading series of tragedies so immense that writer-director Sean Durkin actually has to cut out an entire tragedy. For dramatic purposes, there\u2019s already so much sadness in the Von Erich\u2019s lives that to include another one that actually happened would seem like overkill and push the limits of a drama that already feels stretched thin. Such is the untidiness of real stories. ere that presents Durkin with the daunting challenge of trying to eke a story of brotherly love and redemption from a decade so grim that a mother worries she\u2019s outworn her mourning dress. One fewer death helps mitigate the heaviness, but even a Von Erich would have trouble bench-pressing the weight that remains.
The title refers to the family\u2019s signature wrestling hold, devised by imposing patriarch Fritz Von Erich (Holt McCallany), who had made his way through the circuit in the \u201860s and \u201870s mostly by playing the heel. (That the real Fritz made his name as part of a tag-team duo of villainous Nazis is also left out of this film.) The image of a wrestler pressed to the mat by a powerful claw is a natural visual metaphor for a film about the pitiless hand of fate, which came to be known as \u201Cthe Von Erich curse.\u201D But as the film opens on the cusp of the Reagan \u201880s, the Von Erichs are on the rise, with Fritz and his religiously devoted wife Doris (Maura Tierney) having raised several beefy young athletes with championship potential.
Having this stable of talent gives the Von Erichs a hook\u2014not many families can supply a tag-team trio, much less one this elegantly synchronized\u2014but Fritz wants a World Championship belt in the house, so there\u2019s a lot of competition for individual glory. (He is not joking when he says he ranks his boys.) First up is Kevin (Zac Efron), perhaps the most exuberant worker of the bunch, who gets enough attention as part of Fritz\u2019s promotion, the Dallas-based World Class Championship Wrestling, to earn an exhibition with the champ. But subtle weaknesses in Kevin\u2019s performance lead Fritz to tap Kerry (Jeremy Allen White), an Olympic-level discus thrower, to take his shot. Then the relatively scrawny David (Harris Dickinson) after that.
The Wikipedia page for the Von Erichs has a full itemization of the tragedies that unfold during this period, so there\u2019s no reason to run through them here, but suffice to say, it\u2019s not irrational to think of the family as cursed. At the same time, The Iron Claw strongly suggests that a word like \u201Ccurse\u201D isn\u2019t an adequate descriptor for what happens to the Von Erichs. This horror isn\u2019t a haunting; in Durkin\u2019s telling, the calls are definitely coming from inside the house. Fritz\u2019s hold over his sons is a study in toxic masculinity, demanding such constant effort and toughness in bringing wrestling glory to the family that they\u2019re not allowed to cry when one of them dies. He doesn\u2019t learn from tragedy and Doris sinks into her faith like quicksand.
The Iron Claw does its own wrestling with this untidy story and the necessary streamlining can make it feel ruthless abridged, like a series of unfortunate events. But Durkin (Martha Marcy May Marlene, The Nest) puts Efron\u2019s Kevin at the story\u2019s center and urges the audience to think about the Von Erich brothers as an organism, poisoned by their father yet bound by a love that transcends death. He also digs into the presentation and politics of the wrestling game, which is understood as a taxing job that\u2019s rife with subplots both in and out of the arena. When one-scene-wonder Aaron Dean Eisenberg appears as the flamboyant legend Ric Flair, it\u2019s immediately obvious the Von Erich boys don\u2019t have the same \u201Cit\u201D factor.
Though Durkin works hard to carve some measure of redemption out of this relentlessly bleak piece of sporting history, he cannot work his way around biopic conventions, which hold him to the bullet points and steer him toward sentimentality. Yet The Iron Claw immerses itself in the Texas wrestling subculture of the \u201880s, which acts as a feeder system to a nationally televised sport, but nonetheless feels perilously on the fringes. To be the next Ric Flair is an unlikely destination even for men of Von Erich pedigree, but Fritz still ties them to the track like damsels in distress. The dream they chase is not their own. \u2014 Scott Tobias
Full Metal Jacket is a 1987 war film directed and produced by Stanley Kubrick, from a screenplay he co-wrote with Michael Herr and Gustav Hasford. The film is based on Hasford's 1979 autobiographical novel The Short-Timers. It stars Matthew Modine, R. Lee Ermey, Vincent D'Onofrio, Adam Baldwin, Dorian Harewood, and Arliss Howard.
The storyline follows a platoon of U.S. Marines through their boot camp training at Marine Corps Recruit Depot Parris Island, South Carolina. The first half of the film focuses primarily on privates J.T. Davis and Leonard Lawrence, nicknamed "Joker" and "Pyle," who struggle under their abusive drill instructor, Gunnery Sergeant Hartman. The second half portrays the experiences of Joker and other Marines in the Vietnamese cities of Da Nang and Huế during the Tet Offensive of the Vietnam War.[6] The film's title refers to the full metal jacket bullet used by military servicemen.
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