paul chaderjian

by Paul Chaderjian What is the cost of America’s obsession with media content? This is the question that Eric Bogosian asks in his film “Talk Radio,” and this potent question to his question is death. Bogosian, the writer and star of the film, speaks to the viewers through intense monologues about the issues that plague society. From drug abuse to people’s fascination with the famous, Bogosian’s character, radio personality Barry Champlain, tackles these societal issues, allowing lonesome and anonymous voices to articulate a range of opinions. Public dialogue may be healthy for a democracy, but the value that listeners of Champlain’s radio show place on the subjects and opinions contained in the radio show is what Bogosian questions. Several of the callers Champlain talks with on the air continue to call to preach their politics or win empathy or love from nameless strangers listening to the radio. Champlain’s ability to create live drama on the air by negating and arguing with ...

Paul Chaderjian March 12, 2003 Shoot the Piano Player The existential question of whether man is a passive player in the drama of his life or is the active hero of its unfolding is at the heart of François Truffaut’s “Shoot the Piano Player.” In this film, Charles Aznavour plays a man who cannot escape his past or his family -- no matter how hard he tries to reinvent himself. Through the lead character in this film, Truffaut shows that a man trying to gain control of his life at the last minute may be a bit too late. The passivity of Aznavour’s character is best demonstrated by the technique Truffaut uses in alienating the character. When Aznavour’s character, Charlie Kohler, is heard thinking to himself, instead of Truffaut allowing us to hear Aznavour’s voice externalizing Kohler’s thoughts, we hear a voice other than Aznavour’s. This jarring technique clearly demonstrates that the character Aznavour plays is passive about his life -- so passive that he is a different ...