Life and Debt
review by Cynthia Fuchs, 7 December 2001
Reflections
"You see yourself. You see
yourself." As you hear these words in Stephanie Black's Life and
Debt, you see a montage of touristy images: lovely Jamaican
hotel room linens, a balcony view of a perfect beach, perfectly
tanned foreigners, even a wedding between a couple of tourists set
against a backdrop of perfectly blue surf. Everything is so pretty,
just as you'd expect when you've paid good money for your vacation
package.
But by the time this
travel-brochure-ish sequence appears, some 15 minutes into the
documentary, it's hard to feel impressed by the luxury you're
looking at, much less hear Jamaica Kincaid's accusatory narration
(adapted from her 1987 nonfiction book about her own island home,
Antigua, entitled A Small Place and read in the film by
Belinda Becker). For by now, you've seen a little too much evidence
that globalization -- with help from the International Monetary
Fund, the World Bank, the Inter-American Development Bank (IADB),
U.S. corporations and "free trade" policies -- has decimated
Jamaica's economy.
By now, you've seen the dire
discrepancies between fine vacation haven Montego Bay -- blue sea,
white sand, drinks with umbrellas stuck in them -- and Kingston,
where Jamaican sweatshop workers provide tax-free labor, at $30 U.S.
a week, for companies like Tommy Hilfiger and Hanes; or between once
successful dairy, chicken, and banana farmers, now ruined by U.S.
powdered milk and chicken imports, and Chiquita and Dole produce. As
the film recounts, the Chiquita debacle included a police rout of
workers attempting to strike in 1993, during which 23 people were
killed.
If you're a tourist, however, you
see no such disturbances. Death, poverty, misery -- these are what
the "visitors' industry" is designed to cover over. When you're on
vacation, you're "allowed" to be ignorant; this is the privilege of
privilege. The irony in this case is that tourism is one of
Jamaica's few remaining viable -- even thriving -- industries (along
with coffin manufacturing and guard-dog training). And so, Life
and Debt makes the connections for you, refusing to let you off
the hook. The narrator describes how the sewage system works (or
rather, doesn't, dumping waste into the ocean) or how the beef
industry has been ruined by cheap frozen "patties" shipped in from
the States. Such information rather puts a damper on the sights you
see from the tour bus window you see on the way to the hotel,
passing Baskin-Robbins and McDonald's and Burger Kings, and an
assortment of "natives" who, as Kincaid describes them, are
"squatting by the side of the road... hanging out with all the time
in the world." But as former Jamaican Prime Minster Michael Manley
(elected on an anti-IMF platform in 1976, then forced, by lack of
alternatives, to sign agreements anyway, in 1977) explains, they're
only idle because they're put out of work by years of brutal
international tax and tariff structures and labor laws.
Much like Black's previous
documentary, 1990's H2 Worker (a look at the exploitation of
Caribbean sugar cane workers, which occasioned her first encounter
with Jamaican cultures), Life and Debt argues its case
aggressively, never even pretending to be "objective." Shot in part
by brilliant U.S. cinematographer Malik Sayeed (Clockers,
Belly), Life and Debt juxtaposes harsh TV footage of
rioting and poverty-stricken neighborhoods with shots of street
markets and art, reggae musicians and Rastamen talking politics and
spirituality. Through judicious editing, it sets up an "imaginary
conversation" between the outraged Manley (who died shortly after
the interview from which his comments are culled) and the imperious
Stanley Fischer, speaking for the IMF. He deploys standard
diplomatic double-speak: "In an IMF Program, there'll be some
assumptions about the way interest rates will go," that is, these
assumptions -- and interest rates -- will be imposed on the
borrower, in order to best serve the lending institution, and no one
is precisely responsible, because all the language is passive.
To make its case, the film also
includes a brief history lesson, with archival footage and political
speeches, intercut with scenes showing the devastating results of
the accumulating national debt (at present, Jamaica owes $4.7
billion to various lending agencies). The history lesson is
necessarily elliptical and referential, but harrowing nonetheless.
Queen Elizabeth announces the island's independence in a ceremony
that has nothing to do with the land and people she's affecting; and
in 1976, newly elected PM Michael Manley asserts Jamaica's new
policy, asserting, "The Jamaican government will not accept anybody,
anywhere in the world, telling us what to do in our own country.
Above all, we're not for sale."
Sadly, this speech, made some 25
years ago, now refers to a momentary effort to resist the
overwhelming force of globalization, and the very real decisions
made by people in power. What you see now is a sad, terrible
picture, not the way you want to see yourself reflected at all.
Read Cynthia Fuchs' interview.
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Written and
Directed by:
Stephanie Black
Narrated by:
Belinda Becker
Rated:
NR - Not Rated.
This film has not
been rated.
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