A Movie You Might Have Missed #86: Tokyo Godfathers

It's been 12 years since I began this series highlighting movies I wished more people knew about. I'm rerunning it from the beginning because I still think these are movies you might have missed.

Here's a Christmas movie that I reviewed way back in 2004 and can practically guarantee you have missed.

This Japanese tribute to John Ford's western "3 Godfathers" is fresh and original in a way that Western animation does not even consider. It centers on three homeless people: a middle aged drag queen, an alcoholic former bicycle racer, and a teenage runaway girl. Their discovery of a baby in a trash dump sends them off to find the baby's parents. They make unlikely guardians, of course, and along the way they grow, chiefly by confronting each other and themselves about the lies they've told each other about the past. Hana, the drag queen, names the abandoned infant Grace and insists that she has been sent by God. Coincidences and miracles happen increasingly throughout and seem surprisingly Christian for a Japanese film.

The juxtaposition of humor and drama are deft and play off each other in unexpected ways. At one point Hana is dramatically describing how he will commit suicide by jumping off a bridge. We have been primed by this time to find Hana's pronouncements quietly comic. Then the viewer realizes that someone in the background is taking the exact measures that Hana describes. Both humor and drama are in play as they also realize it a beat later and rush to stop the person from jumping. We never were disappointed. Although one expects an overall happy ending the plot twists on the way were original and unexpected.

It is rated PG-13 and some of the material is not suitable for children.

A Movie You Might Have Missed #57: The Apostle

It's been 11 years since I began this series highlighting movies I wished more people knew about. I'm rerunning it from the beginning because I still think these are movies you might have missed.

The hardest soul to save was his own.

 

Robert Duvall gives a tour de force performance as a zealous Pentecostal preacher hiding from his past. Now in a small Louisiana town, Sonny goes by the name of "Apostle E.F." and opens a new church with the help of a retired reverend.

Duvall gives us the story of a main character, Sonny, who is fully, tragically, joyfully human and who is always returning to God. Some of the scenes seem long but afterwards the viewer realizes that such immersion was needed to understand Sonny's world and soul.

At the end of this movie all I could think of was King David in the Old Testament. Beloved of God, loves God, inspirational, beloved by his people, and yet terribly a terribly flawed man who sent a trusting subordinate off to sure death so he could take his wife.

It is fascinating that Robert Duvall evokes these echoes in The Apostle, especially since watching the extras Duvall kept speaking of believers as "those people." He didn't mean it in a derogatory way but just that for him they are "other," a people who he is not a part of. He pulls it off because he's absolutely honest as a story teller and as an actor.

A Movie You Might Have Missed #55: Ushpizin

It's been 11 years since I began this series highlighting movies I wished more people knew about. I'm rerunning it from the beginning because I still think these are movies you might have missed.

You see a lemon. They see a miracle.

 

In Jerusalem's orthodox neighborhoods, it's Succoth, seven days celebrating life's essentials in a sukkah, a temporary shack of both deprivation and hospitality. A devout couple, Moshe and Mali, are broke and praying for a miracle. They can't afford to build a sukkah, they can't afford food for a feast, and they have no guests. Their prayers are answered. But those answers bring their own tests of faith, beginning with the Ushpizin, the guests that unexpectedly show up on their doorstep.

I really can't believe I haven't mentioned this movie here before. It became an instant favorite as soon as we watched it.

Above all, the story is that of Moshe and Mali as we watch their relationship tested. Their chemistry and love is undeniable and forms the backbone of the story. Each wants the best for their marriage and each other and yet, as is always the case, life and especially the upcoming holiday throws unexpected challenges their way.

This is a tale of love and living your faith to the fullest which is, of course, why it resonates with me. The fact that this is managed in a light, humorous piece about such a foreign culture just goes to show the artistry that went into this film.

What's helpful to know before you watch:

• Succoth is a 7-day Jewish festival when meals are eaten in a sukkah, a temporary booth of both deprivation and hospitality. Men also sleep there. It is considered a blessing to have guests at that time.
• Moshe's orthodox Braslov Hasidism particularly emphasizes personal and emotional connection to God.
• The four species are four plants mentioned in Torah in connection with succoth, one of which is the etrog (citron fruit).
• Low level criminals in Israel can get out for a while on leave, evidently being on the honor system for showing back up again.

If you want more background information after watching, read Joseph Suzanka's review which I how I first heard of it. He has some wonderful insights and the background of the movie is almost as good as the movie itself.

Scott and I also discussed it at A Good Story is Hard to Find, where Leah's comments on the blog gives some excellent clarification on questions of the faith and attitudes in the film.

A Movie You Might Have Missed #50: The Overnighters

It's been 11 years since I began this series highlighting movies I wished more people knew about. I'm rerunning it from the beginning because I still think these are movies you might have missed.

"The problem is we're working with sinners and some people are fearful."

This documentary focuses on Pastor Jay Reinke's ministry to homeless men who have flocked to Williston, North Dakota to work in the oil fields but found jobs are not as plentiful as they thought. In some cases, the men are fleeing former problems which catch up to them and leave them unemployable.

Reinke's Lutheran church begins by offering shelter during the winter. The congregation eventually becomes overwhelmed when the "Overnighters" program shows no signs of shutting down although good weather has come because the needy continually arrive in ever-increasing numbers.

We follow Reinke as he and his family struggle to continue the ministry against increasing opposition, including from local media and city government. I was astounded at some of the frank conversations caught by Jesse Moss with his one camera set up.

At first this looks like a straight forward case of Christian hypocrisy. However, no story is ever as simple as it appears on the surface. As the documentary continues we are shown further strands of the story which lead into challenging, thought provoking waters. By the end we are left pondering a morass of complex issues which embody themes that may lead many a Christian to say, "There but for the grace of God, go I."

I could see everyone's struggle. The pastor trying to live the Gospel, the overwhelmed congregation, the men who just want a chance to work, and even the neighbors and local media. That is part of the value of this piece. It reflects us in so many ways and leaves us thinking about how we serve when the "other" is among us.

Rab Ne Bana Di Jodi (A Match Made By God)

Surinder Sahni is a mild-mannered office worker who loves from afar his former professor's daughter, the beautiful and vivacious Taani. When tragedy strikes, the professor arranges their marriage. Fighting loneliness in her new home, Taani enters a dance class/competition. Surinder disguises himself to watch her when fate steps in and he becomes her partner as the brash Raj. It's all fun until he realizes Taani is falling in love with Raj. He's losing his wife ... to himself!

We watched this on Sunday evening after helping present the Beyond Cana marriage retreat for three days.

All we expected was a romantic comedy with India's top star playing a double role as a nerd and an obnoxious "cool" dancer. It was a solid comedy and a funny, sweet look at true love. But it delivered a lot more.

• Not knowing the translation of the title, we were surprised to find the strong theme of “seeing God in your beloved.”
  
  
• I certainly didn't expect to find an overwhelming example of covenantal love when Suri humbly doesn't expect anything in return for his love.
  
  
• Also, "Jodi" means "pair." So the subtitle is: "There is an extraordinary love story in every ordinary couple."

So it was all amazingly appropriate considering our marriage retreat mindset of the moment! Plus, this is possibly Shah Rukh Khan's most charming role. And I'll admit it — I came to see King Khan. It was super entertaining!

Rating — Introduction to Bollywood (come on in, the water's fine!)

A Good Story is Hard to Find podcast - Scott and I discussed this movie in episode 209. Listen in!

An American's Guide to Bollywood podcast - Hannah and Rose discuss it here.

PK

A humanoid alien (Aamir Khan) lands on Earth naked on a research mission in Rajasthan but is stranded when the remote control for his spaceship is stolen.

Tom describes this best:

2014 satirical comedy-drama about an alien who gets stuck on Earth - it is not E.T. Instead it is a lighthearted view of humans through the childlike PK, played by the always intense Aamir Kahn. (PK means tipsy in Hindi.)

Amazingly charming, it uses India’s religions (which is almost all of them) as a backdrop to finding his way home.

It is really much better than my description. Look at it this way: it cost $12 million to make and had a box office of $140 million.

This was unexpectedly delightful and would be a good introduction to Bollywood since it is a bit more Western in how the story is told, with a few songs and dances to carry the story along. I especially enjoyed the religious angle, as well as the ingenuity with which PK has to figure out how to live on Earth using language instead of telepathy. And, of course, there is Aamir Khan (my favorite of the Three Khans).

Scott and I discussed this on episode 205 of A Good Story is Hard to Find podcast.

Rating — Introduction to Bollywood (come on in, the water's fine!)

Ben-Hur and Me: 1957, 2016, and 1880

One thing I have discovered is that once I've seen one chariot race, I've seen them all. Luckily, there is much more to Ben-Hur than the famous chariot race.

1959 film

This is the one everyone has seen at least once. I've seen it numerous times and so have passed from wowed to blasé to appreciative over the years. Most recently I viewed it for a 2015 discussion at A Good Story is Hard to Find podcast with Scott Danielson. That was the viewing where I was suddenly much more appreciative than I've been before. Yes, it's 3-1/2 hours and Charlton Heston can be pretty stiff sometimes, but this is the one you want to watch.

Then I watched the 2016 version with Rose recently. She'd only seen this version once so I simultaneously summarized the differences between the two films while we were watching. (Just for the record, this was at her specific request.) It made me appreciate this version even more and pat myself on the back for how well I recalled the plot.

2016 movie

By itself, without knowing the story in any other way, this 2016 version of Ben-Hur is fairly forgettable. To be fair, this director is known for great action (I loved Abraham Lincoln, Vampire Hunter — as did Roger Ebert, so don't judge me!) and not for drawing great performances from actors. (I've never seen Morgan Freeman so wooden and stilted.) And a director is hampered if the script isn't good to begin with. So Timur Bekmambetov had a lot against him from the beginning on this project.

However, viewed as a companion piece to the classic 1959 movie, this movie lends itself to interesting reflections on the nature of mercy, forgiveness, redemption, etc. Make no mistake, it does reflect modern cultural views in many ways. For example, one must ignore some of the namby pamby New-Agey Jesus statements made early on in the movie. And Messala's angsty attempts of "can't we just all get along?" are completely out of place. But it is worth seeing once for the gorgeous visuals and the way the story treats Ben-Hur and Messala's relationship.

Be warned. Worst sea battle ever. You can't tell what's going on. And Bekmambetov loves shooting night scenes in the actual dark. So at one point we thought we were watching Ben-Hur sneaking around in a garden at night to meet his wife. Turns out it was Judas getting ready to betray Jesus. Talk about confused!

1880 book

After watching one movie while simultaneously summarizing the other, I decided to reread the book because my memory of it is muddled by the various film versions. I'm enjoying it so far and surprised by some of the book facts that the movies changed. Actually, make that a lot of things that both movies changed. 1959 changed a lot of Ben-Hur's motivations and internal thoughts. And then 2016 changed the rest.

I read this story many years ago, long before I was Christian. Certainly it long before I picked up the fact that the author was a Civil War General ... which somehow just makes the book that much more interesting. I also recently was in a conversation in which I learned that Ben-Hur was the Harry Potter of its day. Since people couldn't afford to travel, this was a great way to combine exotic travelogue and an inspiring tale.

I most recently read it in 2015 when we discussed it on A Good Story is Hard to Find and don't remember it much at all. Which says something about how little this hit me at that time. Now, with both movies specifically in mind, I find myself liking it much more.

Movie Review: The Drop Box

They’re not the unnecessary ones in the world. God sent them to the earth to use them.

Pastor Lee Jong-rak

Many years ago Pastor Lee's son, Eun-man, was born with crippling cerebral palsy. He and his wife cared for their baby at home, which is so unusual in Seoul, South Korea, that it led a frightened mother to abandon her disabled infant on his doorstep one cold night. Luckily he found the baby before it froze but this prompted him to build The Drop Box. On any given night the "doorbell" may sound in the Lee home signaling that another desperate, anonymous mother has chosen to surrender her baby.

Too often, in a society like South Korea there is only one answer to the social stigma attached to unwed motherhood and aversion to any child born with disabilities. Babies are abandoned and often die before they are discovered. Pastor Lee and his wife and their Christian community care for about 18 disabled children. He has rescued hundreds of babies thanks to the drop box.

The Drop Box is told in a straight forward way but it is not a simple film.

Not only do we see Pastor Lee's ministry but the value of life becomes the central theme of the film. This is only to be expected but what I didn't expect was that the drop box ministry has opponents. Here is where the director's patient story telling pays off. The presentation of both sides of the arguments is handled delicately but compellingly.

Perhaps the most powerful statement about the film is that it changed the film director's own life.

Ivie said, "These kids are not mistakes. They are important." He went on to say, "I became a Christian while making this movie. When I started to make it and I saw all these kids come through the drop box – it was like a flash from heaven, just like these kids with disabilities had crooked bodies, I have a crooked soul. And God loves me still. When it comes to this sanctity of life issue, we must realize that that faith in God is the only refuge for people who are deemed unnecessary. This world is so much about self-reliance, self-worth, and self-esteem. It's a total illusion that we can be self-sufficient. Christ is the only thing that enables us."

This documentary is a wonderful look at a Christian who is changing the world the only way he knows how: through actively loving those around him. Pastor Lee lives in the best tradition of the first-century Christians who bore witness to the pagans around them by taking in abandoned infants, caring for widows, and staying with the sick when everyone else was fleeing.

It's a movie that stuck with me long afterward and had me reexamining parts of my own life.

This film will be in theaters March 3-5.

Don't miss it.

Les Miserables — Yes.

Yes. It is worth the time.

Yes. It is worth the ticket price.

Yes. It is worth the tears I shed.

Yes. With the director in the end credits, I thank his parents for teaching him to love musicals.

Yes. Yes. Yes.

Go see it.

(Now I have to go revise my 2013 reading list.)

Life of Pi

The Writer: You're a Hindu Catholic?
Pi: We get to feel guilty before hundreds of gods.

When I entered the theater I knew virtually nothing about the movie, except that there was something about a boy on a raft with a tiger. As it turns out, that is all I needed to know for this astonishing, thought provoking movie.

Pi (Suraj Sharma) is a sixteen-year-old Indian boy, who survives a shipwreck only to find himself adrift on a lifeboat with a 450 pound, ferocious Bengal Tiger named Richard Parker. Pi's intelligence and ingenuity are stretched to the limit in surviving on the open seas while figuring out how to coexist with a tiger who is getting hungrier every day.

This story is told by the middle-aged Pi (Irrfan Khan) to an aspiring writer (Rafe Spall) who has been told that Pi's story is worthy of a book. He also has been told, "you had a story that would make me believe in God" which is not quite tossed out as a challenge, although he hastens to add that he does not believe in God. This framework provides a neat parallel to the story Pi tells, which begins with young Pi's constant search for God as he grows from a little boy to a teenager.

Obviously we know that Pi survives the shipwreck because he is telling the story. However that soon becomes forgotten as we are swept up in Pi's struggles. Wound around and through this are amazing images of the world all around him. Using 3-D technology, we are shown vertical views from the bottom of the ocean to the heavens above, with all the inhabitants in between. These views through ultra-clear water add to the wonder and mystical tone of the entire story, as Pi's despair and hope alternate while he surrenders himself to God's will.

Meanwhile, viewers wonder what in this tale will be compelling enough to convince the writer to suddenly believe in God. The answer to that question is one that kept us thinking and discussing the movie the rest of the evening and the day after.

I was really surprised to find a movie with such emphasis on faith and God from such a famous director. I suppose that shows that it really is revolutionary these days to have faith. As I watched, I kept thinking of the stories of Job and Jonah from the Old Testament. This story is a modern version of those tales because it is an examination of modern attitudes to faith, free will, and our response to God. Kudos to Ang Lee for providing an incredible adventure story that didn't soft pedal the religious elements of the book from which it was derived.

PG rating on this movie and I'd say that as long as your kid is ok with animals acting like animals (nature red in tooth and claw), then you're good to go.

SPOILERS

The key to the movie, and especially to the puzzling dual story solution given at the end, is the family dinner when Pi's father talks about the need to be rational. Pi's mother says that he is right if one wants to know the truth about the outside world. However, she adds, faith is good for knowing the truth about what is inside you.

This duality is continued through elements like Pi's name. Piscine is named for the French swimming pool his uncle loved because it was full of such clear water. That name shows Pi's connection to the natural world and his ability to look through the depths for what is really there.

His shortened name, for the number Pi, shows a more rational side, but also Pi is an "irrational number" as the narrator told us ... which made me think that pi is actually a stunningly good way to refute people who want to solely believe in facts, without considering that "truth" comes in many ways. The idea that a number just keeps going and can't be "solved" is in itself a sort of refutation of those who want everything nailed down. Do you chop it off at a few decimal places or do you let the numbers keep spinning out and keep searching the bottomless well for truth?

This also demonstrates Pi's intelligence and that he understands how others think and how to influence them. As well, we are shown he is well versed in the natural world when we see his father teach him with the tiger and the goat.

These elements raise the possibility that Pi's "other story" told to the Japanese investigators is completely fabricated to tell them what makes sense to modern ears and will fit into a report.

In the end, we are left with a new version of "The Lady or the Tiger?"

Either story may be true or false. The interpretation we resonate with is an indicator of our own souls.

The Life of Pi is much like the Old Testament, full of stories of daring and danger which do not make sense to our modern souls which like to weigh everything against concrete, understandable scientific measures. We are ready to call such tales Myth, but does our interpretation see the whole story? We accept the Big Bang, measurable echoes of which still linger, if we know what to listen for. However, Genesis says that God spoke the universe into being.

Creation begins with sound in both cases; one is measurable by science, one by the human heart who looks deeper, is willing to be vulnerable, and who is willing to chance all on God's love. Neither negates the other although there are those who will choose one and call the other false.

As we are reminded, none of us knows why the ship sank (or how the universe began). All we know is what happened afterward from our own vantage point.

Such is the story of Pi. It is not about what you choose to believe, as much as it is about where one finds Truth. Much in the same way that Genesis is a story of faith and not about the Big Bang, we can hold that both stories are true or that only one is. Which one do you choose?

Movie Review: Millions

This originally ran at Spero News which now seems to have gone off the interwebs. I am rerunning it here so we've got it on hand ... and because it is one of my favorite movies.

“Millions” is a simple movie about a child’s innocent faith. Yet it has unexpected layers of depth thanks to director Danny Boyle’s insightful, sophisticated approach. The result is a magical movie that appeals to all ages.

“Millions” is about a small boy, Damien, whose mother has recently died and who sees saints regularly, never failing to ask if they have seen his mother, “Saint Maureen,” in Heaven. One day, while in his hideaway near the train tracks, a huge bag stuffed with money falls out of the sky. Damien sees this as a gift from God that should be used to help the poor. Charmingly, when his older brother, Anthony, sees the money and reacts with delight, Damien says, “Oh, so you see it too then?”

How to handle the money becomes the main plot of the movie. Anthony counsels that they must not tell their father because of taxes. He spends generously to become one of the cool kids in his new school while planning real estate deals for financial security. The scene where he and his sunglassed “posse” stride into the school is destined to become a classic. Damien, on the other hand, is determined to find poor people to shower with largesse. He takes people on the street to Pizza Hut for a feast. Three Mormon neighbors find their mailbox stuffed with bills after Damien finds that they have no dishwasher. There is never any sense that Damien is trying to buy his way into Heaven. He merely is doing what God would want as if it were the most natural thing in the world. Ultimately their father finds out and the source of the money is revealed but none of this is handled in a predictable fashion. As a side note, I will add that Great Britain does not use the Euro so the currency conversion deadline in the movie, though thoroughly effective, is merely a plot device.

It is clear that scriptwriter, Frank Cottrell Boyce, understands the fascination of saints as distinct individuals each with their vices and virtues while director, Danny Boyle, shows it to perfection. The many saints that Damien encounters are thoroughly human without losing their saintliness. Clare of Assisi, smokes a cigarette and describes Heaven by saying, “It’s bloody infinite up there, boy.” What perhaps is lost on the American audience is that “bloody” is a word that earns much more than a PG rating in Great Britain. Saint Peter is a salty fisherman who, as patron saint of locks and keys, can’t resist picking up stray keys and analyzing them before telling the story of how he thought that he fooled Jesus by saying that a miracle had happened.

In the hands of a lesser director, this would be the ultimate, corny family movie but nothing could be farther from the truth. Director Danny Boyle uses film angles, sound, and editing to bring an edginess that is unique to anything I have ever seen in a movie where so much of the story depends on the believable innocence of children. His ability to change styles to suit the mood is showcased without ever intruding on the story itself. A house is constructed before our eyes in whimsical sequences that put me in mind of Tim Burton. The reconstruction of a train robbery suddenly whisks viewers into a bona fide action movie, without ever endangering the PG rating. I was especially fascinated by his use of sound cues such as the supernatural sounding hiss that accompanied the villain whenever he would appear, reminding us that there was a larger element of evil to his character.

“Millions” is so imbued with Christian faith and values that if it were not made by a director of Danny Boyle’s talent and reputation it would be condemned to church youth group viewings forever. Boyle is known for showing the human condition against darker tales of drugs (“Trainspotting”) or virus-induced zombies (“28 Days Later”). His reputation and the fact that “Millions” is an indie (independent movie) are carrying this message into unexpected areas. Locally, a popular radio station’s director praised “Millions” as “must see” on their most popular morning show. Based on that recommendation, two different couples of my acquaintance, who normally would never stoop to seeing a “family movie,” can’t wait to see it. A younger, single, male co-worker told me, “You’ve got to see this movie,” while marveling at Boyle’s versatility. If I had described this movie without the “indie, Danny Boyle” connection this person would have smiled politely and put it out of his mind as he has done with other art house favorites of ours.

Vito Bonafacci: A Modern Parable for the Faithful

I received the DVD from the director individually. I think y'all know me well enough to know we'd never speak of this again if I didn't like it ... no matter how I saw the film.

Lapsed Catholic Vito Bonafacci has had a nightmare he can't shake the next day: driving through his gates he suffers from a heart attack, dies, and goes to Hell. His deceased mother comes to tell him where he went wrong.

We've all had the experience of being unable to shake the aftereffects of vivid dreams, but few of us have them come true in front of our eyes. After discussing the dream with both his housekeeper and wife, Vito's day unfolds exactly as he dreamed. Not surprisingly, when he gets to the gates, he can't make himself drive through them.

Effectively trapped on the grounds of his home, Vito begins a quest to figure out what he's done that is so terrible. After all, as he tells his wife, "I've been a good person. I worked hard for my money. Don't I deserve to enjoy it while I'm healthy?" (paraphrased)

Indeed, he does have a good life to enjoy. His estate is palatial, he employs many servants, and he is building a second summer home. However, as he discerns, his spiritual life is bankrupt. Can he change his ways and avoid hell?

Vito Bonafacci tells a parable rather than a typical story. I couldn't help but think of the parable of Lazarus and the poor man.

There was a rich man, who was clothed in purple and fine linen and who feasted sumptuously every day.

And at his gate lay a poor man named Laz'arus, full of sores, who desired to be fed with what fell from the rich man's table; moreover the dogs came and licked his sores. The poor man died and was carried by the angels to Abraham's bosom.

The rich man also died and was buried; and in Hades, being in torment, he lifted up his eyes, and saw Abraham far off and Laz'arus in his bosom. And he called out, `Father Abraham, have mercy upon me, and send Laz'arus to dip the end of his finger in water and cool my tongue; for I am in anguish in this flame.'

But Abraham said, `Son, remember that you in your lifetime received your good things, and Laz'arus in like manner evil things; but now he is comforted here, and you are in anguish. And besides all this, between us and you a great chasm has been fixed, in order that those who would pass from here to you may not be able, and none may cross from there to us.'

And he said, `Then I beg you, father, to send him to my father's house, for I have five brothers, so that he may warn them, lest they also come into this place of torment.'

But Abraham said, `They have Moses and the prophets; let them hear them.'

And he said, `No, father Abraham; but if some one goes to them from the dead, they will repent.'

He said to him, `If they do not hear Moses and the prophets, neither will they be convinced if some one should rise from the dead.'"

Luke 16:19-31 (RSV)

Although not exactly the same as the parable, Vito Bonafacci serves the same purpose for faithful Catholics by reminding us of the power and beauty of our faith and, despite that, how easy it is to fall away without realizing it. It serves as a piece I would readily recommend for meditative viewing, especially during Lent. Although the subject matter is dramatic, dealing as it does with Last Things, but the movie itself proceeds almost tranquilly thanks to the classical soundtrack and beautiful cinematography.

This is a labor of love and unfortunately it shows in a some ways that are less desirable than the beauty and message. The professional actors are complemented by local amateurs and it is obvious which are which. As well, the dialogue is rather stilted as the main points are made. Most jarring for us, however, were the points when everything ground to a halt as the frame froze and scripture reinforcing a point was shown over the picture. The film makers would have done well to have offered the scriptural background as an extra. Also, I would have cut the mother's dialogue by at least half. We understood very early on what the problem was and didn't need the extra discussion. But that's an Italian mama for you, right? She wants to make sure her Vito is listening and so she just keeps going ... and going.

Those points aside, this movie definitely has its heart in the right place and I would be unashamed to give copies to my friends. For one thing it is difficult to find a movie that is theologically sound as this one is. It will not steer you wrong if you, like Vito, are looking for answers about getting to Heaven.

Vito Bonafacci still held my interest as I was curious to see just where Vito wound up ... and if he would ever feel safe to get in his car again.

Definitely recommended for the faithful who want a boost to their faith, a contemplative aid, or simply a look at stepping back from everyday life to get in touch with the spiritual.

Making a Private Journey in Public: Reviewing "The Way"

I have been intrigued by pilgrims walking the thousand-year-old El Camino de Santiago (Way of St. James) ever since reading author Robert Ward's experiences walking it in Virgin Trails: A Secular Pilgrimage.

I came away with a healthy respect for the physical accomplishment of walking almost 500 miles (800 kilometers) over mountains and across plains from the French Pyrenees to Santiago de Compostela in northern Spain. Also, there was the attraction of that rarity — the idea of investing full attention on God for a month or so — which seemed like a romantic deed still available in modern times.

I probably will never get the chance to take that pilgrimage. It has just been one of those things that made me perk up my ears when El Camino comes up. Surprisingly, it comes up much more than you'd think, if you read the right blogs.

When I received the invitation to prescreen Emilio Estevez's new film, The Way, about a bereft father walking the Way of St. James, my ongoing interest in El Camino was a large factor in my attendance. If I can't get there any other way, the wonder of film can take me. Also, with Estevez and his father, Martin Sheen, involved it seemed to me as if there were less chance of this being a sappy, trite story ... which is what I fear any time I am tapped to prescreen a movie. (They see "Happy Catholic" and "Christian movie" is what they think ... which often leaves the story behind at expense of pounding the pulpit ... but I digress ...).

I was pleased to find a solid little indie film with gorgeous cinematography and a simple but engaging story.

Martin Sheen plays Tom, who travels to a town in the French Pyrenees to identify the remains of his estranged son who was killed while walking El Camino de Santiago. Ruing his lack of connection, overcome by his grief, Tom decides to walk the Camino for his son, leaving handfuls of ashes at shrines along the way.

As he goes, Tom acquires three unwanted companions, each of whom have their own hidden reasons. Estivez, who wrote the script, readily admits to being inspired by The Wizard of Oz but in truth one could compare The Way to any story that is based around a journey with a misfit group of comrades. This storytelling device is well known and for good reason. In watching the people rub against each other's pet peeves and tread unwittingly on their hidden secrets, we learn about them on a deeper level. We know the device because it is also the story of our own lives as we do the same to those around us. It is how we are made:  to journey through life both alone and in company.

The story was told in an understated way for the most part. Characters didn't preach sermons at one another and several revelations were very touching in what they showed of regret in choosing the wrong way. The acting was good also and although I am used to seeing Martin Sheen's familiar style, I was moved to tears when his character shrank at entering the morgue, saw his son's face, and later spread the ashes at the first shrine. For those whom this sort of thing concerns: none of the pilgrims identify themselves as practicing Christians so occasional swearing, drug use, and the like are able to be looked on simply as secular behavior. There were a few moments that struck me as false such as the first encounter with Jack the writer where his Irish eloquence about "the road" was so over the top that I winced. However, there were not many of those moments compared to the others that I enjoyed.

As I said before, this is a solid little indie movie and I recommend it. In fact, since I watched it from the third row of the theater, I plan on renting the DVD when it comes out and watching again when my eyes aren't crossed on the close ups. It is simply gorgeous, if nothing else, and I found the simple story inspirational.

MILD SPOILER & PONDERING ABOUT STORY
Despite recommending the movie, I was pondering what made The Way a "little indie movie" versus something like The King's Speech which also has a simple and inspirational story but seems more complete. The Way seemed to lack a layer or two of complexity that would have made a more well-rounded story.

My husband, Tom, (my date for the movie) became intrigued by El Camino and began looking up what he could find about it. He surprised me by saying that the filmmakers didn't tell the entire story in telling that when you show your filled Camino passport at the end of the pilgrimage you receive a certificate. Making the pilgrimage for religious reasons has historically earned a plenary indulgence* and that is still true today. Also those who state they made the pilgrimage for religious reasons receive the Latin version of the certificate.

Tom said that he thought the filmmakers missed an opportunity by omitting these details. How much more powerful, he asked, would it have been if when Sheen's character had the official change the name on his Camino certificate to his son's name if the indulgence had been explained then? It would have gone far in speaking about Sheen's attitude shift and his reconciliation with his son as a result of the journey. And it would have spoken to hope for life after death.

During the question-and-answer period following the film, Estevez said that he was "open" about faith. He hadn't made up his mind but bore no ill will to any specific faith. That openness, translated into this movie, seemed to take away a bit from the focus it could have had if he had been willing to take a firmer stand and push all the way to defining the conclusion more. The film is not afraid to show religious symbolism as, indeed, it could not be considering the subject. If only they had been a bit more willing to put the necessary firmness into the message.

As it was, we were left questioning the point and emotional impact of Tom's throwing the rest of the ashes into the ocean. It seemed an unnecessary coda, although I very much liked the final scene that followed it.


*The Handbook of Indulgences states that a plenary indulgence is granted to the faithful who perform the works listed below. This means the full remission of all temporal punishment (time spent in purgatory) due to sin in one's entire lifetime up to that point. Plenary indulgences can also be requested of Our Lord for the deceased. (source)

Get Low: Why You Never Should Get Your Theology From the Movies or TV

Felix Bush (Robert Duvall) is a hermit who has no regard for anybody in the town or anyone who wants to get to know him. But one day, after a fellow old hermit as died and he hears people in the town telling stories about him, he decides that he needs to get these stories out in the public. He recruits Frank (Bill Murray) the local funeral home director to host his own funeral. This way he can hear what everyone is saying about him, and get the truth to his past out in the open. But will he be able to get anybody to come? And will he be able to reveal his secrets? (IMDB storyline)





This movie was recommended by a couple of people so it was one of the movies we watched this weekend.

It had several problems. First, the plot was extremely simple. There wasn't any subplot and I, frankly, never had much suspense as to whether Felix was going to get that party or reveal his secrets. It needed another time (or five or six) around the writing table. There were some humorous moments and some poignant moments, but not enough to make up for the lack of plot.

Second, Bill Murray may have been speaking the parts written for him but they all felt somehow as if he was improvising in a way that made it all too modern. The movie is set in the past and every other actor always sounded true to the time period (1920s? 1930s?). I'm not sure if it was Murray's acting or the directing, but he never quite fit in. I get it, by the way, that he was a Northerner living in the South and so he wouldn't fit in anyway. However, sounding too flip and modern wasn't the way to achieve that.

I did appreciate Felix's honesty in taking responsibility for his sin, which is one that many people these days wouldn't consider much of a sin. (It is, by the way, a big sin, but how times have changed, n'est ce pas?) I also appreciated the fact that he knew by becoming a hermit he had "put myself in prison for forty years."

However, after his preacher friend reminds him that he needs to ask God for forgiveness, Felix visits a graveyard and says:

They keep talking about forgiveness. "Ask Jesus for forgiveness." I never did nothing to him.

When the movie was over, we were talking it over and Tom brought up that quote. He said, "Jesus' forgiveness is supreme and over all other forgiveness. The point is that you will have to have His forgiveness or none other matters."

I'll just say right here that I'm paraphrasing because I was stunned ... I've never heard Tom make a statement like that before (he's the guy who lives his faith, doesn't talk about it). And he was absolutely right.

The other point is one that I made, which is when you sin against anyone, you are ultimately sinning against Christ, who resides in us.

This helps mitigate the quite unrealistic public confession that Felix makes later to a huge crowd, many of whom he doesn't know. For a hermit of forty years to just pop out a long story like this, just didn't feel right. Especially since he was making whooshing noises to illustrate catching on fire, which Hannah said later made her wonder if this was the "funny take" that wasn't supposed to be used but got edited in by mistake later.

At any rate, complaints aside, when we sin against one person, we sin against everybody, especially if one considers the fact that we are the Body of Christ. There is a ripple effect which we usually can't see or understand (mystical effects of sin being what they are on a global scale). But those effects are there and so, although I found the request for forgiveness wrong from a story point of view, it felt right from that standpoint. (Still doesn't trump the wrongness of not going to Jesus, but I probably hammered that nail hard enough already.)

However, that isn't enough to redeem either the story or the underlying moral underneath the story.

I've been trying to think of a movie to recommend instead. Tom thought we should rewatch Tender Mercies. I'm not sure that fills the bill here but will have to consider further.

ANOTHER TAKE
I went to read Scott Nehring's review of this movie which I'd been avoiding until I'd watched it myself. Scott and I often differ widely in our appreciation or lack thereof about different movies. This turns out to be one such film.

However, he did have a take on the "Jesus' forgiveness" comment that I found valuable and enlightening. Go read his review for that of someone who liked the movie, but I'll include his comment here for those who don't want to click through.

His misunderstanding of the point of Christ's sacrifice and that indeed he DID do something to Him is an important point.  Without His forgiveness man is condemned to live much like Felix did, alone and trapped in an isolating guilt, sentenced by our own conscious.

[...]

Ultimately, this is a tale of untended sin and the results of man trying to take on his condemnation alone.

Very good point.

I'm still not crazy 'bout the movie.

Finding Fatima - Movie Review

This documentary tells the story of Our Lady of Fatima.

On May 13, 1917, three shepherd children in Fatima, Portugal, saw a beautiful lady "brighter than the sun, shedding rays of light clearer and stronger than a crystal ball filled with the most sparkling water and pierced by the burning rays of the sun." The lady told them that she would appear on the 13th day of every month afterwards and asked them to pray the rosary every day. Subsequently, the children learned that this woman was an apparition of the Virgin Mary. As promised, Mary appeared every month and told the children that on October 13 there would be a miracle. By this time crowds were flocking to Fatima for the 13th of every month and October saw record numbers gather. By all descriptions the sun "danced" on that day. The children were also told three secrets, two of which they revealed and one which was kept secret until very recent times.

Finding Fatima is actually more of a docu-drama than a straight documentary. It gives the details of the above events using the commentary of various Fatima experts, dramatic reenactments of eye-witness accounts, the testimony of relatives and friends of the seers and descendants of eye witnesses, and scenes from the movie The 13th Day. The story is told in a fairly straight forward manner and those who are interested in the Fatima story will learn about the events, secrets, and the basilica built upon the site.

As a side note, I will mention that, although I am Catholic, I have never felt attracted to the sites of apparitions of Mary. In my view, we've got God with us everywhere. However, I do know that shrines can be very helpful to many and certainly miracles have occurred at them. The Catholic Church teaches that Jesus Christ is the full and final revelation of God so there is no public revelation after him (specifically after the last of the apostles died). This does not preclude private revelation to individuals, of the same sort as happened at Fatima. However the Church urges extreme caution be taken in accepting such revelations. After a revelation has finished occuring, the Church will evaluate it but the most "approval" that would occur is that there would be a statement that nothing objectionable was found. Therefore, we may or may not find such private revelations helpful personally once the Church has declared that there is nothing objectionable, such as Lourdes or Fatima or Our Lady of Guadaloupe. However, we are not required to believe them. That is up to each person to discern. (More details may be found in the Catechism of the Catholic Church.) 

Back to the documentary: I learned more about the details of the third secret than I had known before and found the account to match details I already knew. However, I was disappointed that there was a lack of follow-through on some testimony. For example, much is made of the hostile, anti-clerical journalist who witnesses the sun dancing, but he is never mentioned again. We can go to the internet to read his newspaper article detailing that he did, indeed, see the sun dancing but this is the sort of corroborating detail that the documentary should have included.

Likewise, several of the experts allude to "secular" explanations for the miracle of the sun dancing, but we are never told just what those explanations are. It would have strengthened the documentary quality of this piece if such opposing information were included and given context to the experts' refutations.

I was also surprised that there was no mention of Mary's request for the consecration of Russia to her "Immaculate Heart." This has been the source of much speculation over the years and also the source of much controversy. For that very reason, it should have been at least touched upon.

Negative points aside, Finding Fatima is an informative and moving work. I came away with more information than I knew before and with a  desire to pray the rosary more often (as an aside, I go in and out of this meditative form of prayer depending on where I am spiritually and various other factors). It is probably the most informational of the films available and will not disappoint those who want to learn more about Fatima.

In Bruges: Violent, Profane, Funny ... and Yet a Perfect Lenten Movie

Ken: Coming up?

Ray: What's up there?

Ken: The view.

Ray: The view of what? The view of down here? I can see that down here.

Ken: Ray, you are about the worst tourist in the whole world.

Ray: Ken, I grew up in Dublin. I love Dublin. If I grew up on a farm, and was retarded, Bruges might impress me but I didn't, so it doesn't.

In Bruges is one of those quirky art movies that there is no way to describe well. A tale of contrasts, it follows two hit men, Ray (Colin Farrell) and Ken (Brendan Gleason), who have been told to hide themselves by traveling to Bruges. Part of the contrast comes from that fairy tale town with these violent men in it. Ken is delighted by the historical aspects and spends all his time sight seeing. Young, callow Ray is bored stiff and only interested in chasing pretty girls. Eventually we find out why the hit men are hiding out and see that Ray has hidden depths, which Ken feels makes him a person worth a second chance. Eventually we also are introduced to their boss, Harry (Ralph Fiennes), who provides yet another contrast. The contrasts provide plenty of opportunities for humor as well as pathos.

Along the way, Ken and Ray see Hieronymus Bosch's art (see below) and the movie becomes almost a mirror of the painting in some ways. Which is to say that while we think we have a grasp on it, there are also surreal elements that are hard to integrate into the whole.

I liked it but was unable to know how to think about it until we watched some of the DVD extras where the actors talked. They had been very thoughtful about it. One remarked that she liked it because Hollywood treats extreme violence so casually and this movie showed that no matter what these people did they were still human beings who were affected by their actions. Well put. In short this is a thoughtful, interesting movie about sacrifice, redemption, and above all what it means to be human.

Warning: it is R-rated for violence and language. The violence is well telegraphed so that I was able to look away every time. As well, the language is frequently and extremely profane. This is a sign of the times, naturally, but one gives a bit of a sigh for the days when coarse hitmen could be portrayed without saying, "f***" every other word. No one who grew up in the home of my youth would be surprised by that word, but I do feel it shows an extreme lack of creativity. Ah well ...

The Garden of Earthly Delights by Hieronymus Bosch, 1500-1505

Click through and look at this close up. I would swear there are some space ships in there.

"Christian" Movie Makers Could Take a Lesson From "Henry Poole is Here"

"Do you ever feel like things happen for no reason?
Like you're just along for the ride?"

So speaks Henry Poole who is without hope or faith and is trying to avoid any and all human contact.

Henry has moved into a neighborhood where he is unknown only to find that his neighbor, Esperanza, sees the "face of Christ" in the new stucco on his house. Insisting that it is a water stain, unable to remove it with bleach, and equally unable to keep Esperanza away, he agrees to let the local priest bring in experts for evaluation.

Meanwhile, we discover why Henry is hiding from the world and see him pulled into interaction despite himself with his neighbors. Henry provides the skeptical, reasonable voice of the world, wanting rational explanations and refusing to believe in ... "don't say that word!" ... miracles because those just don't happen. This provides not only many humorous situations but poignant moments as well. As the movie progresses we are aching to know if the "face of Christ" is genuine or only a water stain. Equally, we are aching for Henry.

In the most basic sense, the overall message of this movie could be that no man is an island, as Henry is unable to avoid people constantly reaching out to him in friendly interest. Those people spark a transformation that Henry can not possibly imagine as he continually attempts to bat them away. We do not see every situation resolved but the sense that resolution lies in the future is clearly present by the end of the film. The story overall is a human, interesting look at hopelessness and faith, isolation and love, memories and future.

There are some script flaws. There could have been more plot lines and a bit less telegraphing of some of the story. The flashbacks are awkwardly jumps in time and some story points move unrealistically quickly. However, it does not make claims to be something it is not. This is a little, refreshing, quirky movie with heart. I have watched many simple movies such as The Castle and Eagle vs. Shark with exactly those same qualities that have stuck with me for a very long time. This movie is no less.

Here is a no-doubt-about-it faith message that was delivered interestingly, and with realistic characters, using subtle methods to enhance the story. Predictable in some ways, it made us think along the way, didn't spoon feed us everything, and was far superior to Fireproof in technique and delivery. It speaks about faith and prayer in the way that normal people do, without stopping to deliver speeches about "accepting the Lord." As Tom says, "You can lead a horse to water, but you probably can't beat it to water."

An indie-style movie with a simple but well delivered story, it is a lesson in how to deliver messages when you're not already preaching to the choir, as "Christian" movies are wont to do. Excellent acting enhanced the movie greatly. For example, I have never seen George Lopez in anything but broad comic roles, which were painful, to tell the truth. Here he does a subtle, low key delivery as the very real seeming neighborhood priest who is called in to give judgment on the "appearance."

We appreciated the acknowledgment that it is possible to have a woman look beautiful and modest while dressing like a normal person. (No stereotypical "sensible" pumps, no frumpy blouse and skirt sets that your mother might wear, and no ugly hair styles ... yes, "Fireproof," I'm lookin' at you all the way here.) Equally, there is no immodest behavior although everyone's behavior is entirely normal. I particularly enjoyed the device of using the tape recorder to both engage Henry with another person and remind him and the audience of key points. As well, we both appreciated the sequence informing of us Henry's past while he is at the river. Artfully and subtly done, especially in a movie with this overall message.

The symbolism likewise was there for us if we wanted it but didn't intrude on our viewing. Take note of characters' names, keeping in mind Esperanza is Spanish for "hope." Equally, remember that a cross never shows up in a movie, even as a shadow, without the filmmaker deliberately placing it there (kudos to Tom who caught this one in the movie). As a larger example: Henry's house is empty, barren, dark, and bleak. A neighbor's backyard, likewise, is in stages of raw disorder, although their house is warm and inviting. We were shocked every time Henry left his home and we saw the neighborhood full of lush, flourishing yards and homes. The contrast between Henry and other people is shown to us thus to make an overall impression that sinks in at a level we did not have to have a spoken declaration to understand. This is not all but we will let it unfold for you.

Well done and definitely recommended for those interested in what they would do if the "face of Christ" showed up on the wall of their house.

Fireproof Review ... The Good, The Bad, and The Ugly

This movie was viewed from a review DVD provided by the distributor.

The plot:

At home with his wife of seven years, fireman Caleb Holt shows little of the bravery he displays on the job, and has a failing marriage as a result. Fighting over every little thing, Caleb and his wife, Catherine (Erin Bethea), are on the verge of signing divorce papers when Caleb's father and coworkers urge him to approach his marriage in the same way he fights vicious flames. When Caleb's father gives him the "Love Dare," a 40-day guide to religiously motivated marriage help, Caleb begins a difficult journey to reclaim his wife, and in the process, his faith in God.

With several action-packed scenes, FIREPROOF uses fire metaphors in its exploration of marriage. The film offers an alternative to the common romantic comedy and, some might argue, a more multidimensional view of romance. The film examines both the ups and inevitable downs of married life, offering faith as a prescription for saving what may at first glance appear to have already failed. Likely to please its target audience, the film offers a fresh perspective on marriage and inspiring relationship tips viewers may want to try regardless of their faith.

The intended audience: Christians and married couples

Will they like it?: Yes.

Will everyone else like it?: Doubtful.

This is a typical "Christian movie" and to make sure we get the point, they hit us over the head with it like a hammer on a nail. There is little "art" or "story" in this movie and that leaves those uninterested in Christian themes or marriage in the cold.

THE GOOD
As someone who has helped present several marriage retreats as well as gone on one of my own that we repeat annually, I can testify that the movie hits on crucial points for a successful marriage. What they are telling us are key points in how to serve our spouse willingly and lovingly as Jesus set the example for us.

I did like the fact that the husband takes truly heroic measures in changing his behavior and that it must be sincere before it begins to change him and, therefore, become something that his wife will accept as real. I also like that the husband's parents spring to his aid with the 40 Days book and also with constant prayer. That felt very real to me. The other thing that felt very real was the affirmation Caleb receives toward the end.

I also liked very much the father's bravery in speaking the truth about his faith to Caleb who makes it clear, in very realistic terms, that he has no interest in anything Christian. The story falls somewhat short in what revelation prompts Caleb to make a life changing decision but does a very good job, on the other hand, with showing a revelation develop in the wife's understanding.

Although I am critical of the story, they still managed to surprise us in a couple of spots with their twists which helped even out some rough spots from elsewhere.

Some of the actors are locals from where the film was shot (or so I believe from the publicity info). If so, someone should sign those nurses up for contracts. They were a delight, fully believable, and our favorite characters. I also especially enjoyed Ken Bevel's best friend role. He was believable and engaged our sympathies as the friend who has been down the hard road of recovering his marriage from trouble.

THE BAD
Before I go into this, let me be clear. I don't have a problem with movies created for a specific audience. The Passion of the Christ was made for Christians and I found it to be a devotional experience. Mel Gibson had the advantage of Hollywood clout and was able to produce a piece that was beautiful, sounded beautiful, and had a lot of money invested to do so. Many small movies do not have this luxury. That is fine. Movies are all about the story. If a story is well thought out and engaging then the trappings do not matter so much. Even subpar acting can be forgiven because we are so engaged in the story.

This movie was shot on a shoe-string budget in thirty days. I do not mind that. I have seen many indie movies with low production values (The Castle and Eagle vs Shark both come to mind) and enjoyed them thoroughly. That would because there was a fully realized story that had fully realized characters.

Unfortunately, Fireproof forgot to give us a story along the way. That is not really true, actually. It is extremely focused on a bad marriage and plunges us into it with little else as the main focus. There were clear attempts to give a well-rounded story by including the nurses at the hospital and the hijinks at the fire station, as well as the firefighters performing daring rescues from precarious situations. Some of these worked while others were predictable. However, when one is dealing with a subpar story then the acting needs to be fantastic to carry it off. This was largely not true in this movie.

This movie was fortunate in having a wide distribution and earning a good profit. I see that the director and a relative wrote the story. I hope in the future they will use a good chunk of that money to hire a screenwriter to flesh out and polish the story.

THE UGLY
They gave us an extremely one-sided story in which the husband is the bad guy and the wife is the victim. Regardless of the fact that we see the wife do several things which she should not if she is truly blameless, this is all implied as a result of the husband's neglect. Never do we see her take part of the blame.

As well, the wife is hampered from getting any advice about her marriage because her mother is incapacitated from a stroke and cannot talk. Why does the wife not turn to her father? Presumably he might have something to say about marriage. The gaggle of friends piling on the husband-bashing advice could have included at least one person with a tad of understanding.

The men and women were very divided throughout the movie, to the point of having the husband very angry at his mother the whole time. We were rooting for his dad to give him a whap upside the head for his complete disrespect of her.

It felt as if people who hated men wrote the script, which is ironic because it was men who wrote it. Perhaps a woman should have helped polish it.

IN THE END ... I still recommend it if you are in the target audience.
I know it sounds as if I hated this movie. I did not. As I say it is very good for the intended audience. I recommend it to Christians and married couples, with the reservations above. If you are expecting a "Christian movie" then you will not be disappointed.

I just wish it could have been something that would have spoken past those boundaries to those who fall outside the specific audience.

GOOD MOVIES FEATURING MARRIAGE
These movies do not have marriage ostensibly as their main point but as our family reflected on Fireproof, these are the ones that we felt brought up very good points as well as being good movies overall.

• Regarding Henry
• Shall We Dance (Japanese version)
• The Paper
• Parenthood
• The Castle
• World Trade Center
• Firefly

More about "Christian Movies and Art"

To be blunt, if a film purports to be a “Christian film” it supposedly is done for the glory of God. You don’t glorify God by making lousy movies.

We need great movies.

Read Scott Nehring's article Less Christian Art - More Christian Artists.