Feeds:
Posts
Comments

Posts Tagged ‘movies’

I watched Moana for the first time yesterday. I’m kind of ambivalent about it, since I can think of some good and some bad messages, and as a 32-year-old, wasn’t all that captivated by the story (though I appreciated the quality of the animation).
Maybe because the setting is more tribal and not so Western, and maybe because of Disney’s motif of sort of refuting some of its earlier fairy tales, I was partially hopeful that this would be a story less about following your heart and more about courageously and sacrificially submitting to the leadership and community you were born to.  I was disappointed.

 

It wasn’t the demi-gods or coconut-demons or fire-monsters or reincarnated/ghost grandmas that most concerned me about this movie; it was that message of how to find out who you are meant to be: Disregard your parents and authority figures.  Be inspired by stories and legends.  Find some distant ancestors whose way of life is most appealing to you, and believe it’s an integral part of you.  Don’t prepare; just literally let yourself be thrown into something, and then pursue it with all the publicly rebellious determination you can muster.

 

One thing that complicates this for a Christian is that some of Moana’s discernment is based on the spiritual encounters she has.  There is no true God and Savior Jesus Christ in this movie, so other things stand in for the role He plays in directing our lives and gracing us to fulfill our “destinies”.  If the water-spirit that is so influential in Moana’s journey were actually the Creator God of the Bible, her story would be less concerning.  But it isn’t, and I believe that there are other spiritual forces in the real world, not only in fantasies, that stand-in for the place God ought to have in our lives.  And these beings are not good, not neutral; they are in evil opposition to the loving Lord of the universe.  What kind of message is it sending us and our kids to trust these kinds of spiritual experiences to direct us?

 

Moana did keep in mind and heart, always, how to serve and care for her people.  This is one of the better aspects of the “find your purpose” theme.  I was telling my brother that if they’d written the story of her father encouraging her to be different from him, while holding these same values of service to the tribe, I’d be way more excited about all of it.

 

Also a positive, in Moana, Disney has released another film that demonstrates the need for teamwork.  Moana and Maui each come to realize that they are more effective with each other’s help, and that the other does really need them in order to save their world.

 

I think I am actually most intrigued by the character of Maui, who wrestles with his own identity questions.  When we first meet him in person, we quickly recognize a dominant trait of arrogance, but later we learn that this is sort of a cover, a compensation for a deep insecurity.  The complex ways these issues affect his choices are fascinating; and over-all, I think they send a good message to audiences.

 

In the end, Moana does have a suitably communal argument for everyone having something to contribute, be it a peculiar chicken, a teenage girl, a demi-god with or without his hook, an experienced leader, or the village crazy lady – and the value of embracing what others have to offer.

 

To God be all glory,

Lisa of Longbourn

Read Full Post »

“I remember every detail. The Germans wore grey. You wore blue.”

“Yes. I put that dress away. When the Germans march out, I’ll wear it again.”

 

~ Casablanca

 

One of the things I love about Ilsa is that she is a character.  We see only these few glimpses, and it seems like she is always dependent and following, but what kind of woman captures Rick’s heart and inspires Laszlo?  It’s the woman who wears blue the day the Germans march into Paris.  She isn’t mourning, isn’t hiding.  We know she was afraid.  But she was celebrating hope, I think – a confidence that the city-conquering Nazis would not be victorious in the end – not if brave, faithful men and women stood against them. 

 

But.  She has put that dress away.  She will wear it again when the Germans leave.  That will be a day also for celebrating hope – hope fulfilled. 

 

It would not be right for her to get the dress out early, before the Nazis are defeated.  Doing so would turn the original defiant hope into an image of how naïve she had been – despairing retrospection. 

 

It would not be right for her to get rid of the dress.  That would be like throwing hope away. 

 

Do you have anything you have “put away”?  Do you laugh when you promise that you will wear it again? 

 

To God be all glory, 

Lisa of Longbourn

Read Full Post »

Avatar

I posted a blog earlier this week that mentioned Avatar, and I was planning, when I wrote the entry a month ago, to balance it with a description of the value in Avatar: heroism.  But I didn’t write the post while I had the thoughts, so there isn’t one.  Just this.

To God be all glory,

Lisa of Longbourn

Read Full Post »

I was watching a movie with my brothers last night, and the scene was one of those notorious “opportune moments.” The hero had a chance to confess his love – or tell the truth – or something useful, but he couldn’t quite bring himself to do it. But he had planned ahead and brought with him a little gift, which he laid on the table between himself and the lady.

 

My brother summed their plight with the poetic description: He laid a gift on the moment’s grave.

 

Tonight I was reading the dictionary – not just to read it, but as one does when one is trying to get somewhere in those pages, and must journey through dangers and distractions like those of Odysseus. (I’m such a terrible speller of Greek; is that right? I am only newly acquainted even with the story of Odysseus, and most disappointed in his character.) My brother is reading The Federalist Papers, great essays on government and history and economics, which employed the word “temerity.” It happens to mean foolhardy or brash, but before I discovered this, I saw a picture.

 

To be honest, I almost always get caught by pictures, and carried away by root words. That is the way dictionaries have with me. This picture was of a little hog-like rodent, and the caption was like a Boggle-champion’s dream: tenrec. How simple. How very likely to occur in Boggle. How unheard of. Honestly. Have you ever heard of a tenrec?

 

No? Well, I suppose that is to be forgiven, since it, like so many interesting creatures, makes its home on Madagascar. The tenrec is a hedgehog-like mammal that eats insects (thus the nose looking like a pig’s, though it could have looked like an anteater and made itself more obvious). Our dictionary’s entry reported that this beast inhabits Madagascar and the adjacent islands.

 

Adjacent Islands!!! Who ever thought? Almost an oximoron! I mean, we’re not talking about islands connected at low tide but not at high. Maybe they were connected during the ice age. But then they weren’t islandS; they were AN island. So my meticulous brother commanded (he’s the one with leadership skills) that I look up “adjacent.” And it turns out that “adjacent” has as its first definition, “to lie near.” Still, I think that “Adjacent Islands” would be a great title for something. The image is so poetic.

 

Movies are almost always on in my house, maybe coming from so many of us enjoying long movies, or maybe because there are so many of us who think we need our own turn at choosing the program. Tonight there was yet another movie, and it was simply horrible, because the message of the movie was that when grown ups lie to children, the children owe it to them to sort of believe, because they want to believe, and miracles happen when you believe… The end of the movie had very little to do with this subject, as it consisted of the main little girl receiving three separate pairs of roller skates for Christmas. The last pair came from a blind man. And the little girl responded that she had a gift for him, her arms now full of metal and wheels. The most natural thing to expect her to give was a pair of roller skates. But then we pictured a blind man skating down the road… Don’t give such gifts to blind men!
 
Oh!  I signed up for all sorts of restaurant email updates, and have coupons and freebies rolling in!  Mostly they just want to give me something free with purchase, but I have plenty of choices!  There is something so pleasing about having a coupon in one’s purse.  Tonight I used a Kohl’s discount they sent in the mail, and saved a whole $1.50!  The best sign-up’s so far are Coldstone Creamery, Red Robins, and Lone Star Steakhouse.  Wendy’s gives a coupon for a dollar off.  But I’m still waiting to see what happens on my birthday.  I’ll let you know. 
 
The movie from last night (Wednesday) was Sense and Sensibility.  There are 4 versions I know anything about.  The earliest was made by BBC in the 70’s or 80’s, and according to my brother, who picked it up by mistake, is acted by robots who sit on teeter-totters sideways trying to converse with each other.  Next in importance/quality is a strange version made in India.  In fact, I believe the English is dubbed.  Not anywhere near as good as India’s Bride and Prejudice.  Now we come to the competitors.  In the 90’s, Emma Thompson wrote the screenplay for Sense and Sensibility.  She also starred as Elinor.  Alongside her were Hugh Grant and Kate Winslet, the latter reporting that she scarcely had to act; her personality was so much like Marianne Dashwood that Kate simply had to play the part.  That movie is beautiful.  Funny.  Sad.  Thoughtful.  With the exultantly happy ending highlighted by the perfect score.  I have my objections.  Hugh Grant – he’s not handsome, and his stuttering is annoying.  Colonel Brandon (I should know his name) isn’t very handsome, either, and Jane Austen movies aren’t known for their realism, so we should aim for attractive.  Finally, the version we were watching is the latest BBC adaptation, made in 2008.  It is about 3 hours long, with pretty scenery.  Other than that, the characters are poor imitators of the really good Sense and Sensibility.  Andrew Davies failed to convey emotion with his screenplay, and I don’t think most of the actors understood their characters.  The movie has its moments of interest.  Anyway, the actor who plays Colonel Brandon was recognized by all watching, but we couldn’t place him, so I looked him up.  IMDB is great!  I have been spending a lot of time there lately, for one reason or another.  The actor is David Morrissey, whom I recognized from The Water Horse.  Ah, the relief of answers! 
 
Have a good night.  Don’t waste your day. 
 
To God be all glory.

Read Full Post »

A friend was telling me about a book the other day.  She said that in the first page not only had the author stated his thesis; he had also persuaded her of its truth.  The following hundred fifty pages were spent reiterating the point and adding evidence with which to convict the audience of the need for the final third of his book, advice for applying the concept.  My friend has always been more interested in writing that was more practical than philosophical, and essentially agreed with the premise of this book before she began to read it.  So she sloughed through the repetitive, unnecessary chapters getting quite bored and wondering if the book was worth her time. 

And today, while I pondered her conversational book review, I realized something.  When I read, I cannot wait to share what I have learned with someone else.  I want to discuss the statements, to criticize them or exult in them, to take every piece of information from the book and draw conclusions from it.  I am rather bored by a book that is a list of how-to steps, because inevitably my situation is omitted, and I chafe under the restrictions of specifics.  As a little girl playing with legos, I always altered the instructions that came with the little car kits.  During a lecture, I much prefer taking my own notes to filling in blanks.  When I read, I am not merely receiving what the author intended; I am springboarding from there to further conclusions, adding the information to everything else I know and experience, in order to richly apply the new ideas. 

Not only am I blending each new piece of media with the others of my experience; I am contributing to the community knowledge and awareness.  Were I to read the book my friend was describing, I would not only be gaining information useful for my life, but also things that I could transfer to my friends, some of whom might benefit from all those tedious persuasion points.  I could write about the subject here (except I already have, when I read reviews of the same book by other bloggers – sharing their knowledge with their community).  Think about reviews and quotes, the work of one man in reading an entire volume in order to bring you a concise summary and sample. 

Have you an idea of the impact on your world when you read a book or watch a movie or listen to a song – or even have an experience?  We are, when living in community, all something like the feared and almost unstoppable Borg of Star Trek invention.  Our understanding is assimilated into a collective.  Except in our case, instead of our brains being hacked and joined to an impersonal super-computer, we are a collective by reason of our relationships: our compassion for others, and wisdom in choosing when to share and what.  Communication is key. 

Imagine a person who was reading, thinking, watching, and living – but who never communicated any of what he learned.  Though his experiences would shape him and his decisions and so impact the people around him, how much more could they all benefit if he was using his time not selfishly, but for what it could offer neighbors, family, and friends?  What I do not have time to read, watch, or do might be in the realm of the experiences of my acquaintance, who could give me the relevant parts or the most interesting parts. 

Worse than someone who will not communicate is a passive member of the community.  All he does is absorb media, blinking at a screen, fiddling with a video game, settling for mediocrity in all of his pursuits, never aspiring to innovation or improvement.  Such a person is not contributing to the community, is wasting his potential, while benefiting like a parasite from the efforts of others.  Even if he is a hermit, excluding himself from the community, by residing in the vicinity of communities (even in a macro situation like the large geography of a state or country) he will be the recipient of at least a few good things brought about by the selfless enterprise of others.  A country is strong when the people are united.  It will be profitable, creative, defensive, and resilient. 

So, too, is a church that is united.  God did not place His children as individual hermits to meditate on Him and reach full potential of godliness, testimony, or understanding.  He placed us as a people, in an organism called the church, made up of many members that the world may see our love in community, proclaiming not that God is near them, nor that God is in them, but that God is truly among them.  It is almost redundant to say that church is community.  But it is counterintuitive to today’s citizen.  He is taught to think of church as an institution, a collection of programs and “services,” which the religious attend and in which they ritually participate. 

The Bible teaches that the people redeemed by Christ’s grace are to walk in the Spirit, to live by faith, praying without ceasing.  We are saved individually, each bearing God’s image, each a man for whom Jesus gave His Life.  But that salvation and faith and Spirit pours into the collective when the “members” gather.  Then that which a person has read, learned, or experienced should be brought forward and discussed: questioned, projected, contrasted, added to the knowledge and circumstances of others, and then applied.  What esteem we should have for those with whom we fellowship, embracing their words whether encouraging or correcting, for we are all benefiting from the voice of God on many ears! 

To God be all glory,

Lisa of Longbourn

Read Full Post »

The other night I watched a movie with a friend. It was a thinking movie, the kind I love. Do people ever tell you a movie is “about” the plot? I mean, a movie or book is rarely about what happens. The events and characters are about something else. Jane Austen was kind enough to tell us in her titles what her books were about. Some people don’t realize the subject of their art until they themselves step back to view the metaphor against the big picture.
This movie, it quoted Shakespeare. And even though I’m familiar with about two Shakespeare plays (a comedy – translate: happy ending and a tragedy – translate: everyone dies, but only in the end) and a sonnet, I’ve figured out that Shakespeare wrote about things. I don’t always know what. And so to quote a line from Shakespeare is to imply the subject of his play.
Because my examples are limited, I’m going to use the one I can think of. In Hamlet, the title character arranges for a pointed stage drama designed to convict his mother of her sins. (He ruins the effect by talking straight through the play; Shakespeare should have better appreciated the power of art when left to speak for itself.) In this drama within a play is a woman who worries aloud about whether she is making the right decision. She hesitates to give into temptation. At the end of the play, Hamlet asks his mother for her review of the performance. “Methinks she doth protest too much,” says the mother. And so we have a commonly quoted phrase of Shakespeare.
When someone quotes that line, they are often and most correctly implying the context, too. They’re even bringing with them the end of the tale, with its vilifications and justifications. Being familiar with the anthologies referenced in works of art can go a long way towards comprehension. Another advandage to interpretation is to have already made a thought venture or two into the subject. The Matrix, I believe, is about fate. How powerful is the human will? Whether I agree with The Matrix’s statements on this subject or not, I can more readily grasp those statements because I’ve spent a lot of time investigating free will and the sovereignty of God.
These references to shared philosophical questions, literary experiences, etc. make up a story-mosaic within the larger story. And it can be done in a movie, in a poem, in witticism, in art, and even in everyday conversation. A frequent form of Context Matrix is the inside joke phenomenon.
 

Image from DiyHappy

 

My brother writes poetry. Sometimes he just writes whatever is in his head that jumbles into verse form. Some evolutionists wrongly suggest that organisms acquire additional DNA information (to change them into new species) by sort of colliding with other organisms with different DNA (we have the eye factory organism over here, going through generations of natural selection to finally reach vision, and he’ll share someday with the organism working out wings and flight). This is not a sufficient mechanism for biology, but it seems to happen in the thought realm of my brother’s mind. But he isn’t in control of his mental context matrix, of all the things he encounters in his life to fuel his thoughts and shape his experiences. I believe there is a designer at work on each of our lives, and sometimes before we are even aware, He is writing patterns into the mosaic of experiences. Those patterns come out like (good) toxocology reports on my brother’s thoughts.

Let me tell you, though, that unless you know my brother on a day-to-day basis, interpreting his poetry is impossible. He doesn’t care. For whatever it’s worth to you, whatever the words mean to you, take them or leave them. I suppose a lot of art is like that, subjected to the needs and interests of the connoisseur.

I’m really bad at getting metaphors. There is probably a common representative language among poets into which I, for lack of study, have not been initiated. When I do catch on to a metaphor, I’m really excited.

One breakthrough recently is the willingness to admit my ignorance and ask for help in understanding things. (For years I’ve been trying to help my “blonde” – literal or figurative – friends appear smarter by teaching them to wait a while and see if they catch on before they admit themselves to teasing by that inimitable expression, “Huh?” Now they’re teaching me to learn by being willing to ask.) Having a brother like mine helps. Sometimes, you just have to ask the source. Such was my plan of action for a blog I read.

A friend told me that his friend was disappointed in the lack of response to his blog. I’ve been blogging for two and a half years, and let me tell you, the blog world is big; finding an audience is hard. Out of compassionate curiosity, I found the blog and read it. It didn’t make any sense. I mean the words made sense, but they were the plot, not the subject. Months later I checked it again. This time I was convinced that the blog was more than the product of bored hours of creatively mimicing archaic literature. The author was getting at something flying over my head at light speed. So I asked.

And today the author answered. By now I forgot most of what I read, so I have to re-read the post, too. Here it is: The Perilous Journeys of St. Upid I dare you to leave comments (on my blog as well as his) with what you think it’s about.

My point here is that my friend understood his friend’s blog because he knew the context matrix his friend was using. They’ve talked in unambiguous language about these topics. They’ve also both seen Monty Python, which may have helped me if I’d seen more of his stuff. That’s your only hint.

To God be all glory,

Lisa of Longbourn 

Read Full Post »

The following is a sort of running commentary on the movie, Remains of the Day.  I wrote it while watching the movie.  The movie is subtle and deep.  I don’t get poems.  I like them if they are clever or rhyme, but not if they’re too deep. So when I do really start to catch on, I get excited.  This movie is like a poem.  If you can grasp the meaning by just watching, you might not be too entertained by this blog post.  It’s full of spoilers and observations about the plot.  Another aspect of this essay is that because I wrote it during the movie, it alternates tenses.  If I speak in past tense, I’m referring to something that happened earlier in the movie, but which I was just pulling together later.  If it’s in the present tense I am either making a point about the theme of the story or discussing events unfolding before my eyes on the screen.  Rather than making the tone consistent throughout, I have preserved the original, hoping that the natural flow will communicate more about how my thoughts were developing.  I’m essentially inviting you to view the movie with me. 

 

“I’m not leaving.  I’ve nowhere to go.  I have no family.  I’m a coward…  I’m frightened of leaving and that’s the truth.  All I see out in the world is loneliness, and it frightens me.  That’s all my high principles are worth.  I’m ashamed of myself.”  Emma Thompson plays the housekeeper in Remains of the Day, opposite butler Anthony Hopkins.  She’s not afraid of confessing who she is.  In fact, I’d say she’s more afraid of not telling who she is. 

 

It’s a movie all about loneliness: on one side about trying to feel nothing or at least to show no feelings.  Actions and words went together to prove dignity, the hallmark of British society.  The main characters never talked, then encountered people who do.  How do you adjust to the demise of aristocracy as a philosophy?  What the butler, Mr. Stevens, had always known as abstract turned out to be affecting personal lives. 

 

(Mr. Lewis is an interesting thread to follow.  He’s an American way ahead of the gentlemen in the democracy and equality world.  The way he uses rhetoric is too direct for them.  Initially he makes enemies everywhere.  People think he doesn’t care about England or Europe.  In the end his view of politics is proven right, and he also turns out to be very fond of England for its real value.  It is he who preserves Darlington Hall.  He represents America, I think, across nearly a century of its history.) 

 

It isn’t that the butler can’t express himself or can’t feel anything.  He just exercises self-control.  His loyalty was misplaced.  He chose self-control because his goal was dignity.  By the end of his life, he’s second-guessing the direction he chose. 

 

In the movie Lord Darlington explains why he wants to help Germany.  He had a friend who fought on the side of Germany in the First World War, and afterwards was so devastated by its effect on his country that he committed suicide.  Mr. Stevens watched a similar thing happen to his boss over the course of the movie.  He feels obligated to honor the memory of his former employer and helps do as a free man what he couldn’t do as Lord Darlington’s servant. 

 

Near the beginning of the movie, Miss Kenton the housekeeper comes into Mr. Stevens’ parlor bringing flowers and representing passion and life.  She does her job well and respectfully, but offers a whole different approach to dignity, one that is more open and faithful to herself.  She represents the other side of loneliness, the kind that feels alone even when she’s with other people. 

 

Mr. Stevens never says what he means, following the example described by his father: the butler in India shot a tiger in the kitchen and entered the parlor a moment later to say dinner would be served at the usual hour, by which time there would be no discernible traces of the incident.  All this calm, polite conversation to convey the death of a ferocious animal in the dining room. 

 

So when Miss Kenton enters his room, he says that he prefers his room private, unchanged, and (seeming to refer to flowers but actually not) free of distraction.  The relationship between the butler and housekeeper is reminiscent of Elizabeth and Darcy’s conversations in Pride and Prejudice.  Until she got to know Darcy, he seemed rude and unfeeling.  Once Miss Kenton likewise makes the patient and attentive habit of knowing Mr. Stevens’ character and tastes, she can, rather on faith, begin to interpret what he says or doesn’t say as a sort of code for his true meaning.  Given her openness, he has the great advantage over her: the comfort of knowing when she agrees, security of being aware when she doesn’t, and even delight when her position entertains – all while, at first, safely hidden in his own opinions. 

 

But she begins to see through him, utilizing Plato’s “plot is everything” to observe his life.  She notices he doesn’t like pretty women on staff, and speculates, “Might it be that our Mr. Stevens fears distraction?”  She has an excellent memory, and so no doubt began to understand what he had thought of her when she first entered his study with flowers years earlier.  He didn’t trust himself. 

 

Passion is a distraction from duty.  Or is the other way around? 

 

“Please leave me alone, Miss Kenton.”  He wants to be alone, at least partly.  And he wants her to physically pry the book from his hands, to talk and guess and look into his face for the answers he dare not show but can’t hide.  He freezes, utterly conflicted for a moment, craving and fearing her closeness. 

 

“We have each other.  That’s all anyone can ever need.”

 – Miss Hull on marrying without money.

 

Miss Kenton finds that being together in the same house isn’t enough.  She might content herself with friendship, but he can’t.  He must have formality or surrender to love, but he doesn’t know how to do the latter.  She can’t bear the rejection, which is worse than loneliness. 

 

She hurt him.  She loved him and she hurt him.  Maybe that’s why she left. 

 

He didn’t owe her anything.  She knew he didn’t, but she hoped anyway.  That made her tears all the more bitter and self-reproaching when he couldn’t let himself admit he was in love. 

 

Why does Miss Kenton do these things?  She sees the outside world as lonely, in contrast to the house and servants (though Mr. Stevens sees the house as lonely).  She above all fears loneliness, and works and sacrifices so that she won’t feel alone.  This is why she eventually leaves.  Though Mr. Stevens knows she is not alone, he makes the mistake of not telling her so.  And she flees to what seems a sure thing, an offer of marriage to a man who says he loves her. 

 

She is too needy for a marriage, and her husband didn’t always say what he meant, either – even when he first said “I love you.”  The movie ends with the question of loneliness still hanging. 

 

To God be all glory,

Lisa of Longbourn

Read Full Post »

Older Posts »