The Angel

Reconciling One’s Life

“Get Low” (2009 production; 2010 release). Cast: Robert Duvall, Bill Murray, Sissy Spacek, Lucas Black, Bill Cobbs, Gerald McRaney, Scott Cooper, Lori Beth Edgeman. Director: Aaron Schneider. Screenplay: Chris Provenzano and C. Gaby Mitchell. Story: Chris Provenzano and Scott Seeke. www.sonyclassics.com/getlow/

As the end of life approaches, the time comes to wind up one’s affairs. It’s an opportunity to say the things left unsaid, to hear the things left unheard and to settle up all manner of outstanding accounts. But, most of all, it’s a time to get one’s beliefs in order, to assess what’s in one’s heart and mind, especially in preparation for what lies ahead—and what will carry over into the hereafter. That process can be particularly tricky if someone has lived the life of a recluse, with little or no chance to tackle these issues in the course of daily living. Such is the circumstance faced by the protagonist in the touching new comedy-drama, “Get Low.”

Based on a true story-turned-Depression Era folktale, the film chronicles the final days of Felix Bush (Robert Duvall), a hermit of the Tennessee backwoods who has lived in virtual isolation for 40 years. Felix is generally regarded as a mean old man who’s had many a tall tale attributed to him (most of them vile and grizzly). Most folks avoid him, but that’s just the way he likes it, because he’d rather avoid them, too. But, with his health failing and death hovering nearby, Felix decides to come out of the woods. His reason: To make arrangements for his funeral, an event that he fully intends to attend—while still alive.

To handle the logistics of the event—which the old curmudgeon ironically envisions as a party rather than a dour ritual—Felix contacts the local undertaker, Frank Quinn (Bill Murray), a shady businessman whose funeral home is on its own deathbed. Frank is a bit perplexed at Felix’s request, as is his idealistic young associate, Buddy (Lucas Black), who sees the request as inappropriate. But when Felix pulls a huge wad of cash out of his pocket, all apprehensions are suddenly assuaged, and plans for his funeral celebration begin in earnest.

The main reason Felix gives for wanting to attend his own funeral is that he wants to hear what others have to say about him. Given all the tales that have been told about him over the years, he invites everyone who has a story to share to attend the event. To entice guests, he even announces plans to hold a drawing for his land. But, as the time for the event draws near and his health failing further, Felix realizes that the most important story that needs to be told is his own, one that he finds difficult to tell. He seeks the support of others to help him out with this, most notably a woman from his past (Sissy Spacek) and a longtime friend and preacher (Bill Cobbs). But Felix soon realizes that telling his own story is a task that he alone must undertake, not only to set the record straight but also to get himself ready for a future that’s quickly impending.

With the end in sight, the need to “get low”—to get serious about one’s personal business, as Felix calls it—is important for a variety of reasons. Unburdening oneself of excess emotional baggage, by way of personal confession, is perhaps the most obvious purpose. Such acts generally ease the suffering of those who are about to be left behind, providing much needed closure. They also leave the one about to depart “lighter of heart,” a condition said to make one’s transition into the afterlife smoother, a notion that was considered so vital in ancient times that the Egyptians even ritualized it, literally, in the weighing of the heart ceremony after one’s death. To alleviate the anxiety of his own passing, Felix obviously needs to follow suit, even if only figuratively.

Getting one’s emotional and belief affairs in order is also important from a conscious creation/law of attraction perspective. Many who are well-versed in this subject, including some who have had near-death experiences, contend that the beliefs we hold at the time we pass on carry over into the afterlife, helping to frame the experiences we encounter once we arrive on the other side. It’s a concept that has been explored widely in sources as diverse as the writings of author Jane Roberts, the filmmaking of director Jay Weidner (particularly in his documentary “Infinity: The Ultimate Trip,” reviewed in this column earlier this year) and even the metaphysics of the ancient Egyptians, who believed that the main purpose of this life was to prepare for the next one. So, if Felix is to get what he wants after traversing the barrier between realities, he had better put the beliefs into place now that he wants to unfold later, advice that we’d all be wise to follow.

“Get Low” effectively evokes a wide range of emotions and reactions, from laughter to sadness to warmth and compassion. It features a stellar portrayal by Duvall, easily the best work he’s done in years and certainly worthy of serious consideration come awards season. Murray, Spacek, Black and Cobbs also turn in fine performances, successfully breathing life into supporting characters whose development gets a little shortchanged at times by an occasionally underwritten script (the overall strength of the story notwithstanding). Its period piece production values and soundtrack are top-notch, too, capably enhancing all of the film’s other fine attributes.

Reconciling one’s life is something we all have to face one day. Most of us would probably prefer to do so on our own terms, too, even if we don’t necessarily know how. Felix’s example, for what it’s worth, gives us some inspiration to draw upon, at least theoretically speaking. But it’s advice that could prove highly useful for the time when each of us must learn how to get low.

Author’s Note: This entry marks the beginning of a new feature, called “Extra Credits,” that will periodically accompany my film reviews. Its purpose is to present brief synopses of other current pictures of interest, especially those with themes related to the main review. Enjoy!

Extra Credits: Getting one’s heart and mind straight about life and the afterlife is the subject of another current release, “Charlie St. Cloud.” When the younger of two inseparable brothers is tragically killed in a car accident, the elder brother, who felt responsible for the incident, takes a job as a groundskeeper at the cemetery where his junior sibling is buried. The reason: The communication between the two hasn’t ended, despite their separation by death. But at what point should guilt be relinquished, especially when it gets in the way of living one’s life? That’s the question this film seeks to answer, a legitimate sentiment worthy of consideration. Unfortunately, this picture’s heavy-handed treatment of the subject gets old very quickly, a problem made all the worse by its relentless reliance on every cinematic cliché imaginable. This may be suitable viewing for Sunday school classes or for teenage girls looking to spend an afternoon at the movies with their bffs, but this one suffers gravely (pun intended) from so many issues that, sadly, even the most ambitious life support efforts couldn’t save it. (“Charlie St. Cloud” (2010). Cast: Zac Efron, Charlie Tahan, Amanda Crew, Augustus Prew, Donal Logue, Kim Basinger, Ray Liotta, Dave Franco, Jesse Wheeler, Matt Ward. Director: Burr Steers. Screenplay: Craig Pearce and Lewis Colick. Book: The Death and Life of Charlie St. Cloud, by Ben Sherwood. www.charliestcloud.com)

Copyright © 2010, by Brent Marchant. All rights reserved.

Technorati Tags: "Charlie St. Cloud", "Get Low", Aaron Schneider, Bill Cobbs, Bill Murray, Brent Marchant, celebration, conscious creation, Depression Era, Extra Credits, folktale, Funeral, Kim Basinger, law of attraction, Movies, party, preparing for death, Ray Liotta, Robert Duvall, Sissy Spacek, Zac Efron

Forever My Muse

The nectar you brew and provide
In rich, swelling abundance
Is the liquid of my muse.
It is alive and moves
In coordination
With the sensual beats
That hold me still
In the moment of
Intoxication.

Never have I
So tasted now.

Not wanting to be
Forward or back,
I could sink forever,
Sliding down these whispers,
Negotiating the rivers
That exist to take me away,
That take you away,
That move life along.
Your existence
Is my Bermuda Triangle,
A danger and mystery.
I should let you be
As you are.
I should.
My mind sounds the
Drum of Wisdom
From years of you,
Both actual and
Memory fragments.
The louder the
Drum,
The stronger my
Defiance,
The faster my cells
Buzz
With the vision of you.

Sight Unseen

If everyone would close their eyes

No one would ever know

If you were short or tall or wide

These things would never show

There would not be a difference

Between the race and creed

Just actions that would signify

The kindness and good deeds

There would not be a raging war

How could they hate unseen

No jealousy or thievery

So simple be the needs

Imagine how the world would be

With true equality

No judgments made to anyone

All people would be free

Technorati Tags: equality, love

A Missed Opportunity

“Inception” (2010). Cast: Leonardo DiCaprio, Ellen Page, Joseph Gordon-Levitt, Marion Cotillard, Tom Berenger, Michael Caine, Tom Hardy, Ken Watanabe, Dileep Rao, Cillian Murphy, Pete Postlethwaite. Director: Christopher Nolan. Screenplay: Christopher Nolan. www.inceptionmovie.warnerbros.com

In my opinion, the most critical factor in a film’s success, from both a purely cinematic standpoint and in any of its associated metaphysical content, is the strength of its story. If a movie fails on this point, it lacks a suitable foundation upon which to build, regardless of its other attributes. This is especially true when a picture aspires to a sense of greatness, either in a strictly entertainment-related context or as a medium for imparting significant knowledge. And that’s why it’s so disappointing that one of this summer’s most ambitious, most anticipated releases, the sci-fi thriller “Inception,” comes up short.

Dom Cobb (Leonardo DiCaprio) is an expert at extraction—not the kind that dentists perform but the kind that corporate saboteurs engage in. Cobb works in the dream state to “extract” (i.e., steal) secrets from the minds of high-profile executives for the strategic benefit of their rivals. Having developed a reputation as the best, Cobb is hired to perform a task for Mr. Saito (Ken Watanabe), head of a major multinational who wants to rid himself of his only significant competitor. But this assignment is a little different; instead of extracting information, Cobb is charged with planting an idea in the mind of his target and to do so convincingly enough so that the target believes the idea is his own, an act of “inception.” Succeeding at inception is anything but guaranteed, however; few have tried it, and failure inevitably followed. But, being the expert that he is, Cobb has performed the procedure successfully and is thus tasked to do the job.

Cobb’s target is Robert Fischer (Cillian Murphy), heir to the immense corporate empire built by his dying father, Maurice (Pete Postlethwaite). He’s assigned to implant an idea in Fischer’s mind that he should dissolve his father’s empire upon his inheritance (thereby eliminating Saito’s competition). As compensation for his efforts, Cobb is set to receive what he desires most—a cleared criminal record that will allow him to freely reenter the U.S. As a fugitive wanted for the murder of his wife, Mal (Marion Cotillard), Cobb perpetually circles the globe to do jobs and stay ahead of the law. But the one thing he most wants—the ability to return home—has eluded him, at least until now.

With such a powerful incentive looming, Cobb undertakes his assigned task. He assembles a team to assist him, including Arthur, his trusty associate (Joseph Gordon-Levitt); Ariadne, a gifted young architect charged with designing the structure of the dreamscape in which the mission is to be carried out (Ellen Page); Eames, a con artist par excellence who’s capable of materializing effective deceptions on demand (Tom Hardy); and Yusuf, a chemist whose potent concoctions keep everyone sufficiently sedated long enough to complete the task (Dileep Rao). The big question for the team, of course, is, will they succeed in a netherworld as ethereal as the dream state?

While the foregoing summary probably makes the film sound like an otherworldly crime caper, its emphasis on exploring the character of the dream state provides the main focus of the movie’s narrative, an aspect of the picture that, arguably, would seem to elevate its intentions to something more substantial than a mere crime drama. If a movie aspires to something that profound, though, the story and script have to deliver the goods, and this is where “Inception” misses the mark in several significant ways.

As conscious creation/law of attraction practitioners know, alternate realities (like the dream state) provide venues for trying out new ideas and exploring uncharted scenarios, environments where essentially anything is possible. However, this film’s depiction of the dream state is riddled with rules, regulations and limitations that undermine that basic premise. Granted, many of these alleged restrictions are based on Cobb’s own beliefs, but they’re frequently presented as metaphysical absolutes, thereby seriously mischaracterizing the nature of the dream state (and all because their inclusion is necessary to make the story line work). Not only does this make for an often-confusing plot, but it also does a disservice to viewers by presenting a skewed depiction of this material. (Missed Opportunity No. 1.)

In a similar vein, there are a number of discussions among characters regarding what’s “real” and what isn’t. Such discussions are painfully frustrating to sit through; again, as conscious creation/law of attraction practitioners know, just because a reality operates according to a different set of rules doesn’t mean that it’s any less “real” than the waking consciousness state with which we’re most familiar. All realities, including the dream state, are real and equally valid, regardless of the basis on which they function, a notion frequently disregarded by this film and thus doing viewers another disservice. (Missed Opportunity No. 2.)

Finally, I find it somewhat hard to accept that someone like Cobb, who’s proficient at working in the dream state, would choose to apply his considerable expertise for the purposes that he ultimately does. Given his extensive experience in this area (told through flashbacks), we’re shown a character who has come face to face with this reality’s power—and the inherent responsibility and respect that come from working with it. In view of his subsequent choices, then, one can’t help but wonder whether he learned anything from his own difficult experiences, especially since he’s elected to apply his skills for such singularly self-serving aims (and ones that purposely inflict significant harm on others, no less). It would seem that someone with his level of awareness would be more amenable to using his capabilities for something more worthwhile than engaging in acts of corporate espionage. What’s more, the trials and tribulations he experiences while partaking in such exploits leave me with little empathy for him when the going gets tough, despite the film’s attempts at generating sympathy for him. Perhaps this reflects a personal prejudice on my part, but employing characters to demonstrate the potential of the dream state through the kinds of acts depicted on screen seems like yet another viewer disservice. (Missed Opportunity No. 3.)

To be sure, all possibilities are equally valid according to conscious creation/law of attraction principles, and the story line presented here is no exception. However, for a film that seeks to aspire to something enlightening and instructive, this picture’s story falls short of that mark. Some might contend I’m holding the movie to an unattainably high standard, but I’d argue that, considering what the film appeared to be aiming for, I don’t believe I’m being unfair.

In light of this failing, then, I’d recommend that anyone who seriously wants to learn more about the nature of the dream state would be better served by reading one of the many excellent books on the subject. A few that I’d recommend are Robert Waggoner’s Lucid Dreaming: Gateway to the Inner Self (Moment Point Press, www.momentpoint.com) or any of the writings of author and dream researcher Robert Moss.

Nevertheless, with all that said, “Inception” does have its strong points. Its special effects are dazzling, and the performances are all quite capable. It also effectively presents some valuable information about the nature of the dream state, such as showing how dreams often occur in levels and how they can be used for beneficial purposes like healing. Moreover, the picture poses some intriguing ambiguities, a quality often characteristic of the dream state; in fact, this is an aspect of the film that, if developed further, could have made the story more compelling (but that may have been difficult to implement in view of all the self-imposed story line restrictions noted earlier). These attributes, as good as they are, however, aren’t enough to rescue the film from all of its other inherent pitfalls.

While “Inception” may be living up to its hype, it’s unfortunate that it doesn’t live up to its potential. Director Christopher Nolan has made some terrific films over the years (“Memento,” “The Dark Knight”), but he may have tried reaching too far (or perhaps not far enough?) with this offering. It may have provided an opportunity to entertain, but it missed one to enlighten.

Copyright © 2010, by Brent Marchant. All rights reserved.

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