Finding a Way Home
Muna Farah (Nisreen Faour) trades in her job as a bank officer for a White Castle uniform, and a life on the Palestinian West Bank for a new beginning in northern Illinois, in the comedy-drama “Amreeka,” now available on DVD. Photo courtesy of National Geographic Entertainment.
“Amreeka” (2009). Cast: Nisreen Faour, Melkar Muallem, Hiam Abbass, Yussef Abu Warda, Joseph Ziegler, Alia Shawkat, Jenna Kawar, Selena Haddad, Andrew Sannie, Daniel Boiteau, Brodie Sanderson, Glen Thompson, Miriam Smith. Director: Cherien Dabis. Screenplay: Cherien Dabis. www.amreeka.com.
Anyone who has ever gone hunting for a new house or apartment knows how taxing it can be to find a suitable place to hang one’s hat. So imagine what it might be like if that notion were applied on a larger scale, to find a community—or even a country—to call one’s own. And, taking that idea to an even greater extreme, consider what’s involved in finding oneself at home in one’s very own skin. Those are some of the challenges explored in the comedy-drama “Amreeka,” now available on DVD.
Teenager Fadi Farah (Melkar Muallem) struggles to fit in at his new school after emigrating to the US from the Palestinian West Bank in Cherien Dabis’s “Amreeka,” now available on DVD. Photo courtesy of National Geographic Entertainment.
Life on the Palestinian West Bank in 2002 is often frustrating for Muna Farah (Nisreen Faour). As a single mother separated from her philandering husband, she struggles to raise her teenage son, Fadi (Melkar Muallem), under trying circumstances. Just being a working mom is difficult enough, but add in Muna’s two-hour commute from her home in Bethlehem to her job as a bank officer in the Palestinian territory (facing intrusive scrutiny at government checkpoints all along the way), and the routine of her everyday life becomes that much more arduous. She’s also preoccupied with shedding some pounds, an undertaking where the losses seemingly involve everything but weight. Clearly, Muna is ready for a change.
That opportunity arrives somewhat unexpectedly one day when Muna receives a notice that her application for a visa to visit Amreeka (the Arabic word for “America”) has been approved. The news comes as a surprise, since she had all but forgotten filing the application, having done so when she and her ex-husband were still together and making plans for a once-hoped-for future. She’s initially unsure what to do, but when Fadi reminds her of all the everyday difficulties she faces, Muna agrees that a fresh start is the best course. And so Muna and Fadi relocate to rural northern Illinois to join the family of her émigré sister Raghda (Hiam Abbass) and brother-in-law Nabeel Halaby (Yussef Abu Warda).
Despite the promise of a new life, however, Muna and Fadi find that making the transition isn’t always easy. For instance, Muna’s job search doesn’t live up to her expectations; even with her years of banking experience, she’s forced into taking a job as counter help at the local White Castle. Meanwhile, Fadi struggles to fit in at his new school, where prejudiced classmates unhesitatingly show off their cultural ignorance, often to the new arrival’s detriment. And even the well-meaning support of Raghda’s family sometimes isn’t enough, as they, too, face acceptance challenges of their own, despite having been established in the U.S. for years. But if that weren’t enough, all of the protagonists run headlong into the simmering anti-Islamic sentiments that arose in early 2003 during the opening days of the Iraq War. But this is an irony if there ever were one, since Muna and her family aren’t Muslim (Muna’s family’s religion is never definitively identified in the film, but it’s been suggested that they’re Palestinian Christians, given that they originally hailed from Bethlehem).
As time passes, however, Muna and Fadi find allies who help ease their transition, most notably Muna’s nerdy co-worker Matt (Brodie Sanderson), Fadi’s principal Mr. Novatski (Joseph Ziegler) and, to a certain extent, even Raghda and Nabeel’s daughters (Alia Shawkat, Jenna Kawar, Selena Haddad). But the assistance of these newfound friends doesn’t stem so much from what they do but from what they say and the attitudes they exhibit. They’re all clearly comfortable in their own skin, and the new immigrants gradually pick up on this. The seemingly perennial outcasts, who never really felt at home in their so-called homeland and have often felt even less so in their new country, begin to feel more at ease by drawing on these examples. As their perspectives shift, Muna and Fadi realize that what they call “home” ultimately begins with them, with what they believe constitutes home and not just their physical surroundings (or, in Muna’s case, even with her own body). They grow into their new environment, making the home they want for themselves, based on their beliefs, just as what anyone would do in any other conscious creation/law of attraction undertaking.
Sisters Raghda Halaby (Hiam Abbass) and Muna Farah (Nisreen Faour) begin life anew together when reunited in the charming independent film “Amreeka,” a story based on the family life experiences of writer/director Cherien Dabis. Photo courtesy of National Geographic Entertainment.
“Amreeka” is a charming independent film, full of warmth, heart tugs and gentle humor. And others apparently agree; the film captured the FIPRESCI Prize of the International Federation of Film Critics at the 2009 Cannes Film Festival, and it has been nominated for three awards (including best feature and best female lead) at the upcoming Independent Spirit Awards. Admittedly, the film’s writing and editing could have been a little tighter in spots, but all in all, this is an engaging and delightful little picture. It makes a good choice for alternative viewing at this time of year, when many of the new theatrical releases often leave much to be desired.
The next time you’re looking for a new place, check the classifieds and the real estate listings, as you ordinarily would, but be sure to check your beliefs, too, for that’s where your new home really gets its start. Pay particular attention to beliefs related to your innermost heartfelt feelings and emotions, because they’ll help guide you to the place where you’re supposed to be. For in the end, you’ll find, just as Muna and Fadi ultimately do, that home truly is where the heart is.
Copyright © 2010, by Brent Marchant. All rights reserved.
VividLife.me Contributor
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com, available in soft cover and Kindle formats). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com, which includes listings for the internet and broadcast radio shows on which he frequently appears as a guest. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
A Plethora of Possibilities
February 17, 2010 by brent
Filed under Arts, • Headline
Christopher Plummer stars as celebrated Russian novelist Leo Tolstoy during the last year of the author’s life in the new historical drama “The Last Station.” Photo by Stephan Rabold, courtesy of Sony Pictures Classics.
“The Last Station” (2009). Cast: Helen Mirren, Christopher Plummer, James McAvoy, Paul Giamatti, Kerry Condon, John Sessions, Anne-Marie Duff, Patrick Kennedy. Director: Michael Hoffman. Screenplay: Michael Hoffman. Book: Jay Parini. www.sonyclassics.com/thelaststation/.
Getting a precise handle on the nature of one’s beliefs can be one of the most perplexing undertakings that a practitioner of law of attraction/conscious creation principles will ever attempt, especially when it comes to “the big issues” of life. The process can be further complicated when one looks to others for guidance and sees a wide range of interpretations on the issue in question; the plethora of possibilities can be overwhelming. And so it goes for the often-bewildered protagonists in the new historical melodrama, “The Last Station.”
Russian novelist Leo Tolstoy (Christopher Plummer) was one of the most revered writers of the early 20th Century. His success from works like War and Peace and Anna Karenina made him famous and wealthy. At the same time, the progressive thought in his writings made him the focus of a growing social movement known as the Tolstoyans, a quasi-spiritual sect that eschewed church and state and promoted concepts like nonviolence, vegetarianism and celibacy. Consequently, Tolstoy was widely celebrated—and heavily scrutinized—by prevailing religious and political powers, as well as the paparazzi and gossip columnists of the day.
For his part, Tolstoy relished the attention, even though he was more of a passive, unwitting prophet than an active advocate for the movement, especially since he didn’t always personally abide by its tenets. He had grown uncomfortable with materialism, for example, yet didn’t seem to mind living in a grand estate. And celibacy was something that almost seemed foreign to him, despite what his supporters believed. He preached that “love” was at the heart of all his writings and his thinking, but he often seemed unclear about exactly what that meant. So here was someone who was at the center of an emerging philosophical paradigm who wasn’t always sure what he believed himself.
Tolstoy struggled to get a handle on the nature of his beliefs, but such a daunting challenge often left the aging author beleaguered. What’s more, with his views open to such wide interpretation, Tolstoy’s philosophies were, accordingly, analyzed and expressed in myriad ways. But his contact with those doing the interpreting frequently left him even more confounded about what he truly thought, particularly regarding the nature of love. Nevertheless, they promoted their views, and vied for his attention, in their own fervent ways.
Helen Mirren stars as the flamboyant, high-maintenance Countess Sofiya Tolstoy, wife of Russian novelist Leo Tolstoy, a drama queen of whom the famous author said, “You don’t need a husband; you need a Greek chorus!”, in the Michael Hoffman melodrama “The Last Station.” Photo by Stephan Rabold, courtesy of Sony Pictures Classics.
For instance, for Tolstoy’s fiercely devoted but high-maintenance wife, Countess Sofiya (Helen Mirren), love was a highly personal matter, very much tied to one’s relationships with one’s closest intimates and possessions. For Vladimir Chertkov (Paul Giamatti), leader of the Tolstoyans, love was something everyone should freely give to one’s fellow man—even if reminding them of this voluntary act meant dogmatizing the belief and requiring followers to pledge their allegiance to this obviously more enlightened leader. For Tolstoy’s daughter Sasha (Anne-Marie Duff), love was something that could be expressed in both of the foregoing ways, but balancing them was a nearly impossible task. And for Valentin Bulgakov (James McAvoy), Tolstoy’s personal secretary and the film’s de facto narrator, love was something he struggled with almost as much as his mentor, especially when trying to reconcile his thoughts with those of the lovely Masha (Kerry Condon), a free-thinking Tolstoyan whose independence, ironically, frequently ran afoul of those espousing this concept’s virtues.
However, the one most in need of getting a handle on the nature of love was Tolstoy himself. As he neared the end of his life, beset by the anguish of so many conflicting forces, Tolstoy desperately sought to make peace with himself and his beliefs. But the question for him was, would he do so in time?
Valentin Bulgakov (James McAvoy, left), personal secretary of novelist Leo Tolstoy (Christopher Plummer, right), learns about love and life from his famous mentor in “The Last Station,” a historical drama based on the novel by Jay Parini. Photo by Stephan Rabold, courtesy of Sony Pictures Classics.
“The Last Station” aptly illustrates the central theme of law of attraction/conscious creation thought—that we each create our own reality on the basis of our beliefs. It’s a concept that’s ripe with possibilities, too. Look, for example, at how many different interpretations the characters come up with in expressing a single notion like love, and they no doubt represent only a handful of the options. Each is valid in its own right as well, even though some are more palatable than others. This points out why it’s so critical that we get a handle on our beliefs in the first place so that we end up creating the existence we desire. Admittedly, as this film shows, the process may not always be as simple as we’d like, but that’s part of the challenge of being human and expressing such abstract notions in physical form. And with the wide palette of options available, it’s an undertaking we can savor, as long as we leave ourselves open to what’s possible.
“The Last Station” is a delightful little picture, full of warmth, romance, intrigue and gentle humor. It’s reminiscent of the many wonderful Merchant-Ivory productions, such as “A Room with a View,” especially in terms of its production values. The award-caliber performances by Mirren and Plummer are outstanding, especially in their scenes together, when their tremendous chemistry shines through. Admittedly, the writing could be stronger in spots, especially in confrontational scenes that often fizzle instead of pop, but given that the characters are themselves searching for insights through such conflicts, I suppose the lack of blockbuster scene-ending payoffs is somewhat understandable.
Wife Sofiya (Helen Mirren, left), daughter Sasha (Anne-Marie Duff, foreground) and Tolstoyan movement leader Vladimir Chertkov (Paul Giamatti, right) all vie for the ear and attention of famed Russian novelist Leo Tolstoy in the new release “The Last Station.” Photo by Stephan Rabold, courtesy of Sony Pictures Classics.
No matter what anyone might say, we always have choices available to us as we make our way through life. The trick is to identify the possibilities and the beliefs that underlie them. And the sooner we do this, the more enjoyable our lives can be, for when we reach the last station—the end of the line—the one thing I’m sure we’d all like to avoid saying to ourselves at that point is, “If only….”
Copyright © 2010, by Brent Marchant. All rights reserved.
VividLife.me Contributor
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
Moments of Clarity
Desperately lonely soul George Falconer (Colin Firth) seeks meaning in his life in the riveting new drama, “A Single Man.” Photo by Eduard Grau/The Weinstein Company.
“A Single Man” (2009). Cast: Colin Firth, Julianne Moore, Nicholas Hoult, Matthew Goode, Jon Kortajarena, Ginnifer Goodwin, Ryan Simpkins, Paul Butler. Director: Tom Ford. Screenplay: Tom Ford and David Scearce. Book: Christopher Isherwood. www.asingleman-movie.com.
They flicker ever so briefly and then dissolve into the darkness. Moments of clarity, those all-too-fleeting flashes of intuitive insight, sparkle luminously like fireflies in the night. They provide undeniable confirmation that all is right with the world, that we’re each where we’re supposed to be and doing what we’re intended to do. We often wish we could hold onto those shining moments forever, and some may indeed be able to do so, but for most, even recognizing such instances is a miracle in itself. The fulfillment that comes from such realizations can be blissful beyond belief; it’s getting there that’s the challenge. Such is the message of the riveting new drama, “A Single Man.”
George Falconer (Colin Firth, right) recalls the night he met his partner of 16 years, Jim (Matthew Goode, left), in director Tom Ford’s “A Single Man.” Photo by Eduard Grau/The Weinstein Company.
George Falconer (Colin Firth) is a desperately lonely soul. This middle-aged British transplant lives a materially comfortable but reclusive life as an English professor in 1962 Los Angeles during the Cuban missile crisis. Outwardly he seems to have what most people want, but internally he’s seriously disillusioned over the state of the world, with its imminent threat of Armageddon, classrooms full of increasingly materialistic students, and his own intermittent health issues. But what pains George most is the unyielding sadness he feels over the tragic passing of his longtime partner, Jim (Matthew Goode), in a car accident. Carrying on almost seems more trouble than it’s worth, so George decides to pursue what he sees as the only logical course to alleviate his unceasing anguish—by killing himself.
The story follows George through what is supposed to be the last day of his life. He tells no one about his plan, but he meticulously goes about all the tasks necessary to carry out the deed, tying up loose ends and making sure that everything is done according to his wishes, right down to picking out the clothes for his own funeral. He’s determined to follow through on his plan with an almost relentless efficiency.
But as George’s day proceeds, roadblocks appear. Each is distinguished by an increasing degree of distraction, drawing George’s attention away from his quest. An inquisitive student (Nicholas Hoult) who seems interested in more than George’s literary knowledge engages the professor in profound conversation; a handsome man of the streets (Jon Kortajarena) tries seducing George into joining him for some afternoon frolic; and George’s best gal pal (and one-time romantic diversion), Charley (Julianne Moore), repeatedly phones her old friend to remind him about their previously scheduled dinner date.
George Falconer (Colin Firth, left) seeks solace in the company of his longtime friend Charley (Julianne Moore, right) in “A Single Man.” Photo by Eduard Grau/The Weinstein Company.
So how’s one supposed to kill oneself with so much going on? It’s a question George is forced into asking himself, but the answer becomes increasingly elusive, especially when he realizes that such diversions prove that his world isn’t such a bad place after all.
So how does George specifically come to doubt his planned course of action? Each of the diversions he encounters force him to deal with life in the moment at hand—neither the past nor the future, only the present. In these instances, George evaluates, and reevaluates, his beliefs, the foundation upon which we all create through the law of attraction. His beliefs are thus shaped, or changed, to suit the prevailing circumstances. And given the joy that each of these newly created distractions provides, it becomes ever easier for George to forget about offing himself. In those episodes of enlightenment, those moments of clarity, the past and future dissolve like the firefly’s flickers, leaving only the radiance of the present—the only materialization that can be experienced and enjoyed in that instant, and the only one that even matters at the time, no matter how transient it might be.
This is a valuable lesson for those hopelessly locked into the pains of the past and the fear of the future. The past is behind us, and the future has not yet arrived, so all we have is the present, and the sooner we learn to make peace with it, the happier we’re all likely to be. It’s a shame that so many of us, like George, put ourselves through such torment in coming to that realization, but I believe most will ultimately be better off for having done so.
Inquisitive college student Kenny (Nicholas Hoult) takes an interest in his English professor for more than his knowledge of literature in the dramatic new release “A Single Man,” based on the novel by author Christopher Isherwood. Photo by Eduard Grau/The Weinstein Company.
“A Single Man” is a masterful film, easily one of 2009’s best. I was particularly impressed with the presentation of the narrative as a story that’s not about a gay man coping with life and loss but about a person coping with life and loss who just happens to be gay. This represents a major step forward in the portrayal of gay characters as everyday individuals who live everyday existences (kudos all around for this accomplishment). Colin Firth’s performance is a knockout, too. He’s richly deserving of all the accolades he’s received thus far, turning in last year’s best performance by an actor in a leading role. On top of all that, the picture’s lavish production values, from set design to costumes and makeup, as well as its magnificent cinematography, make this movie a visual delight to watch from start to finish.
Moments of clarity seem to come along so seldom, yet we invariably cherish them when they do. One can only hope that watching this film will help us learn how to become better at drawing them into our lives more often. And what a life that would be.
Copyright © 2010, by Brent Marchant. All rights reserved.
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
It’s Never Too Late
January 20, 2010 by brent
Filed under Arts, • Headline
Jeff Bridges stars as down-and-out country singer/songwriter Bad Blake in the bittersweet new drama, “Crazy Heart.” Photo by Lorey Sebastian, courtesy of Fox Searchlight Pictures.
“Crazy Heart” (2009). Cast: Jeff Bridges, Maggie Gyllenhaal, Paul Herman, Jack Nation, Colin Farrell, Robert Duvall. Director: Scott Cooper. Screenplay: Scott Cooper. Book: Thomas Cobb. www.foxsearchlight.com/crazyheart/.
Once many of us pass a certain age, we begin to think that the pattern of our life is largely set, if not intractably fixed. That can be great if things are going well, but those who embrace this fatalistic view often do so because their existence has come up short in at least one area of life, if not more. They thus reconcile themselves to an outlook—and a future—based on such unwaveringly glum beliefs. But that sense of resignation need not become permanent, as evidenced by themes explored in the new drama, “Crazy Heart.”
Bad Blake (Jeff Bridges) is a man down on his luck. A one-time well-known country singer/songwriter, Bad now plays one-nighters with pickup bands in small-town bowling alley lounges and piano bars. Besides his career problems, he’s got trouble with money and with maintaining relationships that last longer than overnight. He drowns his sorrows in protracted drinking binges, a habit that’s clearly taking its toll on the 57-year-old’s health. He seems destined for an embittered future, a reality full of bleak times and little hope for tomorrow.
Bad’s fortunes change, however, when he meets aspiring lifestyle reporter Jean Craddock (Maggie Gyllenhaal), who wants to write an article about him. As time passes, the two grow close, and Bad falls for this single mother and her young son, Buddy (Jack Nation). At the same time, Bad starts to see his career prospects rebound, too, thanks to the efforts of his agent, Jack (Paul Herman), and the assistance of his successful former protégé, Tommy Sweet (Colin Farrell). With things looking up, Bad faces a promising future, but the critical question is, “Will he accept it?”
Country singer/songwriter Bad Blake (Jeff Bridges, left) falls for aspiring journalist Jean Craddock (Maggie Gyllenhaal, right) in the new release, “Crazy Heart.” Photo by Lorey Sebastian, courtesy of Fox Searchlight Pictures.
Bad’s circumstances are clearly the making of his own choices, a cornerstone principle of law of attraction/conscious creation philosophy. The decisions he’s made have brought him to where he is, and his beliefs about those choices provide constant reinforcement of his lot in life. But the prospect of change brings him to a pivotal point where he must either choose to stay the course or to follow an entirely new path.
At first glance, one might wonder why Bad would even consider rejecting the windfall of assistance and good fortune being offered to him; however, given his state of mind—and how inflexible his view of life has become—it’s easy for him to dismiss what’s come his way. He drums up all sorts of glib reasons to conveniently justify his existence. But are such flimsy rationalizations the right path to pursue? Only Bad can answer that question, but he must first decide whether he’s getting enough out of his current life to stay locked in place.
The message of this film will no doubt resonate with those who can identify with Bad’s situation. I believe this is particularly true for those who’ve experienced multiple hardships and/or those who’ve reached a certain age, such as Baby Boomers approaching retirement. For some, change might be refreshingly welcome; for others, however, it may seem too late to start over or to strike out in a new direction, but that need not be the case unless one intentionally holds onto beliefs confirming such notions.
Deciding what to do about another shot in the limelight is one of many tough choices country singer/songwriter Bad Blake (Jeff Bridges) must address in “Crazy Heart,” the first film from director Scott Cooper. Photo courtesy of Twentieth Century Fox
I had always been told, for example, that, if you don’t write your first book by the time you’re 35, you never will, and for a while, I had bought into that belief in a big way. But that idea is a belief, nothing more, subject to alteration, just as any such notion is. I reminded myself of that when I published my first book at the supposedly over-the-hill age of 50. It really never is too late for any of us to usher changes into our lives unless we block them by our own convictions.
“Crazy Heart” illustrates this sentiment quite effectively. It’s one of the picture’s greatest strengths, even if this theme (and the movie’s overall story line, for that matter) isn’t especially original (much of the narrative is reminiscent of the 1983 award-winning film “Tender Mercies” with Robert Duvall, who also has a small supporting role in this picture). Its greatest asset, though, is serving as a showcase for Jeff Bridges, both as an actor and as a surprisingly good singer. He’s received much acclaim for his performance, and he’s justifiably considered to be a strong awards season contender, as evidenced by his Golden Globe win for best actor in a dramatic film. The film also features a fine performance by Colin Farrell, again both for his acting and his very capable singing. Thankfully, these elements, along with T Bone Burnett’s excellent award-winning score, shine strongly enough to distract viewers from its greatest weakness, the seriously erroneous miscasting of Maggie Gyllenhaal in the female lead. She comes across more like an overly perky flight attendant than a serious reporter, and her perpetually breathless delivery, which was perfect for her role in ”Away We Go” earlier last year, is all wrong here.
For those who’ve seen their fair share of birthdays, it may be easy to think it’s too late to make significant changes in their beliefs or in their lives. But that’s a choice, not a fact. It’s the wise person who has the insight to know the difference—and to proceed accordingly.
Copyright © 2010, by Brent Marchant. All rights reserved.
VividLife.me Contributor
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
Living in Harmony
Warrior princess Neytiri (Zoë Saldana, right) teaches Jake Sully’s avatar (Sam Worthington, left) the ways of the Na’vi on how to survive in Pandora’s forest. Photo by WETA, courtesy of Twentieth Century Fox Film Corporation.
“Avatar” (2009). Cast: Sam Worthington, Zoë Saldana, Sigourney Weaver, Stephen Lang, Michelle Rodriguez, Giovanni Ribisi, Joel David Moore, Dileep Rao, CCH Pounder, Wes Studi, Laz Alonso. Director: James Cameron. Screenplay: James Cameron. www.avatarmovie.com.
Given the many challenges our planet faces today, it’s becoming increasingly apparent that the only way we’ll resolve them is if we all cooperate to find workable, mutually acceptable solutions. And if those solutions one day call for us to go off-world to find the means to make their implementation possible, we had better learn that lesson first, for if our journeys connect us with the indigenous beings of such far-off planets, then the need for cooperation will multiply exponentially. Such is the lesson we should take away from the sci-fi fantasy, “Avatar.”
When paraplegic Marine Jake Sully (Sam Worthington) has a chance to begin his life anew, he grabs it. He’s offered an opportunity to work off-world on the lushly forested moon Pandora, where a mining consortium seeks to acquire the mineral unobtanium, a substance that promises to solve Earth’s energy crisis. But getting this precious commodity isn’t easy, because its richest concentrations are located in the homelands of the Na’vi, the moon’s 10-foot-tall, blue-skinned native inhabitants. Like many indigenous people, they have a strong tie to their land, communing with it as one, so they protect it fiercely against the advances of the human marauders, much to the mining company’s growing consternation.
Jake Sully (Sam Worthington) meets his avatar, a genetically created being combining the DNA of humans and Na’vi, the native inhabitants of Pandora. Photo by Mark Fellman/WETA, courtesy of Twentieth Century Fox Film Corporation.
This is where Jake comes in. He’s part of an operation known as the Avatar program in which hybrid beings created from a combination of human and Na’vi DNA are sent into the forest to interact as liaisons with the natives. Each avatar is linked to the consciousness of a human “driver” (like Jake), thereby making it possible for the avatars to engage the Na’vi with no physical harm to the humans directing their actions. Guiding Jake in his efforts are program director Dr. Grace Augustine (Sigourney Weaver), fellow driver Norm Spellman (Joel David Moore), researcher Max Patel (Dileep Rao) and pilot Trudy Chacon (Michelle Rodriguez). Together they seek to engage harmoniously with the Na’vi, while simultaneously making it possible for the mining operation to move forward with its objectives. It’s all a very well-intentioned undertaking.
But despite such good intentions, the Avatar program’s progress is too slow for the mining company’s administrator, Parker Selfridge (Giovanni Ribisi), and his army of mercenaries, led by Colonel Miles Quaritch (Stephen Lang). So, to help speed things along, Quaritch secretly promises Jake that, if he provides him with intelligence on how to infiltrate the Na’vi, he’ll arrange for Jake to get an expensive (but effective) surgery to restore the use of his legs. It’s an offer Jake finds hard to refuse.
As an epic confrontation looms between humans and Na’vi, the Avatar team plans its strategy, led (from left) by Jake Sully (Sam Worthington), Trudy Chacon (Michelle Rodriguez), Dr. Grace Augustine (Sigourney Weaver) and Norm Spellman (Joel David Moore). Photo by Mark Fellman, courtesy of Twentieth Century Fox Film Corporation.
All of that changes, however, when Jake engages the Na’vi through his avatar. While on a reconnaissance mission with his teammates, he becomes separated from them and must learn to deal with the natives one-on-one. Through his contact with the warrior princess Neytiri (Zoë Saldana), Jake learns the ways of this enlightened people and suddenly finds himself torn between which masters he must serve. He’ll ultimately need to choose, though, for the fate of Pandora—and two species—will depend on his decision.
“Avatar” is a film rich and diverse in its themes, all of which are delivered rather matter-of-factly, skillfully avoiding the pitfall of heavy handedly beating viewers in imparting its messages. In doing so, it draws inspiration from pictures as diverse as clash-of-cultures movies like “Dances with Wolves” and “At Play in the Fields of the Lord” to profit-at-all-costs films like “Aliens” (one of director James Cameron’s earlier offerings) to any number of movies with environmental messages and even the morality plays of the “Star Wars” series. It also has a potent metaphysical message about the intrinsic connectedness of all things, a keystone principle of law of attraction/conscious creation thought, and how we in the industrialized world have largely lost sight of that concept. But, perhaps most importantly, viewers are regularly shown through the experience of the Na’vi how the world around us originates from within, with our thoughts, beliefs and intents, an example we’d be wise to follow.
Pandora’s majestic floating mountains dwarf a massive gunship. Photo by ILM, courtesy of Twentieth Century Fox Film Corporation.
Having said that, though, I must add that, despite its many laudable thematic qualities, the picture’s story isn’t especially original. Its narrative is rather predictable, its characters are often one-dimensional, and its dialogue is at times a little trite and uninspired. But, given the mythic quality of the tale and the value of its attendant themes, it’s easier to overlook such shortcomings here than they would be in a lesser movie.
What “Avatar” may lack in plotline originality, however, it more than makes up for in artistic inventiveness. The film is visually stunning, with brilliant performance capture CGI special effects. Its breathtaking scenery and surreal landscapes resemble animated versions of Roger Dean album covers from the 1970s, taking viewers to otherworldly venues of resplendent beauty (one can now see why the Na’vi are so protective of their domain). Because of this, I’d recommend seeing the picture in the 3D or IMAX® versions, if possible.
Living in harmony is a goal that has always seemed to elude us as a species. The time has come now, as we begin a new year and a new decade, to set aside excuses about our failure to effectively pursue this goal, and “Avatar” provides a plethora of reasons for why we should do so. May we all come away from watching it with the resolve we need to get the job done.
Copyright © 2010, by Brent Marchant. All rights reserved.
VividLife.me Contributor
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
Rapt for the Holidays
Football mom Leigh Anne Tuohy (Sandra Bullock, right) coaches her adopted son Michael Oher (Quinton Aaron, left) on the finer points of the game in the heartwarming drama, “The Blind Side.” Photo by Ralph Nelson, courtesy of Warner Bros. Pictures.
“The Blind Side” (2009). Cast: Sandra Bullock, Tim McGraw, Quinton Aaron, Jae Head, Lily Collins, Ray McKinnon, Kathy Bates, Adriane Lenox, Sharon Morris, Omar Dorsey. Director: John Lee Hancock. Screenplay: John Lee Hancock. Book: Michael Lewis. www.theblindsidemovie.com.
Movies that celebrate the spirit of the season are, for me, one of the greatest joys of this festive time of year, and for decades, filmmakers have produced an impressive body of work with this theme in mind. Yet not all of these cinematic offerings deal so much with the holidays themselves as they do with the ideals associated with this special time of year (classics like “It’s a Wonderful Life” readily spring to mind). And this year, there’s a welcome new addition to that roster of pictures, the heartwarming drama, “The Blind Side.”
Based on the life story of professional football player Michael Oher (Quinton Aaron), the film recounts how this African-American teenager from the Memphis projects overcame gut-wrenchingly sad circumstances and wound up playing for the NFL’s Baltimore Ravens. It’s quite a moving and remarkable story indeed.
When viewers first meet Michael, this soft-spoken gentle giant seems adrift, having been largely abandoned by his drug-addicted mother (Adriane Lenox). Yet Michael also has a strong survival instinct and a unique wisdom (despite apparent learning difficulties), qualities that ultimately prove to be his saving graces. With the help of a friend (Omar Dorsey), he first gets enrolled in an upscale private school. And then one night, through a seemingly chance encounter, he connects with an unlikely ally, one who would help him turn his life around in unimagined ways.
Leigh Anne Tuohy (Sandra Bullock, right) and Michael Oher (Quinton Aaron, left) discuss the star athlete’s future in “The Blind Side.” Photo by Ralph Nelson, courtesy of Warner Bros. Pictures.
At first glance, Leigh Anne Tuohy (Sandra Bullock) might not seem like the type to take in a homeless kid from the poor side of town. As a successful designer happily married to her well-heeled college sweetheart (Tim McGraw) and the mother of two bright kids (Jae Head, Lily Collins), Leigh Anne has lived a charmed life of affluence and privilege; in fact, she openly admits to never having visited the part of Memphis where Michael grew up. However, something about Michael’s circumstances inexplicably compel Leigh Anne to welcome him into her home, giving him things he never had—security, a family and a future. She quickly becomes an impassioned advocate for his success, helping to open doors for him that were once previously closed. As a consequence, Michael’s talents as a football player soar, first at the high school level and then in the collegiate ranks before eventually turning pro. But more than that, Leigh Anne helps Michael attain a life that at one time he only could have dreamed of.
The Tuohy family at Christmas (from left) Sean (Tim McGraw), Collins (Lily Collins), SJ (Jae Head), Michael (Quinton Aaron) and Leigh Anne (Sandra Bullock), as featured in the new holiday release, “The Blind Side.” Photo by Ralph Nelson, courtesy of Warner Bros. Pictures.
The foregoing aside, however, “The Blind Side” is much more than just a football success story. For starters, it’s a relationship picture, most notably focusing on the interaction between Michael and Leigh Anne and how that connection allowed each of them to grow in ways neither of them thought possible. Each of them was “blindsided,” to use a football analogy, by the impact that they would have on one another, but that unanticipated contact enabled personal growth for both of them in ways beyond measure. What’s more, it’s also a movie about values—particularly those like kindness, compassion, charity and humanity—the kinds that one would like to hope are in force year-round, not just at the holidays. Through their support of Michael, Leigh Anne and her family set examples on these fronts that the rest of us could only hope to emulate.
Watching “The Blind Side” is like curling up with a good book on a winter’s day. It embodies the spirit of the season in many heartfelt ways. What’s more, it also effectively illustrates a number of lessons on the law of attraction, including:
- how we can formulate (or change) our beliefs to create better-than-expected circumstances, thanks to the beliefs that we have in ourselves and that others have in us (and vice versa);
- how having the courage to live heroically—particularly by taking chances that potentially may pay off big—can yield rewards beyond our wildest expectations;
- how charting the evolution of beliefs about ourselves over time can lead to the development of skills and expertise we never knew we had in us; and
- how all aspects of our individual and shared realities are intricately connected and how we can draw upon such connectedness to benefit from it, personally and collectively, in myriad ways.
“The Blind Side” is a fine new addition to the repertoire of holiday staples. The script is generally well written, with just the right amount of humor and a tempered sense of sentimentality that keeps it from becoming overly schmaltzy. The protagonists’ stories are well told, though Leigh Anne’s character development might have benefited from a little more back story (at the very least to the same degree afforded Michael’s character). Bullock and Aaron are terrific in their respective roles, delivering awards-caliber performances, thanks in large part to their tremendous on-screen chemistry. All in all, it’s a very nice package—even if it isn’t under your tree.
Happy viewing, and Happy Holidays, everyone!
Copyright © 2009, by Brent Marchant. All rights reserved.
VividLife.me Contributor
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
An Unmitigated Disaster
The late great City of Los Angeles takes its final bow as it slowly slides into the ocean in the new action adventure, “2012.” Photo courtesy of Columbia TriStar Marketing Group, Inc.
“2012” (2009). Cast: John Cusack, Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Danny Glover, Oliver Platt, Woody Harrelson, Tom McCarthy, Liam James, Morgan Lily, Zlatko Buric, Beatrice Rosen, Alexandre Haussman, Philippe Haussman, Johann Urb, John Billingsley, Chin Han, Osric Chau, Cheng Tsang, Lisa Lu, Blu Mankuma, George Segal, Stephen McHattie, Jimi Mistry, Henry O. Director: Roland Emmerich. Screenplay: Roland Emmerich and Harald Kloser. www.whowillsurvive2012.com.
As one who writes about movies from a specific perspective—how they reflect law of attraction principles—I focus my efforts on reviewing films that effectively depict these metaphysical concepts rather than simply scrutinizing whatever happens to be current. Because of that, I tend to review only pictures that I like, those that I believe are helpful in portraying these notions for viewers (why write about movies that don’t work?). But every so often, a film comes along that, because of its hype (and its implied metaphysical connotations), simply can’t go ignored (or unreviewed). Such is the case with the blockbuster “2012,” a movie that I hoped would shed some light on this potentially significant temporal (and spiritual) phenomenon. Sadly, however, it’s an unmitigated disaster—both in its story and as a finished product.
There’s not much going on here. Essentially, the earth is falling apart, and mankind is racing against time to save something of itself before the special effects budget runs out. Sequence after sequence depicts the obliteration of familiar landmarks and global capitals as a result of earthquakes, volcanoes and tsunamis. It’s like watching every Irwin Allen movie ever made, all rolled up into one big episodically linked, computer-generated package of mayhem and destruction.
John Cusack (left) and Woody Harrelson await the eruption of the Yellowstone Park super-caldera, one of a string of disasters that make up the story line of the recently released blockbuster, “2012.” Photo courtesy of Columbia TriStar Marketing Group, Inc.
People are needed to carry the narrative, of course, so the film wisely incorporates some bona fide humans to accomplish this. Viewers thus get to watch Armageddon play out from various perspectives, including those of a down-and-out writer (John Cusack), his estranged wife (Amana Peet) and her new love interest (Tom McCarthy), all of whom always happen to be in the right place at the right time (they’ve obviously mastered the art of synchronicity, if nothing else); a team of intrepid scientists (Chiwetel Ejiofor, John Billingsley, Jimi Mistry) struggling to save the planet against impossible odds (maybe now they’d wished they’d paid more attention in religion class); a U.S. President (Danny Glover) trying to hold things together in trying times, aided by an ambitious political advisor (Oliver Platt) (some things never change); and a gonzo alternative journalist (Woody Harrelson) who broadcasts from his ramshackle RV (and who resembles a cross between Art Bell and Robin Williams).
Since the special effects are the real star of this story, however, the actors knew enough not to outshine their CGI counterparts, and so they accommodated accordingly by turning in performances so subdued that they might as well have phoned them in. But even the high-gloss special effects have issues, often portraying scenes in cartoonish, laughably implausible ways. It’s amazing, for example, how a capsizing aircraft carrier can ride the crest of a massive tsunami with its planes still on deck and apparently intact (and who says Americans can’t build things the way they used to?).
What’s most distressing, however, is how shabbily the film treats the 2012 Mayan calendar prophecy material. In fact, it’s barely given lip service, reducing it to passing references that amount to little more than “oh, and by the way, the Mayans predicted all this” (which, as most Mayans and Mayan scholars would contend, is largely inaccurate, too). Virtually nothing is said of the promise that could await us when a new era is ushered in with the Mayan calendar’s ending on December 21, 2012. It’s as if this material was used as nothing more than a convenient coat hook on which to hang the premise for an otherwise-unrelated tale of apocalyptic abomination.
Presidential advisor Oliver Platt (left) and geologist Chiwetel Ejiofor debate the future of humanity in the apocalyptic tale, “2012.” Photo courtesy of Columbia TriStar Marketing Group, Inc.
It’s unfortunate so many film and television producers are taking such a dim view of 2012, for they’re painting a bleak picture that many viewers are buying into, which could have significant metaphysical consequences, particularly where the law of attraction is concerned. Since this philosophy maintains that we each draw to us the existence we seek through our beliefs and intents, it means we always have an endless range of possibilities available to us. And making the right choices in this regard is arguably becoming increasingly critical, especially now that we’re approaching a time that’s seen as so significant by so many.
So, given the foregoing, I can’t help but ask, why would we want to model our future on a possibility like the one depicted in this movie? Even if we see a need to cleanse the planet of its many ills, must we really destroy Tokyo, Rio and Paducah to do so? I’d like to hope we consider other options before unleashing a firestorm of natural disasters and social collapse to achieve that end, especially since mass event creations can manifest as potent materializations (for better or worse) when energized by the power of the human collective. I’d like to hope we end up agreeing with 2012 scholar John Major Jenkins, who, in a recent Coast to Coast AM radio interview, said of works like this film, “Maybe we need [them] to purge [such ideas] out of ourselves.”
As I noted at the outset, I rarely write negative reviews. But unless you’re someone who really enjoys watching things blow up for 2½ hours (destroying the world takes time apparently), there’s not much to recommend here. It’s a shame that those behind this film chose to tell a story about 2012 in this way, selling short what could be a miraculous time in the history of humanity and the planet. Such a missed opportunity, regrettably, is a bigger disaster than any of the calamities depicted on screen.
Copyright © 2009, by Brent Marchant. All rights reserved.
Featured Contributor
A lifelong movie fan and longtime student of metaphysics (with an emphasis in law of attraction/conscious creation principles), free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to www.beliefnet.com and to Divine Revolution, Sethnet Journal and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
The Bleat of a Different Drummer
George Clooney, as psychic warrior Lyn Cassady, meets the opposition face to face in the offbeat new comedy, “The Men Who Stare at Goats.” Photo by Laura Macgruder, Westgate Film Services, LLC, courtesy of Overture Films.
“The Men Who Stare at Goats” (2009). Cast: George Clooney, Ewan McGregor, Jeff Bridges, Kevin Spacey, Stephen Lang, Robert Patrick, Stephen Root, Waleed Zuaiter. Director: Grant Heslov. Screenplay: Peter Straughan. Book: Jon Ronson. www.themenwhostareatgoatsmovie.com.
Author/philosopher Henry David Thoreau wrote, “If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.” Those are encouraging words for anyone striking out in daring new directions, no matter what field of endeavor. They’re particularly relevant to those embroiled in previously untried tasks, like reshaping the mission of the U.S. military, an undertaking chronicled in the offbeat new comedy, “The Men Who Stare at Goats.”
“Goats” tells the story (or at least one version of it, as discussed below) of the U.S. military’s experimentation with psychic skills (or “remote viewing” as it’s more commonly called) as a new means of waging war and, ironically enough, peace. It’s told through the eyes of reporter Bob Wilton (Ewan McGregor), who, after a series of personal upsets, ships out to cover the Iraq war. Through an interesting string of synchronicities, Bob meets Lyn Cassady (George Clooney), a former psychic warrior called out of retirement for a special overseas assignment. Cassady quickly recognizes the significance of the synchronicities and invites Wilton to tag along on his adventure.
Jeff Bridges, as remote viewing guru Bill Django (center), instructs recruits in the ways of psychic warfare in “The Men Who Stare at Goats.” Photo by Laura Macgruder, Westgate Film Services, LLC, courtesy of Overture Films.
While en route to his mission inside Iraq, Cassady recounts the backstory of the psychic warrior program, an initiative spearheaded years earlier by Bill Django (Jeff Bridges), a Vietnam vet who had a mystical experience while wounded in battle. Once recovered, and with his superiors’ blessings, Django received approval to explore the retooling of American soldiers as instruments of peace. After years of studying various Eastern and New Age philosophies, Django developed a program to recruit candidates for his own private band of Jedi warriors, soldiers who earnestly emulated their “Star Wars” namesakes. Cassady, as one of those recruits, quickly embraced Django’s vision and became the program’s shining star. And for a while, all was well—that is until a sinister new recruit, Larry Hooper (Kevin Spacey), appeared on the scene. Hooper’s involvement with the program would send it down a disturbing new path, one that would eventually necessitate Cassady’s special mission.
Much has been written about the military’s remote viewing program—a lot of it contradictory—so it’s difficult to know whether the public is being fed carefully managed accurate disclosure, intentional disinformation or some combination thereof regarding this program. In light of that, then, what are viewers to make of this version of the story? Well, I certainly wouldn’t take it as gospel, despite claims to the contrary. However, the film nevertheless raises some valuable ideas about the law of attraction, and, on that score, the picture has its merits.
Ewan McGregor, as reporter Bob Wilton (right), joins George Clooney, as psychic warrior Lyn Cassady (left), on a special mission inside Iraq in the comedy “The Men Who Stare at Goats.” Photo by Laura Macgruder, Westgate Film Services, LLC, courtesy of Overture Films.
For instance, the law of attraction maintains that all avenues of existence are open to us and that all we need do to experience them is to choose to explore them. This thus gives license to examine not only the ordinary elements of daily life but also the extraordinary aspects of human potential, and what better examples of the latter are there than those that encourage us to stretch our personal capabilities, such as our psychic skills. (I’m sure Thoreau would approve on this point.)
However, employing such abilities in reality creation can be tricky, because it raises potentially sticky questions about ethics and responsibility (not to mention the fact that it’s like putting our materialization skills on steroids). There’s tremendous power in play here—power that can be used for either beneficial or malevolent purposes, something Cassady personally discovers when asked to use his abilities to kill a goat in a psychic stare-down. Such scenarios force us to ask ourselves, “Where do we draw the line when it comes to using our manifestation skills?” Is it OK to kill a goat but not a human? Are both fair game, depending on the circumstances? Or is it always wrong, no matter what the conditions? Such is the responsibility that comes with this kind of power.
“The Men Who Stare at Goats” is by no means epic filmmaking, but it is a mildly entertaining, moderately thought-provoking way to spend a couple hours at the movies. It strikes a good balance between farce and adventure, with just the right pinch of absurdity thrown in for good measure. Admittedly, the script could stand some judicious trimming of extraneous detail, but the picture is otherwise capably handled in most respects.
Faithfully following one’s own beliefs is at the heart of law of attraction practice, a process that can be difficult when it means breaking ranks with established thought and action. But doing so often brings about some of man’s greatest strides forward; think of the possibilities, for example, if it were applied successfully in matters of war and peace. That might get the goats of those in power who believe they have something to lose, but the rewards could be immeasurable.
Now that’s a new world order worth embracing!
Featured Contributor
Brent Marchant
A lifelong movie fan and longtime student of metaphysics, free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to beliefnet.com and to Divine Revolution and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
Lessons in Acceptance
Michael Stuhlbarg stars as Larry Gopnik, an everyman seeking to take charge of his domain in the Coen Brothers’ inventive new comedy “A Serious Man.” Photo by Wilson Webb, courtesy of Focus Features.
“A Serious Man” (2009). Cast: Michael Stuhlbarg, Sari Lennick, Aaron Wolff, Jessica McManus, Richard Kind, Fred Melamed, Peter Breitmayer, Amy Landecker, David Kang, Simon Helberg, George Wyner, Alan Mandell, Adam Arkin, Ari Hoptman, Allen Lewis Rickman, Yelena Shmulenson, Fyvush Finkel, Michael Lerner. Directors: Ethan Coen and Joel Coen. Screenplay: Joel Coen and Ethan Coen. http://www.filminfocus/focusfeatures/film/a_serious_man.
Pick a proverb: We must all endure a little rain to appreciate the sunshine; when life hands you lemons, make lemonade; a rolling stone crushes everything in its path (especially when big enough). Clichéd though the foregoing might be, they’re all essential elements of lessons in acceptance, a core theme of the quirky new Coen Brothers comedy, “A Serious Man.”
Larry Gopnik (Michael Stuhlbarg) is a man beset by problems. He’s a hardworking Jewish everyman living in the Minneapolis suburbs in the late 1960s who works diligently at supporting his family, doing a capable job as a physics professor, and being a good friend and neighbor. But no matter what Larry does, life always dumps on him. Whether it’s due to the incessant whining of his ungrateful kids (Aaron Wolff, Jessica McManus), the freeloading of his ne’er-do-well brother (Richard Kind), the subtle bigotry of his next-door neighbor (Peter Breitmayer) or the unreasonable demands of his shrewish wife (Sari Lennick) (who unapologetically plans to ditch Larry for one of his best friends (Fred Melamed)), Larry ends up the butt of everyone’s indignities. He gets stuck paying legal bills, funeral costs and bail bonds for things seemingly not of his making. And when he consults three rabbis (Simon Helberg, George Wyner, Alan Mandell) for guidance on the meaning of these seemingly unjust acts, he’s met with cluelessness, irrelevance or indifference.
Michael Stuhlbarg (left) as everyman Larry Gopnik lives a life of more challenges than he’d like, such as bailing out his ne’er-do-well brother Arthur (Richard Kind, in custody), in the quirky comedy “A Serious Man.” Photo by Wilson Webb, courtesy of Focus Features.
But as unfair as these circumstances may appear to Larry, there are compensating factors, too, such as the unsolicited acts of “kindness” offered by his neighbor, Mrs. Samsky (Amy Landecker), a sort of Mrs. Robinson-in-training. What’s more, not all those who would perpetrate untoward acts against him wind up succeeding. (Things can get better, it would seem.) But even when all is apparently going well, that doesn’t mean the other shoe still can’t drop—and in far more devastating ways. Or, then again, perhaps not.
Anyone who employs law of attraction practices knows that we each co-create our own reality (with the collaboration of the Universe, All That Is or whatever one calls it) through our beliefs and intents. That includes both the positive and negative manifestations we experience. But if we supposedly have a choice, why would anyone purposely create anything negative? (Larry would certainly appreciate an answer to that question.)
In achieving the results we seek, we can’t always predict how we’ll reach them, even when we’ve stated our intents clearly and honestly. Sometimes the Universe needs to take us down an unlikely path, perhaps to arrange for an unforeseen but fortuitous synchronicity. (The proverbial silver lining in the cloud comes to mind here.) But then just because one successfully sees such a silver lining materialize doesn’t mean that one won’t experience further challenges subsequently, often of an even greater magnitude (just ask Larry). Of course, such circumstances also raise the possibility of even greater rewards for surviving these later tests. (Think of it as metaphysically upping the ante, enabling the attainment of fulfillment beyond one’s expectations.) Letting go of one’s preoccupation with the “how” in this is crucial, though, something understandably difficult for analytical types like Larry, a physics professor who believes everything—even the essence of reality—can ultimately be understood from a purely mechanistic standpoint.
Amy Landecker (left) plays a “helpful” neighbor to besieged protagonist Larry Gopnik (Michael Stuhlbarg) in the Coen Brothers’ latest offering, “A Serious Man.” Photo by Wilson Webb, courtesy of Focus Features.
One’s perspective often makes all the difference in interpreting prevailing conditions, especially the meanings behind unenvisioned occurrences. This, again, comes down to a matter of beliefs, particularly as they relate to matters of perception, choice and openness to change. Consider, for example, the film’s opening segment, a fable sequence (unrelated to the main story) that sets the tone for the film’s central narrative. A husband and wife (Allen Lewis Rickman, Yelena Shmulenson) living in an Old World shtetl are visited by a mysterious stranger (Fyvush Finkel). The husband sees the stranger as a Samaritan for having helped him out of a jam on his way home, while the wife believes the stranger is a dybbuk (a malicious possessory spirit) and unhesitatingly stabs him. Because of his wife’s actions, the husband is convinced the family’s life and reputation have been ruined; the wife, on the other hand, believes her actions have protected the family against a walking evil. So who’s right? Similarly, in the main story, Larry continuously feels justifiably put upon; others, however, somehow feel he owes them. Once more, who’s correct? In either instance, it ultimately depends on one’s perspective—and how one accepts and applies it to the circumstances at hand.
I can’t speak highly enough about “A Serious Man.” It’s by far the best picture I’ve screened thus far this year. It’s striking in every respect, and it’s a movie that could be examined from a multitude of perspectives, far more than I could possibly discuss here. So my advice regarding this movie is simple—rush to see it.
And one more thing: please accept this recommendation in the spirit in which it’s given.
Featured Contributor
Brent Marchant
A lifelong movie fan and longtime student of metaphysics, free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to beliefnet.com and to Divine Revolution and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
A Tawdry Little Affair
Filmmaker Michael Moore takes on Wall Street in his latest film, “Capitalism: A Love Story.” Photo courtesy of Overture Films.
“Capitalism: A Love Story” (2009). Director: Michael Moore; Writer: Michael Moore. www.capitalismalovestory.com
It began innocently enough. A flirtatious smile, a knowing glance, a suggestive allusion to titillating thrills, all culminating in a provocative proposal. We gleefully grabbed our wallets, hoping they would become as swollen as our … expectations. But before anyone could say “penicillin shot,” many of us found ourselves in the throes of a distasteful predicament, taken in by the wiles of those vilest of all creatures, capitalists. So sums up the premise of the latest offering from director Michael Moore, “Capitalism: A Love Story.”
Moore’s new documentary (a word I use a little hesitantly, given the film’s decidedly subjective viewpoint) explores the roots and ramifications of the current economic meltdown. As in most of his films, Moore makes his case by showing what happens on both the macro level (by addressing the big picture issues) and the micro level (by relating the personal anecdotes of those most impacted by said issues). And, as usual, he does so with his signature mixture of wit, pathos and personal showmanship. It’s a formula that has long served him well, and it does so again here.
In making his case, Moore dissects the financial debacle by tracing its timeline, showing how the systematic elimination of regulatory safeguards, coupled with the unbridled greed of corporations, the disdain of the moneyed elite and the ambitions of complicit politicians, combined to produce the mess we’re now in. He builds on this through the presentation of a series of damning statistics and interviews with experts in economics and government. And he punctuates his argument by chronicling the painful fallout experienced by those most affected by these egregious acts.
As convincing as most of his contentions are, however, I can’t say I agree with all of his conclusions. For example, he uses some rather broad brushstrokes to paint capitalism as an intrinsic “evil.” While this may be true of unregulated capitalism, which has clearly been allowed to run rampant, to say that all capitalism is evil would be like saying fire is inherently bad because it can be used as a tool of arson. I’m certainly not defending the actions of those who have unapologetically exploited the capitalist system to shamelessly line their pockets, but I also wouldn’t crucify the small business owner who has relied on free enterprise to make an honest living, either.
Outside the New York headquarters of Goldman Sachs, Michael Moore, director of the new film “Capitalism: A Love Story” (right), pleads with one of the city’s finest to arrest those inside for acts he alleges led to the economic meltdown. Photo courtesy of Overture Films.
Moreover, little is said about the role the victims played in the unfolding of this scenario. Because we all participate in the practice of the law of attraction, we all take part in the materialization of events created through it, including negative manifestations like this, whether or not we’re comfortable admitting it. Those victimized by the schemes of financial hucksters ultimately made choices through their underlying beliefs and intents to draw such circumstances to themselves, enabling them to partake in these half-baked ploys. Homeowners, for example, didn’t have to exhaust the equity in their properties for reckless overspending on electronic gadgets and Vegas vacations; they could have chosen to exercise restraint rather than blindly buy in to the gravy train mentality. Stories such as this are noticeably absent from the film.
Consequently, in all fairness, victims must ask themselves why they participated in a co-created scenario like this in the first place. Was it to get a much-needed economics lesson? Was it to wake up their consciousness from a long-slumbering sleep? Or was it because they were quietly drawn to the allure of greed and power in the same way as those who perpetrated the scams upon them? If things are to be fixed going forward, the beliefs underlying the values that produced such damage must be addressed on both sides of the equation; those hurt by the system must acknowledge their role in its decay just as much as those who orchestrated its demise.
Thankfully, Moore makes up for these shortcomings by showing examples of steps that everyday folks have taken to rectify this situation and remedy their grievances. In some cases, he also showcases instances where people have found better ways of doing business, drawing upon answers that are based more on cooperation than competition. I applaud Moore’s decision to include such segments in this film (something he has done more of here than in his other pictures), for they present viable options and offer hope rather than simply voicing complaints. Venting is easy; providing solutions inspires.
“Capitalism: A Love Story” is by no means a perfect picture, but it offers much food for thought, not just about the economy but also about the values to which we aspire, for both those at the top and bottom of the financial ladder. So the next time you’re tempted to do something for the sheer love of money, think about everything you might be drawing to you in making that decision – especially if you want to avoid those penicillin shots.
Featured Contributor
Brent Marchant
A lifelong movie fan and longtime student of metaphysics, free-lance writer/editor Brent Marchant is the author of Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com). His additional writing credits include contributions to beliefnet.com and to Divine Revolution and Reality Change magazines. Brent also maintains an ongoing blog about metaphysical cinema at www.getthepicturebrentmarchant.blogspot.com. He holds a B.A. in magazine journalism from Syracuse University and resides in Chicago. You can email him at brentmarchant@momentpoint.com.
