A group of British retirees (from left, Maggie Smith, Ronald Pickup, Bill Nighy, Penelope Wilton, Celia Imrie, Judi Dench) embark on a fresh start in India in the charming new comedy, "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

Facing the autumn of one’s life can be challenging in many ways. Coming to terms with the realities of having fewer, rather than more, years ahead, as well as the increasingly debilitating effects of age, are daunting enough. But what if the means to live out those remaining days in comfort are in peril, too? This combination of elements might seem deflating or overwhelming to some, but, with one’s independence, dignity and survival at stake, the more adventurous and innovative among us may elect to take some extraordinary, uncharacteristic or even drastic measures to make the most of those circumstances, as seen in the delightful new comedy, “The Best Exotic Marigold Hotel.”

Newfound friends Evelyn Greenslade (Judi Dench, left), Graham Dashwood (Tom Wilkinson, center) and Douglas Ainslie (Bill Nighy, right) explore the wonders of Jaipur, India, their new home, in director John Madden's "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

* For Evelyn Greenslade (Judi Dench), the golden years look a lot bleaker than she had once anticipated. The lifelong, recently widowed housewife is forced into selling her residence to pay a backlog of debts left by her deceased husband, saddling her with a very uncertain future.

* Retired housekeeper Muriel Donnelly (Maggie Smith) needs hip replacement surgery but faces a six-month wait unless she’s willing to try something a little more radical – not an easy decision for someone very set in her ways and her outlooks.

* Bored with his career and his life, Judge Graham Dashwood (Tom Wilkinson) can no longer continue with an existence that leaves him unsatisfied and longing for something more fulfilling. His search for genuine happiness clearly requires more than what his current routine can provide.

* Career civil servants Jean and Douglas Ainslie (Penelope Wilton, Bill Nighy) approach retirement community living with mixed feelings. Jean believes she deserves something better than what’s on offer and doesn’t hesitate to make her dissatisfaction known. Douglas, meanwhile, tries to assuage her, agreeing to pursue other options if doing so will help keep the peace in their increasingly precarious relationship.

* Spunky skirt-chaser Norman Cousins (Ronald Pickup) feels like a spry 40-something, even if his chronological odometer indicates otherwise. Nevertheless, how he feels, and how others react to his advances, such as the actual 40-somethings he tries to court, are two entirely different matters. Maybe it’s time for Norman to turn his attention elsewhere.

* Madge Hardcastle (Celia Imrie) loves her family, but she tires of the demands they regularly place on her time, such as frequent requests for babysitting her young grandchildren. As someone who wants to enjoy life more in her remaining years, she yearns to take off and be a free spirit while she can – something she just might do.

Given their prevailing circumstances, the retirees each decide they need to pursue alternate paths. In doing so, they all stumble upon advertising for what seems to be the perfect solution to their respective situations – the Best Exotic Marigold Hotel for the Elderly and Beautiful. The ads for this affordable but luxurious facility promise its guests grand accommodations in a classic setting in the lively, colorful Indian city of Jaipur. Everyone jumps at the opportunity, making reservations to move into this elegant pleasure palace. But there’s just one catch: the hotel is nothing like what’s in its promotional materials. In fact, the decrepit structure is not far from collapsing, its walls propped up by assorted forms of jerry-rigging and the infectious, if sometimes-unrealistic enthusiasm of hotelier Sonny Kapoor (Dev Patel).

Sonny struggles incessantly to keep his faltering business afloat. He does all he can to appease his disgruntled guests, many of whom are ready to turn back upon arrival, and his overbearing mother (Lillette Dubey), who constantly criticizes Sonny, forever flaunting his brothers’ success in his face. He also strives to please his girlfriend, Sunaina (Tena Desae), an educated, upwardly mobile young woman whom he worries will leave him for someone more financially stable. It’s quite a full plate for the wily young entrepreneur.

But, thanks to a hefty dose of Sonny’s charm and the newfound friendships that spring up among the recent arrivals, the guests decide to stay. They thus embark on new journeys of personal discovery, some on their own and some by way of interactions with the hotel staff, the locals or each other. Their individual odysseys end up offering them possibilities for fresh starts unlike anything they could have possibly imagined before they left England.

At some point in our lives, fresh starts are welcome developments in the wake of unrelenting sameness, though, admittedly, embracing such changes can become more difficult for many of us as we age. As we allow the beliefs that shape our realities through the conscious creation process to settle in and become comfortable, we’re more likely to look askance at possible upheavals in our routines, summarily rejecting them even before examining what they have to offer. We might even try justifying our resistance with arguments like “we’re too old for this sort of thing.” But are fresh starts only meant to be the provenance of the young?

The very emergence of such manifestations indicates that there’s some part of us deep down inside that wants to usher change into our lives, no matter how old or young we are, but the more we resist those impulses, the more imposing, even threatening, they’re likely to appear in subsequent iterations. They may ultimately give rise to circumstances that appear as if change is being foisted upon us, with unwanted consequences and overwrought drama coming along for the ride.

Go-getter hotelier Sonny Kapoor (Dev Patel) welcomes his recently arrived English guests to their new Indian home in "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

In many ways, this is where the guests of the Marigold Hotel find themselves at the film’s outset. They’re at the point where they’ve put off making change for so long that they now find themselves, metaphorically speaking, with their backs up against the proverbial wall. Their inner selves are telling them that change is imperative and that the only real decision they need to make is to choose how to react to the impending circumstances.

Many of us have come to fear change, that the disappearance of the familiar will leave us sad, disoriented or less well off than we’ve grown accustomed to being. But it need not be that way at all. Change just means doing something differently, and it doesn’t automatically equate to things being worse than they have been; it could indeed be the start of something far better than we could have possibly imagined but that we have not previously permitted to materialize. Allowing change of an especially positive nature can be truly life affirming, especially for those nearing the ends of their corporeal journeys. After all, as many of us have no doubt experienced, basking in the illuminated brilliance of sunny autumn days can be some of the most rewarding times of the year. The residents of the Marigold Hotel come to see this for themselves, once they’re willing to allow it to happen.

Recently widowed housewife Evelyn Greenslade (Judi Dench, left) and free-spirited grandmother Madge Hardcastle (Celia Imrie, right) take in the sights, sounds and sensations of Jaipur, India in "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

“The Best Exotic Marigold Hotel” is a charming release, full of life, vibrancy and gentle humor. Its exquisite cinematography and mesmerizing soundtrack combine to paint a lush portrait of an exotic land in all its beauty and all its challenges. The excellent ensemble cast blends well together, though the writing sometimes fails them when it comes to the degree of interaction the principal characters have with one another (even though they’re each following their own paths, it would have been nice to see those paths cross one another a little more than they do). The script also falls prey to a certain degree of predictability, but then that’s compensated for by an equal measure of surprise, offsetting that minor shortcoming.

The picture is already getting some Oscar buzz, though, realistically, I think it’s being released far too early in the year to be remembered by Academy voters later on. Nevertheless, if 2012 proves to be another weak year for movies, it could be a contender in some of the technical categories, as well as for some of the performances, particularly those turned in by Wilkinson, Nighy and, of course, Dench.

This picture serves as a valuable reminder that time passes in this life far faster than most of us often realize and that, because of that, we’d better make the most of it while we can, especially when the hourglass is running out. In life as in the movies, I’ve found that some of the most rewarding moments come toward the end of the picture. And to get the most out of them, it’s up to us to savor those times before the credits roll.

Copyright © 2012, by Brent Marchant. All rights reserved.

Retired housekeeper Muriel Donnelly (Maggie Smith) attempts to adjust to her new surroundings while recovering from hip replacement surgery in the delightful new comedy, "The Best Exotic Marigold Hotel." Photo by Ishika Mohan, courtesy of Fox Searchlight Pictures.

Technorati Tags: "The Best Exotic Marigold Hotel", age, autumn of one's life, babysitting, Bill Nighy, Brent Marchant, Celia Imrie, Change, charm, civil servant, comedy, conscious creation, consequences, constant state of becoming, Dev Patel, dignity, drama, England, enthusiasm, entrepreneur, expedition, Film, free spirit, fresh start, friendship, gentle humor, golden years, Happiness, hip replacement surgery, hotelier, hourglass, housekeeper, housewife, impulse, independence, india, Jaipur, Jane Roberts, Journey, judge, Judi Dench, Maggie Smith, movie, Oscar, Penelope Wilton, personal discovery, pleasure palace, resistance, retiree, retirement, retirement community living, Ronald Pickup, Senior, Seth, skirt-chaser, surprise, survival, Tom Wilkinson, upheaval, vibrancy, wisdom

A newly elected pontiff (Michel Piccoli, right) reluctant to assume his responsibilities is counseled by an eminent atheist psychiatrist (Nanni Moretti, left) in the new Italian comedy-drama, "We Have a Pope." Photo courtesy of Image.net, IFC Films.

Many of us probably like to think we have a pretty good handle on our spiritual beliefs. But do we? What if we were faced with circumstances that caused us to question the nature of those supposedly rock-solid truths? Such is the challenge faced by the protagonist in the new Italian comedy-drama, “We Have a Pope.”

Upon the passing of the Pope, the College of Cardinals convenes a Vatican conclave to select the new worldwide leader of the Roman Catholic Church. It’s a solemn occasion (the Holy Father has just died, after all), but it’s also one that’s seemingly full of hope and promise with the selection of a new shepherd at hand. In light of that, outside observers might be tempted to think that it’s an auspicious occasion, especially for those candidates who are considered leading contenders to ascend to the papacy. But, in this instance, when viewers are let in on the internal musings of the cardinals, one finds them full of dread, praying fervently not to be selected by their peers. As a group of mostly stodgy old men, they’re generally content with the status they’ve attained and have little interest in being saddled with the formidable responsibilities of managing one of the globe’s largest religious institutions during the waning years of their lives.

The College of Cardinals meets to select a new Holy Father in director Nanni Moretti's "We Have a Pope." Photo courtesy of Image.net, IFC Films.

With the new Pope selected, the cardinals prepare to introduce him to the public. But just before the new pontiff is about to make his first appearance on the balcony above St. Peter’s Square, he flees in panic, claiming he cannot carry out his new responsibilities. He aimlessly wanders about the Vatican, desperately trying to figure out what to do. Meanwhile, the Vatican’s handlers, especially its chief spokesperson (Jerzy Stuhr), frantically go into damage control mode to save face, saying that the Pope has secluded himself in his apartment to pray for guidance. It’s an unprecedented situation for an organization that’s accustomed to everything proceeding with clockwork precision.

To help the new Pope cope with his circumstances, the Vatican calls upon an eminent psychiatrist (Nanni Moretti) to offer counsel. He’s of little help, though, because he’s not allowed to conduct his therapy sessions in private, and the pontiff is reluctant to open up about himself when encircled by a band of inquisitive cardinals hanging on his every word. It also doesn’t help that the counselor is an atheist, his background not having been vetted by the Pope’s handlers before being called upon to assist the Holy Father. What’s more, even though the counseling sessions don’t work out, the good doctor is told that, due to the confidential nature of his assignment, he must remain sequestered inside the Vatican with all of the cardinals until the new Pope has been officially introduced to the world. Anxiety thus begins to set in for more than just the new pontiff and his staff.

With the crisis dragging on for days, the Pope’s handlers decide to try a more radical strategy. They plan to smuggle the pontiff out of the Vatican to see another psychiatrist (Margherita Buy) – who just happens to be the estranged wife of the counselor who tried treating him initially – hoping that getting him away from everything will put him more at ease, allowing him to engage in meaningful therapy sessions. The staff tells no one of the plan, informing the press and the increasingly anxious cardinals that the Pope remains secluded in his apartment, continuing to pray for guidance.

Everything initially seems to go according to plan – that is, until the Pope decides to flee his handlers, escaping into the streets of Rome. He wanders about in anonymity, attempting to sort out his thoughts. Along the way he meets with an assortment of people who help him unravel his anxiety. He seems especially taken with a troupe of actors, who ultimately help him uncover the source of his trepidation. But, even with this question answered, he must still decide whether he wants to go back to the Vatican to assume the mantel that awaits him there, raising the all-important question, will he do it?

Challenging assumptions related to our spiritual beliefs can be daunting, to be sure. We often consider such truths as unquestionable givens. Yet there are times when we think we know what we want when, in fact, we don’t. And, when circumstances arise that put such issues to the test, we’re often ill-equipped to handle them. When matters of head and heart, intellect and intuition, thought and feeling, don’t match up in spiritual matters, the result is often a crisis of faith.

Under these circumstances, at the very least, we may feel disoriented, and, at worst, we can experience a full-fledged meltdown. In such instances, fear is nearly always the first reaction, but once that initial fright passes, we’re still left with the conundrum of what to do. In many cases, we usually gravitate to one of two options: (1) we stay locked in place, keeping our beliefs at bay, desperately trying to maintain appearances and denying our true selves, or (2) we move forward and evolve, allowing our inner feelings to come into alignment with our outer reality, a truly liberating experience if ever there were one. All of the principals in this film must come to grips with this choice, but the most important concern for each of them is, what will they do?

The new Pope clearly feels unprepared for his new calling, and he’s aware of the inherent disconnect between how he feels on the inside and the time-honored, highly institutionalized mission he’s expected to carry out. He’s unable to reconcile the discrepancy and doesn’t know what to do about it. His wandering through the streets of Rome aptly reflects his internal soul-searching and the pursuit of an answer that ever seems to elude him.

Of course, the Pope isn’t the only one who’s conflicted. The other cardinals, for example, are clearly torn at the film’s outset when they desperately pray to God not to be selected to serve the institution that they supposedly so ardently represent. And the psychiatrist has his own quandary, too, as becomes apparent when he, as an avowed atheist, quotes from the Bible to justify his contentions to his religious detractors.

The Pope’s breakthrough comes when he encounters the acting troupe. At one point he confesses that he had wanted to be an actor when he was younger but that he failed at it because he wasn’t talented enough. So is it any wonder, then, that he feels fundamentally incapable of taking on the responsibility of leading an institution so concerned with keeping up proper appearances? He knows he can’t do that, because he’s simply not that good an actor.

Ascending the papacy is a lonely and stress-filled journey for the former Cardinal Melville (Michel Piccoli) in "We Have a Pope." Photo courtesy of Image.net, IFC Films.

The cardinals come to question their circumstances, too, thanks to the assistance of their involuntarily sequestered companion, the psychiatrist, who unwittingly assumes the role of an impromptu activities director. To alleviate the frustration of enforced seclusion, the good doctor plays cards with his religious cohorts and even organizes an ecclesiastical volleyball tournament. The once-rigid cardinals, who probably never would have thought of engaging in such uninhibited secular activities, relish their newfound freedom, experiencing more genuine fun than they likely have in years. With the shackles of their self-imposed limitations removed, they allow their joy of living to shine through, something that emerges in stark contrast to the highly regimented lives that they’ve been living for ages.

Of course, liberation need not always be quite so dramatic or deliberate in nature. Sometimes simple acts, like walking away from an intractable situation, may be the most effective response to one’s circumstances. It may also have the greatest impact, too, provided its significance is recognized for what it truly is.

“We Have a Pope” is a surprisingly substantive film on many levels. Its treatment of the subject matter is deftly handled, subtly yet effectively depicting the parallels between the Pope’s personal struggles and those of an institution increasingly struggling with its own identity, and it does so without ever becoming crass or taking cheap shots. It also features a lot of good humor, providing an effective counterbalance to the picture’s more dramatic material. Admittedly, some of the jokes go on a little too long, but most are genuinely inspired. The writing and acting are crisp, too, even if the pacing is a bit uneven at times, particularly in the film’s first 30 minutes. Overall, however, this is a very entertaining, thought-provoking film that’s well worth your time.

Taking time to take stock of our core beliefs (especially those of a spiritual nature) can be a worthwhile practice, particularly if we’ve allowed outmoded, inflexible assumptions to take hold over us. Even if we decide not to change anything after such an exercise, at least it affords us the opportunity to reaffirm what we do believe and to boost the joy of living that such beliefs give rise to.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "We Have a Pope", acting troupe, activities director, actor, anxiety, appearances, assumptions, atheist, balcony, Bible, Breakthrough, Brent Marchant, calling, cardinal, cheap shot, College of Cardinals, core belief, crisis of faith, damage control, Faith, fear, God, good humor, Guidance, handler, head and heart, Holy Father, identity, inherent disconnect, institution, intellect and intuition, joy of living, liberating experience, liberation, Michel Piccoli, mission, Nanni Moretti, outer reality, papacy, personal struggle, pontiff, Pope, pray, prayer, psychiatrist, religious institution, responsibility, Roman Catholic Church, Rome, secret proceeding, self-imposed limitation, sequester, shepherd, Soul Searching, spiritual beliefs, St. Peter's Square, Swiss guard, therapy, thought and feeling, Vatican, Vatican conclave, volleyball

Katniss Everdeen (Jennifer Lawrence) fights for her life in the new blockbuster adventure, "The Hunger Games." Photo by Murray Close, courtesy of Lionsgate Entertainment.

Handler Effie Trinket (Elizabeth Banks, left) and trainer Haymitch Abernathy (Woody Harrelson, center) prepare contestant Katniss Everdeen (Jennifer Lawrence, right) for her participation in a brutal sporting competition in "The Hunger Games." Photo by Murray Close, courtesy of Lionsgate Entertainment.

Life is full of stark contrasts in Panem, a dystopian future version of North America that consists of a grandiose Capitol and 12 impoverished outlying districts whose principal reason for being seems to be supplying the opulence and ostentation of its principal metropolis and the government of President Snow (Donald Sutherland). Having come into being as a result of a prolonged bloody conflict, this Roman-esque empire portrays itself as benevolent but never hesitates to resort to authoritarian tactics to keep the provinces in line. Its principal means of controlling the population is through a brutal spectacle known as the Hunger Games, a “competition” in which two teenage “tributes” (one male, one female) are selected via compulsory lottery from each of the districts to do battle with one another until only one is left standing, all of it broadcast with much fanfare on TV. It’s “entertainment” akin to the Christians being thrown to the lions, only with more elaborate production values.

When the contestant selection process begins for the 74th annual edition of the Games, young Primrose Everdeen (Willow Shields) is eligible to represent District 12 for the first time, a prospect that frightens her terribly – especially when her name is called. In an act of supreme self-sacrifice, Prim’s older sister, Katniss (Jennifer Lawrence), volunteers to take the place of her younger sibling. Upon her acceptance as a stand-in, Katniss and fellow District 12 tribute Peeta Mellark (Josh Hutcherson) are transported to the Capitol for their date with destiny, an odyssey that will bring them more than they ever could have expected.

In preparation for the Games, Katniss and Peeta are trained by former champion Haymitch Abernathy (Woody Harrelson), and their public personas are packaged and promoted by a team of image handlers, including Cinna (Lenny Kravitz) and Effie (Elizabeth Banks). They’re also paraded – literally – before eager audiences of fanatic spectators in a variety of pre-competition festivities, culminating in appearances on a wildly popular talk show hosted by flamboyant emcee Caesar Flickerman (Stanley Tucci).

Despite her initial contempt for the entire proceeding, Katniss’s icy veneer slowly thaws, unwittingly charming fans and potential “sponsors,” benefactors capable of providing valuable assistance during the Games. But, despite Katniss’s big splash with spectators, Peeta makes an equally huge impression when he publicly declares his longstanding unrequited love for his fellow tribute, providing an additional twist on the already-overhyped spectacle, a revelation that’s news even to Katniss. It’s also an unexpected distraction for the unlikely heroine, piling on more stress at a time when it’s needed least.

With the advance festivities complete, the Games get under way in a forested arena fitted with cleverly camouflaged cameras and state-of-the-art playing field modification equipment, all controlled by broadcast director Seneca Crane (Wes Bentley), who’s frequently called upon to script the competition in accordance with President Snow’s wishes. And so the fight to survive begins, an ordeal that includes elements of deception, manipulation, alliance, romance, unexpected rule changes, District pride, defiance, ingenuity, fear and hope, a volatile combination of ingredients that keeps viewers – both on- and off-screen – riveted.

Hunger Games participant Peeta Mellark (Josh Hutcherson, right) receives advice from image consultant Cinna (Lenny Kravitz, left) and trainer/strategist Haymitch Abernathy (Woody Harrelson, center) in director Gary Ross's "The Hunger Games." Photo by Murray Close, courtesy of Lionsgate Entertainment.

Fear, for what it’s worth, can be a tremendous motivator to compel a person (or a population) into a desired form of behavior. However, regrettable as that might be, this wouldn’t happen if those being targeted didn’t buy into these circumstances in the first place. For better or worse, the targets’ beliefs materialize the reality they experience – even if they aren’t aware of them – through the conscious creation process, and they must, consequently, live with the fallout of that manifestation – that is, until they decide to change the beliefs driving their creations.

Flamboyant talk show host Caesar Flickerman (Stanley Tucci, left) introduces Hunger Games tribute Katniss Everdeen (Jennifer Lawrence, right) to throngs of fanatical admirers in the new action adventure film, "The Hunger Games." Photo by Murray Close, courtesy of Lionsgate Entertainment.

Omnipresent armed peacekeepers, fenced-in district borders and hovering observation vehicles are all employed to keep citizens in line. But the Games are perhaps the most effective means of control, especially among the young, thanks to the ever-present threat of being selected as a contestant. The fear that this spectacle engenders keeps the population subdued and malleable, with those who go unselected being eternally grateful for the odds having fallen in their favor. Such circumstances serve to chill any thoughts of rising up, questioning authority and asserting individuality. And the state knows this, doing all it can to encourage it.

President Snow (Donald Sutherland, left), the soft-spoken but autocratic leader of Panem, confers with television director Seneca Crane (Wes Bentley, right) about the unfolding of events in the savage sporting competition known as "The Hunger Games." Photo by Murray Close, courtesy of Lionsgate Entertainment.

Getting past one’s fears and moving on to live heroically is an aspect of conscious creation philosophy that’s often undervalued, yet it’s crucial to forward movement. Without it, personal growth and development sputters, stifles and stagnates, keeping us from reaching our true potential. As I have often said, those who stay stuck in fear stay stuck in place.

Thankfully, Katniss and Peeta help show their constituents the way forward. In doing so, they also help to show that change is possible for anyone, not just a select few who are at the helm of power. However, achieving this, like overcoming fear, is only possible when one believes it to be true. Through their actions – some of which are highly unconventional – the protagonists set an example, not only for their fellow citizens but also for those of us on the other side of the screen.

The protagonists’ most effective weapon against these circumstances is the hope they inspire, a force whose power even the President recognizes. He’s even willing to allow a little of it to keep the spirit of viewing audiences from becoming totally atrophied (but not enough, of course, to elicit unwanted beliefs and actions). Imagine what’s possible, however, when hope-based beliefs are unleashed in sufficient strength on a population craving to shed their shackles and undermine the tactics of the fear mongers. Now that’s a game changer.

With each passing day, Katniss Everdeen (Jennifer Lawrence) must struggle to stay alive in "The Hunger Games." Photo by Murray Close, courtesy of Lionsgate Entertainment.

Despite this, however, the film holds one’s attention well. Even though it’s easy to see how the story will play out, the route it takes to get there is full of suspenseful twists and turns. Its excellent cinematography, visual effects and fine performances (especially by Lawrence, Harrelson and Tucci) make for entertaining viewing. I was also pleased that the picture was not overly gratuitous; given the nature of the narrative, the film easily could have become a nauseating gore-fest, but, thankfully, the filmmakers resisted this temptation, keeping the imagery appropriately in context without becoming visually assaulting.

When faced with the impending loss of a loved one a number of years ago, I was fearful of what was about to come. The attending physician could see this and pulled me aside, saying “when there’s life, there’s hope.” And even though we both knew what the outcome of this situation was going to be, his words helped me conquer my fears to face the ordeal. So it is also with a downtrodden people beset by many perils who become inspired by the actions of a courageous few who give them the hope to press on. “The Hunger Games” delivers on that point, and one can only hope that audiences are paying attention.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "A Clockwork Orange", "Brave New World". Survivor, "Rollerball", "The Fifth Element", "The Truman Show", “The Hunger Games”, alliance, authoritarian tactics, beliefs, Brent Marchant, Change, conscious creation, deception, defiance, District 12, Donald Sutherland, dystopian future, Elizabeth Banks, fear, Film, Gary Ross, hero, heroine, hope, individual liberty, ingenuity, Jennifer Lawrence, Josh Hutcherson, Katniss Everdeen, Lenny Kravitz, Liam Hemsworth, manipulation, movie, necessary evil, odds, Panem, Peeta Mellark, Personal Growth, personal security, pride, romance, rule by fear, rule changes, RuPaul's Drag Race, self-sacrifice, Stanley Tucci, Suzanne Collins, talk show, Toby Jones, tribute, unrequited love, Wes Bentley, Woody Harrelson

Jean Dujardin captured the Academy Award for best lead actor in the black-and-white silent film, "The Artist," one of five Oscars (including best picture and best director for Michel Hazanavicius) that the film won in this year's competition. Photo courtesy of The Weinstein Company.

Asa Butterfield (left) and Ben Kingsley (right) star in director Martin Scorsese's enchanting fantasy, "Hugo," winner of five Oscars, all in technical categories, at this year's Academy Awards ceremony this past Sunday. Photo by Jaap Buitendijk, courtesy of Paramount Pictures.

This year's Oscar for best lead actress went to Meryl Streep for her outstanding portrayal of former British Prime Minister Margaret Thatcher in "The Iron Lady," which also received the Academy Award for best achievements in makeup. Photo by Alex Bailey, courtesy of Pathe Productions Ltd/The Weinstein Company.

One of the few surprises of the evening was Meryl Streep’s win as best actress for her portrayal of former British Prime Minister Margaret Thatcher in “The Iron Lady.” The controversial film explored the notion that “what we think, we become,” the core of conscious creation philosophy. Streep’s win for her magnificent performance was a bit of a surprise, given that the momentum going into the evening appeared to have been with Viola Davis for her stellar portrayal in “The Help” (even though Streep had previously earned the Golden Globe Award for best actress in a drama). Streep’s victory was her third on a record 17 nominations and her first win since “Sophie’s Choice” in 1982. “The Iron Lady” also picked up the Oscar for best makeup, and deservedly so, primarily for its use of aging facial prosthetics that, for once, actually looked real.

There was no surprise in the best supporting actor category, however, with 82-year-old Christopher Plummer winning his first Oscar (on only his second nomination) for his portrayal of a geriatric widower who comes out of the closet in the comedy-drama “Beginners.” The picture, which examines that it’s never too late to change one’s life as long as one is willing to embrace beliefs that make such adjustments possible, was something of a sleeper at the box office, although it has garnered considerable attention since its release with Plummer’s victories in the Critics Choice, Golden Globe, Screen Actors Guild and Independent Spirit Awards competitions. Plummer goes into the Oscar record books with this win, too, as the eldest award recipient in this category.

There was also little surprise in the best supporting actress category, with Octavia Spencer taking home a richly deserved award for her performance in “The Help.” While I did not have an opportunity to review this picture prior to the Oscars, it, too, is replete with significant conscious creation themes, such as facing fears and embracing change. This film also illustrates why the Oscars need to establish a new category for best acting ensemble, because, as good as Spencer was in her part, any number of her co-stars could have just as easily captured awards for their performances in this picture. Spencer had previously won accolades for her performance in the Critics Choice, Golden Globe and Screen Actors Guild Awards competitions.

Christopher Plummer (right) and Goran Visnjic (left) star in the offbeat comedy-drama "Beginners," which earned the 82-year-old Plummer this year's Oscar for best supporting actor. Photo courtesy of Focus Features.

Owen Wilson (left) and Rachel McAdams (right) turn in two of many delightful cast performances in Woody Allen's "Midnight in Paris," recipient of this year's Academy Award for best original screenplay. Photo by Roger Arpajou, Mediapro, Versátil Cinema & Gravier Productions, courtesy of Sony Pictures Classics.

Best actor Oscar nominee George Clooney (left), Shailene Woodley (center) and Amara Miller (right) take center stage in director Alexander Payne's "The Descendants," winner of this year's Oscar for best adapted screenplay. Photo courtesy of Fox Searchlight Pictures.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "Beginners", "Higher Ground", "Hugo", "Midnight in Paris", "My Week with Marilyn", "Sophie's Choice", "The Adjustment Bureau", "The Debt", "The Descendants", "The Help", "The Ides of March", "The Iron Lady", “The Artist”, Academy Award, acting ensemble, Alexander Payne, black-and-white, Brent Marchant, British Prime Minister, Cannes Film Festival, Christopher Plummer, conscious creation, Critics Choice Award, embracing change, evolve, facial prosthetics, facing fears, Film, George Clooney, geriatric widower, Golden Globe Award, Hawaii, Hollywood, independent filmmaker, Independent Spirit Award, Jean Dujardin, Kenneth Branagh, magic, Margaret Thatcher, Martin Scorsese, Meryl Streep, Michael Hazanavicius, Movies, Octavia Spencer, Oscar, out of the closet, probabilities, real estate lawyer, Screen Actors Guild Award, silent film, talkies, Viola Davis, Woody Allen

Financial risk analyst Peter Sullivan (Zachary Quinto) uncovers an ominous secret about the investment bank he works for in the engaging Wall Street drama, "Margin Call." Photo by JoJo Whildon, courtesy of Roadside Attractions.

“Margin Call” (2011). Cast: Zachary Quinto, Kevin Spacey, Paul Bettany, Jeremy Irons, Stanley Tucci, Demi Moore, Mary McDonnell, Simon Baker, Penn Badgley, Aasif Mandvi. Director: J.C. Chandor. Screenplay: J.C. Chandor. http://margincallmovie.com/

An investment bank finds itself in hot water when it discovers it's on the brink of crashing, a potential catastrophe made even worse when it can't find the one person who might be able to sort things out, former financial analyst Eric Dale (Stanley Tucci), in director J.C. Chandor's debut release, "Margin Call." Photo by JoJo Whildon, courtesy of Roadside Attractions.

In 2008, with the economy on the brink of a largely unforeseen meltdown, Peter Sullivan (Zachary Quinto), a junior financial risk analyst for a major investment bank, unwittingly makes an ominous discovery that has staggering implications for his company. Having been assigned the risk analysis work of his recently laid-off senior colleague, Eric Dale (Stanley Tucci), Peter concludes that the firm is overextended and on the verge of collapse. Upon making this discovery, Peter calls in the firm’s higher-ups (Paul Bettany, Kevin Spacey, Simon Baker, Demi Moore, Jeremy Irons), who concur with his findings and begin assessing what to do (and who to blame). Management is ultimately faced with making some difficult choices, namely, (1) taking drastic measures to save the company, even if that potentially means shafting investors and staff in the process, or (2) failure. Over the course of the next day, the powers-that-be debate the options of how to proceed – and how to live with their decisions. This becomes especially difficult, too, when the one person they need most to help sort out matters – Eric Dale – is nowhere to be found.

The economic crisis of the past several years (and its prelude, as presented in this film) is a prime example of what conscious creation practitioners call a “mass event,” one in which each of us contributes to its manifestation. And, in scenarios like this, as Shakespeare observed, we each play our respective parts on the global stage, fleshing out the probabilities we have each chosen to examine as part of our exploration into physical existence. We each choose to delve into different aspects of that grand drama; some of us look at “success” and others probe “failure,” some of us examine the ethics of our actions and others disregard them completely, some of us consider the well-being of everyone while others only look out for themselves, and we all do this within the context of a bigger picture that deals with a common theme.

To that end, “Margin Call” does an excellent job of depicting the foregoing as it applies to the world of finance (and its impact on all other areas of life). The audience is presented with all points of view, treating them more or less equally, without judgment, showing that each has its own degree of legitimacy, whether or not one would personally agree (or disagree) with any particular outlook. While it’s clear that director J.C. Chandor has a viewpoint of his own in telling this story, he’s also very careful to present everyone’s outlook fairly, showing the inherent validity of each of those views, regardless of whether he (or others) are likely to dispute them, for understanding the thinking behind those differences in outlooks is crucial if we ever hope to reconcile them.

These viewpoints are reflected in the personas of the key players, providing the audience with symbolic representations of the various lines of probability each chooses to explore. For example, for Peter’s boss, Sam Rogers (Spacey), the ethical implications of how the company plans to resolve its problems are almost more than he can handle. At the same time, for Sam’s boss, John Tuld (Irons), doing whatever is “necessary” is seen merely as part of what it takes to survive in the market – and what anyone (or any entity) concerned with its continued viability would do if its existence were threatened. As for Peter, who stumbles upon the issue triggering the crisis, it’s one thing to be shocked at the ramifications of what’s about to unfold, but that doesn’t mean one’s outrage can’t be set aside when personal survival is on the line, an attitude that he quietly maintains but isn’t afraid to tap when the need arises.

Tied up in this are several other significant conscious creation themes, such as the principle I refer to as “un-conscious creation” or “creation by default,” wherein the manifestation process is allowed to unfold without any sense of personal awareness and/or without any concern for the consequences. For instance, it’s apparent on a number of occasions that those at the highest ranks of management, such as Jared Cohen (Baker) and Tuld, have little understanding of what’s really going on. They often request that technical explanations of what’s transpiring be put into “plain English,” clearly revealing their incompetence about the areas over which they’re supposed to have oversight. That’s a scary prospect to consider, especially if the lack of economic expertise in the management of just this one fictional firm is any indication of what prevails in the real-world financial marketplace. Indeed, if this depiction is accurate, it really shouldn’t come as any surprise why the financial industry is in the mess it’s in. With economic creation by default allowed to run amok, chaos shouldn’t be seen as an unexpected result.

Investment banker Sam Rogers (Kevin Spacey) faces an ethical dilemma when assessing his firm's plans for avoiding financial disaster in the Academy Award-nominated drama, "Margin Call." Photo by Walter Thomson, courtesy of Roadside Attractions.

Ineptitude rears its ugly head when John Tuld (Jeremy Irons), head of a major investment banking firm, seems unable to understand explanations about the causes of his company's financial woes in the intense Wall Street drama, "Margin Call," now available on DVD. Photo by Walter Thomson, courtesy of Roadside Attractions.

The most damaging fallout from all this, though, is on those who didn’t see any of this coming, namely, the investors and the firm’s employees. Those who had the least involvement in the creation process bear the greatest brunt in terms of financial losses and pink slips. This illustrates the inherent connectedness involved in the conscious creation process, something we should all bear in mind as we go about manifesting the reality around us. Even if it seems like our participation in the process is limited, we’re nevertheless still part of it, just by virtue of our inherent connectedness to the overall whole. We might not be the ones holding the nozzle of the garden hose, but that doesn’t mean we still can’t get wet from it.

So must we settle for these circumstances? Or can we create something different? In one of his more impassioned observations, Tuld “explains things” to Sam: “It’s just money; it’s made up. Pieces of paper with pictures on it so we don’t have to kill each other just to get something to eat. It’s not wrong. And it’s certainly no different today than it’s ever been. … And you and I can’t control it, or stop it, or even slow it. Or even ever so slightly alter it. We just react. And we make a lot of money if we get it right. And we get left by the side of the road if we get it wrong. … Yeah, there may be more of us today than there’s ever been. But the percentages – they stay exactly the same.”

Potential scapegoats Sarah Robertson (Demi Moore, left) and Jared Cohen (Simon Baker, right) prepare to point fingers at one another for their investment banking firm's financial troubles in "Margin Call." Photo by Walter Thomson, courtesy of Roadside Attractions.

“Margin Call” didn’t draw much attention when it was first released last fall, but its profile has risen of late with several award nominations, including an Academy Award nod for best original screenplay and Independent Spirit Award nominations for best first feature and best first screenplay, as well as the ISA Robert Altman Award for best casting and performing ensemble. Filmmaker J.C. Chandor has done an excellent job writing and directing this debut release, getting great performances out of each of his cast members. The script has a slight tendency to get talky at times, but its detail, balance and authenticity save the day, taking a complicated and potentially dry subject and making it engaging.

Mark Twain noted that history seldom repeats itself, but it often rhymes, an observation especially applicable in the world of finances. This likely has more to do with what we create than with the forces of the market, something of which we’re beginning to become increasingly aware. Movies like “Margin Call” help to alert us to these conditions, and one can only hope that we heed its message to truly make a difference, not only in what we reap, but also in what we sow.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: “Margin Call”, Academy Award, activist movement, Albert Einstein, Brent Marchant, collapse, connectedness, conscious creation, creation by default, Demi Moore, DVD, economics, Ethics, existence, exotic financial formula, failure, Film, financial risk analyst, garden hose, human nature, incompetence, Independent Spirit Award, investment bank, investor, J.C. Chandor, Jeremy Irons, judgment, Kevin Spacey, lines of probability, Mark Twain, Mary McDonnell, mass consciousness, mass event, meltdown, movie, Occupy Wall Street, Paul Bettany, pink slip, plain English, powers-that-be, responsibility, Robert Altman, scapegoat, Shakespeare, Simon Baker, Stanley Tucci, Success, The economy, the market, the numbers, top brass, un-conscious creation, Wall Street, wealth creation, well being, Zachary Quinto

Waiter Albert Nobbs (Glenn Close, left) and painter Hubert Page (Janet McTeer, right) take on the sensitive topic of gender identity in 1890s Ireland in director Rodrigo Garcia's "Albert Nobbs," a drama that has earned Academy Award nominations for both actresses. Photo by Patrick Redmond, courtesy of Roadside Attractions.

“Albert Nobbs” (2012). Cast: Glenn Close, Janet McTeer, Mia Wasikowska, Aaron Johnson, Pauline Collins, Brenda Fricker, Brendan Gleeson, John Rhys Meyers, Bronagh Gallagher, Mark Williams, James Greene, Antonia Campbell-Hughes, Maria Doyle Kennedy. Director: Rodrigo Garcia. Screenplay: Glenn Close, John Banville and Gabriella Prekop. Story: George Moore. www.albertnobbs-themovie.com/#

Hotel waiter Albert Nobbs (Glenn Close) isn't everything he seems to be in the thought-provoking new drama, "Albert Nobbs." Photo by Patrick Redmond, courtesy of Roadside Attractions.

We all have dreams for ourselves in life. Many of us also probably have some pretty well-defined preconceptions about how those dreams – and our lives in general – are supposed to play out. But then sometimes we also get surprised at what we’re presented with when those aspirations manifest, particularly in terms of the impact they have on the identities we hold of ourselves. These are among the many themes that come up for review in the thought-provoking new drama, “Albert Nobbs.”

Hotel waiter Albert Nobbs (Glenn Close) is an oft-described strange little man. But then that’s probably because he’s not a man at all. Rather, Albert is a middle-aged woman who, because of the need to fend for herself financially, has been intentionally disguising herself as a member of the opposite sex since she was 14. And, thanks to her ability to successfully pull off this ruse, Albert has managed to set aside a tidy nest egg while working as part of the wait staff at Dublin’s Morrison’s Hotel. It’s a perfect place for her to work, too; the pay and perks are good, and the place holds so many deceptions of its own that it provides ample, discreet coverage for her own secret.

By focusing on her financial security, though, Albert has paid little attention to her personal life, particularly where romance is concerned. Also, she’s become so adept at passing herself off as a man that she has, for all practical purposes, come to regard herself as one. But, were the truth of things to come out, she’d face certain ostracism from conservative 1890s Irish society.

All that changes, however, when the hotel’s owner, Mrs. Baker (Pauline Collins), hires a painter, Hubert Page, to do some work at her establishment. She gives Hubert permission to share Albert’s quarters while doing the work, a prospect that causes Albert considerable consternation. The strange little man quietly struggles to hide her anxiety, but that uneasy trepidation quickly turns to outright panic when Hubert discovers her roommate’s true identity. Albert is terrified about the ramifications of this unplanned revelation – that is, until she realizes that she and Hubert (Janet McTeer) share the same secret.

Albert and Hubert become friends, spending time and sharing personal confidences with one another. Albert is particularly intrigued by Hubert’s description of the happy life she’s built with a loving wife, Cathleen (Bronagh Gallagher). Suddenly, Albert is able to picture a whole new life for herself, too. She envisions using her savings to buy a tobacconist’s shop, one that has an adjacent living area that would be ideal to share with a bride. Hubert encourages Albert to follow her dreams and seek the same kind of happiness that she has found, even going so far as to suggest that Albert pursue a relationship with the lovely young Helen Dawes (Mia Wasikowska), one of the hotel’s flirtatious chamber maids. Albert, who has had her eye on Helen for some time, concurs and decides to initiate the courting process.

Of course, wooing the object of her affection poses two challenges to Albert: (1) can she compete with her main rival, Joe Mackens (Aaron Johnson), the hotel’s strapping young handyman, who clearly has his sights set on Helen?; and (2) how does she break the news of her true gender status to Helen? Albert steps into uncharted territory in considering these possibilities, and she wonders how to proceed. Hubert is able to provide some guidance, but Albert is largely on her own in this endeavor, a path that has many potential rewards – and pitfalls.

Courting proves a challenge for waiter Albert Nobbs (Glenn Close, left) when wooing flirtatious young chamber maid Helen Dawes (Mia Wasikowska, right) in the Oscar-nominated drama, "Albert Nobbs." Photo by Patrick Redmond, courtesy of Roadside Attractions.

Albert’s proficiency in envisioning possibilities makes her a highly competent conscious creator. Once inspired, she’s able to picture, with remarkable clarity, what she wants to achieve. But then that shouldn’t come as any surprise, since she’s been doing just that for quite a long time. When faced with having to support herself at a young age, Albert learned of an opportunity to work as a waiter at a Masons’ hall. She believed she was capable of handling the job, and, despite the obvious risks, she pursued it, successfully landing the position. The experience she earned in that job allowed her to obtain work later on in fine dining establishments in places like Manchester and London, putting her on firm footing when she decided to seek a position in Dublin.

Having successfully tackled the challenges in her work life, as well as accumulating a respectable degree of savings, Albert has positioned herself well to take on the challenges of reshaping her personal life. And now that she’s witnessed the happiness that Hubert has successfully attained, Albert believes that she can create that for herself as well. But, given that she’s on unfamiliar turf, Albert’s not sure how to proceed. Doubt begins creeping into her thoughts, and since doubt is one of the forces that can undercut the conscious creation process, Albert is potentially setting herself up for disappointment by allowing this. She even seems to recognize the impact that this is having on her plans, so she unwittingly attempts to compensate for it by micromanaging her materialization efforts, causing her increased levels of aggravation and even more doubt. Under these circumstances, she would have fared far better by putting out her intents to the Universe – her divine conscious creation collaborator – and allowing it to bring forth the conditions that allow her to realize her goals rather than trying to discern the specifics of how it should happen all on her own. By doing this, she runs the risk of working against herself, creating frustration that further undermines her efforts and ultimately brings her no closer to her desired objectives.

Through her experiences, Albert must come to terms with the fact that the fulfillment of our goals doesn’t always follow the prescribed forms that we envision, even if the essence of what we desire is eventually achieved. In circumstances like these, we may not even be aware that an objective has fundamentally been met until well after the fact or until someone points it out to us, mainly because we’re so focused on the outcome conforming to predetermined parameters that we can’t see the result for what it inherently is. This, essentially, becomes a case of the proverbial inability to see the forest for the trees, a practice that I call semi-conscious creation. Indeed, things might not always seem to be what they genuinely are (something that the protagonist should already be well-acquainted with), and, when we’re confronted with such conditions, they sometimes bring hard lessons, teachings that serve as cautionary tales for us all.

Rivals for the affection of a young chamber maid, waiter Albert Nobbs (Glenn Close, right) and handyman Joe Mackens (Aaron Johnson, left) square off in the period piece drama, "Albert Nobbs." Photo by Patrick Redmond, courtesy of Roadside Attractions.

The impact of all of the foregoing can be considerable, especially when it comes to our perceptions of our own identities. We may well be more than the limited selves we see ourselves as, a notion that can have far-reaching implications. The title character comes to see this for herself, allowing her to move beyond who she believes herself to be, and in myriad ways at that. And, even if envisioned outcomes don’t always match preconceptions and/or result in full-fledged fruition, at least having the ability to view ourselves in expanded ways enables us to experience developments in our consciousness and personal growth that exceed previously constrained expectations.

The marketing campaign behind “Albert Nobbs” makes it look like fare suitable primarily for those keen on Masterpiece Theatre and pithy high-brow stage dramas. However, the picture is remarkably more “accessible” than that, an engaging offering for moviegoers other than those who wear tweed suits 24/7. It’s a heartfelt drama with a wealth of colorful characters in a wonderful period piece setting, with fine Oscar-nominated performances by Close and, especially, McTeer. The sound quality could definitely be better at times, though, especially when the players turn up the brogue factor, so sit close to the screen if the theater at which you’re viewing it has an audio system that leaves something to be desired.

The picture has been earning its share of awards season nominations, though it has yet to take home any hardware. In addition to its Oscar nods for Close and McTeer, the film has also been nominated in the Academy’s makeup category, a distinction it also earned in the Critics Choice Awards competition. Close and McTeer have also received their share of honors in other contests, with Close receiving Golden Globe and Screen Actors Guild Award nominations and McTeer earning accolades in the Golden Globe, Screen Actors Guild and Independent Spirit Award contests. The film was also honored with a Golden Globe nod for its best original song, “Lay Your Head Down,” a lovely, lyrical piece composed by Brian Byrne (music) and Close (words) and sung by Sinéad O’Connor.

I was especially taken with two quotes from this film. As Albert’s colleague, Dr. Holloran (Brendan Gleeson), the hotel’s resident physician, observes in a scene at a costume ball, “We’re all disguised as ourselves.” It’s a point that, arguably, has some merit, though, to me, it suggests a desire to hide, one that goes against our true nature. In that regard, I was actually more heartened by one of Hubert’s observations: “You don’t have to be anything but what you are.” It’s a statement that speaks to the core themes explored in this film – and, I would hope, to the core of our being as well.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "Albert Nobbs", "Lay Your Head Down", 1890s, Aaron Johnson, aspirations, Brenda Fricker, Brendan Gleeson, Brent Marchant, brogue, chamber maid, conscious creation, Critics Choice Award, deception, disappointment, disguise, doubt, dreams, Dublin, envisioning, Film, gender, Glenn Close, Golden Globe, handyman, Happiness, identity, Independent Spirit Award, Irish society, Janet McTeer, John Rhys Meyers, limited selves, London, Manchester, Masons, Masterpiece Theatre, Mia Wasikowska, Movies, nest egg, Oscar, ostracism, Pauline Collins, period piece, pitfalls, preconceptions, rewards, risk, Rodrigo Garcia, ruse, savings, Screen Actors Guild Award, secret, semi-conscious creation, Sinéad O’Connor, strange little man, tobacconist's shop, universe, waiter

Nyumah (left) and Sahr (right), best friends torn apart by the Sierra Leone civil war of 1991-2002, get reacquainted just a few days after a dramatic bonfire ceremony that reconciled their friendship in the documentary "Fambul Tok." Photo © Sara Terry for Catalyst for Peace.

“Fambul Tok” (2011). Director: Sara Terry. http://www.fambultok.com

From 1991 to 2002, the West African nation of Sierra Leone was plunged into a collective madness. The country was ravaged by a civil war in which countless unspeakable atrocities were inflicted upon the populace, often by individuals (and, in some cases, family members) who knew one another personally. It’s hard to imagine that anyone, let alone an entire nation, could heal the deep wounds produced by such barbarism. Yet that’s just what this tiny country has been working toward through an innovative reconciliation effort that’s the subject of the inspiring documentary, “Fambul Tok.”

A community gathers to hear the testimony of victims and perpetrators at a bonfire ceremony in Gbekedu in Sierra Leone's Kailahun District in director Sara Terry's riveting documentary, "Fambul Tok." Photo © Sara Terry for Catalyst for Peace.

Director Sara Terry’s film examines the workings of a grass-roots initiative known as the Fambul Tok program, whose name in Creole means “Family Talk.” The program is based on traditional village bonfire gatherings in which victims and perpetrators address one another, not only to make amends, but also to help restore the longstanding Sierra Leonean tradition of “community” as a way of life. Victims are afforded an opportunity to articulate their suffering – usually in painfully explicit detail – and perpetrators are subsequently offered the chance to express their remorse, after which victims are asked if they can accept the apologies of their offenders. And, remarkably, forgiveness is nearly always the result, even in the most egregious cases.

The film opens with an explanation of the program, which was founded in 2007 by John Caulker, executive director of the human rights organization Forum of Conscience. Through interviews with Caulker, the documentary illustrates how the program came into being and the significance of its methods, which were founded on traditional principles of Sierra Leonean culture.

As explained in the film, many of those who engaged in the atrocities were coerced into doing so by warlords from various political and tribal factions, often facing certain death if they failed to cooperate. Such practices ripped villages apart, frequently pitting friends and family against one another in life-or-death struggles and assailing the fundamental concept upon which the nation’s culture was based – the sense of community. Yet, through the Fambul Tok program, perpetrators have an opportunity to be welcomed back as full-fledged members of their villages, resuming their place as participating constituents of their communities.

“Fambul Tok” focuses on several personal stories to illustrate the initiative’s power in action. There’s the story of Esther, who at age 12 was captured by rebels and raped by 15 men, including her uncle, Joseph, who faced death if he didn’t cooperate with his captors. Then there’s the account of  Nyumah, who was ordered by rebels to beat his best friend Sahr, doing so to the point of crippling him, and then commanded to slit the throat of Sahr’s father. Tamba Joe, meanwhile, turned on the villagers of Foendor, beheading 17 members of his own clan. In each of these cases, however, despite their heinous acts, the perpetrators were ultimately forgiven and welcomed back into their communities.

Cynics might be tempted to look upon this initiative as naïve in its outlook and approach, that such monstrous acts are beyond forgiveness. But those critics should look at what the Fambul Tok participants are creating for themselves – a genuine example of real forgiveness. And what an example to follow. We often elevate the concept of forgiveness to an exalted status, but do we truly practice it when presented with the circumstances to implement it? Or do we just pay it lip service? Over the years there have been countless public examples of apologies being accepted by victims from high-profile transgressors only to have the perpetrators continually criticized by outsiders after the fact. In these situations, one can’t help but see the blatant hypocrisy and judgmentalism, inevitably prompting such observations as “It’s not enough to apologize anymore.” Clearly we could stand to learn a few things from these enlightened souls.

The site of a community consultation in Sierra Leone's Kailahun District where human rights workers met with local constituents to determine whether the villagers wanted to participate in an innovative, grass-roots reconciliation initiative, the subject of the inspiring documentary, "Fambul Tok." Photo © Sara Terry for Catalyst for Peace.

On some level, the Fambul Tok participants understand the conscious creation concept dealing with the inherent connectedness of all things in the reality around us. And that’s important, for an awareness of that principle is essential to creating a bona fide sense of community. It’s also important in understanding how to restore that sense of community when it becomes fractured, as happened during Sierra Leone’s civil war. All the parts of the whole need to be drawn back into it, even in the aftermath of such a tragedy, if it’s ever to be properly reintegrated once again.

There’s also been an amazing irony to come out of this program. In the wake of the conflict, the government established a special trial court to prosecute war criminals, and over the course of many years and exorbitant expenditures of funds, the court tried only a handful of criminals. By contrast, over the course of only four years, the Fambul Tok program conducted numerous forgiveness ceremonies, successfully reconciling countless victims and perpetrators, and at only a fraction of the cost. Whoever said peace only comes at a high price obviously never met the people of Sierra Leone.

Women celebrate a rice harvest on a community farm in Madina in Sierra Leone's Kailahun District, bringing together reconciled victims and perpetrators of the country's civil war, in director Sara Terry's "Fambul Tok." Photo © Sara Terry for Catalyst for Peace.

“Fambul Tok” is one fine piece of filmmaking from start to finish, an engrossing documentary that holds viewers riveted throughout. It never loses sight of its objectivity, no matter how emotionally painful some of its individual stories are, yet it ultimately delivers an undeniable message of hope, enlightenment and inspiration, one that we all could learn from. The film has been shown at a number of festivals and special screenings (check the picture’s web site), and it’s available on DVD.

Philosophers and theologians have long maintained that there’s tremendous power in the act of forgiveness, though rarely has its impact been illustrated as eloquently as in this documentary. Those interested in alternative means of making peace will be intrigued by the quiet power of this profoundly moving film.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "Fambul Tok", "Family Talk", aftermath, apologies, Brent Marchant, civil war, community, connectedness, conscious creation, Creole, documentary, DVD, festival, Film, forgiveness, Forum of Conscience, human rights, hypocrisy, John Caulker, judgmentalism, lip service, making peace, objectivity, perpetrator, reconciliation, remorse, Sara Terry, Sierra Leone, special screening, transgressor, victim

Nine-year-old New Yorker Oskar Schell (Thomas Horn) seeks to keep his father's memory alive by participating in a city-wide scavenger hunt in director Stephen Daldry's "Extremely Loud and Incredibly Close." Photo by François Duhamel, courtesy of Warner Bros.

“Extremely Loud and Incredibly Close” (2011). Cast: Tom Hanks, Sandra Bullock, Thomas Horn, Max von Sydow, Viola Davis, Jeffrey Wright, John Goodman, Zoe Caldwell, Stephen McKinley Henderson, Bernadette Drayton. Director: Stephen Daldry. Screenplay: Eric Roth. Book: Jonathan Safran Foer.  http://extremelyloudandincrediblyclose.warnerbros.com/index.html

Tackling a sensitive, larger-than-life topic is a risky proposition in almost any context, but it can be especially problematic in the movie industry. In most instances, endeavors like that are bound to attract their share of both supporters and detractors (those involved in these productions no doubt hoping for more of the former than the latter). Such is the challenge that’s been undertaken by director Stephen Daldry in his latest offering, “Extremely Loud and Incredibly Close.”

Oskar Schell (Thomas Horn, right) loves exploring New York with his attentive, fun-loving dad (Tom Hanks, left) in the Academy Award-nominated "Extremely Loud and Incredibly Close." Photo by François Duhamel, courtesy of Warner Bros.

Nine-year-old New Yorker Oskar Schell (Thomas Horn) adores his attentive, fun-loving father (Tom Hanks). They do everything together, from practicing tai chi to exploring the city that is their playground. They particularly enjoy playing a game that dad made up called “Reconnaissance Mission,” a scavenger hunt of sorts designed to encourage Oskar’s curiosity, to develop his problem-solving skills and to teach him about his world. And, being the methodical, inquisitive kid that he is, Oskar relishes the challenges posed to him, not only for the fun involved, but also for the father-and-son quality time that they afford. It’s easy to see that these two are best buds. Which is why it’s so hard for Oskar to cope with the events of 9/11, the disaster that claimed his dad’s life when the World Trade Center towers collapsed.

In the wake of this tragedy, Oskar desperately looks for a way to hold on to his connection to his dad, and he gets that opportunity when he unexpectedly finds a key in his father’s bedroom closet. Oskar wonders what the key opens, the only clue being the word “Black” written on the envelope that held it. He concludes that his dad must have left the key for him to find, the enigmatic object serving as the focus of one last Reconnaissance Mission. Oskar also surmises that, since the key could potentially open anything, the challenge posed by this exercise could keep him occupied for years – literally. What better way to keep the paternal connection alive, perhaps indefinitely?

And so Oskar embarks on a scavenger hunt that takes him all over New York. His quest introduces him to Gothamites from every borough and of every stripe, including, among others, a kindly divorcée (Viola Davis), a spiritualist healer (Bernadette Drayton) and a mute stranger simply known as “the Renter” (Max von Sydow). But, despite Oskar’s tenacity, his quest seems futile, causing him considerable frustration and straining relations with his mother (Sandra Bullock), who’s attempting to resolve her own grief over her husband’s loss. Oskar thus struggles to come to terms with the task that he’s given himself and whether it will ultimately help him reconcile – or merely prolong – his sorrow.

The foregoing summary probably makes the film’s narrative sound reasonably straightforward. If only that were the case. In actuality, the picture’s story line is all over the map, using a variety of storytelling devices and introducing subplots that either get dropped for no apparent reason or are awkwardly resurrected when seemingly forgotten. Because of that, it’s difficult to get a handle on what this movie is really trying to say.

To be sure, there are some conscious creation themes explored in the film, most notably those related to facing fears, examining unexplored probabilities, understanding the nature of the reality we experience, embracing change by letting go and appreciating the inherent connectedness of all things. However, the passing and often-haphazard treatment they receive reminds viewers of just how many other pictures are out there that handle these subjects much more deftly and substantively.

Reconciling loss is a major challenge for Oskar Schell (Thomas Horn, foreground) and his mother (Sandra Bullock, background) in the new drama, "Extremely Loud and Incredibly Close." Photo by François Duhamel, courtesy of Warner Bros.

That aside, however, the theme that would-be viewers are perhaps most curious about going in is the picture’s treatment of the 9/11 subject matter. The world at large, and New Yorkers in particular, truly deserve a thoughtful film that effectively addresses the impact of this event in a way that can help promote the much-needed collective healing that’s still being sought a decade later. Regrettably, however, “Extremely Loud and Incredibly Close” fails to deliver on this point.

As it’s employed in this film, the 9/11 connection is, unfortunately, little more than a means to heighten the anguish of the survivors of a great personal loss, which is, in actuality, the primary thrust of the picture’s overall story line. Given that, then, Oskar and his mother likely would have been devastated by their circumstances no matter how their father/husband had died, so drawing upon 9/11 as a means to accentuate that pathos, without the event being given any more meaningful relevance within the overall narrative, only serves to reduce this tragedy to a plot device. In my view, the events of that fateful day clearly deserve more profound consideration than they have received here.

An enigmatic mute stranger simply known as "the Renter" (Oscar nominee Max von Sydow, left) assists young Oskar Schell (Thomas Horn, right) in his quest to find the lock that a mysterious key opens in "Extremely Loud and Incredibly Close." Photo by François Duhamel, courtesy of Warner Bros.

Progressively minded viewers have been anticipating this picture for some time, fueled in large part by a well-orchestrated marketing campaign. I, too, was looking forward to this offering far in advance of its release. I was truly hoping that I would like it, and I wish I had better things to say about it, but its meandering screenplay, choppy editing and unfocused direction combine to derail this effort. Making matters worse is the often-irritating performance of the film’s young male lead; his manic, shrill delivery exacerbates the many problems created by uneven writing and his character’s poorly crafted persona, that of a young man who’s either overly quirky and annoyingly precocious or a hyperactive special needs child receiving insufficient care (neither of which is made especially clear in the script or in his character’s development).

However, the film is not without its merits. Bullock turns in a fantastic performance (even if there wasn’t enough of her), as does von Sydow, who rightfully earned an Oscar nomination for best supporting actor for his portrayal of a silent, inscrutable enigma. But, despite these fine portrayals, there’s also an awful lot of great talent in this film that gets seriously underused, particularly Davis, Jeffrey Wright and John Goodman; they’re relegated to largely insignificant roles that could have been capably played by any number of aspiring actors looking to get some big screen exposure.

A kindly but sad divorcée (Viola Davis, right) is one of many new people that young Oskar Schell (Thomas Horn, left) meets while on his search of New York in "Extremely Loud and Incredibly Close." Photo by François Duhamel, courtesy of Warner Bros.

Despite the picture’s shortcomings (and a wealth of unflattering reviews), it nevertheless has its supporters. It received two Academy Award nominations, one deservedly for von Sydow’s supporting performance and one inexplicably for best picture. Earlier this month it also received four Critics Choice Award nominations, including nods for best picture, best director and best adapted screenplay, as well as a stunning (and bewildering) win for Horn as best young actor/actress.

Some have suggested that a good many reviewers have been overly critical of this picture, that it’s perhaps even the victim of a certain sort of fashionable cynicism. However, when a picture aspires to greatness by taking on an imposing subject, it had better measure up or its creators must be prepared to face the consequences. This sentiment is perhaps best summed up by film critic Gary Wolcott of The Tri-City Herald, who astutely observed, “Somewhere in Extremely Loud and Incredibly Close there probably is a great movie. It just didn’t get made.”

Sadly, I couldn’t agree more.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "Black", "the Renter", “Extremely Loud and Incredibly Close”, 9/11, Academy Award, anguish, best buds, Brent Marchant, Change, collective healing, connectedness, conscious creation, Critics Choice Award, curiosity, divorcée, facing fears, fashionable cynicism, Film, Gothamite, grief, Jeffrey Wright, John Goodman, Jonathan Safran Foer, key, letting go, Max von Sydow, Movies, mute stranger, new york, New Yorker, Oscar, paternal connection, pathos, plot device, problem-solving skills, quality time, Reconnaissance Mission, Sandra Bullock, scavenger hunt, sorrow, special needs child, spiritualist healer, Stephen Daldry, tai chi, tenacity, Thomas Horn, Tom Hanks, unexplored probabilities, Viola Davis, World Trade Center, Zoe Caldwell

British Prime Minister Margaret Thatcher (Meryl Streep, right) champions her electoral victory with husband Denis (Jim Broadbent, left) in director Phyllida Lloyd's "The Iron Lady." Photo by Alex Bailey, courtesy of Pathe Productions Ltd/The Weinstein Company.

“The Iron Lady” (2011). Cast: Meryl Streep, Jim Broadbent, Olivia Colman, Anthony Head, Alexandra Roach, Harry Lloyd, Nicholas Farrell. Director: Phyllida Lloyd. Screenplay: Abi Morgan. http://weinsteinco.com/sites/iron-lady/

One of the hallmark principles of contemporary metaphysical thought is that we each create our own reality (and in a highly personal way, I might add) through our beliefs and intents. But, as widely as this notion has been embraced, rarely has it been portrayed cinematically as eloquently as it is in the new biographical character study, “The Iron Lady.”

Meryl Streep gives a riveting performance as former British Prime Minister Margaret Thatcher in the new biographical character study, "The Iron Lady." Photo by Alex Bailey, courtesy of Pathe Productions Ltd/The Weinstein Company.

After years of floating about in this psychological fog, however, Margaret quietly starts taking steps to get her life back. She embarks on this process by deciding—finally—to sort through and dispense with the personal effects of her late husband, possessions that she’s been holding onto for years. But, by doing this, she opens a Pandora’s Box of memories of her personal and political life. Recollections of her past relentlessly come flooding back to her (an experience not unlike the so-called “life review” that many contend we go through after we pass on). This deluge of memories forces Margaret to come to grips with what she’s done, for better or worse, as well as the rewards she received and the prices she paid for her successes and failures, both personally and politically.

Through flashbacks, we see Margaret’s younger self (Alexandra Roach) as a clerk in the family grocery during World War II, as an outspoken aspiring politician in post-war England and as the love interest of the successful young businessman who would become her eventual husband (Harry Lloyd). From there we witness her rise through the ranks of British government, first as a member of Parliament, then as Secretary of State for Education and Science, then as leader of the Conservative Party, and eventually as England’s longest-serving Prime Minister of the Twentieth Century (and the first woman ever to hold that office).

Once in power, we witness the challenges Margaret faced in dealing with such issues as Britain’s labor unions, the sagging English economy, the Falklands War with Argentina, the terrorist attacks of the Irish Republican Army (which took the life of her trusted advisor, Airey Neave (Nicholas Farrell), and nearly cost Margaret her own life through an unsuccessful assassination attempt), and heady international affairs involving the European Union and the end of the Cold War. And, through it all, we see the depth of her famous (or infamous) steely resolve to see her plans through.

On her climb up the ladder of success, Margaret triumphantly overcomes the many roadblocks thrown up by the privileged Parliamentary old boys’ club, obstacles intentionally designed to thwart the upward mobility of women and those of middle class background. But, in spite of her successes, Margaret also paid some high prices for her accomplishments. While she had her allies, she also made her share of enemies in government, the international arena and the public at large. Her family life frequently took a back seat to her public calling, straining relationships with her children and even her beloved Denis. And eventually she paid a tremendous price politically, when her inflexibility cost her the support of longstanding ally Geoffrey Howe (Anthony Head), her control of the Conservative Party and, in the end, the leadership of her country. It’s these costs that the elder Margaret must come to terms with as she struggles to take back her life.

At its metaphysical core, “The Iron Lady” showcases one individual’s efforts at practicing conscious creation, the philosophy that maintains we each create our own reality. This theme is perhaps best summed up by a quote from the protagonist: “Watch your thoughts, for they become words. Watch your words, for they become actions. Watch your actions, for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny! What we think, we become.” In saying this, Margaret embodies many of this discipline’s principles, particularly those outlined in author Jane Roberts’s book The Nature of Personal Reality, one of the cornerstone works on this philosophy and how it operates.

Tough-as-nails British Prime Minister Margaret Thatcher (Meryl Streep, center left) confers with trusted advisors, including longtime ally Geoffrey Howe (Anthony Head, center right), in the award-winning new release, "The Iron Lady." Photo by Alex Bailey, courtesy of Pathe Productions Ltd/The Weinstein Company.

Many have been highly critical of this film for allegedly playing fast and loose with “the facts,” even going so far as to say that it gives viewers a sanitized revisionist history of Thatcher’s life and career. But it’s on that point that I believe many of the picture’s detractors have missed the movie’s intent. “The Iron Lady,” in essence, is a character study, not a historical chronicle of the protagonist’s life, examining her outlooks and motivations from her own personal viewpoint (not unlike what the excellent made-for-cable production “The Life and Death of Peter Sellers” did for the legendary British actor). It’s meant to provide a look at what she was thinking and feeling about the historical events portrayed in the film, not what an outside, “objective” historian might have to say about her life and career. In that sense, then, the picture is more about the life of a person who just happened to be a British Prime Minister than about the life of a British Prime Minister who just happened to be a person.

Some have also been critical of the film’s portrayal of Thatcher as a dementia patient lost in a sea of delusion, suggesting that someone of her stature and character would never engage in acts as seemingly outlandish as protracted, hallucinatory conversations with her dead husband. Such speculation, they assert, is not only disrespectful but also patently unrealistic. But how do we know with certainty that this isn’t happening with her? Are we inside Margaret’s consciousness to verify such activities? If, indeed, we each create our own reality, then who’s to say that such an existence couldn’t be created with the thoughts of one’s mind, even for a respectable public figure like Margaret Thatcher. Besides, even if this portrayal is nothing more than a piece of fiction, that doesn’t automatically invalidate the narrative’s premise or format; fictional works based on the life events and personal ruminations of historical figures, including everyone from Mark Twain to LBJ, have been staples of Broadway and public television for years, so why not in the movies, too?

Lastly, many have been critical of the movie’s depiction of Thatcher’s politics. However, given the very personal nature of the story, I’d like to hope that audiences can see past the politics and look instead to the picture’s sublime metaphysical content. Again, the film is a fine portrayal of the conscious creation process in action as seen through the eyes of someone who just happens to be a prominent public figure, not a history lesson re-created through a conventional docudrama format.

Many aspects of “The Iron Lady,” such as Streep’s positively phenomenal performance, come as no surprise (she handily does for Margaret Thatcher what she did for Julia Child in “Julie and Julia”). But other elements of the picture are indeed revelatory, such as the skillful direction of filmmaker Phyllida Lloyd, who has stepped up her game remarkably from her last outing in the truly abysmal “Mama Mia!” High marks also go to Broadbent for an excellent (and thus far largely overlooked) performance and to the film’s makeup department for coming up with aging prosthetics that actually look realistic for once.

Streep’s portrayal, however, is, by far, the film’s greatest asset, having earned her a Golden Globe Award for best actress in a drama. She also received nominations for this performance in the upcoming Screen Actors Guild Awards competition and in the recent Critics Choice Awards program, which also gave the picture a nod for its outstanding makeup work. It’s virtually assured that Streep will also pick up an Academy Award nomination for this role when the Oscar nominees are announced next week.

Many moviegoers have characterized “The Iron Lady” as a fine performance wrapped up in a mediocre film, though I believe that assessment really sells the picture short. It’s a captivating metaphysical exploration of how we create our own reality—and how we should exercise care in doing so, because, as the protagonist so articulately and accurately observes, “what we think, we become.”

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "Julie and Julia", "Mama Mia!", "push the Universe", "The Iron Lady", "The Life and Death of Peter Sellers", Academy Award, Airey Neave, ambition, Anthony Head, Argentina, assassination attempt, beliefs, Brent Marchant, British Prime Minister, Broadway, character study, Cold War, conscious creation, consciousness, consequences, Conservative Party, creation by default, Critics Choice Awards, delusion, dementia patient, destiny, docudrama, European Union, failures, Falklands War, family grocery, Film, flashbacks, Geoffrey Howe, Golden Globe Award, Irish Republican Army, Jane Roberts, Jim Broadbent, Julia Child, labor unions, LBJ, life review, makeup, Margaret Thatcher, Mark Twain, memories, Meryl Streep, Movies, old boys' club, Oscar, P.M., Pandora's Box, Parliament, personal ruminations, Phyllida Lloyd, political downfall, politics, post-war England, prosthetics, psychological fog, public television, recollections, revisionist history, roadblocks, Screen Actors Guild Awards, steely resolve, successes, The Nature of Personal Reality, un-conscious creation, World War II

Carlos Galindo (Demián Bichir, right) and his son, Luis (José Julián, left), seek a brighter future in Los Angeles in the absorbing immigrant drama, "A Better Life," now available on DVD. Photo by Merrick Morton, courtesy of Summit Entertainment.

“A Better Life” (2011). Cast: Demián Bichir, José Julián, Joaquín Cosio, Dolores Heredia, Carlos Linares, Bobby Soto, Chelsea Rendon, Richard Cabral, Todd Felix. Director: Chris Weitz. Screenplay: Eric Eason. Story: Roger L. Simon. www.ABetterLife-movie.com, www.imdb.com/title/tt1554091/

So often in life we wonder why things turn out as they do. We ponder the outcomes we experience, especially when they have a significant personal impact on us. But, if we’re truly honest with ourselves, we invariably find that those results are generally driven by our beliefs and expectations, a theme explored in depth in the absorbing drama, “A Better Life,” now available on DVD.

Landscaper Carlos Galindo (Demián Bichir, right) and his boss, Blasco (Joaquín Cosio, left), work hard tending the gardens of wealthy Angelinos in director Chris Weitz's "A Better Life," now available on DVD. Photo by Merrick Morton, courtesy of Summit Entertainment.

Like many who make their way to the U.S., Carlos Galindo (Demián Bichir) desires a brighter future for himself and his teenage son, Luis (José Julián). He spends his days tending the gardens of wealthy homeowners in and around Los Angeles with his boss, Blasco (Joaquín Cosio). He works hard, but, as an illegal Mexican immigrant, he also keeps a low profile, ever aware that even the slightest infraction could get him deported in a heartbeat. He also keeps a watchful eye on Luis; as a single father, he’s concerned that his son might fall prey to the gangs that heavily recruit neighborhood youths.

Carlos’s hopes for a better life get an unexpected boost one day when Blasco announces plans to sell his truck, the primary asset of his landscaping business. Having achieved his business goals, Blasco plans to move on, but, before departing, he gives Carlos first crack at buying the vehicle and taking on his client list. Carlos is hesitant initially, but he realizes that, if he doesn’t make the purchase, he’ll probably be out of a job, since there’s no guarantee that a different owner would hire him.

Carlos decides to take a chance and become his own boss; he borrows money from his sister Anita (Dolores Heredia) to buy the truck and set himself up in business. It’s a big step, one with the potential to deliver great rewards, but one that also carries more risk now that he must assume a higher profile. And it’s not long before he discovers just how big a risk that can be; when he hires an assistant (Carlos Linares) to help him, Carlos quickly has his world turned upside down, threatening everything he’s worked so hard to achieve.

“A Better Life” provides an excellent illustration of the power of expectation in governing the outcomes we experience. As conscious creation practitioners well know, expectations are based on our beliefs, the driving force in what materializes in the reality surrounding us, and that concept is clearly on display here. The picture is particularly effective at demonstrating what happens when conflicting beliefs come into play. For example, Carlos genuinely believes that a better life is possible in the U.S., yet this aspiration is constantly burdened by the conflicting influence of fear that he’ll be exposed as an illegal alien, an element that not only sabotages his hopeful intentions but that also threatens to make his worst nightmares become self-fulfilling prophecies.

On the other hand, the film also shows the malleability of beliefs, that they’re always capable of being changed or rewritten and that even second chances are possible, provided we choose carefully. This is especially apparent in the relationship between Carlos and Luis. As Carlos spends more and more of his time working and Luis spends more of his time with questionable peers (Bobby Soto, Chelsea Rendon, Richard Cabral), we see a father growing progressively worried about an impressionable son, fearing not only for his child’s future but also concerned about the deterioration of their bond with one another. Since Luis is obviously the most important aspect of Carlos’s life, he creates circumstances that draw the two of them back closer together, though it’s a choice that carries potentially high-cost consequences and that may well involve subsequent belief rewrites – changes that, in themselves, may prompt the rise of additional new opportunities for second chances as well.

Hiring an assistant (Carlos Linares, left) proves a bigger challenge than new business owner Carlos Galindo (Demián Bichir, right) bargains for in the immigrant drama, "A Better Life," now available on DVD. Photo by Merrick Morton, courtesy of Summit Entertainment.

Given the subject matter of this picture, it might be easy to let political views color one’s opinion of it, regardless of which side of the fence one’s views fall on. However, I’d like to hope that audiences could find it in themselves to look past such superficial considerations and assess the movie on a deeper level, giving its profound metaphysical themes a critical examination. To be frank, doing less than that, in my opinion, constitutes “lazy viewing” on the audience’s part. Perhaps this is a pet peeve of mine, but I was sorely disappointed when many viewers did just that with the release of “Crash” in 2005, unfairly saddling the picture with a stigma based on oversimplified interpretations that it has carried around with it ever since, despite its critical acclaim and numerous accolades, including the Academy Award for best picture. I would hate to see “A Better Life” befall a similar fate.

With that said, however, I must hasten to add that “A Better Life” is no “Crash,” either. It’s an engaging drama that tells its story well, despite some rather improbable plot line elements, and its narrative is heartfelt and moving, particularly where the father-son relationship is concerned. It’s well acted across the board, and it provides a probing look at a world that most us probably never see.

Impressionable teen Luis Galindo (José Julián, center) becomes a concern to his father when he begins spending more time with questionable peers like Facundo (Bobby Soto, left) and Ruthie (Chelsea Rendon, right) in "A Better Life," now available on DVD. Photo by Merrick Morton, courtesy of Summit Entertainment.

If you haven’t heard of this film, you’re not alone; it had a verybrief theatrical run at independent movie houses last summer, though, if you blinked, you probably missed it. However, the picture’s visibility has risen of late with its DVD release and with two well-deserved best actor nominations for Bichir in the Screen Actors Guild and Independent Spirit Awards competitions (there’s even talk of an outside shot at an Oscar nod, too). It’s certainly heartening to see a small film like this receive some noteworthy recognition, considering how easily its voice might have been overpowered by the noise associated with other larger, better-financed productions.

It’s been said that we should be careful what we wish for, because we just might get it. And therein lies the power of expectations in manifesting the results we experience, especially when powerful elements like fear and conflicting beliefs get wrapped up in the mix. “A Better Life” reinforces that notion, showing us that we’d be wise to choose those beliefs carefully in the first place – and maybe to even think twice before doing so.

Copyright © 2012, by Brent Marchant. All rights reserved.

Technorati Tags: "A Better Life", "Crash". stigma, "lazy viewing", beliefs, Brent Marchant, brighter future, choice, Chris Weitz, conflicting beliefs, conscious creation, consequences, Demián Bichir, DVD release, expectations, fear, Film, gangs, illegal alien, Independent Spirit Awards, José Julián, los angeles, Mexican immigrant, movie, Oscar nod, outcomes, pet peeve, political views, risk, Screen Actors Guild, second chance, self-fulfilling prophecies, single father