The Tree of Life

Yes, like my fellow blogger who sent me a comment yesterday, I too watched The Tree of Life yesterday by coincidence. Above are pictures from the movie. In the first one, Sean Penn, as the older brother whose younger brother died, is remembering life as a child. His memories are impressionistic which is true to how the natural mind works. If I think of my childhood, I see bursts of images held together in small packages, tied together by a ribbon of the mind which groups, recalls, and forgets. Impressions, perceptions, interpretations are also in the swirl making the memory not at all as it was. Repackaged, represented. Meaning floats to the surface like cream in milk.

In the second picture, family tension, the tension of leaving childhood to take on greater responsibility, fulfill greater expectations is portrayed. Often, we begin to despise one of our parents then, especially if, like in the movie, they are demanding. The Sean Penn character (the older brother) remembers clearly the confusion and sadness of this time. Images of his dead younger brother are outlining these remembrances.

Then, in the final shot, after death, the family is reunited on the eternal beach, waiting for one another, or the Savior, to carry them across the tide. They are joyful, yet resolute to the environment, yet so happy to be reunited. Life has moved on to another stage, and they are together immemorially.

The movie was deeply sad to me because, although life is interconnected -- the tree branches out for us all -- grace is there -- the trials of the human were shown. The calling out for proof of His care was sounded; the confusion, the loss, the layer  below the happy --  all lurked. Even the ending was forlorn due to the beach and people walking alone or waiting for their loved ones. After the family reunites, I wondered, "What's next? Do they wander now? What fulfillment do they finally receive for their souls?"

However, the movie is open to interpretation and impressions, and those are mine. I went to bed knowing that I can't think about the film too much; can't let the movie root in me because of the not enough quality to it. I would become depressed. When I think of eternity, I think of the last stage Narnia and a more biblically described place -- where all is warm, goodness inundates, and divine relationship is established. No more floating, wandering, walking as a small person by the side of a gigantic, cold ocean. Love will flourish. Love will dispel. Loved ones will be reunited in the context of light and Love who will embrace and hold forever.

Hands out, for now, loving others and seeking the eternal culmination of that hope and desire. The end does await. I can dare to believe the old texts as I walk in my brief here and now, alongside the ocean, under the tree, beside an old house where once lived those I laughed with and loved.

Warrior, the movie, and the Prodigal Son, the parable

When reading Nouwen's The Return of the Prodigal Son this morning, I realized that a recent movie, Warrior, somewhat paralleled the parable. The two brothers, however, get to slug and kick and maim and injure each other in the martial arts cage, a modern vicious sport. The brothers carry with them the baggage of resentment, past offenses, father injustice, family division, death, hurt, pain, dysfunction. How good it feels to them to slam one another, pounding out the filth they see in each other's eyes and lives.

In the Bible, the younger son returns after a squalid life. However, in Warrior, the younger son, played by Tom Hardy on the left, returns after leaving his alcoholic father with his mother who later dies of cancer. The older son, portrayed by Joel Edgerton, has stayed with his father, mainly because of a girlfriend and perhaps because of a desire to be the father's favorite. Clues tell us that the younger son, a fighting champion who the father coached, had been the perceived favorite. When the younger son runs away with his mother, he doesn't communicate out of resentment back to his two family members.

Yet in the movie he returns:  broken, hardened, in pain. He doesn't ask directly for his father's forgiveness; rather, he torments his father some at the same time he holds the door open a little for a relationship. The older brother / son leads a quieter domesticated life, but he too has rejected his father for the pain caused. As fate would have it, he must fight to retain his home loan, and the two brothers meet accidentally (and have a tense, unresolved confrontation) as they walk outside of the arena where they will later fight for the championship.

Okay, the parable connection becomes muddled. Yet Nouwen talks about how the tension between the two brothers in the biblical parallel revolves around a father-figure and choices made. Same here. The father figure in the movie, played by the great Nick Nolte, is pitiable in his dysfunction, not like the biblical father who represents God. Yet we capture him trying to also find redemption in his life through sobriety and belief. The younger son who wants his dad to coach him again to win the martial arts championship, sees a Bible laying on the table and scoffs at it. The brothers, throughout the movie, circle the father, inside wanting clearance, love, function, normalcy, although the father is still fighting to receive these gifts himself.

So, in the ring, the brothers find themselves (of course, this is Hollywood!), and they are deeply at odds with one another, although they long for brotherhood. They return, and apart from the father, they get to work their differences out. The last scene in the movie is one of the best; the focus on the finished faces of both brothers is monumental. You'll have to see the movie to appreciate it.

In the biblical story, we don't know how the brothers end. And, in Warrior, it is implied rather than directly pronounced too, yet with more of a possibility given than the parable. We do know that the father implores the responsible older son to forgive and to love and to welcome. Yet the older son doesn't concede openly in the parable.

It's as if he needs a cage to enter into where he and his brother can duke it all out.

Selah.

Adjustment at the Movies

I'm stymied. Seems like lately, I do not enjoy movies. I should like movies, and I have some in the past. However, lately, they all fall short. It makes me wonder if movies meet us where we are at times, or if many movies truly do not have merits as they should.

My husband and I just watched "The Adjustment Bureau," and it was okay. If I apply all the liteary dimensions, I can perhaps see clearer where it went wrong.

Setting: New York with supernatural elements; the unseen "force" becomes visible. The setting seems plausible even within the "willing suspension of disbelief" and the few, fantastical elements. The buses don't morph into fighting machines; they are real. The buildings are quite normal too.

Style: I haven't thought much about style in movies, but, now that I am, I believe this film's style is somewhat jerky to me. There isn't an emphasis on cinematography or mood setting. Perhaps I want more layers which style offers in a movie.

Plot: A story is told. A senator-to-become realizes an outer, directive layer exists which comprise of men, angels, agents on a mission to keep him on course for his life plan. Falling in love with someone who he is meant to be with in an earlier plan, but not current plan, causes these agents to trail him and try to intercept this off-path love. Of course, love is stronger than fate because it illustrates free will, and the main characters maintain their love and receive permission in the end. I don't think the plot is a problem. If I want to enter into a story, why not this one? It's as good as another.

Characters: At times, plot interferes with characters, though. Although Matt Damon is a good character actor, his character is too busy running, like many modern movie thriller characters want to do. Not enough time is given to develop motivation or personality or anything to help the audience deeply identify. It must be a dilemma in action movies, and I don't think the movie fails completely -- probably does a little better job than most --at characterization. However, I think that the lack of this element causes the movie to be flat.

Theme: People can control their own destiny if they want it badly enough and assert their individual rights. "Fight for your right to party," as the song goes. Well, sort-of here. I think that the theme is a good one. The voice at the end hammers in the theme to make sure we know it, because we need interpretors of meaning in our modern day stupors (it seems they think so).

Overall, it seems the style (lack of mood setting) and the lack of character development robbed this movie, which is making me analyze it late at night. Well, I might be able to sleep afterall soon. :) Perhaps it isn't me and my unrealistic standards.

One last thought -- as I assess my appreciation of movies, I am wondering if I had more appreciation when I was younger because I wanted what the movies offered more than I do now. I will have to think about that late at night one night.

heroic passengers

Last night, we loaded "United 93" into our DVD player, ready for a movie after a long day in the sun. We knew, of course, the subject would be intense; however, I didn't count on the excellency with which they portrayed the unfortunate situation for these passengers, and the air traffic controllers, and eventually the families. The movie is an example of showing, instead of telling, as we entered into the mundane conversations of the passengers as they waited, loaded, settled into their flight upon the plane, as normal travelers would. The drama of the day spoke for itself, and fortunately the director/writers/producers let this play out instead of superimposing sentimental stories on top of it (which there were probably plenty of).

My heart was pounding through most of it. I'm such an objective-thinker anymore of movies, not wanting to be manipulated by music, excessive camera focus, etc., that the rapid heart beats spoke of the genius of the film.

I'm glad that the heroes of this flight were portrayed in such a manner. I immediately went to a posting of the real people and marveled again at how they reacted, and what/whom they saved. We need to be reminded of their stories, keeping them alive, honoring their deaths.

And 9/11, six years later. Interestingly enough, more American soldiers have died in the Iraq War then were civilians killed on that day. I think, somewhere, that is making our greatest enemy very happy.

It's all sad.