TV Series NOTHING SACRED on You Tube

During its 1997-98 brief run on ABC this series about the hardworking staff of St. Thomas Catholic
Church, located in the inner city of a large but undesignated city, was the best program on TV. No program (or movie for that matter) had shown both the daily activities of a parish connecting with its neighborhood and the sometimes-disturbing complexities of faith.

The first episode “Proofs for the Existence of God” provided enough food for thought to keep the minds of viewers busy until the next episode. From its very beginning when the credits are rolling we know that this is a special show. Quebec resident Renard Roux, who has done so much on Face Book to promote the YouTube clips of the show puts this better than I could:

“The opening credits for the show were awesome. The perfect mix with the stained glass windows, the vigil candles, the priestly vestments, Ray saying mass, Leo in the confessional, all overlaid with shots of despaired homeless, and people on the street. Also the rebellious ‘’Nothing’’ graffiti spray painted on the wall mixing with the calligraphy pen carefully scripting ‘’Sacred’’ on paper, tells us the series is going to be a wonderful mix of faith and belief and the suffering of day to day struggles. I also love how it ends with moments of joy as we see the group sitting at the table together.”

Kevin Anderson stars as Father Ray Francis Xavier Reyneaux, head priest, but with so many doubts that he is told by his superior to preach on the treatise by St. Thomas Aquinas, which gives its name to the episode. In the moving homily that concludes the episode it becomes obvious that the parish is not named after the medieval doctor of the church, but an earlier St. Thomas, branded as “Doubting Thomas.” Before we get to this, the almost too jammed-pack script deals with the homeless and local opposition to their presence, the soup kitchen, a feminist nun’s insistence that God be addressed as both Mother and Father, Ray’s temptation to rekindle a romance with an old flame, the desire of his assistant priest to escape the turmoil of the city to a quiet monastery, the dissatisfaction of a pregnant parishioner at Ray’s refusal to answer her directly about abortion, and a broken father-son relationship. Whew! Lots to think about.

Kevin Anderson is ably backed up by a strong supporting cast: Ann Dowd as feminist Sister Maureen Brody, Scott Michael Campbell as the fresh out of seminary Father Eric, Brad Sullivan as the older, experienced Father Leo, Tamara Mello as the troubled church secretary Rachel, and Bruce Altman as Sidney Walters, a good office manager, but one who has moved beyond Ray in regards to God, considering himself an atheist.

I would like to cover the 20 episodes over the next year if there is interest among you readers, so please let me know at visualparables@hotmail.com if you might consider hosting a discussion group on themes found in the series. Believe me, there are plenty!

To watch the episodes, go to:
http://www.youtube.com/watch?v=rA2q1btCx1A&list=PLE5FAD7955A1F6286

  

For Reflection/Discussion on Episode 1 “Proofs for the Existence of God”

1. How is Fr. Ray different from the usual clergyman depicted in the media? Compare him to such movie priests as Bing Crosby’s Fr. O’Malley in Going My Way. He is by no means a perfect man: how do we see his temper get in his way? What better approach might he make to the yuppie complaining about the presence of the homeless people? What happens to him at the city council hearing on the soup kitchen?
2. What do you think of the way in which the theme of temptation is dealt with? How is this an obvious one to raise? But do you think it is a bit early in the series? How might the two have justified themselves?
3. What do you think of Sister Mo’s concern over the gender language used when speaking of and to God? How does this matter: that is, how is an exclusively male designation of God a part of the system that has kept women as second-class members of church and society?
4. What do you think of Fr. Eric’s desire to become a member of a monastic community? Does this seem like a real vocation, or his desire to escape? From what you see of the chaotic life of the parish, might you also feel this way were you him? How do most of us try to escape at times?
5. What does Rachel want when in the confessional she asks about what she should do concerning her pregnancy? What does Fr. Ray apparently believe about human nature and responsibility that he refuses to tell her what she should do?
6. What do you make of Fr. Leo’s quotation, “‘When I see the world’s wonders/What can I say?/I do not think/I’ll kill myself today”? Surprised that it was from a song sung by Lena Horne called “I Don’t Think I Will End It Today”? What songs have kept you going during hard times?
7. Do you believe that faith and doubt are opposites? How are they related in a mature faith, some would say “intertwined”? Have you had to wrestle with this in your spiritual journey, and if so, how did you resolve the two? What do you think of the way that Ray arrives at his faith in God at the end of his homily? What similar small signs of God do you see that make you take the gamble that God is real and close at hand?  Why might it be a good thing that we have the story of “doubting Thomas”? (Actually, when you reread the story was he actually doubting, or was he being dogmatic, refusing to trust the witness of his friends?)
8. Here’s Ray’s text to reflect upon (thanks again to Renard Roux’s Face Book posting):
       ‘’I can’t prove there’s a God... though I do catch a glimpse of him from time to time. When I saw God last.. he was a father reaching for his son. And for a second, I saw God. It didn’t make me feel any better.. but maybe that’s not what God ...is for. I saw him. And I believe I will see him today, and tomorrow.... on whose face? I don’t know. And that’s the adventure. So that’s the best I can do. And that’s faith. If you’re looking for proofs... you’re in the wrong business.’’
9. How is having Bach’s “Jesu, Joy of Man’s Desiring” playing under this and the baptism scene appropriate? As well as having Ray listening to the Lena Horne song at the end? How can this latter song be just as sacred at times as the song created for church use? Or do you think that this would mean that nothing is sacred?
10  You might close by reading or singing the hymn of a man who saw signs of God in nature, Maltbie Babcock’s “This is my Father’s World,” esp. verse 2, “…in the rustling grass I hear Him pass; he speaks to me everywhere.” How might ole Aquinas have gotten it a bit wrong, that instead of “proofs for the existence of God,” we should be thinking of the signs for the existence of God?

Episode 2 “Song of Songs”

J. A. Ortiz (Jose Zuniga) and Maritza (Judy Reyes), a couple who are to be married at St. Thomas run into problems when they have to shift their wedding reception from a hired hall to the parish. At the parish matters are chaotic, with Fr. Ray concerned about the cook Gary’s sobriety, a politician named Mr. Martin showing up with a camera crew as part of his political campaign in which he wants to shut down the kitchen, a young volunteer named James echoing his father’s opinion that those who do not work should not eat, the food for the wedding reception being mistaken by Sr. Mo and volunteers for a generous donation for the poor, and…
One of the lines that I have remembered all the years since first seeing this episode in 1997 is Father Leo’s reply to Ray when the latter, tired of all the problems that have arisen concerning the soup kitchen, says that he wishes he could just deal with the mass, “The reason the mass makes sense is what goes on in the basement.” The writers of this series are absolute in their conviction that faith and social concerns are inextricably woven together. As in James 2:14-17, the spiritual and concern for the matrial wellfare of others cannot be separated!

For Reflection/Discussion Discussion on Episode 2 “Song of Songs”

1. Did you have an inkling at how bad things would turn out when Maritza says she wants a “perfect day”? Have you had days a little similar to that depicted in this episode? What was your worst day that you can remember, and how did you get through it?
2. What is the purpose of Mr. Martin the politician bringing his camera crew on his visit to St. Thomas? Why is Fr. Ray so upset by the presence of the TV cameraman? How must his concern for the dignity and pride of the soup kitchen patrons contribute to their sense of well-being at the soup kitchen? In the folk hymn “We Are One in the Spirit” there is in the 3rd stanza the statement, “and we’ll guard each man’s dignity and safe each man’s pride.” How does Ray embody this?
3. What role do we see Sidney playing in the soup kitchen? He is an atheist, and yet how is his sense of hospitality very “Christian”? If you know the series All in the Family, how is Sidney like that other self-professed atheist Mike (“Meathead’)?
4. How is the politician’s reaction to the men cleaning up in the church bathroom totally off base? What are the homeless men trying to do?
5. What do you think of Louis and his story to elicit money? How do Fr. Ray and Sister Mo show they are pros in dealing with him? Do you agree with those who say that the inequality of our society forces needy people into concocting such stories in order to gain money and food? What do you think of Sr. Mo’s suggestion to James that it is better to be taken in by an “undeserving” poor person than to risk turning down one who really is in need? Do you have a plan for dealing with street panhandlers?
6. In several episodes Ray is concerned about health regulations and requirements for getting welfare: how do such regulations sometimes get in the way of helping the needy?
7. Ray, upset by the intrusive TV camera, takes Danny the cameraman on a tour of the basement: what do you think of his question about why there are so many hungry people when the Dow is so high (at 8000 back then)? What does this say about our society and its values?
8. As Ray reads the marriage litany and we hear the lovely song, what effect does the montage of shots of a drunken Gary falling on the steps and the hostile James sitting alone on another step? What do you make of the conversation between the boy and Louis, especially Louis’ barb, “You’ve got more in common with that white guy than you think”? How does James seem to come around at the end? Do you think we might see him again at the kitchen?
9. Downstairs—what do you think of Sr. Mo and the volunteers’ efforts to hastily prepare for the wedding reception? Maybe a bit far-fetched, and yet—? What signs of community do you see? What does Fr. Leo do to add just the perfect atmosphere for the couple’s “perfect day”? Earlier Fr. Leo had said that the gospel text for the day was the Feeding of the 5000: how did this become more appropriate as the day wore on?
10. The staff thinks that it is sad that the storm canceled  the flight that would take Maritza and Ortiz away to their honeymoon destination, but do they seem that bothered? What do you think of the passages they read: were you aware that The Song of Songs was originally a love poem before it was allegorized and accepted into the Bible?

NOTE: I really do want to hear if you are interested in more episodes on the series. The above took over 5 hours to repair, time that I cannot afford to give if the discussion guides are not useful. Please let me know at visualparables@hotmail.com.

The Bible, First Week

The Bible, the First Week

I am beginning these remarks about the History Channel’s The Bible during a commercial break in The Vikings—strange that the HC should debut both big budget series on the same night! Anyway, now that I have seen the entire first installment, I can go beyond my first bog when I had watched but ten short excerpts from the series.
     I am not nearly as enthusiastic about the series as last week. The literalistic approach gets in the way more than I had hoped it would—and yet at the same time, some of the looseness with biblical text also bothers me. I was a bit surprised that the episode began with a storm-tossed boat in which Noah tells his family, “In the beginning God…” and over the next few minutes he recites a digest version of the Genesis creation story. Biblical scholars believe that Genesis was written, as the opening of what came to be called the Pentateuch, at the end of the kingdom of Judah in the 6th century BCE, possibly during the Babylonian and Persians periods when the old stories were in danger of being forgotten by the Jews because of their captivity. And yet in this episode, set in prehistoric days, it seems that Noah is the author, or at least the transmitter of the Genesis stories because he is quoting the text as we now know it.
     The Bible is such a large and complex book, no, a library of books, that we expect much has to be left out of the presentation, even one of ten hours in length. It certainly is he case for this series. Noah in two or three minutes relates the events of the six days of creation, the camera showing us the natural beauty of the sea, the fish, animals and birds, concluding with a close up of Adam, his face covered still with the mud from which he has been created Then in but a few seconds we have the tale of the Temptation and Fall, immediately followed by Cain murdering his brother Abel. When Noah says that on the seventh day God rested, the storm has stopped, and he walks out onto the deck of the huge ark to enjoy the sunshine. The camera rapidly draws back, the ark becoming a speck, and we move high into the stratosphere so that the curvature of the earth is visible, and we go even higher to see that the entire planet is flooded—not, as most biblical scholars believe, just the plains of the Fertile Crescent.
     Thus this is indeed a literalistic interpretation of the Jewish/Christian scriptures. It could be very puzzling or even misleading for non-believers who have known of Noah's story only because they have seen so many children’s wooden and plastic toys labeled “Noah’s Ark.’ Misleading in that the God depicted might seem not only wrathful but unjustly arbitrary. We see people outside the ark being drowned by the deluge. Why them? Why are Noah and his family tucked safely inside? I do not recall any mention of the pervasive wickedness of those drowning, nor of the good and righteous life of Noah. Now Cecil B. DeMille would never have made that mistake: he would have clearly shown the audience how wicked the people were by pushing the old Hays Code to the limit and staging an orgy of nearly naked revelers, as he did in his version of Ten Commandments.
     My initial good feeling about the Abraham sequence was partially fulfilled, though I am puzzled why the script has everyone calling the patriarch “Abraham” from the beginning, when his original name was Abram (and Sarah’s Sarai). If you want to see a really satisfying depiction of the life of Abraham and Sarah, be sure to see the Bible Collection’s Abraham, in which the great actor Richard Harris portrays the patriarch in an unforgettable way. The sacrifice of Isaac is the climax of this almost two hour film, and when Abraham hears God’s call, the agony of the father’s heart is expressed both in his argumentative words and the horror we see in his eyes. This is the film to see to gain a good understanding of the patriarch—and as an added bonus, the film stars Barbara Hershey as Sarai/Sarah.

     I said my good feeling for the Abraham segment was “partially fulfilled” because the part dealing with Lot and Sodom was handled very poorly. When Abraham gave food to the three mysterious travelers, we see that their party, when the three pulled back their monastic-like hoods, consisted of an African, a Chinese or Japanese, and from the quick glimpse of the third, a Caucasian. When the three show up at Lot’s house in Sodom, and the neighbors try to break in and carry them away, the three pull away their robes and hoods, revealing that they are wearing armor. Then drawing his two swords, the Asian fights off their attackers, killing all within sword-reach as he jumps around. For a moment I thought the producers must have lifted this bizarre scene from a Ninja movie!
     Apparently The Bible’s producers wanted to get to Moses and the Exodus ASAP, because the film jumps over the richly dramatic Jacob and Joseph sagas to arrive at the scene in which the young Moses and Pharaoh’s son are fighting each other with swors. Unlike the excellent animated Prince of Egypt, these two are not loving friends, but bitter rivals, the blood-son anxious about succession to the throne. The major events of the Exodus story are told (see my previous blog for the Burning Bush episode) in rapid succession—the various plagues, quick cuts to Pharaoh saying “No” to Moses, and then the Passover (if there was any mention of the meal shared by the Hebrew families, I do not recall it), and the rush to the Red Sea, the chase by Pharaoh and his army, the parting of the sea, the drowning of the pursuers, the miraculous giving of Ten Commandments, and the passing on of leadership to Joshua
     It will be interesting to see if the second week’s episode is as mixed a bag as this week’s. Before closing I want to make one more comment on the Sacrifice of Isaac episode. The patriarch’s total obedience to God carried to the extreme that he submits to the command to sacrifice his only son is easily misunderstood. In the 1997 film about a father’s burning the evidence that might implicate his son in a murder Before & After. Jacob (Liam Neeson), wanting to justify his illegal act, tells his wife Carolyn (Meryl Streep) the story of Abraham and Isaac.

 “Very obedient, Abraham. Very righteous,” he says with contempt, “But when they tell the story, they always miss the point. Who would want him for a father?” Of course, neither Jacob nor most people understand the culture of Abraham’s time, one in which the sacrifice of the first born to a god was commonly accepted in order to obtain from the god the guarantee of future fertility, both of the wife’s womb and that of the fields. The producers of The Bible, who perhaps use a narrator too much (when Lot’s wife is turned into a pillar of salt we don’t have to be told this is what happened!), could have had either the narrator or the patriarch himself say something about how everyone was expected to sacrifice their first-born. Liam Neeson’s Jacob is the one who missed the point of the story, that faith in God must transcend our loyalty to family, and that trusting him “to provide the lamb” will be rewarded.

This Sunday--The Bible: 5-Week History Channel Series

1. Abraham about to sacrifice his son.  2. Christ at the Last Supper

An ambitious and spectacular new series entitled “The Bible” begins on the History Channel this Sunday, March 3. (Consult your local paper for the time). The ten hour-long series covers many of the highlights of the Old and New Testaments, beginning with stories from Genesis (Abraham is prominent here), the saga of King David, the life, death and resurrection of Jesus, and the beginning of the work of the apostle Paul’s ministry.
     I have not been able to watch the entire series, but from what I have seen—there are eight very generous-length clips posted on HC’s website there is much to admire, and for some, parts to be taken with a grain of salt. By the latter I mean that the approach to such a story as Noah’s Ark in a literal one, accepting the historicity of the event.
     The clip depicting the Sacrifice of Abraham is very well done, bringing out the drama of the father’s agony over carrying out what he perceives to be the will of God, as well as the boy’s puzzlement and fear of what his father is about to do. Added to this is the cutaway to mother Sarah, becoming aware of her husband’s attention and rushing frantically up the mountain to stop the terrible proceedings. If the other scenes of their life together are as well done as this, viewers will gain a deeper appreciation of the humanity of the biblical characters.
     The other major story in the first week’s two-hour presentation is that of Moses, the available clip showing Moses on a windy night taking shelter in a small tent while watching the sheep when he spots the burning bush. Nice special effect, though purists might wonder why the voice from the bush does not tell Moses to take off his shoes. Also missing (and this is more important), Moses does not try to escape his calling by coming up with excuses. Maybe this is included elsewhere. However, it is good to see the inclusion of some flashbacks in black and white to Egypt where he killed the taskmaster.
      In Week 2’s presentation adventure lovers will appreciate the stories of Sampson and that of David and Goliath. Especially intriguing is the use of black actors in portraying Sampson and his mother. In the confrontation between David and Goliath David is shown as a youth. On his way to meet the Philistine champion, who is seven feet or more tall, David bolsters his courage by reciting the 23rd Psalm. Probably not very historic, but a nice dramatic touch.
      Weeks 3, 4 & 5 deal with the ministry of Christ. The actor playing Jesus is the usual European (or we should say American) actor giving us a dramatically satisfying portrayal of a strong leader. The clips show: Jesus ordering Peter to go fishing again and then calling him to discipleship; John the Baptist and the baptism of Christ; Jesus’ walking on the water; The Last Supper; Pilate’s meeting with Jesus; and Ananias and Paul.

Some observations about the scenes: An interesting touch of the walking on the water episode is the inclusion of Mary Magdalene with the disciples in the boat, justifiable in that the gospels tell us that she and some other women traveled with the disciples to tend to their needs. The writers draw heavily upon John’s gospel in the Last Supper and the meeting with Pilate. An interesting non-biblical scene is the one in which Judas staggers out of the room after taking the bread from Jesus; he spits it out of his moth as he passes a mysterious stranger. Matthew’s bit about Pilate’s wife warning him not to judge Jesus is included. The 10th clip expands upon Acts 9:10-22, in which Jesus appears to Ananias commanding him to go to the blinded Saul. Saul is very remorseful, almost groveling at one point until Ananias, pouring a pitcher of water over his head, baptizes him. In a close up of Saul/Paul’s face we can see the remorse giving away to relief and confidence that he is a changed person.
     Of interests to teachers is the commentary and “Questions to Reflect Upon,” clearly showing that the people responsible for producing the series Roma Downey and Mark Burnett are not out just to entertain us. There are so many features on the site ( http://www.bibleseries.tv/) that you could spend several hours exploring all of them. Thus even though I have qualms about the literalistic approach in some of the episodes, I heartily commend the series—and hope that the rest of it is as good as the clips displayed on the website. (From an “Extended Look” video it is evident that many other stories are included—Sodam and Gommorah, David & Basheba, etc.) It is good to see the History Channel getting back to its original purpose, the entertaining presentation of history.

Some Ramblings on the 2013 Oscars

Well, the 2013 Oscars are now history. Although Seth McFarlane did a fair job at times of poking fun at the pretentiousness of the Awards ceremony, his bad taste evidenced in the comments and song about boobs turned my wife off so much that she stopped watching. The Lincoln joke was a bit much too. And those totally forgettable songs at the beginning--well sung and staged--but so soulless that I was tempted to switch channels for the duration. And then came the beautifully staged and timed overview of Les Miserables, which made the early songs pale even the more.
Another good musical section was the way in which Barabra Streisland was brought on beneath the large image of Marvin Hamilsch at the end of the memorial segment. So appropriate. And does that glorious song remind us how much we lost when the composer died--but also how much he left us!
It was good to see LIFE OF PI garner some early awards, and then Ang Lee to win as Best Director. But I felt LINCOLN was robbed by the selection of ARGO, admittedly a wonderful adventure film, but given the scope and complexity of Steven Spielberg's epic production, it seemed that the Academy members made the wrong choice for Best Picture. Even mores so in choosing Ann Hathaway as Best Supporting Actress. She was fabulous, but how long was her screen time in comparison to Sally Field's? And Sally Field's incredible performance ran the gamut of emotions--anger/rage during the arguments to despair over the loss of Willy, to light, but acidic humor when confronting Congressman Stevens in the receiving line. But I suppose they were thinking that she had already won two Oscars, so give this one to the young and upcoming actress.
At least there is no complaint over the choice of Best Actor. I think the roof might have fallen in had Daniel-Day Lewis been passed over. His is a performance in which the word "great" is not at all an overworked adjective. It also was good also to see Quentin Tarantino receive an Oscar, though I wish it had been for PULP FICTION.
How I missed Billy Crystal and those wonderful clips in which he was inserted into a movie scene! Maybe next year....But it was a delightful surprise to involve Michelle Obama in the presentations. No doubt the Obama haters will cite this as further evidence of left wing Hollywood's support of the President.
Now it's a new year movie-wise, with such movies as 42, a retelling of the JACKIE ROBINSON STORY to look forward to. I am always pleased with the way that creative writers and directors keep coming up with new films to challenge as well as entertain us.

Amour (French with English subtitles)

Rated PG-13. Our ratings: V -2-; L 46; S/N -3. Running time: 2 hour 7 min.

Georges and Anne try to adapt to the effects of her stroke.

(c) 2012 Sony Pictures Classics

Even those who live for many years should rejoice in them all; yet let them remember that the days of darkness will be many. All that comes is vanity.

                                                                                                              Ecclesiastes 11:8

Love is patient; love is kind; love is not envious or boastful or arrogant ⁵or rude. It does not insist on its own way; it is not irritable or resentful; ⁶it does not rejoice in wrongdoing, but rejoices in the truth.⁷It bears all things, believes all things, hopes all things, endures all things. Love never ends. 

                                                                                                               1 Cor. 13:4-8a

Grow old along with me!

The best is yet to be,

The last of life, for which the first was made:

Our times are in His hand

Who saith "A whole I planned,

Youth shows but half; trust God: see all, nor be afraid!''

                                       Robert Browning, “Rabbi Ben Ezra”

The urbane Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), two retired piano teachers in their eighties probably have read Robert Browning’s poem. Living comfortably in their book-lined Parisian apartment, they no doubt would agree with its sentiment—except, probably, for the poet’s belief in God. In many small gestures we see that their love for each other has not dimmed through the long years of living together. We first see them near the beginning of the film seated in an audience waiting for a concert to begin. The performer is their most gifted former students, Alexandre (Alexandre Tharaud). Director/writer Michael Haneke keeps the camera on that audience for what seems an extraordinarily long time. We begin to think that they must be staring through the “fourth wall” back at us. It is largely a static long shot, so you have to look for the couple--they are slightly left of center.

A minimalist filmmaker, Mr. Haneke provides no opening music, nor, as the film progresses, any other music except when it is being performed or played on a CD. The film actually begins by revealing the fate of one of the pair. In a sort of prologue we see firemen force their way into an apartment. While the concierge and neighbors stand outside, the officers hold their noses as they open the windows for fresh air and search through the rooms. The door to the bedroom has been sealed by tape, and when they enter, they find an old woman in repose on the bed, flowers strewn over her head and her dress. No one else is in the apartment.

Back to the recent past. It is the next day after the concert. At breakfast, George notices that Anne is not responding to him. She is staring vacantly at a wall. Alarmed, he wets a washcloth at the kitchen faucet and gently daubs her face and neck as he tries to solicit some response to his anxious queries. In his anxiety he has forgotten to turn the water off. He leaves the room for a moment to get dressed, but stops when the sound of the water stops. When he returns, the tap has been turned off. Anne, apparently unaware of the time that has passed, tells him that he left the water on.  As he queries her, she cannot recall anything of the last few minutes. She thinks he is joking until he persists in his questioning. She does not want to see a doctor, but as we see next, their doctor has hospitalized her.

Anne’s experience at the hospital where it is determined that she has suffered a stroke is so unpleasant that she makes him promise not to send her there again. She has had a second stoke that paralyzes one side of her body. All of this Georges takes in stride, assuring their grown daughter Eva (Isabelle Huppert) that he can cope. Eva, herself a musician, lives abroad in an uneasy relationship with her husband, also a musician who sometimes has an eye for female colleagues. It is apparent that she has also grown apart from her parents because of her busy career. Her concern is real, but subdued.

Their former pupil Alexandre pays them a visit, but forgets to bring them the copy of his new CD he has promised. Also, because of his visible shock at Anne’s weakened condition, she decides not to receive any more visitors. The couple retreat from the world, except for the nurse whom the now overwhelmed Georges has found necessary to bring in three times a week for assistance with grooming and bathing Anne. When Eva returns to Paris and drops in on them unexpectedly, Georges even locks their bedroom. It takes a lot of pleading and demanding before he allows Eva in to see her mother, now barely able to communicate.

This is a powerful film about love and care giving. In so many small ways we see that the couple’s love for each other has not diminished, their youth passion having changed into a mature love evidenced by hand holding and other small gestures, including the gentle patience Georges exhibits while trying to tend to the stricken Anne’s physical needs. Many reviewers have noted that the shot in which Georges holds Anne close to him while taking tiny steps to move her from her wheel chair to a regular chair is like a slow dance. It is a dance of love, growing from years of living and making music together.

There is one telling scene when Anne sits at the grand piano that takes up one end of their living room. Georges sits in his chair quietly listening to the beautiful classical music filling the room. Then he reaches over to his CD player and turns it off, the music stopping, revealing that Anne had not been playing. We realize how great is there loss—she unable to play and he seeing his life companion slipping away from him. Anne tells him that she does not want to go on this way, but he puts her off. Even she, as she leafs through their family photo album remarks, “Life is beautiful.” She adds very quickly, “and long.” We can see she means “too long” when she loses her ability to speak coherently. She is reuced to the state of an infant, George now having to feed her by spoon. She tries to resist eating anything, but he forces food and drink into her mouth, threatening to take her to a hospital or hospice where they will feed her intervenously if necessary.

Anne’s care grows so overwhelmingly difficult that Georges hires a second nurse, but she is very different from the main nurse, the latter whom still sees Anne as a person of dgnity. His temper grows short with the new nurse whose care he deems unworthy. As he dismisses her, she insults him as she angrily stalks out.

There is plenty to ponder in the film, such as two intriguing incidents in which Georges has to deal with a pigeon that gets into their apartment when a window is left open. Also the camera lings for a long time in close ups of the six paintings displayed on the walls of the apartments. All are landscapes, one with the sunlight illuminating cumulous clouds in a spectacular way. This is the only outdoor scenes in the whole picture, every other sequence being shot indoors.

Georges brings home a bouquet of flowers which, in a surprisingly long sequence, he washes in the sink and cuts the heads off the flowers. What he does with them softens somewhat the shocking act of love at the climax of the film. The film demonstrates that Browning’s poem is true only up to a point, beyond which the more gloomy poetry of Qoholeth might be more pertinent:

       “Enjoy life with the wife whom you love, all the days of your vain life that are given you under the sun, because that is    

       your portion in life and in your toil at which you toil under the sun. Whatever your hand finds to do, do with your   

        might; for there is no work or thought or knowledge or wisdom in Sheol, to which you are going.” (Ecclesiastes 9.9)

The film has been exuberantly praised by critics for the way in which Anne and George’s love is depicted, as well as for the terrible but loving last service he performs for his suffering wife. I found their brave attempt to adjust to and live with her debilitating condition inspiring at first, but then depressing in that neither seemed to have any sense of transcendence, not even a mustard seed of faith. I have been privileged to minister with many elderly people victimized by strokes and diseases whose faith enabled them to see that their present suffering in the light of a caring God would end in death, but not defeat. People came to comfort them, and though they probably did, went away with far more comfort received than imparted. This is not the case with Anne and Georges. A priest might read from St. Paul about the “sting” of death being removed, but it will ring hollow. And yet having said that, There is a fascinating scene that maybe belies what I have just written: it is near the end, and it involves Anne and Georges going out together, suggesting that the filmmaker at least does entertain some future transcendent state.

Thus, as much as I admire them for their love and initial pluck in dealing with the cruel effects of a stroke, this admiration fades into pity and a sense of sadness by the time the end credits roll. We are also left by the filmmaker with the mystery of what has befallen Georges, though I think most viewers will be able to agree on an answer to that. The very last shot of Eva sitting alone in their apartment raises a similar question concerning her future.  Nonetheless time spent with this film is well worthwhile and could add to some good group interchange dealing with the elderly and their care—and, of course, suffering and death.

For Reflection/Discussion

Might be spoilers near the end.

1. How many films can you think of that deal with old people in love? Some films to compare this one with: The Last Station; Iris; Away From Her; On Golden Pond.

2. Other films dealing with elderly that are worth comparing: Trip to Bountiful; The Straight    Story. How do many films deny the elderly their wisdom or dignity (especially comedies)?

3. In what ways does the film show the love between Anne & Georges? Why does Georges refuse to give in to Eva’s suggestion to send Anne back to the hospital—or to a hospice?

4. Why doesn’t Anne want any visitors after their protégé Alexandre visits them? Have you known someone not wanting visitors due to the effects of their illness/disease?

5. Why is Georges so upset with one of the nurses? Have you known of situations in nursing homes where some of the staff treat their charges as objects to be kept from bothering or inconveniencing others? How is the way we talk with and about an incapacitated person very important? How does Georges show that he understands this?

6. In caring for someone, how can the caregiver also become a victim? How do we see this happening to Georges?

7.  Despite her disabilities, what does Anne say when she looks through the family photo album? But what does she quickly add? How has life become too long for her? How does her feeling that she is a burden compare to what many others have felt and said about their condition in relation to their families, especially the immediate caregivers?

8. What significance do you see in the pigeon scenes: in the long sequence of the 6 paintings; in those involving George & the flowers?

9. What did you think of what Georges does near the end? How is this terrible deed further evidence of love? Do you see any sign of hope in the film? What about the scene in which they leave the apartment together?

10. Another film in which the theme of care-giving is important is the 1996 Marvin’s Room in which Meryl Streep and Diane Keaton played Lee and Bessie, two sisters, one whom (Lee) flees home to find her own life, and the other (Bessie), who gives up her own life to care for their ailing father. It has a beautiful statement by Bessie about giving and receiving care.

11. Why do you think the sentiment in Robert Browning’s poem must be balanced by the insights of the author of Ecclesiastes? (Or do you?) How might faith have made a difference in their lives? Many people of faith who are dying look to their death as a “home coming.” How might this have been a comfort to Anne and Georges?

12. What do you think the author Ecclesiastes means by “vain? Scan the book and note how many times he uses this word and the noun form “vanity.” Writing a few centuries before Christ, what does his belief system lack that Christ provided for those believing in him ? (Note that this was a major difference between the conservative Sadducees and the liberal Pharisees, as can be seen in the incident recorded in Matt. 21:23-22:34.)

13.  In what ways does the film, and your experience with the elderly, show that aging is a series of giving up cherished things? Mary Chapin Carpenter’s beautiful song “Grow Old With Me” could be playing as the group gathers. It can be found on YouTube at: http://www.youtube.com/watch?v=9KLPAMo5QTc.

Les Miserables: A Review

Rated PG-13. Our ratings: V -3; L -1; S/N -1. Running time: 2 hour 37 min.

But Esau said, ‘I have enough, my brother; keep what you have for yourself.’ Jacob said, ‘No, please; if I find favour with you, then accept my present from my hand; for truly to see your face is like seeing the face of God—since you have received me with such favour.
Genesis 33:9-10

Beloved, I am writing you no new commandment, but an old commandment that you have had from the beginning; the old commandment is the word that you have heard. Yet I am writing you a new commandment that is true in him and in you, because* the darkness is passing away and the true light is already shining.. Whoever says, ‘I am in the light’, while hating a brother or sister, is still in the darkness.  Whoever loves a brother or sister* lives in the light, and in such a person there is no cause for stumbling.
I John 2:7-10


The film which many of us have been waiting for is finally here! But before dealing with it, let me set the stage by referring to other film versions of what I think is as great a novel as War and Peace. In Western culture the two great stories of law and grace are that of Saul-Paul in the New Testament and Inspector Javert-Jean Valjean in Victor Hugo’s masterful novel, so it is no wonder that so many filmmakers since 1909 have adapted Victor Hugo’s novel, with varying degrees of artistry.
 Although my favorite was the 1935 with Frederick March and Charles Laughton, a close second is that of Jean-Paul Le Chanois in 1958, starring the veteran French actors Jean Gabin and Bernard Blier as Valjean and Javert. At 3 ½ hours it includes far more of the middle section of the novel than most, nor did it condense the pivotal scene of the Bishop and the candlesticks, my main criticism of the new musical version. The 1952 release with Michael Rennie and Robert Newton as Valjean and Javert is watchable, but leaves out entirely the Thenardiers—can you imagine this? In the 1998 remake Liam Neeson and Geoffrey Rush as fugitive and policeman are very good in their roles, but even though the 2 hours and 14 minutes make it longer than the average film, a lover of the novel will long for more.
Tom Hooper’s take on the musical does too, even though it’s a few minutes longer. I think the best preparation, short of working your way through the massive novel, is to see several of the above versions, each of which includes plot details omitted from the others. What this newest release does is to bring music from a background or supporting role right into the heart of the story, thus adding an emotional intensity not possible in the straight dramas. The spiritual agony and questioning of Jean Valjean (Hugh Jackman) is beautifully express in the song “What Have I Done?” The repentant thief’s feelings and thoughts expressed here make up for the too brief a depiction of the Bishop’s white lies to the police and his giving the candlesticks to the dumb-struck man. The scene is in a chapel where Valjean addresses his prayer to “Sweet Jesus,” as he reflects upon the past injustice committed against him and the remarkable man who “treated me like no other/He gave me trust/He called me brother.” Changed by a man of grace, Valjean vows to live up to the Bishop’s love and trust in him as he teas up his yellow passport and sets forth to build a new life, one of service to humanity, and thus to God.
Becoming the Mayor of the town he settles in Valjean (Russell Crowe) passes on the love and grace he received from the old Bishop. But his idyll is threatened when Javert, appearing as the new chief of police, begins to suspect that his superior might be the former convict who never showed up at his proscribed destination years ago. The moment of crisis arises when it is reported that Jean Valjean has been caught and is being tried. In the moving song “Who Am I?” Valjean struggles with the question of should he go to the trial in order to “save his hide?” He rationalizes, as most of us would, that he has been doing so much good here, and that his work would be undone if he were to leave. But he now has a conscience formed by Christ through the Bishop: “If I speak, I am condemned./If I stay silent, I am damned!” The scene shifts abruptly while Valjean is still singing. This time in open court he asks and declares, “Who am I? Who am I?/ I am Jean Valjean!”
Much later after he and Cossette (Amanda Seyfried) have fled to Paris and Valjean has accepted the fact that Marius (Eddie Redmayne) is the man for his beloved “daughter,” another of his prayers, using the same music of an earlier prayer, expresses his great love. In “Bring Him Home” he pleads with God for the life of Marius, facing deadly peril on the barricades that the French army is about to attack. That Jean Valjean has been completely transformed through the unconditional love of the Bishop cannot be denied by anyone, except for—
Before moving on to Inspector Javert, at least a brief mention of the Thenardiers should be included. As played by Helena Bonham Carter and Sacha Baron Cohen, they become almost likeable jokers, like a number of characters in Hollywood comedies whom we root for, even though they con their unsuspecting victims. Indeed, Thenardier’s “Master of the House” is a show stopper of a song, so we should not forget that Victor Hugo saw them as despicable leeches out to victimize anyone they come across. Were he writing today, Hugo might portray them as Wall Street financiers or fawning politicians with their hands in every pocket. Loathable, not loveable is the way we should regard them.
Inspector Javert, revealing at one point to Valjean, that he was born in prison but rose above his past to become an uncompromising upholder of the law. As he sings with all of the confidence of the Pharisees (and of Saul of Tarsus), “Mine is the way of the Lord/And those who follow the path of the righteous/Shall have their reward.” But what of those who stray from “the path of the righteous”? “And if they fall/As Lucifer fell/The flame/The sword!” The good Inspector thus sees himself as the one wielding that sword in the pursuit of his quarry. Indeed, in the earlier scene in which Valjean stands by the death bed of Fantine pleading to be allowed to go and rescue her daughter, Javert draws his sword as he walks toward Valjean, the latter defending himself with a staff and a chair before fleeing.
Javert, like other law-obsessed men, is rigid, even brittle. When Jean Valjean allows him to escape instead of executing him as a spy at the barricades, he cannot fathom the man he has labeled as unchangeable. This behavior just does not compute in his inflexible mind. And yet he does have a heart buried beneath the atrophied layers of years of obsession, in a gesture that I do not recall is in the novel, and definitely not in the film versions, the Inspector reveals that there is still a bit of humanity deep within him. After the troops attack and slaughter the men and boys at the barricade, their bodies are laid out in a row. Looking at them as he walks by, Javert stops, takes off his medal, and lays it on the breast of the young boy Gayroche (Daniel Huttlestone) out of respect.
In the sewer, when Valjean refuses his order to stop, keeping on instead carrying the prostrate form of the wounded Marius, Javert sings, “Who is this man?/What sort of devil is he?/To have me caught in a trap/And choose to let me go free?” Ruminating how his enemy could have easily killed him when the rebels had captured him, he decides, “Damned if I'll live in the debt of a thief!” Back and forth he argues within himself, he who had never doubted before, now filled with them so much that the foundations of his world are being undermined. “The world I have known is lost in shadow./Is he from heaven or from hell?” On the road to Damascus the law-obsessed Saul met the Man he was persecuting, and was changed forever. Jean Valjean (who earlier had sung about his “Calvary”) is the “the Christ” for Javert, but the Inspector chooses (or is unable) not to change, “I'll escape now from the world/From the world of Jean Valjean,” ending his life by jumping into the river below him.
There is more, much more that could be said about the spirituality of this version, including the uplifting climax in which we see again the saintly Bishop who made such a difference in not just Jean Valjean’s life, but in those of all with whom he came into contact. It was a neat touch to transer the words of Esau to his brother when the two are reconciled to the lips of Jean Valjean in the finale song which he sings in accompaniment with Fantine and Eponine, “Take my love/For love is everlasting/And remember/The truth that once was spoken:/To love another person is to see the face of God.” The rousing repetition of the chorus “Do You Hear the People Sing” even puts a positive spin on the death of the freedom fighters at the barricade, suggesting that eventually the struggle of people for justice and freedom will eventually triumph. There is no doubt that this belongs at or near the top of this year’s best films!

This review was originally posted on www.visualparables.net in the Jan/Feb issue of Visual Parables. In its journal form it contains over a dozen questions for discussion. The journal is available by subscription, as per instructions on the site.

Coming: My New Book

I can't believe it's been such a long time since my last entry. Aside from my usual writing for Visual Parables, LectionAid, and Lectionary Homiletics, I've been engrossed in finishing the book Blessed Are the Filmmakers, outlined below. It was inspired by reading Daniel Buttry's inspiring collection of 60+ minibiographies of peacemakers, living and dead, BLESSED ARE THE PEACEMAKERS. As I read it early last year I kept thinking of films that would go along with the various people and themes in his book, and the result is my collection of forty film guides listed below, plus a long introduction on films & filmmakers and social justice, and some how-to ideas for setting up and leading a film series. The book will be published by the same folk that did Mr. Buttry's book, ReadtheSpirit.com. They've run a number of my film articles and reviews last year. More on the book will be posted here as the publishing date draws near--sometime in the spring I hope.

Ed McN

Blessed are the Filmmakers

Introduction

The Films

Part 1: Prophets and Visionaries

ENTERTAINING ANGELS: The Dorothy Day Story

Gandhi

Jesus (The Miniseries)    

King   

The Year of Living Dangerously 

Part 2: Litany of Martyrs

Cry Freedom  

The Mission

Of Gods and Men    

Romero         

Sophie Scholl: the Final Days

Part 3: Peace Theory in Practice

Amazing Grace and Chuck     

The Long Walk Home                  

Grand Canyon          

The Official Story              

Part 4: Advocates

Amazing Grace      

Amistad

Erin Brocovich                               

Part 5: Trainers and Teachers

Freedom Song  

Freedom Writers           

Invictus    

The War

Part 6: Organizers

Matewan     

Salt of the Earth             

Norma Rae

  

Part 7: Nonviolent Activists

Beyond Rangoon       

Freedom Riders   

The Power of Forgiveness        

We Shall Not Be Moved

Part 8: Artists

Amandla!   

Pete Seger: The Power of Song 

Talk to Me

Part 9: Films for Understanding

American History X

Land of Plenty

Munich                        

To End All Wars          

Part 10: Films for Children Youth (and Youthful Minds of All Ages)

Babe  

The Buttercream Gang  

How to Train Your Dragon

The Iron Giant              

Other Good Films for Peacemakers

Internet Resources

Bibliography