‘Philomena’

As shown in the January 8, 2013 edition of the 'Monroe County Reporter':

The Christian church has wrestled in its history whether Mary Magdalene was indeed the unnamed repentant sinner who anoints Jesus' feet in the biblical story (Luke 7:36-50).  The church in the Middle Ages believed Mary Magdalene was this redeemed prostitute.  This interpretation influenced the name of Irish asylums for sexually promiscuous women in the 18th, 19th, and 20th centuries, called "Magdalene laundries."  These laundries served as rehabilitation facilities for "fallen women" considered to be a shame to society because of their sexual activity or safeguarded from society because of their looks.  These asylums were facilitated among Roman Catholics and Protestants alike and were operated in Australia, Europe, and North America.

One such Magdalene laundry is the focus of film "Philomena."  In this film based upon a true story, a mother breaks a 50-year silence revealing to her daughter she longs to meet her son Anthony, whom she was forced to give up for adoption by an Irish convent during the 1950's.

Philomena Lee is the mother wonderfully portrayed by Judi Dench ("Chocolat", "Notes on a Scandal").  Dench embodies this woman who has come to terms with the guilt and shame she has endured and concealed throughout her life.  As a pregnant teenager Philomena was sent to a convent laundry to suffer "the penance of pain" for laying with a young man out of wedlock, and could only be with her son for an hour a day.  The young Philomena, played by actress Sophie Kennedy Clark, painfully watches her three-year-old son be taken away by a family who paid 1,000 pounds to the convent (which was a lot of money).

The film's screenplay is adapted by comic Steve Coogan based upon the non-fiction novel "The Lost Child of Philomena Lee" by Martin Sixsmith.  Coogan stars in this film alongside Dench portraying the role of Martin Sixsmith, whose dynamic with Philomena is a beautiful story within the story.  The screenplay involves Sixsmith, a burnt-out Roman Catholic angry at God who seeks to write a human-interest story about Philomena, all the while perplexed and in awe of her faith.

"Philomena" is a delightful and careful rendering of what it means to be merciful.  In perspective with all the guilt, shame and anger among the characters in the film, "Philomena" is a tale of the paradox and power of forgiveness.  Like the lesson from the Parable of the Unforgiving Servant in Matthew 18:21-35, the capacity to forgive is informed by the capacity at which we are forgiven.  It is a grave tragedy when the people of God fail to demonstrate the mercy their Heavenly Father conveys to them, yet this juxtaposes the sovereignty of Christ's saving faith all the more!  The elusive realm of God's reign is constantly shattering our conventions of who embodies His mercy.  The comic approach to this film makes "Philomena" a movie not to rile anger in its audience towards the Church per se, but rather its purpose is to shed light of this mother's struggle for justice and reconciliation shared by many others.  Like Mary Magdelene and Mary the Mother of Jesus, may we stumble upon God's empty deathbed.

‘Nebraska’

As shown in the January 1, 2014 edition of the 'Monroe County Reporter':

Fresh off my family's holiday travel to visit my parents in Ohio, I am reminded how a road trip offers a unique perspective on the world in which we live. Whether it is a survey of the passing landscape, the peculiar people we meet along our path, our co-sojourners or ourselves, a road trip provides temporary space for reflection before our return home.

Like his 2004 film "Sideways", director Alexander Payne utilizes this perspective from the road in his latest film, "Nebraska," which has been open in theaters for limited release since November. The story explores the family dynamic between an aging father and his adult son. The main character is a man named Woody Grant who believes he has won a sweepstakes with a $1 million prize. He is convinced he must collect this prize in person 850 miles away in Lincoln, Nebraska. Unable to drive himself, Woody's middle-aged son decides to drive him.

Woody is portrayed by 77-year-old actor Bruce Dern ("Coming Home", "The 'Burbs"), who won Best Actor for this role at the 2013 Cannes Film Festival. In the film we learn Woody is a Korean War veteran and an alcoholic. Dern embodies Woody's cantankerous spirit in his appearance and demeanor. His unshaven face and untamed hair communicates to those around him he does not care and that he is to be left alone. Yet this stubborn façade is actually an invitation to see a man who struggles to conceal his suffering.

Woody's son David, played by Will Forte, (TV's "Saturday Night Live"), sees this delusional road trip as an opportunity to get to know more about his distant father and also to make sure his father stays out of harm's way. June Squibb, who played Jack Nicholson's wife in Payne's 2002 "About Schmidt", portrays Woody's vulgar and loyal wife Kate. Bob Odenkirk (TV's "Breaking Bad") is David's brother Ross.

The film "Nebraska" is meant to be a portrait of America. Filmed in black and white and teamed again with cinematographer Phedon Popamichael, director Payne said he wanted to create an "iconic, archetypal look." The black and white camerawork conjure the elevated brightness and contrast of the rugged landscape and the characters it embodies. The main character's name, Woody Grant, bears resemblance to Grant Wood, the artist most notable for the painting "American Graffiti."  This leads one to ask, What is Woody painting about America?

Woody and David make a stop along their road trip to Hawthorne, the town where David was born. A good portion of the film's story takes place in this small town and calls special attention to the people they encounter during their homecoming, as if to invite a commentary of America today.

The brilliance of "Nebraska" is that this engaging piece of artwork is so subtle it requires another viewing to satisfy the awe of its mastery. The film invites us along the journey to wonder about the strange yet familiar world in which we live with Woody, about the mysteries of family in adulthood and the hope we wrestle with on our way home. Because this film is not showing in Middle Georgia theaters, this film is worth a road trip to Atlanta to see. Along the way you might ask, What portrait do the people of Monroe County paint for its travelers (and vice versa)?

'Frozen'

As shown in the December 11, 2013 edition of the 'Monroe County Reporter':

This Thanksgiving my family and I boarded our minivan to see Disney's latest animation installment, "Frozen." As is the case every time we go to the movie theater, my wife and I take a seat on opposite ends of our three children to serve as boundary posts. This time all three of our children pleasantly had their eyes glued to the screen for the duration of the 108 minute film. Usually our youngest child, our two-year old son, is quick to let my wife and I know he would rather transform the cinema experience into a game of duck-duck-goose. This was not the case. Every time I looked over he was either fixated in his seat or standing still between the two seats in front of him. Our six-year-old son enjoyed getting a kick out of the witty comedic relief provided by the snowman named Olaf (voice by Josh Gad), the ice trader named Kristoff (Jonathan Groff), and his reindeer named Sven. I delighted in watching our daughter gaze in wonder of the female leading roles portrayed in this film. I was curious if her precious little girl heart was processing the compelling themes presented in the movie, such as the interplay between fear and love.

This is not all I was led to wonder. I was not intending to review this film but the subject material in the 53rd feature length animation film by Disney surprised me. What I saw was an engaging tale about, well, innocence.

The story was loosely adapted from "The Snow Queen", an 1845 Danish fairy tale by Hans Christian Anderson ("The Little Mermaid", "The Emperor's New Clothes"). In the original fairy tale, the story concludes with a verse from Scripture: "Truly, I say to you, unless you turn and become like children, you will never enter the kingdom of heaven" (Matthew 18:3). Although there is significant deviation from the plot and characters of the original, this essence of a child's innocent worldview was preserved in the latest Anderson adaption.

Disney's "Frozen" is a musical about two orphaned sisters in a royal family who are separated from one another at a young age. The first scenes of the story involve little Anna (Kristin Bell) begging her older sister Elsa (Idina Menzel) to build a snowman. Elsa is gifted with ice and snow magic, and accidently freeze-zaps Anna in the head. After a troll heals Anna and erases the memory of her older sister's superpower, the parents warn Elsa to "never feel--and conceal" her dangerous gift. Very soon thereafter, the girls' parents depart on a voyage at sea only never to return, leaving Elsa and Anna separated by the walls in their own castle until the day Elsa is made queen. The song "Do You Want to Build a Snowman?" beautifully portrays the tragedy of this sequence of events, where the two sisters are staged on opposing sides of Elsa's bedroom door, experiencing the heartache and loss of each other's friendship.

Through the use of crafty animation and musical score, the rest of the story unfolds into a daring tale full of adventure and plot twists. Holding my children in the corner of my eye, I couldn't help but wonder about the innocence they possess in a world tormented by fear. In the end, the film led me to meditate on another verse from Scripture: "There is no fear in love, but perfect love casts out fear." (1 John 4:18). Where would we be without True Love? What a great way to spend Thanksgiving!

'12 Years a Slave'

As shown in the November 27, 2013 edition of the 'Monroe County Reporter':

Not to be confused with the actor who starred in "The Great Escape" (1963), Steve McQueen directs "12 Years a Slave" as a provocative invitation to read ourselves into the story.

Writer John Ridley ("Three Kings", "Red Tails") adapts the screenplay based upon the 1853 abolitionist memoir by Solomon Northup.  British actor Chiwetel Ejiofor ("Dirty Pretty Things", "Kinky Boots") portrays Northup, a free black man from upstate New York.  The story follows Northup who is abducted and sold into slavery in Louisiana in 1841.  The film has stirred much controversy among its viewers because of its vivid depiction of both physical and sexual abuse in the slave trade. 

The brilliance and horror of McQueen's directing is that he courageously seeks emotional connection with his audience.  In one climactic scene the camera presents Solomon Northup (whose name is "Platt" in the slave trade) internally processing what has just occurred in the story.   The musical score in this scene is silent except for a chorus of cicadas.  Rarely in film does an actor make direct eye contact with the camera lens.  While gazing off into the distance in contemplation,  Solomon's eyes randomly fall on screen as if looking at the audience.  His eyes stay on the screen for a brief pause until they veer off screen again.  This film technique is reminiscent of Polish director Krzysztof Kieslowski's use in "Dekalog" (1989), where an unnamed character seems to innocently and hauntingly peer into the viewer's "window of the soul."

Under McQueen's direction, "12 Years a Slave" is an example of very smart and careful storytelling.  Portraying a serious story (let alone writing a movie review) about slavery is no easy task.  Watching a serious movie about slavery is no easy task.  It should be no surprise by the film's title that Solomon Northup will be free again.  His story is of a rare slave who received justice while on earth.  Yet Patsey, a slave powerfully portrayed by newcomer actress Lupita Nyong'o, is a reminder that a great many slaves were never as fortunate.  The film follows Northup's journey through the landscapes of swamp lands, cotton fields and sugar plantations of which will resonate with many Georgians.  In the foreground of this scenery, the movie orients the audience into America's dark past, where a whole culture took no issue with enslaving black people as legal property.  It is hardly possible all slave owners were sadistic sociopaths like the character Edwin Epps, chillingly portrayed by Michael Fassbender ("The Counselor", "Shame"), because as the film suggests, slave owners were viewed as generous citizens, such as Northup's first owner, Master Ford, portrayed by Benedict Cumberbatch ("Star Trek Into Darkness", "Sherlock").

As residents of the rural South, where the soil we sow is stained red from the blood of the many who have gone before us, the theme of powerlessness in "12 Years a Slave" invites Middle Georgians to reflect how we shape the rest of the story where we live, pray, eat, play, work, and hope. 

I noticed I was likely one of only three white persons in the movie theater packing into a crowded mid-evening weekend showing in predominantly white north Macon.  If it was not already obvious in the film that humanity is in desperate need of reconciliation, the tragedy observed was that a film like this failed to invite more of a mixed audience.