Showing posts with label film review. Show all posts
Showing posts with label film review. Show all posts

Sunday, July 25, 2010

I now travel INTO THE WILD

"And I trust for him that everything he is doing has to be done. This is our life."


My brother and I watched Into the Wild last night.  It's a movie that makes one long for life, and the courage with which to really live.  Since the movie first came out, I've been a little afraid to see it.  Afraid of the ending I knew was coming; afraid of the sorrow and loss.  But this isn't a movie about death, it's a movie about life.  About truly experiencing the moments we're given.  So that even at the end, when a 23-year-old boy dies alone in a bus in the middle of the Alaskan wilderness, it's hard to experience anything other than joy.  Joy and longing.  And maybe pain for the people he left behind.

When Chris/Alex finds the "magic" bus, near the start of the film, I was overwhelmed by the sense of what G.K. Chesterton calls treasure.  The experience of being a castaway on an island where a shipwreck washes up, and every ordinary, every-day item becomes something precious to be cherished, rather than scorned.  In his book Orthodoxy, Chesterton speaks of loving Robinson Crusoe for this reason, because it reminds him of the true nature of life -- that everything is treasure.  And I long for that right sense of things and their worth -- a worth that only seems graspable when one owns nothing, and therefore has nothing to lose and everything to gain.  The delight that sees the world as precious.

It's a truth I knew well as a child, when torn pieces of cloth, abandoned on the sidewalk, could hold my imagination for hours.

The hardest part of the film for me to reconcile is the story of a sister left behind.  She says, in one of her many moments of narration, that unlike her parents, who have been purposefully cast off, she receives no word because he knows she doesn't need it.  He knows she loves him enough, and is certain enough in his love, to live on in his absence.

Is that the great secret of existence, in this world of separation and loss?  The great test of truth?  That there are relationships that flounder and die with distance, but real love, as Charles Williams might argue, knows no limits of space or time?  Ruth Haley Barton, in her book Sacred Rhythms, says that the life-giving significance of solitude is that it allows us to experience the reality that all things "irreconcilable are somehow reconciled through Christ.  Everything is already one through the person and work of Christ in the timelessness that is God."  Ultimately, God holds the presence of those we love within God's self, and when we are with God, the perfect Wholeness, separation is impossible.  This may seem like spiritualist mumbo-jumbo, but I think the opposite may be true -- that it is simply spiritual truth, that we are often too earthbound, and transient, to experience.  But when we live truly, and cease sheltering ourselves from the present moment and the God who indwells it, I think all physical boundaries must burst.

Saturday, June 12, 2010

The Lovely Bones

"And I began to see things in a way that let me hold the world without me in it."

I'm sitting in the Hong Kong airport, waiting for my flight to Jordan, having just flown from Korea on a very nice Cathay Pacific flight. With an individual screen, and lots of film choices, but only time for one movie, I decided to go with Peter Jackson's The Lovely Bones. And I was favorably impressed.

It seems odd to describe a movie about murder as beautiful, but I'm loath to describe it as anything else. Peter Jackson has created a haunting paradox -- a movie about death (and not the peaceful, innoncent kind) that is nothing less than a celebration of life. There are dark moments in the film, to be sure, but the overarching impression is one of light and love. The picture I'll carry with me is of a laughing family, with deep roots and strong ties, fierce in their love and strong in their courage -- the kind of family I want to have.

In the end, I think Jackson is able to take a horrific sort of death (the kind that has haunted my nightmares since childhood) and show that really, in all the ways that matter, Suzie dies the best sort of death (if any death can be good), because she has never spent a moment surrounded by anything but love. As someone states in a different movie I watched recently, "Our finger prints don't fade within the lives they touch." In other words, the Salmons are no less a family after Suzie's death than they were before it. Her place is permanent, and (to quote e.e. cummings) they carry her heart with them.

On a side note, the storytelling perspective is interesting in that it's narrated by Suzie after her death. One of the reasons I was interested in watching it in the first place was that I'd read a review of the book which described it as a 'post-death coming of age story'. Suzie is in every way the protagonist -- a protagonist who must deal with the ending of her idealic childhood, though the cause, in this case, is not growing up but murder. A protagonist who must learn, as we all must, how to hold on to everything that matters (like family and love) while coming to grips with the inevitable changes in herself and the world around her.

And as a final note, I may have watched the film on a bad quality airplane screen, but even so, some of the scenes are absolutely gorgeous.