Monday, July 31, 2006

July viewings

7-1-06
Lion in the House
7-2-06
Cars
7-2-06
Melinda and Melinda
7-3-06
Mr. & Mrs. Smith
7-4-06
The Devil Wears Prada
7-6-06
Millions
7-8-06
Werckmeister Harmonies
7-12-06
The Adventures of Rocky & Bullwinkle
7-16-06
Mrs. Henderson Presents
7-18-06
Brothers of the Head
7-19-06
The General
7-21-06
Kingdom of Heaven
7-22-06
The Sea
7-26-06
Pirates of the Caribbean:Dead man's chest
7-29-06
Darwin's Nightmare
7-29-06
Fighting Tommy Riley
7-30-06
Sky Captain and the World of Tomorrow
7-31-06
Code 46

Friday, July 28, 2006

Brothers of the Head

Brothers of the Head tells the story of conjoined twins who are turned into rock stars by a music promoter just because of the gimmick they represent. Zak Bedderwick says, “I never exploited anyone who didn’t want to be exploited.� Perhaps. Tom and Barry Howe didn’t ask to be exploited, but the surely didn’t resist, nor did they resist the impulse to exploit those around them as they quickly gained fame as punk rockers.

The story is told as a documentary. The fact that this is a fictitious documentary about a rock band may lead some to think of This is Spinal Tap, the comic Rob Reiner mockumentary. But Brothers of the Head is not Spinal Tap. It is a dark and disturbing film that shows us a bit of the darkness that is a part of all of us.

Tom and Barry were raised on an isolated island by their father. When they were 18, Zak showed up and bought them from their father to make them the front of a rock band – The Bang Bang. Tom is taught to play a few chords on guitar; Barry became the singer. We see all this through old footage shot by a young filmmaker who lived with the twins and the others collected to make this band. We hear from all of those involved, except Tom and Barry. We learn about them only through the eyes of the others. While Tom and Barry are the center of the story, they do not take part in the telling of the story.

Conjoined twins are perhaps the closest two people can be – identical twins with the additional bond of being physically connected to each other. Although they are in some ways a unit, they are also two distinct people. We see both the connection and the separateness in Tom and Barry. Tom wants to please people and learn to be a good musician. Barry is more rebellious. At one point we hear the two brothers fight violently (how could two people always together not have fights). We also see them washing each other in the bath and sleeping together. They have an intimacy that is beyond what others can imagine, but intimacy is a two-edged sword.

There is a certain Edenic nature to the story. These two had a certain amount of innocence because they have been kept from the prying eyes of the world as they grew up. Suddenly, they are whisked away from that isolation and suddenly live under the constant eye of the camera. Everyone involved brings their own bit of temptation. It isn’t so much that there is a snake in the garden; it’s more like they were placed in a den of snakes. The twins quickly begin to spiral into the kind of lifestyle that has burnt out many whose lives are suddenly filled with sex, drugs, and rock and roll. We can tell that tragedy is on its way.

For Tom and Barry, the forming of the band gave them a chance to find themselves and their voice – and it was often an angry voice, which finds a perfect outlet in their punk rock. At the same time that they were finding themselves, they were also in a very real sense losing themselves in the maelstrom of the world of fame.

I’ll admit that I was apprehensive about seeing this film. I was never a fan of punk and the kinds of not-quite-surreal images that I’d heard were in the film don’t always appeal to me. But it is a film that has kept coming to mind in the days following the screening. The images are often haunting. The social dynamics of the band and its entourage strike the right chords of reality. Even the music, written by Clive Langer, is engaging and very much a part of the story.

It kept coming back to me for more than just the images or the music. It came back because the sense of despair that it evokes – the kind of despair that great tragedies awaken. Despair may not be a pleasant emotion, but it is a reality in every life from time to time – and in some lives much of the time. Hamlet and Oedipus surely teach us about the despair of tragedy. Even the author of Ecclesiastes touches on it from time to time. While Brothers of the Head is not in the same league as Hamlet or Ecclesiastes, it effectively takes us down the dark spirals of life and allows us to begin to plumb the depths of lives that become empty even when they seem to overflow.


Tuesday, July 25, 2006

Manson's Memo - degrees of separation

Last week we received an e-mail from the Regional Office asking for prayer for one of the members of the Youth Leadership team. She and her father were on vacation in Lebanon when the fighting started and they were waiting to be evacuated.

I was reminded of the idea of six degrees of separation that is said to exist between any two people in the world. That concept says that any two people can be connected by no more than six links – or we know somebody who knows somebody who knows somebody knows somebody who knows somebody who knows whoever that target person is. In some ways this makes the world seem much smaller, if it only takes 6 links to reach any of the five billion people (or is it six now?) in the world.

But more and more, I find that it rarely takes six links to connect us to those in need.

I brought the e-mail to the office to share with Trevor Johnson, since he might know her through regional youth events, and he does. So since we know Trevor and he knows someone in the mess in Lebanon, there are only two degrees of separation between us and that trouble spot. It is not a world away; we know somebody who knows somebody. (Except Trevor, he just knows somebody.)

How many connections do we need to find someone who needs our help? We are connected to many through the work of the church at congregational, regional and general levels, but there are many needs around us everyday. We don’t need to overcome six degrees of separation to connect to someone in need. We just need to overcome the first degree – the walls we build around ourselves.


שלןמ

(shalom)

Monday, July 10, 2006

TV review: Big Love

They are one big happy family – Bill Hendrickson, his three wives (Barb, Nicki and Margene) and their seven (so far) children. They live in three houses on a pleasant suburban street. They pray together and look for life as family in this world and the next.

HBO’s series Big Love focuses on this polygamist family. They come from a Mormon fundamentalist background, but it needs to be noted that they are in no way mainstream Mormons. The Mormons banned polygamy more than a century ago. Still, though, there continue to be those who believe that the principle of plural marriage is a valid and proper form of marriage.

There are estimates of 20,000 to 40,000 people practicing polygamy in the U.S. -- many of them hidden away in polygamist communes where abuse is rampant especially aimed at young girls and women.

The Hendricksons are not a part of such a community, but they do have ties. Bill was thrown out of such a community as a teenager and his parents and brother still live there. Nicki, his second wife, is the daughter of the “Prophet� who leads the commune. Those ties create a great deal of the turmoil that plays out in the life of the Hendrickson family.

Big Love puts a lovable face on plural marriage. In many ways this looks like a typical suburban family. We sense a real bond between Bill and all of the sister-wives. They each have their flaws, but they also balance each other in other ways.

That is not to say that all is rosy in this family. All families have their problems, but they are multiplied when you have this many relationships. There are jealousies and secrets and insecurities that have the potential to do serious harm. There are also storylines about the older children, who remember when Bill and Barb were a monogamist family. These children are getting old enough to consider if they want to follow life according to the Principle.

There are two interrelated plotlines in the show – one dealing with the family dynamics, the other dealing with Bill’s business relationship with Roman Grant, the Prophet of the Juniper Creek polygamist compound and father of Bill’s second wife, Nicki. Roman helped finance Bill’s store when he was getting started. Now Bill wants to severe that relationship. There is bad blood between Bill’s extended family and Roman, who may have usurped his current standing from Bill’s grandfather. We’re never sure if the marriage to Nicki is one of love, or a part of the business deal between these two. Week after week, the battle between Bill and Roman escalates.

Even though the Hendricksons are a lovable polygamist family, the show does not ignore the darker side of polygamy. Because they are still in contact with the compound, we learn how things work there. Roman and his son can evict people from their homes on a whim or as discipline for going against them. Wives can be discarded by husbands or reassigned by Roman. We also see Roman’s newest bride-in-waiting, Rhonda, only fourteen, but soon to be married to the most powerful man in her world. She is spoiled, but also very naïve. All she really knows are the lies that are told in the compound. She has no idea of what the outside world has to offer her.

Big Love is perhaps the most overtly religious show on television. We often see and hear the family praying, not just over meals, but over the big issues in their lives. Although they don’t take part in the Mormon church (since their marriage is forbidden there), they still hold to the basic Mormon tenets. Bill and Barb’s son Ben is going through religious training, and struggling to lead a good life according to Mormon beliefs.

Through the first season of the series, we get a few bits and pieces of the back story. We learn that Bill was expelled from the compound when a teenager and has built is life from having nothing. We hear just a bit about his grandfather, a former Prophet. Bill and Barb were married about ten years before they chose to expand to a plural marriage, and we are never sure Barb really wanted to, or why, knowing the problems, Bill wanted to do this. Is Nicki just a business deal? Does Margene really fit in this family, when she is only a few years older than the oldest children?

Through nearly the whole season, we know what most of the world around the Hendricksons do not know. They have been hiding their plural marriage. This adds to the stress of the marriage. Only Barb is known publicly as Bill’s wife. The others are always in the background. In one of the best episodes of season one, “A Barbeque for Betty� (written in part by Jill and Karen Sprecher who wrote 13 Conversations about One Thing) the central theme is about lies – lies that the wives have kept from Bill, lies that another polygamist’s newest wife has told.

Toward the end of that episode, Bill’s daughter Sarah tells him that she, too, has lied. She hasn’t told him about a father-daughter pancake breakfast because she hates seeing him have to lie about his family. Everything about their life is built on a series of lies. They are a family, but they cannot be seen as a family.

When I started watching the series, it was a week to week experiment. I really wasn’t sure it would draw me in. Each week could have been the last time I watched. But something about it kept me watching the next episode. It certainly isn’t the quality of some of HBO’s original programming, such as Six Feet Under, Carnivale or The Sopranos, but there is enough serious consideration given to the issues surrounding family life and the way religion impacts our daily lives to make Big Love worth taking a look at – and then maybe the next episode – and the next.

Friday, July 07, 2006

Only Human

Ever since the days of the Montagues and the Capulets, it seems that people who are suppose to stay apart keep falling in love. For Romeo and Juliet, this ended in tragedy. But such stories can also be treated as comedy, and often are set up through that dreadful experience of meeting the loved one’s parents, as in the films Guess Who’s Coming to Dinner or Meeting the Parents.

Only Human is the latest entry in this field. Leni is bringing her fiancé Rafi home to meet her family. Like all families, it has its eccentricities. (Well, this family may have a few more than most.) Leni’s mother Gloria is a typical Jewish mother. Her younger sister Tania is sex crazed. Tania’s four-year-old daughter walks around with a pillow in her clothes to pretend she’s pregnant. Her brother has suddenly discovered his Jewish roots and is trying to bring the non-observant home in line with Orthodox practices.

Rafi, of course, is under the microscope and is trying to please all his future in-laws. He seems to be doing very well, until it is discovered that Rafi is a Palestinian. As Gloria puts it, “Jews kill Palestinians. Palestinians kill Jews. You’ll kill each other.� It doesn’t matter that they all live in Spain. Jews and Palestinians aren’t supposed to get along nearly as well as Leni and Rafi do.

The husband and wife team of Dominic Harari and Teresa De Pelegrí, who wrote and directed the film, say, “The big issue of our times is how to avoid killing the person we’re supposed to co-exist with.� In Only Human that includes not only these two lovers from different backgrounds, but also all the other relationships in the family. Harari and De Pelegrí go on to say, “Family for us is a form of masochism, simultaneous pain and pleasure, a source of intense happiness that really makes you suffer.�

As serious as all this may sound, this is a lighthearted film that plays with that combination of happiness and suffering. In the midst of the uproar of the discovery that Rafi is Palestinian, he makes a strategic retreat to help in the kitchen. But in the process he drops a container of frozen soup out the window that falls to the sidewalk and strikes someone. What’s worse, it may be Leni’s father. In his effort to make a good impression, has he killed his future father-in-law, proving the charge that Palestinians kill Jews?

As the evening continues on, the various relationships are examined as Rafi’s nationality is discovered by other family members or as they deal with the father’s late arrival home (which Leni and Rafi think is because he is dead.)

Only Human doesn’t concern itself with the politics of the Israel/Palestine conflict or the issue of immigration that is a key issue in both Europe and the US. Rather, it boils the issues down to the personal relations of Rafi and his future family.

The film uses comedy to help us see the way we get along with the people we love is the same way we can learn to get along with people who are different. The bond that holds all the relationships in the film together is love -- that love that the filmmakers have called a form of masochism. Yet with all the tensions of family, that bond of love unites them. Will that bond bring us together with others in our world if we recognize them as our family?

Wednesday, July 05, 2006

A spiritual commentary on The Devil Wears Prada

The idea of selling one’s soul to the devil has been explored often in literature though the various permutations of the Faust legend. Usually, the devil offers something a person thinks is valuable and we see them squander the eternal for that which is only temporary.

How wonderful it would be if it were all that simple.

The Devil Wears Prada is really Faust lite. It deals with this same dynamic, but in a much less philosophical sense. Although the film is by and large a great entertainment, it has this underlying theme upon which it is built.

In my personal theology, there is no personal devil. (And yes, I have read C. S. Lewis, The Screwtape Letters, where such a belief of the devil’s first victory.) We really don’t need a devil to make us do something; we readily do all kinds of evil all of our own volition, as Andy discovers she has been doing in the film.

I call this Faust lite, because Andy is selling her soul bit by bit. Each time she gives in to the forces acting upon her, she gives up a bit of what is of eternal value (friends, her relationship with Nate, her passion for journalism). At no point does anyone ask her to give up her soul, she just fritters it away a little at a time. Rather than giving up her soul all at once, she gives it away on the installment plan. And then she suddenly realizes how empty her life has become.

Whether one believes in a personal devil or not, this is much more what it means to be seduced into sin. It isn’t even greed or pride that goads her on. She is doing what she is expected to do in her job. As she gets better and better at the job, it begins to steal the life she had and thought she wanted. Soon, she’s not sure which life she really wants.

This kind of slow war of spiritual attrition is much more common in our life than the big temptations – and much more difficult to fight. I think Screwtape would approve of how things are going in this film. (Except for the ending, of course.)

Saturday, July 01, 2006

June viewing journal

6-2-06
Road to Guantanamo
6-4-06
The Matador
6-8-06
Kinky Boots
6-9-06
A Prairie Home Companion (favorite of month)
6-11-06
11'09"01
6-14-06
X3 - X-Men the Last Stand
6-14-06
One Man Band
6-18-06
An Inconvenient Truth
6-20-06
Only Human
6-21-06
My Left Foot
6-23-06
La Promesse
6-24-06
Mrs. Palfrey at the Claremont