Star Wars III: Revenge of the Sith

—Overview
—Photos
—About this Film pdf
—Spiritual Connections

What can make a good person turn to evil? As long expected, that question is at the heart of what is said to be the final installment after 28 years of the Star Wars series. And while Star Wars III: Revenge of the Sith brings a strong conclusion to a spotty prequel trilogy of the Star Wars epic, Anakin Skywalker’s journey to becoming Darth Vader seems somehow unconvincing.

There are compelling reasons for Anakin Skywalker (Hayden Christensen) to make the switch to the dark side of the Force. We have seen the seeds for this possibility sown in Episodes I and II, and this film brings those threads to fruition, providing strong spiritual illustrations of how anger, fear and feelings of being disrespected can cloud one’s judgment. His love for Padme Amidala (Natalie Portman) and his joy at word of her pregnancy leads to Anakin’s premonitions of her death in childbirth. Supreme Chancellor Palpatine (Ian McDiarmid), the evil Sith lord (a surprise to nobody other than the Jedi), skillfully plays on Anakin’s fears, telling the young Jedi that only the Dark Side would give him the power to cheat death for another.

Yet there are times in Revenge of the Sith when one can wonder whether series creator George Lucas has forgotten his own work. In the original trilogy, the “Jedi mind trick� was a way a Jedi knight used the power of suggestion to get weaker minds to do what the Jedi wanted. In Revenge of the Sith, there are times when it seems that Anakin Skywalker falls prey too easily to the power of suggestion of others – executing unarmed prisoners, believing the worst about his friends, placing too much confidence in his own abilities.

And when the point of conversion comes, the switch seems unconvincing, despite the many steps that lead to such a decision. And simply digitally altering a character’s eyes does not make for a convincing transformation.

Still, Revenge of the Sith has its great moments. As always, there are excellent computer-generated special effects, light years ahead of what can now seem dated in the groundbreaking original trilogy. The light-sabre battles reach new levels. Although we see glimpses of Jar Jar Binks, the computer-generated character introduced in Episode I: Attack of the Clones, mercifully he does not speak. Another improvement in story from the first two episodes in the prequel trilogy is that Obi-Wan Kenobe (Ewan McGregor) is not the smug, scolding, insecure Jedi master he seems to be in versions I and II. Obi-Wan’s respect for Anakin has clearly grown, yet not enough to prevent the inevitable.

If there is magic in Episode III it results from scenes that call to mind what people loved about the original trilogy – the birth of Luke and Leia tugs on our heartstrings for characters we miss. We see the fight and spunkiness that first endeared us to R2D2. After Anakin’s descent into darkness and his physical mutilation, perhaps the film’s most dramatic moment is when the infamous mask is placed onto his head, and he takes his first breath. The “rebirth� that marks his transition to Darth Vader is complete when he stumbles off a gurney in a manner that calls to mind the first steps of the Frankenstein monster.

Already knowing that Vader will be redeemed at the conclusion of Episode VI: Return of the Jedi, this film may raise questions for some about whether such forgiveness is possible as they view the atrocities committed after Anakin’s turn to the dark side.

The 2-hour and 26-minute film is rated PG-13 for its extreme violence and implied violence, some of it when Anakin again slaughters innocent children (offscreen). “If you’re not with me, you’re against me,� he tells Obi-Wan in their penultimate battle. “Only a Sith deals in absolutes,� Obi-Wan responds.

While the third act of Revenge of the Sith is enthralling, there are slow points in the second act. The dialogue seems stilted at points (especially in the romantic scenes), leading one to wonder whether Lucas’ greatest foe is the Sith or the stiff. One viewer behind me at a midnight screening was either imitating Darth Vader’s breathing or he had begun to snore.

Ultimately, Revenge of the Sith is like its principal character – dark, flawed, very interesting and perhaps worthy of redemption as time will tell.

—Overview
—Photos
—About this Film pdf
—Spiritual Connections

Born into Brothels

—Overview
—Spiritual Connections

Despite the popular success of a few documentaries in recent years, most documentaries still reach limited audiences. Some filmgoers, it is argued, go to movies to escape the hard realities of life, not wanting to be confronted with discouraging events.

While Born into Brothels gives an unflinching portrayal of what life is like for children of prostitutes in the slums of Calcutta, India, the film’s greatness comes not from its realism, but from the inspiration and hope we gain from following the lives of many of the featured children.

American filmmaker Zana Briski originally went to Calcutta’s Red Light District of Sonagachi with co-director Ross Kauffman to portray life among those who work the brothels. They were quickly captivated, however, by the children of those women.

Twelve-year-old Avijit emerges as a featured subject of the film. His father ignores the boy, preferring to spend all his time and resources smoking hashish. Over the course of filming, his mother is burned to death by her pimp. “There is nothing called hope in my future,� Avijit says. And we believe him.

Briski provided small cameras and instruction to seven girls and three boys as a way for them to tap into their God-given creativity. The cameras serve as the catalyst for a journey of hope, which opens doors previously closed to the children for education, artistic expression and opportunity.

Nowhere is this more evident than with Avijit. Many of the children show innate gifts at photography, and their work is displayed in several exhibitions depicted in the film. But Avijit’s talent could earn him a chance to participate with other youth in an international photo school in Amsterdam. If only Briski can help secure his passport. If only Avijit has the will to follow this dream.

Repeatedly, we are exposed to a grim life on the margins, where the slightest turn of events separates people between survival and hopelessness. Not a single person seems to be looking out for the welfare of the children themselves, and they quickly embrace “Auntie� Zana.

Earlier this year, Born into Brothels won the Academy Award for Best Documentary, outdistancing more commercially successful films such as Super Size Me and Fahrenheit 911 (which was not nominated because of filmmaker Michael Moore’s insistence that it be considered only as an overall Best Picture nominee).

The 88-minute film premiered in December 2004 in New York City and has shown on only about 100 screens nationwide. But HBO/Cinemax will air the film in July. Check www.bornintobrothels.com for telecast dates, a list of theaters showing the film and information about Kids With Cameras, a non-profit organization that teaches photography to children in poverty around the world.

Born into Brothels is not only a film with a mission, but a mission with film. Although its R rating results from some foul language in the documentary’s depiction of life situations, the hope that emerges in the lives of the children shapes its overwhelmingly positive spirit.

Indeed, as Avijit himself looks at a difficult picture depicting a woman in a troubled situation, the 12-year-old’s own words provide a summary for why you should see this film: “Even though there is sadness and sorrow in her face, we must look because there is truth.�

—Overview
—Spiritual Connections

The Apostle --Lessons in church planting from Hollywood

--Overview

It’s a rare thing when a Hollywood film depicts authentic Christian faith, much less an effective illustration of planting churches.

But the 1997 film, The Apostle, succeeds on both fronts. The film stars Robert Duvall as Sonny, a successful Southern Holiness preacher who commits a crime of passion. Choosing to run from the law, Sonny takes on a new identity as the Apostle E.F. and hides out in the small town of Bayou Boutte, La., where he believes God is calling him to plant a church.

In addition to starring in the film, Duvall wrote, directed and produced The Apostle with $5 million of his own money. While some Christians find it difficult to draw spiritual meaning from the film because of Sonny’s sins, The Apostle provides a powerful character who is both flawed and able to be used as a channel of God’s grace. Sonny is much like King David, himself a murder and adulterer, whom the Bible describes as a man after God’s own heart.[1]

When Sonny arrives in Bayou Boutte, he instantly begins walking through the community, praying that God will lead him. He makes simple conversation with an auto mechanic, and in the process finds an occupation (mechanic) and a place to live while supporting his vocation (church planter). The first two people with whom he comes into contact soon become significant members of his emerging congregation.

Next, he seeks out a partner in the ministry in a respected, retired minister. This colleague not only proves to be a source of spiritual support for Sonny, but he also provides contacts with others in the community and a rent-free meetingplace.

There also is an acknowledgement that other churches have legitimate roles, implying that Sonny seeks the unchurched rather than stealing from other flocks. While watching a Catholic priest blessing fishing boats as they leave the harbor, Sonny says, “You do it your way. I do it mine. But we get it done, don't we?�

Sonny begins working multiple jobs to fix up the meetinghouse and buy time on the local radio station for his preaching. Enlisting friends, contacts and neighborhood children in renovating the meetinghouse, Sonny makes the work both fun and instructional for the children. For the first several meetings, he personally drives a resurrected bus to pick up people.

The name of the church, One Way Road to Heaven, provides a clear sense of Sonny’s identity for the congregation and for its Christ-centered focus. Eleven people participate in the first meeting, at which Sonny is already instructing the congregation on Bible reading, tithing and loving one another.

In a few weeks, the church has a choir, whose singing is featured on the radio. We see all of Sonny’s casual contacts participating in the church. The church seeks to meet the physical needs of the community by distributing food baskets to needy families. People are being baptized, and the church is growing. Children have a prominent place, and Sonny is actively serving as a mentor to potential leaders.

Troubles and conflict inevitably arise, even within the church. Sonny deals with it directly and with love. When a man physically threatens the church, Sonny responds in a manner that demonstrates his understanding of God’s power and of the man’s own spiritual need. What happens demonstrates the power of God through the church to transform lives, even led by such a flawed vessel as Sonny.

When The Apostle ends, it’s left unstated whether “the little church in the wildwood� will survive. What is clear is that Sonny has given it his all. The rest is up to God.

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[1] Acts 13:22

--Overview