The Book Thief -- November 2013

WORDS ARE LIFE

Time: the late 1930s. Place: Nazi Germany. Situation: 11-year-old Liesel has just been transported by train to the town of Molching – a fictional name for a real town on the outskirts of Munich. The State has recently taken her away from her mother, reputedly a Communist fleeing for her life, and Liesel has watched her brother die on the train and be buried next to the tracks. The authorities have arranged with salt-of-the-earth citizens Hans and Rosa Hubermann to be the new "parents" of Liesel, in return for a governmental housing stipend. The Hubermanns are disappointed that they are only going to get half of the money, but they have little choice but to take Liesel in. Given her initial reception, it appears initially that Liesel is going to be jumping from the frying pan into the fire, but we soon see that Papa Hans has a big heart and will treat Liesel kindly. Mama Rosa seems like a dragon lady at first, but we eventually learn that her crusty, gruff exterior conceals a much warmer heart. But then there are Liesel's problems: She's numb from all she has witnessed, and she comes with a great deal of mental baggage. Most seriously, she is illiterate. She is frightened and at first refuses even to communicate with her new parents. Things look grim for Liesel, who has nowhere else to turn.

Thus we have the framework for a new movie entitled The Book Thief, based on a novel by Markus Zusak and directed by Brian Percival, best known for his helming of the PBS TV series Downton Abbey. Those familiar with the TV series will recognize the same sort of draw-the-viewers-into-the-story quality present in The Book Thief. The picture stars Geoffrey Rush (of The King's Speech) as Papa Hubermann, Emma Watson (of War Horse) as Mama Hubermann, thirteen-year-old Canadian actress Sophie Nelisse as Liesel, and American actor Ben Schnetzer as Max, the Jewish refugee the Hubermanns take in and hide in their cellar.

Shortly after Liesel's arrival at her new home, Mama Hubermann takes her to school, where she is immediately humiliated. The toe-the-line teacher asks Liesel her name and then insists she go to the blackboard and write it. Liesel is unable to do this because she can neither read nor write. Most of her classmates laugh mercilessly at her and begin calling her "dummkopf" ('dumbhead,' 'dodo,' etc.). She makes one friend, though, a young neighbor named Rudy, who stands up for her. At home Papa shows he is in Liesel's corner by promising to help her learn to read, telling her that he really doesn't read all that well himself and that they will help each other. Liesel is fascinated by words and extremely motivated to learn. Papa shows her a dictionary that he has begun to write on the cellar walls, encouraging Liesel to write down every new word she encounters. This privilege is exactly what Liesel needs, and she starts to make fast progress in conquering the mystery of the written word. She's soon borrowing books illicitly from the wife of the town burgermeister, sometimes without telling her – hence the book and film's title.

One night shortly thereafter the Hubermanns hear an insistent knock on the door. On opening it, they discover a young man who identifies himself as Max. It seems that in the previous war Max's father saved Hans Hubermann's life, and thus Hans vowed he would always be there for his friend's son. Max is running from the authorities, so the Hubermanns must give him refuge in their cellar. It isn't long before Liesel and Max become fast friends. Max makes a big impression on Liesel, telling her that not only must she continue to read but must become a writer herself. "Words are life," he tells Liesel, and those words become Liesel's watchwords. When Max becomes very ill, Liesel helps to keep him alive by reading aloud to him, day after day.

The picture is full of a great many other interesting happenings which I'll leave for you to discover on your own. Be assured, though, that The Book Thief is riveting, touching, and substantive. The performances by the principal actors – indeed, by the entire cast – are compelling. Above all, the movie is about personal sacrifice for the good of others. As the Apostle Paul tells us in Philippians 2:3-4, we are to "Do nothing out of selfish ambition or vain conceit, but in humility consider others better than yourselves. Each of you should look not only to your own interests, but also to the interests of others."

Film Rating: PG-13 – largely for war violence

My rating: 3 ¼ stars
Highly Recommended

Gravity -- October 2013

LOST AND FOUND

Picture yourself in this situation: You're 200 miles above the earth in a space shuttle, accompanied by one other person, and you're involved in the task of servicing the Hubble Telescope via space walk. He's an experienced career astronaut named Matt Kowalski; you're a medical engineer who's new to space and inexperienced. He's an outgoing, jolly sort; you're anxious and somewhat bitter. Your daughter died in a school accident some time back, and you really don't have much of a plan for the rest of your life. But now you realize that you and your cohort are in deep trouble. A few hours ago the Russians tried to shoot down one of their own satellites, but their plan went awry. It caused a chain reaction resulting in great quantities of debris being released into space. The debris hit the shuttle you and your partner were in and disabled it, making it necessary that you and he somehow get to the International Space Station, where you can find solace and safety. The trick is, you have to do it without any kind of spacecraft to take you there.

If this were you, you'd be Dr. Ryan Stone, an unmarried woman in a most precarious situation. You'd be the main character of a new picture entitled Gravity, a film which shows a marvel of cinematic effects along with a compelling plot and spiritual underpinning. The picture was directed, co-written, and co-produced by Alfonso Cuarón. With its stunning special-effects-treatment of navigating in the weightlessness of zero gravity and its gorgeous shots of Earth and other celestial objects, Gravity is a strong contender in the upcoming Academy Awards.

Matt and Ryan decide they must attempt to make the 60-mile trip to the International Space Station using thrust packs while tethered together, and they have only 90 minutes to do it. While they're en route, they talk about Ryan's life, the loss of her daughter, and her lack of plans for or faith in the future. They manage to make it to the ISS but on doing so discover that it has been evacuated. What to do? They hit upon the idea of traveling to the Chinese space station because there are two modules there that they can use to take them back to Earth. They set out to do this, but when they arrive they find that the Chinese station has also been evacuated, and there is only one operable module. Through a series of unforeseen events, Ryan and Matt become separated, and Matt drifts away into space. Ryan is now alone without really knowing what to do. Almost out of air, she resigns herself to a slow death by asphyxiation, but when all looks the blackest, a visitor comes to help her. I won't say any more about the plotline but will leave it to you to discover the outcome on your own.

In her depths of despair before the encounter with the miraculous visitor, Ryan ponders her empty life, which has never been imbued by faith. "Nobody will mourn for me. Nobody will pray for my soul," she muses to herself. "I've never said a prayer in my life. Nobody ever taught me how." But then the mysterious visitor arrives, scolding Ryan and causing her to regain her drive and courage. As the visitor leaves, she says, "Give her [my daughter] a big hug and a big kiss for me … You tell her that I love her so much."

Gravity is an impressive picture indeed. In a basic sense it has a similarity to shipwreck stories such as Robinson Crusoe, Cast Away, Swiss Family Robinson, and the like, but in other senses it is unique. It's about the human will to live and the need to live one's life forcefully, no matter the hand one has been dealt. Sandra Bullock and George Clooney play the roles of Ryan Stone and Matt Kowalski with skill, but to my mind it's the spiritual dimension that really makes the movie. I found myself desiring more, wanting the story to go on after its conclusion, but on reflection have decided it's just fine as it is. The only negatives are some unfortunate language. You won't go wrong in seeing it -- in 3-D if you can.

Film Rating: PG-13

My Rating: 3 ½ stars

Captain Phillips -- November 2013

NOT THE PIRATES OF THE CARIBBEAN

Moe: Hey Joe, guess what? For once I've got a movie to recommend to you – if you haven't already seen it, that is.

Joe: Well, good. What movie is it?

Moe: Captain Phillips – it's the one about that American ship that was commandeered by Somali pirates about four years ago.

Joe: Oh, yeah – no, I haven't seen it, but I've been wanting to. So tell me about it. What did you like about it?

Moe: It's really intense – and exciting. It never slows down so you can catch your breath. Great performances, too.

Joe: So what happens? I know basically what it's about, but give me some details.

Moe: It's based on a true story that happened in April of 2009. Richard Phillips was the captain of a cargo ship called the Maersk Alabama. Their task was to take the cargo from Oman on the Arabian Peninsula to the port of Mombasa in Kenya.

Joe: Did they have any idea they'd be attacked by pirates? Were they prepared?

Moe: Yeah, they were more or less prepared. They had water cannons that were supposed to repel pirates if they attacked, and Captain Phillips was a stickler for preparing the crew. Actually, most of the crew members were reluctant to go through drills, but Phillips insisted. And then it happened. A group of four Somali pirates managed to board the ship and take it over.

Joe: So how in the world did they manage that? This was a gigantic ship, right? How big was the Somali boat?

Moe: It was just a skiff – but the pirates were really determined. The State Department found out later that they were all 17 to 19 years old, so I guess it had to do with the impetuosity of youth. They probably thought they were invincible. And the Maersk Alabama was so big it couldn't maneuver quickly. The water cannons weren't really effective either.

Joe: What happened once the pirates commandeered the ship?

Moe: Well, I'm not going to tell you everything; if I do it'll spoil your viewing. The pirates do succeed in capturing the captain. It appears they don't want to kill anyone; one of the Somalis says, "This is just business." They demand an astronomical amount of money. 
Eventually the U. S. military enters the fight.

Joe: You said the performances are good?

Moe: They sure are. Tom Hanks does his usual solid job of acting. And the guys who play the Somali pirates are really strong. The one who plays the lead is a Somali actor named Barkhad Abdi. He's pretty amazing. At the end of the movie the credits say that the Somali communities of Ohio, Minnesota, and London were part of the filming.

Joe: Any reservations about the movie?

Moe: Well, it's pretty violent in places, and there's some offensive language. Some of it is painful to watch. The other thing, though, is that I'd like to have seen more of a historical context. There are some scenes of pirates planning the raid in Somalia, but I wish there'd been at least a little more about Somalia and why the pirates were so desperate and how piracy got started there. Even so, it's really worth seeing. Hanks plays Captain Phillips as a committed family man, and he comes off as a real hero.

Joe: Well, Moe, can I take the kids?

Moe: It's rated PG-13, so I guess it'd be OK to take your teenagers. I don't think I'd take anybody younger.

Joe: What kind of rating would you give it?

Moe: Let me think – I guess I'd give it 3 ¼ stars.

Joe: OK, you've convinced me. Thanks, buddy.

Twelve Years a Slave -- October 2013

CRUELTY ALMOST BEYOND BELIEF

Most of us have the general idea that the Civil War was a horrific experience and that slavery was an evil institution. We tend to think, however, that slavery was the plight only of the blacks who lived in the Confederacy. Few of us know that there were free blacks living in the North who were kidnapped and sold into slavery in the South. I certainly didn't. That's why the new movie Twelve Years a Slave made such an impression on me when I saw it and why it is currently making a major impact in the U. S. and around the world. It's one of the most intense films I've ever seen.

Here's the gist of Twelve Years a Slave, based on Solomon Northup's 1853 autobiography of the same name. The story opens in the year 1841 in Saratoga, New York, where free man Solomon lives with his wife and two children. He is a violin player and part-time carpenter who has a satisfying life in a town where he is respected. Solomon is about to leave Saratoga for a two-week job and says good-bye to his wife and family. However, he inadvertently meets two men from Washington D. C. who work with a circus in the nation's capital and offer him a two-week violin-playing gig. The three men have dinner together, during which the two nefarious men get the unsuspecting Solomon drunk and drug him in the process. When he wakes up, he is in shackles in a prison and is almost immediately subjected to a beating. Shortly thereafter he is put on a paddleboat and taken into the Confederate states. Solomon resists at first, proclaiming that he is a free man, whereupon he is subjected to more beatings. He meets a young black mother named Eliza, and the two are sold to a plantation owner named William Ford. Unfortunately for Eliza, Ford refuses to buy her children. Eliza is of course extremely distraught but is cruelly told by Ford's wife that she will soon forget all about them. For his part, Solomon quickly learns that if he wants to survive he must not admit that he is educated and was previously a free man.

Slaveowner Ford is a somewhat kind person in certain ways. He speaks nicely to Solomon and even gives him a violin. But Ford is morally weak. Solomon is cruelly mistreated by Ford's overseer, who attempts to hang him when he resists. Ford discovers the attempted hanging but is unwilling to confront his overseer directly. He cuts Solomon down, takes him into his own house, and then decides to ship Solomon off to another slaveowner, one Edwin Epps, who is about as cruel as they come. Unfortunately, Solomon must go to Epps because he is the only one who will take on Ford's debt. Once he is the property of Epps, abuse begins in earnest. Solomon is beaten repeatedly, but his suffering pales in comparison to the treatment inflicted by Epps on Patsey, a young, black woman whom he apparently fancies more than he does his own wife. These scenes of violence are painful to watch, to say the very least. Interestingly, both Ford and Epps regularly preach to their slaves on Sundays, saying all the right things. It seems, though, that they are Christians in name only. One doubts that they have a personal relationship with the Lord.

The years pass, but Solomon never gives up his determination to return to his wife and family. Toward the end of his slave experience, he meets Mr. Bass, a freelance Canadian carpenter hired by Epps to do work on the plantation. Bass is outspokenly against slavery and is not afraid to voice his opinions. He tells Epps that slavery is evil, that all men are equal in God's eyes, and that there will come a time of reckoning. In a private conversation Solomon prevails upon Bass to contact his family and friends in New York, which Bass does at considerable danger to himself. The triumphant scene where Solomon's friends come to the plantation to rescue him is immensely satisfying.

The picture is well acted, with British actor Chiwetel Ejiofor shining in the role of Solomon Northup. (Those who saw the Angelina Jolie film Salt may recognize Ejiofor as the good CIA agent in that picture.) Benedict Cumberbatch as Ford, Brad Pitt as Bass, and especially Michael Fassbender in the role of Edwin Epps do impressive jobs of interpreting their characters, as do most of the other members of the supporting cast.

I have only a couple of quibbles. One concerns the passage of time: We're dealing with a 12-year span here, but it seems as though there should be some periodic markers to indicate how much time has really passed – e.g., even such simple devices as superimposing years on the screen. My other quibble is in regard to the character of Bass. By the time he appears on the scene, we viewers have been through a great deal. We know from the film's title that Solomon will escape somehow and that there must be a breakthrough soon. However, Bass's appearance seems almost too miraculous. It needs at least a bit of additional explanation. Nonetheless, the picture rises to the moral and substantive level of films such as Saving Private Ryan, Schindler's List, and The Passion of the Christ. Twelve Years a Slave is an important film that is often difficult to watch, especially for those of us whose images of the Civil War and the institution of slavery are drawn largely from Gone with the Wind. We need a realistic look, and Twelve Years a Slave gives us that.

Film Rating: R – largely for violence. Not for children or younger teens.

My rating: 3 ½ stars.

42 -- April 2013

GREAT COURAGE AND DRIVE

Here's your trivia question for today: Why, on or about April 15 of each year, do major league baseball players all wear jerseys with the number 42?

Answer: Jackie Robinson's number was 42, and he made his major league debut on April 15, 1947.

If you've heard ads about the movie 42 but weren't sure what the title referred to, now you know. Many of us have at least a general idea about Jackie Robinson being the first black player in the Major Leagues, but not that many of us know how incredibly brave Robinson was to go through this experience – and how his efforts, in their own way, changed things in America.

The year is 1945. World War II is over, and freedom has been won for people all around the world. For some In the U. S., however, freedom is still elusive, for racism is alive and well. Blacks, in particular, face intense prejudice and discrimination, having to use separate toilets, eat in specified restaurants, stay only in certain hotels, and endure abuse – and not just in the South. Enter Branch Rickey, the owner of the Brooklyn Dodgers. Rickey tells his assistants he has a plan: He's going to bring the first black player into major league baseball by putting him on his own team. Rickey says, "I don't know who he is or where he is, but he's coming." His assistants are skeptical, but Rickey is undaunted.

By 1946 Rickey has found his man: Jack Robinson of the Kansas City Monarchs in the Negro Leagues. Rickey tells his assistants what he's going to do: put Jackie Robinson on the roster of the Montreal Royals, one of the high-level farm teams of the Dodgers. His men are still skeptical and try to dissuade Rickey from taking this action by outlining the opposition and criticism, even hatred, that he will face from much of the rest of baseball. Steadfast, Rickey says, "Jackie Robinson is a Methodist. I'm a Methodist. God is a Methodist. It's the right thing to do."

Jackie is such a success in Montreal that Branch Rickey decides 1947 is the year when he will be brought up to Brooklyn – but when Robinson does join the team, things start to get really difficult. Rickey tells Robinson he's got to have the courage not to retaliate when he suffers abuse, for if he retaliates, he will be sinking to their level. Robinson says, "You want a player who doesn't have the guts to fight back?" Rickey responds, "I want a player who's got the guts not to fight back. Remember our Savior and what He said about turning the other cheek." Robinson answers, "You give me a uniform, you give me a number on my back, and I'll give you the guts."

Guts are indeed what it takes. Many of the players on the Dodgers don't want to play with Robinson on the team. Rickey threatens to trade them – and does trade some of them. Jackie endures all kinds of abuse, ranging from extremely mean verbal attacks to death threats to physical abuse when opposing pitchers throw at his head. One racist opponent says, "A Negro player on the team? This isn't the America I know." A key moment occurs when the Dodgers play their first game with the Cincinnati Reds. Cincinnati is just across the river from Kentucky, where Dodger shortstop Peewee Reese is from. Peewee will have a lot of family from his home in border state Kentucky at the game in Cincinnati. At first he is reluctant, even afraid, to play because of what his family might think – but in a conversation with Jackie he regains his composure, walks over to Robinson on the field, and puts his arm around him -- a highly significant gesture coming from a player so revered in baseball – and it might be considered a breakthrough for the beginning of Jackie's acceptance.

Those of us who are baseball fans know the outcome of Jackie's struggle: He makes it in Brooklyn and sets in motion a process that changes baseball forever. The tension of the picture, however, is such that we're worried that Jackie won't make it. That sort of tension is one of the marks of a well-made film. The only negatives are a few unfortunate instances of taking the Lord's name in vain, along with one s-word and some other crudities.

Bottom Line: 42 is very much worth your time, money, and effort. It's exciting, it's touching, it's reverent, and it's inspirational. Relative newcomer Chadwick Boseman does an impressive job in the role of Jackie Robinson, as do Nicole Beharie and Andre Holland in their roles, respectively, as Jackie's wife Rachel and Wendell Smith, a black sportswriter who also has something to show the world. But the picture really belongs to Harrison Ford in the role of Branch Rickey – perhaps Ford's best performance in a movie, and that's saying something.

Film Rating: PG-13

My Rating: 3 ¼ stars

Beasts of the Southern Wild -- June 2012

A LOUISIANA STORY

When this year's Academy Award nominations came out, I was surprised to see Beasts of the Southern Wild on the list of Best Picture nominees and the name of Quvenzhané Wallis on the Best Actress list. The film was released in June of 2012, but I'd never even heard of it. It wasn't playing anymore in theaters, so I bought the DVD and have watched it twice. Since it's been talked about a good deal recently because of the Academy Awards, I thought it might be appropriate to review it.

Plugged In Online calls the picture "Sci Fi / Fantasy," and that seems an accurate classification. Beasts is a story told from the viewpoint of a six-year-old girl named Hushpuppy, who lives in proximity to Wink, her father. Hushpuppy and Wink are residents of the Bathtub, a watery area in southern Louisiana separated from the rest of the state by a levee. Hushpuppy lives in her own house -- an old trailer on stilts near where Wink lives in his own shack. Hushpuppy's mother left the family some time ago, though Hushpuppy still "communicates" with her by means of an old sports jersey. Hushpuppy loves her life in the Bathtub, but she's faced with one major problem: Her Daddy Wink is very sick. In fact, he's dying.

In the Bathtub, survival is the name of the game, and a good bit of the time Hushpuppy has to take care of herself. A while back, Wink had left her for several days without saying where he was going or when he would be back. Hushpuppy says to herself, "If he doesn't come back soon, I'll have to start eating my pets." In the end she doesn't have to do that, as Wink does eventually return, but in the meantime she has to feed herself by cooking cat food, among other things. When Wink does reappear, he and Hushpuppy get into a tremendous argument. Wink slaps Hushpuppy in the face, and she responds by hitting him back and managing to knock him over because of his weakened condition. "When you die, I'm going to sit on your grave and eat birthday cake," she says to him angrily. Shortly thereafter Hushpuppy burns down her own trailer. She is wont to say, "The universe depends on everything fitting together just right." Hushpuppy becomes worried that she has done something wrong and has thrown the universe off kilter.

Not long after this the area is hit by a major storm, a hurricane reminiscent of Katrina. The residents of the Bathtub band together and help each other as much as they can. After the storm subsides, they learn that the fresh water in the bayous has been contaminated by salty sea water which is killing fish and plants. Wink comes up with the idea of dynamiting a hole in the levee and letting the excess salt water flow out of the Bathtub. They do this, but of course the governmental authorities take a dim view of their action, come and arrest them, and take them to a refugee center. The local residents soon manage to "bust out" and return to their homes in the Bathtub.

On the Plus Side

At the very least, the film is interesting and scenically beautiful. The compassion and camaraderie shared by the residents of the Bathtub, both black and white, are admirable. In many ways, the relationship between Hushpuppy and Wink is also admirable; despite their quarrels, they love each other deeply. Particularly interesting are the aurochs, the "beasts" of the title -- gigantic creatures that are migrating to the Bathtub because of the melting of the ice in polar regions. As for the acting, it is excellent. Quvenzhané Wallis (Her name is pronounced "kwa-ven-zhuh-nay), now nine, was six at the time of filming and is superb in the role of Hushpuppy. Dwight Henry, who plays Wink, had never acted before this film; he owned a bakery and deli across from the film company's office, read for the part, and got it. His performance is totally believable. The film was made for $1.8 million, a pittance today in comparison to a movie such as Life of Pi, which cost over $100 million to make. Good things can come out of small budgets.

On the Minus Side

The people of the Bathtub suffer many travails and are survivors, but they endure through their own efforts, without the help of any higher power. Hushpuppy speaks of the universe fitting together just right, but I heard no mention of who made that universe or why. In fact, God's name is used only as an epithet in combination with the word "d--n." There are a few other uses of unfortunate language as well.

Bottom Line: Beasts of the Southern Wild seems to me to have no clear underlying theme, but I'll leave it to you to judge that for yourself. The picture has received many positive reviews and has won a number of awards. But it also has its share of critics.

Film Rating: PG-13

My Rating: 3 stars

Hotel Rwanda -- March 2005

GETTING US OFF OUR DUFFS

In his book Waking the Dead, Christian author John Eldredge says this in an effort to get us off our collective duffs:

“Wake up, O sleeper … Be very careful, then, how you live … because the days are evil” (Ephesians 5:14-16). ‘Christianity isn’t a religion about going to Sunday school, potluck suppers, being nice, holding car washes, sending our secondhand clothes off to Mexico—as good as those things might be. This is a world at war. Something large and immensely dangerous is unfolding all around us, we are caught up in it, and above all we doubt we have been given a key role to play.’

We see just this theme played out in the movie Hotel Rwanda, unfortunately not one of the Best-Picture nominees for the year 2004. It should be, though.

Hotel Rwanda is about the genocide that took place in the small African country of Rwanda in 1994, when almost a million people were killed. The minority Tutsis had been prominent during Belgium’s colonial rule, but the majority Hutus gained power when independence came. As the film opens, the Hutus are trying to massacre as many of the Tutsis as possible. Main character Paul Rusesabagina is the manager of a five-star European hotel in the capital city, Kigali. The excruciating challenge for Paul is that his wife Tatiana, whom he loves deeply, is Tutsi, while Paul himself is Hutu. When the ethnic cleansing begins, Paul is willing to save only his family and friends, many of whom are Tutsi, but he soon undergoes a change of heart. The European staff of the hotel all depart, leaving Paul in charge, and he realizes what he has to do: make the hotel a refuge for the Tutsis, orphans, and nuns who are being persecuted: He is aided only by a few members of a UN peacekeeping force and must rely on his own resources. Paul is a good example of the kind of person who can literally save his portion of the world.

In the movie's most telling scene, Paul is having a heated conversation with a western cameraman who is filming the events. Paul says to the cameraman, "When the world sees what's happening, how can they not intervene?" The cameraman responds, "Oh, they'll look at the pictures and say, 'Isn't that horrible,' and then go back to their dinners." This is exactly the kind of comfort-induced sleep that John Eldredge is trying to wake us from.

American actor Don Cheadle plays Paul in one of the most convincing performances I’ve seen in a long time. British actress Sophie Okonedo does an equally fine job of portraying his wife. They certainly deserve the acting awards they’ve been nominated for, but they probably won’t win them. 

Film Rating: PG-13

My Rating: 3 1/2  stars

Highly Recommended