Gareth Higgins (garethhiggins.net) is a writer and broadcaster from Belfast, Northern Ireland, who has worked as an academic and activist. He is the author of Cinematic States: America in 50 Movies and How Movies Helped Save My Soul: Finding Spiritual Fingerprints in Culturally Significant Films. He blogs at www.godisnotelsewhere.wordpress.com and co-presents “The Film Talk” podcast with Jett Loe at www.thefilmtalk.com. He is also a Sojourners contributing editor. Originally from Northern Ireland, he lives in Asheville, North Carolina.
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Mocking Pretentious Power
EXTRAORDINARY British actor Mark Rylance has a noble theatrical reputation but has only recently found prominence in movies, most notably in the wonderful Steven Spielberg Cold War film Bridge of Spies, for which he recently won the best supporting actor Oscar. Speaking of Spielberg, Rylance made a beautiful point: “Unlike some of the leaders we’re being presented with these days, he leads with such love that he’s surrounded by masters in every craft.” This gentle wisdom—that good leaders attract good teams—echoes the message of Bridge of Spies, which illuminates the possibility of talking to each other across boundaries of militancy, misunderstanding, and fear. It is an invitation to loving leadership, criticizing a mutually destructive strategy by practicing something better.
Amid the noise of “some of the leaders we’re being presented with these days,” I’ve been indulging in a little comfort-watching, asking Charlie Chaplin to help me discern a way through. Chaplin’s brave, hilarious, and deeply moving film The Great Dictator does to authoritarianism what C.S. Lewis says the devil cannot tolerate: It mocks evil, revealing its pretensions. Chaplin’s courage has rarely been matched. Today his mantle may be held by Sacha Baron Cohen, whose trilogy of pride-puncturing, diversity-affirming films, Borat, Brüno, and especially The Dictator, is brave enough to challenge prejudice when it’s not safe to do so. These three are in the same tradition as Dr. Strangelove, In the Loop, Four Lions, Dave, and the Marx Brothers’ Duck Soup, which make us laugh at the absurdity of political control, taking away some of its power.
If comic portrayals of bad leadership are comforting, serious cinematic explorations of bad leadership might help us learn how to avoid it. Nixon, Downfall, the Godfather trilogy, Citizen Kane, The Apostle, Beasts of No Nation, The Act of Killing, Leviathan, and There Will Be Blood all present warnings of what happens when leaders are self-interested, unaccountable to an emotionally mature community, and not mentored in tending to their inner lives.
Halfway to Brilliant
WATCHING THE much-awarded film The Revenant is an ordeal, but its director Alejandro G. Iñárritu’s films have such energy and compassion that I hoped the payoff would be worth the stretch. Iñárritu’s early films Amores Perros and 21 Grams rehumanize characters who make bad choices, with an attention to scale that might be described as Napoleonic.
The Revenant is the loosely historical tale of Hugh Glass (Leonardo DiCaprio), an early 19th century fur trapper left by his companions for dead after a bear attack, agonizing his way to track his betrayer (Tom Hardy) through some of the most frozen wilderness in cinema. The commitment of DiCaprio and Hardy has been rightly applauded—this is a cold and exhausting way to make a film. And the craft is monumental—arrows seem to land on the audience, the bear attack is terrifying, the camera hardly ever stops moving. But the exploration of the futility of revenge at the heart of this story is confused.
Faith From Many Angles
AS THE Academy Awards approach, I’d like to mention some films worthy of recognition by the lights of a different set of criteria. As a member of the Arts and Faith Ecumenical Jury, I am delighted to present our list of films from 2015 that “challenge, expand, or explore” faith, including those that illuminate religion and spirituality, pointing to a more humane vision of the world.
The choices are much more diverse than the usual annual polls. Multifaith stories (Irish Catholic, Israeli Jew, Iranian Muslim, just to start), exposés of injustice and calls for restoration, exile, and return, the damage done by immature religion, and the possibility of human spiritual evolution—all are here. And the film we agree was the year’s best does something profoundly important: It tells the story of a weaponized individual who spends her time doing everything she can to avoid killing.
Some in our top 10 I’ve written about here before—our number nine is the fun and wise animated map of the emotions, Inside Out; eight is the immigrant tale Brooklyn; five is Brian Wilson mental illness and creativity biopic Love & Mercy; and four is the powerful investigative journalism drama Spotlight, a challenge to contemporary news media to once again pursue their higher calling to tell the truth for the common good. Here are the rest of our selections:
10. About Elly. Iranian filmmaker Asghar Farhadi made this film in 2009, and it has been acclaimed as heralding “a new genre,” but it was not released in the U.S. until last year. Farhadi’s magnificent, compassionate dramas A Separation and The Past are more recent, but his ability to tell the most humane stories in the most gripping way was forged here.
The Best of 2015
HERE ARE my picks for the best films of 2015. Honorable mentions for Creed’s operatic dignity and subtle advocacy of racial reconciliation; The Forbidden Room’s unabashed creative inspiration; Mad Max: Fury Road for being a pro-feminist action film; Spectre for James Bond going beyond an eye for an eye; Grandma, Lily Tomlin’s crowning achievement as an actor embodying that it’s okay to be different; and Room, part-thriller, part-existential exploration, honest about trauma and the lengths love will go to protect the vulnerable.
10. Shaun the Sheep. A delightfully inclusive, breathtakingly crafted story about humans, animals, and nature as one family. With frenetic comedy and an open heart, it honors the marginalized, critiques superficiality, and even lets the villain live to learn his lesson.
9. Me and Earl and the Dying Girl. An indie comedy-drama that avoids cliché and makes heroes out of nerds.
8. Beasts of No Nation. Evoking Apocalypse Now, a harrowing story of child soldiers, the legacy of colonialism, and how violence is transmitted from one generation to the next.
7. Clouds of Sils Maria. A stark reflection on identity and the conversation each of us has with the voice(s) in our head. Olivier Assayas’ film asks if we are living from the inside out or for external reward.
6. Brooklyn. A poetic and compassionate painting of the paradox of finding home as an immigrant.
MICHAEL FASSBENDER'S uncanny performance as Apple Inc. co-founder and CEO Steve Jobs begs the question of how someone so clueless about human relationships could win the hearts of so many people. Of course, the performance and the Aaron Sorkin script it’s based on are not the same thing as the man himself. Steve Jobs may be unfairly treated by Steve Jobs. The question of its accuracy is not unimportant, and people who knew him deserve a hearing. But the film only sketches a persona rather than providing an encyclopedia of the soul.
Treating Steve Jobs as a film about power and personality evokes the Quaker teacher Parker Palmer’s notion of an “undivided” life. Palmer quotes Rumi’s warning, “If you are here unfaithfully with us, you’re causing terrible damage.” One facet of this unfaithfulness is the difference between living “from the inside out” and living primarily for external reward. Undivided lives are punctuated by initiatory experience, familiar to our ancestors, and now re-emerging in communities such as the ManKind Project and Woman Within. Initiatory experiences take people into the depth of their psyches, supported by wise elders, opening a crack that lets in the light of transformation. Initiated egos thrive in balanced service to the highest self and the common good (so the wise elders tell me).
The Steve Jobs in Steve Jobs has no such initiation—he seems basically the same shallow egotist at the end of the movie as he was at the start. The joy of Steve Jobs is the kinetic dance of image and sound, and actors at the top of their game (Kate Winslet as the definition of long-suffering colleague, Seth Rogen in a rare dramatic role, and Michael Stuhlbarg, all of them representing prickly conscience). The problem of Steve Jobs is that it omits engagement with the personal transformation that many think unfolded for him as his products achieved something like omnipresence. There’s no initiation here, unlike in Bridge of Spies, where Tom Hanks risks his life to negotiate a prisoner swap in a gripping, if light, Cold War thriller. Mark Rylance’s accused Soviet spy emerges more humanized than Jobs’ community-building entrepreneur.
A Step into Beauty
When I first saw the DeLorean rush toward me at the end of Back to the Future, I was 11 years old, and I felt alive in a way that I’m not sure I had experienced before. The endings of the films of Robert Zemeckis would continue to give me that rush of good feeling—Tom Hanks at the crossroads in Cast Away, and on the tree stump waiting for his little son to come home from school in Forrest Gump; Denzel Washington faced with the question “Who are you?” in Flight. Some critics, believing that things need to be difficult in order for them to be good, find it easy to turn down a Zemeckis invitation. I beg to differ—there’s no contradiction in loving the populist sentiment of E.T. the Extra-Terrestrial, the serious melodrama of The Elephant Man, the painful and nonlinear narrative of Exotica, the surreal plunge into the human shadow of Enter the Void, and the high art intellectual sensibilities of Eternity and a Day. And those are just a handful of very different films beginning with the letter “E.” Authenticity is what matters, not how “elite” the work can appear to be.
Zemeckis makes large-scale populist entertainment that makes us laugh and cry, but he deals in authenticity. Along with the fun and the flights (Forrest running across the U.S., Marty McFly and Doc Brown’s race to connect the wires with the clock tower, and two of the most harrowing plane crashes in the movies), emotional beats are earned, characters behave as they might in real life (even if they are in a time-traveling sports car or abandoned on an island), and audiences get the chance to wrestle with the same question faced by Denzel: Who am I?
Form Follows Function
MY FRIEND the architect Colin Wishart says that the purpose of his craft is to help people live better. Just imagine if every public building, city park, urban transportation hub, and home were constructed with the flourishing of humanity—in community or solitude—in mind. We might be inspired to create new, hopeful thoughts, friendships with strangers, or projects that bring transformation into the lives of others.
It is easy to spot architecture divorced from its highest purpose. In a building or other space made to function purely within the bounds of current economic mythology—especially those created to house the so-called “making” of money—the color of hope only rarely reveals itself. Instead we are touched by melancholy, weighed down by drudgery, compelled by the urge to get away. But when we see a space whose stewards seem to have known that human kindness, poetry, and breathing are more important than the “free” market, we realize that it is possible to be always, everywhere, coming home. Think of a concert hall designed for the purest acoustics, a playground where the toys blend in with the trees, a train station where the transition from one place and way of being to another has been honored as a spiritual act.
Feeding the Inner Life
THE TEACHER Edwin Friedman believed that good leadership creates conditions for people to find tools to become emotionally mature. In other words, no matter what its stated goal (civil rights, community organizing, religious engagement), the most important purpose of leadership is to help us become more fully human.
Of course this is also true for artistic endeavors—stories that create emotional dependency in audience members are not offering good leadership, and they usually make for bad art too. We may like them, as they satisfy the surface-level desire for easily grasped narratives and quick resolution. But that’s the aesthetic equivalent of a cheap burger. Our deeper hunger is for stories that strive to tell the truth about life and its possibilities, that demand self-reflection, and that permit subtexts to breathe so we can fill in the gaps.
I saw three such films recently. Inside Out displays astonishing imagination, bringing us into the human psyche to figure out how we think. There’s genius in a story that gives the five core emotions personalities, wisdom in how it makes honest work of how people confront change, and a delightful bonus in the form of Bing Bong, a character with all the lovableness of Baloo the Bear and a purpose with which Carl Jung would be pleased. Inside Out offers no shortcuts to spiritual well-being. It’s film-as-therapy that’s as entertaining for kids as it is wise for adults (and vice versa).
The purpose of art is to help us live better.
The Ultimate Threat
Too much is going on, and not all of it is good.