“Sean Penn’s ‘Green Card’ comment may have ruined the entire Oscars.”
That was the headline from the Huffington Post. I didn’t watch the Oscars, but I’m always curious about pop-culture scandals. What could Sean Penn have said that was so egregious that it threatened to ruin “the entire Oscars?”
Penn delivered the award for Best Picture, which went to Birdman. After Penn opened the card, he took an awkward moment to gather his thoughts about how he would introduce the winner, whose director happened to be his long-time friend Alejandro Iñárritu.
That’s when Penn delivered the scandalous introduction, “And the Oscar goes to … Who gave this son of a bitch his green card? Birdman.”
It's been a fabulous few weeks for movies -- at theaters and at home. There are images in the great Russian director Andrei Tarkovsky's Solaris, recently released on Blu-ray and DVD, that are so beautiful they can evoke an aching longing for transcendent experience. This is entirely the point, for the film is about the search for meaning in a God-breathed universe. A man goes to space to investigate a mystery, discovers himself in the face of his loved ones, and ends in an embrace with the divine -- love itself. It's an astonishing work of art that repays multiple viewings, and serves as nothing less than an icon for worship. This summer's The Tree of Life, the fifth film in 40 years from the Christian humanist artist Terrence Malick, becomes something similar, and in the process makes excellent cinematic use of Brad Pitt and Sean Penn as avatars of contemporary masculinity. It's the most moving film I've seen this year.
When evangelical politicians pronounce on topics like the origins of the universe, the results are almost always awful -- embarrassing, infuriating, unwatchable. When a reclusive, visionary filmmaker like Terrence Malick treats the same subject matter, as he does in his new movie The Tree of Life, one is transported. Which is a useful reminder that the mysteries of creation are best grappled with through art. The book of Genesis, after all, begins not with scientific description or theological argument, but with a poem.