Calling Batman

NOTE: This post is not meant to be political or partisan. It’s intended to be patriotic and prophetic.

I try with varying degrees of failure to limit my intake of news. I subscribe to the New Yorker and to Time magazine (old habits die hard, I grew up with Time). I subscribe to the New York Times and the Washington Post on line. I try to listen impartially and open-mindedly, but not always successfully, to William Kristol and Rich Lowry of National Review. I watch Rachel Maddow and, from time to time, Lawrence O’Donnell on MSNBC, and on Sunday mornings I watch Face the Nation on CBS and Meet the Press on NBC, and on occasion, George Stephanopoulos on This Week on ABC.

I think of my spiritual hero, Thomas Merton, and what he would have made of 24/7 news coverage—biased news coverage.

As a citizen, I think it’s my duty to be informed. As a human being I sometimes feel like a goose being force-fed by tubes in order to produce pate. At some point the news makes me nauseous. I know I’m not alone in this. Yet, as an, I hope responsible, citizen I can’t ignore the news entirely.

I didn’t post a blog last week because I overdosed on news and it left me with a rotten hangover.

I wonder if there is any correlation between the onslaught of 24 hour cable news and the opioid crisis. Do the farmers raising the geese ease their agony with painkillers?

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Homesick for Oakbrook

In the past six weeks I’ve seen two exceptional low-budget, independent films. Unless you live in New York, Los Angeles, Boston, Chicago or San Francisco, it’s unlikely that either will be showing at your local Cineplex. I’m sure they will be available soon enough on Netflix, Amazon Prime or On Demand. This is an okay way to see these films, but it’s not optimum. Both deserve to be seen with an audience, in the intimacy of a theatre, cell-phones and other electronic devices turned off and put away for the duration of the screening.

Each film stars an actor that I represented when I was a talent manager during the nineteen eighties. I have great affection for these two artists. I worked with them both when they were in their early thirties and their careers were just beginning to take off.  Now, three decades later they are in their early sixties and are currently doing their best work in years—maybe career best.

As I watched these movies, I was filled with a longing that I haven’t felt as strongly in some time. I didn’t long to be back into show business; I longed to be back in Oakbrook, IL at a CMED reunion so I could introduce these two marvelous films to my friends, colleagues and students, my CMED family.

If anyone has any ideas for another platform for doing film weekends, I am wide-open to suggestions.

I was at the Academy Awards when my former client, Willem Dafoe was nominated for a Best Supporting Actor in 1987 for his performance as Sergeant Elias in Platoon. The film won the Academy Award for Best Picture and Willem’s performance is the soul of the movie. I feel comfortable saying this because I read several drafts of Oliver Stone’s screenplay and found it disturbing and largely lacking in humanity—that’s before I saw what Willem did with his role. There are not many (if any other) actors who can convincingly play Jesus in The Last Temptation of Christ and Green Goblin in the Spiderman franchise.  This season Willem is featured in The Florida Project, far and away the best film I’ve seen this year. If any of you are struggling to get a clear handle on the archetype of the Guardian Angel on assignment (fulfilling his Sacred Contract) watch Willem’s performance. I expect him to get an Oscar nod again for this performance. I’m happy as a clam, however, to watch the ceremony at home and fast-forward through the commercials.

I returned to the Academy Award Ceremonies two years later in 1989 and was there to share in the celebration another former client, Geena Davis, received the Best Supporting Actress Oscar for her performance as Muriel Pritchett in The Accidental Tourist. In that film Geena embraced the Wounded Healer archetype expertly stripping away from it any fake sentimentality. If Willem’s performance is the soul of Platoon, Geena’s performance is the heart of The Accidental Tourist.

It’s been awhile since I’ve seen Geena in a movie. She’s on television occasionally but apparently devotes most of her energy to the Geena Davis Institute on Gender in Media. Late this summer she returned to the big screen in a film called Marjorie Prime in which she costars with Jon Hamm (Mad Men), Tim Robbins (The Shawshank Redemption). At the center of the film in the title role is veteran theatre actor Lois Smith reprising the role she originated on stage. You may not know her by name; her face is unforgettably beautiful.

Both The Florida Project and Marjorie Prime speak powerfully and prophetically to the bleak, alienated times we are currently experiencing. Both films are filled with compassion for the present malaise and, almost miraculously, hold out some hope.

The central metaphor for The Florida Project (the code name that the Disney company used while purchasing the real estate and designing Disney World) is a brilliant one. The entire film takes place in the seedy motels (the projects) of Kissimmee Florida, an impoverished and largely itinerant community adjacent to Orlando both a stone’s throw and a million miles away from the “happiest place earth.” A substantial number of the inhabitants are children crowded with their parents or grandparents and all of their possessions into motel rooms with a single queen-sized bed. Stacks of clothes are piled in laundry baskets—there’s no place to put them away. The trash bags that line the walls of the rooms are not filled with trash but with the sparse worldly goods of its denizens.  The residents live like refugees, taking with them only what they can carry or pack into a car if they are fortunate enough to have one. All the while America’s culture of consumption is fed back to them 24/7by the always turned-on television sets that cast a cool eerie light over the proceedings.

The central location of the film is the Magic Castle Motel. All of the motels on the strip have names that just barely avoid copyright infringement lawsuits by the Disney organization.

The paradise that is Disneyworld and its contrast with its downtrodden neighbors reminded me of Elysium (2013), a science fiction movie (or allegory) which starred Matt Damon and Jodie Foster. Damon, like the citizens of Kissimmee is trying to crash paradise, while Foster is charged with denying him entrance. Elysium is an imperfect but highly watchable movie. Star power!

Bobby (Willem Dafoe) explaining motel rules to one of its more colorful guests

Bobby (Willem Dafoe) is the patient, kind, pretty much unflappable, manager of The Magic Castle which is an eye-punishing shade of purple. When Bobby is not mediating conflicts between residents or trying, without much success, to enforce the residency rules of the Magic Castle, he spends his time touching up the purple paint of the building.

The dominant colors of the film seem to be drawn from the old eight color Crayola box. The garish orange juice stand (a two-story orange with a face painted on it) perfectly captures the primary color palate of Binney and Smith, the founders of the Crayola company.

Against this backdrop the film focuses on the childhood adventures of a six year-old named Moonee and her two friends Jancey and Scooty.  Moonee lives at the Magic Castle with her single mother Halley, a multi-tattooed feral creature with green streaked hair (again Crayola) who herself seems barely out of her teens.

Moonee and her mother, Halley, in The Florida Project

Scooty, Moonee and Jancey in The Florida Project

The glory of the film is that these children, at least for the present, thrive in this environment. Their adventures and mischief making are endlessly inventive and often hilarious. Bobby seems always to watch over them. In one telling scene, Bobby spots a sexual predator moving in on these children. Bobby gently guides the predator away from the children until the kids are out of earshot and then brings down the wrath of hell on the would be perpetrator. Willem moves with the grace of a dancer; there is also something dangerous and unpredictable about him, and he employs these qualities majestically in this performance. With the exception of Dafoe all of the actors are amateurs. The performances that director Sean Baker elicits from them are astonishing—in particular those of Mooney (Brooklyn Prince) and her mother, Halley (Bria Vinaite).

The film’s unexpected and exhilarating ending left me in awe of the resilience of children. I exited the theatre both shaking and smiling.

Jon Hamm and Lois Smith in Marjorie Prime

If The Florida Project is about the resilience of children, Marjorie Prime is about making peace with the unavoidable limitations of aging. It is a sly masterpiece of film making that explores our experiences of our parents, spouses and children both as they were and as we would like to remember them. It’s an almost contemplative meditation on the loneliness of loss and the longing for do-overs. I can’t describe the plot without spoiling its surprises, so I won’t. Most of the film takes place in one location, much of it shot in close-up. The performances offer a master class in the art of fearless and ego less acting. This film is as muted and subtle as The Florida Project is lurid and in your face and it is every bit as powerful. Make sure that you are wide awake and attentive when you watch this film; the shifts in tone and plot are subtle and seamless thanks to the skills and talents of director Michael Almeyreda.

Turner Classics – May’s Medication

Recently I’ve noticed a series of public services announcements promoting “device free dinners.”

They put me in mind of my double-bill for May’s Pick(s) of the month: “I Remember Mama” and “Meet Me in St. Louis.” The disappearing ritual of family dinner is central to both films.  All movie schedules are for Turner Classic Movies.

I REMEMBER MAMA: MAY 14, 8:00 EDT

MEET ME IN ST. LOUIS: MAY 9, 6:00 PM EDT

Both films take place in the first decade of the 20th Century; before the United States became a player on the world’s stage. Both celebrate family life in an era before Sigmund Freud pathologized parents; before John Bradshaw pathologized childhood (contemporary pediatricians would have a field day diagnosing and prescribing for Tootie, the youngest child in Meet Me in St. Louis); before peculiar relatives were branded as dysfunctional instead of being lovingly accepted as eccentric; and before the phrase “family values” became a politically divisive cri de coeur.

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Turner Classic Movies – My Pharmacy of Choice

After spending the last two weeks writing about Appalachian poverty and the mediocrity of Paul Ryan, I was increasingly irritable and somewhat depressed.

So I’m turning this week to, what for me is, a fool-proof anti-depressant: Turner Classic Movies (link to schedule).  *To the best of my knowledge all of the recommended films are also available on DVD.

As I lost myself in the schedule of up-coming films my irritability and depression evaporated so I plan to use the last blog of each month to preview the best of TCM’s up-coming selections. There is such an abundance of great classic films each month that there isn’t enough room to write about them all—and I’ve seen them all, multiple times—really I have!  Several are easily worth an annual visit. In choosing the films for each month, I’ve chosen to go with the ones that may not be as well known.

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Making the Poor Visible

“Obamacare replacement hits Trump voters hard. Some of the biggest losers in Republican plan are in counties that supported him”

Headline in the Los Angeles Times, Sunday, March 12, 2017.

In the late 1990’s someone published a business motivational book called, “Who Stole My Cheese?” It remained on the NY Times best-seller list for almost five years.

My take away was that the difference between rats and people is this. There are five tunnels; only one of them has cheese. Both rats and people will, soon, after discovering the tunnel with cheese, return to it repeatedly. However, if the cheese is moved from, say tunnel two to tunnel five, the rats will return to tunnel two a few times until they realize there is no longer any cheese down that tunnel. Then, the rats will begin to explore the other four tunnels until they find cheese. Human beings, on the other hand will go down tunnel two until they starve because it is the right tunnel.

I was reminded of this business fable several times as I read the NY Times best-seller, Hillbilly Elegy: A Memoir of a Family and Culture and Crisis by J. D. Vance. The book, which many critics have hailed as a key to understanding the “Trump voter,” follows Vance’s life through a harrowing boyhood and adolescence amongst his hillbilly relatives to his enlistment in the United States Marine Corps to his undergraduate studies at the University of Ohio until, finally, his graduation from the Yale University School of Law. His story is more than a little bit Dickensian.

The book is well-written, reportorial and compelling. It more than likely fulfills the criteria of Joseph Campbell’s “hero’s journey.” I recommend it highly; like James Baldwin’s books it, too, is a guide for pilgrims who are willing to make the journey to an unfamiliar world. I underlined so many passages that it might be easier to pick out the passages that weren’t underlined.

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Best 2016 Movies Part 2: Round-up

Hidden Figures & Fences

hiddenfiguresThe year brought a jackpot of outstanding films about people of color. In addition to Midnight, Loving and Queen of Katwe, there are Hidden Figures and Fences.

Don’t miss Hidden Figures! It is an old-fashioned (in the best sense) movie that will have you on your feet and cheering at the end. Writer/director Theodore Melfi (St. Vincent) uses a tried and true formula, one that the film’s distributor 20th Century Fox has used countless times since the 1930s: take three ambitious and talented women and intercut their stories as they pursue success in a particularly macho man’s world—NASA in the 1960’s. All three women are working mothers, two of them are married; one is a widow. In their fight for opportunities commensurate with their abilities, the three heroines don’t just have to battle sexism, but racism as well. The performances of the three leading women, Taraji P. Henson, Octavia Spencer and singer/musician Janelle Monae (also in Moonlight) are righteous, infectious and altogether jubilant. They are reluctantly supported by gum-chewing NASA program director, Kevin Costner. Kirsten Dunst and Jim Parsons are terrific as the heroines’ condescending antagonists and Mahershala Ali (also in Moonlight) is fine (as in “He’s So Fine”) as the persistent suitor of reluctant widow, Henson.

More about Hidden Figures

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Best Movies of 2016 Part 1

So often the best works of art, the most grace-filled and transcendent, are nearly impossible to describe in such a way that more than handful of people will be drawn to see them. Walter Kerr, the theatre critic for the N. Y. Times, wrote that a “true work of art is suitable for contemplation;” that is, you can see it, read it or listen to it again and again and it remains timeless, always able to hold a mirror your soul.

None of the films on my list are studio blockbusters; none of them are sequels; none of the stars (except, perhaps, Tom Hanks) guarantee ticket sales. All are worthy of repeated viewings; all are suitable for contemplation; none more so Silence.

Silence

silence2016There is a story told about the great Austrian composer, Gustav Mahler. Standing in the back of the concert hall during the premiere of one of his last works, Mahler is purported to have said, “I wish I could be alive in 50 years when the audiences will have learned to hear my music.”

The works of great artists are not simply entertaining; they are challenge the audience to and require its full engagement.

Visual and aural works that we regard today as masterpieces—the Impressionist painters, for example were, as often as not, ridiculed and dismissed by a majority of critics and viewers alike when they were first introduced.

Stephen Sondheim (now regarded, according to NY Times critic emeritus, Frank Rich, “as the greatest and perhaps best-known artist in the American theatre”) received praise for his intricate and witty lyrics during the early years of his career while, at the same time, his music was often dismissed as non-melodic and “un-hummable”.  As with Mahler, it took quite a while for audiences to be able to hear the beauty and variety in his musical scores.

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Nostalgia Really Isn’t What it Used To Be

My cousin, Michael, and I don’t have occasion to interact very often—weddings and funerals, mostly.  I saw him last summer for the first time in several years at a mini family reunion that my sister hosted in honor of my 75th birthday and in honor of Michael’s older brother, Pat, an Oblate missionary priest in Africa, who was home on vacation.

Michael is a really good man. He and sister, Jane, have been, and continue to be, pillars of strength for their immediate and extended families throughout many heartbreaks, losses and tragedies that would have broken people of frailer character.

Michael and I are casual FB friends. His FB posts mostly tend toward nostalgic pictures from websites like the Good Old Days and Do You Remember the 60’s, 70’s and 80’s? My sister Mary posts pictures from these websites, too. They are occasionally funny, but in no way give me any desire to re-live those decades. Or the 50’s either!

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Archetypal America

In honor of the release of  the Archetypal America workshop recordings, I offer this post on one of my favorite films, Stagecoach. The course recordings can be purchased as a digital download here: https://gum.co/archetypalamerica

“The main American theme, I think, is freedom. It’s about individual freedom in opposition to or in tension with collective freedom.”  -Ken Burns, documentary film maker, “The Civil War”

Throughout American history the archetypes which populate our myths and legends and capture our imagination are the Rebel, the Revolutionary, the Liberator, the Scout, the Pioneer, the Cowboy, the Explorer, even the Outlaw: all of them perpetually moving forward in pursuit of their idea of freedom, both on behalf of the common good and at the expense of it. While many of these archetypes appear from the very beginnings of our history, the conflict between the various notions of freedom—personal and collective—solidified in the American psyche in the years leading up to and following the Civil War. They continue to impact us and our ideas of ourselves to this day. Few films capture these American themes and tensions as well as John Ford’s masterpiece, Stagecoach.

stage2

Stagecoach is high on my list of the 10 Best Movies of All Time. I’ve seen it at least 20 times, probably more. Without fail, something about it captures and holds with every viewing, so much so I save it on my DVR, along with Singin’ in the Rain and a few other films, so I can view them again whenever the mood strikes me.

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Life Beyond A Crisis: Uncovering the Secret Next Chapter of our Lives

When: Saturday March 7th, 2015, 9am-3:30pm
Where: The historic campus of All Saints Church
132 N. Euclid Ave
Pasadena, CA 91101
Detail: People of all ages will learn about moving from crisis to re-birth, discovering a secret chapter to our lives, aligning with grace through chaos, navigating the unexpected, love and beauty at any age.
Fee: $58
Registration link

My first workshop of the year is sponsored by Stillpoint Center for Christian Spirituality and will be held at All Saints Church in Pasadena, one of the most beautiful venues in Southern California. I taught a workshop there last year about Pilgrimage using the film, The Way. We subsequently produced a self guided workshop based on that day long pilgrimage.

BEstI’m delighted to have been invited back for another workshop this year and I’ve chosen to focus on The Best Exotic Marigold Hotel.

Part of my inspiration for the course came from something a good friend said to me while we were having lunch about ten years ago. He was a few days shy of his 80th birthday and while we were sipping wine and waiting for our entrees to arrive he leaned in close to me and said, “You know the mid-life crisis? You have another one to look forward to.” I’ve never forgotten his remark and as I approach the half-way mark of my eighth decade, I’ve begun to watch for signs.

“When old words dies on the tongue, new melodies break forth from the heart;
and where old tracks are lost, new country is revealed with its wonders. “
– Rabindranath Tagore

I believe that’s why the film The Best Exotic Marigold Hotel has been so popular with viewers—so unexpectedly popular, in fact, that a sequel is set to be released the first week in March. The film captures its main characters deep in the throes of this crisis. It’s most marked characteristic is the shocking revelation that their identities, the life narratives they’ve carefully crafted for themselves are way past their “sell-by” date and they find themselves confronted by the need to discover new meaning, new purpose for their lives.

I hope you will be able to join me. Please do share this information with your friends in the LA area or those who might want to escape the cold to enjoy some Southern California sunshine next month. There is even a Facebook Event created to make it easier to share with your friends.

When: Saturday March 7th, 2015, 9am-3:30pm
Where: The historic campus of All Saints Church
132 N. Euclid Ave
Pasadena, CA 91101
Detail: People of all ages will learn about moving from crisis to re-birth, discovering a secret chapter to our lives, aligning with grace through chaos, navigating the unexpected and beauty and love at any age.
Fee: $58
Registration link

The Best of Movies 2014 – Part 1

When I began to reflect on the movies I’ve seen over the past year, I was surprised to discover that nearly all of them dealt with themes of Passion, the mystery of Vocation and Calling, Devotion and Duty—subjects that come up nearly every day in the conversations about discernment that I have as a spiritual director with my directees.


SELMA: Black Lives Matter

selmaIf you see only one film this year, make it Selma – a magnificent, conscience-challenging work, a worthy companion to last year’s Oscar winner for Best Picture, 12 Years a Slave. Ignatian prayer and contemplative practice, developed by St. Ignatius of Loyola, instructs meditators to place themselves in the scriptural passage with Jesus, just as if we were actually present at the event. Selma accomplishes just this placing viewers in the events rather than allowing us to be observers. The buffer of history that gave viewers some distance in 12 Years a Slave is not available here. Television coverage from Ferguson, MO and Staten Island, NY, as well as ongoing coverage of efforts to deny voter registration to minorities in many states, make the historic march from Selma to Montgomery seem like it happened yesterday rather than 50 years ago. Anchored by David Oyelowo’s galvanizing portrayal of Reverend Doctor Martin Luther King and directed by Ava DuVernay, it is a searing call to take action and an indictment against the injustices that continue to shame our nation. My African-American friends have repeatedly and patiently reminded me I can’t understand what it is like to live in a Black or Brown skin. Bearing helpless witness and burning with rage as Annie Lee Cooper (Oprah Winfrey in a wonderful cameo) maintains her dignity and resolve despite as she is repeatedly denied the right to register to vote may be as close as I ever come to understanding.

Check this link to read an excellent interview with the actor David Oyelowo about the impact that playing Dr. King on his own faith.

Charlie Rose’s interview with director Ava DuVernay is equally interesting.


IDA: In the Shadow of the Holocaust

IdaThe most profound and haunting film I saw this year was Ida by Polish director, Pawel Pawlikowski. Photographed in black and white, the images are austere and beautiful. The editing is designed to make us linger contemplatively over each scene, digesting it from the points of view of each of the main characters. Ida, a young postulate nun on the threshold of taking vows discovers she is, in fact, Jewish and one of only two members of her family to survive the Holocaust. Ida takes a leave from the convent to join her embittered aunt in a search for the truth about the death of their other family members. The sheltered Ida is introduced to a world of which she has no experience—a world that includes romance and sex, cowardice, heroism, disillusionment, despair and death. The camera stays on her mostly silent response to these events and as Ida discerns whether to return to the convent or stay in the world, the film superbly illustrates the grace and mystery of vocation.


CALVARY: The Sins of the Fathers

Calvalry_filmThe great Irish actor Brendan Gleeson (probably best-known to American audiences for his portrayal of Mad-Eye Moody in the Harry Potter movies) gives one of the best performances of the year as Father James, a priest in a seaside Irish village. The film opens in a confessional where Father James (a widower with an adult daughter who came late to the priesthood) is told under the seal of confession that, although he is personally innocent, that he will be murdered in seven days, as retribution for the unprosecuted sexual crimes committed against children by pedophile priests and covered up by church hierarchy.

The film follows Father James through each of the seven days as he encounters several of the villagers he ministers to and wonders along with the audience which of them passed sentence on him in the confessional. He wonders if he is actually of any use to them, wrestles with the temptation to flee and questions the responsibilities of his vocation—particularly compassion, forgiveness and faith in God, as the seventh day grows closer. The film skilfully balances suspense with characteristic Irish black humor and is populated by a wonderful supporting cast led by Chris O’Dowd (St. Vincent and Bridesmaids) and others recognizable from Masterpiece Theatre, Game of Thrones, etc.

Calvary is now available on demand through many cable companies and is also available on Amazon Prime.


THE GRAND BUDAPEST HOTEL: The Virtue and Vocation of Civility

Budapest-liftI enjoyed this movie when I saw it last summer but it didn’t stay with me like some of director Wes Anderson’s other films, particularly The Darjeeling Limited. Then, about a week ago I happened to catch the last 10 minutes of it while waiting for another program to begin on HBO.

In one of the final scenes a journalist asks the narrator, Mr. Moustafa about his relationship with the film’s hero, M. Gustave. Moustafa replies, “There are still faint glimpses of civilization in this barbaric slaughter house that was once known as humanity. He was one of them. . . You see, we shared a vocation. He certainly sustained the illusion with marvelous grace.” I had not caught the reference to vocation when I saw the film in the theatre. It intrigued me enough to watch the movie again on HBO. Seeing the film through the lens of shared vocation completely re-framed it for me.

M. Gustave, played by Ralph Fiennes (another Harry Potter alumnus Voldemort) is the manager of an elegant hotel in pre-war Eastern Europe whose life is dedicated to service, hospitality, good manners and civility.

Hospitality is thought to be the core virtue of all of the Abrahamic religions—Judaism, Christianity and Islam. Genesis 18 begins with a description of Abraham and Sarah’s warm hospitality, their welcoming of strangers.

The Grand Budapest Hotel, gorgeously designed and photographed, is both an elegy for the lost virtues of hospitality and civility and a moving plea for their return. This film, like Birdman which I’ll discuss in a later blog, is a fable and is photographed more like a fairy-tale than Into the Woods.


In upcoming blogs, I plan to write next about Birdman, Mr, Turner, Whiplash and Chef; Boyhood, Saint Vincent and Force Majeure (Turist), The Imitation Game and The Theory of Everything: The Lunchbox and Words and Pictures; Foxcatcher and Nightcrawler; Pride and Into the Woods.

Learning How to See – Honoring Mike Nichols

mike-nichols1I begin the first reflection in The Way with a quote from Pierre Teilhard de Chardin: “The whole of life lies in the verb seeing.” Mike Nichols taught my generation how to see.

College students in the 60’s memorized the improvisational comedy routines he did with his partner Elaine May. They and their contemporaries didn’t tell jokes like Bob Hope and Milton Berle and other favorites of the “greatest generation.” Their humor was different, edgier, situational rooted in the angst, neuroses, and existential panic of the first generation to grow up with the bomb.

Nichols first film, Who’s Afraid of Virginia Woolf exposed people to a view of marriage and relationship that was the polar opposite of “Leave It to Beaver” and “Father Knows Best.” It shocked viewers as it hurtled forward at roller coaster speed moving audiences from laughter to heartbreak and back.

Life1969His second film, The Graduate (1967) was a cri de coeur for a generation who was being told that the future was “plastic.” The same year the film was released, “Don’t Trust Anyone over 30” became the generation’s slogan. Dustin Hoffman’s Benjamin, the rebel without a clue, became the symbol of its confusion and unrest, so much so that the July 11, 1969  cover of Life magazine features an image of Dustin Hoffman contrasted with an image of John Wayne and the caption: “Dusty and the Duke—A Choice of Heroes.” (I have a copy of the magazine.) At the end of “The Graduate” Dustin Hoffman and Katherine Ross, accompanied by the music of Simon and Garfunkel, escape without having any idea of where they were going. The songs gave voice to Benjamin’s inarticulate longing and to that of much of my generation.

More often than not his best films portrayed people trying not to lose their souls in an increasingly impersonal world. He followed The Graduate with an adaptation of Joseph Heller’s novel Catch 22  a satire of war that mirrored the nation’s frustration with Vietnam. Silkwood dramatized the efforts of the whistleblower heroine, and gave voice to baby-boomer paranoia and legitimate distrust of faceless corporations. Charlie Wilson’s War, Nichols last film in a career that spanned forty years, depicted an anti-hero’s maneuvering his way through the swamp of government bureaucracy in Washington.

Mike Nichols was an artist of his age and for the ages. His work challenged and inspired me and I will miss him.

The Next Archetypes and a Movie Course

Aside

The_Way_Logo_2_PrePromoAfter all of the excitement and getting folks to vote on the next Archetypes & A Movie course, we have pulled a switch-a-rooney! Julienne and I got part way into recording the ‘Best Exotic Marigold Hotel’ and it just didn’t feel right. Both our intuition and wisdom told us that it simply wasn’t the right time for it.  Having just taught “The Way” a few days before, it was the most timely and generative choice for the next audio workshop.

We plan to combine the recording of my talk in LA with the recording of the movie commentary plus even more bonus material. Look for the new course in late summer! (We’re hoping by September…)

Our apologies to everyone who voted for Best Exotic Marigold Hotel, it remains at the top of our list and we are sure that the course on The Way will be fulfilling as well.

One Day Pilgrimage – LA Area

TheWay_2

Is it possible to make a pilgrimage in one day? Perhaps, not, but it is possible to begin! Spend a day with and on “The Way“.
When: July 12th, 9am – 3:30pm
Where: All Saints Church, 132 N. Euclid Ave. Pasadena, CA 91101
Fee: $55 (with lunch), $45 (bring your own lunch)
Register Now

Many films are contemplative works of art, they meet us where we are and offer a mirror image of our inner selves.

The film, “The Way” is such a work of art. It follows four pilgrims as they travel the El Camino de Santiago de Compostela. It features actor Martin Sheen and is directed by his son Emilio Estevez. The film is powerful, inspirational, capturing the outer journey while illuminating the inner one.

Join teacher and spiritual director, Jim Curtan as he guides us along the route of the pilgrimage, pausing along the way, as pilgrims do, at various stages of the journey to reflect on the insight, inspiration and intuitive guidance we receive.
Jim has combined his 20 years experience in the entertainment industry with more than a decade as a retreat leader, archetypal counselor and spiritual director to develop a unique and entertaining approach to using film as a gateway to rich spiritual experience.

Download the flyer: A Day on the Way
Register Now

“The geographical pilgrimage is the symbolic acting out an inner journey. The inner journey is the interpolation of the meanings and signs of the outer pilgrimage. One can have one without the other. It is best to have both.”
-Thomas Merton, “Mystics and Zen Masters”

Archetypes and a Movie Poll

Many of you have already enjoyed the first edition of my ‘Archetypes and a Movie’ series: Ratatouille:  Fate, Destiny & the Hero’s Journey.  We are in the process of planning the next workshop and would love your feedback on what you would most like to see and learn from.

The theme of “pilgrimage” has been coming up quite a bit lately and pilgrimages can take many forms.  While you don’t literally need to travel to go on a pilgrimage, it’s always a journey to the Sacred.  The word pilgrim (from the Latin peregrinus) means a traveler, literally one who has come from afar.

Each of these films are an exploration of the archetype of the pilgrimage. We’d like to know which one you would most like to experience as an audio workshop.

Please take a few seconds to complete the 3 poll questions below.

Many thanks,
Jim and Julienne

Film Choices for a course on Pilgrimage

The Way (2010) TheWay_2staring Martin Sheendarjeeling_limited

The Best Exotic Marigold Hotel (2011) staring Judi Dench, Bill Nighy, Maggie Smith & Tom Wilkinson

The Darjeeling Limited (2007) staring Adrien Brody, Owen Wilson & Jason Schwartzman

Philomena_posterPhilomena (2013)BEst staring Judi Dench & Steve Coogan

 

You can also use the comments below to suggest a film not on this list and tell us why you’d like to learn from it.