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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Confessions of an Unrepentant Out-of-the-Closet Chick Flick Lover

In the February 3, 2017 issue of the New York Times, the estimable Gloria Steinem published an Op-Ed piece called “Women Have Chic Flics; What About Men?”

I say estimable because I have long admired Ms. Steinem. I first became aware of her, not from her article about being an under-cover Playboy bunny, and my respect for her predates the publication of MS Magazine’s inaugural issue. It was her 1968 interview with Pat Nixon.

In 1968, newly transplanted from Denver Colorado to New York City, I became (and still am) a regular reader of New York magazine. Shortly before that year’s presidential election, the magazine published Ms. Steinem’s interview with the notoriously press-wary, Mrs. Nixon. After Mrs. Nixon responded to one of Steinem’s questions by saying that the woman she admired most was former first lady, Mamie Eisenhower, Steinem reports:

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Learning to See As Another Sees

“Seeing comes before words. The child looks and recognizes before it can speak.


“But there is another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relation between what we see and what we know is never settled.”


–John Berger, Ways of Seeing

When I am asked what it is exactly that I teach, I say that I teach people to see. I use archetypes, myth, metaphor, and mostly film, to teach people how to see symbolically and impersonally.

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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


fencesAugust Wilson (1945-2005) belongs in the pantheon of great American playwrights. His ten-play Pittsburgh Cycle—each one set in a different decade of the 20th Century—is a monumental artistic accomplishment. Fences, set in the 1950’s, was awarded a Tony and the Pulitzer Prize in 1987.  The dialogue Wilson gives his characters is incomparably musical. In his plays, soliloquies become arias. I saw James Earl Jones play the central character, Troy Maxson in the original 1987 production and it was one of the best theatrical experiences of my life. In Jones’ performance, Troy was a great tragic hero—someone who in other circumstances would have been a king.

Transferring Wilson’s work, which is overtly theatrical, to the screen has to be a Herculean task and the film version doesn’t entirely succeed. Denzel Washington, who directed the film and plays Troy Maxson is one of my favorite actors, someone I’ll pay to see in almost anything he does; however, whether fair or not, Washington can’t replace Jones in my memory.  Troy’s lengthy speeches, many shot in close-up, have a haranguing quality that ultimately alienated me from Washington’s performance. (I know this is a minority opinion.) I still recommend seeing Fences. The supporting cast, particularly Viola Davis as Troy’s wife, Stephen McKinley Henderson as Troy’s best friend, and Mykelti Williamson (heartbreaking as Troy’s brain-damaged brother Gabriel) beautifully capture the rhythms and melodies of Wilson’s writing.

Denzel Washington has announced that he will bring the entire cycle of August Wilson’s plays to HBO. This is great news.

More about Fences

Hail Caesar, Love and Friendship & A Man Called Ove

Hail Caesar

hailceaserThere were three comedies this year that made me laugh out loud repeatedly. Hail Caesar, the latest lunacy from the Coen brothers, is a loving send-up of old Hollywood. It features an all-star cast, each at the top of their game, including George Clooney, Scarlett Johansson, Ralph Fiennes, Channing Tatum (never better), Tilda Swinton, Frances McDormand, Jonah Hill, newcomer Alden Ehrenreich, as a cowboy star (who steals the film from under their noses.) Josh Brolin grounds the film with a virtuoso dead pan portrayal of a tortured Catholic studio head, charged riding herd over the dim-witted shining stars in his care. Brolin may be the most under-rated actor working in films today.

More about Hail Caesar
 Love & Friendship

loveandfriendshipLove and Friendship is director Whit Stillman’s sophisticated and wry adaptation of a Jane Austen novella, Lady Susan. It features a tour de force performance by Kate Beckinsale as the shameless seductress Lady Susan and she is ably supported by Tom Bennett as her idiot suitor. These performances will probably be overlooked at award time; they are, nonetheless, pure gold.

More about Love & Friendship


A Man Called Ove

mancalledoveA Man Called Ove, based on an international best-selling novel, is a sweet Swedish comedy about a bereft widower whose attempts at suicide are repeatedly interrupted by needy neighbors. In the title role, Rolf Lassgard is sublime.

More about  A Man Called Ove





La La Land & Sing Street

2016 produced two charming and equally original musicals, La La Land and Sing Street. The former got the lion’s share of attention from the critics and at the box office but don’t overlook the latter.

La La Land

lalalandWhen I was a child, I particularly loved the MGM musicals; the gaudy Technicolor palette was almost the same as my grandmother’s plaster-of Paris saints statues and flamboyant holy cards. I imagined that heaven would look a lot like those musicals. (I came as close as a five-year-old can to experiencing spiritual rapture when I saw Gene Kelly dance with Jerry the Mouse in Anchors Aweigh.) This, I thought, must be what heaven is like.  La La Land, captures the spirit of the MGM musicals, but with a sadder-but-wiser point of view. Leading man, Ryan Gosling, is perfect, everything one could expect; Emma Stone is a fine actress who repeatedly defies expectations, until the scene when the film director asks her to tell a story. In this scene Emma Stone doesn’t just defy expectations, she obliterates them.  More about La La Land

Sing Street

singstreetSing Street, is the work of John Carney the Irish writer/director of the cult hit, Once, which was equally successful when translated into a Tony award winning Broadway musical. Sing Street’s slight plot is about a teenage boy who starts a rock band to impress a girl. Like a lot of musicals, the plot isn’t all that important but the music and performances, by a great ensemble cast led by Ferdia Walsh-Peelo, in his first movie, are completely beguiling. Just looking at the above photograph makes me want to see it again. More about Sing Street

Lion, Hunt for the Wilderpeople, & Captain Fantastic

Three exceptional family films were released this year— five if you count The Queen of Katwe and Sing Street—and I heartily recommend that you do.

When I say family film, I don’t mean baby-sitting films, I mean films that are equally entertaining and engrossing for adults and children; films that have meat on their bones and are have stories that can inspire rich conversations after they are viewed.

All five films feature children protagonists; the child actors who play them give marvelous performances.

Lion tells the true story of Saroo, a five year Indian boy who falls asleep on a train and ends up lost in the streets of Calcutta, thousands of kilometers from his tiny village. He is adopted and raised by an Australian couple (Nicole Kidman is wonderful as the mother). 25 years later, he sets off, with the help of Google maps to find his Indian family. Sunny Pawar plays the boy Saroo. Dev Patel plays him as an adult. (The first half hour is subtitled.) More about Lion


Hunt for the Wilderpeople

huntforthe-wilderpeopleHunt for the Wilderpeople is a New Zealand film about a wily young delinquent from the city (Julian Denison) who is sent to live with foster parents on the edge of the bushlands. Fearing he’ll be sent back to an orphanage when his foster mother unexpectedly dies, he takes off into the bush. His reluctant foster father (Sam Neill) goes in search of the boy and is mistakenly thought to have kidnapped him. (The New Zealand dialect takes getting used to but it’s worth it.) The comic pairing of Denison and Neill is both sidesplittingly funny and deeply moving. More about Hunt for the Wilderpeople


Captain Fantastic

captainfantasticViggo Mortensen is brilliant as the eccentric hippie father who takes his children to live off the grid in Captain Fantastic. George MacKay, is touchingly awkward and naïve as the scholarly eldest son who has been in the wilderness so long he has no idea how to talk to girls. There is one full-frontal nude shot of Mortensen—fully justified by the story—that will be off-putting to some parents. The kids will love it. More about Captain Fantastic



Doctor Strange

drstrangeI’m not generally drawn to Marvel Comics super-hero movies; the exception is Dr. Strange, which is a thoroughly entertaining adventure that demands that the ultra-rational, egocentric, arrogantly self-sufficient title character surrender to the mystical and the miraculous. Benedict Cumberbatch is perfect in the title role and he receives excellent support from a first rate cast that includes Chiwetel Ejiofor, Rachel Mc Adams, Benedict Wong and Tilda Swinton.

More about Doctor Strange


The Divas

2016 was a great year for actresses “of a certain age.” God bless the baby-boomers who have become a reliable demographic for medium to low-budget (think Sundance Film Festival) treats like:

Florence Foster Jenkins

Florence Foster Jenkins, featuring the insanely talented Meryl Streep, as an insanely untalented would be opera singer. She’s supported by Simon Helberg (Big Bang Theory), sensational as her accompanist, and Hugh Grant, better than he’s been in a long time, as her husband. More about Florence Foster Jenkins

Hello My Name is Doris

Sally Field and Tyne Daly “My Name is Doris”

Sally Field and Tyne Daly “My Name is Doris”

In Hello My Name is Doris two-time Oscar winner, Sally Field dispensed with earnest and cute, and graduated to wonderfully eccentric, ably supported by national treasure, Tyne Daly. (I’d love to see Fields play Veta Louise Simmons in a revival of Mary Chase’s Pulitzer Prize winning play, Harvey.)

More about Hello My Name is Doris


The Meddler

Susan Sarandon showed up in a wonderful dramedy, The Meddler, about a recent widow who relocates from New York to the West Coast to drive her TV-producer daughter (Rose Byrne) out of her mind. More about The Meddler

20th Century Women

Annette Bening is stunning as a single mother raising a precocious teen-ager (Lucas Jade Zumann) in 20th Century Women. The supporting cast includes a hilariously earnest Greta Gerwig, a scary Elle Fanning and Billy Crudup, in his best performance since I don’t remember when. More about 20th Century Women

The Hollars

thehollarsBest of all is Margo Martindale in The Hollars. I fell in love with Margo Martindale when I saw her play Big Mama opposite Ned Beatty as Big Daddy in an otherwise lamentable revival of Tennessee Williams Cat on a Hot Tin Roof. (Ashley Judd played Maggie the Cat; it was painful.) Martindale won an Emmy for her performance as Mags Bennett, a matriarchal hillbilly drug-dealer in the FX series Justified. She returned to FX as an undercover KGB operative in The Americans, Whether or not you’ve seen Margo Martindale in anything else, see her in The Hollars! Her performance will warm and break your heart.

More about The Hollars

Altogether a good year for movies!

Artists, Saints and Prophets


In the days immediately following Mike Pence’s attendance at the Broadway musical “Hamilton,” a friend of mine posted an article about the elegance of actor Brandon Victor Dixon’s address to the vice-president elect.

One of her friends replied that the address was inappropriate, rude and disrespectful. Another decried the lack of hospitality toward Pence: “people pay money to attend the theatre to relax and be entertained. They don’t go there to be made to feel uncomfortable.” I have a Master’s Degree in Theatre Arts and no instructor I ever had said anything remotely like that.

I replied to her post: “In the play “Inherit the Wind” a character based on legendary journalist, H. L. Mencken says, ‘It is the duty of a newspaper to comfort the afflicted and afflict the comfortable’. This is also the duty of art and artists and saints and martyrs. Early in the week the same friend who posted the article about Hamilton had posted a photo of a birthday card which featured a quote from Pope Francis, “Have courage! Go Forward! Make noise!” I referred to the card in my post, adding “that it seemed to me that this is exactly what the cast of Hamilton did.”

Comfortable art! Even “The Sound of Music” reaches its climax with Captain Von Trapp singing “Edelweiss,” and thereby risking his life to sing truth to power.

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Mr. Smith Goes to Washington

Jimmy Stewart in the 1939 film Mr. Smith Goes To Washington

Jimmy Stewart in the 1939 film Mr. Smith Goes To Washington

JEFFERSON SMITH – “Why don’t you people the truth for a change? People in this country pick up their papers and what do they read?

DIZ MOORE (a reporter) – “Well, this morning they read that an incompetent clown had arrived in Washington parading around like a member of the senate.”

JEFFERSON SMITH – “If you thought as much about being honest as you thought about being smart—“

DIZ MOORE – “Honest! We’re the only ones who can afford to be honest in what we tell the voters. We don’t have to be re-elected like politicians.”

I couldn’t have been more than 10 years old the first time my parents took me to see Frank Capra’s great film, Mr. Smith Goes to Washington.

The film was originally released in 1939, two years before I was born. We didn’t yet have television, let alone VHS, DVRs or Turner Classic Movies, but each year The Rocky Mountain News in collaboration with the Vogue, a small theatre in South Denver, sponsored a sort of film festival. The newspaper published ballots and readers could vote for the films they most wanted to see: the Marx Brothers, Fred Astaire and Ginger Rogers, W. C. Fields (with Mae West) and Frank Capra’s movies (Mr. Smith, Mr. Deeds Goes to Town and You Can’t Take it with You) always received enough votes to be screened. And my parents took me to see them.

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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:

“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.


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.

Stagecoach_movieposterStagecoach was released in 1939 which many film historians consider to be a landmark year in American filmmaking. Stagecoach was nominated for a Best Picture Oscar along with Gone with the Wind, The Wizard of Oz, Mr. Smith Goes to Washington and Ninotchka. Stagecoach’s director, John Ford, was nominated that year, as was character actor, Thomas Mitchell, who won for his portrayal of alcoholic Doc Boone. Mitchell also appeared that year as Scarlett O’Hara’s father in GWTW and as a cynical reporter in Mr. Smith.

I don’t ever need to see Gone with the Wind again. It never really appealed to me and now I find it overblown, patronizing and embarrassing. Sue me.

I know The Wizard of Oz by heart and I’ve used it several times to teach basic archetypes but I don’t need ever to see it again. Ninotchka has what is arguably Greta Garbo’s best performance and director Ernst Lubitsch’s best film and it’s fun to watch late at night  if I can’t fall asleep. (In an odd way, Lubitsch is a really—I mean really—sophisticated version of Mel Brooks. Both use comedy to mock Nazi-ism and Fascism and all totalitarian forms of government. (Wouldn’t Harvey Korman be a fabulous Donald Trump?)  Mr. Smith Goes to Washington has the performance that James Stewart should have won the Oscar for but didn’t. He won the following year for the wonderful The Philadelphia Story, which as good as his performance is doesn’t quite match his work in Mr. Smith, Harvey (another of my top 10) and Anatomy of a Murder—a must watch if you’ve never seen it.

Enough about these other memorable films, back to Stagecoach! (Sometimes like my friend and mentor, Caroline Myss, I wish I could share all of the movies I love with all of the people I love.)

In my opinion “Stagecoach” (1939) “Holiday” (1938) and “You Can’t Take It with You” (also 1938) capture the American myth and the constellation of American archetypes more fully than any films that have followed. Shot as the depression was coming to a close and just before we entered into World War II, these three films form a template for the American myth that has never changed.

All of them deal with inequalities of class and income and their influence on political leanings but Stagecoach does something the other films don’t. It places vengeance ahead of love—and this has been a theme of American movies ever since (“Some things a man just can’t run away from.”) This value or moral code of the obsessed loner, continues today in the popular Batman movies, no more so than in The Dark Knight Rises—the masterpiece second installment in Christopher Nolan’s Batman trilogy.

I happened to catch an NPR interview with Glen Weldon, author of The Caped Crusade: Batman and the Rise of the Nerd Culture in which he said
“Batman as he is now perceived—the grim, grave Christian Bale version– he is the personification of masculinity as it would be envisioned by a twelve year old kid who got his lunch money stolen a lot. He’s unbeatable in a fight; he is jacked, laconic, and gruff—and that’s who this character is to them. “Batman must be the dark hero—the things we don’t want to admit—the rage we feel when we get cut off in traffic; the isolation and loneliness.

“In 1970, they decided that they would turn him into an obsessed loner. He has to become obsessed, and I would argue that at the same time the comic book industry was abandoning kids and going after the obsessed nerds, people who collected comics. Nerds like me can look at a character like Batman who . . .  is not great with people and who keeps to himself and is obsessed with something, and see a vision of us. That’s the connection that we feel.”

I listened to this interview I realized that somehow Batman had his roots in the John Wayne characters in “Stagecoach,” “The Searchers,” and “True Grit.” It also describes Shane, all of The Magnificent Seven, Dirty Harry, and Michael Corleone, right up to Leonardo Di Caprio in The Revenant.

Stagecoach also speaks to the present moment in the characters of the crooked banker (the 1%), his punishing wife (the religious right) and in the sacred American belief that sometimes you have to take the law in your hands. The Marshall turns the other way and, in fact, condones, John Wayne’s hunting down and executing the Plummer brothers in much the same way that Gotham, Police Commissioner, James Gordon, turns a blind-eye to Batman’s quest for vengeance.

Another part of the vision in this, as in all of John Ford’s best films is that the people on the margins—the prostitute, the alcoholic doctor, and the whiskey salesman—have infinitely more compassion than the self-righteous banker and his wife. This theme permeates our sense of ourselves as Americans and is a major issue in this year’s presidential campaign.

To me, Stagecoach, like all great works of art, is timeless. It doesn’t date. Somehow it manages, like all great art does, to mirror us and challenge our better selves to respond to this moment in history in much the same way that this film does.

The course recordings can be purchased as a digital download here:

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


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


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)
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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.

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“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”

Guide To Summer Movies 2013

Hidden amidst the glut of over-produced and under-performing summer blockbusters and tired sequels, are a handful of movies that are worth checking out. Here are a few of my recommendations.

The East is a smart, complex, suspenseful thriller about the war the battle between eco-terrorists and corporate polluters. The morally certain heroine, played by Brit Marling (who also co-authored the screenplay), goes undercover to infiltrate and expose an anarchist group and discovers an alternately idealistic and violent commune. She finds her loyalties shifting as she discovers increasingly disturbing information about the agency that hired her and the clients it represents.

20 Feet from Stardom is a joyful, inspiring documentary recounting the lives and careers of five rock and roll back up singers who have sung with everybody from the Beatles, Rolling Stones and Tina Turner to Bruce Springsteen and Bette Midler. Among the featured backup singers is the legendary Darlene Love whose battle to escape the control of record producer Phil Spector provides the heart of the story.

Fill the Void is a beautiful and moving Israeli import about family, tradition, faith and the tension between choice and duty. It offers a rare glimpse into the hidden lives of Ultra-Orthodox Jews as they find ways to confront tragedy and renewal within the strong bonds of community. This is a masterpiece. Not to be missed.

Fruitvale Station. The recent Trayvon Martin tragedy may give this beautifully crafted film added resonance and timeliness, but it stands on its own as a powerful work of art, the best film I’ve seen this summer. First time director, Ryan Coogler has adapted the true story of Oscar Grant, a twenty-two year old black man who was shot in the back by a Bay Area transit officer on New Year’s Eve 2008. The film chronicles the last day of Oscar’s life. Although, the events of the day are ordinary, each moment is made precious by the viewer’s knowledge that it is his last. The film features Octavia Spencer (Academy Award winner for The Help) as Oscar’s mother and Michael B. Jordan (The Wire and Friday Night Lights) in a star-making performance as Oscar. Like the best works of art, this film is worth repeated viewing and reflection.

The Way, Way Back is a coming of age story about an adolescent forced to spend the summer at a vacation home with his divorced mother, her creep boyfriend, his nasty daughter and their dysfunctional neighbors. He finds refuge at a local water park where he is mentored under the tutelage of its eccentric staff. From the producers of Juno and Little Miss Sunshine and written and directed by the Academy Award Winning screenwriters of “The Descendants,” the movie blends comedy and pathos with the same expertise they brought to their previous movies. Featuring knockout comic performances from Allison Janney and Sam Rockwell.

Much Ado About Nothing. Joss Whedon, the creator of Buffy the Vampire Killer and the writer/director of last year’s highest grossing movie, The Avengers, would seem an odd choice to adapt and direct Shakespeare’s classic comedy. It turns out to be a perfect match. Filmed in black and white in only 12 days, using the director’s home for all the locations on a budget that was likely 1% of the budget for The Avengers, Whedon has created a sophisticated, playful, down-to-earth, romantic comedy. You don’t have studied Shakespeare to enjoy it.