ScreenFish

where faith and film are intertwined

anthology

Small Axe – West Indian Joys and Pain

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Some stories and the worlds they bring to us are too big for a single film. Sometimes that means trilogies or ongoing sequels without end (like Star Wars). But for Steve McQueen to bring us a vision of the world he grew up in, it required the Small Axe anthology. This is a series of five films, most of which are based in real stories, set in the West Indian community in London in the 60s through 80s. Each film is independent of the others. They each have their own tone. But they also have a common thread in that they reflect the life of strangers in a strange land trying to establish their lives and maintain their roots.

It’s a bit challenging to know how to treat such an anthology. Many of the individual films are being named by various critics in their yearend lists. The Los Angeles Film Critics Association named the anthology as Best Picture. When you first see Small Axe on Prime video (where it is streaming), it looks like a series with one season of five episodes. In reality the anthology is individual films that all hold their own, but they manage through those stories to create something greater than the sum of its parts.

Although the films don’t require watching in sequence, I’ll follow the order of the episodes as they are numbered on Prime.

Mangrove is the story of an important court case in England involving a group called the Mangrove Nine. Frank Crichlow and others were put on trial for riot and affray after a demonstration against police harassment of his restaurant, Mangrove. In their defense, they are able to show that there was racial bias in the police force and the entire legal system. It was the first time the courts took note of such bias. A key quote: “We must become the sheperds of our own destinies.”

Lovers Rock shows us a night at a music party. This is an evening filled with music, weed, hormones, and above all, vitality. This is not so much about plot as it is about being pulled in to the experience. There is a ten-minute (!) scene built around the song “Silly Games” that is astounding on many levels. It captures the love of life, the hopes and joys of that community.

A key quote: “You can’t wear church shoes to a blues dance.” (Well, it turns out you can.)

Red, White and Blue is the story of Leroy Logan who as a boy saw his father assaulted by police and as a young man joined the police force seeking to change it from within. It’s not really surprising that he not only runs into resistance to change, but is also the target of the systemic racism. A key quote: “You wanted us more British than the British.”

Alex Wheatle is based in the true story of the title character who becomes a very successful writer of YA books. He was abandoned by parents early on and grew up in children homes and the foster system. As a young man he begins to find his place in the world of music. But when he ends up in jail, his cell mate pushes him to find his roots and build his life from there. A key quote: “Boy, you have to find out who the f*** you is.” (That might well serve as the overall quote for the anthology.)

Education looks at the discrimination toward West Indian children in the school system. The schools very quickly moved children who had learning or behavioral problems to “special schools”. That doesn’t sound too bad, until we discover that the schools didn’t bother to help them learn or often even provide classroom supervision. A group begins to unite the parents to fight the system and save their children from a bleak future. McQueen himself was funneled off to a special school. A key quote: “There is nothing special about his school.”

The stories are filled with struggle and pain, but also with joy, community, family, and hope. There is a vibrancy to their celebrations, just as there is anguish in their struggles for justice and a chance to fulfill the dream that brought them to the UK. Throughout the series, there are various stories that come up from the West Indies or African culture that add even more texture to the stories that McQueen is setting before us.

The title for the anthology comes from a Wailers song. The chorus includes, “If you are the big tree/ we are the small axe/ sharpened to chop you down.” In every culture, be it the UK or the US or elsewhere, when the oppressed unite, they have the power to shape the future.

Photos courtesy of Amazon Prime Video

Mangrove – Demanding Justice

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“We must become the shepherd of our own destinies”

Mangrove, the opening film of Steve McQueen’s Small Axe anthology, is a tale of racial struggle against police abuse. It is based on the true story of the Mangrove Nine, a group of men and women put on trial in London. (Yes, that’s right, racial prejudice is not the sole possession of America.)

The first half of the film focuses primarily Frank Crichlow (Shaun Parkes), a Trinidadian immigrant who in 1968 has just opened the Mangrove restaurant in the Notting Hill area of London. It serves the kind of spicy foods preferred by Caribbean people. Almost from the start the police, lead by Police Constable Pulley (Sam Spruell), begin harassing Crichlow and the restaurant. The restaurant becomes a gathering place for the immigrant community. In time they take issue with all the harassment and plan a protest. During the protest, the police attack the crowd. In the aftermath nine leaders of the community are put on trial for the serious charges of riot and affray.

The second half of the film is a courtroom drama. The defendants faced many years in prison. Their very lives were in the balance. And solicitors and barristers told them over and over to trust the system. But the defendants knew that the legal system was just as corrupt as the police. Two of the defendants chose to represent themselves, which allowed them the opportunity to cross-examine witnesses and address the jurors. On the whole, the defense was an attack of the status quo of racial animosity. The trial became the first time the courts made note of the racial discrimination by the police force.

Thereare some comparisons to be made to The Trial of the Chicago 7 in that they occur roughly at the same time, both involve police caused riots, and the trials took on a rebellious tone. But this is by far a much better film.

The Small Axe anthology is a collection of five films by McQueen that focus on the world he grew up in. His parents were from Grenada and Trinidad. At least four of the films are based on actual events and people. It shows the black immigrant society as a vibrant culture of music, color, language, and joyous celebrations—but also frequently hardship because of a racist system.

This film shows some of the different manifestations of racism. (And we need to note that these forms are as relevant in this country as they are in the UK of the film.) The racism that we see in PC Pulley is the kind of blatant racism that repels us. (“The thing about the black man is he has his place. He’s just got to know his place.”). He and other police officers regularly hassle random black people for no reason. In court they suggest that all blacks are “criminal, prostitutes, ponces, and the like”.

But when the film switches to being a courtroom drama, the entire system comes under scrutiny for the ways that racism has been institutionalized, such as the make up of the jury, the way defendants are supposed to put their trust in the “professionals”, and the ways the judge fails to allow them to have voice. This kind of racism can be even more injurious because the system gives the impression of fairness, but often that impression is an illusion.

The film also touches on the responsibility of both intentional and accidental leaders. Crichlow really did not aspire to being a community leader. He just wanted to run his restaurant. He told one of the more strident leaders, “It’s a restaurant, not a battle ground”. But when circumstances continued to escalate, he had to make choices that pushed him into leadership. We also see in Crichlow the struggle of facing the risk that leadership brings. He is torn at times between doing what would be safe and doing what is right.

To do the right thing often is a matter of faith. Throughout the film, the defendants are told to have faith—in the judicial process. They hear it so often it becomes a joke to them that they should expect the system to come through for them. Others suggest that the characters need to have faith in the community to stand in solidarity. But at a crucial time, Frank, unable to sleep, sits on his bed and opens his Bible to a picture of his parents. On the back it reads, “In God you must trust.” There he finds the strength to carry on with what is right.

Mangrove (and the other Small Axe films) are streaming on Amazon Prime.

Photos courtesy of Amazon Studios.

Hacksaw Ridge – Faith Under Fire

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hr3Hacksaw Ridge is the extraordinary story of an ordinary man named Desmond Doss. Not gifted with exceptional physical powers, or benefitting from a stellar education, Doss enlisted in the Army during World War II as a conscientious objector, challenging the way that his fellow soldiers saw patriotism, bravery, and honor. Directed by Mel Gibson, Doss’ real-life story finally gets the attention it deserves, nearly seventy-five years after Doss set foot on Okinawa. Nominated for Best Picture at the Academy Awards, as well as Best Picture, Best Director, and Best Actor at the Golden Globes, Hacksaw Ridge has a heartfelt story to match its spectacular visuals.

One of the quietly spectacular things about the film is the way that just a few moments spent on Doss’ childhood, and sprinkling in a few flashbacks from his youth, set the stage for us to understand how Doss (Andrew Garfield) formulates his ideas about faith and violence. Gibson and cinematographer Simon Duggan show us a foreshadowing of the Maeda Escarpment (aka Hacksaw Ridge) with a regular hike in the Blue Ridge Mountains of Virginia that winds to the top of a mountain. The balance – between the peace of the Blue Ridge and the violence of Hacksaw – shouldn’t be lost on us in retrospect. But that’s not the only balance the story shows us.

hr1While we see that Doss’ avoidance of violence hinges on battles he had previously with his brother and father, Tom (Hugo Weaving), we are subtly exposed to the depth of the Doss family pain. Tom served in World War I and carries survivor’s guilt; he longs to protect his family from the violence of the current war but he’s too angry with himself for living when all of his comrades die. For the eighteen-year-old Doss, there is no way to understand his father’s deep pain until he sees the violence of war for himself. The struggle of the father to protect the son is evident early on, but it becomes clearly apparent when Doss finally enters basic training at Fort Jackson, South Carolina.

At Fort Jackson, Doss finds himself completely alone. His commanding officers, Sergeant Howell (Vince Vaughn) and Captain Glover (Sam Worthington), want to run him out of the ranks of the Army upon finding out about Doss’ Seventh-day Adventist convictions. Doss’ unwillingness to carry a gun (or work on Saturday) rubs the officers and Doss’ counterparts (namely, Luke Bracey’s Smitty); the Army works to literally beat Doss into submission.

hr2I knew that this segment of the film would trouble me, but I couldn’t be prepared for how upsetting it was. While the greater problem in World War II is the Nazi/Axis threat, Doss’ greatest enemy through eighteen months (compressed in the film) is actually his own company. Gibson’s film sets us up to consider Doss’ faith but here I found one of the major selling points of the film: there’s a clear recognition that we often incur more violence on each other than we do on our real enemy. [As I write this, my Facebook feed is bloodied by those on both sides of our U.S. election, those who won and those who lost. Rather than working to find a way together forward in unity, too many are still focused on the differences they see in each other.]

Yet, in the case of Doss, he remains resolute about what he believes without ever condemning someone else. He never considers himself better than or superior to any of the men who doubt his beliefs or conviction in decision-making. He is the lamb sent to slaughter who refuses to raise its head but which refuses to turn aside from its resolute belief. This is truth and grace, belief and gritty reality mixing together into the existence of actual life.

In the case of Hacksaw Ridge, the crucible is one steep cliff and one terrible battlefield. While the court martial that allows Doss to serve is undeniable, his comrades still consider him less than a soldier. With the first assault on Okinawa, Doss proves himself by rescuing several wounded officers. By staying when the rest of his company retreats, pulling out soldier after soldier pinned down behind the enemy line, Doss proves himself remarkable.

hr4As I watched Gibson’s trademark bloody portrayal of the film, I was shocked by the way that Doss’ spirit stood out in direct contrast to those around him, in the same way that his red cross stood out against the drab greens, tans, and grays of the film. There’s no question that Gibson’s experience shooting the wartime scenes fit in well with the powerful script, but Doss’ story stands out thanks to Garfield’s quiet portrayal. We know that his love for Dorothy Schutte (Teresa Palmer) burns bright, but it’s his faith that sends him in after soldier after soldier.

Sitting in the movie theater, hearing Doss pray, “Give me one more, Lord,” over and over again, while plunging into the smoke and fire of the mortared battlefield, I found myself thinking of Shadrach, Meschach, and Abednego, thrown into the fire of the furnace in Daniel 3. These three men could have turned back on their beliefs and been spared, just like Doss could have bowed out during his court martial or retreated just like every other soldier did. But Doss stayed because he believed that was what God called him to – and he felt compelled to respond.

One last scene stood out to me – one which I had anticipated since seeing the trailer. Here, the company must return to the top of Hacksaw Ridge, and Glover tells Doss that the men won’t go up without him. Doss prays – while the men wait. They don’t necessarily believe what he believes or believe that his prayer works but because he believes and they believe in him, his prayer matters to them.

How powerful is that?

James 5:16 says, “Therefore confess your sins to each other and pray for each other so that you may be healed. The prayer of a righteous person is powerful and effective.” Doss’ life of prayer and humble service proved to be remarkably transformative for others, in ways that we can hardly believe – but which the furnace of Hacksaw Ridge’s fury proved.

Doss has a litany of men tell him in the aftermath of the first onslaught that they underestimated him, that they didn’t know him the way that they thought they did. And yet, through bombing, shooting, stabbing, and explosions, Doss saves the men who once were his enemies – while they were still his enemy. He never treated them that way, but they saw him that way – and he didn’t let that matter.

While so much turmoil exists in our world today, I am reminded that there is still a cross that shines through the dust and fire. I am reminded that there is still a place where the prayers of a person avail much – in the heart of God. Here is a man, Doss, who believed that he was called to lay down his life for his friends – and even his enemies – because he was pursuing the cross of Christ. Here is a man who proved that there was a way through, that we don’t have to like everyone or agree with everyone, to see that the common goal and the greater good rise above our differences.

Doss stands as an example of the unity of our humanity – the things we have in common – and as an example of one man’s faith in the midst of an unbelieving world.

Hacksaw Ridge is a film for such a time as this.

Special features on the Blu-ray/DVD/Digital HD include deleted scenes, the theatrical trailer, and a Veterans Day greeting from Mel Gibson; “The Soul of War” documentary shows how the film was made, including a look at the story from the perspective of the actors, director Gibson, and those intimate with Doss’ story. 

Southbound: A Trip on the Highway to Hell

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screamfish iter 2“We’re all on the same endless highway.”

Southbound is an anthology of five loosely-related horror stories, each from different directors and writing teams. Some of the films have a bit of a Twilight Zone feel to them. The mood is set with a deep melodious radio voice speaking to “all you lost souls, all you sinners, racing down that long road to redemption, but heading into that pit of darkness ahead.” The stories do all involve being on that highway in some way. We don’t so much get the feeling that this is a highway to Hell as much as it is, for those involved, the experience of Hell.

southbound2Some of the stories involve the supernatural, but others are tied to human nature and the fear that we will have to pay for the mistakes we have made in life. There is a sense of karma that plays out in these stories—people seem to be getting what they deserve, or at least that they are paying for some misdeeds in their past. While each story is standalone, there is a connection made to the one before it so that it seems to be an ongoing story as it moves through the night. The film is bookended by a pair of stories that allows the entire film to circle back around on itself.

soutboundThis is not so much about blood or gore as it is atmospheric. There are lots of creepy vibes that exude from even the minor characters. But in most of the stories, there is also a sense that we can identify with the fears of the protagonists. They often must deal with facing the guilt of something they have done. For some, that guilt may destroy them; for others, facing that guilt may lead to a touch of redemption.

That road to destruction or redemption is very much like many people think of the spiritual life. The Hindu/Buddhist concept of karma seems to have a place in our visceral worldview (especially in horror film worldviews), even if our theology doesn’t really recognize that concept. Even concepts of Hell in Christian thought (cf., Dante) seem to be built around fitting punishment for sins. In Southbound those punishments seem to be inevitable. But they may or may not lead to either repentance or forgiveness. It is not that there is no grace on this desolate road, but that grace is hard to find. I think that is why I have such a hard time appreciating this genre: there is a lack of Good News that we are not bound to damnation without an escape.