ScreenFish

where faith and film are intertwined

Eden

Call Me by Your Name – Moving Past Innocence

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“To make yourself feel nothing so you don’t feel anything. What a waste.”

Coming-of-age stories are often about discovery as characters emerge from childhood. They often harken back to the story of Eden, as Adam and Eve eat forbidden fruit and their eyes are opened to see and experience the world in new ways. In Call Me by Your Name, a young man spends his summer exploring new emotions and his sexuality. The process, like the Eden experience, is both painful and enlightening.

Elio (Timothée Chalamet) spends the summer with his family in their Northern Italian villa. It is a very intellectual family. His father (Michael Stuhlbarg) is a professor of Greco-Roman culture. His mother (Amira Cesar) is an interpreter who brings a variety of cultures into the home. Elio describes them as a mix of American, Italian, French, and Jewish. Elio is something of a musical prodigy, spends his days reading and exploring a relationship with Marzia (Esther Garrel).

Then Oliver (Armie Hammer), an American grad student, arrives to spend the summer with the family. As the summer progresses, their relationship evolves into friendship, but a sexual attraction also grows between them. Elio is unsure of how to approach his sexuality, which expresses itself in various ways. It’s not so much about forbidden fruit, but about being overwhelmed by the variety of possibilities before him, and finding the choice that will most fulfill him.

The Edenic association is enhanced by the sumptuous cinematography and lush settings of the film. (My wife thought each shot was like looking at a work of art.) The leisurely pacing of the story allows viewers to enjoy the beauty of the time and place. The locations are just as seductive as the relationships that Elio is developing.

I hesitate to say that this is a story about the loss of innocence. Even the story of Eden can be read not as about a fall and sin, but as a movement to a fuller life. That is closer to what Elio experiences in this summer romance. He is learning what it means to love. He may be unsure of how to express that love or even the relationship of love and his awakening sexuality, but he is discovering that essentially to love means to open oneself. He also discovers that in opening himself he is exposed to the possibility of being hurt and hurting others. That is very much like Eden—it is a two-edged sword that brings both joy and pain.

 

A Dog’s Purpose: Companionship In Life

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Growing up, I remember dogs were always a part of the daily activities at my house.  In the early years, there was a black Labrador who lived in our backyard and loved to play with the neighborhood kids.  Middle school brought a tan dachshund to the mix—she liked everyone in the family–except me. In high school, I found my companion in the form of Fred, a beagle named after the basset hound in Smoky and the Bandit due to his looks. He followed me everywhere and slept on my bed at night.  Leaving for college without him was bittersweet, but he always remembered me when I returned for holiday visits.  He passed away a number of years ago, but the memories and companionship he brought me live on today.

Into this theme of companionship comes a new film from Universal and Walden Media called A Dog’s Purpose.  You might have heard about it recently, as an online video surfaced that suggested animal cruelty happened on set.  PETA reacted predictably and called for a boycott of the film, but I’m here to say there’s no reason to avoid attending for that reason (by the way, this article by one of the film’s producer explains the whole thing and is quite interesting).  In fact, although extremely melodramatic, A Dog’s Purpose is a decent film and showcases companionship in a touching way.

In the story based on the book by Bruce Cameron, we see life portrayed through the eyes of a dog (voiced by Josh Gad).  Actually, that should be lives, as the dog’s first iteration finds him as a stray and caught by animal control before being euthanized.  Before he can determine what his purpose is, he’s back as a puppy and eventually escapes from a cage.  Two guys find him and leave him in a truck with the windows closed on a hot day.  Thankfully, a lady (Juliet Rylance) breaks the window and rescues him.  After a discussion with her husband (Luke Kirby), their son Ethan (Bryce Ghesiar) has his first dog and names him Bailey.  The two are inseparable, although Bailey gets out of control one night at dinner and ends up costing Ethan’s father a job—and eventually, his family due to alcoholism.

Ethan grows up (now played by KJ Apa) and Bailey indirectly helps him find Hannah (Britt Robertson), and a relationship begins.  Bailey doesn’t understand a number of things that happen later, such as why Ethan leaves for college and why he breaks up with Hannah.  But he’s fiercely protective to the end.  And when that happens, there’s a pause, followed by a new life to live as another dog.  The canine goes through lives as a female police dog, a smaller companion for a college student, and a St. Bernard look-alike that finds his way back to an old farm house and runs into Ethan (Dennis Quaid), who doesn’t recognize him. The ending is neatly tied up and is reminiscent of something airing on the Hallmark Channel, but dog lovers might find themselves wiping away tears by then.

Director Lasse Hallstrom (Who’s Eating Gilbert Grape) keeps the film going at a good clip, keeping the distractions to the story to a minimum.  The whole concept of a dog bouncing through multiple lives is a topic worthy of a later discussion, but it’s handled tastefully and quickly each time.  The soundtrack isn’t particularly memorable, but in this case, that’s a good thing.  In my opinion, the acting is a bit uneven, mainly due to having so many different lives to account for on the part of the dog.  And, outside of the melodrama, the biggest issue I had with A Dog’s Purpose’s involved characterization.  Not of the dogs, mind you, but of the humans portrayed in each section.  Only Ethan is fully conceptualized; the others need more background—why for example, did the police officer live by himself?  We see a picture of him and his wife (daughter?), but nothing else is offered. More characterization would help to increase the power of the bond between human and canine.

And that is really the biggest takeaway from the film for me. When man was created, God realized he needed something. “It is not good for the man to be alone,” he said (Genesis 1:18).  In this case, he created the woman, but the loneliness and companion factor are important for humanity.  Nobody wants to be alone forever, having nobody to talk to or shower love on them.  Perhaps this is why dog owners are so fiercely protective of them, even calling them part of their family—they’re friends who stick closely by through the good and bad times—“closer than a brother,” in fact (Proverbs 18:24).

A Dog’s Purpose offers a look at why canines are referred to as man’s best friend.  They provide more than companionship and love to their masters—they exude hope, courage, loyalty, and strength.  These are fantastic qualities each of us should seek to embody in our lives. Perhaps the film will help a person do just that—thanks to a little bit of wisdom from a dog.

Special features on the Blu-ray and DVD available now are deleted scenes, outtakes, and two featurettes, “Lights, Camera, Woof!” that looks behind-the-scenes and “A Writer’s Purpose” that shares about W. Bruce Cameron (writer of the novel and screenwriter of the film). 

The Red Turtle – Mythic, Poetic Story of Humanity

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It is rare that a film can seem to be poetry, and that may be even more difficult when the film has no dialogue. Yet The Red Turtle manages to be just that. It certainly has the elements of myth and legend, but it is at its core the story of humanity as seen in a man and the life that he lives out in a self-contained world.

Dutch animator Michael Dudok De Wit’s Oscar winning animated short Father and Daughter (2000) so impressed Studio Ghibli co-founder Isao Takahata, that he was invited to be the first non-Japanese director to make a film for the studio. And so began a multinational collaboration that has yielded a beautiful and moving film. The animation is somewhat different than we often find in Studio Ghibli films, but it has a beauty and power of its own.

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[Synopsis includes material that might be considered spoilers, but only mildly.]

The film opens with a man tumbling about in a stormy sea. He eventually finds his way to the shore of a deserted tropical island. As he explores he discovers there is ample fruit and fresh water. But he begins to build a raft to head back to the larger world. But a giant red sea turtle keeps breaking apart the raft. When the turtle comes ashore, the man’s anger gets the best of him. He flips the turtle to its back to kill it. Yet through some mystery, the turtle is transformed, and so too is the man’s life.

After killing the turtle, the man has remorse and tries to save it. But to his surprise the carapace splits open and a woman’s body has replaced the turtle’s. He cares for the woman who soon becomes his companion on the island. They have a son who has a special affinity with the turtles. The various events that make up human life play out through the years.

[End of spoilers]

The story gives no hint to the time this may be happening or the man’s origin. In essence he is not so much a man as Man. As the film plays out he has times of joy and sorrow. He faces trials, but he also experiences a fullness of life.

Of course the first story brought to mind is Robinson Caruso, but that would be to oversimplify this film. Robinson Caruso is a story of a man overcoming his environment—of establishing a kind of dominion over nature. That is not the case with The Red Turtle. Instead we go through a discovery process that is not about man versus nature, but rather man within nature.

Fusion x64 TIFF File

The film also invokes the biblical story of Eden (and other creation myths). What does it mean to live one’s life in what might be seen as a paradise (or as a prison). In the Eden story Adam is entrusted with the Garden. In this story it seems much more like the man is entrusted to the island.

Studio Ghibli films almost always have a strong ecological element. This story is certainly a part of that tradition. The island is a wonderful ecosystem of plants, birds, crabs (the slightly comedic element of the film), and the sea that surrounds it. The man is an interloper to this place. To what extent will his presence enhance or diminish the balance of nature? When he builds rafts, most of the materials are dead plants, so he’s not destroying things. He takes advantage of various things he can scavenge. His fishing is not enough to harm things. So he generally is not the menace to the environment that humankind has been in recent decades. Rather, he seems to fit into this setting—especially after the turtle’s transformation. Whereas originally the man is a foreigner, as time passes we see that he is at home in this setting. This is his ecosystem.

This is a film rich in possibilities for further consideration. We might wonder what it means to be human in a natural world by comparing this man to the biblical Adam. What does it mean to “have dominion” over creation, as Genesis puts it, and how is that different than the way this man relates to the environment? Or we might consider what it is that makes for a good and happy life? How do the catastrophes of life (such as being shipwrecked) shape our lives and how do we find happiness in the aftermath of tragedy? What is the role of other people in making our lives content?

Special features on the Blu-ray/DVD Combo pack include comentary by de Wit, the Q&A at AFI Fest, and two featurettes, “The Birth of the Red Turtle” and “The Secrets of the Red Turtle.”

How It All Began: The Story of God (Ep. 4)

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Past Articles in This Series: Episode 1 | Episode 2 | Episode 3

The Creation of AdamIn the beginning . . . how did the heavens and the earth come to be?  It’s a question we’ve all invariably considered at some point in our lives. Morgan Freeman has been puzzled by creation since he was a kid attending church in his hometown of Greenwood, Mississippi.  What else is out there? If God was the architect of everything, who (or what) created him? Or was chance a major aspect of the whole thing?

The fourth episode of The Story of God with Morgan Freeman (National Geographic, Sunday at 9P/8C) brings the subject of creation to the forefront of discussion. And just like the preceding episodes, Freeman’s curiosity leads him to a worldwide search to find an answer (if one exists). He learns some interesting things along the way that are worth tuning in for.

For most people in the Western Hemisphere, creation is synonymous with Adam, Eve, and a garden in Eden. The two lived there peacefully, enjoying the place—all until the day they chose to disobey the one rule God gave them—eating of the tree of knowledge of good and evil (see Genesis 2:15-17).  Then they were thrown out by God and forced to work the land in order to survive. Freeman adds, “It’s hard to believe we all come from one man and one woman . . .  but we do.” Freeman has an intriguing discussion with researcher Jodi Magnuss where she mentions a legend about Adam and his dead bones. Supposedly, he was buried right above where Jesus was crucified.  When his blood seeped into the ground, it met the bones and Adam was resurrected. She then has a quick Hebrew lesson with Freeman involving the words adam (man), dam (blood), and adamah (land).

The episode continues with Freeman visiting Gobleki Tepe, an ancient city in Turkey, Egypt, Australia, India, and Guatemala to learn stories of how other faiths describe creation as occurring. Some involve twins and corn (Mayans). Some involve star babies and dreaming (Aborigines). Some are close to the Christian view (Islam), And others just focus on cycles of creation without getting into any details (Hindu).

The Story of God with Morgan Freeman filming in Italy.

(Photo credit: National Geographic Channels)
The Story of God with Morgan Freeman filming in Italy.

(Photo credit: National Geographic Channels)

There is a scientific look at the creation story as well—but the question of the Big Bang is proposed to some high ranking individuals in the Vatican. Monsignor Marcelo Sanchez Sorondo (seen in the picture above) tells Freeman the Big Bang is not creation because “we don’t know what was before” it happened. But the story is compatible with the normal biblical account of creation because, according to Georges Lemaître, a member of the Pontifical Academy of Science, God is outside of space and time.  Creation is an everlasting act, according to Lemaître, one of the first to propose the Big Bang Theory.  I was surprised there wasn’t a quick discussion about whether the account in Genesis 1 took six literal days or simply six equal measures of time, as I’m sure there’s a scholar out there who could provide some perspective on the subject.

It was made abundantly clear throughout the episode that, regardless of belief, there is a standard that someone bigger than us had a hand in the creation of the planet we live on and the universe we look at on a clear evening. Something had to happen – and we’re a direct result of it. It provides us with a sense of encouragement and perhaps purpose. As Gandalf wisely noted in the Lord of the Rings, “All we have to decide is what to do with the time that is given to us.”

May we make the most of it.