ScreenFish

where faith and film are intertwined

Ethan Hawke

Tesla: Alternating History

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As one of the more iconic voices in scientific history, the impact of the work of Nikola Tesla has been felt for generations. Without question, his discovery of alternating current and the connection between energy and matter were far ahead of their time. As a result, the mere mention of his name seems to suggest creativity and innovation.

But how well do you really know him?

In Tesla, Ethan Hawke plays the visionary 19th Century inventor, Nikola Tesla. After having first discovered electricity by petting his cat as a young boy, Tesla sought to reinvent the way that we understand electric current. Initially working with Edison himself (Kyle MacLachlan), Tesla’s views caused tension between them, eventually leading to their parting ways and competing against one another. As Tesla’s notoriety grew, he continued to push the boundaries of science on a never-ending quest to create worldwide wireless energy. However, in doing so, he also puts himself into serious financial difficulty and created more conflict with the scientific community along the way.

Written and directed by Michael Almereyda, the film feels like somewhat of a fever dream, blending fantastical and theatrical elements into their vision of reality. As a historical figure, Tesla remains someone of a mythic presence with very little specifics known about him. (The film notes that, by Googling him, you’ll likely only find three pictures repeated over and over.) As such, Almereyda’s use of non-traditional cinematic devices shroud the man in mystery. Standing rather obviously in front of a green screen removes him from reality yet furthers the narrative. In addition, by bathing him in colour (or shadow), Almereyda places his subject in an alternate reality. Whether Tesla is having an ice cream fight with Thomas Edison or bursts out into a performance of Tears for Fears’ ‘Everybody Wants to Rule the World’, Almereyda is unafraid to push the boundaries of historical biographies in an effort to blur the lines between fact and fiction.

In doing so, Tesla can be a jarring experience that never allows you to get too comfortable within the story. Even so, it can also be fascinating to watch, primarily due to Hawke himself. As with every role he takes on, Hawke immerses himself in Tesla, imbuing the character with quiet energy. Amidst Almereyda’s wild images, Hawke portrays the wild visionary as a man out of time. Though he would affect the future, he was not always able to interact well with the present. Despite the fact that he was far from a recluse, Hawke highlights the obsessive nature of his personality in such a way that he seems unable to fully connect with those around, always thinking about his research in the back of his mind.

As it unravels (or reinforces) the mystery that is Nikola Telsa, Almereyda’s film also speaks to the flawed ways that we tell our stories. Told primarily through the perspective of Tesla’s ex-paramour, Anne Morgan, the viewer understands that her experience of him shapes her re-telling of history. Though there are moments where he is held in high regard, Tesla’s flaws are also exposed in such a way that we know that both have been shaped by her attempts to understand him. 

Similarly, Tesla takes the story of its subject and recognizes that our view of history is always filtered by our perspectives. Without more information or personal experience, Tesla himself will always remain somewhat of an enigma in our minds, filtered through our view of him as either innovator or madman. Should Tesla be known as the man who revolutionized the scientific world? Is he the eccentric that believed he’d spoken with people from Mars? Or a messy combination of both? Regardless of our position, our personal biases will filter our opinion of him.

Though I would be hard-pressed to say that Tesla is electrifying, Hawke’s performance is suitably charged up enough to maintain your interest. Through his use of unexpected cinematic devices, Almereyda’s film is as unique as Tesla himself, playing with reality as much as it wants to share the truth with you. This is a film that seeks not to dispel the legends of a mysterious man but to allow that mythology to shape your understanding of his life and impact.

Tesla is available on VOD now.

Saturday at AFI Fest 2019

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The second day of AFI Fest Presented by Audi, was another day filled with interesting and powerful films. The odd thing about being at Hollywood and Highland this year is that since the Egyptian Theater down the street isn’t being used this year, I have no reason (or desire) to descend to street level and the mass of tourists and hawkers on Hollywood Boulevard. I’m up two floors higher where I can look down from my own little world (or perhaps it’s an ivory tower).

Hirokazu Kore-eda is one of my favorite directors. His hallmark is films about relationships—especially family relationships. The Truth is his first film made outside of Japan. That gave me some worries that he might have trouble portraying a different culture, but he’s done a wonderful job. Fabienne (Catherine Deneuve), an aging actress, has just published her memoir. Her daughter Lumir (Juliette Binoche) has returned with her family (including her husband Hank [Ethan Hawke]) after many years in America to celebrate her book—but also to criticize her mother for the falsehoods about their relationship, which was pretty non-existent. A recurring line is “Memory can’t be trusted.” When Fabienne’s major domo suddenly quits after years of being taken for granted, he convinces Lumir to stay around through the next film Fabienne is making—a story of a mother and daughter who rarely see each other. It is a story of memories—real and imagined. It is also a story that delves into the parent/child relationship in the unique way Kore-eda has of exposing love that may not be what we expect.

Kazik Radwanski’s Anne at 13,000 Ft is a very up-close look at a young woman struggling to understand who she is. Anne (Deragh Campbell) is a daycare teacher in Toronto who is hardly more mature or responsible than the children she oversees. After going skydiving (a tandem jump) on a bachelorette party, she wants more than anything to get to where she can do it solo. But as we watch her at work, or in various relationships, we see not only childishness, but also perhaps a bit of bi-polar style personality problems. As the film moves along, we see her less as someone we are comfortable with and more someone we know is at a breaking point. Will skydiving give her the freedom and control she desires or will it be too much for her to handle?

In Song Without a Name (Canción Sin Nombre) from director Melina León, Georgina (Pamela Mendoza),a young indigenous woman in 1988 Peru, is lured to a clinic with the offer of free maternity care. But after she delivers her daughter, the child disappears. Itinerant clinic would steal the babies of poor women to sell for adoption abroad. The police are unresponsive, in part because the poor women are seen as worthless. (When Georgina first goes to the clinic there are children jumping rope to the chant “Singled, married, widowed, divorced. Mother or not, you are worthless.”) In desperations she turns to a journalist to investigate in hopes of having her child returned. The start black and white cinematography emphasizes the dreariness of the story and of Georgina’s life. Her life is visualized on screen by hills and stairs—she is always struggling to get anywhere, but she must persist.

Juliet, Naked: Running from Grace

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Directed by Jesse Peretz (Our Idiot Brother, Girls), Juliet, Naked tells the story of Annie (Rose Byrne), a young woman stuck in a dead-end, long-term relationship with an obsessive fan of obscure rocker Tucker Crowe (Ethan Hawke). When the acoustic demo of Tucker’s hit record from 25 years ago surfaces, its release leads Annie to a life-changing encounter with the elusive rocker himself.

Based on the book by Nick Hornby, Juliet, Naked fits well into his repertoire by discovering the film’s soul within the heart of music. Like other entries into his canon such as About a Boy or High Fidelity, Juliet searches for life’s meaning through the relationship between love and song. Somewhat ironically, while the film’s title stems from the name of Crowe’s acoustic album, the film features very little music but, rather, puts the focus on the meaning behind the artist more than his art.

While performances by Rose Byrne and the entire cast are strong, the standout of the film remains Hawke as the mysteriously malfunctioning Crowe. Burnt out and broken, Crowe is a man who struggles to accept responsibility as he floats somewhat aimlessly through his life. In many ways, Crowe could be the modern-day vision of Hawke’s iconic Troy Dyer from 1994’s Reality Bites as he looks back on his recklessness with regret and pain. However, like Dyer, Crowe is also charismatic, despite his flaws. With Hawke’s ability to imbue even the most damaged characters with empathy, Crowe is both charming and elusive. He is broken but we view him with hope.

Interestingly, one of the key elements to Crowe’s backstory lies in the identity of Grace, a shadowy woman from his past. At the mere mention of her name, Crowe bristles with anxiety, revealing a pain deeper than the rest. Is she a former lover? A long-lost family member? Until her identity is eventually revealed, the audience watches as Crowe does everything in his power to forget her and move on. Despite his many mistakes and broken relationships that he has left in his wake, hers is the name that terrifies him the most.

As a result, the identity of this stranger leads to a beautiful conflict within Crowe. As he seeks to avoid confronting Grace, we also recognize that her name has thematic significance as well. For Crowe, redemption and healing are out of reach. To him, his life has yet to experience the concept of grace in a way that carries any meaning for him. Even more so, just like Grace herself, he continues to run from it. Although Annie recognizes his value stems from more than his music, Crowe struggles to accept the one thing that he fears the most… grace itself. In other words, Crowe’s inability to face his past (or himself) appears to stem from the idea that he somehow does not deserve forgiveness from his indiscretions. Like many of us, his hurt feels overwhelming with grace unable to tip the balance. (Though, isn’t that the very nature of Divine grace? That we are worthy to be loved despite our brokenness?)

It should be noted that, despite these explorations of Crowe’s brokenness, Juliet, Naked is actually fairly light-hearted in tone. While the film does paint a portrait of a man in desperate need of healing, Hawke’s charm, Byrne’s endearing nature and some solid laughs from supporting characters give the film the energy it needs. In the end, however, the soul of the film lies in a man who is running from grace.

Juliet, Naked is in theatres on Friday, August 31st, 2018.

First Reformed – A Pastor’s Dark Night of the Soul

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“Will God forgive us?”

A pastor’s grief, guilt, and growing crisis of faith gives rise to First Reformed, from writer-director Paul Schrader. Schrader has delved into faith before in films like Hardcore and The Last Temptation of Christ (for which he wrote the screenplay). He has also sought to plumb the dark places of life with scripts such as Taxi Driver and Raging Bull. In First Reformed all of this comes together.

Ernst Toller (Ethan Hawke) is the pastor of a historic church in upstate New York. It is now little more than a tourist stop with a very small congregation. The church operates under the auspices of a nearby megachurch, Abundant Life. After church one Sunday, Mary (Amanda Seyfried), asks Toller to counsel her husband Michael (Philip Ettinger) who is severely depressed over environmental issues. Although Toller tries to lead Michael to see hope, eventually Michael succumbs to his despair. This adds to Toller’s already dark mood.

Toller had been a military chaplain and had encouraged his son to go into the military as well. After his son was killed in Iraq, Toller has lived with guilt and seems to be trying to live a life of penance. He lives a Spartan existence and seems to put off any who would seek to care for him—especially the choir director at Abundant Live (Victoria Hill) who carries a torch for him. The only person he can find any connection with in his world of darkness is Mary. As Toller’s mood continues to spiral down and his health seems to be failing as well, he decides to take a drastic action to bring attention to the environmental issues that concerned Michael.

At one level, First Reformed is a study of a crisis in faith faced by an individual. Toller’s struggle with guilt over his son, a pessimism about where the world is headed, and his failure to find happiness in life seems to have cut Toller off from any sense of God. As he journals (which we often hear in voice over) Toller says the things he writes are much like the things he says to God “when he is listening.” Through all this he must continue to serve the church week after week.

But this film also raises the question of how is the church to act faithfully in a world facing crises. Toller’s little church is about to celebrate its 250th anniversary and Abundant Life is planning a big event. One of the biggest donors is Edward Balq, an industrialist who doesn’t want global warming or the environment talked about. He wants to make sure politics are avoided in the anniversary celebration. Toller is beginning to question how the church cannot be involved in such issues. It falls on Abundant Life senior pastor, Pastor Jeffers (Cedric Kyles) to try to keep Toller in line.

What of the question of political issues in church? It should be noted that First Reformed was a waystation on the Underground Railroad. Obviously political issues have mattered here in the past. But Jeffers, although appreciating where Toller is coming from, must also try to appease those who give generously to the church. This can often be a struggle for those who believe that God’s message speaks to many of the woes that face the world. There are always those who do not want the prophetic voice of the church to be heard.

Pastor Toller’s spiritual anguish, I think, is an exaggeration of a malaise that afflicts much of the church and society. It is not a lack of faith (either for Toller or the church at large). We become so overwhelmed by the griefs and pains of life that we feel paralyzed to address the deep needs of the world around us. After all, we can barely deal with our own problems as we watch the church seeming to be in a death spiral of its own and society falling apart in anger, crudeness, and incivility. This film speaks to the struggle of how to live out the faith we hold to in a time that challenges our faith and values.

Photos courtesy of A24

The Broken Church: 1on1 with Cedric the Entertainer (FIRST REFORMED)

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First Reformed tells the story of Toller (Ethan Hawke), a former military veteran and pastor of the First Reformed Church.  Preparing to celebrate their 250th anniversary, the church has become largely ceremonial, with most parishioners having moved over to the local megachurch, led by charismatic Pastor Jeffers (Cedric the Entertainer). When tragedy strikes, Toller finds himself torn between counseling the victim’s grieving widow (Amanda Seyfried) and his own creeping personal issues. Although he’s most frequently viewed as a comedian, veteran actor Cedric the Entertainer handles the role of Pastor Jeffers with strength and humanity. When asked what interested him in this role, he insists that it was opportunity to explore his dramatic side and, more importantly, to work with legendary writer/director Paul Schrader that led him to the film.

“For me, it was the opportunity to work with such a legendary writer and director in Paul Schrader,” he starts. “[Also], when someone asks to cast me out of a comedy movie–and it’s not a comedy, you know, it’s a dramatic role–it’s always something because I have a theatrical background, even though I built my brand as this comedian. I love to get on the screen and find things and really dig into a character. So, this was a break to be able to work with Ethan Hawke and then with Paul as well. I didn’t have any scenes with Amanda, but she was there.”

In fact, what most excited Cedric about the chance to work with the legendary director was Schrader’s ability to find depth in the humanity of his characters.

“In this particular script, it is the kind of empathy that he’s able to find in the despair and discovery that people have as human beings,” he reflects. “Right when we’re the most confident, we’re also the most vulnerable. Right when we should be at our greatest, we can easily on the turn of a dime be at our lowest. There was something about this [film] where…  religion in this movie was the main backdrop–the spiritual life–yet he kind of pulled the layer back, even [in] Ethan Hawke’s character, who’s going through a lot. But my character [is] playing a pastor of a big megachurch, where we got thirty thousand followers, and church is being held at the old basketball theater. Why is that necessary for my spiritual existence, right?”

“And now to see [Toller and say], I believe in this guy, trust this guy and put my faith in him. Then I kind of pull back the layer and remind him that it’s a business. [My character]’s got corporate donors and he’s listening to them over what we want to do. That’s really real and that’s when you do question all of these things that we have to live within the world that are these kind of big tent poles of religion or politics, education and medicine. We kind of just follow along them, knowing that we’re kind of being guided by this big corporate idea of what it is and we tell you what you believe. That was an interesting thing to play.”

In Reformed, Cedric plays Pastor Jeffers, the jovial but burdened minister at the Abundant Life megachurch. In preparation for the role, Cedric went to speak with several well-known megachurch pastors in order to find out how they manage the balance between spiritual leader and corporate figurehead.

“I’m friends with Bishop TD Jakes, who has a huge church with a big following, and also great friends with another minister in St Louis, Freddy Clark. We would sit and just kind of talk about his world. What’s it like? It is this thing where you are the spiritual leader. You do have all these people that come to you from all walks of life because of family circumstances and look at you from the pulpit on Sunday morning as the person with all the answers, right? They assume you have every answer to their life and that, in that Bible or text that you’re going to say, you’re going to give them a bit of knowledge that’s going to solve it all for them… Yet, once you close the hymnals and you say, ‘Amen’, now [Jeffers has] to run this big building. I’ve got a staff. I’ve got land. I’ve got real estate taxes. I’ve got things that are just as important to me as your soul, because in order to have all of this, we had to raise a certain amount of money. We have to provide these programs. So, it was interesting to see someone have to do that and still be a human and at the end, and have frailties and faults… and things that, if everybody saw them, it would be like seeing the Wizard [of Oz]. Like, they’d say ‘Oh wow, you’re just a person.’”

By placing Toller and Jeffers up against one another, Schrader creates a fascinating tension between the two men and their opposing values. However, Cedric believes that much of their differences are a result of the communities around them.

“Toller needs to suffer. He takes it all on… He’s a minister in a kind of a church that doesn’t really have parishioners. It’s kind of a ceremonial kind of place. It’s been around 250 years. So, he spends a lot of time alone and even though he’s supposed to be a leader of people and one that helps, it’s in that loneliness that one finds that they can jump into the despair of their own existence and decide that they haven’t suffered enough. That’s the difference. I think that, because [Jeffers] is in a big organization, I’m constantly being protected or being driven to have to be something on a daily basis.” 

In one of the more interesting (and unexpected) aspects of the film, Schrader inserts a conversation regarding the environment and the responsibility of the church within the narrative that forces Jeffers to make some difficult decisions. Even so, Cedric feels that his character is torn between caring for Toller’s humanity and maintaining his church financially.

Says Cedric, “I think from the point of view of the megachurch, you try to look at things in a bigger picture and not so much in the micro. So, I think that, even when dealing with the character Ed Balq who was the big industrialist in the movie and he’s a big donor for me. [At one moment,] I have to kind of bark at Toller and I want to defend him. It was a thing that Paul didn’t necessarily want because he wanted that he needed Ed to challenge him. But if you listen very briefly, I tell him, ‘Ed…’ I just say his name, [as if to tell him to] bring it down. I felt like that’s the part that you don’t get about Jeffers is that [he] understands what [Ed does] for [him] but, as a human, [he] understands [Toller] too. So, he would accept your donation from this organization, so I can accept the fact that you’re going to maybe kill a few people but, with that sacrifice, I may have the opportunity to save thousands. That’s what Jefferies looks at.

While Toller and Jeffers’ relationship remains strained at times throughout the film, Cedric also believes that there is a genuine friendship between the two characters.

“Imagine being an administrator of one of these kind of big churches where you’re the head honcho and to have someone that you are passionate about as a human… and they make you have to deal with your humanity,” he reflects. “They raise a question that you haven’t had an answer in a long time. The fact that he would even challenge Ed Balq [shows that Toller] is a person that puts some energy back into you… That is a friendship that I need. Right? Because that’s a person that makes you ask a question when you don’t have to have questions. All you give away as answers (in your opinion) because you’re the king. And that is something that me and Ethan, in our couple of our rehearsal days, we discovered a relationship where we knew each other and that there was a real friendship there, even though I’m communicating like boss to subordinate. It’s this thing that we wanted to make sure that people felt like they actually could be better friends. They probably are friends.”

In light of his financial dealings, it would not be difficult to judge Jeffers for his actions. Nevertheless, Cedric still believes that his character is a good man, despite his compromises.

“I would say yes, to the degree that he is a man that’s trying to do good,” he begins. “In the process of that, do I have to do some bad things? Maybe. But, overall, Jeffers is trying to do good, even when he speaks to Toller and he’s trying to get him to understand that [he’s] always living in the garden. [He tells him that he’s] always where the despair is… When you do that, you make the choice sometimes to leave people behind. You make the choice that maybe you will have an extra glass of communion wine, but it doesn’t make you a bad guy. I found that with some of the guys I studied. We met at a cigar lounge and you go, ‘Well, do you smoke cigars? Is that right or wrong?’ Yeah, I’ll have a cigar. I have a glass of wine… I may even use language amongst certain friends, you know. But again, this is all in that part of being a human as opposed to literally try to live on the pedestal that people put you on.”

Despite the film’s controversial exploration of modern day religion, Cedric was still surprised at some of the backlash that he experienced during the film’s production.

“Early on, as we were scouting locations, we had to speak with several pastors and it was the question of the subject matter that made one of the bigger churches [nervous],” he remembers. “I was friends with them. I called them personally and they made this choice that was very Jeffers, I felt. They made a choice to say ‘No, you can’t shoot this movie here because we think that it may put a blemish on what we sell as a religious belief. We don’t want to sell that. And it was like this is not your church. We just need the location. But for them it felt like maybe people would see their lead minister as the same kind of guy. It [seemed like they didn’t] want to raise that question. They actually wanted script approval. It got crazy.”

For full audio of our conversation with Cedric the Entertainer, click here.

 First Reformed is in theaters now.

When Film Confronts Faith: 1on1 with Paul Schrader (FIRST REFORMED)

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Written and directed by the legendary Paul Schrader (Taxi Driver, The Last Temptation of Christ), First Reformedtells the story of Reverend Toller (Ethan Hawke), a pastor of a small church in upstate New York. After an encounter with an unstable congregant and his pregnant wife leaves him shaken, Toller finds himself embroiled in an environmental controversy that involves the local megachurch. His faith waning and his body slowly succumbing to illness and addiction, Toller is forced to re-examine all of his beliefs and how they connect in today’s culture. Having grown up within the church setting, Schrader believes that his upbringing has often affected how he interacts with cinema.

“I was raised in the church, a product of Christian school system. So, we didn’t see movies. Those weren’t allowed. So, I got sort of interested in movies at the college level and, [more specifically,] serious movies like European cinema of the sixties, and Bergman. That’s sort of how I got interested. I wrote a book [titled Transcendence in Film] about spirituality in cinema at that time because I was a film critic. Then, I drifted into the commercial cinema and got obsessed with the attractions of action, empathy and psychological realism of sexuality and made movies in that vein and did the devil’s work for many decades.”

Despite his upbringing within the church, Schrader has never been interested in delving into his spiritual history onscreen. However, once his mind was changed, he also felt that the First Reformed came together quite quickly.

“I never thought I would make a spiritual film,” he claims. “I never did. People would ask about it and I said, no, I’m not gonna go there… Now, [though] you can afford to do these kinds of films. In the past, I couldn’t afford to do it. It wouldn’t be cost effective to make this kind of film in America… I knew it was time to turn [my] hand to write a spiritual film. Once I made that decision, then the particulars of the film started coming into my mind. I drew upon the films in the genre that I had known and loved and then sort of glued them together with the glue of Taxi Driver”.

With this in mind, one of Schrader’s deep passions remains the exploration of spirituality in film. While many associate this idea with either basic ‘faith-based’ movies or religious themes within their narratives, he believes that genuine transcendent filmmaking goes much deeper than that by inviting the viewer to meditate upon the moment.

“When you talk about spirituality in film (which is different than religion), you’re talking about withholding devices. You’re talking about devices that come from the field of contemplation and meditation. There is no fast way to meditate. That’s when you start pulling away from the viewer, withholding certain things that they expect, [whether it’s] cutting patterns, music, all of this stuff. [When you do that], you’re inviting them to lean forward. A normal movie is all over you and desperate for your attention. It has its hands all over your body, on your throat, and saying, ‘Love me, love me. Here’s some music. You’ll love this music. There were some cool shots. Here’s a pretty girl. Here’s a fast car. Have an explosion. Love me, love me, love me!’ It’s exhausting and you don’t have to do a thing.”

“Now, you get the opposite kind of feeling with holy film. It’s leaning away from you. It’s saying, ‘I know you think you’re going to see this, but you’re not. I know you think that when a character walks off street, you’re going to see where they go, well, maybe you’re not. Maybe we’re going to just watch the empty room for a while.’ Even when nothing is happening, something is happening because the viewer is watching and it’s something that’s happening inside of the viewer.”

In light of this, Schrader argues that this sense of spiritual challenge to the viewer remains front and center in First Reformed.

“[For example], if you use a classic holding device like when somebody walks out the door, the door closes, breaks down, we go one, two, three now you’re… Your eye never does that. But you’re in a movie theater and the guy says, okay, let’s watch the door for a few seconds before we do something else. Well, what’s going on in your head? So that is how you start playing that passive aggressive game, getting them to lean forward. And the dangerous line you dance on is when you start using these was holding devices. If you are, [the viewer] can do one of two things: he can start to lean in toward you (in which case you’ve got your goal) or he can get up and leave the theater. So, if you look at the way that First Reformedopens, it’s almost saying to you, ‘If you’re not ready for this, would you please leave right now?’If it’s going to be too slow for you, just leave now and let the rest of us stay.”

With Reformed, Schrader’s exploration of spirituality challenges the viewer, not only through its style, but also its themes. For instance, whereas many films about the church opt to place their emphasis in hope through faith, Reformedinstead chooses not to shy away from Toller’s own failing faith and the impact it has on his ministry. According to Schrader, it was this sense of spiritual blockage that he was most interested in exploring throughout the film.

“He has a sickness and it’s a sickness unto death or despair,” he explains. “He tells that kid, ‘The problem is your despair’ but he’s really talking about himself. He can’t communicate with God. He’s trying various things like writing a journal, the rituals of the church, alcohol, prayer and then he picks up this nasty virus. Whether or not he’s actually an eco-warrior, I’m not sure. Maybe he’s just a diseased man who was looking for a cause.”

Of course, given the subject matters pointedness towards the deficiencies of the modern church system in their faith and response to current global issues. When asked whether or not he believes the church is missing something in today’s society, Schrader argues that this is absolutely the case.

“Of course, they are,” he asserts. “There’s a quote from John Lennon that says, ‘I don’t like God much once they get them under a roof.’ That’s the difference between spirituality and religion in the church. The moment you have a building and a membership and dues and uniforms and a hierarchy and organization, you [become] a kind of corporate structure. You have a budget. You have real estate and you have taxes. How do you combine the message of the gospel of Jesus with the obligations of running a corporation? That’s always been the difficulty. You have a big corporation. You have a sponsor, who is a polluter. Sometimes, you have to live in the real world. Geoffrey says ‘You don’t live real world. You’re a pastor of a church no one attends.’”

For full audio of our conversation with Paul Schrader, click here.

First Reformed was released in theatres on Friday, May 18th, 2018.

 

Maudie – Validation of a Life

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“The whole of life, already framed, right there.”

It’s hard to assign Maudie to any one genre. Certainly it qualifies as biography. But it is also a bit of art history. It’s an inspirational story of finding success and happiness against terrible odds. And at its heart it is a love story—but not the kind of love story that usually is made into movies.

This is the story of Canadian primitivist artist Maud Dowley Lewis (Sally Hawkins). Suffering from severe arthritis since childhood, she is cared for by her overprotective and judgmental aunt. When mercurial fish peddler Everett Lewis (Ethan Hawke) seeks to hire a woman to clean his house and cook his meals, Maud sees it as a chance to escape. Everett lives an almost hermit-like existence. He had learned to be self-reliant to a fault. He lives in a 10’x12’ house without water or electricity. When Maude moves in to such close quarters, it is hard for both of them to adjust. Everett is demanding and at times violent. He is taciturn, while Maud is opinionated and talkative.  Early on he treats her as a lower life form (even the chickens outrank her), but she soon finds an important place in his life.

As an outlet, Maud begins painting pictures of birds and flowers on the walls—and soon the door and the windows. She paints on scraps of wood and paper. A woman from New York wants to buy some pictures, and soon Maud has a roadside business. While this enhances their finances, in many ways it rubs Everett the wrong way. It is a constant struggle to balance these two very independent souls whose lives have become intertwined and who find a love that many may find a bit cold, but there is a passion there.

The film’s greatest strength is the pair of performances by the lead actors. Even when there is little dialogue, their screen presence carries us through the story and the moods that are such a part of the film.

The film often makes use of windows—looking in or out through windows, conversations through windows, windows that might be so dirty we can barely see. For Maud, her art was the window through which she viewed the world. Her paintings are vibrant and happy—far happier than we might expect from someone who suffered so much both physically and emotionally. It is through the window of her art that Maud found happiness and validation.

The concept of validation is a key. How frequently we use the word invalid for someone with a physical or emotional problem. And how close we may come to thinking of such a person as not valid because of their affliction. That is certainly how Maud’s family treated her. She was deemed unimportant and a burden. Early in her relationship with Everett, he thought her incapable of doing what needed to be done. Yet when others began to see beauty in the pictures that she created, it was obvious that she mattered. It was not just that she was earning money. It was that she did something that brought joy to herself and others.

Maudie reminds us of the intrinsic value each person has. To treat them otherwise means we could well miss the gifts they offer to us.

Photos courtesy of Sony Pictures Classics

 

First Reformed: Is Church Relevant?

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“Will God forgive us?” — Toller (Ethan Hawke, First Reformed)

First Reformed tells the story of Toller (Ethan Hawke), a former military veteran and pastor of the First Reformed Church.  Preparing to celebrate their 250th anniversary, the church has become largely ceremonial, with most parishioners having moved over to the local megachurch, led by charismatic Pastor Jeffries (Cedric the Entertainer).  A former military veteran and father to a deceased child, Toller seeks desperately to ‘feel alive’ again in his ministry and finds himself called to the home of a suicidal parishioner for counselling.  When tragedy strikes, Toller finds himself torn between counseling the victim’s grieving widow (Amanda Seyfried) and his own creeping personal issues.

Written and directed by the legendary Paul Schrader (Taxi Driver, Afflicted), First Reformed reveals the hidden realities of church ministry, ugliness and all.  As Toller, Hawke offers a strong but subtle performance, portraying him as both warm and broken.  He is a man who is constantly ‘in the garden’ of suffering, emotionally and physically, clinging to a faith that seems irrelevant to the culture in which he lives.

However, in the death of his parishioner, he finds new life as he begins to question what it means to express his faith in the 21st Century.  By re-examining his passions and calling, Toller’s crisis of faith leads him into conflict with established religion, eventually putting him at odds with his friend, Pastor Jeffries.  Focused on massive budgets and state-of-the-art technology, Jeffries’ megachurch provides a fascinating contrast to Toller and First Reformed by showcasing the potential hypocrisy of the ‘ministry as big business’ mentality.  While Jeffries speaks of meeting with people of importance and spectacle, Toller demonstrates an increasingly deeper interest in justice issues such as the Underground Railroad and environmental conservation.  This juxtaposition of ideologies highlights the dangers of ‘cultural spirituality’ and begs the question of where the church’s responsibility lies today.  As the film goes on, Toller increasingly agonizes over important cultural issues, to the extent that he wonders if God will forgive us for our selfishness.

In light of this, First Reformed plays out as both call to the church and challenge to it as well.  Schrader’s script depicts the angst of one who clearly wishes the church will come alive by recognizing its potential role to affect change in our world.  As a result, First Reformed portrays the church as both hopeful and irrelevant by highlighting the lack of interest in social issues in favor of spiritual entertainment.  Broken by his personal history, Toller’s journey also reveals the impact that a person (or church) can have to affect change but also questions to what lengths they must go to do so.

For audio of our interview with writer/director Paul Schrader, listen below:

For audio of our interview with Cedric the Entertainer, listen below:

In a Valley of Violence – Sin and Salvation in the Old West

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“I’m not here to save you. I’m not here to save anybody.”

The Spaghetti Western is back! In a Valley of Violence harkens back to the films of Sergio Leone and Clint Eastwood. From the opening credits we know a very close similarity to films like The Good, the Bad, and the Ugly. Like those earlier Westerns, this is something of a demythologized West. There is no romance to this vision of the Old West. People and life are hard. There is little love to be seen. Through it all, there is a good deal of talk about sin and salvation.

In a Valley of Violence

On his way to Mexico, Paul (Ethan Hawke) and his dog Abbie come across a whisky priest (Burn Gorman) in the desert. He is told that over the ridge is the town of Denton, that is “full of sinners.” While Paul wants to avoid other people, he decides a stop in town would be a good idea. When he arrives in town, the first building is a boarded up church. Paul reflects, “God must have packed up and left with the rest of them.” Soon Paul has a run-in with Gilly (James Ransone), the local bully and son of the Marshal (John Travolta). Paul is happy to go on his way, but Gilly isn’t willing to let things go. Violence and vengeance escalate, and Paul, who is haunted by his past, must go back on the promise he made himself to not kill any more.

Added to this mix are two sisters, Mary-Anne (Taissa Farmiga) and Ellen (Karen Gillan) who run the town’s hotel. Ellen has connected herself to Gilly as a way out of the boring life of this community. Mary-Anne, whose husband has left her, sees her hope of escape in Paul. But Paul has a past that makes him not want any human connections. He sees himself as a sinner without hope of redemption. As such, he won’t allow himself to be loved, and so cannot offer love.

In a Valley of Violence

It is interesting just how often the ideas of sin and salvation come up in the dialogue between all these characters. They seem to be defined by the sins of their lives. Anger and hubris are very central to Gilly and his cohort. The Marshal just wants to maintain a status quo, even though he knows his son is dangerous. Ellen embodies vanity. Paul cannot let go of the sins of his past. That is the very reason he his drifting through the desert to get to Mexico. Only Mary-Anne has a claim to goodness. She spends her life taking care of others but feels as though she is punished for it. Salvation seems impossible to these characters. Paul just seeks solitude as an escape from his guilt. The rest seem to see themselves as residing in hell. It is Mary-Anne who is actively looking for something better—a redemption that she hopes she can find in Paul.

In A Valley Of Violence

Whether salvation can be found in this film is a question worth considering. But a deeper question is whether violence can be the medium by which salvation is accomplished. This is a story that is driven by revenge and violence. Does all that overcome the sinfulness that envelops Denton or by the end do we think that the evil that dwells there has come out victorious?

Photos courtesy Focus World

3.1 Serving Justice with the MAGNIFICENT SEVEN

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To kick off Season 3, Steve ponies up to the saloon with Pastor James Harleman (Cinemagogue.com) to chat about Antoine Fuqua’s Magnificent Seven!  Does the western still matter today?  What’s the line between righteousness and justice?  All this and more as the guys showdown at high noon…

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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A very special thanks to Pastor James Harleman for joining us again this week!  If you’d like to connect with him, you can do so through his ministry, Cinemagogue.com

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