THE INTERNET, GOOGLE, YAHOONEWS, FACEBOOK ARE ALL TAILORING WHAT YOU SEE TO WHAT THEY THINK YOU WANT TO SEE! THERE'S NO MENTION OF TWITTERFEED WHICH I THINK SIMPLY SHOWS YOU POSTS IN REAL TIME OF WHOMEVER YOU FOLLOW?
Friday, 20 May 2011
Friday, 13 May 2011
Wednesday, 11 May 2011
“Cave of Forgotten Dreams” is the latest documentary by the inimitable Werner Herzog (“Rescue Dawn,” “Grizzly Man”). Herzog is both a fiction/feature film writer/director AND documentary maker. Audiences tend to either like him or not. I’m a liker.
And you have to like HIM to like his films, because he will earnestly and tersely narrate the whole thing to you in his non-lilting, non-professional-voiceover German accent, as if you’ve been cornered at a dinner party of terribly interesting people. You can feel him straining for insight and understanding—often stretching out a story line—but I don’t mind because he does manage to find those nuggets of truth, and he leaves spaces for you to find your own.
To me, Herzog is one of the most human of all filmmakers, inserting himself and everyone else into his documentaries in the most casual and unpolished of styles. He films himself filming. He films his cameramen filming. We hear him asking questions of his interviewees, and then he interrupts them to probe further. He tells one of his interviewees about to go off and demonstrate something: No, stay here. But Herzog is not a Bill Maher-type control freak over his productions. It’s more what BJP2G would call the “personalistic norm.” That is, everything we do, we do humanly. Everything we do is personal and partly subjective: perspective, participation, appreciation, influencing outcomes, etc. And the personalistic norm is a good thing. Humans should humanize. Persons should personalize. Herzog needs to involve everyone and everyone-experiencing-everything in his doc as part of a successful experiment.
Herzog is always after “humanness,” and will baldly go after that question time and again in his work. In a recent interview on NPR he spoke of how, growing up in Germany after the War, he was often very hungry as a child. He eschews graphic violence in films and won’t allow it in his own (“comic book” violence—KAPOWEE!—is OK, though). I remember in “Grizzly Man”—the story of Grizzly Bear enthusiast Timothy Treadwell and his death at the hands of a Grizzly—Herzog came into the possession of a video recording of the actual event. Treadwell’s girlfriend was filming the encounter until it turned deadly. She dropped the videocam while it continued recording the audio, and tried to save Treadwell. She was also killed. On camera in “Grizzly Man,” Herzog gives the original recording to a previous girlfriend of Treadwell’s and tells her to destroy it. He did not include the gruesome audio in his documentary.
“Cave of Forgotten Dreams” takes us into the Chauvet Caves in Southern France where, in 1994, the oldest cave drawings in the world, 32,000 years old—in pristine condition—were discovered. They are twice as old as any other cave drawings ever found. Herzog, entering the caves with a team of scientists and art historians is the only person ever allowed to film the extraordinary sight. And now WE get to ogle the exquisite and refined line drawings of animals (some also shaded in) of (mostly) a single, very talented artist. There are very strict rules and limitations for entry into the caves, including sterile boots and a vault door that locks behind you. The lights and cameras that Herzog and crew were allowed to bring in were not of the highest quality, but in the end, the effect is that we see the joyous and wondrous drawings in the same kind of flickering, dancing light that the Paleolithic people first to enjoy them saw them in: torch light.
There is only one image of a human being: a woman—but she is combined with an image of a bull. This is the only fantastical creature portrayed. The rest of the beasts are straight-forward but artistic renderings of the plethora of animals that surrounded these early modern humans (many of the species now extinct): woolly mammoths, woolly rhinos, hyenas, wolves, horses, bears, lions, ibex. There are even large butterflies and insects. Oh, but the horses are so beautiful. Everyone in the film pretty much agrees that they are the crown jewel of the caves. The depictions are mostly profiles, but there are exceptions. A bison turns his head to look over his shoulder at us (or at a pride of lions).
Why all animals and no people? Perhaps the centrality and primacy of animals to the lives of the people. They were the daily occupation, the hunted. Yet they were not only prey for the humans but predators. They were food, they were the source of all kinds of life-sustaining resources. Perhaps, like the Native Americans, they were seen as spirits from which humans could imbibe many qualities.
The soundtrack is slightly discordant modern chorale singing and/or strings. I couldn’t help thinking that--as we silently reflected on the hordes of horses undulating across the smooth, curved, contoured walls of the cave--we were listening to HORSEhair bows dragging across the violin and cello(?) strings….
Herzog wants to involve ALL our senses. He even brings in a master perfumer to use his nose for us in the caves (doesn’t really work). At one point, Herzog makes everyone be SILENT and just listen to the silence and dripping in the caves.
I’m not really sure why Herzog calls this a cave of “dreams.” Herzog is obviously fascinated by every person he interviews, and asks them about their personal lives as well. At one point he uncovers that one of the archaeologists had been a circus performer. After seeing the cave drawings for the first time, this archaeologist began dreaming about them at night. He called dreaming: “A way to understand things that is not direct.” Perhaps this is where Herzog took the title of his film. And certainly these drawings were “forgotten”! Imagine the artist knowing that we—his brothers and sisters from the future—are admiring his work all over the world on large screens! Of course, he does know, because “to Him all are alive” (Luke 20:38).
OTHER STUFF:
--I’m one of those people who normally can’t see 3-D, even with the glasses, but this was in “Real D 3-D” (whatever that means) and it worked!
--I loved the eccentric German dude dressed in an Ice Age fur parka who played “The Star-Spangled Banner” on an ancient flute made from a vulture radius. Yeah. Herzog is that quirky. But he’s not out to make us laugh. He REVERENCES quirky.
--I really, really, really want to see the horses on a T-SHIRT.
--“Hippies” are named thus after “Hippos” which is Greek for horse. The horse symbolizes “truth-seeker.” Pope Paul VI was purported to have said that horses are the most beautiful animals God ever made. If he did, I concur.
--Herzog believes in and wants to put “ecstatic truth” in his films. He wants to go for “emotional accuracy” above all. I believe he has achieved it in “Cave.”
--A virtual cave has been created by laser scanners. One portion of the cave is called “Sacre Coeur.” :]
--Question asked in the film: “Was Stone Age man a romanticist?”
--The ancient artist(s) solved a question paleontologists had: extinct male “cave lions” didn’t have manes!
--Sometimes the artist created several outlines of the same animal or gave it extra legs to denote motion! Looks almost like a cartoon or zoetrope at times, especially with the flickering light! Herzog also filmed REAL fade-ins and fade-outs with the muted lights they were allowed to use in the cave!
--If you love this NATGEO type stuff, you’ll love “Cave.” There’s just too many cool factoids to mention here.
--Neanderthals didn’t do art.
--The 20 or so pairs of older people in my theater were the stillest movie-goers EVER. Even during the previews. They didn’t eat, talk, cough, laugh, move—nothing. I have never experienced such a thing. They made me feel positively hyperactive. Did they feel that viewing this extraordinary gallery was a privileged, sacred experience?
--Herzog’s ending was bizarre and anti-climactic: albino alligators, doppelgangers, “nothing is certain, nothing is real”—SAY WHAT???
--Werner Herzog on the Chauvet Caves: “It’s as if the modern human soul burst forth here.”
Monday, 9 May 2011
Great new DVD from the makers of "The 13th Day"! "Finding Fatima" is shot in the same Bresson-esque and super-stylized way as "The 13th Day." While hearkening to and honoring filmmaking's past, the Brothers Higgins are simultaneously bringing the story and message of Fatima to a new generation.
As much as I love watching documentaries, I was just going to give this a quick perusal, but I got hooked and couldn't stop watching.
I thought I knew a lot about Fatima--it's my favorite Marian apparation, and I've been reading books and watching films about Fatima since I was a teenager--but I learned a ton from "Finding Fatima." "Finding Fatima" could be called "Fatima Then and Now," because it brings us up to speed on the Fatima story as it continues to unfold in our present day.
The Higgins Brothers use clips from their "13th Day" for the re-enactments, as we get to know the personalities of the three visionary children in depth. This documentary is chock-full of fascinating, down-to-earth interviews and historical footage, all presented in a spritely way. There's not a dull moment in this life- and joy-filled documentary, even with its more sombre sepia-toned visual edges! Innovative without being novel or gimmicky, "Finding Fatima" has a 21st-century feel to it.
One thing that "Finding Fatima" brings out that--surprisingly--often gets lost in the shuffle of the more sensational miracles/wars/secrets aspects of Fatima is the fact that Mary's visits were also intended to spread devotion to her Immaculate Heart. Mary stated that Jesus wanted to triumph through her Immaculate Heart. She even showed her heart, encircled with thorns to the children at one point.
The pacing is perfect, the interview clips are kept short and the interviewees even sort of "dialogue" with each other! The soundtrack is as mottled as the bordering-on-dreamy palette of colors the film is shot in. Perhaps Ian and Dominic Higgins are onto something new: "transcendent filmmaking." Although all filmmaking should have the quality of the transcendent,* what if your film really is about the real Queen of heaven and earth? "Finding Fatima" is a template of how you might wanna proceed.
Subtitles also in SPANISH.
___
*"Art must make perceptible, and as far as possible attractive, the world of the spirit, of the invisible, of God. It must therefore translate into meaningful terms that which is in itself ineffable. Art has a unique capacity to take one or other facet of the message and translate it into colors, shapes and sounds which nourish the intuition of those who look or listen. It does so without emptying the message itself of its transcendent value and its aura of mystery."
--Blessed John Paul II the Great, #12 "Letter to Artists"
Sunday, 8 May 2011
Monday, 2 May 2011
Abby Johnson LOVES this film and is promoting it. It is already saving lives.
ENGLISH:http://tinyurl.com/TBBEnglish
SPANISH:http://tinyurl.com/TBBSpanish
POLISH:http://tinyurl.com/TBBPolish
ENGLISH:http://tinyurl.com/TBBEnglish
SPANISH:http://tinyurl.com/TBBSpanish
POLISH:http://tinyurl.com/TBBPolish
Sunday, 1 May 2011
I was so moved by this film that I need to “blog about it.” I normally just write a review, but “Courageous” calls for a “blogging about.” (This trailer is a solid representation of the film, but there’s lots more great stuff, too.)
I’ve been asked to be a bit vague about story details since “Courageous” opens on faraway September 30. However, tickets go on sale Father’s Day(!) What gives? Marketing genius, that’s what! The plan is to sell out all the pre-programmed theaters by September 30: www.courageousthemovie.com
Want to bring “Courageous” to your city? Just pre-purchase 1,000 tickets, and you’ve got it.
“Courageous” was done by the same folks who put out “Fireproof” (the story of a fireman whose marriage is on the rocks—his fault, partially because of internet porn—and what happens next). “Courageous is about four policemen, their families, and what being a father means. All us “Fireproof” groupies have been eagerly awaiting “Courageous.” “Fireproof” and “Courageous” are two of the most “Theology of the Body” movies out there. They are from the “moviemaking ministry” of Sherwood Church www.SherwoodBaptist.net (motto: “We can change the world from Albany, GA”). The “moviemaking ministry” is very humbly listed under “Ministries” as “Sherwood Pictures.”
PRE-SCREENING
Hmmm. Where to start. I am not at a loss for words about “Courageous.” I took 17 pages of notes during the screening. A record! In my case, the more notes, the better the movie. So, I need to also blog about the experience of the screening, cuz as soon as I walked in the theater, I recognized one of the stars from “Fireproof”: Ken Bevel. I shook his hand and summarily gushed over “Fireproof.”
When I got to our theater within the cineplex (the huge “Ultra Screen” theater—hey, Sony is releasing this puppy), whom did I end up sitting behind? Ken Bevel (also newly-ordained minister) and his lovely wife. So naturally, I began interviewing him. Ken--who also stars in “Courageous”--had no prior acting experience before “Fireproof,” and he’s really one of the best of the cast. He just retired from the U.S. Marine Corps, but is still in good enough shape to do his own stunts. And stunts there are. Sherwood Pictures has a way with action scenes. They’re just really good at them.
ME: “So, these films are a ministry of your church?”
KEN: “Yes, we use mostly non-actors, members of the church. The stories are written and directed by the Kendrick brothers.”
ME: “Incredible.” (I then proceeded to tell him about BJP2G’s “Theology of the Body,” and how this teaching emphasizes from Ephesians that marriage is a reflection of Christ and the Church: Christ the Bridegroom, laying down His life for His Bride, the Church. Ken nodded vigorously. I told him how Catholics into “Theology of the Body” really appreciated “Fireproof.”)
[As an aside for fans of “Fireproof,” I asked Ken if people always mention salt and pepper shakers when they see him. He laughed and said he has a whole collection of them now.]
THE INTRODUCTION
As the film promoters gave a verbal introduction in the theater, they explained some of the resources and components that will tie in with the movie (as “Fireproof” had). These tie-ins are very cool because they actually APPEAR in the movie itself in some form, and you’re thinking: WE NEED THAT!!! I WANT THAT!!! WHERE DO WE GET THAT???
Sherwood Pictures are not “message movies.” (Lordy, Lordy, spare us the “message film.” As the old Hollywood adage goes: “Wanna send a message? Call Western Union.”) Sherwood Pictures are “take action” movies. NEW GENRE ALERT! As the promoters told us: “We want to make our movies a movement,” or rather, the audience will do that. ROCK ON, NEW GENRE INVENTORS!
The tagline of “Courageous” is also tres, tres cool and very TOB: “Honor begins at home.” Short. Sweet. Brilliant. Cops are about serving, protecting, honoring, right? Guys are about serving, protecting, honoring, right? And there’s lots of wonderful and needed ways they do that outside the home, often for the sake of home, BUT there’s no place LIKE home to do it. “Honor begins at home.” So many things pull men AWAY from home: work, demanding work, overtime work, wars, travel, hobbies, volunteer/charitable work, even church work. So many men are tempted to measure their worth and success by the external benchmarks, accolades, promotions and achievements OUTSIDE the home, but, really? A man’s home IS his castle. Everyone’s first vocation is to love their families. “In the evening of life we will be judged on love” (St. John of the Cross). Our greatest bragging rights should always be about our particular vocation to love/our way of loving (married, single, priesthood, religious life). When people ask us what we “do,” we should talk about our vocations, our families first, what we “are,” before what we “do.” “Honor begins at home.”
I think so many men might be afraid of getting too “domesticated” at home, or if there are problems at home, it’s easier to avoid home. Men working away from the home came with the Industrial Revolution. Before there were factories and skyscrapers and cars, men worked where they lived: on farms, in shops, etc. (Think Joseph of Nazareth at his carpenter’s shop, which was probably attached to his house.) Women need to be aware that men need time alone, with buddies, out in nature, whatever, but home is where the heart is, and where the real test of manhood is: being a husband and father. Men sometimes think they have to be "doing" something or "fixing" something all the time, but what women and children desperately need more than anything is simply the PRESENCE of their men--husbands and fathers. Of course, if men don't feel appreciated, they're not going to want to be "present," so it's a two-way street, of course.
“Courageous” asks the question: “How DO we do fatherhood? Who are our role models for it?”
I thought of another tagline for “Courageous”: “Think fathers are important? So does ‘Courageous.’” But of course I’d be wading into the “message movie” swamp with that.
THE SCREENING
After we get to know and care about the main characters, the movie begins with two awesome action/chase scenes. I don’t know how true-to-life all the cop stuff is, but it certainly is true-to-all-the-other-cop-movies-I’ve-ever-seen. The family life stuff is also true-to-life, often painfully so. There’s a few prolonged belly laughs in the movie (from good character/scene set-ups). There is clever, organic, hidden exposition.
So what about these non-actors? Um, you can’t really tell they’re not actors. Or rather, they’re natural-born actors without formal training. I tried to guess later (with my new best friend, Ken Bevel) which ones were professional actors. Got ‘em wrong. The child actors—as are so many kids today—are phenomenal. Most of them—you guessed it—non-actors from the church.
Ken Bevel is my favorite actor of the bunch (and not just because we’re peeps now). You’ll see what I mean. The dude speaks with such conviction, and perhaps his military training has given him this fixed, penetrating look, that you will hang on every word he says. (Ken shared with the audience that some of his character’s back story is also kind of autobiographical.)
Alex Kendrick (director, writer, actor) is not only believable, but you can tell he’s a very funny guy. One of the film’s promoters said, yeah, he’s so funny that he has trouble focusing when he's on the set.
For those who might turn their noses up at this prospect of non-actors, may I remind you of the post-war Italian film school of Neo-Realism, where non-actors were used to produce some amazingly poignant and enduring films. (See: “The Bicycle Thief.”) I rest my case.
Casting is done with much prayer. They’re not only looking for the best one to fill the part, but will these actors be good spokespeople for the film? Will they be able to handle the fame? Whoa, talk about “neo-realism,” a new way of doing things, and the proper spiritual care and feeding of actors!
And for those who turn their noses up at this way of proceeding:
CARDINAL WOLSEY: “You’d like to govern the country with prayer, wouldn’t you, More?”
THOMAS MORE: “Yes, I would.”
CARDINAL WOLSEY: “And I’d like to be there when you try. You should have been a cleric, More.”
THOMAS MORE: “Like yourself, Your Grace?”
--Robert Bolt, “Man for All Seasons”
Is “Courageous” a religious film? Yup. How does its “religiousness” compare to, say, “Soul Surfer”? Way more religious, although not all the characters in “Courageous” are believers. Each character’s life-situation is extremely current-day. There’s just a lot of honesty about life in “Courageous,” and no easy answers to tragedy. My favorite line is: “God never promised us explanations [to life’s individual events].” Don’t like “religious” films? Go with an open mind and surprise yourself.
THE CRITIC SQUEAKS
Do I have criticisms of “Courageous”? Yes—but I’ll wait till when I release my “official” review, because they will give a little more away, and the criticisms are minor.
THE AFTER-SCREENING
It’s a good succession of films: First—MARRIAGE (“Fireproof”), Second—FATHERHOOD (“Courageous”). So I was chatting with Ken (oh, did I mention I know one of the stars?) again after the film, and I said: “We need a film like this for women.” I had even mentioned this to some of the lady movers and shakers present, and they all kind of slid into the same thing: If men get their act together, if good men lead, women will follow. Women will know what to do. Women already do know what to do, but they have been thwarted by men not leading, or bad men leading. By "women following," I don't mean "submissive," but rather "following on" men's lead--women leading in their own way, women's using their "feminine genius" and gifts BECAUSE of the leadership of good men. 1 Corinthians 11:11 We are interdependent on each other! "Submit to one another out of reverence for Christ." Ephesians 5:21
Subscribe to:
Comments (Atom)
