I just watched this golden oldie again, and I had forgotten just how funny and how edgy it is. A couple of months back, I wrote about "Airplane", one of my favorite comedies. In some ways, "Blazing Saddles" is very much like "Airplane". Mel Brooks (the legendary director of this film) throws in a joke in this movie wherever, whenever and however he can. As I wrote about in "Airplane", some of the jokes are funny not because they are all that great, but just because Brooks and company just keep on trying.
But something separates this movie from "Airplane". "Airplane" has no agenda but to get laughs. This film has an agenda, and a good one. It's agenda is to take a serious look (while funny) at bigotry. Brooks' work is all about that. "The Producers" uses the Holocaust to get laughs at Hitler's expense. Brooks is attempting, in my opinion, to paralyze bigotry through reducing it to what it truly is. He shows it as stupid. But this movie also shows a simple joy of movie making and messing around with new ideas. The ending is so clever, with the 4th wall being broken down. But in the end, the commentary on racism is what makes this movie so funny and so true. The caricatures are wonderfully effective...the white trash racists are made to look like the idiots that they are by the debonair and urbane Bart. In the film, a greedy Attorney General appoints a black man as a sheriff of a small town of inbreeds so that that want to move out of their town and he can buy up the land to sell it to railroad developers. He ends up being helped by the Waco Kid (an amazing performance by Gene Wilder), a drunken gunman who matches Bart in decency.
This film is merciless in its stereotypes and racial jokes. I contend that this movie could not be made today. The use of the n-word in this film is rampant, and I think that it shows, in part, where we have been over the last 30 years. This word has evolved into being even more vulgar than it was when I was a child. The offensiveness of this word has reached the point that I don't know if it could still be used in a joking context as it is in this film. I think that is a good thing...but I also have to say that there is a certain power to seeing Brooks expose the stupidity of racism through this word. Those who use it mainly fall into two categories: the first group are the bad guys who are beyond repair. But the second group are the townspeople who come to accept this man for who he is, even though they are backward in their racism and stereotypes.
This is the kind of movie that really could only be made in America. Only in a melting pot such as ours where we are forced to deal with people of other races and creed could such a movie be made. Be prepared to laugh, and to be offended.
Wednesday, May 18, 2011
Friday, May 13, 2011
Never Let Me Go
I have not read the novel upon which this film is based, but my wife tells me that this film captures the spirit of the novel very well. If that is true, I may want to ready myself emotionally for reading the novel, because the film is a handful. I seldom have seen a movie where a particular mood is so well captured in a film. Here the mood that is captured is hopelessness and resignation. However, within that hopelessness, hope still resides, and it gives the viewer something to think about in terms of how we must seize opportunities in our own lives, since life is a gift, and life is short.
The film imagines a world parallel to ours wherein cloning was perfected in the 1950's. In the present day, there is an entire race of clones that is being created and raised to harvest their vital organs in order that "originals" (human non-clones) might survive disease. All of these clones know their destiny, and they accept it. The film primarily follows three clones (played by Andrew Garfield, Keira Knightley and Carrie Mulligan) and their short journey through life. The film does not grapple with the ethics of the situation, though there is one human who sees their desperate desire to live a few years for love and proclaims, "You poor creatures." Instead, the film pulls back, shows us the narrative, and allows us to ponder the implications of that world. Many different ethical questions can arise from this film: cloning itself, stem cell research, class struggle, and abortion. The film speaks directly to none of these. What makes the film brilliant is its ability to tell its story without excessive moralizing. It is clear that what is going on the film is not a desirable world, yet the situation is shown with such veracity that it does seem possible.
In the end, we are forced to look into the eyes of these creatures and ask ourselves to identify with them. Their lives are short, but in the grand scheme of things, none of us live long lives, and few of us are ready to die. That is why what is being done to this people is tragic. Life is short enough without it being deliberately and coldly taken from you. On the other hand, will we as humans ever be able to accept the reality of death and not cling to life so tightly that we sacrifice innocent lives in order to extend our own short life spans? These questions naturally arise...and the effect is tremendous.
The film imagines a world parallel to ours wherein cloning was perfected in the 1950's. In the present day, there is an entire race of clones that is being created and raised to harvest their vital organs in order that "originals" (human non-clones) might survive disease. All of these clones know their destiny, and they accept it. The film primarily follows three clones (played by Andrew Garfield, Keira Knightley and Carrie Mulligan) and their short journey through life. The film does not grapple with the ethics of the situation, though there is one human who sees their desperate desire to live a few years for love and proclaims, "You poor creatures." Instead, the film pulls back, shows us the narrative, and allows us to ponder the implications of that world. Many different ethical questions can arise from this film: cloning itself, stem cell research, class struggle, and abortion. The film speaks directly to none of these. What makes the film brilliant is its ability to tell its story without excessive moralizing. It is clear that what is going on the film is not a desirable world, yet the situation is shown with such veracity that it does seem possible.
In the end, we are forced to look into the eyes of these creatures and ask ourselves to identify with them. Their lives are short, but in the grand scheme of things, none of us live long lives, and few of us are ready to die. That is why what is being done to this people is tragic. Life is short enough without it being deliberately and coldly taken from you. On the other hand, will we as humans ever be able to accept the reality of death and not cling to life so tightly that we sacrifice innocent lives in order to extend our own short life spans? These questions naturally arise...and the effect is tremendous.
Monday, May 9, 2011
Bottlerocket
Watching "Bottle Rocket" is like finding the headwaters of the Mississippi-you know that something great will come out of this source, yet you know that you are only at the source, and not at the river. This movie has so much of what its director Wes Anderson would later perfect in "Rushmore" and (in my opinion) most effectively capture in "Royal Tennenbaums". What is it about Anderson's films that make him my favorite current director? A number of things come to mind, all of them on display in this movie, but are perfected later.
First, there is the attention to detail. There is a scene wherein Owen Wilson's character shows his partners in crime a map of the heist they are going to pull. The map is exquisite in its detail. It seems odd that a minor prop for this film would be so intricate. Welcome to Wes Anderson's world. This only becomes more apparent in "Rushmore", in which the protagonist is himself a director of plays. I can't help but think that the attention to detail that Max has toward his plays in Rushmore are a mirror image of Anderson himself.
Second, there is the self importance of the characters. There is a certain tone to a character in a Wes Anderson film that is hard to quantify, but it's always there. Here, this small time heist seems to be a life changing event to Owen Wilson's character, while Luke Wilson and the other accomplices seem to be along for the ride. That prima donna quality is shared by Anderson's protagonists (as well as other characters). With this comes passion and misplaced anger at times, which both lead to humor.
Third, there is always a sense that one is watching something very personal. In some ways, when one watches a Wes Anderson film, one feels as though they are watching a home movie. This is best on display here in "Bottlerocket", since so many of the actors really are family and friends (all of the Wilson brothers are in this movie, as well as friends of the Andersons). Many directors over the years have used the same actors over and over again, but I don't think any director has been this personal with using them. Even as Anderson began to be a more successful director and his casts became more star studded, the familial element still seems to be there.
Many people praised "Bottlerocket" to no end. I like it, but I feel that Anderson really came of age with "Rushmore" and perfected his work with "Royal Tennebaums." But the sleeping giant is fully on display here in this film. All of the angst, innocence, wonder, great soundtracks and closing slow motion shots we come to expect from this extraordinary filmmaker are here for the taking.
First, there is the attention to detail. There is a scene wherein Owen Wilson's character shows his partners in crime a map of the heist they are going to pull. The map is exquisite in its detail. It seems odd that a minor prop for this film would be so intricate. Welcome to Wes Anderson's world. This only becomes more apparent in "Rushmore", in which the protagonist is himself a director of plays. I can't help but think that the attention to detail that Max has toward his plays in Rushmore are a mirror image of Anderson himself.
Second, there is the self importance of the characters. There is a certain tone to a character in a Wes Anderson film that is hard to quantify, but it's always there. Here, this small time heist seems to be a life changing event to Owen Wilson's character, while Luke Wilson and the other accomplices seem to be along for the ride. That prima donna quality is shared by Anderson's protagonists (as well as other characters). With this comes passion and misplaced anger at times, which both lead to humor.
Third, there is always a sense that one is watching something very personal. In some ways, when one watches a Wes Anderson film, one feels as though they are watching a home movie. This is best on display here in "Bottlerocket", since so many of the actors really are family and friends (all of the Wilson brothers are in this movie, as well as friends of the Andersons). Many directors over the years have used the same actors over and over again, but I don't think any director has been this personal with using them. Even as Anderson began to be a more successful director and his casts became more star studded, the familial element still seems to be there.
Many people praised "Bottlerocket" to no end. I like it, but I feel that Anderson really came of age with "Rushmore" and perfected his work with "Royal Tennebaums." But the sleeping giant is fully on display here in this film. All of the angst, innocence, wonder, great soundtracks and closing slow motion shots we come to expect from this extraordinary filmmaker are here for the taking.
Friday, May 6, 2011
Ken Burns' The War
Of all of the films of Ken Burns that I have seen, none surpasses "The War" in my estimation. This 7 part documentary on WW2 is rich, poignant and devastating. Most would call "The Civil War" his masterpiece. I can see why. That film was the first film that he did that reached a broad audience, and it brought the American public in contact with his style and sensibility. What makes "The War" the better film in my estimation is Burns' ability to take his own views out of the mix (for the most part) and let those who lived the experience tell the tale. He does that quite well in his other films through letters and film clips. But this film is special because when it was made, so many WW2 veterans were still around to tell their story. There are still many left, but so many have been silenced. Since the film is a chronological collection of anecdotes, the best way I can sum up the film's brilliance is by relating three anecdotes related to World War 2:
As 1942 drew to a close, the United States had been at war for a full year. That year, Paramount Pictures had released a film called "Holiday Inn", a musical starring Bing Crosby and Fred Astaire. In the film, an Irving Berlin ballad of holiday yearning called "White Christmas" made its first appearance. The song became a smash hit, and it resonated strongly with American troops overseas as they spent their first lonely Christmas away from home. Ken Burns uses home video footage of Luverne, Minnesota, a recording of the song, and a current video image of a film marquee to create a genuine feeling of nostalgia. As you watch the image of the GIs overseas, hear Crosby singing, and see the holiday images both old and new, the viewer is instantly transformed to that place and time. Now, I think of that time and place whenever I hear that secular carol.
At the end of the summer of 1944, the Allied troops were sweeping through occupied France. The great city of Paris was liberated. Here, Burns uses 4 different sources to create a meaningful experience of the liberation of Paris. First, the photographs and home movies of grateful Parisians greeting their American liberators sets a great tone. Second, the strains of the French National Anthem with a jazzy, Django Reinhardt style are the score used, giving the scene both a French feel, and an American overtone, since jazz is an American invention. Third, a jubilant letter written by a young African American GI is read, in which he relates the kisses he received from the Parisian women upon the liberation of Paris. And finally, and most moving, is the account given by Air Force Captain Quentin Aanenson of Luverne, Minnesota. Aanenson is featured throughout the film, recounting the horrors of the war and the weight associated with having to run deadly bombing missions over the continent of Europe. But here, his face has a light to it not seen elsewhere. For here, he recounts flying over Paris during the liberation and seeing the crowds on the Champs Elysses and at the Eiffel Tower all celebrating the liberation. He recounts how in that moment, all of the work they had done was starting to pay off. The viewer can't help but think of the hell this man had recounted in the film of the bombing missions he had run. Here, for the first time, he is seeing the results of the long, difficult engagement.
The last anecdote comes from the Pacific Front. A young Machinist's Mate arrives at the battle of Iwo Jima to see the fireworks of the battle from his ship. He recounts the seeing of banners imploring all of the Allied Troops to "kill the J--s, kill the bastards". He recounts seeing the flames scorching the enemy troops out of their caves on the islands in the Pacific. He leaves out how he got a medal due to being injured while doing a hand stand on a battle ship, but he includes an account of doing hand springs along Market Street in San Francisco to celebrate the victory in the War.
You will not find the last anecdote in the Burns film. Instead, it was an account that my grandfather related to his grandchildren at his home some years back. We sat and listened as he made the horrors and victories of the war come alive for us. I bring it into this entry because not all Americans have what I have-a direct account of the atrocities of World War 2. Burns gives that to us in this film-the accounts that are close enough that we still have them, but feel so distant that we must listen to them to bring us back into the cold realities of war. It has now been almost one year since my grandfather's passing, but when he was laid to rest, I had a new appreciation for what he had done. As the Naval officer played "Taps" and the soldiers folded the flag and handed it to my grieving grandmother, the realities of war came crashing down upon me. This man, with so many others, had lived through a terrible ordeal. Burns makes this so human in this film by getting out of the way and letting the people who lived through it tell their story, just like Papa did.
As 1942 drew to a close, the United States had been at war for a full year. That year, Paramount Pictures had released a film called "Holiday Inn", a musical starring Bing Crosby and Fred Astaire. In the film, an Irving Berlin ballad of holiday yearning called "White Christmas" made its first appearance. The song became a smash hit, and it resonated strongly with American troops overseas as they spent their first lonely Christmas away from home. Ken Burns uses home video footage of Luverne, Minnesota, a recording of the song, and a current video image of a film marquee to create a genuine feeling of nostalgia. As you watch the image of the GIs overseas, hear Crosby singing, and see the holiday images both old and new, the viewer is instantly transformed to that place and time. Now, I think of that time and place whenever I hear that secular carol.
At the end of the summer of 1944, the Allied troops were sweeping through occupied France. The great city of Paris was liberated. Here, Burns uses 4 different sources to create a meaningful experience of the liberation of Paris. First, the photographs and home movies of grateful Parisians greeting their American liberators sets a great tone. Second, the strains of the French National Anthem with a jazzy, Django Reinhardt style are the score used, giving the scene both a French feel, and an American overtone, since jazz is an American invention. Third, a jubilant letter written by a young African American GI is read, in which he relates the kisses he received from the Parisian women upon the liberation of Paris. And finally, and most moving, is the account given by Air Force Captain Quentin Aanenson of Luverne, Minnesota. Aanenson is featured throughout the film, recounting the horrors of the war and the weight associated with having to run deadly bombing missions over the continent of Europe. But here, his face has a light to it not seen elsewhere. For here, he recounts flying over Paris during the liberation and seeing the crowds on the Champs Elysses and at the Eiffel Tower all celebrating the liberation. He recounts how in that moment, all of the work they had done was starting to pay off. The viewer can't help but think of the hell this man had recounted in the film of the bombing missions he had run. Here, for the first time, he is seeing the results of the long, difficult engagement.
The last anecdote comes from the Pacific Front. A young Machinist's Mate arrives at the battle of Iwo Jima to see the fireworks of the battle from his ship. He recounts the seeing of banners imploring all of the Allied Troops to "kill the J--s, kill the bastards". He recounts seeing the flames scorching the enemy troops out of their caves on the islands in the Pacific. He leaves out how he got a medal due to being injured while doing a hand stand on a battle ship, but he includes an account of doing hand springs along Market Street in San Francisco to celebrate the victory in the War.
You will not find the last anecdote in the Burns film. Instead, it was an account that my grandfather related to his grandchildren at his home some years back. We sat and listened as he made the horrors and victories of the war come alive for us. I bring it into this entry because not all Americans have what I have-a direct account of the atrocities of World War 2. Burns gives that to us in this film-the accounts that are close enough that we still have them, but feel so distant that we must listen to them to bring us back into the cold realities of war. It has now been almost one year since my grandfather's passing, but when he was laid to rest, I had a new appreciation for what he had done. As the Naval officer played "Taps" and the soldiers folded the flag and handed it to my grieving grandmother, the realities of war came crashing down upon me. This man, with so many others, had lived through a terrible ordeal. Burns makes this so human in this film by getting out of the way and letting the people who lived through it tell their story, just like Papa did.
Monday, May 2, 2011
Rock and Roll Part 2: Almost Famous
My last entry was about a movie which was a blistering satirical love note to rock music. This one is a sentimental love note to rock music. When I first saw this movie in Boston some 12 years ago, I did not realize how much I would grow to love it. In Spinal Tap, we see truth because the characters in it are so much like other people we have followed. In Almost Famous, we see truth because the characters in the movie (even though they live completely different lifestyles from most of us) are so much like ourselves.
The film follows the adventures of William Miller, a 15 year old high school student who somehow manages to become a rock critic for Rolling Stone magazine. As he embarks on his first tour with a rock band, we witness a coming of age that seems almost classical in its tone. By classical, I mean that even though an innocence is being lost, the film's tone is quite innocent and sweet, and it makes the road seem like an appealing place. The quintessential line of the movie takes place about midway through. William is getting pressure from his mother to get back home to finish high school. He tells his new friend Penny Lane (a band aid, as those who refused to be called groupies labeled themselves), "I have to get home!" She magically waves her hands in front of him and declares, "You are home!" William has to deal with what he wants to do with his life, and his love of music ends up being the road he follows.
Cameron Crowe directed this movie and based it on his own life. I am a big fan of his films (even the ones that I'm not as crazy about are still interesting). This movie is an evocative work. It uses his own life and dozens of wonderful rock songs to build a world. Even though the world does have its pitfalls, it still seems highly idealized, and that is appropriate. It shows the drugs and promiscuity, but somehow it still seems to be sanitized. That is appropriate because the movie is highly nostalgic, and it would be hard to make a nostalgic movie and have the setting be horribly sad. The down side of drugs and promiscuity is seen, but there is no death or STDs, realities that we all know come with the rock world.
There is one common thread to Crowe's films that I must bring up in closing. Crowe sees physical intimacy in a very serious light. Though the characters engage in promiscuous behavior, there is a subtext that there is more to it than that. Penny Lane feels genuinely hurt by Russell's lack of regard for her, even though she knows that he has a girlfriend and that he's on the road constantly. This same theme also pops up in "Vanilla Sky" and in "Say Anything". People in a world as "free" from the boundaries of traditional sexual roles as rock stars do feel the gravity of these actions, and Cameron Crowe sees that. I am always moved by his acknowledgement of that.
So the movie is able to at once be evocative, sentimental, funny, and deep. The glowing shot of the bus at the end of the movie emits a warmth that matches the warmth of this film. I love it.
The film follows the adventures of William Miller, a 15 year old high school student who somehow manages to become a rock critic for Rolling Stone magazine. As he embarks on his first tour with a rock band, we witness a coming of age that seems almost classical in its tone. By classical, I mean that even though an innocence is being lost, the film's tone is quite innocent and sweet, and it makes the road seem like an appealing place. The quintessential line of the movie takes place about midway through. William is getting pressure from his mother to get back home to finish high school. He tells his new friend Penny Lane (a band aid, as those who refused to be called groupies labeled themselves), "I have to get home!" She magically waves her hands in front of him and declares, "You are home!" William has to deal with what he wants to do with his life, and his love of music ends up being the road he follows.
Cameron Crowe directed this movie and based it on his own life. I am a big fan of his films (even the ones that I'm not as crazy about are still interesting). This movie is an evocative work. It uses his own life and dozens of wonderful rock songs to build a world. Even though the world does have its pitfalls, it still seems highly idealized, and that is appropriate. It shows the drugs and promiscuity, but somehow it still seems to be sanitized. That is appropriate because the movie is highly nostalgic, and it would be hard to make a nostalgic movie and have the setting be horribly sad. The down side of drugs and promiscuity is seen, but there is no death or STDs, realities that we all know come with the rock world.
There is one common thread to Crowe's films that I must bring up in closing. Crowe sees physical intimacy in a very serious light. Though the characters engage in promiscuous behavior, there is a subtext that there is more to it than that. Penny Lane feels genuinely hurt by Russell's lack of regard for her, even though she knows that he has a girlfriend and that he's on the road constantly. This same theme also pops up in "Vanilla Sky" and in "Say Anything". People in a world as "free" from the boundaries of traditional sexual roles as rock stars do feel the gravity of these actions, and Cameron Crowe sees that. I am always moved by his acknowledgement of that.
So the movie is able to at once be evocative, sentimental, funny, and deep. The glowing shot of the bus at the end of the movie emits a warmth that matches the warmth of this film. I love it.
Thursday, April 28, 2011
Rock and Roll Part 1: This Is Spinal Tap
Movies are a funny thing. When one listens to the people who make them talking about their production, one hears about an enormous work of organization. People's schedules need to be lined up, the locations have to be set, and so on. Of the hundreds and thousands of movies that get made every year, a few of them are something special. If that merging of forces cold be quantified and bottled, movie producers everywhere would be going to that well constantly.
I think this whenever I watch anything regarding the making of "Spinal Tap." Here is a movie made for very little money, and without even much of a script (much of the film is improvised). But what comes out on the screen is nothing short of genius. It is about all of these people (Rob Reiner, Michael McKean, Christopher Guest, Harry Shearer, and so many others) coming together at a specific time and place and making a truly amazing movie. The first time I saw it, I was at a friend's house 15 or so years ago. The three of us who watched it had all heard of it for years, but had never seen it. Each scene reminded me of the funniest SNL sketch I had ever seen, yet this movie strung together 23 of those sketches in a row.
Why is it amazing? It is the most dead-on satire you will ever hope to find in film. It follows a fictitious rock band as their latest tour (promoting their new album, "Smell the Glove") falls apart. Anyone who knows anything about rock history, or has heard any of the less than glamorous anecdotes about certain rock stars can find something here. David St. Hubbins' girlfriend reminds us of Yoko Ono. Derek Smalls the bass player always seems dim. And Nigel Tufnel reminds us of the self importance of it all, whether he is caressing his precious guitar collection, or losing his cool over David's dalliances with his girlfriend.
It's no big surprise, I suppose, that this movie is special. The people who made it have amazing comedic talent. But how did it come together so well? On a commentary by the filmmakers, they explain how all of them love rock music. The affection for the music comes out, but also the critique of those who make that music. The satire is merciless, but it only stings so much because of the truth in it.
It is also one of the most quotable movies ever made:
"These go to eleven..."
"One of those things the authorities said...best leave it unsolved..."
""HELLO CLEVELAND!!!"
"It's such a fine line between stupid and clever..."
"Dozens of people spontaneously combust every year, it's just not widely reported..."
Just a few choice lines. This movie is a reverse love note to rock music, and every time I watch it, I am blown away by its brilliance. If you have ever cared about a band or followed rock music at all, it's for you. Rock on folks.
I think this whenever I watch anything regarding the making of "Spinal Tap." Here is a movie made for very little money, and without even much of a script (much of the film is improvised). But what comes out on the screen is nothing short of genius. It is about all of these people (Rob Reiner, Michael McKean, Christopher Guest, Harry Shearer, and so many others) coming together at a specific time and place and making a truly amazing movie. The first time I saw it, I was at a friend's house 15 or so years ago. The three of us who watched it had all heard of it for years, but had never seen it. Each scene reminded me of the funniest SNL sketch I had ever seen, yet this movie strung together 23 of those sketches in a row.
Why is it amazing? It is the most dead-on satire you will ever hope to find in film. It follows a fictitious rock band as their latest tour (promoting their new album, "Smell the Glove") falls apart. Anyone who knows anything about rock history, or has heard any of the less than glamorous anecdotes about certain rock stars can find something here. David St. Hubbins' girlfriend reminds us of Yoko Ono. Derek Smalls the bass player always seems dim. And Nigel Tufnel reminds us of the self importance of it all, whether he is caressing his precious guitar collection, or losing his cool over David's dalliances with his girlfriend.
It's no big surprise, I suppose, that this movie is special. The people who made it have amazing comedic talent. But how did it come together so well? On a commentary by the filmmakers, they explain how all of them love rock music. The affection for the music comes out, but also the critique of those who make that music. The satire is merciless, but it only stings so much because of the truth in it.
It is also one of the most quotable movies ever made:
"These go to eleven..."
"One of those things the authorities said...best leave it unsolved..."
""HELLO CLEVELAND!!!"
"It's such a fine line between stupid and clever..."
"Dozens of people spontaneously combust every year, it's just not widely reported..."
Just a few choice lines. This movie is a reverse love note to rock music, and every time I watch it, I am blown away by its brilliance. If you have ever cared about a band or followed rock music at all, it's for you. Rock on folks.
Sunday, April 24, 2011
Ben Hur
This seemed like a good movie for this holiday, since it ends with the Resurrection of Jesus...
I remember watching this movie every year growing up, and I always loved it. Whether you are religious or not, the epic scope of the film and the wonderful story certainly carry the day. The film tells the story of two young men: Judah Ben-Hur, a young Jew from Jerusalem, and his boyhood friend Masala, a loyal Roman soldier who attempts to recruit his old friend in an attempt to bring the Jewish people into allegiance with the Roman Empire. When Judah refuses to turn his back on his faith and his people, Masala casts off any loyalty to his old friend, and allows his to suffer in an almost Job-like manner. Most of the film is Judah's story of how he survives imprisonment to come back and seek his revenge on Masala. All of this takes place at the same time that a young teacher from Nazereth is beginning to gain a following.
The Christ of this film is seen as a powerful moral example. The filmmakers make a decision of never showing his face, only shooting him from the back or from a distance. This is a very effective portrayal of Christ. One of the most powerful scenes in the film is a foreshadowing piece. As Judah is being led off to imprisonment through the desert, he staggers and falls in weakness. There, he is met by Christ, who gives him a miraculously endless supply of water. Judah never forgets this act of kindness, and when he sees this same man who gave him water fall under the weight of a heavy cross near a well in Jerusalem, there is only one thing he can do.
The film preaches the power of Christ's teaching of forgiveness. Judah has to learn what he should do to Masala in the face of horrible injustice. The injustice that has been done to Judah is enormous, and Masala does deserve recompense. The question Judah has to come to grips with as his bitterness increases is what is he to do with the teachings of this young man from Nazereth? Should he hold onto his anger, or should he let it go before it consumes him?
As a Christian myself, it is always wonderful to see elements of my faith brought to the screen well. It seems that many times, elements of the faith are brought to the screen that are far too didactic. In other words, why make a movie when the filmmaker would rather just deliver a lecture? It has been years since I have seen this film, and I noticed that a new Blu-Ray is on its way this fall...maybe it's time to take another look. Happy Easter.
I remember watching this movie every year growing up, and I always loved it. Whether you are religious or not, the epic scope of the film and the wonderful story certainly carry the day. The film tells the story of two young men: Judah Ben-Hur, a young Jew from Jerusalem, and his boyhood friend Masala, a loyal Roman soldier who attempts to recruit his old friend in an attempt to bring the Jewish people into allegiance with the Roman Empire. When Judah refuses to turn his back on his faith and his people, Masala casts off any loyalty to his old friend, and allows his to suffer in an almost Job-like manner. Most of the film is Judah's story of how he survives imprisonment to come back and seek his revenge on Masala. All of this takes place at the same time that a young teacher from Nazereth is beginning to gain a following.
The Christ of this film is seen as a powerful moral example. The filmmakers make a decision of never showing his face, only shooting him from the back or from a distance. This is a very effective portrayal of Christ. One of the most powerful scenes in the film is a foreshadowing piece. As Judah is being led off to imprisonment through the desert, he staggers and falls in weakness. There, he is met by Christ, who gives him a miraculously endless supply of water. Judah never forgets this act of kindness, and when he sees this same man who gave him water fall under the weight of a heavy cross near a well in Jerusalem, there is only one thing he can do.
The film preaches the power of Christ's teaching of forgiveness. Judah has to learn what he should do to Masala in the face of horrible injustice. The injustice that has been done to Judah is enormous, and Masala does deserve recompense. The question Judah has to come to grips with as his bitterness increases is what is he to do with the teachings of this young man from Nazereth? Should he hold onto his anger, or should he let it go before it consumes him?
As a Christian myself, it is always wonderful to see elements of my faith brought to the screen well. It seems that many times, elements of the faith are brought to the screen that are far too didactic. In other words, why make a movie when the filmmaker would rather just deliver a lecture? It has been years since I have seen this film, and I noticed that a new Blu-Ray is on its way this fall...maybe it's time to take another look. Happy Easter.
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