Once again, Meryl Streep disappears into a role. Her work here as Margaret Thatcher is truly a sight to behold, and it reminds us of one of the many reasons we watch movies. Over the years, many of the great performances put on film have not necessarily been in the greatest movies. However, the greatness of the performance in the film makes the film not only watchable, but also noteworthy. I remember feeling that way when I watched "Yankee Doodle Dandy", with James Cagney. While I think that is a finer film than this one, it nevertheless is carried by an outstanding performance by James Cagney. So it is in the movie.
One of the weaknesses of the film is that it doesn't have a cohesive, driving narrative. True, the film tells the story of Margaret Thatcher's life (she became the first female Prime Minister in the Western World). It tells it mostly in flashbacks, but I felt that it seemed to more resemble a greatest hits album than a powerful story. Fortunately, the hits of Thatcher's life are compelling enough to still tell an exciting story. The person the film depicts is and was a person of deep conviction. In these times of constant political questioning, that can be charming to some and enraging to others. To some, conviction is a weakness as it shows itself to be inflexible and dogmatic. To others, conviction shows a depth of character. Interestingly enough, many times we only admire those with conviction if their convictions agree with our own.
But the real story, again, is Meryl Streep. As I watched this biopic, I was transported back some 8 years to watching the funeral for Ronald Reagan. The funeral featured a video taped message from Margaret Thatcher, who was not well enough to speak in person at the funeral, even though she did attend. Her voice is mimicked so well by Streep that I could hear that video taped message in my head. But the film would be even weaker than it already is if all Streep was doing was some sort of impression for a comedy club. Instead, she inhabits the role, and the voice she uses is a window into the soul of this complicated woman.
The woman of depiction here is one with deep pride in her country, and who sees the heart of her country under attack by the welfare state. Whether one agrees with this or not, there is a certain sympathy to be had in seeing how these sensibilities developed in young Margaret. Though people on both sides of the political aisle are demonized by the other side, it is always vital to remember that each person has arrived at their own conclusions for specific reasons. As we dialogue with each other, we must remember how these life lessons were learned by each of us. I have no idea of the politics of the films' director, but I think it is notable that one cannot tell what they are from watching the film. Here is a film that is more concerned with showing us a picture of a life rather than telling us how we should view that life. I wish it had been more compelling, but the material is fascinating.
Saturday, November 3, 2012
Friday, November 2, 2012
Movie Quiz Answers
Here are the answers for the October quiz! The winner was my friend Christian, who got 28 points out of 35...nice work!
"Life is like a box of chocolates..."-Tom Hanks, Forrest Gump
"La de da, La de da..."-Diane Keaton, Annie Hall
"FREEDOM!!!!!"-Mel Gibson, Braveheart
"Sam, I thought I told you never to play that..."-Humphery Bogart, Casablanca
"For Frodo..."-Viggo Mortenson, The Lord of the Rings: Return of the King
"We keep you alive to serve this ship...row well and live."-Jack Hawkins and Charlton Heston, Ben Hur
"I coulda been a contender..."- Marlon Brando, On the Waterfront
"Fasten your seat belts, it's going to be a bumpy night..."- Bette Davis, All About Eve
"Four jacks! You owe me 15 grand pal!"-Paul Newman, The Sting
"This is not the stuff of which martyrs are made..."-Paul Scofield, A Man for All Seasons
"Yo Adrian."-Sylvester Stallone, Rocky
"Why didn't you take off all your clothes? You could have stopped forty cars."-Clark Gable, It Happened One Night
The connection? All of the movies from which the quotes are taken won the Best Picture Oscar. Thanks for reading and playing...stay tuned for more quizzes!
"Life is like a box of chocolates..."-Tom Hanks, Forrest Gump
"La de da, La de da..."-Diane Keaton, Annie Hall
"FREEDOM!!!!!"-Mel Gibson, Braveheart
"Sam, I thought I told you never to play that..."-Humphery Bogart, Casablanca
"For Frodo..."-Viggo Mortenson, The Lord of the Rings: Return of the King
"We keep you alive to serve this ship...row well and live."-Jack Hawkins and Charlton Heston, Ben Hur
"I coulda been a contender..."- Marlon Brando, On the Waterfront
"Fasten your seat belts, it's going to be a bumpy night..."- Bette Davis, All About Eve
"Four jacks! You owe me 15 grand pal!"-Paul Newman, The Sting
"This is not the stuff of which martyrs are made..."-Paul Scofield, A Man for All Seasons
"Yo Adrian."-Sylvester Stallone, Rocky
"Why didn't you take off all your clothes? You could have stopped forty cars."-Clark Gable, It Happened One Night
The connection? All of the movies from which the quotes are taken won the Best Picture Oscar. Thanks for reading and playing...stay tuned for more quizzes!
Tuesday, October 30, 2012
Movie Quiz...Connections Update
Happy Tuesday everyone! I am re-posting my movie quiz I have gotten two responses so far. Take a shot! I thought I would tweak it a little
this time. I am posting 12 quotes from 12 different movies. The twelve
quotes have a specific connection. So...here's how we'll do this: the
winner will win a $10 Trader Joe's gift card as usual. And, as usual,
identifying the movie from which the quote comes is worth one point, and
naming the actor who uttered the phrase is also worth one point.
Naming the right connection will be worth 10 points. This means that
the total points possible is 35: 25 points for the quotes (quote number 6
is uttered by two people), and 10 points for naming the connection. I
will take entries until Friday, November 2 at 9PM. Please e-mail your
entries to losbascoms@mac.com. Any entries posted in the comments
section will be deleted, as they will be seen by others. Finally,
please do not look on the internet for the answers! No cheating :)!!
If there is a tie, I have a question in mind to break the tie. Good
luck!!
1. "Life is like a box of chocolates..."
2. "La de da, La de da..."
3. "FREEDOM!!!!!"
4. "Sam, I thought I told you never to play that..."
5. "For Frodo..."
6. "We keep you alive to serve this ship...row well and live."
7. "I coulda been a contender..."
8. "Fasten your seat belts, it's going to be a bumpy night..."
9. "Four jacks! You owe me 15 grand pal!"
10. "This is not the stuff of which martyrs are made..."
11. "Yo Adrian."
12. "Why didn't you take off all your clothes? You could have stopped forty cars."
1. "Life is like a box of chocolates..."
2. "La de da, La de da..."
3. "FREEDOM!!!!!"
4. "Sam, I thought I told you never to play that..."
5. "For Frodo..."
6. "We keep you alive to serve this ship...row well and live."
7. "I coulda been a contender..."
8. "Fasten your seat belts, it's going to be a bumpy night..."
9. "Four jacks! You owe me 15 grand pal!"
10. "This is not the stuff of which martyrs are made..."
11. "Yo Adrian."
12. "Why didn't you take off all your clothes? You could have stopped forty cars."
Monday, October 29, 2012
Joel's 5 Favorite Coen Brother Films
I have seen every film that Joel and Ethan Coen have directed. One of the interesting things about the Coen Brothers' films is that most of them take more than one viewing to really sink in. For instance, I remember being almost repelled the first time I saw Fargo, but it has ended up being one of my favorite films not only by the Coens, but also one of my favorite films ever. Their films have ranged greatly in theme, setting and tone, but they do all have some idiosyncrasies that bind them. Above all, the Coen Brothers love film making. When they received an Oscar for Best Picture for "No Country For Old Men", one of the brothers said that they see their film making as playing in the sand box. The work that they have done exhibits that. It is entertaining, never overly sentimental, and always concerned with craft. Here's my list, in no particular order:
Fargo
Though they achieved their glory with "No Country for Old Men", this film, to me, is the quintessential Coen Brothers movie. It has everything. It has quirky dialogue, wonderfully realized characters, an engaging plot, and a wonderful setting. Setting is always very important in the films of the Coen Brothers. The place in which their films are set often takes on a character of its own. Perhaps one of the reasons this film works so well is that it is set in the place of their birth. Minneapolis provides the backdrop for this blood soaked murder tale. What breaks through in this movie that sometimes doesn't break through in some of the Coens' work is the subtle sentimentality made manifest in the character of Marge Gunderson (Frances McDormand). It is her simple Midwestern decency which is the heart of this movie. As Jerry Lundegaard (a wonderfully inept character brought to life by William H. Macy) makes a bigger and bigger mess of his plot, her cleverness solves the mystery. She is constantly being underestimated, and even though there is tragedy in the film, Gunderson's hard work does indeed pay off.
Fargo is one of those films that makes you marvel. The characters are so real, so funny, and so true to life. The movie has popularized the Minnesota accent, but the longer I live here, the more I see how affectionate the portrayal is. While the body count continues to grow in the film thanks to Steve Buscemi's loose cannon cut rate criminal, Frances McDormand continues to work to solve the case, and she continues to live her simple, lovely life. The scenes between her and her husband are among the most poignant I can ever remember seeing on film, and they provide a welcome relief from the blood shed in the movie. They remind us that the people who execute justice have very normal lives. The love that the two of them share is comfortable, decent love. You just don't see that portrayed in films very often. Stories like this come along so rarely.
True Grit
The Coens' most recent effort may be their least offbeat work, but it is a highly satisfying and engaging western. It is clear that they loved the novel upon which the film is based, and the result is a good film with great characters and an exciting story. The setting is important in this film as well. With many westerns, beautiful vistas and stunning sunsets enhance the film and give them an almost dream like quality. The sparse landscapes and harsh realities of the West in this film are a noteworthy contrast. There is still a beauty to the landscape in the film, but one that is much more harrowing and desolate.
When Mattie Ross (a great performance by newcomer Hailee Steinfeld) loses her father, she goes on a quest to avenge her father. This leads her to hire U.S. Marshall Rooster Cogburn (Jeff Bridges) to help her track down the man who killed her father, Tom Cheney. The movie is a classic western very well told. In the end, it does have some distinctly Coen Brothers stamps, but over all it is a simple narrative very well told. Jeff Bridges is the cornerstone of the movie, making a drunken washed up Marshall truly sympathetic. Matt Damon is also good as a Texas Ranger who joins in the hunt, and who has more to him than meets the eye. There is not a lot to really ponder in this movie. It is simply a great western that reminds all of us that sometimes in a film, story is everything. This is a great story.
Raising Arizona
One of the most uproarious comedies I have ever seen. Nicholas Cage plays Hi, an ex con who is trying to get back to the straight and narrow. When he marries police officer Ed, they learn that they cannot have children, and they kidnap one of the Arizona quintuplets. This sets off a series of mad events which make for a hilarious roller coaster ride.
A lot of times, comedies can be best remembered for certain scenes. We all end up quoting these scenes to others, and a certain bond takes place. For me, the scene in which Nathan Arizona is being questioned regarding the disappearance of his son is gold. I cannot think of any 5 minutes of screen time wherein more huge laughs are stuffed. Every performance in this movie is note perfect, and it gets funnier each time you see it.
A Serious Man
The last two films on my list are films that I have only seen once, but they each made a big impact on me. This film seems like a very personal work, as it was filmed partly in the suburb wherein the Coens acutally grew up. I worked in St. Louis Park, MN for 3 years, and the synagogue used for part of the filming was very close to the Trader Joe's where I worked. This film has a lot going for it, primarily an almost Job-like meditation on suffering and what happens when things go terribly wrong for a man. It follows a professor named Larry whose entire life is in a state of chaos. The film does not have much closure to it, but it does offer a fascinating look at a cultural enclave.
One of the reasons this film made such an impact on me was a single moment in the film. I have no idea what the film makers intended with the scene, and that might not matter. During the bar-mitzvah of Larry's son, there is a moment wherein one of the participants on the platform is carrying a heavy scroll. As he trips due to the scroll's weight, he utters the curse, "Jesus Christ!" There is an irony in that utterance. The Christian belief is that Jesus Christ took upon himself the weight of the law...the sight of a person being crushed by the weight of the law and uttering Christ's name is a rich and ironic sight. This film will demand further viewings, but my first viewing of it made a big impact.
Miller's Crossing
Though I have only seen it once, this film's narrative really captured me. It is a lot like True Grit, because it emphasizes story over anything else. The story of mob right hand man Tom (Gabriel Byrne) navigating his way through the double crosses and triple crosses of organized crime is highly engaging. What has always stuck with me, however, is the veracity in the voice of John Turturro's desperate criminal. It is amazing to think that he is not genuine, but the story of the film shows otherwise. This movie also makes amazing use of story along with music to create some amazing scenes. I must watch it again.
Fargo
Though they achieved their glory with "No Country for Old Men", this film, to me, is the quintessential Coen Brothers movie. It has everything. It has quirky dialogue, wonderfully realized characters, an engaging plot, and a wonderful setting. Setting is always very important in the films of the Coen Brothers. The place in which their films are set often takes on a character of its own. Perhaps one of the reasons this film works so well is that it is set in the place of their birth. Minneapolis provides the backdrop for this blood soaked murder tale. What breaks through in this movie that sometimes doesn't break through in some of the Coens' work is the subtle sentimentality made manifest in the character of Marge Gunderson (Frances McDormand). It is her simple Midwestern decency which is the heart of this movie. As Jerry Lundegaard (a wonderfully inept character brought to life by William H. Macy) makes a bigger and bigger mess of his plot, her cleverness solves the mystery. She is constantly being underestimated, and even though there is tragedy in the film, Gunderson's hard work does indeed pay off.
Fargo is one of those films that makes you marvel. The characters are so real, so funny, and so true to life. The movie has popularized the Minnesota accent, but the longer I live here, the more I see how affectionate the portrayal is. While the body count continues to grow in the film thanks to Steve Buscemi's loose cannon cut rate criminal, Frances McDormand continues to work to solve the case, and she continues to live her simple, lovely life. The scenes between her and her husband are among the most poignant I can ever remember seeing on film, and they provide a welcome relief from the blood shed in the movie. They remind us that the people who execute justice have very normal lives. The love that the two of them share is comfortable, decent love. You just don't see that portrayed in films very often. Stories like this come along so rarely.
True Grit
The Coens' most recent effort may be their least offbeat work, but it is a highly satisfying and engaging western. It is clear that they loved the novel upon which the film is based, and the result is a good film with great characters and an exciting story. The setting is important in this film as well. With many westerns, beautiful vistas and stunning sunsets enhance the film and give them an almost dream like quality. The sparse landscapes and harsh realities of the West in this film are a noteworthy contrast. There is still a beauty to the landscape in the film, but one that is much more harrowing and desolate.
When Mattie Ross (a great performance by newcomer Hailee Steinfeld) loses her father, she goes on a quest to avenge her father. This leads her to hire U.S. Marshall Rooster Cogburn (Jeff Bridges) to help her track down the man who killed her father, Tom Cheney. The movie is a classic western very well told. In the end, it does have some distinctly Coen Brothers stamps, but over all it is a simple narrative very well told. Jeff Bridges is the cornerstone of the movie, making a drunken washed up Marshall truly sympathetic. Matt Damon is also good as a Texas Ranger who joins in the hunt, and who has more to him than meets the eye. There is not a lot to really ponder in this movie. It is simply a great western that reminds all of us that sometimes in a film, story is everything. This is a great story.
Raising Arizona
One of the most uproarious comedies I have ever seen. Nicholas Cage plays Hi, an ex con who is trying to get back to the straight and narrow. When he marries police officer Ed, they learn that they cannot have children, and they kidnap one of the Arizona quintuplets. This sets off a series of mad events which make for a hilarious roller coaster ride.
A lot of times, comedies can be best remembered for certain scenes. We all end up quoting these scenes to others, and a certain bond takes place. For me, the scene in which Nathan Arizona is being questioned regarding the disappearance of his son is gold. I cannot think of any 5 minutes of screen time wherein more huge laughs are stuffed. Every performance in this movie is note perfect, and it gets funnier each time you see it.
A Serious Man
The last two films on my list are films that I have only seen once, but they each made a big impact on me. This film seems like a very personal work, as it was filmed partly in the suburb wherein the Coens acutally grew up. I worked in St. Louis Park, MN for 3 years, and the synagogue used for part of the filming was very close to the Trader Joe's where I worked. This film has a lot going for it, primarily an almost Job-like meditation on suffering and what happens when things go terribly wrong for a man. It follows a professor named Larry whose entire life is in a state of chaos. The film does not have much closure to it, but it does offer a fascinating look at a cultural enclave.
One of the reasons this film made such an impact on me was a single moment in the film. I have no idea what the film makers intended with the scene, and that might not matter. During the bar-mitzvah of Larry's son, there is a moment wherein one of the participants on the platform is carrying a heavy scroll. As he trips due to the scroll's weight, he utters the curse, "Jesus Christ!" There is an irony in that utterance. The Christian belief is that Jesus Christ took upon himself the weight of the law...the sight of a person being crushed by the weight of the law and uttering Christ's name is a rich and ironic sight. This film will demand further viewings, but my first viewing of it made a big impact.
Miller's Crossing
Though I have only seen it once, this film's narrative really captured me. It is a lot like True Grit, because it emphasizes story over anything else. The story of mob right hand man Tom (Gabriel Byrne) navigating his way through the double crosses and triple crosses of organized crime is highly engaging. What has always stuck with me, however, is the veracity in the voice of John Turturro's desperate criminal. It is amazing to think that he is not genuine, but the story of the film shows otherwise. This movie also makes amazing use of story along with music to create some amazing scenes. I must watch it again.
Saturday, October 27, 2012
Movie Quiz...Connections
OK folks, movie quiz is back. I thought I would tweak it a little this time. I am posting 12 quotes from 12 different movies. The twelve quotes have a specific connection. So...here's how we'll do this: the winner will win a $10 Trader Joe's gift card as usual. And, as usual, identifying the movie from which the quote comes is worth one point, and naming the actor who uttered the phrase is also worth one point. Naming the right connection will be worth 10 points. This means that the total points possible is 35: 25 points for the quotes (quote number 6 is uttered by two people), and 10 points for naming the connection. I will take entries until Friday, November 2 at 9PM. Please e-mail your entries to losbascoms@mac.com. Any entries posted in the comments section will be deleted, as they will be seen by others. Finally, please do not look on the internet for the answers! No cheating :)!! If there is a tie, I have a question in mind to break the tie. Good luck!!
1. "Life is like a box of chocolates..."
2. "La de da, La de da..."
3. "FREEDOM!!!!!"
4. "Sam, I thought I told you never to play that..."
5. "For Frodo..."
6. "We keep you alive to serve this ship...row well and live."
7. "I coulda been a contender..."
8. "Fasten your seat belts, it's going to be a bumpy night..."
9. "Four jacks! You owe me 15 grand pal!"
10. "This is not the stuff of which martyrs are made..."
11. "Yo Adrian."
12. "Why didn't you take off all your clothes? You could have stopped forty cars."
1. "Life is like a box of chocolates..."
2. "La de da, La de da..."
3. "FREEDOM!!!!!"
4. "Sam, I thought I told you never to play that..."
5. "For Frodo..."
6. "We keep you alive to serve this ship...row well and live."
7. "I coulda been a contender..."
8. "Fasten your seat belts, it's going to be a bumpy night..."
9. "Four jacks! You owe me 15 grand pal!"
10. "This is not the stuff of which martyrs are made..."
11. "Yo Adrian."
12. "Why didn't you take off all your clothes? You could have stopped forty cars."
Tuesday, October 23, 2012
Trouble with the Curve
The only trouble with this movies is it has no curves, other than that, it's a great piece of entertainment. There is nothing unpredictable about it and nothing cutting edge. This is just a simple piece of Hollywood confection, and it is to be enjoyed as such. The acting is great, the story is interesting enough, and since the subtext of the story is baseball, I simply couldn't look away.
In the movie, Clint Eastwood plays Gus Lobel, a veteran scout for the Atlanta Braves who, like Eastwood himself, is getting on in years. He has a highly uneasy relationship with his only child Mickey (named after Mickey Mantle, and played very well by Amy Adams). Mickey had been shipped away by her father after her mother had died. He didn't know how to cope, so he sent her away to relatives. Gus is beginning to lose his eyesight, and his employers have begun to doubt his ability to do his job. They send Gus out on a scouting trip to check out a hot high school prospect in North Carolina. Unbeknownst to Gus, the Braves also send a young hot shot numbers cruncher to make sure Gus gets the job done and signs the hot prospect. Gus' friend and colleague Pete (John Goodman) contacts Mickey to see if she can accompany Gus on the trip because he is worried about him. The problem with this scenario for Mickey is that she has just landed a promotion at her law firm, and the expectations on her are high, so the last thing she should be doing after landing the promotion is going off to North Carolina. While on the road, Gus comes upon Johnny Flanagan (Justin Timberlake), a scout for the Red Sox who is also checking about the hot shot high school prospect. Gus knows Johnny because he had once drafted him for the Braves, but Johnny's arm gave out, and he ended up going into the life of scouting. These plot elements all set up a somewhat predictable outcome, as the father and daughter are forced to deal with old painful issues, and the old scout is forced to show his stuff to the young hot shots.
In an era when there are two distinct schools of thought about baseball which are beginning to merge, this movie takes a highly romantic view of baseball. Whereas "Moneyball" was the story of one man's struggle to overcome his romanticism with science, this movie is about a man who is trying to overcome new fangled technology with old school thought. Witness, for example, Gus' advice to one young prospect: he flies the prospects family in on the Braves' dime, and the kid suddenly goes 4 for 4. Gus is not only knowledgeable about the game, but a brilliant psychologist as well (except of course, with his own daughter). All of this sets the stage for a very entertaining story which gives the audience a sentimental favorite as well as a villainous, arrogant numbers cruncher with whom Gus clashes.
Baseball is a game, like other sports, that is unpredictable. The thing that made "Moneyball" such a great movie is that it acknowledged the human element within the numbers crunching. This movie swings to the romantic side, and that's what makes it likable, but it lacks the same kind of truth. Having said that, it's a highly watchable story, and there are so many "only in the movies" type moments that we can take it for what it it: an entertaining piece of fiction. None of us know how much longer Clint Eastwood will be making movies, but when he does exit, we will have all lost something. His presence here is the movie's heart, especially as the story allows us to see more into his mind. Amy Adams is a great presence as well, as she brings the correct blend of stubbornness and grace that makes her character work. Justin Timberlake and John Goodman are both good in supporting roles, bringing further depth to the story. As a father of a daughter, it is special also to see the connection between these two, especially when it comes to baseball.
In the movie, Clint Eastwood plays Gus Lobel, a veteran scout for the Atlanta Braves who, like Eastwood himself, is getting on in years. He has a highly uneasy relationship with his only child Mickey (named after Mickey Mantle, and played very well by Amy Adams). Mickey had been shipped away by her father after her mother had died. He didn't know how to cope, so he sent her away to relatives. Gus is beginning to lose his eyesight, and his employers have begun to doubt his ability to do his job. They send Gus out on a scouting trip to check out a hot high school prospect in North Carolina. Unbeknownst to Gus, the Braves also send a young hot shot numbers cruncher to make sure Gus gets the job done and signs the hot prospect. Gus' friend and colleague Pete (John Goodman) contacts Mickey to see if she can accompany Gus on the trip because he is worried about him. The problem with this scenario for Mickey is that she has just landed a promotion at her law firm, and the expectations on her are high, so the last thing she should be doing after landing the promotion is going off to North Carolina. While on the road, Gus comes upon Johnny Flanagan (Justin Timberlake), a scout for the Red Sox who is also checking about the hot shot high school prospect. Gus knows Johnny because he had once drafted him for the Braves, but Johnny's arm gave out, and he ended up going into the life of scouting. These plot elements all set up a somewhat predictable outcome, as the father and daughter are forced to deal with old painful issues, and the old scout is forced to show his stuff to the young hot shots.
In an era when there are two distinct schools of thought about baseball which are beginning to merge, this movie takes a highly romantic view of baseball. Whereas "Moneyball" was the story of one man's struggle to overcome his romanticism with science, this movie is about a man who is trying to overcome new fangled technology with old school thought. Witness, for example, Gus' advice to one young prospect: he flies the prospects family in on the Braves' dime, and the kid suddenly goes 4 for 4. Gus is not only knowledgeable about the game, but a brilliant psychologist as well (except of course, with his own daughter). All of this sets the stage for a very entertaining story which gives the audience a sentimental favorite as well as a villainous, arrogant numbers cruncher with whom Gus clashes.
Baseball is a game, like other sports, that is unpredictable. The thing that made "Moneyball" such a great movie is that it acknowledged the human element within the numbers crunching. This movie swings to the romantic side, and that's what makes it likable, but it lacks the same kind of truth. Having said that, it's a highly watchable story, and there are so many "only in the movies" type moments that we can take it for what it it: an entertaining piece of fiction. None of us know how much longer Clint Eastwood will be making movies, but when he does exit, we will have all lost something. His presence here is the movie's heart, especially as the story allows us to see more into his mind. Amy Adams is a great presence as well, as she brings the correct blend of stubbornness and grace that makes her character work. Justin Timberlake and John Goodman are both good in supporting roles, bringing further depth to the story. As a father of a daughter, it is special also to see the connection between these two, especially when it comes to baseball.
Saturday, October 20, 2012
Where Have I Been?
After a good break, I think it's time to start writing again. Almost everyone who reads this blog would already know this, but for those who don't, my dad died suddenly at the end of June. Before I get back to the movie reviews, I felt the need to write one entry about dad and this whole process. The healing process is continuing, and I have left the state of shock and have more entered a state of poignancy. It is appropriate that it should be this way. Dad was a great father and a good friend, and I love him very much. For me to not feel this way would be odd.
This is my first encounter with deep grief. Yes, I have had other people I love pass away, but no one this close to me, and no one this suddenly. As I made my way to California in June, nothing could have been more real, but it all felt so surreal. For the ensuing days, weeks and months, there was a constant mantra in my head, whether I liked it or not. It kept saying, "Dad is dead." I didn't choose that mantra, but there it was. We went through the customary services both at the school where he worked and at the grave side. We saw hundreds of people who came to pay their respects. My family and I stayed in California another week to be with my Mom and my sister and her family. Then, all too quickly, things had to get back to normal.
My first day back at work was challenging. It all proved difficult for me, and I left that day wondering how I things could ever be normal again. I knew this whole time that things would get better, but having never been where I was before, I simply had to trust that fact rather than know it for sure.
During this whole process, movies and other art forms have proven to be a Godsend. At times, they have provided a way of escape. Other times, they have been a source of comfort and identification. Watching "Moonrise Kingdom" shortly after his death provided a nice distraction. Watching "Steel Magnolias" and "About Schmidt" gave my grief more of a frame of reference. "Singing in the Rain" provided great reminders of the many times we watched that movie together as a family. As I, Lord willing, live the days, months and years ahead, I will revisit many other movies as well that I shared with him, and they will be more rich and more textured than ever.
So these days, I live with a sense of loss. It is a much more manageable feeling to deal with then the brutal shock when dad first died. However, it still is a new experience for me. I realize now that how much I love(d) dad is directly proportional to the heart ache I feel now. I also have such a burden in my heart for my mom and sister, who have lost so much. Finally, I see the lost opportunity for the ongoing relationships that my kids would have had with him. As I begin writing again, Dad will continue to pop up in these entries. This blog is one of my outlets, and since dad's death is so close to me, it affects my writing and what I want to write about. I know this loss will be with me from now on, and as I encounter more works of art, more elements of art will jog new or forgotten memories of dad, and I will write them.
Dad is in a glorious state now, I am quite sure. I think he also is somehow pulling for us all in this ordeal, all the while enjoying a new life that is devoid of so much of the pain of life on this earth. To the extent that God gives us his glory in his Word, in his creation, and in the wonderful works of man in the arts, we have a piece of eternity here on earth. Maybe that is why it is in those moments of experiencing art that I still feel close to dad, and both the loss and God's glory seem magnified.
SOLA GLORIA DEI
This is my first encounter with deep grief. Yes, I have had other people I love pass away, but no one this close to me, and no one this suddenly. As I made my way to California in June, nothing could have been more real, but it all felt so surreal. For the ensuing days, weeks and months, there was a constant mantra in my head, whether I liked it or not. It kept saying, "Dad is dead." I didn't choose that mantra, but there it was. We went through the customary services both at the school where he worked and at the grave side. We saw hundreds of people who came to pay their respects. My family and I stayed in California another week to be with my Mom and my sister and her family. Then, all too quickly, things had to get back to normal.
My first day back at work was challenging. It all proved difficult for me, and I left that day wondering how I things could ever be normal again. I knew this whole time that things would get better, but having never been where I was before, I simply had to trust that fact rather than know it for sure.
During this whole process, movies and other art forms have proven to be a Godsend. At times, they have provided a way of escape. Other times, they have been a source of comfort and identification. Watching "Moonrise Kingdom" shortly after his death provided a nice distraction. Watching "Steel Magnolias" and "About Schmidt" gave my grief more of a frame of reference. "Singing in the Rain" provided great reminders of the many times we watched that movie together as a family. As I, Lord willing, live the days, months and years ahead, I will revisit many other movies as well that I shared with him, and they will be more rich and more textured than ever.
So these days, I live with a sense of loss. It is a much more manageable feeling to deal with then the brutal shock when dad first died. However, it still is a new experience for me. I realize now that how much I love(d) dad is directly proportional to the heart ache I feel now. I also have such a burden in my heart for my mom and sister, who have lost so much. Finally, I see the lost opportunity for the ongoing relationships that my kids would have had with him. As I begin writing again, Dad will continue to pop up in these entries. This blog is one of my outlets, and since dad's death is so close to me, it affects my writing and what I want to write about. I know this loss will be with me from now on, and as I encounter more works of art, more elements of art will jog new or forgotten memories of dad, and I will write them.
Dad is in a glorious state now, I am quite sure. I think he also is somehow pulling for us all in this ordeal, all the while enjoying a new life that is devoid of so much of the pain of life on this earth. To the extent that God gives us his glory in his Word, in his creation, and in the wonderful works of man in the arts, we have a piece of eternity here on earth. Maybe that is why it is in those moments of experiencing art that I still feel close to dad, and both the loss and God's glory seem magnified.
SOLA GLORIA DEI
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