Listening to Silence

silenceI arrived at the advanced screening for Martin Scorsese’s new film, Silence, in the worst possible frame of mind. For one thing, I was running late after seeing to some errands. Also, I was starving. My only option for getting some food in time was a fancy burger joint near the entrance to the multiplex. It was one of those places that makes your burger to order and I fidgeted at the table, waiting for my number to be announced.

I sensed the irony of chowing down before watching a story that chronicled both the extreme poverty of Japanese peasants in the seventeenth century and the torture and execution of missionary priests and converts. Then while I was waiting for my mega-burger and fries a man entered the restaurant who seemed both high and homeless. Having lived in or near big cities most of my life I was instantly on to what he was up to. He was approaching various people in an oblique way, as if to sit down beside them.

I knew that he wanted to make the diners uncomfortable and generate a sense of obligation toward him. And yet, when he asked if he could sit by me, I instantly said no in such a loud voice that I startled myself. He moved on and was soon being told by one of the cooks to leave the premises. [Read more…]

What My Kid Knew about Kubo

kubo[Spoiler alert: This post is about the end of the movie, Kubo and the Two Strings. However, since, I believe, the ending nearly spoils the film itself, you can read this and still enjoy the other, real pleasures of the movie.]

In the dramatic climax of Kubo and the Two Strings, our young hero defies the cold will of his grandfather, the Moon King, standing in a graveyard with nothing but his shamisen and delivering a (frankly) pretty forgettable speech about stories, memories, and identity.

His point, anyhow, is that our memories are our stories and our stories make us who we are. The ghosts of the dead rise up from the graves to reinforce this, and through some incomprehensible mechanism Kubo and the ancestors break the power of the Moon King.

In the wake of the battle, the Moon King has been transformed into an old man with no memory. “Who am I? What am I doing here?” he asks the gathered townspeople.

They quickly jump in with answers: “You’re one of the kindest, most generous citizens of our community,” they say (or something along these lines). “You’re loved by everyone.” A child adds, “And you always give children candy.” [Read more…]

In the Company of Women, Part II

By Jeffrey Overstreet

2783315627_94f68e493d_zContinued from yesterday

“You’re the sort of man who can’t know anyone intimately, least of all a woman.”

That may be the most stinging, hurtful reprimand I’ve ever heard.

Thank God it wasn’t aimed at me: Those words were spoken by Miss Lucy Honeychurch to her fiancé, Mr. Cesil Vyse, in 1985’s A Room With a View.

The insult broke their engagement. It also broke the poor man’s heart, just as it would have broken mine.

As I wrote yesterday, movies have influenced how I feel and what I think in the company of women. [Read more…]

In the Company of Women, Part I

By Jeffrey Overstreet

6978815032_613400725d_zIn late July of 1992, Batman Returns ruled the box office.

I bought a ticket for something else: A film about two married women and a grumpy widow who take a holiday and, as The Seattle Times put it, “rediscover their sensuality on the sunny Mediterranean.”

Strange, I know. But there I was, a twenty-one-year-old male, spending what little money I had to see Enchanted April.

How many college guys would you guess were in the audience watching this ladies-only getaway, listening to women ponder, dream, commiserate, and grumble about their husbands? I doubt that the film’s marketing strategists considered my demographic. [Read more…]

Florence Foster Jenkins, Holy Fool

By Asher Gelzer-Govatos

florence-foster-jenkins-2016-meryl-streepIn many respects the new film Florence Foster Jenkins takes a paint by numbers approach to its genre—the classic biopic. It features a meaty role for a star (Meryl Streep), designed to play well to Oscar voters in the next awards cycle. It gets a lot of mileage—comic and dramatic—out of contemporary differences with its chosen time period (1940s New York). And of course it follows a well-worn dramatic arc: historical figure faces personal and professional tragedy, falls to a low point, then overcomes through the power of the human spirit.

In one very important respect, however, Florence Foster Jenkins stands out: its choice of subject. Unlike the typical biopic the film does not focus on someone of extraordinary ability or historical significance. Instead it examines the final days of a woman more notorious than famous. [Read more…]