Brent Marchant's Blog, page 113
October 17, 2016
This Week in Movies with Meaning
Reviews of "Denial," "Operation Avalanche" and four Chicago Film Festival offerings are all in the latest Movies with Meaning post on the Blog Page of The Good Radio Network, available by clicking here.
‘Operation Avalanche’ asks ‘What do you believe?’
“Operation Avalanche” (2016). Cast: Matt Johnson, Owen Williams, Josh Boles, Jared Raab, Andrew Appelle. Archive Footage: John F. Kennedy, James Webb. Director: Matt Johnson. Screenplay: Josh Boles and Matt Johnson. Web site. Trailer.
From time to time, it’s not unusual for each of us to stand back, take a look at our existence and ask ourselves, “What are we to make of our world?” When we ponder that idea, many of us invariably turn to deciphering our beliefs in an effort – sometimes successful, sometimes not – to make sense of our reality. That’s the conundrum faced by a pair of naïve, idealistic neophytes in the quirky new thriller, “Operation Avalanche.”
This new “found footage” offering takes the genre in an inventive new direction, going beyond the cheesy horror flicks that have long typified it. Set in 1967, the picture follows the sometimes-comical, sometimes-sinister exploits of a pair of fresh-faced college grads (Matt Johnson and Owen Williams playing “themselves”) recently recruited by the CIA as part of its effort to mine American universities for the best and brightest young minds. The newly arrived nerdy, clean-cut novices look to find their way within the agency. But, no matter what work they’re assigned, more than anything else, they fancy themselves would-be filmmakers seeking opportunities to put their skills to use in an official capacity.
When word leaks out that a Soviet spy may have infiltrated the US space program, potentially threatening NASA’s efforts at being first to the moon, Johnson and Williams make a pitch to be named to the CIA team charged with exposing the mole. They propose posing as filmmakers producing a documentary about the Apollo program, a ploy that would give them virtually unfettered access to Mission Control, as well as a credible cover for their true intents. Before long, the duo sets off for Houston, convinced that they’ll be able to find their man and have some fun doing it along the way. If only they knew what they were getting themselves into.
Once on assignment, Johnson and Williams soon find that there’s much more going on than they ever anticipated. Besides the Soviet spy threat, they also learn, through clandestinely recorded phone conversations allegedly involving NASA Administrator James Webb, that there may be big problems within the US space program that have nothing to do with espionage. With the US and the USSR at the height of the Cold War, their respective space programs carry tremendous propaganda value, and American officials express grave concerns about what a foul-up would mean, both scientifically and, more importantly, geopolitically.
Once again, Johnson and Williams step up with a solution. Given the nature of their proposal, their mission quickly changes, taking their work in directions they never envisioned. But, since the changes in their assignment still involve filmmaking, they happily go along with the program, especially when it affords them an opportunity to meet and interact with one of their directorial idols, Stanley Kubrick.
However, the deeper Johnson and Williams get into their assignment, the more ominous it becomes. The fun and games approach they started off with disappears, placing their mission, as well as their lives, in serious jeopardy, especially when it becomes apparent they no longer know who to trust. What’s more, when they begin to consider the implications of what they’re being tasked to do, they each begin wrestling with their conscience, especially if what they’re working on is allowed to proceed to completion. Indeed, can they truly live with what they’re doing, considering the ramifications involved? Of course, that will all depend on whether they’re able to keep themselves alive in the first place.
When we look at how our lives unfold, we’re often left with our heads spinning, especially if events don’t transpire as planned or hoped for. However, when we realize we’re at the center of the events we’re experiencing, we can’t deny the role we play in their manifestation. Recognizing that we’re responsible for what’s occurring gives us a new perspective on our world. Such an awareness is the starting point for understanding the existence of, and our role in, the conscious creation process, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents. And, if Johnson and Williams are to make it through their challenges, they had better grasp the concept sooner rather than later.
The biggest issues the filmmaking duo faces involve figuring out the true nature of what’s happening and who to trust. To do that, they need to get their beliefs in order, particularly those related to their power of discernment. By paying attention to the input provided through their intellect and intuition – the chief influences in belief formation – they have an opportunity to incisively sort out their thoughts and, one would hope, use them to turn them to their advantage.
Discernment is especially crucial here, given the many forces at work in the manifestation of this story. All of those involved in the co-creation of this scenario have their own agendas – some at odds with one another – even if they’re all ostensibly part of the same larger event. Thus the ability to truly understand the nature of circumstances like these is essential if we want our contributions to them to work to our benefit. For Johnson and Williams, the stakes in this couldn’t be higher.
The race to the moon, with all its attendant fallout, comes under serious scrutiny in the quirky new thriller, “Operation Avalanche,” the latest offering in the “found footage” genre. Photo courtesy of XYZ Films.
Interestingly enough, even those with nefarious intents can play a valuable role in affairs like this. Manifestations at cross-purposes with those of would-be heroes keep them on their toes, forcing them to get creative and to push past preconceived limitations to come up with solutions (and the beliefs that materialize them) that counter efforts driven by questionable intent. Challenging circumstances prompt the need for creative solutions, and pushing the envelope in that regard is one of the hallmarks of conscious creation theory.
The foregoing also draws attention to the role integrity plays in the conscious creation process. When we don’t make allowances for it in how we form our beliefs, results can become distorted, creating new and potentially bigger challenges (and the need for yet more boundary-pushing creativity). However, when we seek to manifest our existence in line with this principle, the results can be rewarding, fulfilling and spot-on in terms of its authenticity.
Of course, for those with inherently questionable agendas, integrity may take on a “different” appearance. Indeed, it may seem to be wholly absent when, in fact, it’s actually present, even if it takes a form most of us either wouldn’t recognize or sanction. Those who genuinely believe in the need for things like secret wiretapping and other dubious undercover tactics will likely get the results they seek, no matter how appalling others may view such measures. Ultimately, however, such steps may end up yielding bigger issues down the road, so attempting to envision the long-term consequences may prove the prudent course overall.
This once again spotlights the importance of discernment. By employing it when assessing integrity-related matters, we can better pinpoint the character of our beliefs in this regard. This is particularly crucial when the implications are substantial. Johnson and Williams should heed this caution as they proceed, as should the rest of us.
“Operation Avalanche” is arguably one of the most clever offerings ever to emerge from the found footage genre. The cinematography is particularly noteworthy, effectively mimicking the look of old, crumbling, faded 8-mm film, with its crackly images and jarring hand-held camera work. The picture’s intriguing story line, authentically re-created look of the ʼ60s, hilarious sight gags, offbeat humor and ample suspense make for an unusual mix, breathing new life into a style of filmmaking that has grown progressively stale. Space helmets off to the creators of this fun and poignant little offering.
Taking a hard look at our world requires us to take a hard look at ourselves, usually from multiple standpoints. But, if we’re to make sense of it, we must be hard on ourselves, deftly employing our discernment skills, particularly when it comes to assessing the degree of authenticity we bring to the manifestation table. To do otherwise invites potentially serious consequences, both for ourselves, those with whom we interact and perhaps even others with whom we have no perceived connection. That’s a tall order to satisfy, but it’s one truly worthy of serious consideration given what’s potentially at stake.
Copyright © 2016, by Brent Marchant. All rights reserved.
From time to time, it’s not unusual for each of us to stand back, take a look at our existence and ask ourselves, “What are we to make of our world?” When we ponder that idea, many of us invariably turn to deciphering our beliefs in an effort – sometimes successful, sometimes not – to make sense of our reality. That’s the conundrum faced by a pair of naïve, idealistic neophytes in the quirky new thriller, “Operation Avalanche.”
This new “found footage” offering takes the genre in an inventive new direction, going beyond the cheesy horror flicks that have long typified it. Set in 1967, the picture follows the sometimes-comical, sometimes-sinister exploits of a pair of fresh-faced college grads (Matt Johnson and Owen Williams playing “themselves”) recently recruited by the CIA as part of its effort to mine American universities for the best and brightest young minds. The newly arrived nerdy, clean-cut novices look to find their way within the agency. But, no matter what work they’re assigned, more than anything else, they fancy themselves would-be filmmakers seeking opportunities to put their skills to use in an official capacity.
When word leaks out that a Soviet spy may have infiltrated the US space program, potentially threatening NASA’s efforts at being first to the moon, Johnson and Williams make a pitch to be named to the CIA team charged with exposing the mole. They propose posing as filmmakers producing a documentary about the Apollo program, a ploy that would give them virtually unfettered access to Mission Control, as well as a credible cover for their true intents. Before long, the duo sets off for Houston, convinced that they’ll be able to find their man and have some fun doing it along the way. If only they knew what they were getting themselves into.
Once on assignment, Johnson and Williams soon find that there’s much more going on than they ever anticipated. Besides the Soviet spy threat, they also learn, through clandestinely recorded phone conversations allegedly involving NASA Administrator James Webb, that there may be big problems within the US space program that have nothing to do with espionage. With the US and the USSR at the height of the Cold War, their respective space programs carry tremendous propaganda value, and American officials express grave concerns about what a foul-up would mean, both scientifically and, more importantly, geopolitically.
Once again, Johnson and Williams step up with a solution. Given the nature of their proposal, their mission quickly changes, taking their work in directions they never envisioned. But, since the changes in their assignment still involve filmmaking, they happily go along with the program, especially when it affords them an opportunity to meet and interact with one of their directorial idols, Stanley Kubrick.
However, the deeper Johnson and Williams get into their assignment, the more ominous it becomes. The fun and games approach they started off with disappears, placing their mission, as well as their lives, in serious jeopardy, especially when it becomes apparent they no longer know who to trust. What’s more, when they begin to consider the implications of what they’re being tasked to do, they each begin wrestling with their conscience, especially if what they’re working on is allowed to proceed to completion. Indeed, can they truly live with what they’re doing, considering the ramifications involved? Of course, that will all depend on whether they’re able to keep themselves alive in the first place.
When we look at how our lives unfold, we’re often left with our heads spinning, especially if events don’t transpire as planned or hoped for. However, when we realize we’re at the center of the events we’re experiencing, we can’t deny the role we play in their manifestation. Recognizing that we’re responsible for what’s occurring gives us a new perspective on our world. Such an awareness is the starting point for understanding the existence of, and our role in, the conscious creation process, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents. And, if Johnson and Williams are to make it through their challenges, they had better grasp the concept sooner rather than later.
The biggest issues the filmmaking duo faces involve figuring out the true nature of what’s happening and who to trust. To do that, they need to get their beliefs in order, particularly those related to their power of discernment. By paying attention to the input provided through their intellect and intuition – the chief influences in belief formation – they have an opportunity to incisively sort out their thoughts and, one would hope, use them to turn them to their advantage.
Discernment is especially crucial here, given the many forces at work in the manifestation of this story. All of those involved in the co-creation of this scenario have their own agendas – some at odds with one another – even if they’re all ostensibly part of the same larger event. Thus the ability to truly understand the nature of circumstances like these is essential if we want our contributions to them to work to our benefit. For Johnson and Williams, the stakes in this couldn’t be higher.
The race to the moon, with all its attendant fallout, comes under serious scrutiny in the quirky new thriller, “Operation Avalanche,” the latest offering in the “found footage” genre. Photo courtesy of XYZ Films.Interestingly enough, even those with nefarious intents can play a valuable role in affairs like this. Manifestations at cross-purposes with those of would-be heroes keep them on their toes, forcing them to get creative and to push past preconceived limitations to come up with solutions (and the beliefs that materialize them) that counter efforts driven by questionable intent. Challenging circumstances prompt the need for creative solutions, and pushing the envelope in that regard is one of the hallmarks of conscious creation theory.
The foregoing also draws attention to the role integrity plays in the conscious creation process. When we don’t make allowances for it in how we form our beliefs, results can become distorted, creating new and potentially bigger challenges (and the need for yet more boundary-pushing creativity). However, when we seek to manifest our existence in line with this principle, the results can be rewarding, fulfilling and spot-on in terms of its authenticity.
Of course, for those with inherently questionable agendas, integrity may take on a “different” appearance. Indeed, it may seem to be wholly absent when, in fact, it’s actually present, even if it takes a form most of us either wouldn’t recognize or sanction. Those who genuinely believe in the need for things like secret wiretapping and other dubious undercover tactics will likely get the results they seek, no matter how appalling others may view such measures. Ultimately, however, such steps may end up yielding bigger issues down the road, so attempting to envision the long-term consequences may prove the prudent course overall.
This once again spotlights the importance of discernment. By employing it when assessing integrity-related matters, we can better pinpoint the character of our beliefs in this regard. This is particularly crucial when the implications are substantial. Johnson and Williams should heed this caution as they proceed, as should the rest of us.
“Operation Avalanche” is arguably one of the most clever offerings ever to emerge from the found footage genre. The cinematography is particularly noteworthy, effectively mimicking the look of old, crumbling, faded 8-mm film, with its crackly images and jarring hand-held camera work. The picture’s intriguing story line, authentically re-created look of the ʼ60s, hilarious sight gags, offbeat humor and ample suspense make for an unusual mix, breathing new life into a style of filmmaking that has grown progressively stale. Space helmets off to the creators of this fun and poignant little offering.
Taking a hard look at our world requires us to take a hard look at ourselves, usually from multiple standpoints. But, if we’re to make sense of it, we must be hard on ourselves, deftly employing our discernment skills, particularly when it comes to assessing the degree of authenticity we bring to the manifestation table. To do otherwise invites potentially serious consequences, both for ourselves, those with whom we interact and perhaps even others with whom we have no perceived connection. That’s a tall order to satisfy, but it’s one truly worthy of serious consideration given what’s potentially at stake.
Copyright © 2016, by Brent Marchant. All rights reserved.
October 13, 2016
‘Howards End’ extols the virtues of kindness, compassion, integrity
“Howards End” (1992, original release; 2016, re-release). Cast: Vanessa Redgrave, Emma Thompson, Helena Bonham Carter, Anthony Hopkins, Samuel West, James Wilby, Adrian Ross Magenty, Nicola Duffett. Director: James Ivory. Screenplay: Ruth Prawer Jhabvala. Book: E.M. Forster, Howards End. Web site. Trailer.
A little kindness goes a long way, sometimes much further than any of us might expect. That’s a meaningful lesson for those who need some gentle nudges in that direction, and it’s an imperative for anyone who brazenly puts self-interest before all else. Such is the message of the 1992 award-winning screen classic “Howards End,” recently released in theaters in a digitally restored 25th anniversary edition.
Based on the novel by E.M. Forster, the story of this engaging drama is rather involved, but it basically concerns the relationship of two sisters, Margaret (Emma Thompson) and Helen Schlegel (Helena Bonham Carter), with members of early Twentieth Century London society at opposite ends of the economic spectrum. Margaret befriends Ruth Wilcox (Vanessa Redgrave), the kindly but dying matron of a wealthy family who adores the sanctuary of her country home, Howards End. Ruth so appreciates the compassion that her new friend shows her that she seeks to bequeath the estate to Margaret, a decision looked upon askance by Ruth’s husband, Henry (Anthony Hopkins), her son, Charles (James Wilby), and her daughter-in-law, Dolly (Susie Lindeman). The Wilcoxes’ efforts to thwart Ruth’s wishes, though, take a number of unexpected twists and turns after her death, especially when Margaret becomes close to those who initially oppose her.
Helen, meanwhile, befriends an economically troubled clerk, Leonard Bast (Samuel West), desperately seeking to support himself and his wife, Jacky (Nicola Duffett). Over time, the relationship between Helen and Leonard grows progressively more intimate, a development viewed disdainfully by the Wilcoxes – that is, until unsavory secrets about their own connection to the Bast family are unexpectedly revealed. These revelations complicate matters all the more for everyone involved, leading to a stormy climax with wide-ranging implications, as well as more than its fair share of irony.
Kindly, wealthy matron Ruth Wilcox (Vanessa Redgrave, left) befriends kindred spirit Margaret Schlegel (Emma Thompson, right) in the screen classic, “Howards End,” recently released in theaters in a new, digitally remastered edition to celebrate the film’s 25th anniversary. Photo courtesy of Cohen Media Group.
Given the intriguing story line of this film, it’s interesting to see how matters play out, with developments driven principally by the intents underlying them. The nature of those intents is important, too, not just here, but also in general, since they form the basis of the conscious creation process, the means by which we manifest the reality we experience – in all its aspects – through the power of our thoughts, beliefs and intents.
The beliefs that characterize the principals’ prevailing outlooks are especially crucial in this story, because they affect all of the particulars of their daily existences. Ruth and the Schlegel sisters, for instance, obviously believe in compassion and kindness, and their lives unfold with qualities and events reflective of this mindset. Outcomes may not emerge immediately nor without hitches, but the power and integrity driving the beliefs underlying them ultimately won’t be denied, no matter what obstacles may pop up. Prospective impediments inevitably can’t hold sway, because they inspire the creation and implementation of metaphysical workarounds aimed at dissolving whatever obstructions may appear.
In contrast to the beliefs of Ruth, Margaret and Helen, the self-serving worldview of Henry, Charles and Dolly yields results in line with their thinking. Their attempts at using beliefs to manipulate circumstances prove particularly telling, especially when they come into conflict with those driven by sincerity and altruism. The impact of these concocted intents essentially becomes thwarted, because those who put them forth know that they’re operating contrary to the stated wishes of others (and the inherent power of the beliefs that drive them). Gaming the system like this will only get someone so far, because the tainted nature of such manipulative beliefs can’t overpower those that emerge from genuine origins.
As stated above, this illustrates the significance of integrity in belief formation and implementation. If we work against this, we introduce contradiction into the mix, which, as with fear and doubt, throws a major wrench into the manifestation process. Results either don’t materialize or manifest in “distorted” forms, conditions that won’t change until genuine, full-fledged sincerity is introduced or reintroduced into the process. We should all bear that in mind if we think we can get away with swaying matters in directions that we know aren’t authentic. To attempt to do so will surely result in disappointment.
Sisters Helen and Margaret Schlegel (Helen Bonham Carter, left, and Emma Thompson, center) confront Henry Wilcox (Anthony Hopkins, right), widower of their deceased friend Ruth, when the wishes of her last will and testament are placed in jeopardy in the screen classic, “Howards End,” recently released in theaters in a new, digitally remastered edition to celebrate the film’s 25th anniversary. Photo courtesy of Cohen Media Group.
Acts of empathy – and acts of deliberate deception – come with consequences, both good and bad, and “Howards End” showcases them beautifully. This is elegant, masterful filmmaking at its best in virtually all respects, but then such scrupulously high standards are to be expected from the famed direction-production team of James Ivory and Ismail Merchant. The performances, cinematography and period piece production values are top notch and made all the more glorious by the picture’s remastering for the big screen.
“Howards End” was widely acclaimed at the time of its original release, and it was lavishly honored in awards competitions at the time. The film earned three Oscars, including for Thompson’s lead performance and Ruth Prawer Jhabvala’s screenplay adaptation, on nine total nominations, including nods for by best picture, director, cinematography and supporting actress (Redgrave). It also captured a Golden Globe Award for Thompson’s lead portrayal on four total nominations, including nods for best picture, director and screenplay. The Cannes Film Festival bestowed further honors on the picture as the winner of the event’s 45th Anniversary Prize and as a nominee for the Palme d’Or, the festival’s highest honor.
At a time when disparities between the haves and have-nots grow ever wider and when compassion and kindness seem to be in increasingly short supply, films like “Howards End” mean a lot to us, helping to restore our faith in our capacity to care. Let us hope the message is not lost on us.
Copyright © 2016, by Brent Marchant. All rights reserved.
A little kindness goes a long way, sometimes much further than any of us might expect. That’s a meaningful lesson for those who need some gentle nudges in that direction, and it’s an imperative for anyone who brazenly puts self-interest before all else. Such is the message of the 1992 award-winning screen classic “Howards End,” recently released in theaters in a digitally restored 25th anniversary edition.
Based on the novel by E.M. Forster, the story of this engaging drama is rather involved, but it basically concerns the relationship of two sisters, Margaret (Emma Thompson) and Helen Schlegel (Helena Bonham Carter), with members of early Twentieth Century London society at opposite ends of the economic spectrum. Margaret befriends Ruth Wilcox (Vanessa Redgrave), the kindly but dying matron of a wealthy family who adores the sanctuary of her country home, Howards End. Ruth so appreciates the compassion that her new friend shows her that she seeks to bequeath the estate to Margaret, a decision looked upon askance by Ruth’s husband, Henry (Anthony Hopkins), her son, Charles (James Wilby), and her daughter-in-law, Dolly (Susie Lindeman). The Wilcoxes’ efforts to thwart Ruth’s wishes, though, take a number of unexpected twists and turns after her death, especially when Margaret becomes close to those who initially oppose her.
Helen, meanwhile, befriends an economically troubled clerk, Leonard Bast (Samuel West), desperately seeking to support himself and his wife, Jacky (Nicola Duffett). Over time, the relationship between Helen and Leonard grows progressively more intimate, a development viewed disdainfully by the Wilcoxes – that is, until unsavory secrets about their own connection to the Bast family are unexpectedly revealed. These revelations complicate matters all the more for everyone involved, leading to a stormy climax with wide-ranging implications, as well as more than its fair share of irony.
Kindly, wealthy matron Ruth Wilcox (Vanessa Redgrave, left) befriends kindred spirit Margaret Schlegel (Emma Thompson, right) in the screen classic, “Howards End,” recently released in theaters in a new, digitally remastered edition to celebrate the film’s 25th anniversary. Photo courtesy of Cohen Media Group.Given the intriguing story line of this film, it’s interesting to see how matters play out, with developments driven principally by the intents underlying them. The nature of those intents is important, too, not just here, but also in general, since they form the basis of the conscious creation process, the means by which we manifest the reality we experience – in all its aspects – through the power of our thoughts, beliefs and intents.
The beliefs that characterize the principals’ prevailing outlooks are especially crucial in this story, because they affect all of the particulars of their daily existences. Ruth and the Schlegel sisters, for instance, obviously believe in compassion and kindness, and their lives unfold with qualities and events reflective of this mindset. Outcomes may not emerge immediately nor without hitches, but the power and integrity driving the beliefs underlying them ultimately won’t be denied, no matter what obstacles may pop up. Prospective impediments inevitably can’t hold sway, because they inspire the creation and implementation of metaphysical workarounds aimed at dissolving whatever obstructions may appear.
In contrast to the beliefs of Ruth, Margaret and Helen, the self-serving worldview of Henry, Charles and Dolly yields results in line with their thinking. Their attempts at using beliefs to manipulate circumstances prove particularly telling, especially when they come into conflict with those driven by sincerity and altruism. The impact of these concocted intents essentially becomes thwarted, because those who put them forth know that they’re operating contrary to the stated wishes of others (and the inherent power of the beliefs that drive them). Gaming the system like this will only get someone so far, because the tainted nature of such manipulative beliefs can’t overpower those that emerge from genuine origins.
As stated above, this illustrates the significance of integrity in belief formation and implementation. If we work against this, we introduce contradiction into the mix, which, as with fear and doubt, throws a major wrench into the manifestation process. Results either don’t materialize or manifest in “distorted” forms, conditions that won’t change until genuine, full-fledged sincerity is introduced or reintroduced into the process. We should all bear that in mind if we think we can get away with swaying matters in directions that we know aren’t authentic. To attempt to do so will surely result in disappointment.
Sisters Helen and Margaret Schlegel (Helen Bonham Carter, left, and Emma Thompson, center) confront Henry Wilcox (Anthony Hopkins, right), widower of their deceased friend Ruth, when the wishes of her last will and testament are placed in jeopardy in the screen classic, “Howards End,” recently released in theaters in a new, digitally remastered edition to celebrate the film’s 25th anniversary. Photo courtesy of Cohen Media Group.Acts of empathy – and acts of deliberate deception – come with consequences, both good and bad, and “Howards End” showcases them beautifully. This is elegant, masterful filmmaking at its best in virtually all respects, but then such scrupulously high standards are to be expected from the famed direction-production team of James Ivory and Ismail Merchant. The performances, cinematography and period piece production values are top notch and made all the more glorious by the picture’s remastering for the big screen.
“Howards End” was widely acclaimed at the time of its original release, and it was lavishly honored in awards competitions at the time. The film earned three Oscars, including for Thompson’s lead performance and Ruth Prawer Jhabvala’s screenplay adaptation, on nine total nominations, including nods for by best picture, director, cinematography and supporting actress (Redgrave). It also captured a Golden Globe Award for Thompson’s lead portrayal on four total nominations, including nods for best picture, director and screenplay. The Cannes Film Festival bestowed further honors on the picture as the winner of the event’s 45th Anniversary Prize and as a nominee for the Palme d’Or, the festival’s highest honor.
At a time when disparities between the haves and have-nots grow ever wider and when compassion and kindness seem to be in increasingly short supply, films like “Howards End” mean a lot to us, helping to restore our faith in our capacity to care. Let us hope the message is not lost on us.
Copyright © 2016, by Brent Marchant. All rights reserved.
October 12, 2016
‘Miss Peregrine’ validates the ‘peculiar’ found in each of us
“Miss Peregrine’s Home for Peculiar Children” (2016). Cast: Eva Green, Asa Butterfield, Samuel L. Jackson, Judi Dench, Rupert Everett, Allison Janney, Terence Stamp, Chris O’Dowd, Ella Purnell, Finlay MacMillan, Lauren McCrostie, Hayden Keeler-Stone, Georgia Pemberton, Milo Parker, Raffielle Chapman, Pixie Davies, Aiden Flowers, Nicholas Oteri, Helen Day, Philip Philman, Jack Brady, Scott Handy, Kim Dickens, O-Lan Jones. Director: Tim Burton. Screenplay: Jane Goldman. Book: Ransom Riggs, Miss Peregrine’s Home for Peculiar Children. Web site. Trailer.
In an age where many of us feel like we’re being coerced into various forms of social homogenization, it can be difficult for those who are “different” – perhaps even downright unconventional – just to get by. The pressure to conform can be unbearable, maybe even perilous, especially when confronted with the intolerance of the powers that be. Thankfully, though, there are those who are not afraid to stand up for themselves – or who are willing to protect those who are unable to do so – to keep dastardly influences at bay. That’s the drama that plays out in the delightful new Tim Burton fable, “Miss Peregrine’s Home for Peculiar Children.”
Based on the book of the same name, this colorful adventure’s plot is too involved to detail here, but the picture essentially involves the exploits of Jake Portman (Asa Butterfield), a somewhat geeky teenager who’s thrust into investigating the murder of the doting grandfather (Terence Stamp) he so dearly adores. His inquiry quickly leads him into a supernatural adventure involving time travel, protected temporal sanctuaries, and a host of unusual characters, including a home full of specially gifted youngsters (Ella Purnell, Finlay MacMillan, Lauren McCrostie, Hayden Keeler-Stone, Georgia Pemberton, Milo Parker, Raffielle Chapman, Pixie Davies), their loving protector, Miss Alma Peregrine (Eva Green), and a cabal of evildoers (Helen Day, Philip Philman, Jack Brady, Scott Handy) seeking to undermine the children’s efforts to be themselves, led by their nefarious mastermind, Mr. Barron (Samuel L. Jackson). The result is a rollicking, sometimes-frightening, sometimes-wondrous, sometimes-hilarious jaunt across time and alternate dimensions.
Geeky teenager Jake Portman (Asa Butterfield, left) befriends Emma Bloom (Ella Purnell, right), one of a number of unusually gifted youngsters, in director Tim Burton’s delightful new cinematic fable, “Miss Peregrine’s Home for Peculiar Children.” Photo by Jay Maidment, courtesy of Twentieth Century Fox Film Corporation.
Much of the narrative in “Miss Peregrine” deals with our willingness to keep limitations from holding us back. That’s particularly true for the children in this story, who possess remarkable powers, such as the ability to control the air (Purnell), the ability to project dreams as visual images (Keeler-Stone) and superhuman strength (Davies). Their protector, Miss Peregrine, has comparable talents of her own, like the ability to shape-shift, transforming herself into a bird (hence her name) at will. These talents are far from mainstream capabilities, abilities that easily might intimidate those who don’t possess them. The kids and Miss Peregrine recognize this, too, freely referring to themselves as “peculiars.” But they also don’t let these unconventional skills inhibit them from being themselves. They’re unafraid to make use of their faculties when warranted.
So how have the peculiars come to have these abilities? It’s because they believe they possess them, and those beliefs, in turn, shape the reality they experience. This principle is the cornerstone of conscious creation philosophy, the means by which we materialize the existence we experience through the power of our thoughts, beliefs and intents. And, based on the powers that the children and their protector wield, it’s apparent they’re quite proficient at it, too.
The beliefs that are most important here are those having to do with pushing boundaries and exceeding the kinds of limitations that tend to hold most of us back. When we open ourselves up to new possibilities through the power of our thoughts, unimaginable new vistas open up. The peculiars set a valuable example in this regard, and the one who benefits most from that in this story is Jake. His involvement with his newfound friends exposes him to possibilities he hadn’t considered before, a notion that will serve him well as he becomes aware of previously unknown abilities of his own.
Those who possess talents like this, however, often come under attack from others who would either seek to steal their powers or thwart them from exercising them. Challenges like this are often difficult to handle, but they also push us to affirm our beliefs and what they are intended to manifest. That’s the role of the evildoers in this story; they help to galvanize the strength of Miss Peregrine’s, Jake’s and the children’s convictions, as well as everything that come with them. Such situations may be frustrating in the short term, but they ultimately make everyone stronger in the long run, perhaps even opening up further possibilities that hadn’t been previously considered.
Miss Alma Peregrine (Eva Green), protector of unusually gifted youngsters, matches wits with a cadre of nefarious evildoers in the whimsical new fantasy adventure, “Miss Peregrine’s Home for Peculiar Children.” Photo by Jay Maidment, courtesy of Twentieth Century Fox Film Corporation.
Curiously, even though the peculiars aren’t afraid to be themselves, they’ve also intentionally chosen to sequester themselves for the most part in specialized temporal milieus known as “loops.” One might legitimately wonder what underlies such a withdrawal. But, when we become practiced at creating our own reality, doesn’t it make sense to manifest an existence specifically tailored to our liking, even if it means separating ourselves from much of mainstream society and everyday life? In many ways, this is just a further extension of the peculiars’ conscious creation skills. And, based on what they’ve been able to create for themselves, they’ve materialized a pleasant sanctuary, one in which most of us would probably feel right at home. To live under circumstances we enjoy with peers we find compatible is the best of all worlds, and the peculiars show us how to achieve it.
The story line of this film delves into a number of other themes as well, such as questions about life, death and aging, and it offers an intriguing parable about historical events. Given everything that’s going on in the picture, some have criticized it for being needlessly complicated, even undecipherable. However, I prefer to think of it as offering a banquet of intriguing and thoughtful ideas, many of them intricately intertwined, all wrapped up in one neat little package. Decide for yourself, but, if you go in with an open mind – pushing past conventional limitations (the central point of the film) – you’re likely to come away with having had an entertaining cinematic experience.
Though a little slow to start, “Miss Peregrine’s Home for Peculiar Children” is full of macabre fun, splendid visuals and subtly effective metaphors. It’s also a celebration of what it means to be different yet to demand the acceptance and recognition to which we’re all rightly entitled. Admittedly, the pacing in the first hour needs a little quickening (which could have been accomplished with some astute editing), and the screenplay could stand a little tidying in spots, but overall there’s much to like here, especially in the highly inventive areas in which director Tim Burton traditionally excels. Have fun with this one, and don’t forget to closely inspect the details – you just might be pleasantly surprised at what you find.
Rejoicing in our differences should be cause for celebration. But, as author Caroline Myss has observed, those who announce their intent to stand out from the crowd are often shot on sight, metaphorically speaking, by less adventurous peers who are afraid that they themselves may one day be forced into comparable circumstances of their own. Yet, if we’re to be true to ourselves, we must not be afraid to recognize and embrace the qualities that distinguish us and then act on them in creating the reality we experience. To do less is to deny ourselves and to obstruct the expression of our true being, and fewer tragedies are greater than that. No matter how “peculiar” each of us may be in our own right, in the long run, it’s better to let those qualities shine than to keep them from ever seeing the light of day.
Copyright © 2016, by Brent Marchant. All rights reserved.
In an age where many of us feel like we’re being coerced into various forms of social homogenization, it can be difficult for those who are “different” – perhaps even downright unconventional – just to get by. The pressure to conform can be unbearable, maybe even perilous, especially when confronted with the intolerance of the powers that be. Thankfully, though, there are those who are not afraid to stand up for themselves – or who are willing to protect those who are unable to do so – to keep dastardly influences at bay. That’s the drama that plays out in the delightful new Tim Burton fable, “Miss Peregrine’s Home for Peculiar Children.”
Based on the book of the same name, this colorful adventure’s plot is too involved to detail here, but the picture essentially involves the exploits of Jake Portman (Asa Butterfield), a somewhat geeky teenager who’s thrust into investigating the murder of the doting grandfather (Terence Stamp) he so dearly adores. His inquiry quickly leads him into a supernatural adventure involving time travel, protected temporal sanctuaries, and a host of unusual characters, including a home full of specially gifted youngsters (Ella Purnell, Finlay MacMillan, Lauren McCrostie, Hayden Keeler-Stone, Georgia Pemberton, Milo Parker, Raffielle Chapman, Pixie Davies), their loving protector, Miss Alma Peregrine (Eva Green), and a cabal of evildoers (Helen Day, Philip Philman, Jack Brady, Scott Handy) seeking to undermine the children’s efforts to be themselves, led by their nefarious mastermind, Mr. Barron (Samuel L. Jackson). The result is a rollicking, sometimes-frightening, sometimes-wondrous, sometimes-hilarious jaunt across time and alternate dimensions.
Geeky teenager Jake Portman (Asa Butterfield, left) befriends Emma Bloom (Ella Purnell, right), one of a number of unusually gifted youngsters, in director Tim Burton’s delightful new cinematic fable, “Miss Peregrine’s Home for Peculiar Children.” Photo by Jay Maidment, courtesy of Twentieth Century Fox Film Corporation.Much of the narrative in “Miss Peregrine” deals with our willingness to keep limitations from holding us back. That’s particularly true for the children in this story, who possess remarkable powers, such as the ability to control the air (Purnell), the ability to project dreams as visual images (Keeler-Stone) and superhuman strength (Davies). Their protector, Miss Peregrine, has comparable talents of her own, like the ability to shape-shift, transforming herself into a bird (hence her name) at will. These talents are far from mainstream capabilities, abilities that easily might intimidate those who don’t possess them. The kids and Miss Peregrine recognize this, too, freely referring to themselves as “peculiars.” But they also don’t let these unconventional skills inhibit them from being themselves. They’re unafraid to make use of their faculties when warranted.
So how have the peculiars come to have these abilities? It’s because they believe they possess them, and those beliefs, in turn, shape the reality they experience. This principle is the cornerstone of conscious creation philosophy, the means by which we materialize the existence we experience through the power of our thoughts, beliefs and intents. And, based on the powers that the children and their protector wield, it’s apparent they’re quite proficient at it, too.
The beliefs that are most important here are those having to do with pushing boundaries and exceeding the kinds of limitations that tend to hold most of us back. When we open ourselves up to new possibilities through the power of our thoughts, unimaginable new vistas open up. The peculiars set a valuable example in this regard, and the one who benefits most from that in this story is Jake. His involvement with his newfound friends exposes him to possibilities he hadn’t considered before, a notion that will serve him well as he becomes aware of previously unknown abilities of his own.
Those who possess talents like this, however, often come under attack from others who would either seek to steal their powers or thwart them from exercising them. Challenges like this are often difficult to handle, but they also push us to affirm our beliefs and what they are intended to manifest. That’s the role of the evildoers in this story; they help to galvanize the strength of Miss Peregrine’s, Jake’s and the children’s convictions, as well as everything that come with them. Such situations may be frustrating in the short term, but they ultimately make everyone stronger in the long run, perhaps even opening up further possibilities that hadn’t been previously considered.
Miss Alma Peregrine (Eva Green), protector of unusually gifted youngsters, matches wits with a cadre of nefarious evildoers in the whimsical new fantasy adventure, “Miss Peregrine’s Home for Peculiar Children.” Photo by Jay Maidment, courtesy of Twentieth Century Fox Film Corporation.Curiously, even though the peculiars aren’t afraid to be themselves, they’ve also intentionally chosen to sequester themselves for the most part in specialized temporal milieus known as “loops.” One might legitimately wonder what underlies such a withdrawal. But, when we become practiced at creating our own reality, doesn’t it make sense to manifest an existence specifically tailored to our liking, even if it means separating ourselves from much of mainstream society and everyday life? In many ways, this is just a further extension of the peculiars’ conscious creation skills. And, based on what they’ve been able to create for themselves, they’ve materialized a pleasant sanctuary, one in which most of us would probably feel right at home. To live under circumstances we enjoy with peers we find compatible is the best of all worlds, and the peculiars show us how to achieve it.
The story line of this film delves into a number of other themes as well, such as questions about life, death and aging, and it offers an intriguing parable about historical events. Given everything that’s going on in the picture, some have criticized it for being needlessly complicated, even undecipherable. However, I prefer to think of it as offering a banquet of intriguing and thoughtful ideas, many of them intricately intertwined, all wrapped up in one neat little package. Decide for yourself, but, if you go in with an open mind – pushing past conventional limitations (the central point of the film) – you’re likely to come away with having had an entertaining cinematic experience.
Though a little slow to start, “Miss Peregrine’s Home for Peculiar Children” is full of macabre fun, splendid visuals and subtly effective metaphors. It’s also a celebration of what it means to be different yet to demand the acceptance and recognition to which we’re all rightly entitled. Admittedly, the pacing in the first hour needs a little quickening (which could have been accomplished with some astute editing), and the screenplay could stand a little tidying in spots, but overall there’s much to like here, especially in the highly inventive areas in which director Tim Burton traditionally excels. Have fun with this one, and don’t forget to closely inspect the details – you just might be pleasantly surprised at what you find.
Rejoicing in our differences should be cause for celebration. But, as author Caroline Myss has observed, those who announce their intent to stand out from the crowd are often shot on sight, metaphorically speaking, by less adventurous peers who are afraid that they themselves may one day be forced into comparable circumstances of their own. Yet, if we’re to be true to ourselves, we must not be afraid to recognize and embrace the qualities that distinguish us and then act on them in creating the reality we experience. To do less is to deny ourselves and to obstruct the expression of our true being, and fewer tragedies are greater than that. No matter how “peculiar” each of us may be in our own right, in the long run, it’s better to let those qualities shine than to keep them from ever seeing the light of day.
Copyright © 2016, by Brent Marchant. All rights reserved.
October 10, 2016
‘The Beatles’ celebrates the beauty of collaboration
“The Beatles: Eight Days a Week – The Touring Years” (2016). Cast: Interviews: Paul McCartney, Ringo Starr, Whoopi Goldberg, Sigourney Weaver, Elvis Costello, Larry Kane. Archive Footage: John Lennon, George Harrison, Brian Epstein, George Martin, Yoko Ono, Ed Sullivan, Pete Best, Billy Preston. Director: Ron Howard. Screenplay: Mark Monroe. Story Consultant: P.G. Morgan. Web site. Trailer.
When one thinks of a cultural icon that helps to shape the character of a generation, a rock ‘n roll band probably wouldn’t be the first candidate that comes to mind. Yet, for those who came of age in the 1960s, fewer symbols hold nearly as much meaning, both personally and collectively, as a quartet of musicians from across the pond – the Fab Four, the Liverpool moptops, the band that became virtually synonymous with a generation, the Beatles. Their impact on music, culture and the sensibilities of Baby Boomers coming into their own – especially in the band’s early days – is the subject of a fun and lively new documentary, “The Beatles: Eight Days a Week – The Touring Years,” currently playing in a limited theatrical run and streaming on demand on Hulu.
Director Ron Howard, a longtime Beatles fan, has created a fascinating picture, deftly chronicling the band’s early days, the touring years from 1962 to 1966. The film presents an impressive collection of restored archive footage – some of it quite rare – and present-day interviews with surviving band members Paul McCartney and Ringo Starr, as well as vintage clips of their collaborators, John Lennon and George Harrison. These elements are effectively complemented by conversations with fans who grew up with the Beatles, including Whoopi Goldberg, Sigourney Weaver and Elvis Costello, as well as those who were associated with the band at the time of their tours, including filmmaker Richard Lester (director of the band’s films “A Hard Day’s Night” (1964) and “Help!” (1965)), Miami radio reporter Larry Kane (who accompanied the band on one of their tours) and longtime producer George Martin (presented in voiceovers covering archive footage).
In addition to the historical record, the film provides a look at the impact the band had at the time and the legacy it has left ever since. In the early 1960s, for example, the group’s revolutionary sound, the band members’ radical haircuts and their cheeky, sometimes-irreverent playfulness were symbolic of a generation of teenagers stepping up and charting their own path, a departure from the conformist ways of the previous decade. Then, as the turbulence of the ʼ60s unfolded, the band’s outspoken views mirrored and helped shape the social changes emerging at the time, particularly in areas like the civil rights movement. And, as the Beatles’ career soared, the group became an innovator in the music industry, launching the modern era of rock concert performances and, eventually, an increasingly sophisticated and inventive sound, one that opened the door for countless acts that followed.
When one looks at the overwhelming success the Beatles achieved and the impact they had, it quickly becomes apparent that they were masters at the practice of conscious creation, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents. Admittedly, they may not have been aware of this philosophy (though, given John Lennon’s and George Harrison’s explorations in to alternative and Eastern thought, that may not have been the case), but they certainly knew how to make it work for themselves, their peers and, ultimately, the world at large.
So how did they make it work? Well, for starters, given the prolific nature of their work in so many different milieus, not to mention its consistent quality across the board, they obviously knew what they were doing as artists. Be it as live performers, recording artists, songwriters or movie stars, they always rose to the occasion, never failing to come through and to please the ever-swelling ranks of their fans. But, then, they were able to accomplish this because they believed in themselves and their talents, notions clearly reflected in their output.
This success resulted chiefly from their collaborative efforts, with all band members working together, with their thoughts, beliefs and intents all on the same page. This should be obvious from their work. But it also becomes evident during interviews in the film, when they admit that nearly all of their creative decisions arose from unanimous decisions, adding that, if they didn’t achieve unanimity, proposed ideas didn’t proceed. This is an excellent example of co-creation at work, one that anybody seeking to collaborate on a joint effort can draw from for inspiration.
It should be added that such collaboration went beyond just the four band members. The Beatles also engaged in inspired co-creation with their manager, Brian Epstein, their producer, George Martin, and with supporting musicians, like Billy Preston, who played a significant role in the group’s music in its later years. The success of this metaphysical team effort illustrates our innate connectedness to others and the role it plays in the magnitude of the results we can achieve when we work together effectively, both on a conscious and subconscious level.
Of course, no matter how confident and self-assured we may be about our beliefs in ourselves and in our joint undertakings, it won’t matter much if we fail to recognize and avail ourselves of the synchronicities that emerge to help make the realization of our opportunities possible. These seemingly perfectly tailored “coincidences” provide the means for materializing our aspirations, but they don’t mean much if we’re unable to spot them and/or don’t act on them. Like all of our creations, synchronicities also arise from our beliefs, but recognizing their existence and significance is crucial if we’re to take things to the next level.
For their part, the Beatles were experts at this. As the film shows, they knew how to take advantage of the opportunities that presented themselves, capitalizing on them with an almost incredible ease. It’s as if virtually everything they touched turned to metaphorical gold, whether it was creating the opportunities for meeting the right people, forming the right associations, undertaking the right creative projects and so on. In each case, though, these outcomes always arose from the synchronicities that made their potential – and subsequent fulfillment – possible.
The Beatles’ success, in turn, made it possible for them to become innovators and trend setters. They used their talents, both artistic and intangible, to shape and change the face of the music business and, over time, the very culture of society at large. That’s a phenomenal accomplishment, and virtually no other artists have had comparable impact. They not only made a mark of their own, but they also opened the door for those whom would follow them, enabling the birth of a vast array of previously untried artistic conceptions. Those who walked in the Beatles’ footsteps owe them a lot, for they showed the way for how to transform the conceptual and the intangible into fully fleshed out manifestations.
In the end, this may well have been the Beatles’ biggest and most meaningful accomplishment. And, given that it benefitted both themselves and others, it’s a prime example of the concept of value fulfillment in full flower. The film shows how their efforts in this area all began and what they eventually led to, taking viewers through the steps of their journey on this magical mystery tour of their own.
For those who grew up with the Beatles, such as yours truly, it’s difficult to accurately express what the band meant to the children of that generation, especially since no group has ever had quite the same degree of sweeping musical and cultural influence as the Fab Four did. However, this picture captures the spirit of this impact quite effectively, providing aging Boomers with an opportunity to wax nostalgic and for those born later to get a taste of what the fuss was all about.
“Eight Days a Week” is a fun, lively, nostalgic but never star struck look back at the early days of the band. Just as the Beatles helped provide an enjoyable diversion from the challenges of the time, so, too, does this film in giving viewers a refreshing respite from today’s myriad challenges. Its good feelings are so infectious that I dare you to try sitting through the picture without tapping your toes or swaying in your seat.
More than 50 years have passed since the Beatles emerged on the scene, yet we still applaud them, their music, their collaborative spirit and everything that made them who they were. I guess that’s what it means to have real staying power, and the moptops keep on proving it – eight days a week.
Copyright © 2016, by Brent Marchant. All rights reserved.
When one thinks of a cultural icon that helps to shape the character of a generation, a rock ‘n roll band probably wouldn’t be the first candidate that comes to mind. Yet, for those who came of age in the 1960s, fewer symbols hold nearly as much meaning, both personally and collectively, as a quartet of musicians from across the pond – the Fab Four, the Liverpool moptops, the band that became virtually synonymous with a generation, the Beatles. Their impact on music, culture and the sensibilities of Baby Boomers coming into their own – especially in the band’s early days – is the subject of a fun and lively new documentary, “The Beatles: Eight Days a Week – The Touring Years,” currently playing in a limited theatrical run and streaming on demand on Hulu.
Director Ron Howard, a longtime Beatles fan, has created a fascinating picture, deftly chronicling the band’s early days, the touring years from 1962 to 1966. The film presents an impressive collection of restored archive footage – some of it quite rare – and present-day interviews with surviving band members Paul McCartney and Ringo Starr, as well as vintage clips of their collaborators, John Lennon and George Harrison. These elements are effectively complemented by conversations with fans who grew up with the Beatles, including Whoopi Goldberg, Sigourney Weaver and Elvis Costello, as well as those who were associated with the band at the time of their tours, including filmmaker Richard Lester (director of the band’s films “A Hard Day’s Night” (1964) and “Help!” (1965)), Miami radio reporter Larry Kane (who accompanied the band on one of their tours) and longtime producer George Martin (presented in voiceovers covering archive footage).
In addition to the historical record, the film provides a look at the impact the band had at the time and the legacy it has left ever since. In the early 1960s, for example, the group’s revolutionary sound, the band members’ radical haircuts and their cheeky, sometimes-irreverent playfulness were symbolic of a generation of teenagers stepping up and charting their own path, a departure from the conformist ways of the previous decade. Then, as the turbulence of the ʼ60s unfolded, the band’s outspoken views mirrored and helped shape the social changes emerging at the time, particularly in areas like the civil rights movement. And, as the Beatles’ career soared, the group became an innovator in the music industry, launching the modern era of rock concert performances and, eventually, an increasingly sophisticated and inventive sound, one that opened the door for countless acts that followed.
When one looks at the overwhelming success the Beatles achieved and the impact they had, it quickly becomes apparent that they were masters at the practice of conscious creation, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents. Admittedly, they may not have been aware of this philosophy (though, given John Lennon’s and George Harrison’s explorations in to alternative and Eastern thought, that may not have been the case), but they certainly knew how to make it work for themselves, their peers and, ultimately, the world at large.
So how did they make it work? Well, for starters, given the prolific nature of their work in so many different milieus, not to mention its consistent quality across the board, they obviously knew what they were doing as artists. Be it as live performers, recording artists, songwriters or movie stars, they always rose to the occasion, never failing to come through and to please the ever-swelling ranks of their fans. But, then, they were able to accomplish this because they believed in themselves and their talents, notions clearly reflected in their output.
This success resulted chiefly from their collaborative efforts, with all band members working together, with their thoughts, beliefs and intents all on the same page. This should be obvious from their work. But it also becomes evident during interviews in the film, when they admit that nearly all of their creative decisions arose from unanimous decisions, adding that, if they didn’t achieve unanimity, proposed ideas didn’t proceed. This is an excellent example of co-creation at work, one that anybody seeking to collaborate on a joint effort can draw from for inspiration.
It should be added that such collaboration went beyond just the four band members. The Beatles also engaged in inspired co-creation with their manager, Brian Epstein, their producer, George Martin, and with supporting musicians, like Billy Preston, who played a significant role in the group’s music in its later years. The success of this metaphysical team effort illustrates our innate connectedness to others and the role it plays in the magnitude of the results we can achieve when we work together effectively, both on a conscious and subconscious level.
Of course, no matter how confident and self-assured we may be about our beliefs in ourselves and in our joint undertakings, it won’t matter much if we fail to recognize and avail ourselves of the synchronicities that emerge to help make the realization of our opportunities possible. These seemingly perfectly tailored “coincidences” provide the means for materializing our aspirations, but they don’t mean much if we’re unable to spot them and/or don’t act on them. Like all of our creations, synchronicities also arise from our beliefs, but recognizing their existence and significance is crucial if we’re to take things to the next level.
For their part, the Beatles were experts at this. As the film shows, they knew how to take advantage of the opportunities that presented themselves, capitalizing on them with an almost incredible ease. It’s as if virtually everything they touched turned to metaphorical gold, whether it was creating the opportunities for meeting the right people, forming the right associations, undertaking the right creative projects and so on. In each case, though, these outcomes always arose from the synchronicities that made their potential – and subsequent fulfillment – possible.
The Beatles’ success, in turn, made it possible for them to become innovators and trend setters. They used their talents, both artistic and intangible, to shape and change the face of the music business and, over time, the very culture of society at large. That’s a phenomenal accomplishment, and virtually no other artists have had comparable impact. They not only made a mark of their own, but they also opened the door for those whom would follow them, enabling the birth of a vast array of previously untried artistic conceptions. Those who walked in the Beatles’ footsteps owe them a lot, for they showed the way for how to transform the conceptual and the intangible into fully fleshed out manifestations.
In the end, this may well have been the Beatles’ biggest and most meaningful accomplishment. And, given that it benefitted both themselves and others, it’s a prime example of the concept of value fulfillment in full flower. The film shows how their efforts in this area all began and what they eventually led to, taking viewers through the steps of their journey on this magical mystery tour of their own.
For those who grew up with the Beatles, such as yours truly, it’s difficult to accurately express what the band meant to the children of that generation, especially since no group has ever had quite the same degree of sweeping musical and cultural influence as the Fab Four did. However, this picture captures the spirit of this impact quite effectively, providing aging Boomers with an opportunity to wax nostalgic and for those born later to get a taste of what the fuss was all about.
“Eight Days a Week” is a fun, lively, nostalgic but never star struck look back at the early days of the band. Just as the Beatles helped provide an enjoyable diversion from the challenges of the time, so, too, does this film in giving viewers a refreshing respite from today’s myriad challenges. Its good feelings are so infectious that I dare you to try sitting through the picture without tapping your toes or swaying in your seat.
More than 50 years have passed since the Beatles emerged on the scene, yet we still applaud them, their music, their collaborative spirit and everything that made them who they were. I guess that’s what it means to have real staying power, and the moptops keep on proving it – eight days a week.
Copyright © 2016, by Brent Marchant. All rights reserved.
October 9, 2016
This Week in Movies with Meaning
Reviews of "The Birth of a Nation," "Miss Peregrine's Home for Peculiar Children" and "Howards End" and a Chicago Film Festival preview are all in the latest Movies with Meaning post on the Blog Page of The Good Radio Network, available by clicking here.
October 6, 2016
The Joys of Being a Self-published Author
In a book publishing world that's rapidly changing, I've really come to enjoy the freedom and satisfaction that come from being a self-published author. Seeing a project come together from so many different angles, and then realizing its fulfillment in a finished product, is an indescribably exhilarating experience. I've been through this process twice now with my two books about how movies reflect the principles of conscious creation/law of attraction philosophy, Get the Picture?!: Conscious Creation Goes to the Movies and Consciously Created Cinema: The Movie Lover's Guide to the Law of Attraction. And I'm now in the process of my third trek down this path with Third Real: Conscious Creation Goes Back to the Movies, slated for release in 2017.
So why do I enjoy the self-publishing process so much? As noted above, I appreciate the freedom it affords -- few restrictions on what I write, what the finished product looks and reads like, and the channels through which I make my books available to eager readers. I also relish the opportunity to work with collaborators of my own choosing. When you find colleagues with whom you really enjoy working, it makes the process of writing and publishing a book that much more enjoyable. I'm truly fortunate to have found wonderful partners to assist me, such as cover designer Paul L. Clark of Inspirtainment, book converter Lisa deSpain of ebookconverting, and my publishing partners/distributors at CreateSpace, Amazon Kindle, iTunes, Kobo Books and Barnes & Noble.
It's also rewarding when your work is recognized for its content. I was fortunate to receive such an honor earlier this year when Get the Picture?! was named the winner in the New Age Nonfiction category of the 2016 National Indie Excellence Awards, which honor outstanding achievements in self-published books. I was thrilled and humbled to receive this recognition.
I'm also gratified for the opportunity to have met so many generous supporters, most notably my readers. I also truly appreciate the invaluable assistance that others have given me in helping to spread my message, such as the book sites Goodreads and BookDaily, as well as the many, many radio show hosts who have featured me on their broadcasts and podcasts. I'm particularly appreciative of the web sites that have graciously featured my current online writings -- all available for free to interested readers -- including Smart Women's Empowerment, The Good Radio Network and New Consciousness Review. You can also hear my regular movie-related radio appearances on Frankiesense & More with host Frankie Picasso and New Consciousness Review Radio's Reviewers Roundtable with fellow reviewers Miriam Knight and Cynthia Sue Larson.
There's a lot to like about being a self-published author. Anyone thinking about it should give the idea serious consideration. I've certainly enjoyed it, and I look forward to many years of more of the same.
In the meantime, please feel free to check out the pages for my books, Get the Picture?! and Consciously Created Cinema , both of which are available in print and ebook formats. Ongoing updates about these titles and my other writing projects can be found on dedicated social media pages on Facebook, Pinterest, Google+ and MeWe, as well as on Twitter (@Brent_Marchant). Also, take a peek at the Consciously Created Cinema book trailer on YouTube, available by clicking here. And be sure to follow this page for updates on the release of Third Real: Conscious Creation Goes Back to the Movies, coming in 2017.
Thanks for reading, and enjoy! And remember, draw from the inspiration of the movies to write the script of your life!
Cover designs by Paul L. Clark, Inspirtainment
So why do I enjoy the self-publishing process so much? As noted above, I appreciate the freedom it affords -- few restrictions on what I write, what the finished product looks and reads like, and the channels through which I make my books available to eager readers. I also relish the opportunity to work with collaborators of my own choosing. When you find colleagues with whom you really enjoy working, it makes the process of writing and publishing a book that much more enjoyable. I'm truly fortunate to have found wonderful partners to assist me, such as cover designer Paul L. Clark of Inspirtainment, book converter Lisa deSpain of ebookconverting, and my publishing partners/distributors at CreateSpace, Amazon Kindle, iTunes, Kobo Books and Barnes & Noble.
It's also rewarding when your work is recognized for its content. I was fortunate to receive such an honor earlier this year when Get the Picture?! was named the winner in the New Age Nonfiction category of the 2016 National Indie Excellence Awards, which honor outstanding achievements in self-published books. I was thrilled and humbled to receive this recognition.
I'm also gratified for the opportunity to have met so many generous supporters, most notably my readers. I also truly appreciate the invaluable assistance that others have given me in helping to spread my message, such as the book sites Goodreads and BookDaily, as well as the many, many radio show hosts who have featured me on their broadcasts and podcasts. I'm particularly appreciative of the web sites that have graciously featured my current online writings -- all available for free to interested readers -- including Smart Women's Empowerment, The Good Radio Network and New Consciousness Review. You can also hear my regular movie-related radio appearances on Frankiesense & More with host Frankie Picasso and New Consciousness Review Radio's Reviewers Roundtable with fellow reviewers Miriam Knight and Cynthia Sue Larson.
There's a lot to like about being a self-published author. Anyone thinking about it should give the idea serious consideration. I've certainly enjoyed it, and I look forward to many years of more of the same.
In the meantime, please feel free to check out the pages for my books, Get the Picture?! and Consciously Created Cinema , both of which are available in print and ebook formats. Ongoing updates about these titles and my other writing projects can be found on dedicated social media pages on Facebook, Pinterest, Google+ and MeWe, as well as on Twitter (@Brent_Marchant). Also, take a peek at the Consciously Created Cinema book trailer on YouTube, available by clicking here. And be sure to follow this page for updates on the release of Third Real: Conscious Creation Goes Back to the Movies, coming in 2017.
Thanks for reading, and enjoy! And remember, draw from the inspiration of the movies to write the script of your life!
Cover designs by Paul L. Clark, InspirtainmentSeptember 29, 2016
‘Queen of Katwe’ shows how to beat the odds and excel
“Queen of Katwe” (2016). Cast: Madina Nalwanga, David Oyelowo, Lupita Nyong’o, Martin Kabanza, Taryn “Kay” Kyaze, Ivan Jacobo, Nicolas Levesque, Ronald Ssemaganda, Ethan Nazario Lubega, Nikita Waliga, Esther Tebandeke, Philip Luswata, Maurice Kirya, Peter Odeke. Director: Mira Nair. Screenplay: William Wheeler. Book: Tim Crothers, The Queen of Katwe: A Story of Life, Chess, and One Extraordinary Girl’s Dream of Becoming a Grandmaster. Web site. Trailer.
What does it take to beat the odds and rise above our challenges? That can be a rather tall order, especially when things seem stacked against us. But, when we put our mind to it, it’s possible to achieve almost anything. One need only look at the inspiring example set by a determined young woman from the Ugandan slums and her dreams to achieve greatness, a fact-based story told in the heartwarming new biopic, “Queen of Katwe.”
Teenager Phiona Mutesi (Madina Nalwanga) leads a life of few prospects in the ghettoes of Katwe, Uganda. As one of four children being raised by a widowed mother (Lupita Nyong’o), Phiona spends her days selling maize in hopes of raising enough money to keep the family afloat, a seemingly perpetual struggle. In fact, things are so tight financially that Phiona’s mother can’t afford to send her children to school, leaving them without such basic skills as the ability to read.
But, almost as if by chance, Phiona makes an interesting discovery one day. She stumbles upon a ministry-sponsored outreach program aimed at involving underprivileged children in something far removed from their typical everyday experience – the game of chess. The program is run by Robert Katende (David Oyelowo), an unemployed engineer who took the job to help support his family while trying to land a position in his field. He might not seem like the obvious choice for a position such as this, but he’s actually an ideal candidate, given his proficiency for the game and his remarkable ability to instruct others in how to play it. What he doesn’t realize, however, is that he’s about to meet his star pupil, someone who will change his life, as well as her own.
Phiona proves to be a natural at chess, able to predict how a match will unfold eight moves ahead. Needless to say, Robert is astounded by her ability, not only for how quickly she picks up the game, but also for what a sound strategist she is. But, then, as Robert routinely imparts to his students, such foresight is essential to success at the game – and at life. And, as someone who regularly must rely on her wits just to get by, Phiona is as a model of this principle.
Given Phiona’s astounding ability, Robert seeks to enter her in tournaments, something that the organizers of these meets don’t take seriously. How can an illiterate girl from the slums possibly understand, let alone successfully compete, in contests involving such a noble and intellectual game? But that’s where Phiona defies the odds – and the skeptics – especially when she shows her competitors what she can do.
Considering Phiona’s background and circumstances, incredulous onlookers quite naturally ask, “How does she do it?” She comes across as so reserved and unassuming that many might wonder how she can be such a tiger on the chess board. But, for those who practice conscious creation, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents, the answer is simple – because she believes she can.
Quite simply, Phiona refuses to buy into the idea that she can’t do what she does. Despite her daily challenges, she’s undeterred when it comes to playing the game she so loves. Her focus is so intent and the beliefs related to her self-confidence are so strong that “extraneous” conditions don’t impinge upon her ability to control the pieces on the chess board. Such belief clarity and personal integrity allow her to work her magic on the field of play, no matter what else may be going on in her life.
Several types of beliefs factor significantly into the mix she employs as a master of the game. Given the virtually limitless number of moves available on a chess board, there are numerous lines of probability open to players in seeking suitable paths to victory. Being aware of these options, and of the ways to circumvent threats from opponents, enables proficient competitors to assess, explore and employ a variety of successful strategies, much as Phiona does. Her firm belief in this capability helps solidify her skills, which, in turn, make themselves apparent during the course of play – and in the results of her matches.
The ability to envision outcomes, another belief-based skill, also plays a significant role. The more we’re able to picture a particular result, the more likely we’re to ultimately see it realized. Such a skill can prove particularly valuable in endeavors involving complex strategies, like playing chess, so anyone who possesses it has a distinct advantage. Of course, this depends on developing and implementing manifestation beliefs that support such a capability, but it is possible, as Phiona’s experience demonstrates. This is evidenced, as noted earlier, by Robert’s astonishment at Phiona’s ability to picture the course of play so far in advance of its unfolding, a revelation that becomes apparent during a game he plays with her, a prime example of the student surpassing even the mentor.
One of the keys to making the foregoing work is a belief in no limits, another quality Phiona possesses. Trying the untried frequently meets with surprising success, and it can be especially useful in a game like chess, where employing the unexpected frequently stuns one’s opponent. However, to be able to employ such unconventional strategies, we must believe in the possibility of their existence and their ability to be successfully implemented. This means overcoming any tendencies we might have toward belief tunnel vision, as well as having the courage to forge ahead with these seemingly unorthodox initiatives. Again, Phiona rises to the occasion, developing the beliefs to enliven such possibilities and to apply them to the field of play.
When we consider the lessons that chess can teach us, it becomes apparent that they’re applicable to more than just this storied board game. The abilities to explore probabilities, envision outcomes, surpass limits and develop effective strategies are all crucial to the game of life as well, and the more we’re able to transfer these fundamental skills into arenas other than competition, the more we’re likely to create lives full of satisfaction and fulfillment. And to think it’s all possible just by learning how to move some pieces around a game board.
Chess may not seem like a particularly compelling subject for cinematic treatment, yet it’s tapped surprisingly often, perhaps because of its ability to effectively portray the foregoing principles. In addition to “Queen of Katwe,” chess has provided the backdrop for a number of other pictures, including “Searching for Bobby Fischer” (1993), “Pawn Sacrifice” (2015) and “The Dark Horse” (2016). Given that, it would seem that there’s an unusually rich vein of material to be mined from this subject, one that those who would readily dismiss it might want to look at more closely.
For its part, “Queen of Katwe” aptly illustrates the aforementioned principles. It also shows what we can accomplish when we apply ourselves and don’t give in to ill-considered criticism. This can mean a lot to those who lack hope and have doubts about their future. But, with the right mindset and a little support and encouragement from the right backers – those who can genuinely see what someone is capable of – the results can easily come to speak for themselves, as Phiona so eloquently demonstrates.
“Queen of Katwe” is a thoroughly heartening and inspirational offering, perfect for impressionable young minds. The writing is occasionally heavy-handed, wooden and formulaic, coming across as a little too ennobling and schmaltzy for its own good. However, the film’s fine performances, especially Nyong’o and newcomer Nalwanga, resonate warmly with viewers, though the platitude-laden script and sometimes-inconsistent pacing periodically hamper the efforts of the protagonists. This isn’t groundbreaking cinema, but it’s certainly an entertaining feel-good movie that’s well worth a look.
Seeking and fulfilling our destiny may take us down some unexpected paths, including those that we might have once never considered pursuing. However, the meaningful outcomes of such efforts can prove rewarding beyond measure, both to those who travel them and to those who encourage us to traverse them. Phiona and Robert show us the way – and find their own in the process.
Copyright © 2016, by Brent Marchant. All rights reserved.
What does it take to beat the odds and rise above our challenges? That can be a rather tall order, especially when things seem stacked against us. But, when we put our mind to it, it’s possible to achieve almost anything. One need only look at the inspiring example set by a determined young woman from the Ugandan slums and her dreams to achieve greatness, a fact-based story told in the heartwarming new biopic, “Queen of Katwe.”
Teenager Phiona Mutesi (Madina Nalwanga) leads a life of few prospects in the ghettoes of Katwe, Uganda. As one of four children being raised by a widowed mother (Lupita Nyong’o), Phiona spends her days selling maize in hopes of raising enough money to keep the family afloat, a seemingly perpetual struggle. In fact, things are so tight financially that Phiona’s mother can’t afford to send her children to school, leaving them without such basic skills as the ability to read.
But, almost as if by chance, Phiona makes an interesting discovery one day. She stumbles upon a ministry-sponsored outreach program aimed at involving underprivileged children in something far removed from their typical everyday experience – the game of chess. The program is run by Robert Katende (David Oyelowo), an unemployed engineer who took the job to help support his family while trying to land a position in his field. He might not seem like the obvious choice for a position such as this, but he’s actually an ideal candidate, given his proficiency for the game and his remarkable ability to instruct others in how to play it. What he doesn’t realize, however, is that he’s about to meet his star pupil, someone who will change his life, as well as her own.
Phiona proves to be a natural at chess, able to predict how a match will unfold eight moves ahead. Needless to say, Robert is astounded by her ability, not only for how quickly she picks up the game, but also for what a sound strategist she is. But, then, as Robert routinely imparts to his students, such foresight is essential to success at the game – and at life. And, as someone who regularly must rely on her wits just to get by, Phiona is as a model of this principle.
Given Phiona’s astounding ability, Robert seeks to enter her in tournaments, something that the organizers of these meets don’t take seriously. How can an illiterate girl from the slums possibly understand, let alone successfully compete, in contests involving such a noble and intellectual game? But that’s where Phiona defies the odds – and the skeptics – especially when she shows her competitors what she can do.
Considering Phiona’s background and circumstances, incredulous onlookers quite naturally ask, “How does she do it?” She comes across as so reserved and unassuming that many might wonder how she can be such a tiger on the chess board. But, for those who practice conscious creation, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents, the answer is simple – because she believes she can.
Quite simply, Phiona refuses to buy into the idea that she can’t do what she does. Despite her daily challenges, she’s undeterred when it comes to playing the game she so loves. Her focus is so intent and the beliefs related to her self-confidence are so strong that “extraneous” conditions don’t impinge upon her ability to control the pieces on the chess board. Such belief clarity and personal integrity allow her to work her magic on the field of play, no matter what else may be going on in her life.
Several types of beliefs factor significantly into the mix she employs as a master of the game. Given the virtually limitless number of moves available on a chess board, there are numerous lines of probability open to players in seeking suitable paths to victory. Being aware of these options, and of the ways to circumvent threats from opponents, enables proficient competitors to assess, explore and employ a variety of successful strategies, much as Phiona does. Her firm belief in this capability helps solidify her skills, which, in turn, make themselves apparent during the course of play – and in the results of her matches.
The ability to envision outcomes, another belief-based skill, also plays a significant role. The more we’re able to picture a particular result, the more likely we’re to ultimately see it realized. Such a skill can prove particularly valuable in endeavors involving complex strategies, like playing chess, so anyone who possesses it has a distinct advantage. Of course, this depends on developing and implementing manifestation beliefs that support such a capability, but it is possible, as Phiona’s experience demonstrates. This is evidenced, as noted earlier, by Robert’s astonishment at Phiona’s ability to picture the course of play so far in advance of its unfolding, a revelation that becomes apparent during a game he plays with her, a prime example of the student surpassing even the mentor.
One of the keys to making the foregoing work is a belief in no limits, another quality Phiona possesses. Trying the untried frequently meets with surprising success, and it can be especially useful in a game like chess, where employing the unexpected frequently stuns one’s opponent. However, to be able to employ such unconventional strategies, we must believe in the possibility of their existence and their ability to be successfully implemented. This means overcoming any tendencies we might have toward belief tunnel vision, as well as having the courage to forge ahead with these seemingly unorthodox initiatives. Again, Phiona rises to the occasion, developing the beliefs to enliven such possibilities and to apply them to the field of play.
When we consider the lessons that chess can teach us, it becomes apparent that they’re applicable to more than just this storied board game. The abilities to explore probabilities, envision outcomes, surpass limits and develop effective strategies are all crucial to the game of life as well, and the more we’re able to transfer these fundamental skills into arenas other than competition, the more we’re likely to create lives full of satisfaction and fulfillment. And to think it’s all possible just by learning how to move some pieces around a game board.
Chess may not seem like a particularly compelling subject for cinematic treatment, yet it’s tapped surprisingly often, perhaps because of its ability to effectively portray the foregoing principles. In addition to “Queen of Katwe,” chess has provided the backdrop for a number of other pictures, including “Searching for Bobby Fischer” (1993), “Pawn Sacrifice” (2015) and “The Dark Horse” (2016). Given that, it would seem that there’s an unusually rich vein of material to be mined from this subject, one that those who would readily dismiss it might want to look at more closely.
For its part, “Queen of Katwe” aptly illustrates the aforementioned principles. It also shows what we can accomplish when we apply ourselves and don’t give in to ill-considered criticism. This can mean a lot to those who lack hope and have doubts about their future. But, with the right mindset and a little support and encouragement from the right backers – those who can genuinely see what someone is capable of – the results can easily come to speak for themselves, as Phiona so eloquently demonstrates.
“Queen of Katwe” is a thoroughly heartening and inspirational offering, perfect for impressionable young minds. The writing is occasionally heavy-handed, wooden and formulaic, coming across as a little too ennobling and schmaltzy for its own good. However, the film’s fine performances, especially Nyong’o and newcomer Nalwanga, resonate warmly with viewers, though the platitude-laden script and sometimes-inconsistent pacing periodically hamper the efforts of the protagonists. This isn’t groundbreaking cinema, but it’s certainly an entertaining feel-good movie that’s well worth a look.
Seeking and fulfilling our destiny may take us down some unexpected paths, including those that we might have once never considered pursuing. However, the meaningful outcomes of such efforts can prove rewarding beyond measure, both to those who travel them and to those who encourage us to traverse them. Phiona and Robert show us the way – and find their own in the process.
Copyright © 2016, by Brent Marchant. All rights reserved.
September 28, 2016
Back on the Radio This Week!
Join host Frankie Picasso and me for this month's Movies with Meaning segment on this week's edition of Frankiesense & More on The Good Radio Network. Tune in this Thursday, September 29, at 1 pm ET, or listen to the on-demand podcast thereafter, by clicking here. Join us for some lively movie talk!
September 26, 2016
This Week in Movies with Meaning
A review of "Queen of Katwe," a Helen Mirren retrospective and a radio show preview are all available in this week's Movies with Meaning post on the Blog Page of The Good Radio Network available by clicking here.
Aspiring chess prodigy Phiona Mutesi (Madina Nalwanga, right) learns the game from mentor Robert Katende (David Oyelowo, left) in the inspiring new biopic, “Queen of Katwe.” Photo by Edward Echwalu, courtesy of Disney Enterprises Inc.
Madame Mallory (Helen Mirren), owner of an acclaimed upscale French bistro, struggles to keep a smile on her face with the unexpected arrival of new neighbors whom she believes will threaten her establishment’s reputation in director Lasse Halström’s comedy-drama, “The Hundred-Foot Journey.” Photo by François Duhamel, courtesy of Walt Disney Studios Motion Pictures USA.
Aspiring chess prodigy Phiona Mutesi (Madina Nalwanga, right) learns the game from mentor Robert Katende (David Oyelowo, left) in the inspiring new biopic, “Queen of Katwe.” Photo by Edward Echwalu, courtesy of Disney Enterprises Inc.
Madame Mallory (Helen Mirren), owner of an acclaimed upscale French bistro, struggles to keep a smile on her face with the unexpected arrival of new neighbors whom she believes will threaten her establishment’s reputation in director Lasse Halström’s comedy-drama, “The Hundred-Foot Journey.” Photo by François Duhamel, courtesy of Walt Disney Studios Motion Pictures USA.
