Brent Marchant's Blog, page 129
July 22, 2015
Holy Glowing Endorsement!
Holy Glowing Endorsement, Batman! My Twitter Tweets about my "Batkid Begins" review have been retweeted/favorited by director Dana Nachman, Bay Area Make-a-Wish Foundation Chapter director Patricia Wilson, the movie's official Twitter feed and Batkid himself! Thanks for the recognition and kind words, everyone!
July 19, 2015
Explore 'The Power of the Heart'
When we speak of something having “heart” or of the need to “follow our heart,” what exactly does that mean? Find out more by reading my review of the new DVD, "The Power of the Heart," available on the New Consciousness Review web site by clicking here.
July 16, 2015
‘Batkid Begins’ showcases the generosity and power of the masses
“Batkid Begins” (2015). Cast: Miles Scott, Natalie Scott, Nick Scott, Patricia Wilson, Eric Johnston, Mike Jutan, Phillip Watt, Sue Graham Johnston, Ed Lee, Greg Suhr, Hans Zimmer, Stefania Pomponi. Director: Dana Nachman. Screenplay: Kurt Kuenne and Dana Nachman. Web site. Trailer.
It’s truly inspiring to witness the outpouring of generosity, compassion and support for someone in need. That’s particularly true when these efforts are writ large, thanks to the energy, enthusiasm and empathy of the collective. And now an excellent example of such traits is on display in the heartwarming new documentary, “Batkid Begins.”
A cancer diagnosis is devastating news for anyone, but it can be especially heartbreaking when the patient is a child. When young Miles Scott was diagnosed with leukemia, his parents, Nick and Natalie, sprang into action to attend to his medical needs. And, even though his prognosis for recovery was good, there were no guarantees, a potentially cruel prospect for someone barely starting out in life. Being robbed of one’s childhood just seems so patently unfair. But, then, that’s what good guys are for, and they more than came to the five-year-old’s rescue.
Enter the Make-a-Wish Foundation. The mission of this nationwide nonprofit organization with chapters throughout the U.S. and its territories is to fulfill the dreams of children diagnosed with life-threatening illnesses. So, to make sure that Miles would have an experience to remember, his parents and the Foundation’s Bay Area chapter teamed up to make the young patient’s most heartfelt wish come true. Little did anyone know what they were about to create.
Miles’ wish was to become Batman for a day. As a big fan of the classic 1960s TV show, he developed a strong affinity for the action hero known for taking on the bad guys and saving Gotham City. Miles’ parents were actually quite pleased by this, too, believing that their son’s fascination with Batman’s exploits helped him psychologically in his cancer battle, prompting him to take on the illness with the same fervor that his hero did in matching wits with Gotham’s evildoers. The effect of living out his captivation with Batman, they observed, couldn’t do anything but help lift his spirits, so they were completely behind seeing his wish made real.
But how does a five-year-old assume the role of action hero? That’s where Make-a-Wish stepped in. The executive director of the Bay Area chapter, Patricia Wilson, decided that she and her colleagues would turn San Francisco into Gotham City for a day. They would stage an adventure in which the young hero, to be known as Batkid, would join forces with an adult buddy, Batman (portrayed by inventor and acrobat Eric Johnston), to save a damsel in distress (played by Eric’s wife, Sue Graham Johnston), capture the bank-robbing Riddler (Phillip Watt) and foil the plans of the Penguin (Mike Jutan) in his attempt to kidnap the San Francisco Giants’ beloved mascot, Lou Seal. Batkid would get his crime-fighting instructions in pre-recorded video messages from San Francisco Police Chief Greg Suhr, and, as a reward for his heroism, the young Caped Crusader would be presented with the key to the city from Mayor Ed Lee. It was an ambitious undertaking, one that the organizers were sure would leave a lasting impression. Never in their wildest dreams, however, did they envision how much of an understatement this would prove to be.
In organizing the event, Wilson brought in a number of collaborators, such as Stefania Pomponi, founder of the social media strategy agency Clever Girls Collective. When Pomponi heard about the plan, she prepared an online promotional campaign that quickly went viral. Wilson, who had hopes of securing the support of 200-250 volunteers, suddenly found herself with more than 10,000 who wanted to take part. And it only got bigger from there.
Before long, support for the plan positively mushroomed. Make-a-Wish received valuable communications assistance from Apple and Twitter. The San Francisco Opera’s costume department was tapped to create authentic-looking outfits for the villains. Composer Hans Zimmer, who wrote the soundtracks for the most recent “Batman” film trilogy, penned a special theme for the event. And, to ensure the Dynamic Duo had a proper ride, the owner of a black Lamborghini volunteered his vehicle to serve as the Batmobile, complete with the hero’s famous emblem emblazoned on the front hood.
Support for the event poured in from all over the globe. Well-wishers from Norway to China sent greetings and words of encouragement. Public figures got into the act, too, including President Barack Obama, who sent a video message just for Batkid. Even the actors who played Batman in the character’s various incarnations offered their best, including Adam West, Val Kilmer and Ben Affleck.
On the day of the event itself, throngs of onlookers and well-wishers turned up at the various venues for Batkid’s adventures, with visitors from the world over flying in for the festivities. Needless to say, this created a crowd control issue for the San Francisco police. But, in the spirit of the event, officers volunteered in droves to provide their assistance. The result was a day that both the Scott family – and the City of San Francisco – would not soon forget.
Batkid’s big adventure was quite an event, to say the least. It epitomizes what’s possible through the conscious creation process – the means by which we manifest our reality through our thoughts, beliefs and intents – when applied en masse through the collective consciousness. So many voices lent themselves to this chorus of co-creation to produce a mass event of remarkable proportions.
This event was especially inspiring because it demonstrated what’s possible when intentions are applied to the materialization of a positive creation. Not only did the festivities come off as hoped for, but elements that might have potentially caused problems – such as larger-than-anticipated crowd sizes – never became issues. When onlookers were asked to move to make way, for example, everyone did so freely and cooperatively, never posing a hindrance to the event’s unfolding. It even prompted Police Chief Suhr to observe that, while he ordinarily dislikes flash mobs, he would gladly support such gatherings if they all turned out like this.
But, as grateful as organizers were for the absence of logistical hiccups, they were ecstatic at the recognition that came from the event, not only for the joy it gave a little boy, but also for the possibility it symbolized. Batkid’s adventure and the outpouring of support behind it served as a model, one that could be emulated for other charitable events – and not just those sponsored by Make-a-Wish but for those put on by any organization in support of virtually any worthy cause. One can’t help but view this and observe “Look at what good we can do when we put our minds together!” What’s more, those who habitually focus on what’s wrong with the world need only look to an example such as this to counter that outlook.
The event was also inspiring because of its inherently playful nature. Because of Batkid, much of an entire city that would ordinarily be focused on the mundane routines of everyday life suddenly allowed itself to have fun for a day. How great is that! In that regard, Miles’ contribution to the creation of this event – the very idea itself – was remarkable, reminding us grownups of what many of us have lost sight of – the need to play. In many respects, this echoes the sentiments of author and conscious creation advocate Jane Roberts, who, in collaboration with her noncorporeal channeled collaborator, Seth, noted, “If you know how to play, you do not need to know how to work.” (Thank you, Batkid.)
As noteworthy as the event’s public rewards were, however, there were also significant benefits realized on the personal level. Witnessing Miles’ transformation from a bashful lad into a personified superhero is truly a sight to see. Upon donning his cape and mask, he became Batkid, a bona fide superhero who wasn’t afraid of being at the center of attention, someone who was truly empowered in his own skin. He set an example for us all, especially for children who are more often told to pipe down than to give voice to their true selves.
Miles was not the only one to benefit, though. For example, as Eric Johnston observed, he made a new friend as a result of this experience. What’s more, the outpouring of public support resulted in generous financial contributions earmarked for Miles’ outstanding medical bills and the city’s unanticipated costs in supplying extra services, both of which were covered completely by donations. And, needless to say, the notoriety of Make-a-Wish was raised substantially, too.
If it’s not obvious by now, “Batkid Begins” is one the best feel-good movies to hit the big screen in quite some time. It tells its story well, with no puffery or padding, and it does so without falling into the trap of cloying, over-the-top sentimentality. Its stylish comic book-style graphics lend a fun and colorful enhancement to the narrative. It’s the kind of “good news” movie that does justice to the genre; it’s just unfortunate that there aren’t more like it.
It’s also unfortunate that the film has become the target of some highly uncalled-for criticism, disparagements that, regrettably, elevate cynicism to an art form. Some have contended, for instance, that the film is little more than an overlong infomercial for the charity at the heart of the picture’s story. Others have assailed the intent behind the staging of this event, calling it exploitative. Some have even suggested that the recipient of this outpouring of goodwill wasn’t deserving of it, given that there are so many other children who don’t even have their basic health care needs met, let alone become the beneficiaries of such celebrated treatment.
Comments like this remind me that some people have far too much time on their hands. While I’ll concede that everyone is entitled to his or her own opinion, I find these assertions incredibly sad. Would Miles be better off if he had been denied this experience? Would children in circumstances like his fare better if there were no Make-a-Wish Foundation to give them a little hope and happiness under trying circumstances? Would we, as viewers, still be as likely to get behind initiatives like this if we were unaware of the example set in this film? But, perhaps most importantly, isn’t it wonderful that this event’s high-profile visibility may very well have helped to raise awareness about an organization that may now be able to make such dreams come true for a larger number of deserving kids? The cynics might want to take a second look at their positions in light of these considerations.
The film is currently playing in limited release in theaters specializing in independent and documentary cinema. It is also available for preordering for Internet streaming. In either instance, it’s a celebration of life well worth a view.
On the surface, “Batkid Begins” may be the story of a little boy living a big adventure. But it’s more than that – much more than that, one of the most inspiring and important films of the year thus far. The feelings it engenders are infectious, showing us what we’re capable of – and how good it can make us feel.
Copyright © 2015, by Brent Marchant. All rights reserved.
It’s truly inspiring to witness the outpouring of generosity, compassion and support for someone in need. That’s particularly true when these efforts are writ large, thanks to the energy, enthusiasm and empathy of the collective. And now an excellent example of such traits is on display in the heartwarming new documentary, “Batkid Begins.”
A cancer diagnosis is devastating news for anyone, but it can be especially heartbreaking when the patient is a child. When young Miles Scott was diagnosed with leukemia, his parents, Nick and Natalie, sprang into action to attend to his medical needs. And, even though his prognosis for recovery was good, there were no guarantees, a potentially cruel prospect for someone barely starting out in life. Being robbed of one’s childhood just seems so patently unfair. But, then, that’s what good guys are for, and they more than came to the five-year-old’s rescue.
Enter the Make-a-Wish Foundation. The mission of this nationwide nonprofit organization with chapters throughout the U.S. and its territories is to fulfill the dreams of children diagnosed with life-threatening illnesses. So, to make sure that Miles would have an experience to remember, his parents and the Foundation’s Bay Area chapter teamed up to make the young patient’s most heartfelt wish come true. Little did anyone know what they were about to create.
Miles’ wish was to become Batman for a day. As a big fan of the classic 1960s TV show, he developed a strong affinity for the action hero known for taking on the bad guys and saving Gotham City. Miles’ parents were actually quite pleased by this, too, believing that their son’s fascination with Batman’s exploits helped him psychologically in his cancer battle, prompting him to take on the illness with the same fervor that his hero did in matching wits with Gotham’s evildoers. The effect of living out his captivation with Batman, they observed, couldn’t do anything but help lift his spirits, so they were completely behind seeing his wish made real.
But how does a five-year-old assume the role of action hero? That’s where Make-a-Wish stepped in. The executive director of the Bay Area chapter, Patricia Wilson, decided that she and her colleagues would turn San Francisco into Gotham City for a day. They would stage an adventure in which the young hero, to be known as Batkid, would join forces with an adult buddy, Batman (portrayed by inventor and acrobat Eric Johnston), to save a damsel in distress (played by Eric’s wife, Sue Graham Johnston), capture the bank-robbing Riddler (Phillip Watt) and foil the plans of the Penguin (Mike Jutan) in his attempt to kidnap the San Francisco Giants’ beloved mascot, Lou Seal. Batkid would get his crime-fighting instructions in pre-recorded video messages from San Francisco Police Chief Greg Suhr, and, as a reward for his heroism, the young Caped Crusader would be presented with the key to the city from Mayor Ed Lee. It was an ambitious undertaking, one that the organizers were sure would leave a lasting impression. Never in their wildest dreams, however, did they envision how much of an understatement this would prove to be.
In organizing the event, Wilson brought in a number of collaborators, such as Stefania Pomponi, founder of the social media strategy agency Clever Girls Collective. When Pomponi heard about the plan, she prepared an online promotional campaign that quickly went viral. Wilson, who had hopes of securing the support of 200-250 volunteers, suddenly found herself with more than 10,000 who wanted to take part. And it only got bigger from there.
Before long, support for the plan positively mushroomed. Make-a-Wish received valuable communications assistance from Apple and Twitter. The San Francisco Opera’s costume department was tapped to create authentic-looking outfits for the villains. Composer Hans Zimmer, who wrote the soundtracks for the most recent “Batman” film trilogy, penned a special theme for the event. And, to ensure the Dynamic Duo had a proper ride, the owner of a black Lamborghini volunteered his vehicle to serve as the Batmobile, complete with the hero’s famous emblem emblazoned on the front hood.
Support for the event poured in from all over the globe. Well-wishers from Norway to China sent greetings and words of encouragement. Public figures got into the act, too, including President Barack Obama, who sent a video message just for Batkid. Even the actors who played Batman in the character’s various incarnations offered their best, including Adam West, Val Kilmer and Ben Affleck.
On the day of the event itself, throngs of onlookers and well-wishers turned up at the various venues for Batkid’s adventures, with visitors from the world over flying in for the festivities. Needless to say, this created a crowd control issue for the San Francisco police. But, in the spirit of the event, officers volunteered in droves to provide their assistance. The result was a day that both the Scott family – and the City of San Francisco – would not soon forget.
Batkid’s big adventure was quite an event, to say the least. It epitomizes what’s possible through the conscious creation process – the means by which we manifest our reality through our thoughts, beliefs and intents – when applied en masse through the collective consciousness. So many voices lent themselves to this chorus of co-creation to produce a mass event of remarkable proportions.
This event was especially inspiring because it demonstrated what’s possible when intentions are applied to the materialization of a positive creation. Not only did the festivities come off as hoped for, but elements that might have potentially caused problems – such as larger-than-anticipated crowd sizes – never became issues. When onlookers were asked to move to make way, for example, everyone did so freely and cooperatively, never posing a hindrance to the event’s unfolding. It even prompted Police Chief Suhr to observe that, while he ordinarily dislikes flash mobs, he would gladly support such gatherings if they all turned out like this.
But, as grateful as organizers were for the absence of logistical hiccups, they were ecstatic at the recognition that came from the event, not only for the joy it gave a little boy, but also for the possibility it symbolized. Batkid’s adventure and the outpouring of support behind it served as a model, one that could be emulated for other charitable events – and not just those sponsored by Make-a-Wish but for those put on by any organization in support of virtually any worthy cause. One can’t help but view this and observe “Look at what good we can do when we put our minds together!” What’s more, those who habitually focus on what’s wrong with the world need only look to an example such as this to counter that outlook.
The event was also inspiring because of its inherently playful nature. Because of Batkid, much of an entire city that would ordinarily be focused on the mundane routines of everyday life suddenly allowed itself to have fun for a day. How great is that! In that regard, Miles’ contribution to the creation of this event – the very idea itself – was remarkable, reminding us grownups of what many of us have lost sight of – the need to play. In many respects, this echoes the sentiments of author and conscious creation advocate Jane Roberts, who, in collaboration with her noncorporeal channeled collaborator, Seth, noted, “If you know how to play, you do not need to know how to work.” (Thank you, Batkid.)
As noteworthy as the event’s public rewards were, however, there were also significant benefits realized on the personal level. Witnessing Miles’ transformation from a bashful lad into a personified superhero is truly a sight to see. Upon donning his cape and mask, he became Batkid, a bona fide superhero who wasn’t afraid of being at the center of attention, someone who was truly empowered in his own skin. He set an example for us all, especially for children who are more often told to pipe down than to give voice to their true selves.
Miles was not the only one to benefit, though. For example, as Eric Johnston observed, he made a new friend as a result of this experience. What’s more, the outpouring of public support resulted in generous financial contributions earmarked for Miles’ outstanding medical bills and the city’s unanticipated costs in supplying extra services, both of which were covered completely by donations. And, needless to say, the notoriety of Make-a-Wish was raised substantially, too.
If it’s not obvious by now, “Batkid Begins” is one the best feel-good movies to hit the big screen in quite some time. It tells its story well, with no puffery or padding, and it does so without falling into the trap of cloying, over-the-top sentimentality. Its stylish comic book-style graphics lend a fun and colorful enhancement to the narrative. It’s the kind of “good news” movie that does justice to the genre; it’s just unfortunate that there aren’t more like it.
It’s also unfortunate that the film has become the target of some highly uncalled-for criticism, disparagements that, regrettably, elevate cynicism to an art form. Some have contended, for instance, that the film is little more than an overlong infomercial for the charity at the heart of the picture’s story. Others have assailed the intent behind the staging of this event, calling it exploitative. Some have even suggested that the recipient of this outpouring of goodwill wasn’t deserving of it, given that there are so many other children who don’t even have their basic health care needs met, let alone become the beneficiaries of such celebrated treatment.
Comments like this remind me that some people have far too much time on their hands. While I’ll concede that everyone is entitled to his or her own opinion, I find these assertions incredibly sad. Would Miles be better off if he had been denied this experience? Would children in circumstances like his fare better if there were no Make-a-Wish Foundation to give them a little hope and happiness under trying circumstances? Would we, as viewers, still be as likely to get behind initiatives like this if we were unaware of the example set in this film? But, perhaps most importantly, isn’t it wonderful that this event’s high-profile visibility may very well have helped to raise awareness about an organization that may now be able to make such dreams come true for a larger number of deserving kids? The cynics might want to take a second look at their positions in light of these considerations.
The film is currently playing in limited release in theaters specializing in independent and documentary cinema. It is also available for preordering for Internet streaming. In either instance, it’s a celebration of life well worth a view.
On the surface, “Batkid Begins” may be the story of a little boy living a big adventure. But it’s more than that – much more than that, one of the most inspiring and important films of the year thus far. The feelings it engenders are infectious, showing us what we’re capable of – and how good it can make us feel.
Copyright © 2015, by Brent Marchant. All rights reserved.
July 13, 2015
The Flow of Consciousness
Anyone who’s an artist—regardless of the medium in which one works—knows that getting into the flow of one’s consciousness is essential to successfully create finished works. Tapping into this rich resource of inspiration and knowledge provides access to the makings of all sorts of completed materializations. To find out more, read "The Flow of Consciousness" on newconnexion.net, available by clicking here.
July 3, 2015
‘Time is Art’ seeks to reshape how we see reality
Think you understand how reality works? Are you sure? The answer may not be as simple – or as clear – as you’ve been led to believe. When such uncertainty begins to creep into one’s worldview, it may be time to search for a new understanding. That’s precisely what’s behind a bold new film project currently in development, “Time is Art.”
When writer Jennifer Palmer underwent a profound experience as a result of the passing of a loved one, the once-spiritually skeptical scribe set off on a new path of self-discovery. In seeking to define this new awareness, Palmer found herself investigating a variety of metaphysical and spiritual disciplines and practices to look for answers. The process brought her into contact with an array of enlightened teachers, practitioners, artists and activists, all of whom she engaged in a series of thoughtful conversations that have been documented in this film.
Palmer’s dialogues cover a range of topics and the benefits they potentially afford. Among the subjects addressed are dream work, ancient mysteries, cosmology and intuition, to name a few. Speakers include such new thought luminaries as Rupert Sheldrake, Daniel Pinchbeck, Graham Hancock, Amy Lansky and Jocelyn James.
And what conclusions did the tour guide of this metaphysical journey discover? That’s the real beauty of this work. Realizations about our inherent connectedness, our evolving mindset, our vastly underrated capabilities and the value of synchronicities become clear, all helping us to frame a new world – and a new future – for ourselves. In moving away from a materialistic way of living to one that’s inherently more focused on expressing our innate creativity, we’re witnessing a significant paradigm shift in which the prevailing thinking is changing from the notion that “time is money” to, as the film’s title suggests, “Time is Art.”
Having been fortunate to screen an initial version of the film, I can say that even this rough cut is something worth seeing. It delivers an important message, one that we can each benefit from, and it does so in a compelling, beautiful package with stunning visuals and an engaging soundtrack. And, even though many worthwhile films in this genre have been released in recent years, “Time is Art” could well prove to be one of the most important offerings in this vein.
The film is produced and directed by the husband and wife team of Joél Mejia and Katy Walker of Things are Changing Productions. The filmmakers are currently seeking to secure distribution, but, in the meantime, they have launched an Indiegogo crowdfunding campaign to raise $25,000 to bring the picture to completion for a worldwide release in three languages on November 11, 2015 (11/11/15). Considering what the filmmakers have come up with so far, I can hardly wait to see what the finished product looks like.
Given the state of flux that our world is currently in, we can use all the guidance available to us. The wisdom of those featured in this film can aid us tremendously in helping us discover (and live up to) our potential for bringing about an existence truly worth experiencing, one in which the artist in us all is at last given license to express itself in all its glory.
For further information, click here or follow the project on social media.
Copyright © 2015, by Brent Marchant. All rights reserved.
When writer Jennifer Palmer underwent a profound experience as a result of the passing of a loved one, the once-spiritually skeptical scribe set off on a new path of self-discovery. In seeking to define this new awareness, Palmer found herself investigating a variety of metaphysical and spiritual disciplines and practices to look for answers. The process brought her into contact with an array of enlightened teachers, practitioners, artists and activists, all of whom she engaged in a series of thoughtful conversations that have been documented in this film.
Palmer’s dialogues cover a range of topics and the benefits they potentially afford. Among the subjects addressed are dream work, ancient mysteries, cosmology and intuition, to name a few. Speakers include such new thought luminaries as Rupert Sheldrake, Daniel Pinchbeck, Graham Hancock, Amy Lansky and Jocelyn James.
And what conclusions did the tour guide of this metaphysical journey discover? That’s the real beauty of this work. Realizations about our inherent connectedness, our evolving mindset, our vastly underrated capabilities and the value of synchronicities become clear, all helping us to frame a new world – and a new future – for ourselves. In moving away from a materialistic way of living to one that’s inherently more focused on expressing our innate creativity, we’re witnessing a significant paradigm shift in which the prevailing thinking is changing from the notion that “time is money” to, as the film’s title suggests, “Time is Art.”
Having been fortunate to screen an initial version of the film, I can say that even this rough cut is something worth seeing. It delivers an important message, one that we can each benefit from, and it does so in a compelling, beautiful package with stunning visuals and an engaging soundtrack. And, even though many worthwhile films in this genre have been released in recent years, “Time is Art” could well prove to be one of the most important offerings in this vein.
The film is produced and directed by the husband and wife team of Joél Mejia and Katy Walker of Things are Changing Productions. The filmmakers are currently seeking to secure distribution, but, in the meantime, they have launched an Indiegogo crowdfunding campaign to raise $25,000 to bring the picture to completion for a worldwide release in three languages on November 11, 2015 (11/11/15). Considering what the filmmakers have come up with so far, I can hardly wait to see what the finished product looks like.
Given the state of flux that our world is currently in, we can use all the guidance available to us. The wisdom of those featured in this film can aid us tremendously in helping us discover (and live up to) our potential for bringing about an existence truly worth experiencing, one in which the artist in us all is at last given license to express itself in all its glory.
For further information, click here or follow the project on social media.
Copyright © 2015, by Brent Marchant. All rights reserved.
July 2, 2015
‘Land Ho!’ celebrates the vitality of life
“Land Ho!” (2014). Cast: Earl Lynn Nelson, Paul Eenhoorn, Karrie Crouse, Elizabeth McKee, Alice Olivia Clarke, Benjamin Kasulke, Christina Jennings, Emmsjé Gauti, Amy Yoder, Halldóra Guðjónsdóttir. Directors: Aaron Katz and Martha Stephens. Screenplay: Aaron Katz and Martha Stephens. Web site. Trailer.
Keeping life interesting is something we’d all like to pursue. But that can become challenging, especially if we allow impediments and limitations to get in our way. It’s under those sorts of circumstances, then, that we must make a concerted effort to maintain the excitement and enthusiasm. So it is for a pair of retirees in the delightful, award-winning independent comedy, “Land Ho!”
Life is rather lonely for Mitch (Earl Lynn Nelson), a divorced, retired surgeon who’s having some trouble adjusting to being on his own with too much time on his hands. He finds he can spend only so much time on housework and cooking and looks desperately for some kind of diversion to bring a little excitement into a life whose days are, for what it’s worth, beginning to wane. Ironically enough, upon receiving some sad news, he gets an idea.
When Mitch learns of the passing of his ex-wife’s sister, he gets in touch with her surviving husband, Colin (Paul Eenhoorn), not to just to express his condolences, but also to put forth a proposal. The two brothers-in-law, who had once been quite close, drifted apart when Mitch and his wife separated and when Colin’s wife became ill. To rejuvenate their routines and get back into life, Mitch announces that he’s sprung for an all-expense-paid trip for the two of them – to Iceland.
“Why Iceland?” Colin asks. “Why not?” Mitch responds. It’s quite a departure from what one might expect out of this duo. But then Mitch, an unabashed Southerner, and Colin, a reserved Australian, are a seemingly mismatched pair to begin with. So now, as they head off to a destination about which they know virtually nothing, the seeds of an adventure waiting to unfold have been firmly sown.
Mitch and Colin begin their journey in Reykjavik, where they tour a contemporary art gallery, sample upscale fusion cuisine and partake of trendy nightlife. They also spend time with Mitch’s young cousin, Ellen (Karrie Crouse), and her friend, Janet (Elizabeth McKee), both of whom just happen to be passing through Iceland at the time. They then take off on an SUV road trip across the island, visiting geysers, black sand beaches and a luxury spa. During the course of their adventure, they also meet a host of colorful characters, including a pair of young newlyweds (Benjamin Kasulke, Christina Jennings), a nightclub reveler fascinated with glow sticks (Emmsjé Gauti), an attractive Canadian photographer intent on taking their pictures (Alice Olivia Clarke) and a pair of flirtatious hot springs companions (Amy Yoder, Halldóra Guðjónsdóttir). For two aging gents with little excitement in their lives, the trip proves to be affirming, rejuvenating and, above all, fun.
And why shouldn’t it be fun? Many believe that the elderly should be content to sit back in their rocking chairs and keep still. But many seniors would beg to disagree, especially Mitch and Colin. As the film begins, Mitch may be a little more eager to pursue adventure and new experiences, but, as the story progresses, Colin definitely gets into the swing of things.
Seniors looking to create more active lifestyles for themselves can assuredly do so as long as they believe they can, thanks to the conscious creation process, the philosophy and practice responsible for manifesting our reality. In many ways, this requires that we embrace beliefs that push through perceived limitations, not only in terms of what we think we can accomplish, but also in defying the expectations that others hold about such intents. It can be easy to allow others to paint us into belief corners, but those circumstances need not become consciousness traps, as long as we choose to prevent that from happening.
This becomes undeniably apparent in the dynamic duo’s often-outlandish behavior. For example, Mitch isn’t afraid to express himself with well-placed expletives, openly comment on the physical attributes of the women who cross his path and even light up a joint now and then, actions that many might find appalling coming from someone who’s expected to behave in a reserved fashion. But Mitch (and eventually Colin) won’t hear of it; he’s determined to be himself and refuses to let belief limitations and expectations hamper him from enjoying himself.
It’s refreshing to see the release of more films depicting seniors in a different light, and the number of pictures showing them more engaged in life well on into their supposed sunset years has been steadily increasing in recent years. Besides “Land Ho!,” one need only look to such other examples as “I’ll See You in My Dreams,” “On My Way,” “Le Weekend,” and “The Best Exotic Marigold Hotel” and its sequel. As the population ages (especially those of the Baby Boom generation), this is a most welcome development.
In addition to its alternative portrayal of senior life, “Land Ho!” also provides a different take on road trip movies, the filmmaking genre that’s particularly effective at exploring our personal evolution, what conscious creators refer to as our constant state of becoming. In this picture, that notion particularly applies to Colin. As a lonely widower, he initially seems content to live out his life in quiet solitude. But, as someone who appears remarkably vital for his age, Colin is far too young to rot away in seclusion, and Mitch realizes this. He successfully encourages his partner-in-crime to adopt a renewed outlook, one that re-engages him with life and reveals that the joy we experience is directly proportional to the effort we make to see it realized in our everyday existence.
In a similar vein, the film’s narrative maintains that we should always be explorers, no matter how old we get. Most conscious creators would agree that part of the reason we have chosen to incarnate physically is to explore the various experiences that this form of existence has to offer, so, naturally, we shouldn’t hesitate to avail ourselves of the opportunity. While this is certainly true for all of us who become physical, some would contend that this is an especially important concern for the male of the species, particularly as the clock begins to wind down. Living the life of an explorer, metaphorically speaking, helps to keep us vital and young at heart, especially for those who may be losing sight of the value of such pursuits.
Exploration also enables the joy of creating and having new experiences. Again, this is at the heart of living life as physical beings, and, as Mitch and Colin demonstrate, it’s something to be relished. When all is said and done, our time in this realm of existence goes by so quickly that it could be easy to miss out if we don’t take advantage of the opportunity. Mitch, in particular, realizes this now that his days are dwindling, and he vows to make the most of it while he still has the chance. It’s a belief mindset we should all consider, particularly if we foolishly start to take it for granted.
“Land Ho!” is a surprising little gem of a movie, full of unabashed fun, even if it’s not always particularly politically correct. Some might see it as little more than a buddy movie involving a pair of dirty old men, while others may just as easily see it as a victory lap for a pair of fun-loving adventurers. Personally, I choose the latter interpretation, especially in view of the conscious creation principle that maintains all probabilities for physical existence are possible, with this story merely representing just another of those infinite permutations.
The picture’s playful protagonists and beautiful cinematography, as well as much of its improvised dialogue, make for an enjoyable viewing experience. The results are especially impressive given that the film was put together on a shoestring budget and a tight time frame. It obviously impressed, too, given that the film received this year’s John Cassavettes Award in the Independent Spirit Awards competition, an honor that recognizes the best feature film made for under $500,000. The movie is available for viewing on Blu-ray disk and instant video streaming.
The next time you’re tempted to think that life has lost its luster, think about the example set by Mitch and Colin. The geriatric adventurers may not be able to do everything they once did, but they’re certainly willing to make the effort to keep things interesting. That’s not too much to ask of ourselves, especially when we consider the alternative. So grab that walking stick, get your swagger on and enthusiastically set sail for the escapades that are sure to await. You’re unlikely to regret it.
Copyright © 2015, by Brent Marchant. All rights reserved.
Keeping life interesting is something we’d all like to pursue. But that can become challenging, especially if we allow impediments and limitations to get in our way. It’s under those sorts of circumstances, then, that we must make a concerted effort to maintain the excitement and enthusiasm. So it is for a pair of retirees in the delightful, award-winning independent comedy, “Land Ho!”
Life is rather lonely for Mitch (Earl Lynn Nelson), a divorced, retired surgeon who’s having some trouble adjusting to being on his own with too much time on his hands. He finds he can spend only so much time on housework and cooking and looks desperately for some kind of diversion to bring a little excitement into a life whose days are, for what it’s worth, beginning to wane. Ironically enough, upon receiving some sad news, he gets an idea.
When Mitch learns of the passing of his ex-wife’s sister, he gets in touch with her surviving husband, Colin (Paul Eenhoorn), not to just to express his condolences, but also to put forth a proposal. The two brothers-in-law, who had once been quite close, drifted apart when Mitch and his wife separated and when Colin’s wife became ill. To rejuvenate their routines and get back into life, Mitch announces that he’s sprung for an all-expense-paid trip for the two of them – to Iceland.
“Why Iceland?” Colin asks. “Why not?” Mitch responds. It’s quite a departure from what one might expect out of this duo. But then Mitch, an unabashed Southerner, and Colin, a reserved Australian, are a seemingly mismatched pair to begin with. So now, as they head off to a destination about which they know virtually nothing, the seeds of an adventure waiting to unfold have been firmly sown.
Mitch and Colin begin their journey in Reykjavik, where they tour a contemporary art gallery, sample upscale fusion cuisine and partake of trendy nightlife. They also spend time with Mitch’s young cousin, Ellen (Karrie Crouse), and her friend, Janet (Elizabeth McKee), both of whom just happen to be passing through Iceland at the time. They then take off on an SUV road trip across the island, visiting geysers, black sand beaches and a luxury spa. During the course of their adventure, they also meet a host of colorful characters, including a pair of young newlyweds (Benjamin Kasulke, Christina Jennings), a nightclub reveler fascinated with glow sticks (Emmsjé Gauti), an attractive Canadian photographer intent on taking their pictures (Alice Olivia Clarke) and a pair of flirtatious hot springs companions (Amy Yoder, Halldóra Guðjónsdóttir). For two aging gents with little excitement in their lives, the trip proves to be affirming, rejuvenating and, above all, fun.
And why shouldn’t it be fun? Many believe that the elderly should be content to sit back in their rocking chairs and keep still. But many seniors would beg to disagree, especially Mitch and Colin. As the film begins, Mitch may be a little more eager to pursue adventure and new experiences, but, as the story progresses, Colin definitely gets into the swing of things.
Seniors looking to create more active lifestyles for themselves can assuredly do so as long as they believe they can, thanks to the conscious creation process, the philosophy and practice responsible for manifesting our reality. In many ways, this requires that we embrace beliefs that push through perceived limitations, not only in terms of what we think we can accomplish, but also in defying the expectations that others hold about such intents. It can be easy to allow others to paint us into belief corners, but those circumstances need not become consciousness traps, as long as we choose to prevent that from happening.
This becomes undeniably apparent in the dynamic duo’s often-outlandish behavior. For example, Mitch isn’t afraid to express himself with well-placed expletives, openly comment on the physical attributes of the women who cross his path and even light up a joint now and then, actions that many might find appalling coming from someone who’s expected to behave in a reserved fashion. But Mitch (and eventually Colin) won’t hear of it; he’s determined to be himself and refuses to let belief limitations and expectations hamper him from enjoying himself.
It’s refreshing to see the release of more films depicting seniors in a different light, and the number of pictures showing them more engaged in life well on into their supposed sunset years has been steadily increasing in recent years. Besides “Land Ho!,” one need only look to such other examples as “I’ll See You in My Dreams,” “On My Way,” “Le Weekend,” and “The Best Exotic Marigold Hotel” and its sequel. As the population ages (especially those of the Baby Boom generation), this is a most welcome development.
In addition to its alternative portrayal of senior life, “Land Ho!” also provides a different take on road trip movies, the filmmaking genre that’s particularly effective at exploring our personal evolution, what conscious creators refer to as our constant state of becoming. In this picture, that notion particularly applies to Colin. As a lonely widower, he initially seems content to live out his life in quiet solitude. But, as someone who appears remarkably vital for his age, Colin is far too young to rot away in seclusion, and Mitch realizes this. He successfully encourages his partner-in-crime to adopt a renewed outlook, one that re-engages him with life and reveals that the joy we experience is directly proportional to the effort we make to see it realized in our everyday existence.
In a similar vein, the film’s narrative maintains that we should always be explorers, no matter how old we get. Most conscious creators would agree that part of the reason we have chosen to incarnate physically is to explore the various experiences that this form of existence has to offer, so, naturally, we shouldn’t hesitate to avail ourselves of the opportunity. While this is certainly true for all of us who become physical, some would contend that this is an especially important concern for the male of the species, particularly as the clock begins to wind down. Living the life of an explorer, metaphorically speaking, helps to keep us vital and young at heart, especially for those who may be losing sight of the value of such pursuits.
Exploration also enables the joy of creating and having new experiences. Again, this is at the heart of living life as physical beings, and, as Mitch and Colin demonstrate, it’s something to be relished. When all is said and done, our time in this realm of existence goes by so quickly that it could be easy to miss out if we don’t take advantage of the opportunity. Mitch, in particular, realizes this now that his days are dwindling, and he vows to make the most of it while he still has the chance. It’s a belief mindset we should all consider, particularly if we foolishly start to take it for granted.
“Land Ho!” is a surprising little gem of a movie, full of unabashed fun, even if it’s not always particularly politically correct. Some might see it as little more than a buddy movie involving a pair of dirty old men, while others may just as easily see it as a victory lap for a pair of fun-loving adventurers. Personally, I choose the latter interpretation, especially in view of the conscious creation principle that maintains all probabilities for physical existence are possible, with this story merely representing just another of those infinite permutations.
The picture’s playful protagonists and beautiful cinematography, as well as much of its improvised dialogue, make for an enjoyable viewing experience. The results are especially impressive given that the film was put together on a shoestring budget and a tight time frame. It obviously impressed, too, given that the film received this year’s John Cassavettes Award in the Independent Spirit Awards competition, an honor that recognizes the best feature film made for under $500,000. The movie is available for viewing on Blu-ray disk and instant video streaming.
The next time you’re tempted to think that life has lost its luster, think about the example set by Mitch and Colin. The geriatric adventurers may not be able to do everything they once did, but they’re certainly willing to make the effort to keep things interesting. That’s not too much to ask of ourselves, especially when we consider the alternative. So grab that walking stick, get your swagger on and enthusiastically set sail for the escapades that are sure to await. You’re unlikely to regret it.
Copyright © 2015, by Brent Marchant. All rights reserved.
June 25, 2015
Conventional wisdom challenged in ‘Testament of Youth’
“Testament of Youth (2015 release, 2014 production). Cast: Alicia Vikander, Taron Egerton, Colin Morgan, Kit Harington, Dominic West, Emily Watson, Miranda Richardson, Joanna Scanlan, Hayley Atwell, Anna Chancellor, Nicholas Le Prevost, Daisy Waterstone, Jonathan Bailey, Henry Garrett, Alexandra Roach, Niamh Cusack, Laura Elsworthy, Naomi Everson. Director: James Kent. Screenplay: Juliette Towhidi. Book: Vera Brittain, Testament of Youth. Web site. Trailer.
Fewer things are more potent than an idea. It may take some time and effort for it to take hold, but the impact it may ultimately have can be considerable, often far greater than anything initially imagined. This can be especially true when it comes to the birth of new social movements, notions that can affect society – and even the world – at large. A fine example of how this plays out can now be seen in the emotive new historical memoir, “Testament of Youth.”
During a time of shifts in public opinion and social values, it can be difficult to maintain the status quo, especially among those who are helping to drive those forces of change. So it was in 1914 England with Vera Brittain (Alicia Vikander), a headstrong, self-assured, independent thinker with aspirations far different from those of most women at the time. Rather than be relegated to a life of conventional marriage and homemaking, for example, Vera fought for the right to apply to Oxford to earn her college degree and become a writer, much to the consternation of her parents (Dominic West, Emily Watson). What’s more, despite the subtle matchmaking attempts of Vera’s brother, Edward (Taron Egerton), to fix her up with his friend Victor (Colin Morgan), the idealistic young nonconformist resisted these efforts, insisting that she preferred to live her life without a husband. Clearly, Vera was a force to be reckoned with.
Still, despite her many attempts at breaking out and becoming her own person, Vera also couldn’t help but be somewhat swayed by the entrenched, mainstream thinking of the time. For example, when World War I broke out, she fell in line with conventional patriotic sentiments. She even lobbied her father on her brother’s behalf to allow him to volunteer for military service, a gesture that she contended would allow Edward to aid his country’s cause and help him to mature as a man. She also began to fall for the charms of a man in uniform, Edward’s friend Roland (Kit Harington), despite her earlier proclamations of intending to remain a single, independent woman.
Nevertheless, all concessions to tradition aside, Vera zealously clung to her free-spirited outlook for the most part. She was accepted into Oxford, having employed an unconventional strategy to do so. Before long, she began her studies in earnest under the tutelage of a watchful mentor, Miss Lorimer (Miranda Richardson), a traditionalist who discreetly admired the refreshing moxie of her new student.
Shortly after enrolling, however, Vera started to have a change of heart about her schooling. Having witnessed a burgeoning number of young soldiers returning home maimed and shell-shocked, Vera felt a need to get involved and do something meaningful. She quickly concluded that pursuing an education was comparatively inconsequential, a realization that prompted her to leave school and become a volunteer nurse. Miss Lorimer and others protested this seemingly capricious impulse, but, given Vera’s strong-willed demeanor, there was no stopping her once her mind was made up. It proved to be a decision that would change her life.
During her work in an English hospital and on the front lines in France, Vera witnessed the horrors of war firsthand. While tending to the injuries of both Allied and German forces (including both Victor and Edward), she saw the atrocities of armed conflict in up-close, graphic detail. The impact it had on her was particularly poignant given that this war marked the first-time use of savagely efficient new weapons, like mustard gas, armaments capable of inflicting untold harm in ways never imagined. What’s more, given the horrific conditions of working in a battlefield hospital, with its endemic shortages of staff and supplies, Vera and her colleagues often found themselves forced to perform such procedures as makeshift amputations, gruesome tasks that they never envisioned having to do.
Needless to say, Vera’s attitudes about war were far different after the conflict than they were when the fighting began, especially in light of what she saw and the personal losses she experienced. It gave her a new perspective about combat and its impact – on both friend and foe alike – despite continued public support for such officially sanctioned madness, even in the wake of what the war cost the country in terms of lives, limbs and peace of mind. The experience thus spurred Vera to make her views heard, becoming an ardent peace activist, a virtually unknown commodity at the time. It also gave her a reason to make use of her long-languishing writing talent. She penned a memoir of her wartime ordeals titled Testament of Youth, a book that would become a best seller and set in motion a movement that would progressively gain strength throughout the 20th Century.
Unabashedly asserting one’s independence can be challenging, even under the best of circumstances. However, at a time of emerging change, when new ideas can experience considerable trouble getting off the ground, it takes persistence, confidence and gumption for such notions to find a foothold and take root. Given the herd mentality of those who resist such innovative concepts, there can be much pressure placed on the advocates of reform. But the opposition to those initiatives also usually indicates that such changes are long overdue.
In many ways, Vera embodies the foregoing. Her desire to attend college and establish a career, her wish to live an unattached life, and even her tacit support of progressive movements like women’s suffrage are all apparent as the story opens. And, after Vera’s trying experiences dealing with the war-wounded, her impassioned pacifist advocacy set her apart from most of her peers, especially when she spoke about the welfare of both allies and enemies. However, these attitudes also reflected changes that were quietly simmering in society at large. Vera’s views thus helped birth reforms in matters of both personal choice and public change, shepherding them into being at a time when needed most.
No matter which side one supports in debates like this, the outcomes in each case owe their existence to the power of belief, the means by which such manifestations materialize through the conscious creation process. Beliefs allow prevailing circumstances to become established and enable new conceptions to arise. In both cases, though, the results that emerge depend on the level of backing behind their respective intents. Adequate support either enables existing ideas to persist or for new ones to surface, with the opposite being true when sufficient reinforcement is lacking.
In implementing new manifestations, the presence of certain qualities can aid the process immeasurably. For instance, those who fearlessly adhere to their beliefs and clearly make their intentions known possess the courage to see their visions take shape. And those who go about this practice by faithfully drawing upon their heartfelt, genuine intents infuse integrity into the mix, an attribute that often allows their materializations to become expressed with greater fidelity, strength and speed.
If you need proof of the foregoing, compare the rate at which change comes into being with how long the established order is unquestioningly allowed to remain in place. Admittedly, it may take some time for new ideas to come to full fruition, but progress, in many cases, unfolds at a far more rapid pace than what most might initially expect. Indeed, as the work of activists like Vera make clear, few things are more formidable than a belief whose time has come.
To institute such change, though, we must often think outside of conventional bounds to see our intents realized. This may involve some seemingly unlikely, perhaps even painful, undertakings for those notions to become materialized. For example, would Vera’s fervent pacifist advocacy have come about were it not for her wartime experience? While some might like to believe that there must be an easier way to achieve the goal of peace than to go through the horror of war, many of us, for what it’s worth, may nevertheless need to have the conflict experience before we’re able to conceive of a more viable alternative. War may truly be hell, but what it ultimately births may prove to be an unimagined blessing in disguise.
Recognizing and making use of synchronicities can also prove quite fortuitous to this process. For instance, would Vera’s activism have had the same impact if she hadn’t also possessed the ability to make her views known through her writing? It’s interesting to note how she was willing to shelve the development of this talent when she saw a need to pursue the higher priority of becoming involved in the war effort, probably not realizing at the time that drawing upon this skill would come back to play a vital role in her life later on. As she moved through these seemingly disparate, unrelated phases in her life, Vera likely couldn’t see how they would eventually come together to connect. Yet, because of the coalescence of such skills and experiences, she would go on to make quite an impact, in ways that she probably never envisioned before living through the sequence of events of her life.
Vera’s story thus provides a prime example of living out our value fulfillment. This conscious creation concept has to do with living our lives in line with our best, truest selves for the benefit of both ourselves and those around us. Ms. Brittain may not have brought about an end to armed conflict, just as World War I may not have been the war to end all wars. However, by bringing attention to the issue of warfare’s horrendous consequences, she helped frame one of the century’s most profound, meaningful social movements. We should all have such impact.
“Testament of Youth” is one of the more pleasant surprises of the summer movie season. The film has not received much fanfare, and its trailer, regrettably, doesn’t do the picture justice. Yet this underrated offering delivers its message with impassioned sincerity in a beautifully filmed package with superb period piece production values. Alicia Vikander delivers yet another fine performance, adding significantly to what is becoming an impressive cinematic résumé. And, even though the film drags a bit in the first 45 minutes, with too much emphasis on Vera’s vacillating romantic inclinations, the picture improves significantly as it progresses toward its inspiring conclusion.
Challenging the conventional wisdom can be an uphill battle, especially when it has been locked in place for a long time. However, the rewards that come from dispensing with outmoded ideas can be incalculable, especially when preferable alternatives are allowed to become established. Putting new initiatives into place requires the commitment of advocates like Vera Brittain, but, as the results often show, the outcome is certainly worth the effort.
Copyright © 2015, by Brent Marchant. All rights reserved.
Fewer things are more potent than an idea. It may take some time and effort for it to take hold, but the impact it may ultimately have can be considerable, often far greater than anything initially imagined. This can be especially true when it comes to the birth of new social movements, notions that can affect society – and even the world – at large. A fine example of how this plays out can now be seen in the emotive new historical memoir, “Testament of Youth.”
During a time of shifts in public opinion and social values, it can be difficult to maintain the status quo, especially among those who are helping to drive those forces of change. So it was in 1914 England with Vera Brittain (Alicia Vikander), a headstrong, self-assured, independent thinker with aspirations far different from those of most women at the time. Rather than be relegated to a life of conventional marriage and homemaking, for example, Vera fought for the right to apply to Oxford to earn her college degree and become a writer, much to the consternation of her parents (Dominic West, Emily Watson). What’s more, despite the subtle matchmaking attempts of Vera’s brother, Edward (Taron Egerton), to fix her up with his friend Victor (Colin Morgan), the idealistic young nonconformist resisted these efforts, insisting that she preferred to live her life without a husband. Clearly, Vera was a force to be reckoned with.
Still, despite her many attempts at breaking out and becoming her own person, Vera also couldn’t help but be somewhat swayed by the entrenched, mainstream thinking of the time. For example, when World War I broke out, she fell in line with conventional patriotic sentiments. She even lobbied her father on her brother’s behalf to allow him to volunteer for military service, a gesture that she contended would allow Edward to aid his country’s cause and help him to mature as a man. She also began to fall for the charms of a man in uniform, Edward’s friend Roland (Kit Harington), despite her earlier proclamations of intending to remain a single, independent woman.
Nevertheless, all concessions to tradition aside, Vera zealously clung to her free-spirited outlook for the most part. She was accepted into Oxford, having employed an unconventional strategy to do so. Before long, she began her studies in earnest under the tutelage of a watchful mentor, Miss Lorimer (Miranda Richardson), a traditionalist who discreetly admired the refreshing moxie of her new student.
Shortly after enrolling, however, Vera started to have a change of heart about her schooling. Having witnessed a burgeoning number of young soldiers returning home maimed and shell-shocked, Vera felt a need to get involved and do something meaningful. She quickly concluded that pursuing an education was comparatively inconsequential, a realization that prompted her to leave school and become a volunteer nurse. Miss Lorimer and others protested this seemingly capricious impulse, but, given Vera’s strong-willed demeanor, there was no stopping her once her mind was made up. It proved to be a decision that would change her life.
During her work in an English hospital and on the front lines in France, Vera witnessed the horrors of war firsthand. While tending to the injuries of both Allied and German forces (including both Victor and Edward), she saw the atrocities of armed conflict in up-close, graphic detail. The impact it had on her was particularly poignant given that this war marked the first-time use of savagely efficient new weapons, like mustard gas, armaments capable of inflicting untold harm in ways never imagined. What’s more, given the horrific conditions of working in a battlefield hospital, with its endemic shortages of staff and supplies, Vera and her colleagues often found themselves forced to perform such procedures as makeshift amputations, gruesome tasks that they never envisioned having to do.
Needless to say, Vera’s attitudes about war were far different after the conflict than they were when the fighting began, especially in light of what she saw and the personal losses she experienced. It gave her a new perspective about combat and its impact – on both friend and foe alike – despite continued public support for such officially sanctioned madness, even in the wake of what the war cost the country in terms of lives, limbs and peace of mind. The experience thus spurred Vera to make her views heard, becoming an ardent peace activist, a virtually unknown commodity at the time. It also gave her a reason to make use of her long-languishing writing talent. She penned a memoir of her wartime ordeals titled Testament of Youth, a book that would become a best seller and set in motion a movement that would progressively gain strength throughout the 20th Century.
Unabashedly asserting one’s independence can be challenging, even under the best of circumstances. However, at a time of emerging change, when new ideas can experience considerable trouble getting off the ground, it takes persistence, confidence and gumption for such notions to find a foothold and take root. Given the herd mentality of those who resist such innovative concepts, there can be much pressure placed on the advocates of reform. But the opposition to those initiatives also usually indicates that such changes are long overdue.
In many ways, Vera embodies the foregoing. Her desire to attend college and establish a career, her wish to live an unattached life, and even her tacit support of progressive movements like women’s suffrage are all apparent as the story opens. And, after Vera’s trying experiences dealing with the war-wounded, her impassioned pacifist advocacy set her apart from most of her peers, especially when she spoke about the welfare of both allies and enemies. However, these attitudes also reflected changes that were quietly simmering in society at large. Vera’s views thus helped birth reforms in matters of both personal choice and public change, shepherding them into being at a time when needed most.
No matter which side one supports in debates like this, the outcomes in each case owe their existence to the power of belief, the means by which such manifestations materialize through the conscious creation process. Beliefs allow prevailing circumstances to become established and enable new conceptions to arise. In both cases, though, the results that emerge depend on the level of backing behind their respective intents. Adequate support either enables existing ideas to persist or for new ones to surface, with the opposite being true when sufficient reinforcement is lacking.
In implementing new manifestations, the presence of certain qualities can aid the process immeasurably. For instance, those who fearlessly adhere to their beliefs and clearly make their intentions known possess the courage to see their visions take shape. And those who go about this practice by faithfully drawing upon their heartfelt, genuine intents infuse integrity into the mix, an attribute that often allows their materializations to become expressed with greater fidelity, strength and speed.
If you need proof of the foregoing, compare the rate at which change comes into being with how long the established order is unquestioningly allowed to remain in place. Admittedly, it may take some time for new ideas to come to full fruition, but progress, in many cases, unfolds at a far more rapid pace than what most might initially expect. Indeed, as the work of activists like Vera make clear, few things are more formidable than a belief whose time has come.
To institute such change, though, we must often think outside of conventional bounds to see our intents realized. This may involve some seemingly unlikely, perhaps even painful, undertakings for those notions to become materialized. For example, would Vera’s fervent pacifist advocacy have come about were it not for her wartime experience? While some might like to believe that there must be an easier way to achieve the goal of peace than to go through the horror of war, many of us, for what it’s worth, may nevertheless need to have the conflict experience before we’re able to conceive of a more viable alternative. War may truly be hell, but what it ultimately births may prove to be an unimagined blessing in disguise.
Recognizing and making use of synchronicities can also prove quite fortuitous to this process. For instance, would Vera’s activism have had the same impact if she hadn’t also possessed the ability to make her views known through her writing? It’s interesting to note how she was willing to shelve the development of this talent when she saw a need to pursue the higher priority of becoming involved in the war effort, probably not realizing at the time that drawing upon this skill would come back to play a vital role in her life later on. As she moved through these seemingly disparate, unrelated phases in her life, Vera likely couldn’t see how they would eventually come together to connect. Yet, because of the coalescence of such skills and experiences, she would go on to make quite an impact, in ways that she probably never envisioned before living through the sequence of events of her life.
Vera’s story thus provides a prime example of living out our value fulfillment. This conscious creation concept has to do with living our lives in line with our best, truest selves for the benefit of both ourselves and those around us. Ms. Brittain may not have brought about an end to armed conflict, just as World War I may not have been the war to end all wars. However, by bringing attention to the issue of warfare’s horrendous consequences, she helped frame one of the century’s most profound, meaningful social movements. We should all have such impact.
“Testament of Youth” is one of the more pleasant surprises of the summer movie season. The film has not received much fanfare, and its trailer, regrettably, doesn’t do the picture justice. Yet this underrated offering delivers its message with impassioned sincerity in a beautifully filmed package with superb period piece production values. Alicia Vikander delivers yet another fine performance, adding significantly to what is becoming an impressive cinematic résumé. And, even though the film drags a bit in the first 45 minutes, with too much emphasis on Vera’s vacillating romantic inclinations, the picture improves significantly as it progresses toward its inspiring conclusion.
Challenging the conventional wisdom can be an uphill battle, especially when it has been locked in place for a long time. However, the rewards that come from dispensing with outmoded ideas can be incalculable, especially when preferable alternatives are allowed to become established. Putting new initiatives into place requires the commitment of advocates like Vera Brittain, but, as the results often show, the outcome is certainly worth the effort.
Copyright © 2015, by Brent Marchant. All rights reserved.
'Consciously Created Cinema' in Nexus magazine
I'm thrilled to announce that my second book, Consciously Created Cinema: The Movie Lover's Guide to the Law of Attraction, has been reviewed in the latest edition of Nexus magazine! To find out more, click here.
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Cover design by Paul L. Clark, Inspirtainment
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Cover design by Paul L. Clark, InspirtainmentJune 23, 2015
Check out Reviewers Roundtable
Find out the latest about some great new books and movies by checking out the summer edition of Reviewers Roundtable on New Consciousness Review radio, featuring Miriam Knight, Cynthia Sue Larson and yours truly. The one-hour broadcast includes looks at eight new books and my reviews of three terrific films, "Selma," "She's Beautiful When She's Angry" and "Pride." Tune in by clicking here.
June 19, 2015
‘Me and Earl’ explores finding one’s place in the world
“Me and Earl and the Dying Girl” (2015). Cast: Thomas Mann, RJ Cyler, Olivia Cooke, Nick Offerman, Connie Britton, Molly Shannon, Jon Bernthal, Katherine C. Hughes, Matt Bennett, Masam Holden, Bobb’e J. Thompson, Gavin Dietz, Edward DeBruce III. Director: Alfonso Gomez-Rejon. Screenplay: Jesse Andrews. Book: Jesse Andrews, Me and Earl and the Dying Girl. Web site. Trailer.
Finding one’s place in the world can be a daunting challenge, especially when ideas of how to do so are elusive. But sometimes our inspiration comes from the unlikeliest of circumstances. That’s the scenario that unfolds in the engaging new comedy-drama, “Me and Earl and the Dying Girl.”
High school senior Greg Gaines (Thomas Mann) desperately wants to fit in with his classmates. But, given the many diverse subcultures that make up the student body at Pittsburgh’s Schenley High, he can’t decide which group to call his tribe. As a consequence, he spends most of his time hiding out in a sort of social anonymity, developing only superficial associations with his peers. In fact, about the only person he considers a friend is his longtime buddy Earl Jackson (RJ Cyler), a childhood pal with whom he clandestinely makes short films parodying classic works of cinema. But, even with this creative diversion, Greg’s life generally lacks direction, purpose and a sense of connection – distressing conditions for someone on the brink of adulthood.
Three young friends (from left), Rachel (Olivia Cooke), Greg (Thomas Mann) and Earl (RJ Cyler), face circumstances that force them to grow up faster than expected in the engaging new comedy-drama, “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.
Greg’s teenage ennui troubles those who care about him, most notably his hip, tattoo-clad history teacher, Mr. McCarthy (Jon Bernthal), and his loving but kooky parents (Connie Britton, Nick Offerman). They look for ways to shake Greg out of his adolescent funk, most of which have little impact. But that all begins to change when Greg’s mom asks a favor destined to set him on a new path.
When Greg’s mom learns from her friend Denise (Molly Shannon) that her daughter Rachel (Olivia Cooke) has been diagnosed with leukemia, she asks Greg to spend some time with her to lift her spirits. Greg initially balks at the idea, claiming that he barely knows Rachel and has no clue how to cheer her up. But mom has confidence in her son, and, thanks to her gentle persuasion, she eventually coaxes him into paying Rachel a visit.
Greg Gaines (Thomas Mann, left), a high school senior lacking direction, purpose and connection in life, receives an interesting suggestion from his loving but kooky parents (Nick Offerman, center, Connie Britton, right) in “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.
The initial meeting between Greg and Rachel is strained, to say the least. However, when Rachel learns about Greg and Earl’s film projects, she’s intrigued. In fact, their silly little movies are one of the few things that make her laugh in the face of her circumstances. Before long, Greg and Rachel, with Earl in tow, become the best of friends. What’s more, Greg slowly begins to find himself and his place in the world. But, as Rachel’s condition worsens, the strength of that bond and of Greg’s emerging sense of self-awareness get seriously tested.
With Rachel’s illness progressing, her health and spirits deteriorate. The same can be said of Greg’s academic standing; while spending more of his time trying to lift Rachel’s mood, he lets his schoolwork lapse. Offering Rachel encouragement increasingly drains him of ideas, too. But, just when he seems to be fresh out of ways to cheer her up, one of Rachel’s friends, Madison (Katherine C. Hughes), comes up with a proposal that draws on one of Greg’s strengths: She suggests that he and Earl make one of their movies just for Rachel.
The challenge of creating a suitable film for someone in Rachel’s condition is understandably trying. That difficulty is compounded by Greg’s conflicted, questioning state of mind. The strain of these circumstances soon becomes apparent, affecting Greg’s attempts to understand it all, not to mention the nature of his relationships with Rachel, with Earl and, most of all, with himself.
Being asked to grow up faster than expected seems patently unfair, both for those witnessing it, as well as those living through it. That’s certainly the case for Rachel and Greg, as well as those who care about them. But, under those dire conditions, how we respond is what truly matters most.
Denise Kushner (Molly Shannon), the boozy single mother of a daughter diagnosed with leukemia, struggles to cope with her circumstances in the engaging new comedy-drama, “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.
Under such circumstances, our responses depend on our beliefs, thoughts and intents, the basis of the conscious creation process, which serves to frame the reality we ultimately experience. These powerful forces determine what we draw into our existence to address these (and all of the other) conditions of life. And, given that, one would hope that we choose those beliefs carefully, for they will be faithfully reflected in what materializes around us. This is the law of attraction at work in its most basic expression.
The scenarios that Rachel and Greg have manifested are by no means enviable and certainly full of challenges, but they also offer powerful opportunities for personal growth and life lessons. The protagonists serve as mirrors for one another, too, as they move through their respective ordeals. For example, when the story begins, Greg seems to have all but given up on himself and his future. But, when he befriends Rachel, he finds a purpose. So, when Rachel’s condition begins to slide and she questions the value of continuing her treatment, she seems to give up, something that raises Greg’s ire and represents a complete turnaround from where he began. In her own way, Rachel thus provides the inspiration her friend needs to make something of his life. Witnessing such circumstances is undoubtedly painful, but it’s something Greg needed to experience to get his existence back on track.
Circumstances like these also help to put matters in perspective. At the film’s outset, for instance, Greg worries (i.e., whines) about how to fit in. But, through his friendship with Rachel, he comes to realize how the importance of some beliefs can be vastly overblown. After all, fretting over one’s high school social standing is, arguably, nowhere nearly as traumatizing as experiencing cancer. Rachel’s experience makes that apparent for Greg. And, whenever Greg is tempted to backslide and wallow in his own self-pity, Earl comes along to provide much-needed splashes of cold water to shake up his friend and get him to come back to “reality.”
When Greg Gaines (Thomas Mann, right) is faced with a dearth of ideas on how to cheer up his ill friend, Rachel (Olivia Cooke, left), he receives an interesting proposal from her friend, Madison (Katherine C. Hughes, center), in “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.
Perhaps most importantly, though, manifestations like these enable us to face our fears, a crucial aspect of our continued personal growth. It doesn’t really matter that we may even be afraid of these circumstances as we approach them; what matters most is that we form and embrace beliefs to muster up the courage to do so, thereby affording ourselves an opportunity to move through whatever is holding us back in furthering our personal progress. It also allows us to overcome the pitfalls of practices like wishful thinking, which ultimately provide false comfort and can delay (or even derail) our efforts at growing as fully realized beings. After all, if we’re unable to face our fears in getting through life, how might we ever do so to get through death?
“Me and Earl and the Dying Girl” is excellent all the way around, a young adult story that rises above most typical YA fare, with an intriguing, engaging style reminiscent of films like “(500) Days of Summer”. Its emotive screenplay is deeply affecting, evoking a range of moods and viewer reactions, but without ever resorting to cheap, manipulative sentimentality. The ensemble cast features fine performances across the board, especially among the three young leads and their parental counterparts. You’ll want to keep those hankies handy, too, just in case.
Despite the picture’s serious undertone, it provides ample humor, too. It draws upon a variety of means to get laughs, especially in its clips from Greg and Earl’s classic film parodies. Movie buffs will surely appreciate the hilarious snippets featured from productions like “A Sockwork Orange,” “Senior Citizen Kane,” “My Dinner with Andre the Giant” and “Brew Velvet,” among others. Such humor contributed to the accolades the picture earned earlier this year at the Sundance Film Festival, where it captured the event’s Audience Award and Grand Jury Prize.
The quest to fulfill our destiny may be filled with unexpected twists and turns. However, the fulfillment that comes from such a journey may be unattainable by other means, providing us with what we need, even when that outcome doesn’t seem likely. Trusting in ourselves and the reality we create will get us where we need to go, be it in matters of both life and death. And, if that doesn’t make our existence worthwhile in the end, I don’t know what would.
Copyright © 2015, by Brent Marchant. All rights reserved.
Finding one’s place in the world can be a daunting challenge, especially when ideas of how to do so are elusive. But sometimes our inspiration comes from the unlikeliest of circumstances. That’s the scenario that unfolds in the engaging new comedy-drama, “Me and Earl and the Dying Girl.”
High school senior Greg Gaines (Thomas Mann) desperately wants to fit in with his classmates. But, given the many diverse subcultures that make up the student body at Pittsburgh’s Schenley High, he can’t decide which group to call his tribe. As a consequence, he spends most of his time hiding out in a sort of social anonymity, developing only superficial associations with his peers. In fact, about the only person he considers a friend is his longtime buddy Earl Jackson (RJ Cyler), a childhood pal with whom he clandestinely makes short films parodying classic works of cinema. But, even with this creative diversion, Greg’s life generally lacks direction, purpose and a sense of connection – distressing conditions for someone on the brink of adulthood.
Three young friends (from left), Rachel (Olivia Cooke), Greg (Thomas Mann) and Earl (RJ Cyler), face circumstances that force them to grow up faster than expected in the engaging new comedy-drama, “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.Greg’s teenage ennui troubles those who care about him, most notably his hip, tattoo-clad history teacher, Mr. McCarthy (Jon Bernthal), and his loving but kooky parents (Connie Britton, Nick Offerman). They look for ways to shake Greg out of his adolescent funk, most of which have little impact. But that all begins to change when Greg’s mom asks a favor destined to set him on a new path.
When Greg’s mom learns from her friend Denise (Molly Shannon) that her daughter Rachel (Olivia Cooke) has been diagnosed with leukemia, she asks Greg to spend some time with her to lift her spirits. Greg initially balks at the idea, claiming that he barely knows Rachel and has no clue how to cheer her up. But mom has confidence in her son, and, thanks to her gentle persuasion, she eventually coaxes him into paying Rachel a visit.
Greg Gaines (Thomas Mann, left), a high school senior lacking direction, purpose and connection in life, receives an interesting suggestion from his loving but kooky parents (Nick Offerman, center, Connie Britton, right) in “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.The initial meeting between Greg and Rachel is strained, to say the least. However, when Rachel learns about Greg and Earl’s film projects, she’s intrigued. In fact, their silly little movies are one of the few things that make her laugh in the face of her circumstances. Before long, Greg and Rachel, with Earl in tow, become the best of friends. What’s more, Greg slowly begins to find himself and his place in the world. But, as Rachel’s condition worsens, the strength of that bond and of Greg’s emerging sense of self-awareness get seriously tested.
With Rachel’s illness progressing, her health and spirits deteriorate. The same can be said of Greg’s academic standing; while spending more of his time trying to lift Rachel’s mood, he lets his schoolwork lapse. Offering Rachel encouragement increasingly drains him of ideas, too. But, just when he seems to be fresh out of ways to cheer her up, one of Rachel’s friends, Madison (Katherine C. Hughes), comes up with a proposal that draws on one of Greg’s strengths: She suggests that he and Earl make one of their movies just for Rachel.
The challenge of creating a suitable film for someone in Rachel’s condition is understandably trying. That difficulty is compounded by Greg’s conflicted, questioning state of mind. The strain of these circumstances soon becomes apparent, affecting Greg’s attempts to understand it all, not to mention the nature of his relationships with Rachel, with Earl and, most of all, with himself.
Being asked to grow up faster than expected seems patently unfair, both for those witnessing it, as well as those living through it. That’s certainly the case for Rachel and Greg, as well as those who care about them. But, under those dire conditions, how we respond is what truly matters most.
Denise Kushner (Molly Shannon), the boozy single mother of a daughter diagnosed with leukemia, struggles to cope with her circumstances in the engaging new comedy-drama, “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.Under such circumstances, our responses depend on our beliefs, thoughts and intents, the basis of the conscious creation process, which serves to frame the reality we ultimately experience. These powerful forces determine what we draw into our existence to address these (and all of the other) conditions of life. And, given that, one would hope that we choose those beliefs carefully, for they will be faithfully reflected in what materializes around us. This is the law of attraction at work in its most basic expression.
The scenarios that Rachel and Greg have manifested are by no means enviable and certainly full of challenges, but they also offer powerful opportunities for personal growth and life lessons. The protagonists serve as mirrors for one another, too, as they move through their respective ordeals. For example, when the story begins, Greg seems to have all but given up on himself and his future. But, when he befriends Rachel, he finds a purpose. So, when Rachel’s condition begins to slide and she questions the value of continuing her treatment, she seems to give up, something that raises Greg’s ire and represents a complete turnaround from where he began. In her own way, Rachel thus provides the inspiration her friend needs to make something of his life. Witnessing such circumstances is undoubtedly painful, but it’s something Greg needed to experience to get his existence back on track.
Circumstances like these also help to put matters in perspective. At the film’s outset, for instance, Greg worries (i.e., whines) about how to fit in. But, through his friendship with Rachel, he comes to realize how the importance of some beliefs can be vastly overblown. After all, fretting over one’s high school social standing is, arguably, nowhere nearly as traumatizing as experiencing cancer. Rachel’s experience makes that apparent for Greg. And, whenever Greg is tempted to backslide and wallow in his own self-pity, Earl comes along to provide much-needed splashes of cold water to shake up his friend and get him to come back to “reality.”
When Greg Gaines (Thomas Mann, right) is faced with a dearth of ideas on how to cheer up his ill friend, Rachel (Olivia Cooke, left), he receives an interesting proposal from her friend, Madison (Katherine C. Hughes, center), in “Me and Earl and the Dying Girl.” Photo courtesy of Fox Searchlight Pictures.Perhaps most importantly, though, manifestations like these enable us to face our fears, a crucial aspect of our continued personal growth. It doesn’t really matter that we may even be afraid of these circumstances as we approach them; what matters most is that we form and embrace beliefs to muster up the courage to do so, thereby affording ourselves an opportunity to move through whatever is holding us back in furthering our personal progress. It also allows us to overcome the pitfalls of practices like wishful thinking, which ultimately provide false comfort and can delay (or even derail) our efforts at growing as fully realized beings. After all, if we’re unable to face our fears in getting through life, how might we ever do so to get through death?
“Me and Earl and the Dying Girl” is excellent all the way around, a young adult story that rises above most typical YA fare, with an intriguing, engaging style reminiscent of films like “(500) Days of Summer”. Its emotive screenplay is deeply affecting, evoking a range of moods and viewer reactions, but without ever resorting to cheap, manipulative sentimentality. The ensemble cast features fine performances across the board, especially among the three young leads and their parental counterparts. You’ll want to keep those hankies handy, too, just in case.
Despite the picture’s serious undertone, it provides ample humor, too. It draws upon a variety of means to get laughs, especially in its clips from Greg and Earl’s classic film parodies. Movie buffs will surely appreciate the hilarious snippets featured from productions like “A Sockwork Orange,” “Senior Citizen Kane,” “My Dinner with Andre the Giant” and “Brew Velvet,” among others. Such humor contributed to the accolades the picture earned earlier this year at the Sundance Film Festival, where it captured the event’s Audience Award and Grand Jury Prize.
The quest to fulfill our destiny may be filled with unexpected twists and turns. However, the fulfillment that comes from such a journey may be unattainable by other means, providing us with what we need, even when that outcome doesn’t seem likely. Trusting in ourselves and the reality we create will get us where we need to go, be it in matters of both life and death. And, if that doesn’t make our existence worthwhile in the end, I don’t know what would.
Copyright © 2015, by Brent Marchant. All rights reserved.
