Brent Marchant's Blog, page 141
May 12, 2014
Tune in to Transformation Talk Radio!
Please tune in this Thursday, May 15 at 11 am Eastern, when I'll be a guest on The Jenn Royster Show on Transformation Talk Radio! Join me and host Dr. Jenn Royster for a lively conversation about conscious creation in the movies, available by clicking here. And, for further information about the show and the host, visit Jenn's web site, available here.
Dr. Jenn Royster
Yours truly!
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Dr. Jenn Royster
Yours truly!
May 9, 2014
‘On My Way’ examines the continuity of life
“On My Way” (“Elle s’en va”) (2013 production, 2014 release). Cast: Catherine Deneuve, Nemo Schiffman, Gérard Garouste, Camille, Claude Gensac, Paul Hamy, Mylène Demongeot, Hafsia Herzi, Séréphin Ngakoutou Beninga. Director: Emmanuelle Bercot. Screenplay: Emmanuelle Bercot and Jérôme Tonnerre. Web site. Trailer.
It’s easy – perhaps all too easy – to become reconciled about our lives. We convince ourselves that our journeys are destined to follow set, unalterable paths. Yet we also often hope that they’ll take different courses, especially if the directions we’ve become sold on aren’t to our liking. And sometimes we even wind up pleasantly surprised. No matter what the outcome, however, we can always count on life’s inherent continuity, for better or worse and no matter what we choose to manifest, an idea explored in the delightful new French comedy-drama, “On My Way” (“Elle s’en va”).
Life sometimes doesn’t turn out as hoped for. Just ask Bettie (Catherine Deneuve), an aging former beauty queen now in her early 60s. Having grown up an apple-cheeked small town girl, Bettie blossomed into a beautiful young woman, effortlessly capturing the title of Miss Brittany 1969. Almost overnight, she attained unexpected notoriety, even becoming a contender in the Miss France competition. Unfortunately, the fulfillment of that aspiration got derailed by a car accident not long before the finals, her hopes tragically dashed. And, in the ensuing years, after the glory of her past faded, Bettie found herself right back where she started – living with her mother, Annie (Claude Gensac), in the same small town and in the same house where she grew up.
But, if Bettie’s shattered pageant dreams weren’t bad enough, she also experienced her share of other disappointments, including the untimely death of her husband, the heartache of being jilted by a lover, the venomous ingratitude of her estranged, self-absorbed daughter, Muriel (Camille), and the ravaging effects of time on her physical appearance. And, on top of all that, the source of her livelihood – the charming seafood restaurant she lovingly built – is now on the brink of failure. It’s all a bit much to handle.
Feeling overwhelmed by her circumstances, Bettie impulsively decides to take off one day. She walks out of her restaurant at the height of the lunch hour, leaving everyone and everything behind. She goes for a drive to clear her head, but the longer she’s gone, the less interested she is in returning. So she sets off on an impromptu road trip, letting things take their course without any type of set agenda.
As Bettie’s journey progresses, some things go from bad to worse. The severity of her financial woes becomes painfully apparent, and her worst (albeit overblown) fears about what others think of her looks are repeatedly confirmed, even by total strangers. But, at the same time, she also experiences many unexpected pleasures, such as an overnight fling with an amorous young admirer (Paul Hamy), a late night emotional catharsis with a furniture store security guard (Séréphin Ngakoutou Beninga) and a fun-filled gathering with her pageant sisters, including her old friend Fanfan (Mylène Demongeot). Her biggest joys, however, come in a heartfelt reunion with her grandson, Charly (Nemo Schiffman), and a chance encounter with a potential new romantic interest, Alain (Gérard Garouste). There’s even hope of a reconciliation with Muriel. Suddenly, life doesn’t seem quite so bad after all, even if it does require making some adjustments. Indeed, before long, Bettie truly is “on her way.”
It’s been said that the only certainties in life are death and taxes. However, there’s one more item that belongs on that list: As long as we’re physically incarnate, life itself is a certainty in its own right. It has its own inherent continuity that persists until our final departure from it. Of course, the key question for us in the meantime is, what do we make of it?
How our lives turn out ultimately depends on us and what we do with them. The beliefs we hold serve to shape our perspectives, which, in turn, color the nature of our respective realities. This is the essence of the conscious creation process, which makes it possible to experience whatever probabilities we choose to conceive for ourselves. But, again, the key question for us in this is, what are we to make of those probable choices?
These considerations are at the forefront of what Bettie is now facing. Will she continue to view the glass as half empty, or is she willing to make a leap of faith and see it as half full? Her road trip experiences provide her with a palette showcasing all of these options, but which one will she decide to embrace?
Under such circumstances, many of us fall back on our past to guide us in our decision making for what we experience going forward. Whatever we’ve typically encountered previously is likely to frame our prevailing outlook, and the more we buy into it, the more likely we’ll continue to manifest comparable experiences – unless, of course, we change our minds and choose to explore different options.
In Bettie’s case, she’s lived a life characterized by regrets, disappointments and unexplored possibilities. And, in many ways, she anticipates a future of more of the same. But is that set in stone? And is that what she really wants? The new frustrations she experiences on her road trip would seem to confirm her worst expectations.
But how does such a dour worldview account for the unexpected joys she experiences while on the road? The materialization of those pleasant occurrences gives her hope for fulfilling alternatives to her seemingly hardwired dismal expectations. All she need do is embrace the beliefs that make those other options possible. If she does, she just might find that life can take a very different course from what she’s anticipating.
Rarely are our lives all black or all white; most of us experience some of each, as well as the middle shades of gray. Such circumstances are all part of being human. What’s more, they also make possible the evolution that each of us goes through in our corporeal journeys. In fact, these intrinsic conditions underlie the core conscious creation principle that we’re all in a constant state of becoming. Bettie is just now learning this for herself, but, thankfully, for her sake, better late than never. Indeed, as so many of those around her repeatedly observe, “life goes on” – and in all its myriad forms at that.
I believe the themes explored in this film take on added importance as we age, especially if we’ve never allowed ourselves to evolve much (or at all) over the years. In that regard, Bettie serves as a quintessential tour guide for such an experience. Through her, we get to witness the continuity of life in all its rich, diverse splendor. Simultaneously, Bettie provides us with many examples to draw from when it comes to such crucial considerations as our power of choice, our capacity for change and our ability to tap into life’s inherent (if not always expected) connectedness. And what a rewarding experience it all is! We can only hope that we, like Bettie, manage to fit it all in – while we still have the time to do so.
“On My Way” is a mostly enjoyable, though sometimes-uneven exploration of the foregoing concepts. The picture’s exquisite cinematography brilliantly showcases the simple beauty of rural France in much the same way that “Under the Tuscan Sun” (2003) depicts the idyllic Italian countryside. Deneuve delivers a terrific performance as the beleaguered protagonist, and the film’s colorful supporting cast (featuring many locals making their big screen debuts) adds delicious dashes of whimsy and eccentricity. However, an occasionally meandering screenplay and periodic pacing issues (especially in the first 30 minutes) take the story off track at times, elements that, if tightened up, would have strengthened an already-entertaining picture.
The panorama that is life is something always at our disposal. How much of that beautiful mosaic we choose to view, however, is entirely on us. We can focus on a particular aspect, examine multiple elements or take in the big picture, depending on what interests us and what we choose to experience. But we need never reconcile ourselves to a belief that things are fixed unless we intentionally choose to do so. “On My Way” shows us the options that are open to us for life and its continued unfolding, and it does so with a sense of fun, enjoyment and appreciation – qualities we should all employ in the creation of our own respective realities.
Copyright © 2014, by Brent Marchant. All rights reserved.
It’s easy – perhaps all too easy – to become reconciled about our lives. We convince ourselves that our journeys are destined to follow set, unalterable paths. Yet we also often hope that they’ll take different courses, especially if the directions we’ve become sold on aren’t to our liking. And sometimes we even wind up pleasantly surprised. No matter what the outcome, however, we can always count on life’s inherent continuity, for better or worse and no matter what we choose to manifest, an idea explored in the delightful new French comedy-drama, “On My Way” (“Elle s’en va”).
Life sometimes doesn’t turn out as hoped for. Just ask Bettie (Catherine Deneuve), an aging former beauty queen now in her early 60s. Having grown up an apple-cheeked small town girl, Bettie blossomed into a beautiful young woman, effortlessly capturing the title of Miss Brittany 1969. Almost overnight, she attained unexpected notoriety, even becoming a contender in the Miss France competition. Unfortunately, the fulfillment of that aspiration got derailed by a car accident not long before the finals, her hopes tragically dashed. And, in the ensuing years, after the glory of her past faded, Bettie found herself right back where she started – living with her mother, Annie (Claude Gensac), in the same small town and in the same house where she grew up.
But, if Bettie’s shattered pageant dreams weren’t bad enough, she also experienced her share of other disappointments, including the untimely death of her husband, the heartache of being jilted by a lover, the venomous ingratitude of her estranged, self-absorbed daughter, Muriel (Camille), and the ravaging effects of time on her physical appearance. And, on top of all that, the source of her livelihood – the charming seafood restaurant she lovingly built – is now on the brink of failure. It’s all a bit much to handle.
Feeling overwhelmed by her circumstances, Bettie impulsively decides to take off one day. She walks out of her restaurant at the height of the lunch hour, leaving everyone and everything behind. She goes for a drive to clear her head, but the longer she’s gone, the less interested she is in returning. So she sets off on an impromptu road trip, letting things take their course without any type of set agenda.
As Bettie’s journey progresses, some things go from bad to worse. The severity of her financial woes becomes painfully apparent, and her worst (albeit overblown) fears about what others think of her looks are repeatedly confirmed, even by total strangers. But, at the same time, she also experiences many unexpected pleasures, such as an overnight fling with an amorous young admirer (Paul Hamy), a late night emotional catharsis with a furniture store security guard (Séréphin Ngakoutou Beninga) and a fun-filled gathering with her pageant sisters, including her old friend Fanfan (Mylène Demongeot). Her biggest joys, however, come in a heartfelt reunion with her grandson, Charly (Nemo Schiffman), and a chance encounter with a potential new romantic interest, Alain (Gérard Garouste). There’s even hope of a reconciliation with Muriel. Suddenly, life doesn’t seem quite so bad after all, even if it does require making some adjustments. Indeed, before long, Bettie truly is “on her way.”
It’s been said that the only certainties in life are death and taxes. However, there’s one more item that belongs on that list: As long as we’re physically incarnate, life itself is a certainty in its own right. It has its own inherent continuity that persists until our final departure from it. Of course, the key question for us in the meantime is, what do we make of it?
How our lives turn out ultimately depends on us and what we do with them. The beliefs we hold serve to shape our perspectives, which, in turn, color the nature of our respective realities. This is the essence of the conscious creation process, which makes it possible to experience whatever probabilities we choose to conceive for ourselves. But, again, the key question for us in this is, what are we to make of those probable choices?
These considerations are at the forefront of what Bettie is now facing. Will she continue to view the glass as half empty, or is she willing to make a leap of faith and see it as half full? Her road trip experiences provide her with a palette showcasing all of these options, but which one will she decide to embrace?
Under such circumstances, many of us fall back on our past to guide us in our decision making for what we experience going forward. Whatever we’ve typically encountered previously is likely to frame our prevailing outlook, and the more we buy into it, the more likely we’ll continue to manifest comparable experiences – unless, of course, we change our minds and choose to explore different options.
In Bettie’s case, she’s lived a life characterized by regrets, disappointments and unexplored possibilities. And, in many ways, she anticipates a future of more of the same. But is that set in stone? And is that what she really wants? The new frustrations she experiences on her road trip would seem to confirm her worst expectations.
But how does such a dour worldview account for the unexpected joys she experiences while on the road? The materialization of those pleasant occurrences gives her hope for fulfilling alternatives to her seemingly hardwired dismal expectations. All she need do is embrace the beliefs that make those other options possible. If she does, she just might find that life can take a very different course from what she’s anticipating.
Rarely are our lives all black or all white; most of us experience some of each, as well as the middle shades of gray. Such circumstances are all part of being human. What’s more, they also make possible the evolution that each of us goes through in our corporeal journeys. In fact, these intrinsic conditions underlie the core conscious creation principle that we’re all in a constant state of becoming. Bettie is just now learning this for herself, but, thankfully, for her sake, better late than never. Indeed, as so many of those around her repeatedly observe, “life goes on” – and in all its myriad forms at that.
I believe the themes explored in this film take on added importance as we age, especially if we’ve never allowed ourselves to evolve much (or at all) over the years. In that regard, Bettie serves as a quintessential tour guide for such an experience. Through her, we get to witness the continuity of life in all its rich, diverse splendor. Simultaneously, Bettie provides us with many examples to draw from when it comes to such crucial considerations as our power of choice, our capacity for change and our ability to tap into life’s inherent (if not always expected) connectedness. And what a rewarding experience it all is! We can only hope that we, like Bettie, manage to fit it all in – while we still have the time to do so.
“On My Way” is a mostly enjoyable, though sometimes-uneven exploration of the foregoing concepts. The picture’s exquisite cinematography brilliantly showcases the simple beauty of rural France in much the same way that “Under the Tuscan Sun” (2003) depicts the idyllic Italian countryside. Deneuve delivers a terrific performance as the beleaguered protagonist, and the film’s colorful supporting cast (featuring many locals making their big screen debuts) adds delicious dashes of whimsy and eccentricity. However, an occasionally meandering screenplay and periodic pacing issues (especially in the first 30 minutes) take the story off track at times, elements that, if tightened up, would have strengthened an already-entertaining picture.
The panorama that is life is something always at our disposal. How much of that beautiful mosaic we choose to view, however, is entirely on us. We can focus on a particular aspect, examine multiple elements or take in the big picture, depending on what interests us and what we choose to experience. But we need never reconcile ourselves to a belief that things are fixed unless we intentionally choose to do so. “On My Way” shows us the options that are open to us for life and its continued unfolding, and it does so with a sense of fun, enjoyment and appreciation – qualities we should all employ in the creation of our own respective realities.
Copyright © 2014, by Brent Marchant. All rights reserved.
May 8, 2014
An Evening with 'The Dissolve'
I had a wonderful evening on May 7 when I attended a lively panel discussion about movies and the people who write about them. The event, held at Open Books and sponsored by the Chicago Writers Conference, featured four staff writers from the Chicago-based movie-related web site thedissolve.com. Dissolve staffers Keith Phipps, Scott Tobias, Tasha Robinson and Nathan Rabin read samples of their works, discussed various film-related topics and took questions from the audience. The event also provided an opportunity for me to share Consciously Created Cinema with the speakers (I hope they like it!).
For those who aren't familiar with the web site, check it out -- it's a terrific resource about movies and film-related news. For those not acquainted with the Chicago Writers Conference, check it out as well -- it's an excellent resource for writers, networking and informative programs about publishing. And, finally, those not aware of Open Books should stop by this nonprofit River North used book store, whose proceeds benefit literacy programs in Chicago.
Oh, and by the way, if you haven't picked up your copy of Consciously Created Cinema yet, visit one of the many fine online booksellers (Amazon, Barnes & Noble, iTunes and Kobo Books) that carry this title in print and ebook formats. (It's a pretty good book, and I can speak from personal knowledge on this -- I know the author!)
For those who aren't familiar with the web site, check it out -- it's a terrific resource about movies and film-related news. For those not acquainted with the Chicago Writers Conference, check it out as well -- it's an excellent resource for writers, networking and informative programs about publishing. And, finally, those not aware of Open Books should stop by this nonprofit River North used book store, whose proceeds benefit literacy programs in Chicago.
Oh, and by the way, if you haven't picked up your copy of Consciously Created Cinema yet, visit one of the many fine online booksellers (Amazon, Barnes & Noble, iTunes and Kobo Books) that carry this title in print and ebook formats. (It's a pretty good book, and I can speak from personal knowledge on this -- I know the author!)
April 27, 2014
‘Transcendence’ plumbs the depths of consciousness
“Transcendence” (2014). Cast: Johnny Depp, Rebecca Hall, Paul Bettany, Morgan Freeman, Cillian Murphy, Kate Mara, Clifton Collins Jr. Director: Wally Pfister. Screenplay: Jack Paglen. Web site. Trailer.
What makes a human human? Is it our brain and physical self? Or is it our mind, our consciousness, the cosmic software that drives us as sentient beings? And is that consciousness innately restricted to the physical self, or are other configurations possible? Those are just some of the intriguing questions raised in the new science fiction thriller, “Transcendence.”
Artificial intelligence researchers Drs. Will and Evelyn Caster (Johnny Depp, Rebecca Hall) are on the verge of some astounding breakthroughs in cutting edge computer technology. The professional and life partners are committed to their work and to one another, and they approach both aspects of their lives with heartfelt devotion. They seem to have everything going for them. But then events take an unexpected turn that upends their – and everyone else’s – world.
Shortly after giving a presentation on the astounding potential of artificial intelligence, Will is shot by an anti-technology terrorist at point blank range. As shocking as the incident is, the bullet only grazes him, inflicting injuries that are not considered life threatening. However, in the wake of this attack, Will and Evelyn learn that artificial intelligence labs across the country have been hit by a simultaneous series of incidents in which most of the researchers have been killed and their work wiped out. In fact, the only experts who have apparently survived unscathed are Will’s colleagues Dr. Max Waters (Paul Bettany) and Dr. Joseph Tagger (Morgan Freeman).
The attacks immediately prompt a high-level investigation led by FBI Agent Donald Buchanan (Cillian Murphy), who consults with Will, Evelyn, Max and Joseph on how to proceed, given that they are among the few AI scientists left alive whose work has not been compromised. Not long after the investigation begins, however, Will suddenly falls seriously ill, a surprise given the presumed nature of his gunshot wounds. Upon further inquiry, though, physicians discover that the bullet that struck Will had been contaminated with polonium, and, given that the substance made contact with his bloodstream, he was exposed to a lethal dose of radioactivity. Will is given only weeks to live.
With certain death looming, Will contemplates how to spend his remaining time. He feels compelled to continue with his work, but he’s so weak that it becomes impossible. And so, at Max’s urging, Will decides to shelve his research in favor of spending quality time with Evelyn. But, given the deflating nature of this forced resignation, he’s restless and ill at ease. So, with his days dwindling, the duo devises a plan where Will can both continue his work and spend time with Evelyn: They explore the possibility of creating a computer interface that will allow Will’s consciousness to be uploaded into cyberspace, enabling his mind’s continued existence even in the absence of his corporeal self, in many ways the ultimate embodiment of the concept of artificial intelligence.
With Max’s aid, Will and Evelyn successfully pull off their plan. But, when word of their exploits reaches the terrorists, the insurgents close in on the researchers to try and prevent Will’s consciousness from being launched onto the Internet, a move that would allow it to have unrestricted access to all of the resources of web – and making it virtually impossible to contain once released. Will and Evelyn move too fast for their would-be attackers, however, and Will’s consciousness successfully makes its transition into cyberspace. And now, with unlimited computing power at Will’s disposal, his consciousness is free to explore possibilities never before dreamed of.
What Will and Evelyn subsequently do with such unprecedented power pushes the envelope of human accomplishment, not to mention the very nature of human evolution. But with such tremendous power also comes a corresponding level of accountability. Can Will and Evelyn effectively manage that newfound responsibility? Will they be able to successfully maneuver the minefield of new ethical dilemmas that such circumstances spawn? Or are they fundamentally incapable of managing such an unimaginable task? After all, suddenly having access to heretofore-unavailable resources may be too much to handle, especially if it gives rise to the temptation to play God. How everything plays out ultimately carries implications not only for Will and Evelyn, but also for the entire planet.
The narrative in “Transcendence” begs the question, what, exactly, is the nature of consciousness? Is it something limited to our biological selves? Or can it be exported onto other platforms, such as the computer technology depicted in the film? And what happens when it’s placed onto an operating system different from what we’re accustomed to? Also, what happens when our emotional, feeling-based self is merged with a logic-driven environment with unlimited computational powers? What are the ethics of this? What can we manifest with such power? And what should we manifest (or not manifest) under such conditions?
These are all crucial issues to consider. And, with the advancement of technology that makes such realities possible – something that could happen much sooner than many of us think – we have a host of thorny new questions to contemplate. The transhumanism movement, inspired by the works and philosophies of inventors like Ray Kurzweil, may be upon as sooner rather than later, and we had better start addressing these concerns before the genie is out of the bottle rather than after it’s made its escape.
This is not to suggest that technology is an intrinsic evil (as the terrorists in the film insist). Nor is this film necessarily proposing (as many of its detractors have asserted) that a Luddite approach to life is inherently preferable. However, the picture is nudging us to examine these issues, not only from the standpoint of technology, but also from the perspective of human consciousness and, by extension, the conscious creation process.
The implications in this are potentially staggering. As conscious creators are well aware, the power of our consciousness alone can work miracles, or wreak havoc, on a tremendous scale. But imagine what reality would be like if either of those possibilities is amplified by technology that our consciousness creates. Suddenly, the power of our minds might be able to operate as if they were on steroids. The possibility for change, either positively or negatively, could be almost inconceivable. Indeed, as is even cautioned in the Bible, “in the twinkling of an eye … we will be changed” (1 Corinthians 15:52). In light of that, regardless of one’s religious leanings, perhaps we should do our metaphysical homework in advance to assess what beliefs and intents we hold that are capable of invoking such radical transformations – for better or worse and before there’s no going back.
“Transcendence” has been trounced by movie critics and audiences alike for a variety of reasons. Yes, I’ll admit there are plenty of plot holes in the narrative. Yes, I’ll concede the picture has some pacing issues. And, yes, Johnny Depp comes across as so disinterested that he could have phoned in his performance. However, the aforementioned themes this film raises are far more important than any of these flaws, and its examination of those issues is what make this picture worth seeing, even if the production’s overall execution is far from perfect.
Consciousness is something not to be taken lightly, regardless of whether or not it’s enhanced by the power of technology. “Transcendence” draws that notion into sharp focus, a concern we’d all be wise to consider before we unleash it in the creation of whatever reality we manifest.
Copyright © 2014, by Brent Marchant. All rights reserved.
What makes a human human? Is it our brain and physical self? Or is it our mind, our consciousness, the cosmic software that drives us as sentient beings? And is that consciousness innately restricted to the physical self, or are other configurations possible? Those are just some of the intriguing questions raised in the new science fiction thriller, “Transcendence.”
Artificial intelligence researchers Drs. Will and Evelyn Caster (Johnny Depp, Rebecca Hall) are on the verge of some astounding breakthroughs in cutting edge computer technology. The professional and life partners are committed to their work and to one another, and they approach both aspects of their lives with heartfelt devotion. They seem to have everything going for them. But then events take an unexpected turn that upends their – and everyone else’s – world.
Shortly after giving a presentation on the astounding potential of artificial intelligence, Will is shot by an anti-technology terrorist at point blank range. As shocking as the incident is, the bullet only grazes him, inflicting injuries that are not considered life threatening. However, in the wake of this attack, Will and Evelyn learn that artificial intelligence labs across the country have been hit by a simultaneous series of incidents in which most of the researchers have been killed and their work wiped out. In fact, the only experts who have apparently survived unscathed are Will’s colleagues Dr. Max Waters (Paul Bettany) and Dr. Joseph Tagger (Morgan Freeman).
The attacks immediately prompt a high-level investigation led by FBI Agent Donald Buchanan (Cillian Murphy), who consults with Will, Evelyn, Max and Joseph on how to proceed, given that they are among the few AI scientists left alive whose work has not been compromised. Not long after the investigation begins, however, Will suddenly falls seriously ill, a surprise given the presumed nature of his gunshot wounds. Upon further inquiry, though, physicians discover that the bullet that struck Will had been contaminated with polonium, and, given that the substance made contact with his bloodstream, he was exposed to a lethal dose of radioactivity. Will is given only weeks to live.
With certain death looming, Will contemplates how to spend his remaining time. He feels compelled to continue with his work, but he’s so weak that it becomes impossible. And so, at Max’s urging, Will decides to shelve his research in favor of spending quality time with Evelyn. But, given the deflating nature of this forced resignation, he’s restless and ill at ease. So, with his days dwindling, the duo devises a plan where Will can both continue his work and spend time with Evelyn: They explore the possibility of creating a computer interface that will allow Will’s consciousness to be uploaded into cyberspace, enabling his mind’s continued existence even in the absence of his corporeal self, in many ways the ultimate embodiment of the concept of artificial intelligence.
With Max’s aid, Will and Evelyn successfully pull off their plan. But, when word of their exploits reaches the terrorists, the insurgents close in on the researchers to try and prevent Will’s consciousness from being launched onto the Internet, a move that would allow it to have unrestricted access to all of the resources of web – and making it virtually impossible to contain once released. Will and Evelyn move too fast for their would-be attackers, however, and Will’s consciousness successfully makes its transition into cyberspace. And now, with unlimited computing power at Will’s disposal, his consciousness is free to explore possibilities never before dreamed of.
What Will and Evelyn subsequently do with such unprecedented power pushes the envelope of human accomplishment, not to mention the very nature of human evolution. But with such tremendous power also comes a corresponding level of accountability. Can Will and Evelyn effectively manage that newfound responsibility? Will they be able to successfully maneuver the minefield of new ethical dilemmas that such circumstances spawn? Or are they fundamentally incapable of managing such an unimaginable task? After all, suddenly having access to heretofore-unavailable resources may be too much to handle, especially if it gives rise to the temptation to play God. How everything plays out ultimately carries implications not only for Will and Evelyn, but also for the entire planet.
The narrative in “Transcendence” begs the question, what, exactly, is the nature of consciousness? Is it something limited to our biological selves? Or can it be exported onto other platforms, such as the computer technology depicted in the film? And what happens when it’s placed onto an operating system different from what we’re accustomed to? Also, what happens when our emotional, feeling-based self is merged with a logic-driven environment with unlimited computational powers? What are the ethics of this? What can we manifest with such power? And what should we manifest (or not manifest) under such conditions?
These are all crucial issues to consider. And, with the advancement of technology that makes such realities possible – something that could happen much sooner than many of us think – we have a host of thorny new questions to contemplate. The transhumanism movement, inspired by the works and philosophies of inventors like Ray Kurzweil, may be upon as sooner rather than later, and we had better start addressing these concerns before the genie is out of the bottle rather than after it’s made its escape.
This is not to suggest that technology is an intrinsic evil (as the terrorists in the film insist). Nor is this film necessarily proposing (as many of its detractors have asserted) that a Luddite approach to life is inherently preferable. However, the picture is nudging us to examine these issues, not only from the standpoint of technology, but also from the perspective of human consciousness and, by extension, the conscious creation process.
The implications in this are potentially staggering. As conscious creators are well aware, the power of our consciousness alone can work miracles, or wreak havoc, on a tremendous scale. But imagine what reality would be like if either of those possibilities is amplified by technology that our consciousness creates. Suddenly, the power of our minds might be able to operate as if they were on steroids. The possibility for change, either positively or negatively, could be almost inconceivable. Indeed, as is even cautioned in the Bible, “in the twinkling of an eye … we will be changed” (1 Corinthians 15:52). In light of that, regardless of one’s religious leanings, perhaps we should do our metaphysical homework in advance to assess what beliefs and intents we hold that are capable of invoking such radical transformations – for better or worse and before there’s no going back.
“Transcendence” has been trounced by movie critics and audiences alike for a variety of reasons. Yes, I’ll admit there are plenty of plot holes in the narrative. Yes, I’ll concede the picture has some pacing issues. And, yes, Johnny Depp comes across as so disinterested that he could have phoned in his performance. However, the aforementioned themes this film raises are far more important than any of these flaws, and its examination of those issues is what make this picture worth seeing, even if the production’s overall execution is far from perfect.
Consciousness is something not to be taken lightly, regardless of whether or not it’s enhanced by the power of technology. “Transcendence” draws that notion into sharp focus, a concern we’d all be wise to consider before we unleash it in the creation of whatever reality we manifest.
Copyright © 2014, by Brent Marchant. All rights reserved.
April 25, 2014
‘Heaven Is For Real’ tests the strength of faith
“Heaven Is For Real” (2014). Cast: Greg Kinnear, Kelly Reilly, Connor Corum, Thomas Haden Church, Margo Martindale, Lane Styles, Jacob Vargas, Thanya Romero, Danso Gordon, Nancy Sorel, Ursula Clark, Mike Mohrhardt. Director: Randall Wallace. Screenplay: Chris Parker and Randall Wallace. Book: Todd Burpo and Lynn Vincent, Heaven is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back. Web site. Trailer.
How truly steadfast are we when it comes to our beliefs? And what are the implications for those of us who harbor doubts about what we claim to believe? Under such circumstances, our faith is sure to be put to the test, a notion explored in the new divinely inspired, fact-based drama, “Heaven Is For Real.”
Life in rural Imperial, Nebraska is good but challenging for the Burpo family. Todd Burpo (Greg Kinnear), the likable pastor of a local church, wears many hats to serve his community and provide for his wife, Sonja (Kelly Reilly), and two children, Cassie (Lane Styles) and Colton (Connor Corum). Todd generally approaches his challenges joyfully, but he nonetheless struggles to cope with his share of financial issues, nagging health ailments and the daily routine of raising a family. Still, whenever he needs a jolt of encouragement, he always has his faith to fall back on to see him through.
That faith gets seriously put to the test when Colton becomes deathly ill from a ruptured appendix. With his son’s life hanging in the balance and doctors scrambling to save him, Todd, Sonja and members of the congregation pray fervently for the young boy’s well-being. Those efforts pay off, too, when Colton pulls through successfully. But, in the course of making his recovery, Colton is party to a miraculous event – a near death experience during which he visits heaven, meeting both a chorus of angels and Jesus (Mike Mohrhardt). And, while Colton regards his experience rather matter-of-factly, his account of that event sends shockwaves through his family and his dad’s parish.
Even though Colton is unfazed by what he went through, the same can’t be said for those around him. Todd struggles to understand what his son experienced, but his doubts frequently get the better of him. Those misgivings are routinely reinforced by the skepticism of others, like Sonja, who attribute Colton’s story to his overactive imagination. So, to vanquish those doubts and counter the contentions of the naysayers, Todd searches high and low for answers, consulting a range of sources, including everything from scripture to the counsel of a psychiatrist (Nancy Sorel). But, when satisfactory answers aren’t forthcoming, Todd finds it increasingly difficult to attend to the needs of his family and his congregation, raising concerns among his relations, friends and church board members, most notably Jay Wilkins (Thomas Haden Church) and Nancy Rawling (Margo Martindale). Suddenly, someone who’s accustomed to providing others with guidance and comfort is unable to find any consolation of his own.
Only when Todd consults the source of his doubts is he able to alleviate them. When Colton recounts his experience and provides details about it that he couldn’t possibly know any other way than by actually having gone through it, Todd’s apprehensions dissipate. And, not long thereafter, so do the doubts of others. All it takes is a little faith, a quality that’s reborn in others thanks to the simple but sincere testimony of an innocent young soul.
As should be apparent from the foregoing, faith in one’s beliefs is the central theme of this picture, a notion crucial to one’s devotion to virtually any philosophical system, whether it’s an established religion like Christianity or an alternative metaphysical discipline like conscious creation. In either case, the beliefs held by the followers of these doctrines, as well as the faith they place in them, determine what they ultimately get out of them, for better or worse. Those whose beliefs and faith are unshakable generally benefit most from these disciplines, while those who harbor doubts frequently struggle to reconcile their internal conflicts and reap the rewards offered by these teachings.
The roles of faith and beliefs are especially critical in this story’s context, since they relate directly to some of the most fundamental foundational considerations of Christian theology – the belief in an afterlife and the ability to ascend to it. The key question for many of those in this film is, just how “real” are those considerations? Is the afterlife something that we can experience, return from and recount? Or is it an unfathomable enigma that none of us will truly be able to know about until we make our final (and permanent) exit from physical existence? In short, is it something that we must purely take on faith until we die, or is tangible evidence of it available to us while we’re still incarnate?
It’s rather ironic that the film depicts people of faith having such serious doubts about their own beliefs. Perhaps that’s because the difficulties they’ve experienced in life have made them skeptical of a belief system they claim to so devotedly embrace, and, to a certain extent, that’s understandable. How can they trust the word of a supposedly loving God when that divine entity has also seemingly subjected them to heartache and suffering? Can they freely accept what they’ve been told without reservation, or must they keep their guard up just in case? What’s more, how seriously should they take one of God’s messengers (in this case, Colton) when it comes to the imparting of celestial insights, even if such information appears to be sent sincerely through someone with no apparent agenda or deception in the delivery of those communications?
This is another area where faith and beliefs are particularly significant and, once again, in virtually any philosophical, theological or metaphysical discipline. Indeed, how realistic is it for those of us accustomed to the tangible world of physicality to truly trust abstractions that are so patently vague and inherently intangible? This is why it’s so important to understand and recognize the underlying belief-driven meanings of the elements that manifest in our existence. Rather than automatically doubting the messages of a divinely sent courier, for example, we should instead look to see how accurately those heavenly dispatches align with the beliefs we hold. If they match up, we should feel comfortable putting stock in those convictions, providing us with validation of what we claim to hold dear.
Those of us who practice conscious creation realize that this principle applies to all of the manifestations that are part of our lives, be it in the context of “big issues” (like determining whether there’s an afterlife) or that of lesser questions (such as deciding which green grocer or dry cleaner to patronize). The materializations that appear in our lives provide evidence of the intents underlying their creation, and the more proficient we become in recognizing the relevance and validity of those manifestations, the more we can trust ourselves – and our beliefs – in bringing forth what we ultimately experience.
Perhaps some of the doubt in this story stems from would-be believers trying to comprehend the nature (and very existence) of a state of being far different from what they’re typically accustomed to. If all we’re familiar with is physical reality, then how can we truly appreciate something so seemingly “foreign” as heaven? To answer that question, we can again turn to conscious creation, which maintains that we’re all multidimensional beings capable of experiencing myriad forms of existence, including physical and nonphysical, earthly and celestial, and all manner of other possibilities we likely can’t even begin to conceive of. If one were to view Colton’s experience in this light, it likely wouldn’t seem so strange, because it reflects that principle of multidimensionality.
Those who embrace a conventional view of the nature of reality may find the foregoing notion a bit difficult to accept. However, is this limited outlook accurate? After all, does it not say in the Bible itself that “in my Father’s house are many mansions” (John 14:2)? If this isn’t an explanation for our inherent multidimensionality, I don’t know what is. And this statement again illustrates the importance of recognizing the relevance of the manifestations of our existence – even those that take the form of the written word – in providing clues about the true nature of our beliefs and how they work to shape the reality we experience.
Even though “Heaven Is For Real” manages to raise the foregoing issues, unfortunately it fails to address them thoroughly or effectively. Despite the film’s considerable potential, it frequently falls short of the mark, largely due to a poorly written script and an unfocused approach in presenting its material. For instance, just as the picture seems to be heading down a particularly insightful path, it suddenly and inexplicably veers off in another direction whose nexus is questionable at best (especially in the picture’s first half-hour). This happens repeatedly, making for a meandering narrative that’s often difficult to follow, let alone comprehend.
The film clearly works best when relating Colton’s story, but, regrettably, the picture doesn’t devote nearly enough screen time to it. Instead, the movie focuses more on Todd’s trials and tribulations and the struggles of his family and friends, plotlines that, while moderately interesting, aren’t nearly as compelling as that of the story’s central character. If the film had placed its emphasis on what really matters most, it would have succeeded much more effectively, not only as an entertainment vehicle, but also as a means for conveying spiritual and metaphysical inspiration.
Even though this film is based on actual events, as noted earlier, it’s somewhat surprising to see the level of doubt that its characters harbor. In fact, in my opinion, that aspect of the story receives a disproportionate amount of attention, which dilutes the impact of the narrative’s primary message. Indeed, it’s hard to fathom how and why so many so-called believers have such a difficult time embracing manifestations of their faith’s core contentions when they come face to face with them. And, as arguably understandable as those struggles may be, they don’t make for terribly interesting filmmaking, at least compared to what could (and should) have been the principal focus of this picture.
What’s more, given the considerable attention that has been devoted to the subject of near death experiences in the mass media and other forums in recent years, there’s precious little about them here that’s particularly new or revelatory (despite their effective on-screen treatment). Perhaps my knowledge of the subject matter reflects a personal bias in this regard, but I’m hard-pressed to see anything especially earth shattering here. If the filmmakers’ intent was to shed light on this phenomenon to those unfamiliar with it, then one could argue that they’ve succeeded, but those who are more well-versed in the material will likely view its treatment as a simplistic, lightweight exploration that could be characterized as a course in NDE 101.
Purely as a piece of filmmaking, the movie isn’t particularly ambitious or innovative, either. Its acting and production values are mediocre at best, their quality level about on par with that of a typical made-for-TV movie. To its credit, however, the film’s depiction of Colton’s near death experience is quite good overall, and, thankfully, the picture generally resists the temptation to indulge in schmaltzy sentimentality or heavy-handed sermonizing. But those strengths aren’t enough to save this underperforming title from its many other inherent shortcomings.
The bottom line in all this is, is heaven real? While most of us would probably answer in the affirmative, it all ultimately depends on what we believe and how intently we cling to it. Of course, it always helps to have confirmation of our assumptions, and we’d serve ourselves well to recognize their proof when it makes itself apparent. All we need do is pay attention – and have a little faith.
Copyright © 2014, by Brent Marchant. All rights reserved.
How truly steadfast are we when it comes to our beliefs? And what are the implications for those of us who harbor doubts about what we claim to believe? Under such circumstances, our faith is sure to be put to the test, a notion explored in the new divinely inspired, fact-based drama, “Heaven Is For Real.”
Life in rural Imperial, Nebraska is good but challenging for the Burpo family. Todd Burpo (Greg Kinnear), the likable pastor of a local church, wears many hats to serve his community and provide for his wife, Sonja (Kelly Reilly), and two children, Cassie (Lane Styles) and Colton (Connor Corum). Todd generally approaches his challenges joyfully, but he nonetheless struggles to cope with his share of financial issues, nagging health ailments and the daily routine of raising a family. Still, whenever he needs a jolt of encouragement, he always has his faith to fall back on to see him through.
That faith gets seriously put to the test when Colton becomes deathly ill from a ruptured appendix. With his son’s life hanging in the balance and doctors scrambling to save him, Todd, Sonja and members of the congregation pray fervently for the young boy’s well-being. Those efforts pay off, too, when Colton pulls through successfully. But, in the course of making his recovery, Colton is party to a miraculous event – a near death experience during which he visits heaven, meeting both a chorus of angels and Jesus (Mike Mohrhardt). And, while Colton regards his experience rather matter-of-factly, his account of that event sends shockwaves through his family and his dad’s parish.
Even though Colton is unfazed by what he went through, the same can’t be said for those around him. Todd struggles to understand what his son experienced, but his doubts frequently get the better of him. Those misgivings are routinely reinforced by the skepticism of others, like Sonja, who attribute Colton’s story to his overactive imagination. So, to vanquish those doubts and counter the contentions of the naysayers, Todd searches high and low for answers, consulting a range of sources, including everything from scripture to the counsel of a psychiatrist (Nancy Sorel). But, when satisfactory answers aren’t forthcoming, Todd finds it increasingly difficult to attend to the needs of his family and his congregation, raising concerns among his relations, friends and church board members, most notably Jay Wilkins (Thomas Haden Church) and Nancy Rawling (Margo Martindale). Suddenly, someone who’s accustomed to providing others with guidance and comfort is unable to find any consolation of his own.
Only when Todd consults the source of his doubts is he able to alleviate them. When Colton recounts his experience and provides details about it that he couldn’t possibly know any other way than by actually having gone through it, Todd’s apprehensions dissipate. And, not long thereafter, so do the doubts of others. All it takes is a little faith, a quality that’s reborn in others thanks to the simple but sincere testimony of an innocent young soul.
As should be apparent from the foregoing, faith in one’s beliefs is the central theme of this picture, a notion crucial to one’s devotion to virtually any philosophical system, whether it’s an established religion like Christianity or an alternative metaphysical discipline like conscious creation. In either case, the beliefs held by the followers of these doctrines, as well as the faith they place in them, determine what they ultimately get out of them, for better or worse. Those whose beliefs and faith are unshakable generally benefit most from these disciplines, while those who harbor doubts frequently struggle to reconcile their internal conflicts and reap the rewards offered by these teachings.
The roles of faith and beliefs are especially critical in this story’s context, since they relate directly to some of the most fundamental foundational considerations of Christian theology – the belief in an afterlife and the ability to ascend to it. The key question for many of those in this film is, just how “real” are those considerations? Is the afterlife something that we can experience, return from and recount? Or is it an unfathomable enigma that none of us will truly be able to know about until we make our final (and permanent) exit from physical existence? In short, is it something that we must purely take on faith until we die, or is tangible evidence of it available to us while we’re still incarnate?
It’s rather ironic that the film depicts people of faith having such serious doubts about their own beliefs. Perhaps that’s because the difficulties they’ve experienced in life have made them skeptical of a belief system they claim to so devotedly embrace, and, to a certain extent, that’s understandable. How can they trust the word of a supposedly loving God when that divine entity has also seemingly subjected them to heartache and suffering? Can they freely accept what they’ve been told without reservation, or must they keep their guard up just in case? What’s more, how seriously should they take one of God’s messengers (in this case, Colton) when it comes to the imparting of celestial insights, even if such information appears to be sent sincerely through someone with no apparent agenda or deception in the delivery of those communications?
This is another area where faith and beliefs are particularly significant and, once again, in virtually any philosophical, theological or metaphysical discipline. Indeed, how realistic is it for those of us accustomed to the tangible world of physicality to truly trust abstractions that are so patently vague and inherently intangible? This is why it’s so important to understand and recognize the underlying belief-driven meanings of the elements that manifest in our existence. Rather than automatically doubting the messages of a divinely sent courier, for example, we should instead look to see how accurately those heavenly dispatches align with the beliefs we hold. If they match up, we should feel comfortable putting stock in those convictions, providing us with validation of what we claim to hold dear.
Those of us who practice conscious creation realize that this principle applies to all of the manifestations that are part of our lives, be it in the context of “big issues” (like determining whether there’s an afterlife) or that of lesser questions (such as deciding which green grocer or dry cleaner to patronize). The materializations that appear in our lives provide evidence of the intents underlying their creation, and the more proficient we become in recognizing the relevance and validity of those manifestations, the more we can trust ourselves – and our beliefs – in bringing forth what we ultimately experience.
Perhaps some of the doubt in this story stems from would-be believers trying to comprehend the nature (and very existence) of a state of being far different from what they’re typically accustomed to. If all we’re familiar with is physical reality, then how can we truly appreciate something so seemingly “foreign” as heaven? To answer that question, we can again turn to conscious creation, which maintains that we’re all multidimensional beings capable of experiencing myriad forms of existence, including physical and nonphysical, earthly and celestial, and all manner of other possibilities we likely can’t even begin to conceive of. If one were to view Colton’s experience in this light, it likely wouldn’t seem so strange, because it reflects that principle of multidimensionality.
Those who embrace a conventional view of the nature of reality may find the foregoing notion a bit difficult to accept. However, is this limited outlook accurate? After all, does it not say in the Bible itself that “in my Father’s house are many mansions” (John 14:2)? If this isn’t an explanation for our inherent multidimensionality, I don’t know what is. And this statement again illustrates the importance of recognizing the relevance of the manifestations of our existence – even those that take the form of the written word – in providing clues about the true nature of our beliefs and how they work to shape the reality we experience.
Even though “Heaven Is For Real” manages to raise the foregoing issues, unfortunately it fails to address them thoroughly or effectively. Despite the film’s considerable potential, it frequently falls short of the mark, largely due to a poorly written script and an unfocused approach in presenting its material. For instance, just as the picture seems to be heading down a particularly insightful path, it suddenly and inexplicably veers off in another direction whose nexus is questionable at best (especially in the picture’s first half-hour). This happens repeatedly, making for a meandering narrative that’s often difficult to follow, let alone comprehend.
The film clearly works best when relating Colton’s story, but, regrettably, the picture doesn’t devote nearly enough screen time to it. Instead, the movie focuses more on Todd’s trials and tribulations and the struggles of his family and friends, plotlines that, while moderately interesting, aren’t nearly as compelling as that of the story’s central character. If the film had placed its emphasis on what really matters most, it would have succeeded much more effectively, not only as an entertainment vehicle, but also as a means for conveying spiritual and metaphysical inspiration.
Even though this film is based on actual events, as noted earlier, it’s somewhat surprising to see the level of doubt that its characters harbor. In fact, in my opinion, that aspect of the story receives a disproportionate amount of attention, which dilutes the impact of the narrative’s primary message. Indeed, it’s hard to fathom how and why so many so-called believers have such a difficult time embracing manifestations of their faith’s core contentions when they come face to face with them. And, as arguably understandable as those struggles may be, they don’t make for terribly interesting filmmaking, at least compared to what could (and should) have been the principal focus of this picture.
What’s more, given the considerable attention that has been devoted to the subject of near death experiences in the mass media and other forums in recent years, there’s precious little about them here that’s particularly new or revelatory (despite their effective on-screen treatment). Perhaps my knowledge of the subject matter reflects a personal bias in this regard, but I’m hard-pressed to see anything especially earth shattering here. If the filmmakers’ intent was to shed light on this phenomenon to those unfamiliar with it, then one could argue that they’ve succeeded, but those who are more well-versed in the material will likely view its treatment as a simplistic, lightweight exploration that could be characterized as a course in NDE 101.
Purely as a piece of filmmaking, the movie isn’t particularly ambitious or innovative, either. Its acting and production values are mediocre at best, their quality level about on par with that of a typical made-for-TV movie. To its credit, however, the film’s depiction of Colton’s near death experience is quite good overall, and, thankfully, the picture generally resists the temptation to indulge in schmaltzy sentimentality or heavy-handed sermonizing. But those strengths aren’t enough to save this underperforming title from its many other inherent shortcomings.
The bottom line in all this is, is heaven real? While most of us would probably answer in the affirmative, it all ultimately depends on what we believe and how intently we cling to it. Of course, it always helps to have confirmation of our assumptions, and we’d serve ourselves well to recognize their proof when it makes itself apparent. All we need do is pay attention – and have a little faith.
Copyright © 2014, by Brent Marchant. All rights reserved.
April 24, 2014
A Wonderful Evening at World Book Night
I had a wonderful time last evening at the Chicago celebration of World Book Night! The official Windy City function was a reception and book reading at the Book Cellar bookstore in Lincoln Square sponsored by the Chicago Writers Conference and Chicago Women in Publishing. I had a chance to meet fellow authors and to introduce them to my new book, "Consciously Created Cinema." I even had a chance to swap books with featured presenter Scott Turow! What a wonderful evening and an even more wonderful group of people! And thanks to my partner Trevor for joining me for support (and photography!).
Photos by Trevor Laster
Photos by Trevor Laster
April 23, 2014
World Book Night!
How will you be spending World Book Night? I'll be attending a reception sponsored by the Chicago Writers Conference and Chicago Women in Publishing at the Book Cellar Cafe! Here's hoping you're able to enjoy a function in your area celebrating this wonderful event! For more about one of the sponsors of the Chicago event, click here.
April 21, 2014
Back on the Radio This Week!
I'm pleased to announce that I'll be a guest on the Blog Talk Radio show "Padaran" with host Daya Devi-Doolin this Thursday, April 24, at 2 pm Eastern. Tune in for some insightful chat by clicking here.
April 18, 2014
‘The Great Beauty’ urges us to look at our lives
“The Great Beauty” (“La grande bellazza”) (2013). Cast: Toni Servillo, Sabrina Ferilli, Carlo Verdone, Serena Grandi, Carlo Buccirosso, Pamela Villoresi, Luca Marinelli, Giusi Merli, Roberto Herlitzka, Giovanna Vignola, Iaia Forte, Massimo De Francovich, Vernon Dobtcheff, Galatea Ranzi, Giorgio Pasotti, Isabella Ferrari, Luciano Virgilio, Annaluisa Capasa, Flavio Mieli. Director: Paolo Sorrentino. Screenplay: Paolo Sorrentino and Umberto Contarello. Story: Paolo Sorrentino. Web site. Trailer.
Taking stock of where we stand in our lives can be a very rewarding – and revelatory – experience. Sometimes we affirm what we already know, but, in other instances, we come to conclusions that come as surprising, if not shocking or perhaps even disillusioning. That’s just the sort of exercise an aging protagonist pursues in the profoundly moving, often hilarious Italian comedy-drama, “The Great Beauty” (“La grande bellazza”).
Celebrating one’s 65th birthday should be a joyous occasion. But, for journalist and one-time novelist Jep Gambardella (Toni Servillo), the event evokes mixed emotions. The longtime fixture of Rome’s social scene throws an outrageous party for himself, one where all of the city’s beautiful people and celebrity elite turn out for a full-blown hedonistic bacchanal. It’s not unlike many of the evenings Jep has spent over the years, long, drawn-out nights of debauchery stretching well into the wee hours. But, in addition to their never-ending festivity, those extended evenings of decadence also provided Jep with ample opportunities for making connections, digging up dirt, and witnessing the spectacle of the city’s life and culture in all its profoundly sublime – and superficially tawdry – regards. It’s a lifestyle that has made Jep an icon of Roman high society. But is that truly an achievement to be proud of?
Reaching this chronological milestone gives Jep a chance to evaluate where he is and what he’s done with his life. To be sure, he’s enjoyed the fame, fortune and notoriety that he’s amassed. He has a diverse circle of friends, such as Romano (Carlo Verdone), a perpetually aspiring playwright; Lello (Carlo Buccirosso) and Viola (Pamela Villoresi), a philandering toy manufacturer and his sweet wife; Orietta (Isabella Ferrari), a wealthy, beautiful amateur photographer; and Stefania (Galatea Ranzi), a novelist and outspoken Communist Party activist. He also has a number of trusted colleagues and confidantes, including Dadina (Giovanna Vignola), his fiercely devoted editor; Trumeau (Iaia Forte), his playfully rambunctious housekeeper; Egidio (Massimo De Francovich), the owner of a high-profile gentlemen’s club; and Stefano (Giorgio Pasotti), a gatekeeper to many of the city’s treasured landmarks. Jep enjoys the company – and wisdom – of this colorful array of associates.
Despite this wide circle of contacts, however, Jep is alone, unmarried and childless. He’s also in the process of watching a number of his friends and colleagues make their final transitions, some of whom are considerably younger than he is. These passings, especially the death of a love interest from his youth (Annaluisa Capasa), give Jep even more reason to contemplate his circumstances, particularly with regard to his own mortality and how he has spent – or misspent – his life.
Jep’s introspection proves quite eye-opening. After years of being caught up in a celebrity-filled stupor, he comes to view the current state of Roman culture with growing cynicism and disdain. He increasingly rolls his eyes while watching clueless, would-be artists engage in pursuits devoid of meaning, substance or intelligence, such as a naked performance artist who inexplicably runs headlong into the stone ruins of a Roman aqueduct as part of her art. He rails at the shallow, baseless observations of pseudointellectual pundits who spout allegedly pithy insights about the state of contemporary Italian society. And he grows disillusioned when he sees Rome’s ubiquitous religious leaders, such as papal wannabe Cardinal Bellucci (Roberto Herlitzka), unable to address even the most basic of spiritual questions, instead defaulting to such irrelevancies as recounting the details of one of the many recipes from his extensive culinary repertoire. But what’s even more distressing to Jep is his realization that he’s helped contribute to the formation of that culture. Is this truly the life he wants to continue to lead?
Jep wonders, for example, why he’s devoted his considerable writing talents to penning journalistic pieces about celebrities and contemporary culture instead of more serious undertakings. Why, for instance, did he stop composing literary works, such as his one and only novel, which was a critical and financial success beloved by a devoted following of readers? He also reflects on why he’s settled for passing flirtations instead of more serious romantic relationships over the years. Was it because he couldn’t picture himself so settled, or was there some other reason behind his reluctance to commit?
These realizations slowly prompt Jep to consider more substantive alternatives. Quietly touring Rome’s classic cultural treasures becomes preferable to enduring yet another tiresome evening of purported “art.” Spending time getting to know an aging Catholic missionary in line for sainthood (Giusi Merli) proves more fulfilling than chasing the juicy scoops of the latest headline-makers. And enjoying the company of an aging but elegant companion (Sabrina Ferilli) – even if she is a stripper – is more enjoyable than negotiating his way through the minefield of jaded, self-absorbed courtesans who dot the landscape of Rome’s nightlife.
But will this change of heart provide Jep with the answers he seeks? Can he recapture the wonder and idealism that characterized him in his youth? Indeed, will he be able to find “the great beauty” of life that he has long sought but that has somehow always eluded him or become obscured by his own self-aggrandizement? These are tough questions for Jep, but he’s reached a point in his life where he must at least attempt to find answers to them if he’s to have inner peace for whatever time he has left.
Most think of the concept of “a life review” (like the one Jep conducts) in the context of events like near death experiences. But need we wait until we’re near or past the threshold between the worlds to engage in such evaluations? Indeed, many enlightened souls throughout the ages, such as the ancient Egyptians, have maintained that the time to conduct those kinds of assessments is before we move on, for that kind of introspection can help us prepare for what we experience once we transition. But, perhaps even more importantly, the conclusions we draw from such appraisals can also be used to help us shape our lives for the time in advance of that eventual shift, and that can prove invaluable for helping us make the most of our lives.
At the core of such evaluations is an assessment of our beliefs, the means by which we manifest the reality we experience through the conscious creation process. These appraisals enable us to see where we stand, where we’ve been and where we’d like to go by spotlighting the outlooks we’ve held and the intents we’ve drawn upon in shaping the various phases of our lives. This makes it possible for us to look at the beliefs we hold and how we might like to change them if they no longer serve our needs.
This is precisely the kind of exercise in which Jep engages. And, thankfully for him, he has the presence of mind to realize this before it’s too late. Many of us never take the time to pursue such evaluations, and even Jep has put it off for a long time. But, as long as we make the effort to do so while we still have the chance (as Jep does), the more likely we’ll create an existence of satisfaction and fulfillment for what time we have left – and even for after we move on.
While conscious creation maintains that all probabilities are equally valid and capable of physical expression, Jep’s personal explorations draw attention to some of those that are, arguably, most worthy of serious investigation. For example, while many of those around him engage in pursuits without apparent meaning or substance, Jep sees the emptiness underlying their manifestations. He tries to understand the beliefs driving those conceptions and sees that even those materializing them are unaware of what they’re doing. Their fundamental lack of self-awareness thus illustrates their engagement in the practice of un-conscious creation or creation by default, where they let reality happen to them rather than consciously shape their own destinies. Again, Jep’s efforts are aimed at avoiding that pitfall, helping him evade the unfulfilling futures that many of his colleagues are likely facing. We’d be wise to follow his example.
“The Great Beauty” is an inspired piece of filmmaking in many regards. Its gorgeous camera work, hauntingly beautiful soundtrack and eclectic performances paint an elegant cinematic portrait. Its thoughtful themes and insightful narrative have been brilliantly conveyed to the screen, thanks to the picture’s astute (and often uproarious) writing and its masterful direction by Paolo Sorrentino, one of Italy’s premier contemporary filmmakers (and definitely someone to watch for the future). The style and mood of this film recall the works of Federico Fellini and Woody Allen, paying proper homage to these influences without blatantly copying them and simultaneously giving rise to a celluloid character all its own, quite an accomplishment for sure.
For its achievements, the picture was widely recognized in the movie industry’s recent awards competitions. “The Great Beauty” captured an Oscar and a Golden Globe Award as best foreign language film. In addition, the film earned nominations in the same category in the Critics Choice and Independent Spirit Awards programs, as well as a Palme de’Or nomination at the Cannes Film Festival, the event’s highest honor.
“The Great Beauty” has been playing in limited release, mostly at film festivals and at theaters specializing in foreign and independent cinema. Thankfully, however, the picture has recently garnered wider attention with its release on DVD and Blu-ray Disk.
Looking at our lives is something most of us should engage in on a regular basis, if for no other reason than getting a handle on where things stand. It can be important not only for the present or the near term, but also for the long run, be it in this world or the one that lies beyond our current physical limitations. “The Great Beauty” provides a road map for this practice, taking us on an affecting cinematic tour of life, one filled with the wonder that we create and the miracle that is each of us.
Copyright © 2014, by Brent Marchant. All rights reserved.
Taking stock of where we stand in our lives can be a very rewarding – and revelatory – experience. Sometimes we affirm what we already know, but, in other instances, we come to conclusions that come as surprising, if not shocking or perhaps even disillusioning. That’s just the sort of exercise an aging protagonist pursues in the profoundly moving, often hilarious Italian comedy-drama, “The Great Beauty” (“La grande bellazza”).
Celebrating one’s 65th birthday should be a joyous occasion. But, for journalist and one-time novelist Jep Gambardella (Toni Servillo), the event evokes mixed emotions. The longtime fixture of Rome’s social scene throws an outrageous party for himself, one where all of the city’s beautiful people and celebrity elite turn out for a full-blown hedonistic bacchanal. It’s not unlike many of the evenings Jep has spent over the years, long, drawn-out nights of debauchery stretching well into the wee hours. But, in addition to their never-ending festivity, those extended evenings of decadence also provided Jep with ample opportunities for making connections, digging up dirt, and witnessing the spectacle of the city’s life and culture in all its profoundly sublime – and superficially tawdry – regards. It’s a lifestyle that has made Jep an icon of Roman high society. But is that truly an achievement to be proud of?
Reaching this chronological milestone gives Jep a chance to evaluate where he is and what he’s done with his life. To be sure, he’s enjoyed the fame, fortune and notoriety that he’s amassed. He has a diverse circle of friends, such as Romano (Carlo Verdone), a perpetually aspiring playwright; Lello (Carlo Buccirosso) and Viola (Pamela Villoresi), a philandering toy manufacturer and his sweet wife; Orietta (Isabella Ferrari), a wealthy, beautiful amateur photographer; and Stefania (Galatea Ranzi), a novelist and outspoken Communist Party activist. He also has a number of trusted colleagues and confidantes, including Dadina (Giovanna Vignola), his fiercely devoted editor; Trumeau (Iaia Forte), his playfully rambunctious housekeeper; Egidio (Massimo De Francovich), the owner of a high-profile gentlemen’s club; and Stefano (Giorgio Pasotti), a gatekeeper to many of the city’s treasured landmarks. Jep enjoys the company – and wisdom – of this colorful array of associates.
Despite this wide circle of contacts, however, Jep is alone, unmarried and childless. He’s also in the process of watching a number of his friends and colleagues make their final transitions, some of whom are considerably younger than he is. These passings, especially the death of a love interest from his youth (Annaluisa Capasa), give Jep even more reason to contemplate his circumstances, particularly with regard to his own mortality and how he has spent – or misspent – his life.
Jep’s introspection proves quite eye-opening. After years of being caught up in a celebrity-filled stupor, he comes to view the current state of Roman culture with growing cynicism and disdain. He increasingly rolls his eyes while watching clueless, would-be artists engage in pursuits devoid of meaning, substance or intelligence, such as a naked performance artist who inexplicably runs headlong into the stone ruins of a Roman aqueduct as part of her art. He rails at the shallow, baseless observations of pseudointellectual pundits who spout allegedly pithy insights about the state of contemporary Italian society. And he grows disillusioned when he sees Rome’s ubiquitous religious leaders, such as papal wannabe Cardinal Bellucci (Roberto Herlitzka), unable to address even the most basic of spiritual questions, instead defaulting to such irrelevancies as recounting the details of one of the many recipes from his extensive culinary repertoire. But what’s even more distressing to Jep is his realization that he’s helped contribute to the formation of that culture. Is this truly the life he wants to continue to lead?
Jep wonders, for example, why he’s devoted his considerable writing talents to penning journalistic pieces about celebrities and contemporary culture instead of more serious undertakings. Why, for instance, did he stop composing literary works, such as his one and only novel, which was a critical and financial success beloved by a devoted following of readers? He also reflects on why he’s settled for passing flirtations instead of more serious romantic relationships over the years. Was it because he couldn’t picture himself so settled, or was there some other reason behind his reluctance to commit?
These realizations slowly prompt Jep to consider more substantive alternatives. Quietly touring Rome’s classic cultural treasures becomes preferable to enduring yet another tiresome evening of purported “art.” Spending time getting to know an aging Catholic missionary in line for sainthood (Giusi Merli) proves more fulfilling than chasing the juicy scoops of the latest headline-makers. And enjoying the company of an aging but elegant companion (Sabrina Ferilli) – even if she is a stripper – is more enjoyable than negotiating his way through the minefield of jaded, self-absorbed courtesans who dot the landscape of Rome’s nightlife.
But will this change of heart provide Jep with the answers he seeks? Can he recapture the wonder and idealism that characterized him in his youth? Indeed, will he be able to find “the great beauty” of life that he has long sought but that has somehow always eluded him or become obscured by his own self-aggrandizement? These are tough questions for Jep, but he’s reached a point in his life where he must at least attempt to find answers to them if he’s to have inner peace for whatever time he has left.
Most think of the concept of “a life review” (like the one Jep conducts) in the context of events like near death experiences. But need we wait until we’re near or past the threshold between the worlds to engage in such evaluations? Indeed, many enlightened souls throughout the ages, such as the ancient Egyptians, have maintained that the time to conduct those kinds of assessments is before we move on, for that kind of introspection can help us prepare for what we experience once we transition. But, perhaps even more importantly, the conclusions we draw from such appraisals can also be used to help us shape our lives for the time in advance of that eventual shift, and that can prove invaluable for helping us make the most of our lives.
At the core of such evaluations is an assessment of our beliefs, the means by which we manifest the reality we experience through the conscious creation process. These appraisals enable us to see where we stand, where we’ve been and where we’d like to go by spotlighting the outlooks we’ve held and the intents we’ve drawn upon in shaping the various phases of our lives. This makes it possible for us to look at the beliefs we hold and how we might like to change them if they no longer serve our needs.
This is precisely the kind of exercise in which Jep engages. And, thankfully for him, he has the presence of mind to realize this before it’s too late. Many of us never take the time to pursue such evaluations, and even Jep has put it off for a long time. But, as long as we make the effort to do so while we still have the chance (as Jep does), the more likely we’ll create an existence of satisfaction and fulfillment for what time we have left – and even for after we move on.
While conscious creation maintains that all probabilities are equally valid and capable of physical expression, Jep’s personal explorations draw attention to some of those that are, arguably, most worthy of serious investigation. For example, while many of those around him engage in pursuits without apparent meaning or substance, Jep sees the emptiness underlying their manifestations. He tries to understand the beliefs driving those conceptions and sees that even those materializing them are unaware of what they’re doing. Their fundamental lack of self-awareness thus illustrates their engagement in the practice of un-conscious creation or creation by default, where they let reality happen to them rather than consciously shape their own destinies. Again, Jep’s efforts are aimed at avoiding that pitfall, helping him evade the unfulfilling futures that many of his colleagues are likely facing. We’d be wise to follow his example.
“The Great Beauty” is an inspired piece of filmmaking in many regards. Its gorgeous camera work, hauntingly beautiful soundtrack and eclectic performances paint an elegant cinematic portrait. Its thoughtful themes and insightful narrative have been brilliantly conveyed to the screen, thanks to the picture’s astute (and often uproarious) writing and its masterful direction by Paolo Sorrentino, one of Italy’s premier contemporary filmmakers (and definitely someone to watch for the future). The style and mood of this film recall the works of Federico Fellini and Woody Allen, paying proper homage to these influences without blatantly copying them and simultaneously giving rise to a celluloid character all its own, quite an accomplishment for sure.
For its achievements, the picture was widely recognized in the movie industry’s recent awards competitions. “The Great Beauty” captured an Oscar and a Golden Globe Award as best foreign language film. In addition, the film earned nominations in the same category in the Critics Choice and Independent Spirit Awards programs, as well as a Palme de’Or nomination at the Cannes Film Festival, the event’s highest honor.
“The Great Beauty” has been playing in limited release, mostly at film festivals and at theaters specializing in foreign and independent cinema. Thankfully, however, the picture has recently garnered wider attention with its release on DVD and Blu-ray Disk.
Looking at our lives is something most of us should engage in on a regular basis, if for no other reason than getting a handle on where things stand. It can be important not only for the present or the near term, but also for the long run, be it in this world or the one that lies beyond our current physical limitations. “The Great Beauty” provides a road map for this practice, taking us on an affecting cinematic tour of life, one filled with the wonder that we create and the miracle that is each of us.
Copyright © 2014, by Brent Marchant. All rights reserved.
April 16, 2014
A Trip to the Archives
In case you missed my lively radio interview with Doreen Agostino on Align Shine Prosper this past Sunday, you can still catch it on the Blog Talk Radio archives, available for listening any time, by clicking here.
