The signature moment of Up is the “Married Life” sequence where Ellie’s and Carl’s lives together are presented, from their exchanging “I do” to their saying “goodbye.” Functionally the montage establishes the narrative foundation and insight into Carl’s character and motivation that the rest of the film is built on. If this sequence does not work, the film does not work nor connect with the audience.
Echoing the feel and poignancy of Charlie Chaplin’s The Kid and City Lights, “Married Life” is as effective a sequence as has ever been put on film. Cinematically the life stage vignettes connect seamlessly and the music signals, symbolizes, and connects Ellie’s and Carl’s emotions with those of the audience.
To add greater depth, “Married Life” shows the entire arc of a marriage beginning with the joy and excitement that comes with the possibilities of new beginnings as well as the joy that should be experienced in life’s routines and setbacks. The sequence also shares the sadness and grief experienced when life sojourns through the valleys of loss.
Obviously, there are limits to what can be depicted in 4:00 minutes, but “Married Life” shows the healthy way to journey through grief. First, it depicts the acceptance and grieving of loss. The sequence then shows continuing life’s journey and finding happiness and meaning in different, perhaps older purposes and goals in life.
As with any character-driven film, it is the connection between characters and between the characters and audience that determines the immediate success and any lasting impact of the film. “Married Life” cements the bond between Ellie and Carl and between them and the audience. As often happens in life, such bonds continue after death. With Ellie, it is her “spirit of adventure” that is felt by Carl and the audience throughout the rest of the film.
The “Married Life” sequence in Up enhances the film’s theme that “adventure is out there” and should be pursued, but it also reminds the viewer that the spirit of love is found within and should be nurtured and shared.
Click the link to view the “Married Life” sequence.
As Elton John struggled with his identity through his early adult through middle age years, “Rocketman” wrestles with its genre and purpose. Is the film a celebration of the music of an iconic artist and pop-culture figure, or is it a story that offers greater insight into the man behind the costumes and eyeglasses. In trying to be both, each part, and the film as w whole is diminished.
Those who are looking for experiential insight into the music, and men whose partnership created one of pop music’s preeminent catalogues, will likely be more disappointed in the film. Viewers will leave with only a cursory awareness that Reggie Dwight was considered a musical prodigy, that he came from a dysfunctional home where he was emotionally neglected save for love given to him by his grandmother, and he spent much of his life trying to fill that void. For fans and those familiar with Elton’s biography, this is not news.
After being diagnosed and treated for AIDS, Ryan and his family were shunned by the School district, their church and many residents and businesses in the community. Upon hearing of their struggles Elton reached out to the family and developed a relationship with Ryan and his mother Jeanne. Elton was with Ryan when he died and sung one of his and Taupin’s earliest songs, Skyline Pigeon at Ryan’s 1990 funeral. Elton credits Ryan and Jeanne for helping inspire him to finally achieve and maintain sobriety.
Taron Egerton (Kingsmen: The Secret Service) resembles John in both look and singing without coming across as trying and for an exact imitation.
In spite not reaching its intended orbit, watching Rocketman is an enjoyable experience, especially for those who experienced the music, the times, and the celebrated life of the former Reginald Kenneth Dwight.
To people of the Christian faith, each episode speaks to the nature and differences of the worldly life we were born in to and the Kingdom life to which we are called and into which we are baptized. As is repeated throughout Scripture, those who are considered losers, or that which is considered losing in the judgment of the world, are often winners in God’s criteria and Kingdom. This reality is repeated again and again in the teaching, life, and ministry of Jesus as well as Paul and others.
For each of the subjects, losing was not what they desired or thought to be good. But in each, losing opened them to experiences ultimately more meaningful and satisfying than the temporary enjoyment and notoriety that winning would have brought them. One example of such is the story of French Golfer Jean van de Velde, who after losing a three-shot lead on the final hole of the 1999 Open Championship (British Open) and along with that the honor of having his name inscribed on the famous Claret Jug. Instead, he ended up having his name inscribed on the hearts of many of the young French golfers he later inspired and coached, as well as the lives of children he impacted through his work with UNICEF. Had he won the Open, it is less likely he would have been able to devote attention and time to these causes.
This 16-minute speech is President Dwight Eisenhower’s farewell address to the nation. As supreme allied commander in Europe during World War 2, Dwight Eisenhower bore as heavy a responsibility as anyone in the 20th Century. This, one of his final acts after 50 years of service to the nation is very much worth the time to watch.
Known as the “Military Industrial Complex” speech, President Eisenhower’s farewell address goes far beyond that issue in addressing the challenges the nation would, and we now face. Central to his call is the place of statesmanship and the need for balanced cooperation between the private and public sphears. He also challenged the nation to resist the temptation to use fear as a tool of governing and put the needs of the nation above personal and partisan benefit. Perhaps he was not in touch with the time of Camelot, but this speech shows Eisenhower was very much in touch with the challenges facing our nation through the ages.
Won’t You Be My Neighbor offers a contrasting voice and message to what is in the air today. The film is not obvious in pointing out the differences; it doesn’t have to be. There was an audible murmur when they showed tape from the first week of the program in 1968. The video showed the puppet character King Friday the XIII fearing the “Changers” and requiring reluctant subjects to build a wall to keep people who wanted to bring change out of his Kingdom. The clip ended with the human Lady Aberlin sending balloons with “signs” calling for peace and acceptance of others over the wall to the King.
Even though Fred Rogers was an ordained Presbyterian clergy, he never mentioned it on the air and rarely in public. Rather than saying he was ordained, he presented the face of Christ to children and the world. His genuine love of children led him to take time to be with and listen to children and then offer them a non-anxious, calming presence. He respected children, and he fearlessly addressed topics that all others avoided. When RFK was assassinated Mr. Rogers addressed the issue, explaining what assassination was and the fear and sadness that the nation was feeling. Mr. Rogers knew that the children would know something had happened and wonder why parents and others were sad and scared. To avoid talking about the issue would only make the children’s fear more pronounced. He loved children too much to allow this. Loving and engaging children like this are exactly what Jesus intended when he called for his disciples to allow children to come to him.
A week after there were news reports and film of a hotel owner chasing African Americans out of the hotel pool by pouring bleach into the water to “clean” it, the neighborhood of Mr. Rogers showed him sharing a footbath with Officer Clemmons, portrayed by Francois Clemmons, an African American member of the cast. There was no mention of the hotel incident. there did not have to be.
I thought I would review The Shape of Water, the winner of the 2018 Academy Award for Best Picture in a different way, a text log between me and my niece.
Me: People/govt. afraid of difference in others…other people united, by what makes them different…Allowing what unites them to overcome their difference.
Me: I thought Sally Hawkins’s performance was extraordinary…
In addition to the Best Picture Oscar, Guillermo del Toro won the Oscar for Best Direction. The Shape of Water is a beautifully photographed film where the acting is just as impressive, and as with most fantasy films, The Shape of Water allows, if not demands for continued contemplation and application to one’s life and circumstance. It’s not a film everyone will relate to or enjoy, but it was worthy of winning the Best Picture award.
