Foreign Body (Obce ciało) [2014]

MPAA (UR would be R)  Fr. Dennis (3 1/2 Stars)

IMDb listing
Filmweb.pl listing*

Avvenire.it (L. Pellegrini) interview w. director*

film.onet.pl (A. Sterna) review*
film.org.pl (P. Jalowski) review*
wnas.pl (A. Majewski) review*

HollywoodReporter (T. McCarthy) review
Variety (D. Harvey) review

Foreign Body (Obce ciało) [2014] [IMDb] [FW.pl]*(written and directed by Krzysztof Zanussi [IMDb] [FW.pl]* [Culture.pl] [en.wikip] [pl.wikip]*) played at both the 50th Annual (2014) Chicago International Film Festival and more recently the 26th Annual (2014) Polish Film Festival in America held here in Chicago. 

And this is appropriate as this renowned half-Polish, half-Italian film-maker, began his career in his native Poland under the influence of the Polish Film School [en.wikip] [pl.wikip]*(itself heavily influenced by Italian Neo-Realism [en.wikip] [it.wikip]*).  Later, during the Papacy of John Paul II / the Solidarity Era, he spent much of the 1980s in the West.  Even under Communism, the themes of his films had often religious / philosophical themes.  Several of his films were featured in Martin Scorsese's series: Masterpieces of Polish Cinema: [MSP Website] [Culture.pl].  When the series played here in Chicago, I reviewed his film The Constant Factor [1980] here on my blog.  As such, while certainly Polish, Zanussi's career has been marked by a transcendence of his roots to a truly world stage.  And yet, he does bring both Poland and his Catholicism with him in a way that those among the world's intelligencia today "who would have eyes and ears" would find both interesting and challenging.

Such then is the case of this thoroughly "international" or at least "European" film being reviewed here:

The story is about two mid-to-late 20-somethings, both still young, educated and attractive, he Italian, named Angelo (played by Riccardo Leonelli [IMDb] [FW.pl]*), she Polish, named Kasia (played by Agata Buzek [IMDb] [FW.pl]*).   They apparently met at an international gathering of one or another Catholic young-adult oriented movements (one thinks of Opus Dei, Focolare, Sant'Edidio or perhaps even the French-based Taize) quite popular among young people in Europe today. 

Though becoming friends and certainly attracted to one other, she decides to return back to Poland and explore the possibility of entering the Convent.  He, though certainly in love with her, as _a good Catholic_ respects her decision to explore this.

To most of the other characters in the story (as perhaps to many readers here) THESE DECISIONS (she to explore the possibility of entering the Convent, he letting her explore it) SEEM INCOMPREHENSIBLE.

Kasia's well educated (and quite well connected) Polish father (played by Sławomir Orzechowski [IMDb] [FW.pl]*), in fact, looks up Angelo and even finds him a job (with some multinational energy firm) up in Poland in hopes that Angelo would talk Casia out of her decision.  Though honestly hoping that Casia will leave the Convent (she enters the Convent as part of a year of postulancy/discernment), Angelo refuses to do this.

IN THE MEAN TIME, several very attractive / well educated women at his work at the "Energy Company" in Poland, notably Kris (played by Agnieszka Grochowska [IMDb] [FW.pl]*), his boss, and Mira (played by Weronika Rosati [IMDb] [FW.pl]*) his colleague and Kris' best friend at the office, SIMPLY DON'T UNDERSTAND WHY the very intelligent, very good-looking, very eligible Angelo would be "waiting" for Casia to make-up her mind, and, more to the point "not indulging in the other fish in the sea."  Eventually Kris simply tells Angelo: "I know that you're not gay, but ... you're apparently very Catholic, which is almost as unfortunate as being gay." 

Kris and Mira spend much of the rest of the story making Angelo's life "a living Hell" even as Angelo hopes that Casia will decide to leave the Convent but _only_ if Casia decides that this is God's will.

NOW CASIA'S POSTULANCY PERIOD IN THE CONVENT IS ABOUT AS WELL PRESENTED AS I'VE EVER SEEN IN A CONTEMPORARY FILM. 

In my review of Ida [2014], I lamented actually that its portrayals of both Ida herself and life in her Convent remained quite cliched (the young "naive nun-to-be" who didn't even know where she came from is sent-out into the world to "find-out who she really is..."). 

In stark contrast, Casia is presented in this film as a thoroughly intelligent young woman who is, very consciously, eyes open, discerning whether to commit her life IN THIS WAY to God.  AND HER MOTHER SUPERIOR IS PRESENTED AGAIN AS A WISE AND QUITE SECURE / SERENE MENTOR FIGURE TO HER: When Casia asks to leave the Convent for a period of time, "No problem."  When Casia "assures" the Mother Superior that she'll be back, the Mother Superior responds serenely, "Don't worry my Child, the world will not come to an end if you don't."  In this way, Casia was being reminded that her decision whether to stay, go or return was to be free.  (And she would do NO ONE any favors, if she made her decision to stay, go or return without such freedom).

Does Casia stay to become a nun? (Mild spoiler alert) ... YES.  It's a decision that many, many people in this world would not understand.  But she does, and freely.

So then, did Angelo waste a year "waiting" (and often suffering ridicule) in out there in Poland?  The film has an interesting and perhaps surprising answer to that as well.

All in all, an excellent and UNAPOLOGETICALLY CONTEMPORARY CATHOLIC FILM that for those "would have eyes and ears" would be worth-the-while to look-up when it becomes available on DVD or services like Amazon Instant Video to see. 


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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Beyond the Lights [2014]

MPAA (PG-13)  CNS/USCCB (A-III)  ChicagoTribune (2 1/2 Stars)  RogerEbert.com (4 Stars)  AVClub (B+)  Fr. Dennis (2 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
ChicagoTribune (R. Moore) review
RogerEbert.com (O. Henderson) review
AVClub (K. Ulrich) review  

BET coverage
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Essence.com coverage
TheSource.com articles

Like many films of its type, the teen (teen) / "young adult" (early/mid 20-something) oriented film Beyond the Lights [2014] (screenplay written and directed by Gina Prince-Bythewood) tries really hard to be "hip", even to the point of resorting to the hyper-sexualized imagery that the film actually seeks to criticize.  In any case, it is absolutely clear that the _intention_ of the filmmaker is to invite the audience to SEE "Beyond the Lights" even as those lights are, well, quite DISTRACTING and OFTEN VERY, VERY BRIGHT.  Still, if one can get "beyond" the "Bright Lights" then there are actually a surprising number of themes in this film that young people could certainly relate to.

The story is about mixed-race, part African-descended singer named Noni (played briefly as a girl by India Jean-Jacques and then, for most of the film, as a 20-something-young-adult by Gugu Mbatha-Raw).  And she has a perhaps loving but certainly insecure "helicopter mother" named Macy Jean (played by Minnie Driver). 

The film begins with 10 year old Noni winning second place in some neighborhood talent contest in some random city somewhere in England, with mom Macy Jean telling her afterwards to throw away her second place trophy asking her: "Do you want to be a runner-up all your life or do you want to become a winner?"  That's kind of a tough lesson to teach a 10 year old who's probably holding the first trophy that she's won in her life ...

Well, Noni grows-up to be "a winner" !!  Does she ever!   She becomes a hyper-commercialized HIP-HOP SENSATION.  Strategically positioned suspenders or, even more tellingly, GOLD SHACKLES AND CHAINS often serve as her "top."  HER RACE becomes all but UNKNOWABLE, her skin being "kinda tan," her hair a straight, purple-died weave, her voice remaining somewhat "british-y" in accent.  She also has a made-to-order white head-to-toe tattoo-covered bad-boy rap-star (keep 'em talkin' about you...) celebrity "boyfriend."

Well how much "makeup" can one possibly bear?  So ... after _winning_ some random music award at some random glitzy Los Angeles music awards show, Noni takes a few swigs of some kind of champagne, she comes back to her hotel room, asks the guard, an off-duty LAPD cop named Kaz (played by Nate Parker) to "let no one pass" and ... (actually) if not for her pushy mom, not letting officer/security guard Kaz "keep her out of her daughter's room" ... nearly throws herself-off the balcony ... A "cry for help"??   Ya think?

In truth, while ma' forced Kaz to let her in to her daughter's room, allowing both her and Officer Kaz to see Noni there on the balcony, it was actually Kaz who was able to save her.  (Ma' just froze).

Now what the heck to do?  Kaz (looking from the outside) immediately understands Noni to be one troubled young woman.  Ma' who's been super-involved in Noni's life (to the point that she was her "manager") honestly doesn't see.  Perhaps she's just "too close," perhaps like the manager husband of the (falling) "Country superstar" in Country Strong [2010] she's just too invested in her loved one's "success" to see clearly, perhaps she just doesn't have a clue.  In any case, a few hours after Officer Kaz literally pulled Noni, dangling, off the balcony, a preemptive "press conference" is called (in case "anybody saw" what actually happened) where Noni "confesses" to the incident, blames it on "a few too many celebratory drinks," thanks Kaz for pulling her to safety ... and ... well, did you know that we're coming new, super hot album, that'll be in stores in a couple of weeks ... (business as usual)."

But business is, of course, not as usual.

In the midst of a life of so much glitz and nobody, nobody, nobody being honest ... Kaz, becomes the first "normal" person that entered (okay, randomly...) into Noni's life in a long time.  And Noni, virtual demi-Goddess that she is, decides that she's going to look him up and bring him into her life.  That's probably the smartest (early) thing that Noni does in the story.  But, in truth, she's actually pretty lucky.  It turns out that Kaz is available to come into Noni's life (this could have become a far more tragic story if Kaz had been quite married with two kids living "in the valley").

Even so,Kaz has his own story/issues.  It turns out that he has a "helicopter parent" of his own.  His dad, LAPD as well (played by Danny Glover) had some ambitions for his son as well.  He wanted him to eventually become a politician.  As such, Kaz' life has been quite scripted as well -- science degree apparently in college, then instead of going into industry, "deciding" to "go into service" as a police officer "on the beat in LA," then after some years of that "gig" find some political office to run for.  Dad sees "strung out Hip-hop star with issues" Noni as not exactly "First Lady potential..." AND CERTAINLY NOT THE KIND OF GIRLFRIEND THAT WOULD ENGENDER CONFIDENCE FROM THE AFRICAN AMERICAN PASTORS whose support Kaz was going need if he'd ever really enter Politics.  (But does Kaz really want to be a politician? ... Or is this just dad's dream ...?)

What to do?  Well ... eventually THE TWO RUN AWAY (TOGETHER).

This (not altogether surprising) "plot twist" becomes (more or less correctly) the primary criticism of the U.S. Catholic Bishops' office's review of the film: Why show (once again...) a young couple (more or less obviously) sleeping together first before getting married?  This a not-at-all-surprising (and again more-or-less clearly correct) criticism of the film by a major and quite authorative voice of the Faith community.

I would suggest the following, however: Yes, probably the two probably would have slept together, BUT GIVEN their emotional states at the time PROBABLY NOT ALL THAT MUCH.  Noni, in particular, was a total mess.  Is there anything particularly revelatory or beautiful about sex (1) when one's a total mess, or (2) one's having sex with someone who's a total mess?  In the first instance, sex comes akin to desperately getting bombed on alcohol or stoned on some other drug.  In the second, it's akin to knocking-out and date-raping somebody.  In either case, there's not much particularly "beautiful" about it.  Perhaps there's another option, (3) "celebratory sex" after "drying out."  But that's then akin to "going to the tavern to celebrate two weeks of 'sobriety.'" 

So regardless of what the film implies, I just don't believe that there'd actually be a whole lot of sex going on between the two when they run off to Mexico.  Nani simply had too many issues to sort through, and even Kaz had to make some decisions and sort through some issues as well (including how involved would he have wanted to become with a young woman who really did need some time to figure things out). 

So I'm not surprised that they would have run off together.  But I don't think that there'd really be all that much (sexually) going-on until they did "sober up" and when they did ... then the real questions would begin: Do I even like you?  Do I want to have children, spend the rest of my life with you?  The answers could be yes.  But ... it'd be slower than perhaps the film'd imply.

So the film does tell an interesting and current story.  But the Bishops' office here is right.  The imagery is perhaps needlessly sexualized and that makes it hard, even for the viewer, to get "Beyond the Lights."

Still as a 20-something discussion piece, at a distance, the film might not be bad.


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The Hunger Games: Mockingjay -- Part 1 [2014]

MPAA (PG-13)  CNS/USCCB (A-II)  ChicagoTribune (3 Stars)  RogerEbert.com (2 1/2 Stars)  AVClub (B-)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (J. Mulderig) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (M. Zoller Seitz) review
AVClub (A.A. Dowd) review  

The Hunger Games Mockingjay -- Part 1 [2014] (directed by Francis Lawrence, screenplay by Peter Craig and Danny Strong based on the novel by Suzanne Collins [IMDb]) is the third cinematic installment of Collins' Hunger Games [wikip] [Amzn] trilogy.  The first two installments The Hunger Games [2012], and The Hunger Games: Catching Fire [2013] were reviewed on this blog earlier.  As with the previous cinematic adaptations of the Harry Potter and Twilight book series, the film-makers here have decided to split the final book in the series into two parts, making the cinematic adaptation of Collins' original trilogy comprise ... four films. 

Yes, one's tempted to "roll one's eyes" and inevitably images of money / Hollywood enter one's mind ... But truth be told, as I wrote in my review of the first of the recent Hobbit movies (all based on and reasonably faithfully following Tolkien's relatively tiny 100 page book that Hollywood's stretched-out into a series of three two-hour-plus movies) if one finds the worlds created in these stories to be compelling, then one probably won't mind spending a little more time in them as a result of an extra film (or two...).

And so it is then with the world, or the post-Apocalyptic North America called "Panem" of the Hunger Games.   By this third installment, one is pretty much "accustomed" to the place and to the conflict playing out  (Panem being dominated by a radically imperialistic/exploitative central Capitol extracting resources from and holding sway over thirteen outlying/subordinate Districts).

To the story ...

This third installment begins with the story's teenage heroine Katniss Everdeen (played with ever increasing familiarity and ease by Jennifer Lawrence) arriving a bunker carved deep into a mountain somewhere in previously thought to be disastrously "unlucky" District 13.  (At the end of the second installment, she was "rescued" / "taken away" by a seemingly ad hoc group of rebels seeking to finally organize a (new) Rebellion against the oppressive power of Panem's central Capital).   Previously, even Katniss believed that District 13 had been obliterated by the reigning Capitol's forces at the end of the last Rebellion against it.  Indeed, the annual "The Hunger Games" in which Katniss participated (twice) were organized by "The Capitol" each year to "celebrate" that "final victory" of the Central "Capitol" over its previously rebellious Provinces.

So it was indeed something of a shock for Katniss, who certainly had no love for the Capitol, to arrive at said bunker in District 13 and to discover that not only was it _not_ dead, but instead was a "beehive of life/activity." Yes, perhaps it was "burrowed deep underground" but it was ready now, indeed itching now, to start a new fight against the Capitol's forces to gain its dignity and independence.

And indeed (almost) everybody seemed to believe that Katniss (!) as a result of her defiance at those two Hunger Games would be the perfect "Poster Child" ("Face") for the New Rebellion.  But was she?  And if so, HOW, would she be(come) "The Face" of the New Rebellion of the Districts against the Capitol? 

These questions become the fodder for this third installment of the story.  And IMHO, this installment becomes the most interesting (and most current) of the installments to the story thus far.  I believe this because the central question being asked is "What makes for a Rebellion?" or even more simply "What makes for a Campaign of any sort?"     

District 13's no-nonsense President Alma Coin (played by Julianne Moore) has been organizing her residents in a very Spartan-like martial manner, waiting for a moment when they could finally "leave the hive" to strike at the Capitol.  She honestly doesn't understand the non-District 13's rebel commanders, including various defectors from the Capitol's, fascination with Katniss.  How can a "pretty" or even pretty DETERMINED "face" CARRY a Revolution??  She seems to ask. 

But the previously Capitol-spin-guru now defector-to-the-Rebel-side Plutarch Heavensbee (played by Phillip Seymour Hofmann) along with a cadre of idealistic "film school people" (again defectors from The Capitol) seems convinced that a Cause (ANY CAUSE) NEEDS a "Face" indeed a multipronged "media campaign" complete with slogans, and symbols, and songs, and finally even short-pithy-30 second "propaganda-info-mercials." 

Like the no-nonsense, healthy-and-fit President Coin of District 13, the down-to-earth (and often drunk...) Haymitch Abernathy (played again, wonderfully, by Woody Harrelson) of Katniss' own (blue-collar / Appalachia-like) District 8 is unconvinced by the Capitol-defectors' insistence on "media glitz," counseling instead that "What makes Catniss, Catniss is her AUTHENTICITY."  Yes, he believes that Catniss could "RALLY the Revolution" but only because she is "one of the people" / "one of the oppressed."  Put too much make-up on her, make her "talking points" too stilted ... and SHE'D LOSE _THE PEOPLE_, he tells the well-meaning, mic and camera toting, makeup carrying, Capitol-defector "media" people.

Add to that a cyber/technology wiz or two, personified here by another defector from the Capitol, named Beetee (played by Jeffrey Wright)... and this third installment of The Hunger Games series BECOMES A GREAT "POLY-SCI" DISCUSSION PIECE for high schoolers and college kids: How would you organize a campaign for something that you would believe in?

In truth, perhaps there are TOO MANY key players in the story who come "from the Capitol" ("from the Elite") to my liking.  But this installment certainly does offer much to think about as one tries to figure out how one would plan a rebellion against a force as oppressive (and as initially dominant) as the Capitol in the Hunger Game series.

So then, having set-up the story ... much ensues ... ;-) ... and I now eagerly await the fourth and final installment!   Good job folks, good job!


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The Immigrant [2013]

MPAA (R)  RogerEbert.com (3 Stars)  AVClub (A)  Fr. Dennis (3 1/2 Stars)

IMDb listing
RogerEbert.com (D. Callahan) review
AVClub (I. Vishnevetsky) review  

The Immigrant [2013] (directed and screenplay cowritten by James Gray along with Ric Menello) is a visually striking, critically acclaimed / award winning "New York in the 1920s" immigrant "period piece" / "Melodrama" [TM] that made the festival rounds last year (including the 2013 Chicago International Film Festival).  Since it's main protagonist was a recently arrived 20-something Polish immigrant woman named Ewa Cybulska (played magnificently throughout by Marion Cotillard), the film played again recently at the 2014 Polish Film Festival in America held here in Chicago.

The film begins with Ewa and her sister Magda (played by Angela Sarafyan), tired but smiling, just having arrived on Americn shores, standing in the "inspection line" at Ellis Island.  Very quickly it goes bad.  Magda, looking more tired and sweaty than Ewa, coughs a few times.  Unfortunately, that's _exactly_ what the inspectors are looking for.  So she is quite rapidly removed from the line to be quarantined in case she has tuberculosis (which, let's face it, she probably has ...). 

That leaves Ewa, and it quickly goes downhill for her as well.  Above all, with Magda having been taken away, she's arriving now to the States "unaccompanied" (with nobody).  She has an address of an uncle and aunt in New York.  But the custom's official, without looking particularly hard at the paper with their address, declares the address invalid.  How would he know that so quickly?  Perhaps he was jaded (anybody could come with simply a paper saying anything), perhaps he didn't care, perhaps he didn't particularly like immigrants (after all, they were coming from some "new/strange part of Europe again," and American residents have never particularly liked "newcomers" anyway), perhaps, he even could have been bribed to give Ewa, a young woman arriving INCREASINGLY DESPERATE and ALONE, a hard time.  In any case, he tells her "The United States does not accept 'unaccompanied women' to our shores."  He further questions her moral character based on some random "report" of something that (could have) happened on the ship on which she and her sister were arriving.  So he summarily puts her into a line AWAITING DEPORTATION.

While waiting in this line ... IT JUST HAPPENS that a "nice man" (or perhaps/almost certainly not a particularly "nice man") named Bruno Weiss (played again remarkably well in superbly "complex" / "conflicted" fashion by Joaquin Phoenix) comes by the line of young women awaiting deportation and ... since Ewa is young, fairly attractive and actually speaks some English ... "helps her."  In any case, he gets her "off the island."  How?  Guess ...

Now obviously this "nice" or "not particularly nice" or frankly "quite evil" if perhaps "conflicted about it" man named Bruno ... has an agenda.  And perhaps not particularly surprisingly, Ewa is soon groomed into prostituting herself to both "pay for his care (of her)" and with the vague hope that HE might actually help her sister (afflicted with tuberculosis ... or not...) eventually get off of Ellis Island as well.

Sigh ... so what does Ewa do?  Well the rest of the story, more-or-less obviously quite melodramatic, but certainly WELL PLAYED, plays out.  Yes, she does find herself in a kind of sexual slavery (Seriously though playing out in the early 1920s, this film touches on SO MANY ISSUES of today).  But she is not without her inner resources -- both her pride AND HER FAITH -- and she's soon not without friends, including a 1920s era "Magician" (played again WONDERFULLY, attuned to the time of the story, by Jeremy Renner) who to varying degrees are able to "kinda help."

Does she find her way out of this horrible mess?  Well, find the film when it eventually comes out on DVD to find out ;-).  Honestly, this is a very well made film that though quite melodramatic has some very well drawn, and often quite nuanced characters (including the troubled, conflicted, Bruno).  In any case, the film reminds us that EVERYBODY has a story.

So good job folks, good job!


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The Theory of Everything [2014]

MPAA (PG-13)  CNS/USCCB (A-III)  ChicagoTribune (3 Stars)  RogerEbert.com (2 1/2 Stars)  AVClub (C-)  Fr. Dennis (3 1/2 Stars)

IMDb listing
CNS/USCCB (K. Jensen) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (C. Lemire) review
AVClub (I. Vishnevetsky) review  

The Theory of Everything [2014] (directed by James Marsh, screenplay by Anthony McCarten based on the memoirs of Jane Wilde-Hawking) is by most critical accounts (see above) a rather sanitized portrayal, IMHO honestly probably appropriately even necessarily, of the 25 year marriage of world famous theoretical physicist Steven Hawking (played in the film by Eddie Redmayne), debilitated for most of that time with advanced ALS (Lou Gherig's Disease), and his first wife Jane Wilde-Hawking (played in the movie Felicity Jones).

I write that the portrayal was "appropriately even necessarily sanitized" because there are plenty of hints in the film to those who have eyes, ears and brains (to say nothing of hearts) suggesting that the Hawkings' situation was NOT an easy one.  And yet, most, including emphatically myself (!), would probably agree that the story (and even specifically OF THEIR MARRIAGE) deserved to be told.

Why?  Well, let's begin by noting that Steven Hawking is probably the single most famous / historically significant disabled/physically challenged person in our time or perhaps in all time.  79-80 years ago, eugenicists across the "civilized world" (including certainly at Hawking's own Cambridge University) would have advocated EUTHANIZING severely challenged people like him.  And the Nazis GASSED the severely disabled.  Yet there are few doubts in anybody's minds THAT THE WORLD IS A BETTER MORE ENLIGHTENED PLACE FOR HAVING STEVEN HAWKING LIVING AMONG US DESPITE HIS ENORMOUS PHYSICAL SUFFERING AND LIMITATIONS.

Then despite his great intellectual gifts as well as his great physical suffering, Hawking is _also_ portrayed in the film, at times, as being somewhat of an ingrate / jerk.

For one, interestingly, throughout the film, he's portrayed as a rather aggressive atheist.  In his case, to be honest, I could actually go either way on this: On one hand, one could definitely feel angry (at God) for having one found oneself suffering from such an awful disease.  On the other hand, in my own work/ministry (as a Catholic Priest) I do have to say that EVERYONE WHO I'VE EVER KNOWN (there have been several) who's come down with ALS really did die in the 2-3-4 year window that was given Hawking when he was first diagnosed BACK IN 1963 (OVER FIFTY YEARS AGO).  That would seem to be something to be grateful for... to have _so spectacularly_ beaten the odds.  HOWEVER, back to the first hand, it's been one heck of a difficult life FOR THOSE FIFTY YEARS as well... So faith can be something of "a wash" in these situations even if I still do think that it's be EASIER to live with such difficulties believing that God is still somehow present to us / at our sides through it all.  (Interestingly also, Jane, first his girlfriend and then his wife is portrayed as being both an intellectual herself (she also got a PhD, in Romance languages) AND a believing and except for a couple of years in the middle there, A PRACTICING ANGLICAN).  Anyway, despite his suffering, I do honestly think that on balance Hawking did come across as something of an ingrate toward God because UNLIKE so many other people who have come down with AND DIED RATHER QUICKLY OF HIS ILLNESS, he's been able to live for 50 years further AND EVEN HAVE THREE KIDS WITH JANE.  Really, it's remarkable ... and yet ... also ... so painful.

Second, putting aside God, arguably what broke-up his and Jane's marriage was the entrance of his nurse Elaine Mason (played by Maxine Peake) into the picture.  She became his day-to-day caregiver after many years of illness (after he already even lost his normal speech).  Yet, this was ALSO after he had become a world famous physicist (for his contribution to the theory of the Big Bang).  One does wonder if Hawking would have been "a catch" if he was simply a random ALS sufferer with no fame to his name. AND YET ... Diana DID TAKE CARE OF HIM, and DID HAVE MORE ENERGY WITH REGARDS TO THIS THAN JANE (worn down by 2 1/2 DECADES of taking care of him...).  Still, the film made it quite clear that it was Steven who "walked out" of the marriage and not Jane (even if there was "an Anglican choir director/widower" (played by Charlie Cox) and Jane's future second husband ALSO hovering in the background).

So this is the story about a "mess", about a _very challenging marriage_, yes somewhat sanitized here, and yet still honest enough (no need to get into "Jerry Springer" territory...).

Yes, after 25 years, their marriage did collapse.  They both remarried, she, obviously, in the (Anglican) Church once more.  But honestly, what a story!  And it does appear that this story, written up in Jane's second memoir _was a collaboration with Steve_.

So good job folks, good job!  And honestly, as Pope Francis has already said famously in another context, in this most difficult case here, "Who can judge?" except ... perhaps God ;-) ... who'd of course love them both, _as us all_ ;-).

So IMHO in the final analysis, this is an excellent and _very human_ / thought provoking film about someone who can teach us more (and perhaps even through some of his own mistakes) than just about the stars.


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Stones for the Rampart (orig. Kamienie na szaniec) [2014]

MPAA (UR would be R)   WP.pl (8/10)  Fr. Dennis (4 Stars)

IMDb listing
FilmWeb.pl listing*

Film.onet.pl (M. Steciak) review*
Histmag.org (A. Łysakowska) review*
Kultura.newsweek.pl (M. Wachnicki) review*
WP.pl (J. Dudkiewicz) review*
Wyborza.pl (T. Sobolewski) review*

Stones for the Rampart (orig. Kamienie na szaniec) [2014] [IMDb] [FW.pl]* (directed by Robert Gliński [IMDb] [FW.pl]*, screenplay by Dominik W. Rettinger [IMDb] [FW.pl]* and Wojciech Pałys [IMDb] [FW.pl]* based on the Polish war-time novel [en.wikip] [pl.wikip]* [WCat-Eng ed.] [GR-Pol. Ed] [WCat-Pol Ed.] by Polish scout leader [en.wikip] [pl.wikip]* and during WW II Polish resistance leader Aleksander Kamiński [en.wikip] [pl.wikip]*) is a very tough and, at times, honestly (though INTENTIONALLY) painful-to-watch film about a group of Polish boy scouts, hence TEENAGERS, who participated in the "Szare Szeregi" (lit. Grey Ranks) [en.wikip] [pl.wikip]* "youth arm" of the Polish Home Army (partisan) resistance [en.wikip] [pl.wikip]* to Nazi occupation.

The film played recently at the 26th Annual (2014) Polish Film Festival in America held here in Chicago.

The bravery of these Polish teens (and their families) is undeniable and puts to shame various Hollywood highly fictionalized "Y/A" depictions of "youth defending their homeland" (one thinks not only of the, in comparison, utterly ridiculous Red Dawn [1984] [2012] films, but even the better but still necessarily invented Hunger Games [2012] [2013] [2014] [2015] series of current popularity).  

Still, Gliński's [IMDb] [FW.pl]* film did cause something of a stir in Poland, because unlike Kamiński's [en.wikip] [pl.wikip]* original novel, which written and published UNDERGROUND during the War was INTENDED TO BE PATRIOTIC AND ENCOURAGE POLES, YOUNG AND OLD, TO KEEP-UP THE RESISTANCE TO THE HATED / VICIOUS NAZI OCCUPIERS, the current film CAN NOT BUT RAISE QUESTIONS, among them, the most key: WAS IT WORTH IT?  (Honestly, it is worth here to read through some of the POLISH reviews of this film LISTED ABOVE -- If one reads these reviews using the Chrome browser, one can get a pretty good English translation of them by simply clicking the appropriate button).

I write this because THE CAUSE WAS UNDOUBTEDLY JUST, and these YOUNG SCOUTS (and their families) were UNDOUBTABLY BRAVE ... BUT THE COST ... WAS SO, SO HIGH.

To the film ...

After setting-up the story, introducing the group of scouts in a random Polish city during the Nazi occupation, the film centers on a particular action that this scout unit undergoes:  One of the unit's leaders, Rudy (played by Tomasz Ziętek [IMDb] [FW.pl]*) is captured by the Nazi authorities and held, and more to the point TORTURED, at the local Gestapo headquarters.  What to do?

The Scouts, led by Rudy's BEST FRIEND Tadeusz nicknamed "Zośka" (played magnificently by Marcel Sabat [IMDb] [FW.pl]*) WANT TO RESCUE HIM.  Insane?  NOT REALLY.  No they weren't planning to simply storm the police station BUT they had the place staked out.  They even had people, neighbors, WORKING in that police station -- Who was typing out all the police reports coming out of that place?  CERTAINLY NOT GERMANS ... but rather POLISH SECRETARIES (where did they live?  IN THE NEIGHBORHOOD.  Hence they'd be FRIENDS / NEIGHBORS of the Scouts and even of Rudy's own family).  So the plan was to AMBUSH the truck that would EVENTUALLY take Rudy off to some Concentration Camp.

BUT ... TO DO SO would require "Home Army" permission.  After all, these young Scouts are constantly reminded by "the higher ups" that they "can't just do whatever they wanted."  They are supposed to be PART OF AN ARMY.

AND THERE WERE SELF-EVIDENT RISKS.  SO they HAD TO WAIT.  But "DAMN IT, HOW LONG?"  Until (local Underground, deep-cover hidden) Major Jan Kiwerski (played by Andrzej Chyra [IMDb] [FW.pl]*) gets permission from even "Higher Up."  WHY?  Well, ANY SUCH OPERATION WAS INEVITABLY GOING TO RESULT IN NAZI COUNTER-ACTIONS and EVEN REPRISALS.  A unit sets out to "save one person" and the Nazis go berserk and the Home Army ends up LOSING the ENTIRE ORGANIZATION in that part of Poland.  SO ... the "higher ups" really needed to think this thing through.  PLUS, the "mission" was being "planned by mere kids" here ...

ON THE OTHER HAND, this film portrayed REMARKABLY WELL, the "UP CLOSE AND PERSONAL" NATURE of a partisan resistance: 

While "waiting for the go-ahead," Zośka has to deal with Rudy's family.  They live a few houses "down the street."  Then there's Rudy's girlfriend Hala (played magnificently by Sandra Staniszewska [IMDb] [FW.pl]*).  At one point, she comes to Zośka's family's apartment WITH A REVOLVER threatening to go down to the Gestapo HQ herself, and shoot her way in.  "Sure I'll almost certainly be killed, but AT LEAST I WILL HAVE DONE SOMETHING.  HOW CAN YOU LIVE WITH YOURSELF, WITH YOUR BEST FRIEND OVER THERE, BEING TORTURED AND ALL YOU'RE DOING STANDING AROUND WAITING HERE?  WAITING FOR WHAT?  UNTIL HE DIES?"  (Honestly, PERHAPS that was EXACTLY what the Home Army higher ups were waiting for ... because this situation COULDN'T POSSIBLY END WELL ...).

Anyway, word does come that Rudy is going to be moved.  The Scout detachment gets the go-ahead to launch the ambush from "the higher ups."  ... Do they succeed in freeing him?  (MILD SPOILER ALERT) They do.  

But does it matter?  Of course not.  Why?  (I'm not going to tell you ... but think of the time, think of the nature of the Nazi occupation of the Slavic lands, and come to your own conclusion).  

BUT HONESTLY, IF YOU WERE THERE WHAT WOULD YOU DO?  OR PERHAPS WHAT WOULD YOU _HOPE TO DO_?

This is often simultaneously a ghastly and a great film, IMHO near perfectly capturing the central dilemma of the Polish Resistance of the time.  What the heck to do when no matter what one did, the consequences would be all but unbearable.

Sigh ... what a film and what a story.


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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One Way Ticket to the Moon (orig. Bilet na Księżyc) [2013]

MPAA (UR would be R)  Fr. Dennis (3 1/4 Stars)

IMDb listing
Filmweb.pl listing*

Dziennik.pl [P. Czerkawski] review*
Film.onet.pl (D. Romanowska) review*
Film.org.pl (K. Połaski) review*
Film.wp.pl (K. Kasperska) review*
KulisyKultury.pl (K. Łukaszewicz) review*

Hollywood Reporter [N. Young] review

It's 1969 and the "Summer of Love" in One Way Ticket to the Moon (orig. Bilet na Księżyc) [2013] [IMDb] [FW.pl]* (written and directed by Jacek Bromski [IMDb] [FW.pl]*) in this often hilarious and inevitably poignant/sad take on Poland's "Summer of '69," seeking to apply a couple of America's counter-cultural classics, Hair [wikip-1968-stagemusical] [wikip-1979 film] [IMDb] and Easy Rider [1969] [IMDb], to Polish Communist-era realities of the time. (The film played recently at the 26th Annual (2014) Polish Film Festival in America held here in Chicago).

And indeed much is "going on."  The Communist Regime has the whole, then NOTORIOUSLY DULL GRAY COUNTRY all decked out in the ALMOST IMPOSSIBLY CHEERFUL "RED AND WHITE" of Poland's national colors, earnestly trying to "generate excitement" about celebrating the upcoming "25th Anniversary of the Founding of the Polish People's Republic," even as every one of its news items on State (Controlled) radio seems to undermine the earnest, studied, faux/forced optimistic Party Line: Early in the film, we hear "State Radio" LEADING its "morning news" with an item announcing that the "Minister of Agriculture" had visited a "cord factory" and "proudly proclaimed" that "there will certainly be enough rope to bind this year's harvest."   Ring the bells folks!  The Party assures us that at least this _ridiculously_ basic need is something that we don't have to worry about (or should we actually?  Why would something so absurdly basic be mentioned on the news at all...?)

Indeed, the Regime faces a real challenge in 'generating excitement' about "25 years of drabness and disappointment" -- Everyone in the story is painfully aware of Poland's painfully embarrassing bad economic story.   "Okay, we lag behind the East Germans, that's 'no surprise,' but why is it that even the Czechoslovaks and the Hungarians are beating our ...?" asks one of character.  Another responds, "Well you know, we Poles have become a nation of schemers.  An East German foreman tells one of his East German workers to come over and tighten a screw.  And he does, come over, and ... tightens the screw.  A Polish foreman tells one of his Polish workers to come over and tighten a screw.  And he comes over and spends a half an hour looking-over the screw, from all angles, scheming to find a way to appear to tighten it without actually doing so.  So EVERYTHING takes a long time, and ... at the end of the day, NOTHING gets done anyway."  (Readers note simply here that this Communist Era Polish reputation for "scheming" was HONESTLY, AN ARTIFACT OF THAT UNNATURAL TIME.  Poland was NOT free but rather a captive "satellite" of the Soviet Union.  In contrast, outside of Poland, both here in the United States and across all of Western Europe, Poles have had a near UNIVERSAL REPUTATION of both HARD WORK and PRIDE IN THAT WORK.  It's honestly hard to imagine the Catholic Church in the United States without the legacy of the extreme generosity of both Polish labor and Polish money, often contributed first by _dirt poor_ immigrants and later by their descendants).

But beyond that, the Regime's Party spin doctors have another problem on their hands:  The whole world, including Poland, seems to be focused on the seminal event about to occur ... America's soon to be launched Apollo 11 and its promised landing on the moon.  The Regime is stuck trying to explain(away) why it's the Americans who are going to be walking on the moon first, and not the Regime's Soviet Communist "big brothers."  Play on that summer's primary focus -- the Apollo ii moon landing -- inspires, of course, this film's title.

But all these "grand" concerns aside -- the upcoming celebration of  Communist Poland's "25 years of mediocrity and failure" or the Apollo moon landings -- 1969 was the summer in which the film's central protagonist Adam Sikora (played by Filip Pławiak [IMDb] [FW.pl]*), having graduated that spring from high school, was ... drafted into the military.

And so the film begins with Adam, having finished his early morning milk deliveries rushing off to the local draft board, where, in its "infinite wisdom" it assigns him, who's lived all his life in a little hamlet in the mountains of the southeastern Poland ... TO THE NAVY and to report "two weeks hence" to a Polish naval base in the northwestern (Baltic Coast) corner of the country.

How long's the assignment? ... three years.  Well that's gonna ... SUCK, given that he has his first, sort-of, girlfriend, Danusia (played with perfectly-calibrated 15-to-16-year-old earnestness by Kaja Walden [IMBb] [FW.pl]*) in his home village, in said SOUTH EASTERN CORNER OF THE COUNTRY.  So he goes over to the shop where she's working that summer to break the news.  He then asks her: "Will you wait for me?"  In perfectly calibrated SHOCK of a 15-to-16-year-old BEING ASKED THIS QUESTION FOR THE VERY FIRST TIME, she answers: "NO!"  Crestfallen, 18-year-old Adam asks "Why?"  "I'm 15-going-on-16 years old, I can't even imagine THREE YEARS FROM NOW." And so it is, shell-shocked Adam realizes that he's probably being dumped for the very first time...

Adam's lack-of-experience / naivete comes to concern his older, thinking of himself as "more worldly" brother Antoni (played again wonderfully by Mateusz Kościukiewicz [IMDb] [FW.pl]*), 22 or 23, who had just finished his three year term of service in the Polish Navy (Apparently, in its infinite wisdom, the Polish People's Army had determined that the nation's "best mariners" come from the mountains of the South Eastern part of the country ;-).  So Antoni decides to accompany his younger brother to his induction in the Polish Navy, hoping to "impart his wisdom" (all the "wisdom" of a 22 or 23 year old...) on his younger brother along the way.

Thus begins an "epic" Easy Rider [1969] [IMDb]-like "road trip" from the mountains of Southeastern Poland to the Poland's Northwestern Baltic coast ... 'CEPT ... THIS IS POLAND OF 1969: Neither Antoni nor Adam have "motor-bikes" to say nothing of a car.  This "road trip" was going to take place "the Soviet-era Socialist way" ... by train, bus and occasionally hitchhiking a ride from a farmer pulling a hay-covered cart with a tractor ;-)

But let's also admit here that no matter where one is, WHEN ONE IS YOUNG, ANY TRIP LIKE THIS ... is going to be EPIC (!)  And so it is ... ;-)

The people that the two meet along the way (and their conversations with them) in this meandering trip that actually takes them longer than Apollo 11's trip to the moon (though in fairness, they did make stops along the way) are ABSOLUTELY PRICELESS.  These include: (1) their encounter/conversation with two young girls their age (coming home from a 3 month training course in "food service") that they meet on the train to Krakow; (2) a barbeque with an "old" (again 22-24 years old ...) "former Navy buddy" of Antoni's now living in the (still) southern mining town of Katowice; and (3) a priceless conversation with a thoroughly corrupt "little man" of a conductor on a "night train" to the coast (this last encounter being certainly a play-on, indeed a "send-up of" the famous Communist-era film Night Train (orig. Pociąg) [1959] that played recently again in the United States as part of the American director Martin Scrocese's Masterpieces of Polish Cinema: [MSP Website] [Culture.pl] series).

The "little man" pettily corrupt conductor tells Antoni who to talk-to / look-up to get themselves "set-up" (with both a hotel and some Communist Era hookers) when they "get to the coast."  (Again folks, think Easy Rider [1969] [IMDb]).

And let's admit it, what kind of "wisdom" would a 22-year-old "older brother" have to impart on his "more naive" younger brother, other than, well, trying to "get him laid..."?  After an aborted "first attempt," Adam, on his own, manages "to score" with an amiable, a few years older, Polish exotic dancer named Halina/Roxana (played by Anna Przybylska [IMDb] [FW.pl]*) IN A SCENE THAT HONESTLY IS VERY, VERY FUNNY: There's Adam, losing his virginity, even as we hear Neil Armstrong on the TV, stepping down from his craft and announcing TO THE WHOLE WORLD: "One small step for (a) man ...." ;-)

Yet if all this SEEMS INCREDIBLY STUPID, ADOLESCENT, SOPHOMORIC, indeed HAIR [wikip-1968-stagemusical] [wikip-1979 film] [IMDb]-like in nature, JUST LIKE IN THE SUDDEN CLOSING SEQUENCE of the FILM VERSION OF HAIR [1979], the current film TAKES A SUDDEN and far more serious turn:

Adam's lying there in Halina's bed, basking in the "momentous glory" of "having gone where..." even as Neil Armstrong was first stepping onto the moon, when a drunk local police officer comes "visiting upon" Halina as well.

Adam steps-up to defend Halina's honor, and since the police officer was piss-drunk, even disarms him.  The drunk local police officer lifts up his hands, and even laughs: "Okay boy, easy, even keep the gun...  But know that tomorrow, I'm coming back for you WITH THE WHOLE LOCAL POLICE FORCE and you're a dead man."

Again, if up to this point the movie, LIKE most of the 1960s era HAIR [wikip-1968-stagemusical] [wikip-1979 film] [IMDb] was above all, just a STUPID SOPHOMORIC ROMP, SUDDENLY ADAM really _has to_ "grow up."   Indeed, he has to flee.  BUT TO WHERE???  HOW???

He does find a solution, the closing credits suggest that the story presented was actually based on a true one. Well, yes, and no.  There were Cold War cases in which Poles (as well as other Central/East Europeans from the Soviet Satellite countries) took similarly drastic measures to get across to the West.  However, the closing credits identifies Adam Sikora as the Polish born father of the German footballer "on the national team" Feliks (or Felix) Sikora.  And this is, as far as I can see, (Google, Wikipedia), this is not true.  But then let's also remember that Milos Forman's film version of Hair [wikip-1968-stagemusical] [wikip-1979 film] [IMDb] ended in a super poignant if grossly manipulative fiction as well.

What then to make of the film?  I did like it.

I had contact with and indeed visited my relatives in Communist era Czechoslovakia throughout the 1970s and 80s.  The first time I heard Pink Floyd's Dark Side of the Moon was on my oldest cousin's stereo in Prague.  He had found a way to buy the record, black iconic "prism cover" and all, on his own over there.  On the flip-side my parents, sister and I, enjoyed the summer of the "Prague Spring" (1968) largely on the beach in Union Pier outside of Chicago largely listening to lovely Czech language covers of the Beatles, Mamas and Papas, etc.  The film version of Milan Kindera's Unbearable Lightness of Being [1988] features (a little anachronistically) Marta Kubišová's Czech language cover of Hey Jude.

So to those who would complain that this film "can not possibly portray a realistic vision of Poland in 1969," having pictures of bell-bottom jeans wearing (admittedly Czech) cousins of mine from the same time, I beg to disagree. 

Then those who'd on the other hand argue that the film unfairly lampoons Communist Era news programming, my sister, various American born cousins of mine and I (all still Czech speaking) can "rolls our eyes" almost completely around in our eye-sockets thanks to the UNBELIEVABLE STUPIDITY OF WHAT PASSED AS NEWS REPORTING COMMUNIST LANDS DURING THAT ERA.   The segment in this film about the "Agricultural Minister visiting the cord factory" (mentioned above) is ABSOLUTELY PRICELESS.  'Cause that's EXACTLY (!) how it was.

I do wish that the director did not play with the truth as much as he did at the end of the film.  But even attempts like Adam's to get across to the West were part of the historical record of the time.  There were desperate people who did have to flee places like Poland during that era.  And how could one do that, again FROM POLAND, when one was SURROUNDED by "Fraternal Brother" States?

Anyway, this film is NEITHER Citizen Kane [1941] nor Ashes and Diamonds [1958].   But it does kinda play like a Polish Easy Rider [1969] or [Hair [1979].

And so in that sense, it did a "pretty good job!"  So "rock on" director Jacek Bromski [IMDb] [FW.pl], "rock on" ;-)


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser. 

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