Sunday, March 28, 2010

"Precious: Based on the Novel Push by Sapphire"

Fantasy is a powerful tool that brings us out of our reality and into a place of maximum control, typically to ultimate gratification. Our fantasies are the controllable wishes that directly contrast the out of control aspects of our lives. Fantasy often happens in places of pain or boredom. Fantasy serves as a coping mechanism to pain, whereas in boredom it often reveals our hearts by illuminating our desires and wishes. Fantasy is unplanned, which is why it typically happens in the moment of the stressors themselves.

When do you find yourself fantasizing most often? What do you fantasize about? For those of us struggling to make ends meet, perhaps it is fantasizing about what we imagine as an affluent lifestyle. For the timid, fantasy may be about walking into a bosses office, parent’s home, or other authority figures presence and displaying boldness. For Clarice “Precious” Jones, she fantasizes about being adored.

“Precious: Based on the Novel Push by Sapphire” is the story of an African American woman in New York named Precious (played perfectly by newcomer Gabourey Sidibe) who is the victim and survivor of countless abuses. The film begins with a set up of Precious environment – her home, dominated by a monster of a Mother (played by Oscar winner MoNique, who more than deserved her awards), her school, and her neighborhood. We then see in painful detail all manner of abuses including emotional abuse, physical abuse, and sexual abuse – including incest and rape. However, an opportunity comes into Precious life that she bravely follows through on, carrying the rest of the story forward.

The direction and style of the film really took me by surprise. I was not expecting the editing, direction, and music to be so effective. Jump cuts, exits from reality to fantasy back to reality again, and music all richly texture the film. Acting is uniformly great – Real life experience with some form of abuse on the part of the filmmakers impact what we see. The performances truly authenticate the story. If the actors were directed poorly and overacted, played too flat, or were otherwise unbelievable, it would have sunk the film. The movie was obviously created with passion.

But why sit through a film where abuse of any kind is portrayed in any manner? That’s a question only you can decide for yourself (and be warned, this is a tough film to sit through), but the film attempts to give a hopeful climax in the midst of utter hopelessness. Precious is not merely likable, so much as she is so lovable. Perhaps it is the message that in spite of any experience you have been through, you have the choice to rise above it. Is healing possible after experiencing such monumental pain? If so, where is this healing?

It would be a mistake to assume that this film is about poor minorities (especially African Americans) or is a “black” movie. It would be a mistake to assume that “those people” portrayed in the film are the ones who have this sort of universal life for themselves – the poor, the ethnic group you only spend time with through television, or the teenage Mothers. It is a movie I believe that anyone can relate to because abuse is not defined by ethnicity or socio-economic status. Most of all, we can relate to this film because at its core, it is about love. Precious wants, needs, and deserves love. Love of, from and for herself.

“Precious…” came out around the same time as “The Blind Side” and they share two powerful themes – that love and education are forces of healing that are not equaled. Education is enablement, love is empowerment. In addition, each film challenges viewers about the personal human story. When we encounter people, we don’t know where they have been or what role we will play in their story. Just as importantly, we don’t know what role others will play in our story. I am grateful to be moved and reminded of such truthful things after seeing “Precious.”

Saturday, March 13, 2010

Green Zone

Someone just tried to make Call of Duty: The Movie

In “Green Zone,” Matt Damon plays a soldier in a specialized unit trying to uncover the whereabouts of WMD’s in Iraq. However, all of his intel is coming up fruitless, much to his frustration. Before you can say Sarah Palin, Damon goes rogue. He then spends the rest of the film hunting down the whereabouts of WMD’s, being confronted by nosy reporters, encountering the locals, fighting soldiers, and dealing with opposing political forces within the American and Iraqi camps.

Yawn.

On paper, “Green Zone” does have ingredients to make something good. Paul Greengrass directed two Bourne films and made a legitimate masterpiece with “United 93.” Matt Damon can show his talent, and Amy Ryan was Oscar nominated for “Gone Baby Gone.” Brendan Gleeson was honest and balanced in the offensively fun “In Bruges.” Greg Kinnear is also capable of delivering good performances as well. Yet, everyone seems to be going through the motions, making a film without much passion.

For a modern warfare movie, “Green Zone” feels awfully boring due to just how familiar and stale the proceedings feel. While there are a couple of legitimate action sequences, they rarely rouse or maintain tension. Problematically, the reuniting of Greengrass and Damon swiftly recalls images of Jason Bourne, while the shaky cam cinematography plus grainy appearance make it look and feel like a half baked Bourne sequel. There is even a close quarter’s combat scene much like the book-fu fight in the Bourne films. It takes away from much of the uniqueness that the film may have tried for and undercuts any message about the conflict that may have been intended.

What “Green Zone” did do was narrate much of the cultures current view of the conflict in Iraq. We were sent for good reason, got betrayed, feel misled and lied to, and now are endlessly cynical about what Government tells us. We question why we are there, what the purpose is, and while attempting to unite a divided Iraq have become divided ourselves. When the end of the film finally rolls up, the “message” is hardly revolutionary. What you expect to happen probably will happen.

This is not to say that “Green Zone” is a bad film, so much as it is a tired film. It’s competent, but merely so. The acting, cinematography, and action feel recycled and borrowed from better movies. If you’re itching for some war or action, check the Netflix selection instead.