“I, Tonya” (2017). Cast: Margot Robbie, Sebastian Stan, Allison Janney, Paul Walter Hauser, Bobby Cannavale, Julianne Nicholson, Bojana Novakovic, Caitlin Carver, Mckenna Grace, Jason Davis, Ricky Russert, Anthony Reynolds, Lynne Ashe, Dan Triandiflou, Jan Harrelson, Luray Cooper, Maizie Smith. Director: Craig Gillespie. Screenplay: Steven Rogers. Web site. Trailer.
Being the best at what we do is something to which many of us aspire. With great heart, tremendous determination, a plucky attitude and our own brand of innovation, we forge ahead as we strive to surmount that pinnacle of success. But is it possible for those efforts to be excessive or get out of hand? Under conditions like that, our aims may become skewed, perhaps even turning counterproductive, no matter how ardent our passion or how steely our resolve. Such is the case in the new, fact-based dark comedy, “I, Tonya.”
Told largely through a skillfully edited mix of insightful monologues and revelatory flashbacks, the film tells the often-comic, satirically tragic biography of figure skater Tonya Harding (Margot Robbie), who attained a number of accomplishments on the ice but is perhaps best known for an explosive off-rink scandal that fueled tabloid headlines for months.
Beginning in childhood, the picture follows the life of a young Tonya (Maizie Smith, Mckenna Grace) as she hones her talents under the skillful training of coach Diane Rawlinson (Julianne Nicholson). But, in stark contrast to the artistry Tonya was developing on the ice, the emerging star also had to contend with the harsh conditions of her home life, circumstances characterized by financial strife and incessant physical and verbal abuse. She was constantly under the thumb of her beastly, controlling mother, LaVona (Allison Janney), a snarly, foul-mouthed, embittered waitress who routinely pummeled and chastised Tonya for the slightest of infractions when not embroiled in expletive-laden quarrels with her husband (Jason Davis).
Given her hard life off the ice, Tonya developed a somewhat thick skin and something of an edge, qualities that became reflected in her skating. While many of Tonya’s peers aspired to live up to the stereotypical ultra-feminine attributes long associated with the sport, she developed her own style, one characterized by skating programs set to heavy metal music and costuming punctuated by blue nail polish. She also exhibited a greater athleticism than many of her competitors. But, while these innovations set her apart, they failed to impress competition judges, most of whom were looking for a more traditional presentation, one characterized by more conventional (i.e., more demure) qualities. Such displeasure was reflected in the scores Tonya earned in competition (despite the technical strength of her performances), which, in turn, would invariably bring out LaVona’s wrath, generally prompting severe verbal onslaughts (if not more).
To cope, Tonya sought out the company of those whom she hoped would treat her decently, such as her boyfriend, Jeff Gillooly (Sebastian Stan), a handsome if somewhat doltish sort who claimed to adore her but ultimately engaged in abusive behavior equal to that of LaVona. Still, despite such shoddy treatment, Tonya took refuge in Jeff’s home when life with her mother became unbearable, a move that was tantamount to jumping from the frying pan into the proverbial fire.
Meanwhile, on the ice, Tonya sought to find new ways to distinguish herself, a move aimed at leveling the playing field and silencing the small-minded critics who claimed she didn’t play the princess role well enough. She decided to make an attempt at being the first woman to land a triple axel jump in competition, an exceedingly difficult program element involving three-and-a-half revolutions. If she were to perform it successfully, that would surely make her a stand-out – and shut up the naysayers – an accomplishment attained at the 1991 U.S. Figure Skating Championship, where Tonya emerged the winner.
With her grand achievement behind her, Tonya suddenly became skating’s “it” girl, despite her less-than-conventional style. She was now being touted as a hot contender for the 1992 Olympics in Albertville, France. But, given a disappointing performance at the Winter Games and too many domestic distractions off the ice, she seemed to have missed her chance. This, coupled with allowing herself to fall out of shape, she quickly seemed to become a skating has-been at the age of 21. However, with a shortened two-year time frame before the next Olympics in Lillehammer, Norway and the encouragement of coach Rawlinson, Tonya was talked into making a run at the 1994 Winter Games.
There was just one problem: Tonya would have to contend with the competition posed by skater Nancy Kerrigan (Caitlin Carver), whose star was quickly rising after earning a bronze medal at the Albertville Games. Ironically, the two were actually fast friends, but, when it came to competition, those bonds would vanish, with relations between them becoming strained. And, in the months ahead, Tonya would find that “strain” wouldn’t even begin to describe what was about to go down.
What happened next stunned the skating community and the world at large when Kerrigan was brutally attacked after finishing practice before the U.S. nationals in Detroit. An assailant surprised her off the ice, clubbing her with a baton just above the knee. That assailant would turn out to be Shane Stant (Ricky Russert), an attacker hired by Gillooly and Shawn Eckhardt (Paul Walter Hauser), Tonya’s inept, dimwitted bodyguard, who delusionally fancied himself a covert spy master and intelligence operative. The plan called for Stant to break Kerrigan’s leg to keep her from competing in Lillehammer, but, as events played out, she suffered only a severe bruise, one that would heal up in time for the Winter Games.
With Kerrigan sidelined, Harding won the U.S. Championship and a spot on the Olympic squad. However, despite this victory, her star was tainted as rumors began to circulate. Even though Tonya claimed to have no knowledge of the scheme, the event nevertheless stuck to her like glue thanks to guilt by association, quickly leading to the launch of an FBI investigation. And the firestorm set off by the attack and its fallout would occupy headlines for a long time afterward, with consequences that followed the fallen star for years after stepping off the ice.
Almost no one would criticize someone for having ambition, but, when such drive turns a blind eye to everything that could potentially accompany it, we run the risk of setting ourselves up for major trouble. Such supremely singularly focused aspirations, like anything else that materializes in our lives, are a product of our thoughts, beliefs and intents, the cornerstones of the conscious creation process, the means that makes these manifestations possible. And, in true conscious creation fashion, those materializations always arise from those fundamental building blocks, no matter what they may be – warts and all.
In Tonya’s case, it’s easy to make the case that her ambition beliefs were tinged by intents aimed at succeeding at almost any cost. Given her troubled upbringing, marriage and competition experience, Harding’s desire for recognition and acceptance could well have been a powerful motivation, adding fuel to the skater’s drive for success. But that belief mix can easily become a volatile combination, particularly if one pays no heed to the potential fallout, especially if that involves turning a blind eye to the efforts of others supposedly acting on our behalf.
While it’s entirely possible that Harding never heard of conscious creation, it’s apparent from her successes that she nevertheless had developed a certain mastery over its principles. However, given how other events unfolded, it’s also apparent that she could fall victim to the process of un-conscious creation or creation by default, whereby we become so obsessed with achieving our objectives that we may disregard the consequences associated with them, especially if we give them no attention.
Of course, if Tonya’s drive for recognition and acceptance was an outgrowth of her background, one might wonder why she drew those circumstances into her life in the first place, especially since conscious creation makes an infinite range of options available to us at any given moment. That’s a legitimate contention, but, as any seasoned conscious creator knows, the conditions we manifest for ourselves are rooted in our own reasons, usually based on our need to tackle specific life lessons. How we address those lessons is part of our ongoing personal growth and development, and we again have limitless options for response to them, some of which may turn out more successfully than others. Tonya’s responses naturally reflect the beliefs she held at the time, which, like those of any conscious creator, are thought to be the wisest course to follow at the moment.
Had the underlying beliefs been different, the outcomes would have obviously been different, too. But, circumstances being what they were (i.e., given what had been created in the first place), results arose in line with the beliefs at play in this scenario. That being the case, then, Tonya’s experience provides audiences with a strong cautionary tale about how to wield our personal power of creation. Treading carefully would indeed appear to be in order.
Handily one of the year’s best, “I, Tonya” seethes with its richly macabre humor, which relentlessly comes at viewers in a variety of forms, be it through the characters’ monologues, the actions taking place on screen or the players’ snarky asides delivered directly to the audience in the midst of the mayhem playing out around them. The film features superb performances across the board, especially Robbie and Janney in award-worthy performances. With a kick-ass soundtrack, impeccable editing, excellent writing and a spot-on narrative, the film carries the day in virtually every regard. To be sure, sensitive viewers may be offended by some of the language and violence, but both are properly balanced and in context. If you like your comedies with an edge, rush to see this one.
“I, Tonya” has been deservedly rewarded in this year’s awards competitions, picking up three Golden Globe nods (best comedy picture, actress, supporting actress), five Critics Choice Award nominations (actress, supporting actress, comedy, actress in a comedy, hair./makeup), two Screen Actors Guild Award nods (Robbie, Janney) and three Independent Spirit Award nominations (actress, supporting actress, editing), with more honors likely to come. I’d be thrilled to see this offering take home a lot of this hardware, as it’s a release truly worthy of it.
Aiming for the stars is undoubtedly a laudable goal, one that can help us see – and realize – our potential. But, in the process, we need to keep our eyes open during the course of our ascent, looking around us to determine that we’re on the right path and don’t draw undue problems to us along the way. Should we do so, we’re likely to nab our own gold medals as a result, honors that we genuinely earn – and needn’t worry about ever becoming tarnished.
Copyright © 2017-18, by Brent Marchant. All rights reserved.
Wednesday, January 3, 2018
‘I, Tonya’ reveals the dual-edged sword of ambition
Friday, December 29, 2017
‘Darkest Hour’ inspires us to rise to our own greatness
“Darkest Hour” (2017). Cast: Gary Oldman, Kristin Scott Thomas, Ben Mendelsohn, Stephen Dillane, Samuel West, Lily James, Ronald Pickup. Director: Joe Wright. Screenplay: Anthony McCarten. Web site. Trailer.
Sometimes it takes having our backs against the wall to realize the greatness to which we’re truly capable. Getting there may seem like a dire process, and we may be ready to break down or give it all up if hope appears lost. Such dark night of the soul moments test us to the limit but also show us exactly what we’re made of, a scenario pointedly depicted in the new, fact-based historical drama, “Darkest Hour.”
At the outset of World War II, the British government sought to minimize its involvement and the potential for bloodshed by practicing a policy of appeasement put forth by Prime Minister Neville Chamberlain (Ronald Pickup). By bending to the demands of German Chancellor Adolf Hitler, the U.K. hoped it could curtail the rising tide of warfare. However, when it became apparent the Fűhrer had no intention of honoring his agreements, the need for a new strategy – and a new British P.M. – became all too clear.
But, British politics being what they were at the time, there was also a need to establish a coalition government, one that ultimately was headed by an unlikely leader – Winston Churchill (Gary Oldman), an aging statesman in whom many politicians and even the Crown had little confidence. His track record of past failures haunted him, and many saw him as a buffoon and a catastrophe waiting to happen. Nevertheless, despite these issues, Churchill managed to rise to the top and was asked to form a government by King George VI (Ben Mendelsohn), albeit quite reluctantly.
Once Churchill assumed the reins, he was quickly faced by a severe wartime crisis – the surrounding of British forces by German troops at the French seaport of Dunkirk. With virtually the entire British military in serious peril and the Germans overrunning Europe with no opposition, Churchill faced the collapse of Allied forces and a potential massacre of its own trapped troops. He was thus thrust into devising a plan – any plan – to stave off these twin tragedies.
At the same time, Churchill was being pressured by his own War Cabinet to enter into peace talks with the Germans, to be brokered by Hitler’s Italian allies. This option, advanced by Churchill’s political rivals, most notably Viscount Halifax (Stephen Dillane), would theoretically end the carnage but would essentially turn the U.K. into a fascist lap dog. Conversely, it was believed that rejection of this initiative would ensure British failure in dealing with the crisis on the French coast. And, the more this scenario was allowed to play out, the more Churchill was being railroaded into a position of being labeled a collaborator or an incompetent, either of which would provide grounds for his ouster.
Churchill didn’t always help his own case, either. He was known for his prolific, unabashed imbibing, and he frequently spoke his mind, even when candor wasn’t called for. He even shocked many would-be supporters with his famous (or some would say infamous) “V for Victory” hand gesture, which, in some segments of society, was taken to mean something entirely different (and not especially socially acceptable). However, this unrestrained, freewheeling approach to life also gave him a strong sense of self-confidence, one that would prove to be a saving grace.
No matter what he was up against, Churchill staunchly believed that Britain had to remain firm in its resolve, convinced that the fate of Western civilization was at stake. However, given the pressures he faced, he was also on the verge of cracking. To be sure, he had devoted supporters in his corner, such as his beloved wife Clementine (Kristin Scott Thomas) and loyal secretary Elizabeth Layton (Lily James), but, in seeking solutions to his challenges, he was virtually alone. If he were to survive this crisis, he would have to get creative, both in coming up with plans of action and winning over supporters, which, in each case, would prove to be the people who would come to help him most – the British citizenry.
Churchill’s amazing saga at the start of World War II is a prime example of someone rising to his own greatness, exceeding his potential at a time when the odds were overwhelmingly stacked against him. This inspiring tale shows what we’re each capable of, even in the face of seemingly insurmountable challenges. It shows what it means to surpass everything we thought we could do – and thrive in the process. And that success is largely attributable to the conscious creation process, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents.
It’s a pretty safe bet that Churchill probably never heard of conscious creation, yet, based on his actions as depicted in this film, it’s apparent he was quite skillful in wielding it. For instance, to solve the problems he faced, he was forced into getting creative, thinking outside the box, pushing limitations and conceiving plans that had never been tried or perhaps even thought of. This became obvious in his solution for evacuating British troops from Dunkirk when they were penned in by the Germans. Because Britain’s large military rescue ships were unable to land at the French port because of relentless enemy air cover that made them sitting ducks, Churchill had to devise a workable alternative to effect the evacuation. His solution was to put out a call for a citizen armada, a plea to British citizens to deploy their own vessels – fishing boats, pleasure craft, etc. – in a ragtag but concerted effort to bring the boys home. It was a plan no one saw coming – including the Germans – and it had a huge impact on the country’s ability to remain viable in a conflict in which it was increasingly being drawn in.
Such creativity was essential for Churchill to maintain his political stance as well. With the opposition breathing down his neck and with lukewarm support from the Crown, there were many times when the P.M. felt completely alone. To counter these measures, he needed to win over supporters to ensure his continuation in office, namely, the British public and wavering members of Parliament. Through his stunning oratory, impassioned pleas and interaction with the citizenry – acts that he had not previously engaged in or was especially proficient at – he made a case for his beliefs, which subsequently turned into manifested results, particularly when it came to rallying others behind his cause.
To make these plans work, though, Churchill also had to draw upon several key conscious creation principles. For example, he had to overcome any fears or apprehensions he might have had, something that seldom tripped him up but that became progressively more arduous as the pressure on him from multiple fronts continued to mount. He had to be willing to take bold moves, particularly when it came to speaking his mind to his political opponents, the monarchy and the public at large. This took tremendous courage at a time when so many doubted him, but he successfully managed to maintain his resolve, unshakable in his faith in his beliefs and the need to adhere to them – especially with the fate of a nation at stake.
What’s more, Churchill had to realize he was not alone in this crisis, even though it may have felt that way at times. True, he had allies in his corner, such as his wife and secretary, but he needed to curry support from a broader base. And, to do that, he had to ask for that assistance, making a case for his position and recognizing the importance of our inherent connectedness to draw upon the power of co-creation. By doing so, he was able to engender the aid of collaborators to help him materialize the outcomes he sought. It proved to be an effort that a grateful England and Europe would come to appreciate and implement. Had it not transpired that way, we’d likely be facing a world with a very different look today.
Oldman’s stellar portrayal of the legendary leader is handily the greatest strength of this biopic, an effort that has earned him best actor nominations in the Golden Globe, Screen Actors Guild and Critics Choice Award competitions. However, despite the outstanding performance by the protagonist and several of the picture’s supporting players, the overall product is at times a little too talky and drawn out to captivate, given that it’s based on an epic story that truly should engross viewers. With a little too much emphasis on British domestic politics, the film sometimes becomes bogged down and, frankly, a bit boring. Still, despite this shortcoming, “Darkest Hour” has been well-received by critics, as evidenced by the three additional Critics Choice Award nominations that it has captured, including best feature.
Icons deservedly attain the status they achieve as a result of their Herculean efforts. And, based on what’s depicted here, it’s easy to see how Churchill earned such standing. His experience sets an example we can all follow when we find our own backs up against the wall. We just might come away from such experiences finding ourselves rising to our own greatness – and beyond.
Copyright © 2017, by Brent Marchant. All rights reserved.
Tuesday, December 26, 2017
Check Out Self Discovery Radio
Here’s a little gift just in time for the holidays! Join me and host Sara Troy for the current edition of Self Discovery Radio in which we discuss conscious creation in the movies, particularly as covered in my new book, Third Real: Conscious Creation Goes Back to the Movies. The interview is available as the featured podcast for the next week and will be subsequently archived on the show’s web site. Tune in for some fun and lively movie chat by clicking here.
Friday, December 22, 2017
‘The Disaster Artist’ skillfully unmasks hidden truths
“The Disaster Artist” (2017). Cast: James Franco, Dave Franco, Seth Rogen, Ari Graynor, Alison Brie, Jacki Weaver, Paul Scheer, Zac Efron, Josh Hutcherson, June Diane Raphael, Megan Mullally, Sharon Stone, Bob Odenkirk, Melanie Griffith, Bryan Cranston, Jason Mantzoukas, Andrew Santino, Charlyne Yi, Kelly Oxford, Tommy Wiseau, Greg Sestero, Judd Apatow, Kevin Smith, Keegan-Michael Key, Danny McBride, J.J. Abrams, Zach Braff. Director: James Franco. Screenplay: Scott Neustadter and Michael H. Weber. Book: Greg Sestero and Tom Bissell, The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made. Web site. Trailer.
Most artists would agree that they seek to garner acclaim by producing quality work, creations applauded for their many noteworthy attributes. But sometimes artists achieve notoriety for their disastrous efforts, works that are so stunningly awful that they earn praise for their utter detestability. In the case of filmmakers, such dismal efforts often lead to their productions becoming cult classics, movies that are loved for how relentlessly bad they are. And one such example provides the basis for the hilariously off-beat new fact-based offering, “The Disaster Artist.”
When aspiring but eminently insecure actor Greg Sestero (Dave Franco) befriends an enigmatic classmate from his San Francisco acting studio, he has no idea what he’s getting himself into. But, as someone seriously in need of bolstering his self-confidence, he’s highly impressed by the inventive though exceedingly unconventional work of fellow actor Tommy Wiseau (James Franco). Although most of Tommy’s performing work defies description and many of his observations consist of cryptic, nonsensical, stream of consciousness statements, Greg nevertheless believes that he can learn something from his eccentric peer. They begin spending a lot of time together – much of it devoted to Greg trying to figure out what Tommy’s often-incoherent ramblings mean – but the impressionable Mr. Sestero seems to get out of it what he wants (at least initially).
Surprisingly, despite his pervasive inscrutability, Tommy actually has much to offer, at least in terms of the resources at his disposal. For instance, he appears to sit on a pile of cash, and he has residences in both the Bay Area and Los Angeles. Such circumstances eventually make it possible for Tommy to bankroll a relocation to Hollywood for himself and his new friend, an initiative that they believe will help them step up in their careers. However, despite such optimism, circumstances don’t quite pan out as hoped for. For example, even though Greg lands an agent (Sharon Stone) upon arriving in L.A., he fails to impress casting directors. And, for Tommy, things go even worse, mainly because no one can figure him out.
With their hopes dashed and careers flagging, Tommy comes up with the idea to write his own script for a movie starring Greg, quickly completing the screenplay for a domestic drama titled “The Room.” And, given his considerable finances, he soon hires a cast (Ari Graynor, Jacki Weaver, Zac Efron, Josh Hutcherson, Jason Mantzoukas, Andrew Santino) and crew (Seth Rogen, Paul Scheer, Charlyne Yi, Kelly Oxford) to make the film. With everything in place, the project seems all set to go. But, as quickly becomes apparent, the production is a disaster come to life: the 40-day filming schedule virtually evaporates; many scenes (primarily those involving Tommy) require numerous takes to shoot; most of Tommy’s direction makes little sense, alienating the actors and crew; and some of the director’s creative decisions are of questionable taste.
As the shoot drags on, relations between Greg and Tommy become strained. Tommy resents Greg spending increasingly more time with his new girlfriend, Amber (Alison Brie). He also blocks Greg’s efforts at securing a bona fide acting job on an episode of the sitcom Malcolm in the Middle thanks to a chance meeting with actor Bryan Cranston (playing himself). The once-strong (though admittedly inexplicable) bond gets torn apart.
With the production coming to an end, it’s unclear what the future holds. For his part, Greg (like many of the cast and crew members) wants to walk away, hoping that no one ever sees the celluloid debacle. He returns to San Francisco to resume his acting career, achieving moderate success on stage. He seems happy and well-adjusted once again – that is, until he learns of the big premiere Tommy has planned to launch the theatrical release of “The Room.”
Not surprisingly, the reaction to Tommy’s film is anything but what he expects. He’s mortified by the howls of audience laughter echoing throughout the theater. But, little does he realize, he’s on his way to a sleeper hit – even if it’s not the success in the way he envisioned.
As Tommy’s experience illustrates, sometimes life hands us some big surprises. But, even though success may not assume an anticipated form, it’s success nevertheless. The question for us then becomes, can we recognize and appreciate it for what it is, even if unexpected? This is one of those situations where we can view the glass as half full or half empty. What we choose, of course, is up to us, but, no matter which choice we make, we should decide carefully.
This comes down to a question of beliefs, the cornerstone of the conscious creation process, the means by which we manifest the reality we experience. Our belief choices determine the outcomes we realize, and they afford us an infinite range of possibilities for experience at any given moment. The question here, of course, is, will we recognize and understand the true nature of the results when they materialize? Will we appreciate the essence of their being? Or will we misinterpret matters and view them from a skewed perspective (something else fundamentally governed by our beliefs)?
Understanding and appreciating what manifests calls upon us to tap our power of discernment, our capability for recognizing the true nature of what appears before us. This might seem like a fairly straightforward process, but sometimes our view can become clouded by assumptions and various other belief considerations, distorting our analysis of our circumstances. This camouflage can obscure our outlook, leading us to conclusions that aren’t entirely accurate.
In Tommy’s case, for instance, it’s understandable how he might interpret the chorus of chuckles ringing out at his film’s premiere as an insult, especially if he unquestioningly assumed that his project was something to be taken seriously. However, given the laughable nature of the picture, the audience responded in kind, achieving what the film – and, ultimately, its creator – must have had in mind all along, even if not consciously recognized as such. In that regard, Tommy achieved “success” in his endeavor, even if it came in a form he hadn’t necessarily intended.
Conscious creation practitioners sometimes refer to situations like this as examples of semi-conscious creation, where the desired outcome is achieved, even if it’s not perceived as such or takes a form different from what was expected (but nevertheless embodies the sought-after qualities). In working through these instances, we may experience disillusionment or confusion, but these qualities can indeed be overcome, particularly when we employ the aforementioned power of discernment. We can also increase our level of understanding by making greater and more effective use of our intuition, one of the two elements that looms largely in belief formation and assessment.
Tapping into our intuition seldom comes easily for many of us. We tend to tune it out, because it’s seen as less logical, less rational than our intellect, the other chief element used in belief formation and assessment. As a consequence, our intuition is viewed as less reliable, less trustworthy and, hence, easily dismissible. Nevertheless, intuition can often shed significant light on our beliefs and resulting circumstances, helping us grasp what’s really before our eyes.
Again, drawing from Tommy’s example, he initially fails to see his situation for what it is (somewhat unusual for someone who, prior to the film’s premiere, seemed to follow his gut instincts perpetually, no matter how incoherent the resulting actions and observations of his musings may have been). It takes Greg’s astute intuitional observations about what transpires to help Tommy see things for what they are. Were we to follow this lead, we might all find ourselves developing better understandings of the nature of our beliefs, our existence and why matters unfold as they do. And there’s certainly no disaster in that.
Despite a half-baked teaser trailer that makes this project look like an inside joke drummed up by frat boys between bong hits, this quirky fact-based comedy is surprisingly entertaining, if a bit dragged out in spots. A more fully fleshed out back story probably would have helped, too, but then that may have also undermined the portrait of inscrutability being painted about the story’s protagonist. Nonetheless, the film delivers surprisingly well in the performance department, with fine turns by the Franco brothers and an array of colorful supporting cast members, punctuated by the tongue-in-cheek observations of Hollywood heavyweights like J.J. Abrams, Kevin Smith, Keegan Michael Key, Danny McBride and Kristen Bell. All in all, “The Disaster Artist” is a delightfully pleasant surprise that, upon first glance, would seem to have little to offer.
Actor-director James Franco’s latest is garnering considerable praise in awards competitions, having been named one of the National Board of Review’s Top 10 Films and capturing the organization’s award for best adapted screenplay. In addition, the release earned two Golden Globe Award nominations for best comedy picture and best comedy actor, Screen Actors Guild and Independent Spirit Award nods for best lead actor, and four Critics Choice Award nominations, including best comedy, actor and adapted screenplay. Expect the accolades to continue throughout awards season.
Being misunderstood may cause us considerable consternation. But misinterpretations of our intents just might pay unexpected dividends as well. We may be frustrated at what transpires, but we could also find ourselves laughing all the way to the bank. If you doubt that, just ask Tommy Wiseau.
Copyright © 2017, by Brent Marchant. All rights reserved.
Wednesday, December 20, 2017
‘The Last Jedi’ tackles life’s lessons, striking a balance and finding our way
“Star Wars: The Last Jedi” (2017). Cast: Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Andy Serkis, Domhnall Gleeson, Laura Dern, Benicio del Toro, Lupita Nyong’o, Gwendoline Christie, Kelly Marie Tran, Frank Oz (voice), Anthony Daniels, Joonas Suotama, Jimmy Vee, Justin Theroux, Tim Rose, Tom Kane (voice). Director: Rian Johnson. Screenplay; Rian Johnson. Source Material: George Lucas, “Star Wars.” Web site. Trailer.
Finding our place in the world.
Tapping into our source of personal power.
Learning how to balance strength and vulnerability, power and temperance, and when to charge and when to retreat.
All of the foregoing are noble pursuits aimed at helping is get through life and its challenges, be it in both everyday matters and in more heroic ventures. And understanding what it means to be a master of these skills is a venture that defines us and guides us in how we conduct our lives. Those are among some of life’s big questions tackled in the latest installment of one of filmdom’s most storied franchises, “Star Wars: The Last Jedi.”
Picking up where the seventh offering in this series left off, “The Last Jedi” follows the continuing exploits in this epic galactic drama, bringing viewers up to date on the adventures of characters from past episodes and introducing new players into the mix. The narrative consists of several story threads that run parallel with one another and eventually become intertwined for a blockbuster climax.
Given the foregoing, the picture’s plot is somewhat complicated, to say the least, and detailing it would probably reveal too much. In a nutshell, however, the film follows the efforts of a ragtag group of rebel forces led by General Leia Organa (Carrie Fisher) waging war with the First Order, an oppressive dictatorship brutally ruled by Supreme Leader Snoke (Andy Serkis) and his chief protégé, Kylo Ren (Adam Driver), a ruthless villain who, ironically, is more than occasionally morally conflicted about carrying out his charge. As this battle plays out, one of the rebels’ chief warriors, Rey (Daisy Ridley), journeys to a remote planet to find an aging enigmatic peer, Luke Skywalker (Mark Hamill), to learn the ways of the Jedi, a mystical corps of heroic combatants, in hopes that his teachings will help her and others in their conflict with the First Order. In addition, two other rebel fighters, Finn (John Boyega) and Rose (Kelly Marie Tran), backed by comrade Poe Dameron (Oscar Isaac), go in search of a scurrilous code breaker (Benicio del Toro) to help them devise a plan for undermining First Order detection technology.
The missions of the characters in these respective scenarios bring them up against the issues raised above. How they respond depends on who they are as individuals and how they comport themselves when brought face to face with the Force, a potent, intangible wellspring of power that binds all things and connects everyone in the Universe. The Force is theirs to wield, but what they do with it ultimately hinges on their intents and how they approach handling it. Each character is thus left to determine his or her own destiny, a profound introspective process that prompts each individual to examine what he or she hopes to achieve and how to go about doing so, a significant, soul-searching exercise for all concerned.
In many regards, this installment in the franchise thus echoes many of the themes first raised in “Star Wars Episode V: The Empire Strikes Back” (1980), in which a young Skywalker is initiated into the ways of the Jedi for himself under the tutelage of supreme mentor, Master Yoda (Frank Oz). In many ways, this film brings that story full circle, particularly where Luke is concerned, who now serves as the master instructing a new generation of would-be followers. It gives the legendary warrior an opportunity to assess what he would like to do going forward, in large part based on what he had done in the past, a track record marked by mixed outcomes that give him pause, particularly where questions of responsibility and intent are concerned. Others struggle with comparable conundrums of their own as well, and their approaches to addressing them mimic those of the Jedi leader, who must now decide whether he wants to rejoin a flight in which he’s unclear about what his role might be.
As the various story lines play out, it becomes apparent that the characters’ struggles with understanding and employing the Force run parallel to what many of us experience as we seek to become masters of the conscious creation process, the philosophy that maintains we manifest our reality through the power of our thoughts, beliefs and intents. They come to see that the Force, like conscious creation, is neither inherently good nor bad; it all depends on what we do with it, and that comes down to the implementing beliefs we employ in activating the process. The intents we choose to embrace shape what springs forth from them from the realm of intangible potential and into the materialized world of physicality.
Of course, given the power involved, as well as the potential potency of the resulting consequences, conscious creation and management of the Force both call upon us to recognize the responsibility that comes with such practices. It implores us to choose our beliefs carefully, for errant moves can easily lead to disaster, outcomes that can leave our heads spinning, even with seemingly the best of underlying intentions.
At the same time, we must also be careful not to let prudence become a hindrance. Proceeding cautiously might well be warranted, but, if allowed to hold sway, it could also hold us back significantly. Overly timid behavior in our belief choices can paralyze us, keeping us from pursuing opportunities that could well prove highly valuable. But, by failing to follow up on them, we’ll never know what they’ll yield.
Striking a balance where these principles are concerned is the chief challenge that all conscious creation initiates must address, and there are no easy or absolute answers. What’s more, as readily becomes apparent, things are not all black or white, and sometimes even the unlikeliest of outcomes, like failures, can prove to be the greatest teachers. The experiences of Luke, Rey, Finn, Rose, Poe, Kylo Ren and others all fall squarely in line with these considerations, and their odysseys provide us with examples to assess and consider for ourselves. The inspiration and enlightenment of these scenarios could be quite useful in our own endeavors, and we should give them serious thought as we proceed.
These insights help to set “The Last Jedi” apart from most of its predecessors. There’s an intriguing ambiguity that flows through the narrative of this installment, making things a little less certain at times, something that diehard fans of the franchise may well find a little unnerving. However, given the intrinsic nature of the Force – or of the principles of conscious creation – this film’s underlying metaphysical message is thus also more fundamentally realistic, accurately reflecting the notion that we always have access to limitless (if not always clearly defined) possibilities and are not saddled with a more identifiable (yet inherently smaller) set of options for existence. The onus for what manifests is thus placed on the shoulders of their creators (just as it is with the rest of us in our own everyday lives), and that’s a concept some of us (including diehard “Star Wars” fans) may find somewhat unsettling.
This outlook doesn’t jibe with the restricted range of pat scenarios that many believe are the only ones open to storytellers or to us in our respective creative undertakings. However, embracing a view of existence based on such innate limitation takes away much of the wonder that accompanies the process of creative discovery that conscious creation (or the Force) makes possible. For my money, I’d rather live with this more expanded view of things, and that’s one of the reasons why I liked this movie so much: It celebrates a view of existence that gives us more choices and holds the potential for far greater fulfillment than what a more curtailed view can possibly offer.
This latest installment of this storied franchise represents a vast improvement over the last two offerings in this series, providing some much-needed relief to a mythology that had been rapidly running out of gas and originality. With a well-crafted, insightful allegorical story line, fine performances by Hamill and Fisher (in one of her last screen appearances), excellent special effects, and a restrained reliance on action sequences to carry the narrative, “The Last Jedi” gives viewers much to ponder while serving up an eminently entertaining saga. Admittedly it’s not perfect – a little overlong (especially in the pacing in the first 45 minutes), a little weak in its use of 3D effects and a tad too cutesy in its comic relief – but these shortcomings don’t significantly detract from the overall product. It’s truly satisfying to see things finally getting back on track.
What it means to create our destiny is a common theme in many films, especially those with heroic narratives like this. And, thankfully, this film provides viewers with much to think about, especially when it comes to discerning our role and realizing that matters aren’t always as clear cut or simplistic as we might like to think they are. It’s an ongoing process in which we engage in ways both great and small. But, no matter what endeavor we’re tasked with undertaking, let us always hope that, as we do so, the Force is always with us.
Copyright © 2017, by Brent Marchant. All rights reserved.
Join Me for The Cinema Scribe
Tune in for the latest Cinema Scribe segment on Bring Me 2 Life Radio, Wednesday, December 20, at 12:45 pm ET, by clicking here. And, if you don't hear it live, catch it later on the podcast!
Tuesday, December 19, 2017
This Week in Movies with Meaning
