The story is familiar, even to non-religious folk: between AD 30-40, Saul of Tarsus, both a Jew and a Roman citizen, was traveling on the road from Jerusalem to Damascus, bent on arresting the earliest disciples of Jesus Christ. Saul had been especially dedicated to his mission to persecuting these earliest of Christians in and around Jerusalem. Struck from his horse by the brightest of lights, the risen Christ appeared to him, asking point-blank why he continued to persecute those followers of His who He loved. Struck blind by the light, Saul's vision was restored by Ananias of Damascus-a disciple of Jesus-after three days.
Saul-who according to Christian tradition would henceforth be known as Paul-went from being Christ's follower's greatest tormenter, to their staunchest of advocates. He is considered an apostle (not one of the original twelve) and one of the most important figures of the Apostolic Age. Over the course of about 30 years, Paul would travel more than 10000 miles, founding several long-lasting Christian communities in Europe and Asia Minor.
These events are well-documented in the Bible, in the New Testament, in the chapter of the Acts of the Apostles, by Luke the Evangelist (St. Luke) one of the four traditionally ascribed authors of the gospels of the New Testament of the Bible. Luke is referred to as a physician in Paul's Letter to the Colossians in the New Testament. Luke is believed to have been a Greek from the city of Antioch of ancient Syria, uniquely marking him as a Gentile amongst the four gospel writers. Luke is also thought to have been a disciple of Paul.
Paul, Apostle of Christ (2018) is a recent film with both St. Paul (played by Shakespearean actor and Game of Thrones alum James Faulkner) and St. Luke (Jim Caviezel, The Passion of the Christ and tv's Person of Interest) as central characters. Much of the story takes place during Paul's time in his later years spent as a prisoner of Emperor Nero of Rome, around AD 67. There are also various flashbacks depicted of Paul's past, including a scene of his dramatic conversion.
Paul is held in Mamertine Prison on Rome, sentenced to death as a Christian agitator, as a scapegoat of sorts for the burning down of half the city. Luke is able to utilize his contacts in the Roman hierarchy in order to be by Paul's side during his imprisonment (as mentioned in scripture, Luke was the only one in jail with him at the time) and help document his story. Much of Paul's story would be transcribed in Acts by Luke, and we see here in this film the beginnings of this documentation and dissemination.
At Mamertine, Paul interacts with his jailer, the Roman prefect Mauritius (Olivier Martinez.) There is an important sub-plot revolving around the health of Mauritius' daughter, who is dying of a mysterious illness. Mauritius, a pagan, repeatedly refuses to allow the Christian Luke to use his considerable medical skills to help his daughter. Mauritius becomes intrigued by these persecuted Christians and their one God. He is especially curious how a man so old, weak-looking and physically un-imposing as Paul is depicted here, can fill his Emperor Nero with such fear and paranoia-enough to have him blame the Great Fire of Rome in AD 64 on Paul and the Christians.
We also get a detailed, first century period-accurate look at the hidden and persecuted early Christian community during the time of Nero's persecutions. These Christians walk in fear of being arrested and/or beaten up on the street by Roman soldiers at any time. They are shown subject to such barbaric treatment as being tied up, doused with oil, and burned alive-illuminating the streets of the city as literal "Roman candles." There is also the ever-present threat of being led into the Roman arenas, to be fed to the lions-or enduring similar savage deaths-all in the guise of entertainment for the citizenry.
Meanwhile, two individuals named in Scripture, Priscilla (Joanne Whalley) and her husband Aquilla (John Lynch) help lead and aid these persecuted Christians in their hidden lair within the city. They are instrumental in aiding Luke in his physical and spiritual ministry. They are also faced with the difficult choice of whether to abandon Rome to it's fate, or flee with their companions and charges to a new, relatively safer abode in Ephesus. The prospect of leaving the city covertly and safely is fraught with dangers, and a major plot-point of the movie.
All of these loose story ends are tied up very nicely by the end of the film. The ending for Paul himself, where he faces his ultimate beheading (as a Roman citizen, he had the right to that type of death) with such grace, is particularly emotional and powerful for the viewer. So too, the moment Paul finally "meets his maker." We really do get a sense why Paul and other Christians would give their lives for Christ (who, it should be noted, walked the earth only thirty or so years beforehand-not much time enough for false myths to be ingrained in the prevailing culture.)
Director and writer Andrew Hyatt brings us this movie with an astute and skillful touch. As mentioned in the accompanying documentaries on the DVD, Hyatt himself was a lapsed Catholic for many years into his twenties, when he experienced a profound religious conversion, not unlike Paul's. After being led into a life of sin that culminated in debauchery leading up to a hotel room in Toronto at the site of the film festival there, Hyatt literally heard a voice from Heaven, asking him to make a choice on whether to turn his life around. From then on, Hyatt decided to re-dedicate his life to Christ, and became intent on making this very personal movie on St. Paul, in particular.
The producers of the film lobbied hard for this movie to be made on the island of Malta, and it proves to be a very wise decision here. The existing structures and natural topography of the island lend themselves well to a first-century environment. The look of other film productions of the past that filmed on Malta, including Gladiator (2000) and Troy (2004) and the current HBO tv series Game of Thrones, inspired the producers in their choice of locale. Likewise, some of the best-in-the-business crew, many left-over from shooting Game of Thrones, lend their considerable talents to the filming and production of Paul, Apostle of Christ.
Catholic Christian viewers especially will like scenes in this movie depicting the distribution of the Eucharist, and recitation of the Lord's Prayer by early followers of Christ. Hyatt is careful to construct his narrative primarily around Scripture itself. He does court trouble, however, when he tries to fill in gaps in the narrative with conjecture and speculation. What said Catholic Christian viewers won't appreciate so much, is the director's choice to depict whole verses and Scripture passages originating from Paul's conversations with Luke and others.
Though there is a prevailing theme of adherence to non-violent methods in the film-particularly on the part of the Christians-there are various scenes of torture, brutality, and gory images in this movie. These scenes are all PG-13 rated, though, and nowhere near as shocking as what we get in a movie such as, say, The Passion of the Christ. Speaking of The Passion, it is wonderful to see Jim Caveziel in another religious-themed film. Caviezel, as Luke, looks and acts significantly different in this movie, than in his previous, most famous role as Jesus. He brings a quiet, commanding strength to Luke here, and is an obvious stand-out in the cast.
Likewise, veteran actor James Faulkner is such a pleasant surprise and joy to watch in the title role. Though he shares center stage with Caviezel's Luke here, Faulkner, with his authoritative voice, presence, long beard and shaved head, might as well be Paul incarnate. I look forward to watching future films/shows in which he appears.
Thursday, June 28, 2018
Thursday, June 21, 2018
First Reformed (2017)
I suppose I must admit, reluctantly, that I'm an afficionado of filmmaker Paul Schrader. Paul Schrader has written and directed a critically-acclaimed movie with a religious backdrop now in theaters, First Reformed (2017).
It's not easy for me to admit my fandom as such, because as a Catholic Christian, it isn't hard to be offended by story elements and directorial choices in Paul Schrader's body of work, including most films he's written and directed.
Here's a small sampling of his work:
Synopsis From Google:
Hardcore (1979)-"When Michigan businessman Jake Van Dorn (George C. Scott) lets his teenage daughter go on a church trip to California, she never returns. Jake hires Los Angeles investigator Andy Mast (Peter Boyle) to look for her, and Mast turns up a pornographic film she's recently appeared in. Both stunned and increasingly disappointed with the police, Jake travels to California where he poses as an adult-film producer in hopes of finding someone who's seen his little girl."
American Gigolo (1980)-"Julian (Richard Gere) a gigolo, commands high prices for his services, living a lavish if emotionally unattached lifestyle under the management of Anne (Nina van Pallandt). While secretly working for pimp Leon (Bill Duke), Julian is assigned to service Mr. Reiman (Tom Stewart) and his wife, Judy (Patti Carr), but leaves when their violent requests make him nervous. When Mrs. Rheiman is found dead and no one is willing to testify on his behalf, Julian finds himself the primary suspect."
Cat People (1982)-"In this sensual and violent horror tale, Irena Gallier (Nastassia Kinski) has a dark family secret, one that surfaces dramatically when she reconnects with her estranged brother, Paul (Malcolm McDowell). Living with her sibling in New Orleans, Irena finds herself enamored with zoologist Oliver Yates (John Heard), even as her brother makes his own advances toward her. It's not long before the dark and dangerous curse of the Gallier clan rears its feline head."
All three of these films have problematic elements for any devout person of faith, to say the least. Yet I have to say, when I see them, say, playing on tv, I can't change the channel. Like unexpectedly running into an accident on the highway, one finds it hard to look away.
Much of the appeal, for me, has to do with stylistic elements of these films-production design, musical score, cinematography, etc. They also feature stand-out performances by the various actors involved. They are, visually and aurally, highly emblematic of that period of time that happens to be my favorite of all my years growing up, the early 1980s. And, despite a plethora of despicable characters and situations, and morally ambiguous messages, Schrader knows how to tell a good story.
Paul Schrader is also responsible for a quintuple of collaborations as a scriptwriter with celebrated director Martin Scorsese: Taxi Driver (1976), an instant classic of 70s cinema; Raging Bull (1980), cited by many critics as the best movie of the decade of the 80s; the misguided, overrated The Last Temptation of Christ (1988); and the forgettable Bringing Out the Dead (1999).
Other films that Schrader has worked on include his directorial debut, the crime drama Blue Collar (1978); the biographical sketch of Japanese writer Yukio Mishima in the drama Mishima: A Life in Four Chapters (1985); and the gritty drug dealer drama Light Sleeper (1992) which, together with American Gigolo, Taxi Driver, and The Walker (2007) comprises an unofficial "Night Workers" series for Schrader.
Schrader was born into a religious family in Grand Rapids, Michigan. His family attended a strict Calvinist Christian Reformed Church. Many of his early years were guided by the tenets of his religious faith. It can be argued that based on the output of much of his career, starting off as a film critic, then screenwriter, then director, Schrader's work displays a rebellion against his religious upbringing.
So it is a pleasant surprise that, toning down his trademark over-emphasis on style, Schrader brings us, with First Reformed, a feature of much substance. I would even be so bold as to say that, in a change of pace for him, this is a movie that Schrader does not seem to be rebelling against religious belief. Rather, he seems to attempt, in his own way, to make sense of it. Schrader is interested in what it means to have faith, and what it means to express said faith.
In a mature performance that deserves to nab him another Academy Award nomination, Ethan Hawke is the Reverend Ernst Toller, pastor of First Reformed, an upstate New York Dutch Reformed Church that is due to celebrate it's 250th anniversary. His congregation, however, are little more than tourists passing through, most days. These folks come to listen to stories Toller tells of the tiny church's history, and buy First Reformed-related merchandise.
Its quickly shown that the existence of First Reformed is predicated on the financial support of a local megachurch, the much more prosperous (in more ways than one) Abundant Life. The pastor of Abundant Life, Pastor Jeffers (ably played by Cedric the Entertainer) installed Toller in his current post as a favor, after the death of Toller's son in Iraq, and the subsequent break-up of his marriage. Toller himself seems to be coping with these losses, by turning to excessive alcohol consumption. We also learn to fear for his health, as we are led to believe he is suffering from a mysterious stomach ailment. He also has taken to writing a journal, which is an effective way to hear his thoughts in voice-over narration. Normally, I find voice-over narration a lazy device for dramatic exposition in a film, and prefer to have a film "show me," as opposed to "tell me." But, the journal paired with the voice-over, where we can read the journal on-screen as we hear the words, is actually a nice touch here (and a technique Schrader has used in previous films.)
One day, Reverend Toller is approached by an actual, non-tourist member of his small band of regular congregants, a young pregnant woman named Mary (played by the always sweet and charming Allentown, PA native Amanda Seyfried.) Mary is concerned about her husband Michael (Phillip Ettinger) a suicidally-depressed extremist environmental activist. She turns to Toller for help in counseling Michael, because she believes (not without justification) that Michael views Abundant Life as "too corporate," and would rather listen to what Toller has to say to him. Toller agrees to meet with Michael.
In the course of meeting with Michael, Toller discovers just how dedicated to his environmental activism Michael truly can be. Toller also discovers Michael's doubts about bringing a child into a world that Michael believes will be devastated by global climate change in the next fifty years. It is strongly implied that Michael wishes Mary to terminate her pregnancy. Toller effectively counters Michael by confronting him with his own story-he lets him know that the devastation of losing a child, is a far, far worse feeling than allowing a child to grow up to an uncertain future.
Toller, after meeting Michael, cannot help but be inspired by Michael's dedication to environmental causes, adopting many of those beliefs himself. Toller does some independent research, and learns that one of the biggest donors to Abundant Life (a financial benefit that trickles down to his own First Reformed) is Edward Balq (Michael Gaston, who fans of tv's late, great The Mentalist will recognize.) Balq runs an industrial company that is a leading polluter of the environment. Uncovering this bit of knowledge runs Toller headlong into conflict with Pastor Jeffers and his prime donor Balq, confronting their unsympathetic ears with the refrain "Will God forgive us?" numerous times. Toller, it seems, feels they are all complicit in the slow death of the environment.
The entire plot comes to a head in the third act, at a grand ceremony in honor of First Reform's milestone anniversary, which is due to be attended by many state dignitaries as well as being supported, financially and otherwise, by Abundant Life and Balq. Schrader is perhaps best known as the screenwriter of Taxi Driver, and I can say, without spoiling anything, that there are definite shades of similarity in that film's denouement, and First Reform's ending.
A few random observations in watching this movie:
There is a noticeable inclusion of references to famous Cistercian Monk and Catholic writer Thomas Merton sprinkled in the film. I have to wonder if actor Hawke must have influenced Schrader to include these references? I've read in previous interviews with Hawke that he is a devotee of Merton's works.
I've followed Ethan Hawke's career for quite some time, as he is but a few years older than myself in real-life. From Explorers to Dead Poet's Society to Mystery Date to Reality Bites to Hamlet to Training Day to the Before trilogy to About a Boy to First Reformed, Hawke has progressively delivered better and better performances. He's a standout in the same generation of actors as Keanu Reeves, Christian Slater, Leonardo DiCaprio, and the late River Phoenix. While it is difficult to hear him as Rev. Toller and similarly-aged Abundant Life administrator Ester (Victoria Hill)-who he's had a dalliance with- talk about their best days as being behind them, it is a wake-up call as to the passage of time in my own life.
I've mentioned that director Paul Schrader is usually known for a flashy, memorable style. Here, it is more basic-a simple black-on-white credits sequence in the beginning of the movie is a prime example of this restrained style. Also, the movie's score is minimal, relying on either abject silence, religious hymns when appropriate, or subtle, rather dark instrumentals at times. The film is shot in the square academy aspect ratio by Alexander Dynan by a frequently stationary camera, a technique that is most impressive in the opening framing shot when we get our first glimpse of the First Reformed church.
I got a kick out of noting the theological differences between my own religious tradition of Roman Catholicism, and, say, the evangelical beliefs of Pastor Jeffers of Abundant Life in this movie. When Pastor Jeffers remarks something to the effect of "Christ suffered already for our sins so there is no need for us to suffer" (I am paraphrasing) I cannot help but compare that to what we are taught as Catholics, that through our own earthly sufferings, we as humans get closer to God, and to Heaven. Pastor Jeffers also expresses the belief that Thomas Merton, as a cloistered monk, really knew nothing of the real world, or was limited in what he could do to effect it. Anyone who believes in the true power of prayer (which monks are especially adept at) might balk at this suggestion, as well as those who knew of Thomas Merton's real life adventures away from the monastery in Kentucky.
All in all, First Reformed is a welcome film. It is refreshing to see a respected art film from a master director take on the subject of faith through a, more or less, objective lens. I do hope this movie does well financially and at award season in the coming months, to encourage the creation of other films in this vein.
It's not easy for me to admit my fandom as such, because as a Catholic Christian, it isn't hard to be offended by story elements and directorial choices in Paul Schrader's body of work, including most films he's written and directed.
Here's a small sampling of his work:
Synopsis From Google:
Hardcore (1979)-"When Michigan businessman Jake Van Dorn (George C. Scott) lets his teenage daughter go on a church trip to California, she never returns. Jake hires Los Angeles investigator Andy Mast (Peter Boyle) to look for her, and Mast turns up a pornographic film she's recently appeared in. Both stunned and increasingly disappointed with the police, Jake travels to California where he poses as an adult-film producer in hopes of finding someone who's seen his little girl."
American Gigolo (1980)-"Julian (Richard Gere) a gigolo, commands high prices for his services, living a lavish if emotionally unattached lifestyle under the management of Anne (Nina van Pallandt). While secretly working for pimp Leon (Bill Duke), Julian is assigned to service Mr. Reiman (Tom Stewart) and his wife, Judy (Patti Carr), but leaves when their violent requests make him nervous. When Mrs. Rheiman is found dead and no one is willing to testify on his behalf, Julian finds himself the primary suspect."
Cat People (1982)-"In this sensual and violent horror tale, Irena Gallier (Nastassia Kinski) has a dark family secret, one that surfaces dramatically when she reconnects with her estranged brother, Paul (Malcolm McDowell). Living with her sibling in New Orleans, Irena finds herself enamored with zoologist Oliver Yates (John Heard), even as her brother makes his own advances toward her. It's not long before the dark and dangerous curse of the Gallier clan rears its feline head."
All three of these films have problematic elements for any devout person of faith, to say the least. Yet I have to say, when I see them, say, playing on tv, I can't change the channel. Like unexpectedly running into an accident on the highway, one finds it hard to look away.
Much of the appeal, for me, has to do with stylistic elements of these films-production design, musical score, cinematography, etc. They also feature stand-out performances by the various actors involved. They are, visually and aurally, highly emblematic of that period of time that happens to be my favorite of all my years growing up, the early 1980s. And, despite a plethora of despicable characters and situations, and morally ambiguous messages, Schrader knows how to tell a good story.
Paul Schrader is also responsible for a quintuple of collaborations as a scriptwriter with celebrated director Martin Scorsese: Taxi Driver (1976), an instant classic of 70s cinema; Raging Bull (1980), cited by many critics as the best movie of the decade of the 80s; the misguided, overrated The Last Temptation of Christ (1988); and the forgettable Bringing Out the Dead (1999).
Other films that Schrader has worked on include his directorial debut, the crime drama Blue Collar (1978); the biographical sketch of Japanese writer Yukio Mishima in the drama Mishima: A Life in Four Chapters (1985); and the gritty drug dealer drama Light Sleeper (1992) which, together with American Gigolo, Taxi Driver, and The Walker (2007) comprises an unofficial "Night Workers" series for Schrader.
Schrader was born into a religious family in Grand Rapids, Michigan. His family attended a strict Calvinist Christian Reformed Church. Many of his early years were guided by the tenets of his religious faith. It can be argued that based on the output of much of his career, starting off as a film critic, then screenwriter, then director, Schrader's work displays a rebellion against his religious upbringing.
So it is a pleasant surprise that, toning down his trademark over-emphasis on style, Schrader brings us, with First Reformed, a feature of much substance. I would even be so bold as to say that, in a change of pace for him, this is a movie that Schrader does not seem to be rebelling against religious belief. Rather, he seems to attempt, in his own way, to make sense of it. Schrader is interested in what it means to have faith, and what it means to express said faith.
In a mature performance that deserves to nab him another Academy Award nomination, Ethan Hawke is the Reverend Ernst Toller, pastor of First Reformed, an upstate New York Dutch Reformed Church that is due to celebrate it's 250th anniversary. His congregation, however, are little more than tourists passing through, most days. These folks come to listen to stories Toller tells of the tiny church's history, and buy First Reformed-related merchandise.
Its quickly shown that the existence of First Reformed is predicated on the financial support of a local megachurch, the much more prosperous (in more ways than one) Abundant Life. The pastor of Abundant Life, Pastor Jeffers (ably played by Cedric the Entertainer) installed Toller in his current post as a favor, after the death of Toller's son in Iraq, and the subsequent break-up of his marriage. Toller himself seems to be coping with these losses, by turning to excessive alcohol consumption. We also learn to fear for his health, as we are led to believe he is suffering from a mysterious stomach ailment. He also has taken to writing a journal, which is an effective way to hear his thoughts in voice-over narration. Normally, I find voice-over narration a lazy device for dramatic exposition in a film, and prefer to have a film "show me," as opposed to "tell me." But, the journal paired with the voice-over, where we can read the journal on-screen as we hear the words, is actually a nice touch here (and a technique Schrader has used in previous films.)
One day, Reverend Toller is approached by an actual, non-tourist member of his small band of regular congregants, a young pregnant woman named Mary (played by the always sweet and charming Allentown, PA native Amanda Seyfried.) Mary is concerned about her husband Michael (Phillip Ettinger) a suicidally-depressed extremist environmental activist. She turns to Toller for help in counseling Michael, because she believes (not without justification) that Michael views Abundant Life as "too corporate," and would rather listen to what Toller has to say to him. Toller agrees to meet with Michael.
In the course of meeting with Michael, Toller discovers just how dedicated to his environmental activism Michael truly can be. Toller also discovers Michael's doubts about bringing a child into a world that Michael believes will be devastated by global climate change in the next fifty years. It is strongly implied that Michael wishes Mary to terminate her pregnancy. Toller effectively counters Michael by confronting him with his own story-he lets him know that the devastation of losing a child, is a far, far worse feeling than allowing a child to grow up to an uncertain future.
Toller, after meeting Michael, cannot help but be inspired by Michael's dedication to environmental causes, adopting many of those beliefs himself. Toller does some independent research, and learns that one of the biggest donors to Abundant Life (a financial benefit that trickles down to his own First Reformed) is Edward Balq (Michael Gaston, who fans of tv's late, great The Mentalist will recognize.) Balq runs an industrial company that is a leading polluter of the environment. Uncovering this bit of knowledge runs Toller headlong into conflict with Pastor Jeffers and his prime donor Balq, confronting their unsympathetic ears with the refrain "Will God forgive us?" numerous times. Toller, it seems, feels they are all complicit in the slow death of the environment.
The entire plot comes to a head in the third act, at a grand ceremony in honor of First Reform's milestone anniversary, which is due to be attended by many state dignitaries as well as being supported, financially and otherwise, by Abundant Life and Balq. Schrader is perhaps best known as the screenwriter of Taxi Driver, and I can say, without spoiling anything, that there are definite shades of similarity in that film's denouement, and First Reform's ending.
A few random observations in watching this movie:
There is a noticeable inclusion of references to famous Cistercian Monk and Catholic writer Thomas Merton sprinkled in the film. I have to wonder if actor Hawke must have influenced Schrader to include these references? I've read in previous interviews with Hawke that he is a devotee of Merton's works.
I've followed Ethan Hawke's career for quite some time, as he is but a few years older than myself in real-life. From Explorers to Dead Poet's Society to Mystery Date to Reality Bites to Hamlet to Training Day to the Before trilogy to About a Boy to First Reformed, Hawke has progressively delivered better and better performances. He's a standout in the same generation of actors as Keanu Reeves, Christian Slater, Leonardo DiCaprio, and the late River Phoenix. While it is difficult to hear him as Rev. Toller and similarly-aged Abundant Life administrator Ester (Victoria Hill)-who he's had a dalliance with- talk about their best days as being behind them, it is a wake-up call as to the passage of time in my own life.
I've mentioned that director Paul Schrader is usually known for a flashy, memorable style. Here, it is more basic-a simple black-on-white credits sequence in the beginning of the movie is a prime example of this restrained style. Also, the movie's score is minimal, relying on either abject silence, religious hymns when appropriate, or subtle, rather dark instrumentals at times. The film is shot in the square academy aspect ratio by Alexander Dynan by a frequently stationary camera, a technique that is most impressive in the opening framing shot when we get our first glimpse of the First Reformed church.
I got a kick out of noting the theological differences between my own religious tradition of Roman Catholicism, and, say, the evangelical beliefs of Pastor Jeffers of Abundant Life in this movie. When Pastor Jeffers remarks something to the effect of "Christ suffered already for our sins so there is no need for us to suffer" (I am paraphrasing) I cannot help but compare that to what we are taught as Catholics, that through our own earthly sufferings, we as humans get closer to God, and to Heaven. Pastor Jeffers also expresses the belief that Thomas Merton, as a cloistered monk, really knew nothing of the real world, or was limited in what he could do to effect it. Anyone who believes in the true power of prayer (which monks are especially adept at) might balk at this suggestion, as well as those who knew of Thomas Merton's real life adventures away from the monastery in Kentucky.
All in all, First Reformed is a welcome film. It is refreshing to see a respected art film from a master director take on the subject of faith through a, more or less, objective lens. I do hope this movie does well financially and at award season in the coming months, to encourage the creation of other films in this vein.
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