Margin Call (2011), directed by J.C. Chandor

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margin call posterDuring my years in Jewish education, there were stressful moments when I felt a need to take counsel with someone older and wiser than me. Fortunately, experienced lay leaders in the community often provided me with a fresh perspective on an issue as I navigated my school through a challenging time. One lay leader, in particular, was skilled at enabling me to shift my paradigm and arrive at sound decisions. His conversations would always begin with the phrase: “conventional wisdom says…” and then he would launch into his own analysis of the situation. Talking with him was helpful because his valuable insights helped me see beyond the obvious.

There is a mesmerizing scene in Margin Call, a profanity –laced story of a Wall Street meltdown with moral ambiguities at its center, which reveals senior wisdom at work. Although it is a negative example applied to the world of finance, it demonstrates how an older person sees things differently from a younger person.

Seth Bregman, an engineering PhD from MIT who now works as a risk management analyst, discovers that his firm is on the verge of a total financial meltdown. He shares the information with his superior, who in turn shares the information with his superior. A middle of the night meeting of all the senior executives is called to determine how the company will deal with this impending crisis. One suggests selling off the toxic stock before the market can react to news of their worthlessness. Another feels that this approach will forever ruin the company because people will never trust the company again. And so the issue is debated throughout the night until the moment of reckoning when the stock market opens and we witness the consequences of decisions made in an environment of moral compromise.

It is fascinating to observe the way John Tuld, the CEO, approaches the problem. He does not ask for the minutia but rather wants to understand the big picture. When Seth attempts to explain the crisis, Tuld tells him: “speak as you might to a young child, or to a golden retriever and tell me the nature of the problem.” He informs the group that he gets paid the big bucks because he can predict the future of the company, not because of his everyday scrutiny of details. The details are best left to the analysts like Seth who can understand the numbers in sophisticated ways.

What emerges from this scene is an understanding of the radically different approaches of the young and old to the same problem. Both kinds of wisdom are useful. The young man knows facts and figures. The old man sees beyond the detail and into the heart of the matter. His desire for a simple explanation of why this calamity has occurred reflects his profound grasp of the problem and its ripple effects both now and in the future. In my own memory, I can recall many board meetings that meandered until one senior member of the board asked the simplest of questions to bring everyone back to the core issue being discussed.

The Ethics of the Fathers teaches us that the wise man learns from every man, but there is a cautionary note: “ Learning from the young is like eating unripe grapes whereas learning from the old is like eating ripe grapes or drinking aged wine.” The Sages suggest that one should favor the wisdom of the older man who speaks from experience as well as from knowledge.

Moreover, the Talmud tells us that as man ages, he becomes fit for attaining deeper levels of wisdom. For example, at five years of age, he may know Scripture, but it is not until age forty that he really begins to understand it. Margin Call reminds us that considering things from a senior’s point of view, even if we disagree with him, may enhance our own understanding of a problem.

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When a Man Loves a Woman, (1994), directed by Luis Mandoki

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when a man loves a woman posterA friend of mine employed in a large non-profit organization from time to time discussed in an anonymous way some of the challenges he is facing at work. He confided to me that his wife, whom he loves dearly, always has a suggestion to fix the problem and this frustrates him. All he wants is for his wife to listen to him as he unburdens himself from a thorny problem at the office. He does not want his wife to fix it. When his wife offers unsolicited advice, he takes it negatively as evidence that his wife does not think highly of his professional ability to solve the problem on his own.

This communication problem is at the heart of a very touching family drama about alcoholism, When a Man Loves a Woman. Alice Green, a school counselor, has a serious drinking problem. Married to Michael, an airline pilot, she is a loving wife but subject to unpredictable mood changes brought about by her secret, but obsessive, drinking. Her life begins to fall apart dramatically when she slaps her daughter, Jess, in a rage and soon after shatters a shower door as she falls down in an unconscious stupor.  Jess contacts Michael, who immediately returns home to care for his wife.

During her recuperation, Michael and Alice for the first time confront the reality of Alice’s alcoholism, and conclude that Alice must get professional help. This decision to enter rehab means that she will be away from family for a significant length of time, and Michael will now be in charge at home.

As Alice recovers, she finds new friends at the rehabilitation center who also are working through their alcohol problems. As she overcomes her alcohol dependency, Michael feels increasingly isolated and disconnected. In the past he has always been a player in handling family matters, but now he is confused and ill at ease with his wife’s new found identity.  In desperation, Alice asks Michael to go with her to a marriage counselor and he agrees, but it is not a quick fix.

One of the beauties of this film is its verisimilitude. Problems are not always resolved neatly. Things take time, and spouses say hurtful things even during the healing process, especially if they are emotionally fragile. Michael loves his wife and wants to fix things; but Alice does not need a husband who fixes things, and who, by implication considers his wife incompetent to take care of her home and her children. Alice, instead, wants a husband who listens, who acknowledges her problems, and who gives her the space and trust to solve her problems on her own.

A Judaic Studies teacher once told me that man is born with two ears and one mouth to teach him that he should listen more than talk. Listening is an art, and it is a pillar of the Jewish faith. When God tells the Jews to obey his law or suffer punishment, the Bible uses an unusual double phrase of the Hebrew word for listen. Loosely translated, it means “if you will surely listen.” The commentators point out that this double language means that one has to listen with great attention. Listening is not a casual activity. It means you have to engage your mind and heart and pay attention to what is being said. This is the kind of listening that Michael eventually does in When a Man Loves a Woman, a deeply honest film that encourages husbands and wives to listen attentively to one another to maintain and fortify their marriage.

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All the President’s Men (1976), directed by Alan J. Pakula

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All the President's Men posterEvery day I pray that I will have a sense that God is always in front of me, that He is always in the room. It helps me control my thoughts, my actions, and my speech. When things irritate me, I think long and hard as to whether I want to respond to a provocation or to an unkind word. In general, I do not regret being silent, but I do regret a hurtful word that I may have uttered to someone, even when my intentions were noble.

I was reminded of the power of words as I watched the gripping political thriller All the President’s Men, which portrays in detail the intense investigative newspaper work of Bob Woodward and Carl Bernstein as they painstakingly researched the Watergate burglary, which eventually led to the resignation of President Richard Nixon.

Woodward and Bernstein seem like two Talmud study partners who continually probe each other to ascertain the truth. Each questions the other, and is unafraid of challenging or criticizing his friend. Their frank criticism of each other is not personal, but rather a sign that each one trusts the other to be honest and not to advance any personal agenda. Their shared mission, to discover what the Watergate burglary was all about, makes their egos subservient to the greater purpose of their work. It is this understanding of their common goal which is at the heart of their friendship and their search for truth.

They analyze and debate the significance of the words of everyone they interview. What do the words mean on a superficial level? What do the words imply? What does a response of silence indicate? There is a fascinating scene when Carl Bernstein needs to confirm the truth of an article that is about to appear in the morning newspaper. No one wants to be quoted, so Bernstein comes up with the following proposal as he talks to his contact on the phone: “if what I say is true, then I will count to ten, and if you do not hang up, I will assume my article is true. If it is not true, then you hang up before I reach the number ten, and I will assume that what I wrote is false.” Here, interestingly, everything hangs on what is not being said.

Ben Bradlee, editor of The Washington Post, the paper that employs Woodward and Bernstein, is also extremely sensitive about words and continually reminds the ambitious reporters that he cannot agree to print something in his paper unless they get confirmation of more of their facts. The paper cannot besmirch someone’s reputation based upon hearsay evidence or theorizing about what might have happened.

In the world of Jewish jurisprudence, the laws of slander and the gravity of hurting someone with words is the topic of many volumes written by sages of the past and present. These laws are carefully codified because of the essential concern that, as the Psalmist writes, “life and death are in the power of the tongue;” for one negative comment about a person might ruin his life professionally or personally. As a rabbi and school principal, I have been tested many times when people ask me for recommendations about people I know. It may be a recommendation for a job, for acceptance to an academic institution, or for a marriage partner. My general approach is to say what needs to be said without embellishment, for words are like arrows. Once uttered, they cannot be retrieved.

As we speak to the people around us, it is wise to weigh our words so that we do not hurt anyone inadvertently and to insure that our words will always be in the service of society and sanctity.

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Searching for Sugar Man (2012), directed by Malik Bendjelloul

searching for sugar man posterI have a friend who is a serious artist, and creates beautiful renditions of nature scenes. In fact, he recently had an exhibit at a well known New York gallery. He often debates within himself whether he should do more to promote his art or whether he should just create and leave the rest to God’s intervention. In the inspiring documentary, Searching for Sugar Man, Rodriguez, a Detroit folksinger, resolves the question of how much an artist should promote his work by disappearing into the woodwork and letting fate determine his destiny.

Sixto Rodriguez’s story is fascinating and wondrous. He recorded two albums in the 1970s, Cold Fact and Coming from Reality, that sold only a few copies. Singing and writing songs in the style of Bob Dylan, Rodriguez impressed early impresarios with his smooth blend of thoughtful lyrics and catchy melodies, and they thought he was the genuine article who would be famous. However, as Rodriguez himself says, the music business is unpredictable and no one can predict with accuracy who will succeed and who will not.

In spite of not making musical waves in America, his albums serendipitously reached South Africa and there Rodriguez became a musical icon comparable to Elvis Presley. His music became the national anthem of the anti-apartheid movement. His lyrics, in particular, were liberating and inspiring to the Afrikaner protest musicians of the 1980s. Ironically, Rodriguez was totally unaware of this and was living the blue collar life of a construction laborer in Detroit. Sadly, he never received any of the royalties for the 500,000 albums he sold.

Rumors abounded about him in South Africa. Some said he committed suicide publicly by lighting himself on fire; others said he shot himself or died of a drug overdose. No one really knew him. But two of his fans decided to investigate what really happened to Rodriguez. They began looking for clues to his roots in the lyrics of his songs. Eventually, the cities mentioned in his songs led them to find Rodriguez’s origins at Motown Records in Detroit, the birthplace of many successful rock stars.

The eureka moment arrived when the fans discovered that Rodriguez was still alive and living the simple life of a day laborer in Detroit with his daughters. This revelation motivated his South African fans to arrange a concert tour in South Africa in the 1990s where he played to thousands of fans of all ages, many of whom knew his songs by heart. Reports of his successful shows reached his friends in Detroit who could not believe that their quiet and unassuming friend was a real rock star with a massive following.

The coda at the end of films informs us that even when Rodriguez made money at his South African performances, he gave it all away to family and friends. For him, it was enough to share his music with his adoring fans. He did not seek fame; rather he sought human connection with his admirers. He wanted fan and artist to symbiotically commune through the language of lyric and song.

The Ethics of the Fathers, a classic of Jewish wisdom literature, tells us that when man seeks fame and recognition, they will elude him. Rodriguez, by living an unadorned life away from the bright lights of celebrity and by eschewing materialism, provides a thoughtful model for us to emulate in our acquisitive age. Our Sages tells us that the truly rich man is the man who is content with what he already has. Searching for Sugar Man reminds us that it is who we are that give us our identity, not what we possess.

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Les Miserables (1998), directed by Bille August

les miserables poster 1996 filmA friend of mine who gives parenting workshops recently counseled a parent whose teenage son was giving her lots of grief. She told her that she should give her child oodles of care and love. The parent retorted: “But what if that doesn’t work,” to which my friend replied, “Then give him a double dose of care and love.”

I thought of this interchange as I watched the 1998 version of Les Miserables, an accurate but abridged cinematic rendition of Victor Hugo’s classic novel. The well-known plot centers around Jean Valjean, a starving pauper, who is given a prison term of nineteen years for stealing a loaf of bread. When finally released on parole, he cannot find a place to lodge.  Facing continual rejection because of his criminal past, he thinks that he will have to resort to a life of crime to survive. Fortunately, he finds refuge for the night at the home of Bishop Myriel who feeds him and offers him shelter. However, Jean responds to this kindness by stealing the bishop’s silverware.  The next day Jean is caught and brought back to the bishop by the police. In a surprising gesture, Bishop Myriel tells the police that Jean is an old friend to whom he has given the silverware and he also gives Jean silver candlesticks as a further demonstration of his friendship. It is truly a double dose of love.

When the authorities depart, the bishop tells Jean that he will become a new man the next day, no longer a criminal but a person of genuine worth. Jean is overwhelmed with his kindness and resolves to change. The next scene takes place nine years later. Jean is now a wealthy businessman and mayor of the town, a man who clearly has repented and is now a new man.

The story of Jean Valjean is an epic narrative of repentance. Not only does he become an upstanding citizen, he also does charitable works that benefit the underprivileged and poor as well. His rehabilitation begins, however, when one man – the bishop—shows confidence in Jean, when he sees Jean for what he can be and not for what he was. Looking towards the future, the bishop showers Jean with respect, with kindness, and treats him as an equal and friend. He then encourages him to become a new man with a new destiny.

Jewish tradition describes Aaron, the brother of Moses, in similar terms. Aaron loved peace and pursued peace, says the Talmud, and did whatever he could to make people feel good about themselves. He even went out of his way, says the Midrash, to connect with people on the margins, the outsiders,  and to befriend people of less than reputable character, all of which he did because he understood that it is easier for people to do good when they possess self-esteem, when they see themselves as people of worth and integrity. This was Aaron’s specialty: to make people feel important and valued. He was so good at this that when he passed away, the Midrash informs us that the people mourned for him more than for Moses. The character of the bishop reminds us of Aaron, the man of the people who, in his own quiet way, challenged people to become the best that they could be.

Two valuable life lessons emerge from Les Miserables. Firstly, that it is possible to change, to repent and begin life anew. Secondly, to motivate people to repent, we must show them that we believe in them, that we believe in their basic goodness and their infinite value, which transcends any mistakes they may have made. Jean Valjean’s personal odyssey is a living testament to these psychological truths.

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Big (1988), directed by Penny Marshall

Big posterFor many years I would take my ninth and tenth grade classes on a week-long trip to Washington, D.C. and New York City. Once someone asked me if I ever got bored seeing the same sights year in and year out, and I responded that I did not. Why? Because every time I go on the trip I see the same places, but with the eyes and excitement of a student who has never been there before. Washington and New York become the Grand Canyon every time we make the journey.

The ability to experience the same thing over and over again and yet to feel as if one is seeing it for the first time is a poetic sensibility. This is the core theme of Big, a comedy that makes a serious comment about being an adult but seeing the world from the perspective of a child. Wordsworth writes about it in his poetry when he says that “the child is the father of man.” I explain to my students that this means that as we grow older, we should still maintain a childlike appreciation of nature. This is the message of his classic poem “I wandered lonely as a cloud,” in which an old man experiences the joys of nature as he walks through the woods and discovers a field of flowers dancing in the radiant sun.

Twelve year old Josh Baskin wants very much to be older, to be big. He cannot get the attention of a girl he likes and he is turned away from an amusement park ride because he is too short. In frustration, he makes a wish in front of a mysterious fortune telling machine and, lo and behold, it is granted.

The next day, he wakes up as an adult. Scared at first, he does not know what to do. Even his mother sees him as a stranger who has kidnapped her beloved son. Until he can figure out a way to get back to his normal life, Josh decides to enter the adult world temporarily. Fortunately, he finds a job at a toy manufacturing company, and his childlike understanding of what toys would appeal to children makes him a marketing genius to the owner of the company. Within days, Josh is promoted to a senior position, and soon finds himself the object of adoration by many of the company’s employees, including an attractive female executive, which makes life very complicated for him.

How Josh handles being an adult when he is really only a child makes for many comic situations. But behind the humor, Josh is still only a child who misses his mother and he yearns to return to his previous life. Big captures the ambivalence in Josh’s feelings, and gives us a window into the good things that can happen if we can keep our childlike perspectives alive even as we grow older.

Jewish tradition tells us that we need to keep our youthful perspectives on life as we age. On a daily basis, the prayer book reminds us that God renews the world every day, and that is the way we should see nature every day. Moreover, the traditional Jew states a blessing when he sees an ocean once in thirty days, when he hears thunder and sees lightening, when he bites into a piece of food. Nothing is taken for granted. There is even a blessing after visiting the bathroom, in which he recognizes the marvel of how the body works. Josh Baskin’s story is a fairy tale, but its message resonates in real life: stay young on the inside as we grow old on the outside.

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The Batman Trilogy (2005-2012) directed by Christopher Nolan

dark knight rises posterWhen I was principal of Yeshiva High School of Atlanta, I had a conversation with a board member who was a Holocaust survivor about the Holocaust Museum that was being built in Washington, D.C. He shared with me his feeling that it was not a wise use of community funds which could be better utilized to support Jewish day school education. I empathized with him since part of my job was to raise money for the school and I, too, felt that more community money should be directed towards Jewish education.

A couple of years ago, I had the opportunity to speak to my friend again and he shared with me his change of heart about the Holocaust Museum. Now he felt glad that the Museum was here to teach many subsequent generations about the Holocaust. He never envisioned years ago that there would be Holocaust deniers and that anti-Semitism would be alive and well in the world after the atrocities of the Holocaust. Never could he have imagined leaders of so-called civilized nations calling for the annihilation of the Jewish state. The world had changed and it was not for the better. Evil was a potent force in the 21st century, and the Holocaust Museum was an important agent of moral education challenging the perpetrators of evil.

The conversation brought back memories of my own innocent childhood in Mt. Vernon, New York, when everyone thought, post World War II, post- Holocaust, that the world was now enlightened, that there would be war no more, and that our collective human future was bright. 9/11 brought all that optimistic thinking to an abrupt halt.

The Batman trilogy of films deals metaphorically with how we come to terms with this new world where evil is real and ubiquitous. The reality of evil in these narratives undercuts our assumptions about the basic goodness of man and leaves us on edge.

The Dark Knight and The Dark Knight Rises present two villains who are the personifications of evil: the Joker and Bane. The Joker represents the chaotic nature of evil; Bane represents the committed terrorist, for whom death and destruction are liberating events. Bruce Wayne, aka Batman, begins with a conventional understanding of the Joker’s criminal mind. He tells his butler, Alfred: “Criminals aren’t complicated. I just have to figure out what he’s after.” Alfred wisely responds: “You don’t fully understand. Some men aren’t looking for anything logical, like money. They can’t be bought, bullied, reasoned, or negotiated with. Some men just want to watch the world burn.” Bruce is ambivalent about how to deal with the Joker and Bane, and it takes him a long time to understand how vicious they are and how he must change his preconceptions about the nature of evil people.

This perhaps can give us some understanding about the Biblical approach to unfettered evil, such as we find in Amalek, the arch-enemy of the Jews who attacked the old and weak as they were leaving Egypt. The Bible tells us to eradicate this evil and for the compassionate Jew, this is a hard business. On Passover at the Seder, we are bidden to spill out drops of wine from our cup when we recount the ten plagues because our cup of joy is never full when others have suffered. Even when justice triumphs, we feel for the victim who suffers. The Ethics of the Fathers also cautions us not to rejoice over the fall of the wicked even though he is deserving of punishment. Moreover, the Talmud recounts the story of Beruriah, the wife of Rabbi Meir, who, when her husband wanted to harm bullies who were constantly harassing him, exhorted him to pray that these sinners repent, not to pray that they die.

The Batman trilogy is a brainy thriller. It asks us to leave our simplistic notions of good and evil at the door and to recognize that in our new and dangerous world, we cannot ignore evil. To be naïve in the face of absolute terror and evil places us at great risk.

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