For the Love of Spock (2016), directed by Adam Nimoy

for the love of spockIn the late fifties and sixties, I was a rock and roll aficionado and some of my favorite songs were what became known as “one-hit wonders.” They were great songs done by artists who basically produced only one hit song. Some examples: “Sometimes When We Touch” by Dan Hill, “Sea Cruise” by Frankie Ford, and “The Book of Love” by the Monotones. They were classics, but the vocalists had a short shelf life.

Reflecting about their careers reminded me of a line uttered by Leonard Nimoy in For the Love of Spock, a loving biography of the actor directed by his son Adam. Nimoy says that before Star Trek, the longest acting experience he had lasted only two weeks. He was a “two-week wonder,” and this created a financial uncertainty that influenced his career decisions throughout much of his life.

As a young man, he became enamored of the theatre and, against the wishes of his parents, journeyed to California to further his career goal of becoming an actor. He got parts in films, did live theatre, and, serendipitously, landed the role of Spock, the Vulcan alien who became a fixture of the celebrated Star Trek series. Although the show only lasted three seasons, it turned into a cultural phenomenon through many years of syndication, and gave Nimoy the kind of job stability that he yearned for since his early acting years.

The only downside to Nimoy’s luminous career was his performance at home as a husband and father. So immersed was he in his own career that he was scarcely available to his children. A chasm developed with his son Adam, in particular, who was going through his own adolescent crisis. For many years the two did not speak to one another. Happily, before Nimoy died, his son reconciled with him so that Nimoy’s final years were emotionally rich and rewarding. What is especially touching is hearing a letter that Leonard Nimoy wrote to his adult son in which he apologizes for not being there for him at challenging moments of Adam’s life, when he truly needed his dad to support him through addiction problems and divorce.

Dr. Miriam Adahan, a psychotherapist living in Jerusalem, encourages parents to be present in their children’s lives to help them develop ego-strengths during their formative years. How do we do this? Give children a smile, or word of praise, or express gratitude for the good things they do. Value the smallest acts of self-discipline that a child shows. Remind them of the wisdom of King Solomon who said, “No one gets even half their heart’s desires fulfilled (Ecclesiastes 1:13).” The assumption is that God gives you everything you need. It may not be all that you want, but it is all you need to grow and prosper.

The portrait of Leonard Nimoy that we see in For the Love of Spock is complex. The film is not hagiography; rather it gives us a window into the life of an artist who was multi-talented and craved success. But there was a price he paid in terms of family connections.

In truth, Nimoy did not have a close relationship with his own father, and that lack of a role model influenced his own lackadaisical attitude towards parenting. Interestingly, in spite of having little meaningful interaction with his own father, Leonard Nimoy still remembered his childhood fondly.

One memory, in particular, stands out and was the basis of one aspect of Spock’s character, Nimoy’s fictional persona; namely, the Vulcan greeting. Nimoy recalls going to the synagogue as a child and watching the descendants of priests utter their holiday blessing to the congregants while forming a “V” with the fingers of their hands. This became the Vulcan greeting that accompanied the phrase ”live long and prosper.” This phrase expresses Nimoy’s personal mantra and his life. Indeed, Leonard Nimoy lived long and did prosper.

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War Machine (2017), directed by David Michod

war machineAfter serving in Jewish education for many years in America and teaching in two schools in Israel, I am no longer active in the field of education. However, I continue to read articles about the latest trends in Jewish education, particularly at the high school level where I spent most of my career.

What I find interesting is that while outwardly things change, especially due to technology, many things still remain the same. One example: Year in and year out, the subject of how to make prayer meaningful is discussed in Jewish schools.

Dr. Beth Hait, former assistant dean of students at Yeshiva University’s Stern College, in 2016 discusses three issues pertaining to prayer in Jewish day schools: attendance, decorum, and participation. These issues are the same ones I dealt with in the 1970s when I began my tenure as a high school principal. Hait insightfully writes: “If part of the goal of Jewish education is not only to impart knowledge but to build the foundation for a lifelong relationship with God, then understanding prayer should be a priority, and God should be an integral part of classroom conversation.”

Indeed, there are no easy answers to perennial questions. Nonetheless, we try our best to solve the problem. This essentially is what four-star General Glen McMahon does when he is called in 2009 to deal with the war in Afghanistan, a war that has been going on for many years without a successful resolution. No previous general has been able to deal effectively with the diplomatic quagmire in Afghanistan, and so McMahan is brought in; but the same problems that plagued his predecessor plague him. The realities on the ground have not changed.

McMahan wants President Obama to authorize a troop surge of 40,000 soldiers to end the war, but he runs into political opposition. Things get worse when Sean Cullen, a writer for Rolling Stone magazine, pens an article critical of the general and his staff.

Cullen provides the voiceover narration for the film. He views McMahan with skeptical eyes, appreciating his energy and patriotism but questioning his judgment in matters where the general’s ego is involved. Cullen observes: “You could argue that the main reason certain generals like war so much is because only in war do they feel truly relevant. It’s only in war that they feel close to the center of power. Only in war do they feel the warm glow of other people’s attention.”

The problem depicted in War Machine is that America is involved in a war it cannot win. The locals don’t trust the Americans who may not be there to help them in the long run. At a press conference with McMahan, a German politician articulates the dilemma: “Your analysis of the insurgency there suggests to me that there is no monolithic Taliban. You are spread over the entire country. You are fighting 1,000 separate battles with locals whose principal ideological position would seem to be simply that they don’t want foreign soldiers in their village, and that, General, you must know, is a war you will never win.”

Jewish law considers the reasons why a nation has to go to war. Obviously, it can go to war to defend itself. Beyond that, things get complicated. Reuven Kimelman of Brandeis University, in an article on warfare and its restrictions in Judaism, tells us that the Sanhedrin, the Jewish Supreme Court in ancient times, is the body that can authorize a discretionary war. Kimelman quotes Rabbi David Bleich: “Before granting authorization to wage war, the Sanhedrin must weigh the probable losses, consider the chances of success, and assess the will of the people. The Sanhedrin is charged with assessing the military, political and economic reality and determining whether a proposed war is indeed necessary and whether it will be successful in achieving its objectives.”

The Sanhedrin was composed of wise men, not politically motivated but concerned about the long term wellbeing of the people. The egos of generals were not part of their consideration. War Machine reminds us of the complexity of military decisions that affect not only soldiers, but also the locals who are affected by what nations do on the battlefield.

Stronger (2017), directed by David Gordon Green

strongerA few weeks ago, I had hip replacement surgery. Over the past several years, my hip has degenerated. I have moved from becoming an avid runner to an avid walker, to a part time cyclist and swimmer, to a struggling walker who walks at an extremely slow pace. When friends told me about the benefits of hip replacement surgery, at first I was reluctant; but as my hip continued to get worse, I felt I had little choice if I wanted to improve the quality of my life. And so I had the surgery. But there was one problem: I did not fully grasp the complicated and arduous road to rehabilitation, which would take 4 to 6 weeks.

The complicated rehabilitation road is a central theme in Stronger, the profanity-laden true story of Jeff Bauman, a working-class Bostonian who tragically lost both of his legs in the Boston Marathon bombing in 2013. Jeff is not running in the race. He is there at the finish line to welcome his girlfriend Erin who is running to raise money for the hospital at which she works. In the days after the blast, he is hailed as a hero when he identifies Tamerlan Tsarnaev, one of the bombers. In truth, Jeff is uncomfortable with the mantle of hero and his mental state is fragile. The realization that his life is forever changed and physically compromised is a haunting and painful reality that is not easy for him to accept.

Patty, Jeff’s alcoholic mother, pushes Jeff to do interviews and basks in the refracted glory of her son’s celebrity. But she is weak emotionally and begins to become an enabler of Jeff’s drinking and lackadaisical approach to his rehabilitation. This leads to confrontations between Patty and Erin, each of whom has a different take on what is best for Jeff.

Things change when Jeff meets Carlos, the man who pulled him out of the carnage and saved his life. Carlos relates a sad story in which two of his sons died. One is a Marine who lost his life in Iraq; the other committed suicide. Carlos, a man with overwhelming guilt, confides to Jeff that rescuing him enabled him to find a measure of peace after his personal tragedies. Hearing Carlos’ narrative gives Jeff a sense of what his mission in life should be. He realizes that his desire to live in spite of personal tragedy gives people hope and inspiration, and he gracefully listens to many people who share stories of how they have been positively influenced by him.

Rehabilitation is slow, whether physical or spiritual. Rabbi Abraham Twerski, a Torah scholar and physician specializing in addiction, uses the model of the 12-step program for alcohol addiction to apply to the general process of changing negative behaviors. Several of the twelve steps, in particular, occur in the rehabilitation of Jeff Bauman. (1) He recognizes that his life has become unmanageable. (2) He makes a fearless, honest moral inventory of himself. (3) He admits his mistakes. (4) He is willing to make amends to anyone he has harmed.

Once Jeff recognizes that his life is out of control, he begins to put it back together. When he realizes that Erin loves him in spite of his physical disability, he understands that he has not treated her with respect and kindness. When he finally apologizes to her for his insensitive behavior, they can start their relationship anew.

Things do not change overnight for Jeff. Changing his behavior will take years just as his physical therapy will take much time and concerted effort. Stronger reminds us that only through hard work over an extended period of time can we indeed make ourselves into better men.

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Lawrence of Arabia (1962), directed by David Lean

lawrence of arabiaI first saw Lawrence of Arabia in 1962. It was a cinematic event, panoramic in scope and intellectually engaging. The central character, T. E. Lawrence, a brave and psychologically complex British lieutenant, was not a conventional movie hero and the story was complicated. I remember being impressed by the dramatic visuals, but I was not touched emotionally by the narrative.

The film begins with Lawrence dying in a motorcycle accident in 1935. At his funeral, mourners debate his greatness, and the viewer is taken back to his early years as an intelligence officer in Cairo in 1916 to observe the arc of his military career.

Because of his knowledge of Arab ways, he is sent to assess the efficacy of the Arab revolt against the Turks, who are allied with the Germans in World War I. Once in the desert, he does not follow his orders to simply obtain information. Instead, he decides to organize an army among the many disparate Arab tribes that will harass the Turks with raids, train explosions, and camel attacks. Indeed, Lawrence and his cohorts have military success and help the British destroy the Ottoman Empire.

Throughout his exploits, Lawrence is a conflicted man. At times he sees himself as a demi-god, at other times a mere mortal at the whim of fate. His sense of personal destiny enables him to accomplish the near impossible. It is his goal to give the Arabs freedom from the Turks and an opportunity to determine their own destiny.

Regrettably, the Arabs have no experience with setting up the rudiments of a conventional government. They cannot unify their often adversarial points of view; and, in the end, the Arabs surrender the cities they have conquered to the British. In spite of Lawrence’s military success, his dream of Arab unity is never realized.

Jewish tradition stresses the importance of unity whenever there is an important mission to be achieved. At the giving of the Torah at Sinai, Jews were of one heart and mind. Their unity is based on the notion that people should genuinely love one another and care for each other. The implication of that unity is that any action by one Jew affects another Jew. When one Jew does something good, it benefits the entire people; when a Jew does something bad, he hurts the body politic of the Jewish people.

Rabbi Noach Weinberg provides an unusual description of unity from the biological realm, but which has implications for relationships between humans as well: “If you are slicing a carrot and accidentally cut your finger, do you respond by taking the knife and deliberately slicing into your other hand in revenge? Of course not. Because your other hand is a part of you, too. Humanity is one unit. If we’re united, the Almighty’s with us. If we’re divided, we’re on our own.”

As I watched this cinema classic from the 1960s, before the Six Day War, I began to think about why the Arab population of the Middle East has not been able to move forward to establish a state. They are still functioning as tribal communities, unable to see beyond the present and unable to develop a cohesive world view that triumphs over sectarian interests.

Lawrence of Arabia may deal with a specific incident of the past, but it demonstrates the disastrous consequences of being unable to unify peoples who still hold tribal loyalties as more important than national goals. When people are enmeshed in their own personal worlds, they do not consider the negative results that mitigate against the greater good.

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Dr. Strange (2016), directed by Scott Derrickson

dr. strangeA friend of mine scheduled hip replacement surgery. He and his wife visited the surgeon who had been recommended by many. After the meeting, my friend and his wife came away with different impressions. While both felt the surgeon was highly competent, the wife detected a streak of arrogance in the doctor, and it bothered her. She preferred a surgeon who radiated humility, not pride. The husband felt that, at the end of the day, God is the healer, not the surgeon, and the surgeon’s arrogant attitude was not a reason to choose another doctor.

An extremely competent but prideful physician is the main character in Dr. Strange, the origin story of Marvel comic book hero Stephen Strange, a gifted doctor who sees himself as a mini-god. The opening segment of the film depicts a tragic car accident that results in catastrophic injury to his hands. He can no longer work as a surgeon and feels life is over.

One day, however, he hears about a fellow who was paralyzed and who, without medical intervention, regained the use of his limbs. To do this, the man journeyed to a faraway place in Katmandu, Nepal, called Kamar-tal, where he learned to use his mind to overcome his physical paralysis.

Strange decides to travel to Kamar-tal. There he meets people proficient in the mystic arts including The Ancient One, and Mordo, a sorcerer. These practitioners of magic exist in an alternate reality, which strives to rescue the world from enemies existing in other dimensions.

Under their tutelage, Strange moves from being a self-centered egotist to a person genuinely concerned about the fate of others. Moreover, he now believes not only in science but accepts other sources of knowledge that do not function according to the rules of science. At the outset of his psychological journey, he states: “I do not believe in fairy tales about chakras or energy or the power of belief. There is no such thing as spirit! We are made of matter and nothing more. You’re just another tiny, momentary speck within an indifferent universe.” At journey’s end, he comprehends that he is not the center of the universe; but, rather, some spiritual power is. Furthermore, his brush with death has made him value life more. The Ancient One tells him: “ Death is what gives life meaning.” That piece of wisdom resonates within Strange; life’s brevity makes him treasure each moment more.

These valuable life lessons are part of Jewish tradition. The Jewish belief system is built on the notion there is both a spiritual and material world and that what we do on this earth transcends the physical. Indeed, our earthly lives eventually morph into a purely spiritual existence on another plane where we are held accountable for the good and bad things we have done.

Moreover, the Sages in The Ethics of the Fathers remind us to repent one day before we die. Since we do not know when they day will arrive, we are to live with an awareness that each day might be our last. Therefore, each day should be filled with good deeds. Thinking about mortality is good because that thought will spur us on to a life of greater accomplishment.

Neurosurgeon Dr. Stephen Strange does not suddenly become a paragon of humility, but he does learn that life has other dimensions than the physical. Moreover, he learns that a mission-driven life can involve more than one mission, and that a person’s mission can change depending on the turnabouts in one’s own life. Indeed, Dr. Strange, a fictional comic book story, offers one model for cultivating humility and discovering our true destiny.

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The Fault In Our Stars (2014), directed by Josh Boone

fault in our starsI recently read a book by my son, Rabbi Daniel Cohen, entitled What Will They Say About You When You’re Gone: Creating a Life of Legacy. Drawing upon his synagogue experiences and officiating at hundreds of funerals, he poses the question of how we want to be remembered. Through personal anecdote and sharing interviews with movers and shapers in the worlds of business and art, he suggests ways to re-engineer your life so that when your life is over, you will be remembered for things that matter, not for how much you acquired.

The protagonists of The Fault In Our Stars, two teenagers afflicted with cancer, reflect on how they want to be remembered. Recognizing the likely brevity of their own lives gives the question a particular urgency for Hazel Grace Lancaster and Augustus Waters.

Hazel and Augustus meet at a cancer support group. Hazel has stage-4 thyroid cancer and Augustus, in remission from bone cancer, has had his right leg amputated. They share their stories with one another and their literary interests, which deepen their relationship. Hazel’s favorite book is An Imperial Affliction written by Peter Van Houton. The novel ends in mid-sentence when the heroine dies, and Hazel is curious to know the after story of the characters in the book.

Hazel confesses that she has written hundreds of letters to the author asking him to tell her what happens next in the lives of the characters but to no avail. Happily, Van Houton’s assistant responds to Gus when he writes to Van Houton. This encourages Hazel to write Van Houton again and surprisingly he extends an invitation to her to visit him in Amsterdam. Frannie, Hazel’s mom, arranges for the Amsterdam trip for Hazel, Gus, and herself as chaperone.

The meeting with Van Houton does not go as expected. Van Houton is a misanthrope and only has negative things to say about life. Despite his cruel and insensitive outbursts, Gus and Hazel emerge stronger from his excoriations. They dismiss his pessimism and focus on the joy they feel for one another.

As the health of Gus and Hazel goes through peaks and valleys, they ruminate about the eulogy that each might say about the other. They begin to think about what is their legacy given the likelihood of short life spans. When Gus expresses his desire to lead an extraordinary life, Hazel reminds him that an extraordinary life is measured not in things accomplished but in the loving relationships you form on this earth. Hazel proclaims her love for Gus and tells him that her love and devotion to Gus will be remembered. That is the legacy that Gus will leave for Hazel.

Rabbi Daniel Cohen writes that one of the ways we create a legacy is to create memories and that is what Gus and Hazel do. They travel to Amsterdam, have dinner at an elegant restaurant, they discuss literature, and they share everyday experiences, all of which bond them together. Their shared memories animate their conversations as they navigate a precarious and uncertain life.

Rabbi Cohen cites two quotations that reflect the love and passion that Hazel and Gus have for one another. One is a popular quote whose source is unknown: “Life is not measured by the breaths you take but by the moments that take your breath away.” The other quote is by Bob Dylan: “If you want to keep your memories, you first have to live them.” The Fault In Our Stars is sad and tragic, but underpinning the narrative are life lessons about leading a meaningful life, no matter what the obstacles.

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Their Finest (2016), directed by Lone Scherfig

their finestWhen I was about to enter college in 1960, I thought I was going to be a high school teacher. Somewhere along the way, my Judaic studies at Yeshiva University became my academic focus and I resolved to be a pulpit rabbi. My professional career began in Atlanta, Georgia, where I was the assistant rabbi at a large Orthodox synagogue.

In 1976, I began searching for a rabbinical post where I would be the head rabbi. But God intervened in my career path. Even though I had no experience running a Jewish day high school, I was offered the position of principal of Yeshiva High School of Atlanta.

How and why that occurred is not the subject of this film review, but how one chooses a career is. What are the factors that make one choose a career for which one does not prepare?

Their Finest tells the story of Catrin Cole, who in 1940 is requested to interview with England’s Ministry of Information to write scripts for short documentary films about the war effort. While researching a story about twin sisters, Lily and Rose, who are reputed to have sailed their father’s boat to participate in the Dunkirk evacuation, she discovers that their boat had engine trouble and never reached Dunkirk.

Instead of abandoning the story, Catrin, together with co-script writers Tom Buckley and Raymond Parfitt, convince their superiors to continue with the movie as inspirational fiction rather than as a documentary. And so, Catrin finds herself as a scriptwriter not for documentaries but for major theatrical productions. She did not plan this career, but once given the opportunity to spread her intellectual wings, she soars above the rest of her scriptwriting colleagues.

As the shoot continues, Catrin and Tom develop affection for one another as they successfully produce a film that inspires the British nation who are suffering from war fatigue. Tragedy intervenes, however, in the relationship between Catrin and Tom, compelling her to rethink her newfound success as a scriptwriter, a vocation for which she did not prepare, but which ultimately gives meaning and direction to her life.

Rabbi Benjamin Rapaport, referencing Duties of the Heart written by Bachye Ibn Pakudei around 1040, provides some questions to help one find the right career. Here are four of them: Does it attract you? Does it match your resources? Are you willing to invest? Do you have a passion for it?

Catrin Cole at first does not affirmatively answer these questions, but after she is baptized in the crucible of scriptwriting as a career, she truly discovers her life’s calling. She senses her writing will enable her to make a better world, or in Jewish terms, to do tikun olam, to improve and fix the world.

There is another valuable life lesson that Catrin learns about her career. Sometimes your career choice requires you to see the world differently. In particular, working in the arts might force you to see truth not objectively, but as artistic truth. Tom Buckley explains this to Catrin: “Film is real life with the boring parts cut out. Don’t confuse facts with truth, and don’t let either of them get in the way of the story. Why do you think people like films? It’s because stories are structured, have a shape, a purpose, a meaning. And when things go bad, they’re still part of a plan. There’s point to them. Unlike life.”

Their Finest ends on an optimistic note. After personal tragedy, Catrin resolves never to write again. However, Ambrose Hilliard, a veteran actor, reminds her that if she turns her back on opportunities that come her way, even when she has suffered great loss, “wouldn’t that be giving death dominion over life? “ Catrin understands the power and significance of his words and returns to her chosen craft of scriptwriting, where she can continue to influence the world for good.

 

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