Category Archives: Drama

Spotlight (2015), directed by Tom McCarthy

spotlight posterDuring the course of many years of serving as a school principal, there have been occasions when I had to publicize bad stuff within the school community. It was something I never liked to do; but when it came to matters of health and safety, I felt I had to go public if that is what it took to protect other students.

I recall one incident involving a student caught for drug usage in high school. It was grounds for expulsion, a grave infraction that might prevent the student from attending another Jewish school and thus not have the opportunity to learn more about his faith. It was a stressful time of decision-making, but I expelled the student to protect the rest of the students from potential harm and to reassure parents that the school’s “no tolerance” for drugs policy was taken seriously.

Discovering and publicizing someone for inappropriate behavior is at the core of Spotlight, a visceral narrative about a four-person cadre of Boston Globe reporters who decide to investigate charges of abuse by Catholic priests in Boston. The year is 2001, and the Boston Globe has a new editor, Marty Baron. At an early meeting between Baron and the staff, Baron brings up the case of a Catholic priest who molested many children over a period of 30 years. A lawyer for the victims, Mitch Garabedian, argues that Cardinal Law, the senior cleric in the city, knew about the molestations but did nothing about it. He even cites the existence of sealed documents that prove the Church’s negligence. Baron suggests taking the Church to court to compel the unsealing of the documents.

As the Spotlight team does more research, they discover that there is a three-year statute of limitations in molestation cases, which does not allow for a thorough investigation of abuse claims. Moreover, the children feel shame and guilt and do not want their peers to know of the abuse. Furthermore, the settlements for damage are capped at $20,000, a miniscule sum in light of the emotional and psychological damage done.

The Spotlight team is persistent and eventually they get access to victims, whom they interview. More investigation reveals that the problem is systemic and not limited to Boston clergy. Clergy who molested children did not lose their jobs. Instead, they were sent to other parishes where the same abusive behavior re-emerged. In the church employment directories, priests who moved from parish to parish were simply designated as on “sick leave” or “absent on leave.” There was no mention of the egregious, corrupt conduct, which prompted their relocation.

At the end of the day, many suffered because of this conspiracy of silence. Few people wanted to tarnish the image of the church, and so there were many victims. As Mitch Garabedian, one of the victim’s lawyers said, “if it takes a village to raise a child, it takes a village to abuse one.”

Jewish law has a clear approach to determining whether one can reveal confidential information. It is based on the passage “do not stand by while your brother’s blood is being shed (Leviticus 19:16).” This commandment obligates one to shield another person from harm. If revealing private information protects other people by securing their health and safety, then it is permitted.

Interestingly, this commandment comes directly after the prohibition against talebearing. The commentators explain that telling tales about other people is tantamount to shedding their blood since serious damage can be done by disclosing private information. Therefore, the spreading of confidential information is, for the most part, only permitted when the goal is to prevent harm to others.

Spotlight, a film that shines a light on abuses in the clergy, has a larger message; namely, that we have a responsibility to publicize wrongdoing that affects our community in order to protect its citizens from harm.

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Brooklyn (2015), directed by John Crowley

brooklyn posterI was born in Mt. Vernon, New York, a small bedroom community bordering the Bronx and only 25 minutes by train to Grand Central Station. To me Mt. Vernon was home. My family lived there as did many of my aunts, uncles, and cousins.

The next major move in my life came when I was married. My wife and I moved to New York City where we lived in Washington Heights in upper Manhattan near Yeshiva University. New York City was now my home. A number of years later we moved to Atlanta where I had accepted a job as a synagogue rabbi and later as a school principal. I stayed there for 27 years and felt that Atlanta was now my home.

How does one define a home? Is it simply a specific location or is home a place where your loved ones are? Brooklyn, the emotional odyssey of Ellis Lacey, a young woman who travels to America from Ireland in the 1950s to chart a new direction in her life, considers this question.

The film opens as Ellis prepares for her journey. The family is on the brink of poverty and Rose, Ellis’s sister, has contacted a priest in the United States who will sponsor Ellis as a new immigrant. As she leaves on a ship, her sister and mother tearfully bid her farewell.

On arriving to America after an arduous sea voyage, she takes up residence in a girls’ boarding house in Brooklyn and finds a job in a department store. These early days of her American experience are filled with homesickness and anxiety, but she eventually finds her stride and even enrolls in a bookkeeping class in night school at Brooklyn College.

At a dance in the neighborhood, Ellis meets Tony, an Italian-American, who is infatuated with Irish girls. Their relationship blossoms over time as they share their dreams with one another. She wants to become a bookkeeper and eventually an accountant; he is a plumber who wants to develop a thriving business.

Tony asks Ellis to marry him. Then tragedy strikes when she receives the news that her sister Rose has died, leaving no one to care for their mother. Ellis feels she must go home to be with her mother even for a short time. It is here that a dilemma develops. Does Ellis remain in Ireland, her family home, and build a life there or does she return to America and forge her destiny there with Tony?

Real estate agents utter the mantra of “location, location, location.” They refer to being in the right neighborhood, but in a metaphysical sense the phrase resonates in Judaism. The Ethics of the Fathers states that a person should live in place that is a place of Torah, a place where a person can grow spiritually. That is the key determinant of where one should live. If being in one’s parental hometown does not allow one to grow spiritually, then one should relocate. A home is not just where you live; it is a place where you grow.

Judaism has many recommendations about where to live and all of them relate to intellectual and spiritual growth, not to material surroundings or comfort alone. It is important to live with good neighbors in a moral environment, to place a mezuzah on the door to protect those who live there, to bring books of Jewish learning into the home, and to place a charity box in a prominent location in the home. All the above testifies to living in a home where one can grow emotionally, spiritually, and intellectually.

In Brooklyn Ellis is compelled to decide whether a familiar, comforting environment trumps the new opportunity for love, connection, and growth. Her decision makes us evaluate our own ideal of what home should be.

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Becoming Bulletproof (2014), directed by Michael Barnett

becoming bulletproofMy sister Carol, of blessed memory, was six years older than me. She had Down’s syndrome, and as a kid I vividly remember going with Carol and my mother to Teen Town, a Thursday night social get-together where developmentally disabled teenagers could mingle socially, form friendships, and plan outings together. It was there that Carol met Sam Berniger, who also had Down’s syndrome.

Carol and Sam were an item in those days, often flirting with one another. At first it was strange to observe because I viewed my own sister as disabled in some way and not capable of romantic relationships. However, after witnessing Carol and Sam’s obvious affection for one another, I realized they were no different from other teens I knew. They wanted human connection. They wanted to feel love and affection, and that desire is common to all people, not just the developmentally disabled.

I thought of their romance as I watched Becoming Bulletproof, an arresting documentary about a cohort of disabled people from all over the United States, who come together once a year to make a movie.

Some background information is in order. Zeno Mountain Farms has an annual project of making a film using people with disabilities of all kinds as actors. Although their disabilities are wide-ranging, the young men and women come together in the service of art, making a movie that somehow transcends the limitations of their disabilities.

The project takes place in their summer camp program, and this year the project is to produce a short western movie by the camp’s residents. Period costumes are used, some paid for and some donated. The key scene is the confrontation between the hero and the villain in a shootout on a deserted street. The entire cast serves as bystanders to the imminent bloodshed. The camera pans over the worried faces of people in the crowd and then focuses on the guns in the holsters of the antagonists, who are about to draw their weapons against one another. It is a scene reminiscent of many classic western movies.

Working with the campers are people without disabilities who relate to the disabled as normal human beings. They see the disabled as significant others; and by doing so, they discover their common humanity, and forget about the disabled label. Watching the residents learn their lines and act their respective parts is both very heart wrenching and inspiring. What is especially noteworthy is how the staff relates to the residents as regular friends and family, even though the disabilities that distinguish them are glaringly evident.

Although there is an implicit message embedded in the movie, the movie is not preachy. The message: the disabled want to be recognized as people of value, who have an independent identity, who want to be taken seriously. This harks back to the Biblical notion that we are all created in God’s image; therefore, we all have infinite value regardless of our physical disabilities.

Jewish law recommends treating the disabled as regular members of the community as much as is humanly possible considering the idiosyncratic nature of each disability. As a synagogue rabbi, I recall vividly a father who painstakingly taught his developmentally disabled son how to recite the Torah portion for his Bar Mitzvah. In the father’s eyes, it was very important that his child experience the same rite of passage as other young men.

Becoming Bulletproof is testimony to the fact that the disabled are part of the human family, and want to be treated as such. Stigmatizing someone as disabled may be a necessity in the world of therapeutics, but labels should not define a person in the world of human discourse.

 

 

Still Alice (2014), directed by Richard Glatzer and Wash Westmoreland

still alice posterA friend of mine in his seventies was diagnosed with Alzheimer’s several years ago. At first it was indicated by minor forgetfulness; but over time, the symptoms became more severe. His wife confessed to me after a couple of years that her husband was no longer the person he once was. He barely recognized her or the rest of his family. Indeed it was a sad and disturbing reality that the family confronted.

This mental decline is the subject of Still Alice, the unsettling narrative of Alice Howland, a top-flight professor of Linguistics at Columbia University, who discovers she has early onset Alzheimer’s when she is 50 years old.

At first we observe her forgetting little things, sometimes losing her train of thought while speaking. Later she loses her sense of direction and gets lost after an afternoon run. When she goes to a neurologist for help with her memory problems, the doctor, after giving Alice a number of tests, concludes that she has early onset Alzheimer’s Disease.

Although she is loved by her husband and children, both have difficulty dealing with the reality of a wife and mother whose memory is deteriorating each day. There is no cure. The crisis in the family brings some of its members closer together, but it is a strain. At the end of the day, they must accept a difficult and painful reality.

Although Still Alice is about how one woman deals with a terrible disease that takes away memory, the film indirectly informs us how important memories are. Near the beginning of her mental decline, Alice gives a powerful speech to an Alzheimer’s support group, which captures the dissonance between who she is now with who she once was: “All my life I’ve accumulated memories – they’ve become, in a way, my most precious possessions. The night I met my husband, the first time I held my textbook in my hands. Having children, making friends, traveling the world. Everything I accumulated in life, everything I’ve worked so hard for – now all that is being ripped away. But it gets worse. Who can take us seriously when we are so far from who we once were? Our strange behavior and fumbled sentences change other’s perception of us and our perception of ourselves. We become ridiculous, incapable, comic. My greatest wish is that my children, our children – the next generation – do not have to face what I am facing. But for the time being, I’m still alive. I know I’m alive. I have people I love dearly. I still have moments in the day of pure happiness and joy. And please do not think that I am suffering. I am not suffering. I am struggling. Struggling to be part of things, to stay connected to whom I was once.”

In the English class I teach, we recently discussed how biographies are different from autobiographies. The key difference is that the author of the autobiography relies heavily on memory to write his life’s story. I shared with my students the background behind my first book, The One of Us, which recounted my year in Israel as a student over thirty years ago. I was able to write about it only because I saved all the letters (aerograms, in those days) that I wrote and that my mother sent me, and they jogged my memory about events that took place during that year. Memory allowed me to re-experience the past and make it meaningful in the present.

Judaism values memory. Each year Jews experience a cycle of holy days that remind us to focus on past memories in order to appreciate and understand the present, and to navigate the future. Remembering the past is what makes us who we are today. Without memory, we are adrift spiritually and socially. Memory connects us to our history and to each other. Shared memories are an expression of our human connections which transcend time and space. Still Alice reminds us to treasure our memories and the human connections that matter along our life’s journey.

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Hombre (1967), directed by Martin Ritt

hombre posterRelatives recently visited us in Israel. While here, we visited the celebrated Museum of the Blind, which is part of the Israel Children’s Museum in Holon. The exhibit is called Dialogue With the Blind, which offers an hour experiencing the world of the blind with a sightless guide.

Besides giving me an experiential understanding of the plight of the blind and making me feel so thankful for the gift of sight, I was reminded of how important it is to help our fellow human beings who are going through tough and challenging times. As I wandered in the dark and occasionally lost my footing, the blind guide helped me get back to a stable surface by getting my attention with his friendly and supportive voice and then grabbing my hand to point me in the right direction. He reminded me of how meaningful it is to know that you have a friend who will support you in moments of crisis, who will prevent you from falling. It is comforting when you know that friends are thinking about you and feeling responsible for your welfare.

Feeling responsible for other people is a narrative crux of Hombre, a revisionist Western that hinges on whether someone will step forward and deal with calamities when others cannot. The central character is John “Hombre” Russell, a white man raised as an Indian, who is the object of racial prejudice and alienated from the white man’s culture.

When Russell’s white stepfather dies, he inherits a boarding house owned by him. After inspecting the boarding house, he decides to sell it and return home. He and several other passengers take the stagecoach to Bisbee. The passengers include Jessie, the landlady of the boarding house, Audra Favor and her husband Alex, an administrator of Indian lands and, sadly, an embezzler of Indian reparation funds, and Cicero Grimes, a coarse bully with an agenda of his own.

Grimes’ agenda becomes clear when his cohorts show up to rob the stagecoach. Specifically, they want the embezzled funds carried by Alex Favor. In the ensuing melee, Grimes kidnaps Audra. As they ride away, Russell shoots two of the robbers and recovers the saddlebag of cash. To avoid pursuit by the outlaws, they head through the mountains and stop at an abandoned mining camp.

It is there that a moral dilemma emerges. When Grimes and his crew catch up with Russell and the other travelers on the stagecoach, Grimes offers to trade Audra for cash. To encourage a response, he ties up Audra in the hot sun, knowing that she will die if no one comes to aid her. Alex, Audra’s husband, does not want to risk his life to save his wife. Only Jessie expresses a willingness to help. At that moment, Russell steps forward, knowing that he is the only one who can save Audra and stop Grimes.

Jewish tradition clearly states: “we are all responsible for one another.” The Talmud suggests that this mantra of being responsible for one another means providing for the basic needs of another such us food, shelter, and physical safety. When we see someone in trouble, we need to act to help that person. We cannot simply turn our eyes away and mistakenly think that things will get better on their own.

Hombre is the story of one man who decides to risk his own life in order to help those in trouble. It is not an easy decision for John Russell, who has been exploited as an Indian for many years. However, his essential humanity prevails in a moment of crisis where only he can enable the others to survive.

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Avatar (2009), directed by James Cameron

avatar posterFor many years I would listen to inspirational tapes on my way to and from work. Most of the tapes were transcriptions of lectures from Rabbi Avigdor Miller, a contemporary Jewish ethicist, and Zig Ziglar, an icon in the field of motivational speakers. I gleaned insights from both of them, but one insight of Zig’s, in particular, resonated within me as I watched Avatar, a science-fiction tale of an exploratory expedition to Pandora, an Earth-like moon on which live the Na’vi, a human-like species, together with an incredible feast of plant life.

The film opens as Jake Sully, a crippled war veteran and ex-Marine, wakes up in a spaceship on its way to Pandora. We soon learn about the Avatar program. Although humans cannot breathe the air on Pandora, the Avatar program enables a human to connect with his own avatar, a genetically-produced hybrid of a human and a Na’vi, and function as a regular Na’vi on Pandora. On Pandora, Jake, although paralyzed on Earth, can walk and breathe in his Na’vi body.

The purpose of the expedition, run by the Resources Development Administration, is to mine for the mineral unobtanium, a powerful energy source selling for millions per kilo that can return affordable energy to Earth, which is rapidly losing all its energy resources. The strategy of the earthlings is to persuade the natives to cooperate with their planned objective by injecting avatars into Na’vi society, who will convince the local natives to cooperate with the intruders from Earth.

As Jake ingratiates himself in the Na’vi world, he slowly begins to understand their worldview, which involves possessing a reverence for nature and not exploiting it for profit. This perspective conflicts with the view of the military head of the expedition, Colonel Quaritch, who is prepared to destroy the Na’vi civilization if it does not cooperate with him.

Jake’s conflict intensifies when he bonds with Neytiri, a Na’vi girl who rescues him from fierce animal attacks. Miraculously, the spirit world in which Neytiri lives confirms Jake as a pure soul, enabling him to be fully accepted into the Na’vi society. Meanwhile, he is still giving valuable information to his human counterparts and, at the same time, trying his utmost to persuade them to give him more time to convince the natives to leave the area in which the treasured mineral unobtanium is found.

Unfortunately, time runs out without a workable resolution to the conflict. Casualties pile up on both sides as war breaks out. The humans lack the patience to seek a compromise solution in which every interest can be preserved, and so they attack ferociously. Jake leads a counter-attack to prevent destruction of the Na’vi and their way of life. The outcome of their final battle is unclear until many lives have been lost. This failure to negotiate a compromise brings about catastrophic consequences.

Let me return to Zig Ziglar. One of his strategies to obtain good outcomes whenever two parties have different opinions is to imagine yourself sitting on the same side of table as your adversary. If you sit on the same side of table, it means that you understand the perspective of the adversary even if you do not agree with him. When you sit on the same side of table, you are likely to compromise, avoid extreme positions, and find a way that works for both parties.

Judaism stresses the avoidance of extremes and seeking the golden mean. Moreover, people in positions of influence are encouraged to pursue peace. Often times in Jewish jurisprudence, people are encouraged to pursue the paths of peace, darkei sholom. Even if one thinks his opinion is the correct one, it is sometimes better to accept another’s point of view in order to avoid conflict. In Avatar, we see the terrible consequences of unmediated conflict. It is a reminder that it is sometimes important to be patient and find a way where we can create a win-win situation in which all parties to the dispute are sitting on the same side of the table.

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Everest (2015), directed by Baltasar Kormakur

everest posterI recently was in Zimbabwe touring Victoria Falls, one of the world’s great natural wonders. Members of the group had the opportunity to take a helicopter ride to view the Falls. Such a ride was not on my bucket list, so I passed. But many members of my group took the trip, discounting any possible risk. When they returned from the flight, they all were exhilarated about taking the helicopter ride. It appealed to their sense of adventure and they felt that this was a once-in-a-lifetime experience that they wanted to enjoy.

On the plane ride back to Israel, I watched Everest, the dramatic true story of an ill-fated climbing expedition on the tallest of mountains. Watching it reminded me of the thirst for adventure that drives man to do dangerous things.

The film ominously begins by informing the viewer that one in four people who try to summit die in the attempt. The film then shifts to 1998 when Rob Hall, CEO of Adventure Consultants, gathers together a team to climb the mountain. Among the team members are Beck Weathers, an experienced climber, and Doug Hansen, a climber who has attempted Everest before but without success. Doug expects that this will be his last expedition so he is determined to reach the summit no matter what is his physical state.

Rob informs his climbers that writer Jon Krakauer will be joining them on the expedition. Krakauer is a celebrated journalist and book author, and his presence on the trip creates the possibility of great rewards for Rob’s company if Krakauer writes a complimentary article about it. The safety of the climb, however, is Rob’s primary concern and so he explains the risks his climbers will face on their ascent because of the altitude and freezing temperatures.

As they move from Base Camp to Camp II, Krakauer asks the members of the team why they want to summit Everest. Doug sees himself as an ordinary guy and he wants to show the world that an ordinary guy can do extraordinary things. A woman climber wants to be the first woman to climb the mountain.

As they approach the summit, some team members get sick. Beck, in particular, has vision problems because of a surgery that he experienced a year before. In spite of hardships, some climbers do make it to the top, but then bad weather sets in making the return highly problematic and extremely dangerous.

The descent down the mountain is fraught with obstacles, the main one being the lack of oxygen tanks that were supposed to be placed along the way down. Climbers become dizzy and cannot handle the rarefied air. Hypothermia sets in creating more problems. In the end, not everyone survives, and those who do are left with emotional and physical scars.

Judaism recommends a calculus for risk-taking. When risk-taking is a part of everyday life, we take risks. We take risks when we drive an automobile, when we traverse a pedestrian crosswalk, when we go for a swim in the ocean, when we walk on a broken sidewalk. That is generally considered acceptable risk. Moreover, there is the notion, expressed in the Book of Psalms, that God is watching over us and protecting us from small risks.

Furthermore, Jews have an obligation to protect themselves and others from harm. There is a commandment to build a fence around any flat roof to prevent someone from falling. Similarly, we are bound to keep our dogs on leashes so they do not frighten visitors, and we are bidden to provide a safe home environment so that people in our homes will not fall and hurt themselves. The Sages clearly forbid activities that are dangerous, such as bungy-jumping.

Judaism, however, recognizes that one may take on increased risk if the task is performed to earn a living. The key is to be sure that the risk is reasonable and does not put one’s life in danger. Indeed, the definition of an acceptable risk is not precise, and the job of the individual is to assess the danger inherent in the task and then make a decision, keeping in mind that the preservation of life is paramount.

Everest depicts men who push the envelope and take on extreme physical challenges. The ascent of Mt. Everest involves great peril and the Sages of Jewish law would probably forbid it. It simply is too risky. The minor risks involved in everyday living are acceptable; the risks involved in serious mountain climbing are not.

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Focus (2001), directed by Neal Slavin

220px-Focus_posterAt my elementary school, a couple of kids in the school band thought my name was Herbert Coleman, not Herbert Cohen. They assumed I was not Jewish. Then one day they became aware that my name was Cohen and they knew I was a Jew. That realization gave them license to threaten and intimidate me. One told me not to show up for the school band parade in which I played drums. When I told my mother about the threat, she went to the principal and related the incident to him. Moreover, she told him that she expected me to be in the parade as planned, and I was. But the memory of the event is still with me. I was the same person whether my name was Coleman or Cohen, but for people who are prejudiced, the stereotype becomes the reality.

This is what happens in Focus, the story of Lawrence Newman, a self-effacing office manager who, when he gets a new pair of glasses, begins to “look Jewish.” This puts him at odds with neighbors in his Christian neighborhood, in which there is a strong current of anti-Semitism.

The more he tries to convince people of his Gentile roots, the more suspicious his neighbors become. They view Jews as responsible for the United States entry into the war and as a subversive element within American society. Moreover, they view Finkelstein, the Jewish grocer in the neighborhood, as an outsider bringing in undesirables that taint the Christian character of the neighborhood.

Things go south for Newman at work. Because he is perceived as a Jew, his boss relegates him to a remote office where he cannot be seen by people who visit his firm. Soon, Newman resigns in anger only to find that securing a new job is difficult when people regard him as Jewish. He forms a relationship with Gertrude Hart, a woman whom he did not hire when he was an office manager because she looked Jewish, but she now works for a Jewish firm that hires him.

Romance blossoms and they marry, but he still encounters quiet hostility from his neighbors who regard him as a Jew and an outsider. Things reach a boiling point when Newman attends a rally of a neo-Nazi group and there is a brutal attack on Finkelstein’s store. All this galvanizes Newman and his wife to rethink who they are and redefine themselves as persecuted Jews who want to be treated without prejudice.

Judaism affirms the sacred essence of all of God’s creations. Everyone is created in God’s image; therefore; everyone possesses a spark of the divine and has infinite potential. In Judaism there is no place for prejudice or discrimination since we all come from the same place. Eve was everyone’s mother.

Moreover, Jews were strangers without a homeland for many years; the Bible reminds us of this many times. In Leviticus (19:33-34), it states: “When an alien lives with you in your land, do not ill-treat him. The alien living with you must be treated as one of your native-born. Love him as yourself, for you were aliens in Egypt. I am the Lord your God.” We are Biblically commanded to empathize with the stranger, the one who is different from us.

The story of Lawrence Newman is a parable for the story of everyman, who is inherently different from every other man. His last name, Newman, is a clarion call to all men to be free of prejudice and to relate to all men as new men, without the baggage of old memory tapes of ingrained discrimination.

A Civil Action (1998), directed by Steven Zaillian

civiil action posterMany years ago, I asked a lawyer whom I respected what was his specialty. His answer: money. It was an “aha” moment when I realized that law is not always synonymous with justice, and that what often determines a legal outcome is how much money is at stake in terms of potential gain for the attorneys working on the case.

The conversation reminded me why lawyers generally don’t want a case to go to trial. It is simply too expensive in terms of time and effort spent. Jan Schlictman, the protagonist of A Civil Action openly states this at the beginning of the film: “Odds of a plaintiff’s lawyer winning in civil court are two to one against. Your odds of surviving a game of Russian Roulette are better than winning a case at trial. So why does anyone do it? They don’t. They settle. Only fools with something to prove end up ensnared in it.”

This is the mindset that opens A Civil Action, an insightful film about one lawyer’s quest to right a wrong in Woburn, Massachusetts, a city where environmental toxins dumped into the river have contaminated the area’s water supply, causing the death of a number of children.

Woburn resident Anne Anderson contacts attorney Jan Schlictman’s personal injury firm to take legal action against those responsible for the contamination. At first Schlichtman rejects the case, but when he realizes that the contamination is a major environmental issue and there are a couple of deep pockets who can be sued for millions, he changes his mind and accepts.

Money is his motivator, but slowly he takes a personal interest in the case, especially when he begins to share the grief of parents who have suffered the profound loss of their children. He becomes a legal crusader on a mission, working long hours with no regard for the financial toll it is taking on his partners or himself.

The plaintiffs, in truth, are not interested in a monetary settlement. They simply want their city’s water supply cleaned up and an apology from the companies that created and contributed to the problem. Initially, the companies are willing to settle and grant the plaintiffs a large sum of money, but the companies do not want to admit culpability. Indeed, they are not depicted as unscrupulous people, just businessmen who want to protect their financial interests.

Jan tries his best on behalf of the plaintiffs in presenting this class-action lawsuit, but the companies’ opposition is strong and not easily overcome. Various settlements are suggested along the way, but Jan is unmoved. He sticks to principle even when there is great cost to him and his fellow firm members, who did not anticipate or desire to pursue a trial instead of a settlement. How this all turns out makes for a mesmerizing courtroom drama. It also gives the viewer an insight into the nuanced complexity of the American judicial system.

In stark contrast is Judaism’s rabbinic court system, which adjudicates civil disputes. The court consists of a panel of three judges, chosen from among a pool of scholars who are experts in Talmud and Jewish law. In general, the court takes no fee and does not take a donation or gift from any party using its services. It seeks to avoid long-term litigation, which only serves to fill the coffers of lawyers who want to profit from their clients. The case is in question is looked at from the perspective of the codes of Jewish law and specific case law that is relevant to the issue being discussed. After thorough analysis, a decision is given with the clear expectation that both sides of the dispute will agree with the outcome no matter who wins. Money does not rule; justice does.

A Civil Action portrays a nuanced view of how our legal system works. There are no evil judges or lawyers. There are only people who want to protect their financial interests. When we realize that our adversaries are often people like us, then solutions, albeit imperfect, can be found to the thorniest of problems.

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Two Days, One Night (2014), directed by Jean-Pierre Dardenne and Luc Dardenne

two days, one night posterI do not know many people who will do something to benefit someone else if it means that they will suffer a negative consequence. I have read of such actions taking place in the cauldron of the Holocaust narrative or in a prison setting, but it is a rare occurrence in times of peace and prosperity. Yet that is exactly what is depicted in Two Days, One Night, a slice-of-life drama in which Sandra, a factory worker, goes around visiting her fellow employees asking them to forego their annual bonuses so that she can retain her job.

The setting is an industrial town in Belgium. Sandra, a young wife and mother, has been on leave of absence from work because of emotional problems and is now ready to reclaim her old job. In the interim, however, management concludes that they no longer need Sandra’s services if her colleagues work slightly longer hours. Her bosses offer each member of the staff a substantial bonus if they agree to make Sandra redundant. Becoming aware of this proposal on Friday, Sandra visits as many of her co-workers as possible over the weekend to ask them to forego their bonuses so that she can retain her job. The crucial vote will take place on Monday morning, and the outcome is unclear until the last moment.

The problem for Sandra is that most of the colleagues need the bonus money for their own families. We watch as Sandra makes her plea to her co-workers. Some are ready to pass on their bonus to help a friend in need; others put the needs of their own family first and reject her overture.

The essential existential question posed by Sandra’s dilemma is the following: how much is a person required to sacrifice in order to help another if helping the other person hurts you in some way. Jewish law provides some guidelines to approach this problem. The Codes suggest that a person should give charity according to his means, but not more than a fifth of one’s earnings, lest the giver himself fall into poverty.

Moreover, there is a discussion in the responsa of Rabbi Moshe Feinstein, one of great Jewish legal minds of the twentieth century, concerning donating bone marrow for someone who needs it. He observes that although one is not obligated to give it, he is allowed to do it if he chooses. This may be analogous to Sandra’s precarious financial situation. She desperately needs a job to take care of her family, and it is a good deed to help her, especially if one can manage with less money and still provide for one’s family. But if one thinks that his own family will suffer if one gives his money to a friend, then one is not required to donate.

Jewish jurisprudence recommends a balanced approach: to consider both the welfare of a friend and your own welfare. There are no clear-cut answers to such a dilemma, and everyone has to evaluate his own situation carefully, recognizing that one’s own welfare generally takes precedence.

The final scene in which the factory workers take the crucial vote is nuanced, recognizing the moral ambiguity of the situation and the consequences for everyone. Two Days, One Night does not take the simplistic way out; rather it leaves us with complexity and the suggestion that the very process of dealing with adversity has intrinsic value for the one who is undergoing it. Even when life challenges leave us with uncertain results, the journey towards resolution of conflicts often makes us emotionally stronger.

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