Category Archives: Drama

The Hundred-Foot Journey (2014), directed by Lasse Hallstrom

hundred foot journeySome people are passionate about food; others eat simply to be nourished, lacking interest in food preparation and presentation. I remember watching one of my Torah teachers eating a piece of gefilte fish almost every day for lunch in the Yeshiva. He ate at his desk in the study hall and did not want to waste a moment in walking to a nearby restaurant.

I also vividly recall spending a Friday night meal with the two heads of the Yeshiva I attended in ninth grade. I accompanied them on a fund-raising outing to the Five Towns where they attempted to storm local pulpits and appeal for money to sustain the Yeshiva in difficult financial times. On Friday night, our main course consisted of hard-boiled eggs, but that did not dampen the rabbis’ enthusiasm for the holy Sabbath. They sang sacred melodies until the wee hours of the morning. In contrast, in The Hundred-Foot Journey, money does not limit the ability of people to eat fine food, and all the characters are students and worshippers at the shrine of good cuisine.

Because of political turmoil and danger to life in Mumbai, India, Hassan Kadam and his family move to France where they hope to open a restaurant similar to one they owned in Mumbai. When their van breaks down, they are forced to rely on the kindness of strangers and one kind stranger does appear. She is Marguerite, a young woman who volunteers to take them to a local car mechanic and who also serves them platters of scrumptious and attractive food. The Kadam family is impressed both with her generosity and with her cooking.

While waiting for the repair, Papa Kadam wanders around the town and discovers an abandoned restaurant for sale. He sees the purchase of the restaurant as somehow divinely ordained, a message from his deceased wife that his car did not break down in this village for no reason, but rather to enable him to find a suitable location for his restaurant. Against family objections, he buys the property and the family works diligently to transform the decrepit property into Maison Mumbai, a food emporium specializing in Indian cuisine.

All is not fine, however, when Madame Malory, the owner of a award-winning restaurant across the street, about 100 feet away, sees Maison Mumbai as a serious competitor encroaching on her business. Meanwhile, Hassan, a gifted chef, strikes up a friendship with Marguerite who he discovers is the sous chef at the competing restaurant. She shares with him her passion and love for cooking food.

War breaks out between Papa Kadam and Madame Malory when Madame Malory asks to see the menu of Maison Mumbai, and then proceeds to go the market and purchase all the ingredients that Papa needs to cook his food. Papa retaliates by doing the same thing to Madame Malory, and so the hostilities continue.

Tempers boil until someone torches Maison Mumbai. Then Madame Malory, feeling guilty for encouraging a negative attitude towards her competitor, tries to expiate her sin by helping to fix the damaged restaurant. Papa and Madame become friends and Hassan becomes the bridge of their reconciliation.

Clearly recognizing Hassan’s amazing talents as a chef, they both encourage him to go to Paris where he will fine tune and broaden his cooking repertoire in the world-class restaurants of the city. Hassan, however, is conflicted during his sojourn in Paris. Does he truly want to be in the rarefied ambiance of one of the great culinary cities of the world, or does he want to be with Marguerite in his adopted hometown in rural France? Wherein lies his destiny?

Food preparation and presentation is at the heart of The Hundred-Foot Journey, but the film suggests that there are more important things that motivate people. It is good to appreciate passionately the sundry varieties of food that God has given us, but it is more important to passionately value our human connections, which endure beyond mealtime.

For the Jew, the Sabbath is the day that celebrates the enjoyment of food. The Sabbath table is supposed to be beautiful and enjoyable because it marks the Sabbath as a day different from the rest of the week. During the week, the emphasis is on the nourishment value of food. The Jerusalem Talmud states: “The world can live without wine, but it cannot live without water; the world can live without peppers, but it cannot live without salt.” The comment is a reminder of the value of simple fare that enables us to live. We should eat to live and not live to eat.

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Beyond the Sea (2004), directed by Kevin Spacey

beyond the sea posterThere is a brief scene in Beyond the Sea, a biopic of singer Bobby Darin, which resonates with me personally. Bobby unbuttons his shirt and reveals his scar from open-heart surgery. It looks like a long zipper on his chest. I, too, have had open-heart surgery and remember other patients telling me I am now a member of the “zipper club,” all of whose members brandish an extended scar on their chest.

But there is something more that animates those who have experienced this kind of operation. All of us have an intense appreciation for the everyday miracle of good health, and all of us are sensitive to the reality that life is unpredictable and we have to both treasure and maximize our moments. This is the subtext of Bobby Darin’s meteoric rise to fame.

The film begins with the early history of Bobby Darin as a young boy plagued by many bouts of rheumatic fever which leave him with a weak heart. Doctors tell his mother that her son will be lucky to live past his teen years. Bobby, upon hearing this dire prognosis, is motivated to make the most of every moment of his life. He wants to rival Sinatra’s success; and so he forms a band, playing any venue he can to solidify his fan base and to develop his talents.

He achieves success with a recording of “Splish Splash,” a rock and roll song that makes him a teen idol. But Bobby does not want that kind of fame. He aspires to sing melodies with a big band, and eventually achieves major renown with his iconic version of “Mack the Knife.”

Bobby’s burgeoning success gets the attention of Hollywood where he is cast in a movie with Sandra Dee, an eighteen-year actress whom he marries after a brief courtship. Later he receives an offer to appear in Captain Newman, M.D. as a shell-shocked soldier, a performance that earns him an Academy Award nomination.

As musical tastes change, Bobby finds himself out of sync with contemporary musical trends and his popularity plummets. Bobby, however, does not give in to despair but rather finds a way to redefine himself as a musical artist for a new generation of admirers.

Bobby values the moment, does not take life for granted, and wants to make the most of the time he is given on earth. His childhood realization that he will not live into old age stays with him for his entire career, making him a super achiever. Although he died at age thirty-seven, his music still remains vibrant in the 21st century.

The Ethics of the Fathers cautions us to repent on the day of your death. How do you know when is your last day? You do not; therefore, repent every day since any day might be the end of your life. It is instructive to watch Bobby and Sandra resolve a heated argument. Bobby throws around furniture and smashes windows on his car, driving away in anger. He returns a few minutes later and, embracing his wife, realizes that life is short and he cannot let anger rule him. He must reconcile right away so that he and his wife can get back to the same page of their basically loving relationship.

Scripture tells us that it is better to visit the house of mourning than the house of feasting. The Sages explain that in the house of mourning, we entertain thoughts of our own mortality; and that is a spur for us to use time wisely, not to waste a moment.

Moreover, our forefather Jacob always felt he did not deserve God’s many kindnesses and so he constantly felt vulnerable. Feeling vulnerable makes you want to achieve more because you do not know what tomorrow may bring. This kind of sensibility pervades the psyche of Bobby Darin, who understood that any moment might be his last. Beyond the Sea reminds us of the brevity of life and to treasure every minute.

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The Godfather (1972,) The Godfather Part II (1974), and The Godfather Part III (1990), directed by Francis Ford Coppola

the godfatherMy review of The Godfather trilogy requires some preliminary discussion. Why have I chosen to consider all three films in one review and why is it a “kosher” movie in spite of the fact that there is much violence and profanity in the film?

I have defined a “kosher movie” as a film that has something meaningful to say about life, a film that can help us navigate our own lives. In this sense, the Godfather films have many life lessons that can apply to us, lessons about leadership, about succession within an organization, lessons about relating to family members who strongly disagree with you, lessons about how important it is to control one’s temper, and insights into how difficult it is to repent for one’s misdeeds.

I chose to write about the three films because, taken as a whole, they tell one story about the life of one family, and how the people in the family change and how relationships within the family change. To review only one of them is not to recount the entire story of a family’s evolution as it tries to preserve its own unique identity as a family.

Let me begin with the opening scene of The Godfather: Part I, a wedding celebration. There is a tradition that “no Sicilian can refuse a request on his daughter’s wedding day,” and so many guests at the wedding of Don Vito’s Corleone’s daughter in the summer of 1945 come to ask the head of the Mafia Corleone family for favors. At the wedding are Don Vito’s three sons, the mercurial and hot-tempered Sonny, the slow-witted Fredo, and the decorated Marine hero, Michael, who attends with his girlfriend Kay.

One guest, a singer, wants help landing a movie role to revitalize a moribund career. Another wants revenge against men who raped his daughter. Still another wants help to enable his nephew to become an American citizen. Don Corelone responds with the classic tagline: ”I’ll make him an offer he can’t refuse,” which is an oblique way of saying that I will use violence to accomplish my ends.

Things become complicated when other Mafia gangs want to go into the heroin business. They ask for the Don’s political assistance since he has many friends embedded in the legal and political communities. The Don refuses because he knows that his involvement in the drug trade will destroy his political friendships. This interchange plants the seeds of insurrection within the ranks of the rival gangs, ultimately leading to an assassination attempt on the life of Don Corleone.

All this turmoil influences Michael who loves his father and wants to protect him. Michael offers to kill the two men who were behind the assassination attempt, and an elaborate plan is devised. The only downside is that Michael will have to leave the country for some time until it is safe for him to return.

In the interim, tragedy strikes when the hot-tempered Sonny is violently shot to death by his enemies. Don Corleone wants to end the madness, and so offers to provide political protection to those gangs involved in the drug business as long as it not sold to children.

When Michael returns to the United States four years later, he reconnects with Kay, his former girlfriend, and they marry with Kay believing that Michael will legitimize his business within five years. A key to his success is keeping a tight lid on family disagreements. They are never to be revealed publicly even though privately they can disagree. Moreover, he understands how important it is not to be careless. As the Don says to Michael: “I spent my whole life trying not to be careless. Women and children can afford to be careless, but not men.” These are valuable leadership lessons: do not air dirty family laundry in public and do not be careless in planning for important future events in your life.

The Godfather: Part II interweaves the lives of Michael Corleone, the new head of the Corleone family, and Vito Corleone, his father as the young Sicilian who founded the Corleone dynasty.

The film opens in 1901, in the town of Corleone, Sicily, where Vito’s brother and mother are killed in mob-related violence. Vito is forced to flee for his life, and ends up in America, where he begins his life of crime with small –time theft, graduating to murder and intimidation for huge profits. Slowly, Vito becomes a man with whom to consult to solve problems and he is highly feared and respected by the community.

The story then shifts to 1958 with Michael Corleone, Godfather of the Corleone family, dealing with business and family problems during an elaborate celebration at his Lake Tahoe, Nevada compound. He needs gaming licenses for his casinos in Las Vegas and enlists the support of a United States senator to help him negotiate fees. He also has conversations with his younger sister, Connie, who is about to marry a man of whom Michael disapproves. He also discusses a possible alliance with Hyman Roth, a gangster who is encouraging Michael to establish gambling venues in Las Vegas. While he wants to follow the advice of Roth, his adviser reminds him of his father’s attitude towards Roth: “your father did business with Hyman Roth, your father respected Hyman Roth, but your father never trusted Hyman Roth.” Another leadership lesson: respect others but do not always trust them to have your best interest at heart.

Michael, like his father, survives an assassination attempt, which leads to a new cycle of violence. But what rankles Michael is the discovery that his brother Fredo was indirectly tied to this event and that Fredo has lied to him, the ultimate betrayal by a family member.

 The Godfather: Part III depicts Michael in his twilight years. Now almost sixty, he seeks redemption for a life of crime and violence. To assuage his guilt, he donates money to the Church and other charities. But yet again, his criminal past asserts itself and he is engulfed in more violence, compelling him to appoint Vincent Mancini, Sonny Corleone’s illegitimate son, as his successor.

Classic lines from all three films relate to leadership strategies and life lessons, and they reverberate long after seeing the movie. Here are some of them uttered by Michael Corleone: “My father taught me many things. He taught me: keep your friends close, but your enemies closer.” “Never hate your enemies. It affects your judgment.” “Never let anyone know what you are thinking.” “Temper clouds your judgment,” “The higher I go, the crookeder it becomes.” “The only wealth in this world is children; more than all the money, power on earth.” “Give me a chance to redeem myself, and I will sin no more.”

All the quotations reveal leadership strategies and convey life lessons, echoed in various chapters of Ethics of the Fathers. As Michael Corleone matures, he sees things from the balcony. He is less concerned with day-to-day matters and more concerned with family and his personal legacy. He wants spiritual redemption and he wants a relationship with his children. His life has been a melange of crime and violence and he wants to end it with a legacy of peace.

Judaism encourages us to see things from the aspect of eternity, and that is what Michael Corleone finally does. No longer is power and money important. What is important are the human connections that transcend the desire for material things. The only things that will accompany us on our final journey, say our Sages, are our good deeds, which are sown in the garden of family and friends. At the end of the day, that is all that matters.

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Rendition (2007), directed by Gavin Hood

rendition posterAs I write this review, the country is in a fierce debate as to whether the United States should accept Syrian refugees from that war-ravaged country. Coming after a devastating attack on innocent civilians by Islamic extremists in Paris, many in this country are wary of accepting Muslims without serious background checks. I witnessed similar anti-Muslim sentiment after 9/11, when Islamic extremists brought down the World Trade Center towers. I have no opinions about this matter other than to accept the reality that the resolution to this problem is complicated and probably will involve a balance of kindness and caution. We want to help people in dire straits; but we also have to be prudent and not put our own citizens at risk.

This dilemma is the moral setting for Rendition, a tense thriller in which the government, without specific evidence, incarcerates a suspected terrorist because it does not want to risk him being at large to commit terrorist attacks.

Anwar El-Ibrahimi, born in Egypt, is a chemical engineer who lives in Chicago with his pregnant wife Isabella and their young son. When returning from a trip to South Africa, American authorities detain him because Anwar’s phone records indicate that Rashid, a known terrorist, has made calls to his number. There is no actual evidence, only a suspicion that Anwar is a terrorist. However, that is deemed enough to exercise the policy of rendition whereby a man is sent to a secret detention facility without access to due process of law. He simply disappears and no one knows of his whereabouts.

When Anwar does not arrive home as expected, Isabella begins to worry. As the days pass on, she contacts an old friend, now working for the government in Washington, to assist her in finding her husband, but to no avail.

In the meantime, Douglas Freeman, a CIA analyst who generally works behind the scenes and not directly with the person suspected of wrongdoing, is given the task of observing Anwar’s interrogation, which involves brutal torture. Clearly, Douglas is uncomfortable watching the torture and he has doubts about Anwar’s guilt. After questioning Anwar himself, he concludes that Anwar is innocent. Freeman’s challenge: how to stop the torture and how to restore Anwar to his wife and family.

In Jewish law, there is the presumption of innocence, what is known in Hebrew as a chezkat kashrut. You are supposed to judge people favorably, say the Sages. Always give people the benefit of the doubt and consider them innocent until you have evidence to the contrary.

A case from the Talmud is instructive. The Talmud tractate of Sanhedrin (37b) describes a case of conjecture based upon circumstantial evidence. The judge asks the witnesses: if you see the accused chasing someone into a deserted ruin, and you followed him and saw him with a sword in his hand dripping with blood, and then you heard the cries of someone inside the ruin, this is not absolute proof of anything.

Even though there is a strong possibility that the person you see with the sword committed the crime, no definite conclusions can be drawn. It may be correct to hold such a person in custody on suspicion of a crime, but that should only be for a short time and certainly he should not be punished until he has his day in court.

Rendition is a scary movie. The film depicts a climate of fear and terror where the outsider is distrusted. At such a time, it is difficult to be open and generous. Although we need to assume the best of others, there are times when caution is needed. The Torah, after all, states that “we should live by its commandments,” not die by them. Rendition captures the essence of this moral dilemma.

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Déjà Vu (2006), directed by Tony Scott

deja vuOne of my favorite poems is “The Convergence of the Twain” by Thomas Hardy. The poem describes two events occurring at the same time but at different locations. At some future time, the events converge. One is the building of the ship, the Titanic; the other is the forming of the iceberg with which the ship will collide. Hardy writes: “Alien they seemed to be/ No mortal eye could see/ The intimate welding of their later history/ Till the Spinner of the Years/ Said ‘Now!’/And each one hears/ And consummations comes, and jars two hemispheres.”

Déjà Vu, a tense and clever thriller, does not deal with two discrete events as depicted in “The Convergence of the Twain,” but it does raise a theoretical question: would the Titanic tragedy have been avoided if someone intervened to change the run-up to the cataclysm?

Time travel has been a fascinating topic in the cinema. The manipulation of time opens up all sorts of creative doors in terms of plot, content and message. There are times in life when we want the opportunity for a do-over to correct a past mistake or to come up with a better response to a problem, and this is what transpires in Déjà Vu.

The film opens with an explosion of a ferry in New Orleans. There are 543 casualties including many sailors and their families who were headed for a Mardi Gras celebration. ATF agent Doug Carlin is recruited by an experimental FBI surveillance team to help investigate the terrorist attack.

Carlin learns that the body of Claire Kuchever, washed ashore an hour before the explosion, has been burned with a similar explosive, suggesting that she was murdered. The killer apparently wanted it to look like she was simply another victim of the ferry explosion.

Working with the surveillance team, Carlin learns about a new technology which bridges both past and present. The team has the ability to go back four days and analyze the events leading up to the catastrophe, with the hope of catching the perpetrator. Carlin, however, sees an opportunity to go back to the past to prevent the murder of Claire Kuchever, and to prevent the ferry from being blown up. How this happens is implausible, fascinating, and cinematically riveting. Carlin, frustrated that police are only able to react to crimes once they are committed, now is driven by the possibility of stopping a crime before it occurs. He wants to save Claire who is alive in the past, yet dead in the present.

When he finally confronts the terrorist, Doug Carlin tells him: “Satan reasons like a man, but God thinks of eternity.” What emerges from this statement is the notion that man only lives in the present. We only see life in the format that fits our human screen. God, however, sees the wide screen version of life, for He sees past, present, and future as one. He sees the big picture; we do not. As it says in Ethics of the Fathers, “everything is forseen by God,” which indicates that God is beyond time. Although man lives within time, God does not.

Déjà Vu explores the idea that time is relative, not a constant. Given that perspective, the question arises whether man can influence what happens in the future if his vision is limited to the present. Can man exercise free will in the face of a Creator who foresees everything? Doug Carlin’s actions suggest that he can.

Jewish tradition supports the view that although God may know the future, He limits himself deliberately and allows man to exercise free choice. The implicit message of Déjà Vu is to do good even when the outcome is uncertain. Choose life even when surrounded by death.

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Charlie and the Chocolate Factory (2005), directed by Tim Burton

charlie and the chocolate factoryMy parents were people of modest means. Moreover, they always considered the needs of their children before their own. I never felt deprived as a child even though I lived in a low-income neighborhood and did not go on fancy vacations to Disneyworld. Life was joyous because my parents, by example, found joy in the everyday, in spending time with their children, in working as volunteers on behalf of the local synagogue, and in regularly visiting our extended family and friends. I do not recall ever envying other kids because I was satisfied with my lot in life. I remember that my favorite Bar Mitzvah gift was a simple basketball given to me by my friends Kenny and Marilyn Beeman.

Being happy with one’s lot in life is the dramatic crux of Charlie and the Chocolate Factory. Willy Wonka owns the biggest, most successful chocolate factory in the world. One day he realizes that he is getting old and that he needs to plan for someone else to take over the company. He devises a plan to reveal the secret of his chocolate recipes to five lucky kids who will be invited to visit inside Wonka’s chocolate factory. Wonka will then choose one of the kids to be the heir to his chocolate kingdom. The five fortunate children are those who find golden tickets inside Wonka chocolate bars.

The winners of the tickets include Augustus Gloop, a gluttonous young man who cannot stop eating. Veruca Salt, a very spoiled young girl who demands and receives whatever she wants from her parents, Violet Beauregard, an extremely competitive girl who always thinks she will win any kind of competition, Mike Teevee, who is hooked on violent TV games, and, lastly, Charlie Bucket, a modest, poor boy from a loving family.

The factory tour is filled with surprises and Willy Wonka’s special inventions. When the kids interact with them, there are consequences that remove them from the competition. The only one left is Charlie Bucket, who refuses the prize of factory ownership when it entails living in the factory and leaving his family. Charlie admires Willy Wonka; but does not want to lead his kind of life, a disconnected life that was largely shaped by his dysfunctional relationship with his father. For Charlie, family is everything.

I recently read an autobiographical sketch of a Torah teacher of mine written when he was in his seventies. Much of what he wrote echoes Charlie’s take on what are the truly important things in life. He writes: “I grew up in a home wherein chocolate was very, very much a treat. This was a moral issue: we should have necessities, but we should not have so many luxuries.” The emphasis is on cherishing values, not things.

Charlie, accustomed to living humbly, does not feel he is missing anything. This coincides with the maxim of our Sages who say that the wealthy person is the one that is satisfied with his lot, who does not live for more acquisitions. Moreover, my teacher wrote: “If I had to point to a single success, I think, without a doubt, it is my family.” Charlie Bucket shares this perspective. He recognizes that Willy Wonka, the king of the chocolate kingdom who possesses all the accouterments of wealth one could ask for, is a lonely person alienated from family and friends in the real world. Charlie’s happiness, in contrast, is rooted in family connections with parents and grandparents who love him dearly. It is this kind of unconditional family love that gives Charlie a wisdom and contentment far beyond his years. It is worthy of emulation.

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Shutter Island (2010), directed by Martin Scorsese

shutter island posterIn the late 1970s, I taught a class on the Holocaust to teenagers at Yeshiva High School of Atlanta. A high point of the course was an interview with a survivor of the camps. There were many living in Atlanta, but it was not easy to find people willing to talk about their terrible experiences in the concentration camps. For them it was too painful to resurrect those memories.

Emotional anguish is at the heart of Shutter Island, a disturbing psychological study that has little to do with the Holocaust, but a lot to do with gruesome memories and the extent to which they influence our current lives.

The film opens as U.S. Marshals Teddy Daniels and Chuck Aule are on a ferryboat traveling towards Shutter Island, the location of a federal mental hospital for the criminally insane. A mood of dread and unease pervades every frame of the movie. Teddy and Chuck have been called in because a violent criminal has escaped and they are tasked with finding her.

They meet Dr. Cawley, the head of the facility, who is debating the best way to treat mental illness. Is it to use surgery to change the way patients think or is it by using drugs to help a person find a way out of his mental turmoil? He tells Teddy and Chuck that perhaps the best way is to be a good listener and help a patient recognize and come to terms with his psychiatric problem.

As Teddy and Chuck pursue their investigation, they meet impediments. The staff is not always cooperative, and certain people whom they want to question are no longer on the island. Furthermore, the information they receive about Rachel, the violent missing patient, is often contradictory. Rachel has been incarcerated because she has killed her three children, but she denies her crime.

During this stressful ordeal, Teddy has migraine headaches, causing him to dream about his time during World War II when he was a soldier who participated in the liberation of the camps. The loathsome scenes that he witnessed still haunt him.

Teddy is also haunted by the image of Andrew Laeddis, a maintenance worker at the apartment where his family lived. Laeddis set his apartment on fire, a fire that resulted in the untimely death of Teddy’s wife.

Things come to a head when Teddy learns that the ferry that brought him to the island is not returning to pick him up. When he finally confronts Dr. Cawley with all his suspicions about the real purpose of the Shutter Island facility, reality and fantasy collide in the life of Teddy Daniels, making Shutter Island one of the brainiest and unsettling thrillers I have ever seen.

What is the Jewish perspective on dealing with past trauma and tragedy? Judaism encourages living in the present but remembering the past as well, even when it is unpleasant. Jews are bidden to remember Amalek, the nation that attacked the Hebrews in the wilderness as they made their way to the Promised Land. Moreover, there is a period of three weeks of mourning during the summer when Jews recall the destruction of the two Temples in Jerusalem, culminating on the ninth day of the Hebrew month of Av, a national day of fasting. The day is spent recalling the many tragedies that befell the Jewish people throughout the ages and is noted for the sorrowful lamentations that form part of the liturgy of the day.

Horrific events are recalled in great detail, but the final tone of the day is one of optimism. It is a day of sadness, but our Sages intimate that on this day the Messiah will be born, ushering in a time of peace and reconciliation.

Shutter Island depicts the frightful consequences of failing to accept the reality of personal tragedy and being stuck in past trauma. Jewish tradition encourages us to remember tragedy, but then to move on with our lives, recognizing that the only true path to healing is acceptance of the past and a resolve not to repeat the same mistakes again.

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The Best Years of Our Lives (1946), directed by William Wyler

best years of our lives posterWhen I was in high school, I had a part-time job at a local pharmacy, working the evening shift from 4 PM until 11:30 and all day Sunday. It was the only store open on Sunday during the late 1950s, before the days of 24/7, or 24/6 in Israel.

One Sunday, a customer entered with a frightful face that was hard to look at. It looked like part of his face had been blown off. He had no nose, just a hole in the middle of his face where a nose was supposed to be, and his ears were deformed as well. Although his mouth was distorted, he spoke normally and I understood all of his requests. In fact, he was the best customer I had all day, for he bought gifts for his family that he would see later that day.

Many years later when I was reading Dalton Trumbo’s controversial anti-war book Johnny Got His Gun, I thought of him. I thought of him again when I heard Bob Dylan’s anti-war song “John Brown,” which is about a boy who leaves for war amid cheers and returns damaged both physically and mentally.

The classic film The Best Years of Our Lives deals with the aftermath of war and the challenge that servicemen face when they re-enter the world after their wartime experiences. The movie presents three different responses in the narratives of Fred Derry, Al Stevenson, and Homer Parish. The world has moved on, and these men come back to an unfamiliar landscape, but one to which they must adjust if they are to lead successful lives.

Fred was a captain in the Air Force, where he served valiantly to protect his fellow soldiers, but prior to the war he was a soda jerk with little education and without much of a future. Al was a sergeant who saw action in the Pacific, and he returns to an executive position at the bank for which he worked before the war. Homer was a star athlete, but lost his arms below the elbow in a ship fire. For him, the tragic legacy of the war lingers because of his physical disability. Now he has hooks instead of hands and his self-esteem has plummeted.

Homer, engaged to Wilma, feels that people see him as a freak of some kind, causing him to withdraw from Wilma. He does not want to be a burden to her, yet he loves her dearly. In a sublimely touching scene, he shows her what he has to do to manage his disability, for he cannot button his pajamas or open a door. With tenderness, Wilma buttons his pajamas and pledges her love to him. It is a happy ending to a stressful time in Homer’s life.

Jewish tradition has a special take on disabilities of all kinds. In the Talmud, there is a strange story about an extremely ugly person. The Talmud recounts that Rabbi Shimon ben Eleazar encountered this man; and when the ugly man extended a greeting to him, Rabbi Shimon mocked him. The ugly man then responded: why not go to the Artisan who made me and tell him “how ugly is the vessel You made.” Rabbi Shimon realized that he spoke cruelly, forgetting that God is the final arbiter of disability, and begged the man for forgiveness.

What the story teaches us is that God is the artisan that made all men, some ugly and some beautiful, and physical appearance has little or nothing to do with the way God sees us. God relates to what is inside, not to what is on the surface. This reflects how we should relate to the disabled, not with insensitivity, but with compassion and love, recognizing that we all are created in God’s image. Homer’s story in The Best Years of Our Lives reminds us to treat all people, and especially the disabled, with kindness, with respect, and with love.

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McFarland, USA (2015), directed by Niki Caro

McFarland USA posterWhen I was a freshman at Yeshiva University, I thought I would try out for the basketball and wrestling teams. In high school I had never played on a school team, but I enjoyed the competition of organized sports. A freshman who befriended me was Bobby Podhurst, the tallest fellow I had ever known and I went with him to a practice one evening to see if my skill level in B-ball was up to college standards.

Since Yeshiva University had no gym of its own, we had to take a subway to Power Memorial High School for practice. I soon realized that I was not ready for prime time basketball after a long day of general and Judaic studies and then traveling for an hour on the subway for a late night practice. It was an exhausting experience, which clearly indicated that playing on a college athletic team was not for me. I lacked the skills and the stamina. However, I did learn one thing from placing myself in the shoes of college athletes for one evening. I gained a better understanding and appreciation of what a student commits to when he plays in organized athletic competition.

These thoughts raced through my mind as I watched McFarland, USA, a heartfelt sports story about an obscure school in a disadvantaged California community that emerges as a cross-country racing powerhouse.

The year is 1987, and football coach Jim White finds himself the assistant coach in McFarland, a small high school populated by Latino students with no plans to go to college. The future for them is arduous work picking crops on the field in the hot sun so that their families can survive economically. Jim observes that a number of boys do not even finish football practice because their parents pick them up to take them home to help them harvest crops.

Watching the boys run around the track during practice gives Jim the idea of starting a cross-country team of runners, mostly comprising those students who are cut from the football team.

The cross-country team initially does not have success, and Jim attributes it to his inexperienced coaching of the sport. He also learns about the personal challenges the boys face coming from a poor background. For them, attending college is an impossible dream.

One day Jim decides to join them in the fields to get an idea of what that work is. Only by standing in their shoes for the day will he understand the mighty challenges the boys face. For Jim it is an exhausting experience.

As the boys and Jim begin to know each other better, they find success on the running trails. They win competitions, and the townspeople buy uniforms and new running shoes for the team. One success follows another and the McFarland team eventually qualifies for participation in the state championships. The coda as the credits roll juxtaposes images of the actors with the real people they portrayed, and indicates what they did after high school. The ending of their individual stories is both surprising and inspiring.

Like many sports movies that depict a team’s rise from obscurity to fame, the story of McFarland is inspirational; but McFarland has another agenda as well. It considers the topic of prejudice as it depicts the team’s encounters with other schools, which have a negative view of Latinos. Moreover, Coach Jim White initially is himself guilty of prejudice. It is only when he joins the boys in the fields that he begins to understand what their life is like and begins to relate to them with genuine love and concern.

The Ethics of the Fathers, a classic Jewish work of ethical instruction, states: “Do not judge your fellow man until you have been in his position.” This is a maxim that Coach White takes to heart. Once he understands the challenges of his students, he is able to be a friend and mentor to them. They sense his sincerity and are ready to give him their very best. McFarland reminds us to refrain from judging people until we truly understand why they do what they do.

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The Martian (2015), directed by Ridley Scott

martian posterIn the Bible and Talmud, there are descriptions of people who respond admirably to adversity. In spite of whatever happens, they do not give up; rather they find a way to continue to be optimistic and productive, no matter what the obstacle.

A classic example from the Talmud is Nachum Ish Gamzu. Whenever misfortune struck, he would say, “this too is for the good.” His unyielding optimism made him a role model for many who faced trials and tribulations.

Nachum became blind in his later years. He also lost his hands and feet, and lay in a dilapidated house where his bed was propped up on water jugs to prevent ants from reaching him. Throughout this time, Nachum responded by saying to himself and others that “this is also for the good.”

Mark Watney, the hero of the tense survival drama, The Martian, experiences adversities of a different sort, but his optimism in the face of overwhelming challenges recalls the attitude of Nachum Ish Gamzu. Mark’s story begins on Mars where he is collecting ground samples to bring back to earth. When an intense storm comes in, Hermes Commander Melissa Lewis orders the mission aborted. Regrettably, a piece of flying debris catapults Watney to a location far from the their space ship, and Mark is left behind.

Although the Director of NASA and the rest of the Hermes crew consider Mark dead, we learn that he is still alive. His first challenge is to remove a piece of antenna stuck in his abdomen. His second is to figure out how he can survive with an oxygen supply that is diminishing rapidly. His third challenge is to determine if he has enough food to last for four years since that is how long it will take to launch a rescue mission. As a botanist, he sees possibilities that the average astronaut will not, and so he begins to plant potatoes on a planet whose soil is not designed to grow earth-like vegetables.

NASA engineers soon detect some movement on Mars, and they discover that Mark is still alive. Eventually they establish communication with him, and a rescue plan is devised. Once his crew learns that he is still alive, they volunteer to be part of the rescue team. Although the plan is complicated, risky, and many obstacles need to be overcome, Mark never gives up. He looks at each problem as one solvable problem. He does not allow the complexity of the mission, which involves overcoming multiple challenges, to deter him from trying his best to survive.

Many years later we see Mark lecturing to class of budding astronauts. His words resonate with the wisdom of experience: “At some point, everything’s gonna go south on you and you’re going to say, this is it. This is how I end. Now you can either accept that, or you can get to work. That’s all it is. You just begin. You do the math. You solve one problem and you solve the next one, and then the next. And if you solve enough problems, you get to come home.”

The Ethics of the Fathers, a classic of Jewish wisdom literature, also expresses a similar perspective on confronting life’s challenges. When faced with a problem, what is important is that we begin to address it and look for ways to solve our dilemma. Indeed, all beginnings our difficult, and we are not always able to complete the task given to us. However, our job is to start with all of our strength and concentration to do the best we can. The rest is left to God. This positive approach to life is worth emulating.

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