Category Archives: Family friendly

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

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

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

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

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

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

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

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

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Apollo 13 (1995), directed by Ron Howard

Apollo 13 posterIn reflecting on my career as a high school principal, I recall many board meetings where a few board members would panic if the enrollment did not go up every year. That statistic alone was the acid test, and  a low enrollment number on any given year would be the catalyst for extensive discussions about what was wrong with the school and what we needed to do to fix it.

Fortunately, most board members took the long view and saw the inherent complexity and difficulty of establishing a Jewish day high school in a city that never had one. Thankfully, they supported me over the years in building Yeshiva High School of Atlanta, now known as Yeshiva Atlanta.

Panic in the face of adversity is not a good response, and I was reminded of this truth as I watched Apollo 13, a classic film about one of America’s early space flights in 1969. “Life is not a straight line,” a friend once told me when I was dealing with a lot of things that were going wrong. The key is to stay focused at moments of crisis. Rather than lose one’s cool, concentrate on how to solve the problem.

The tag line for the film is ‘Houston, we have a problem,” and they do have a serious problem. After months of preparation, the crew led by Commander Jim Lovell and assisted by Fred Haise and Ken Mattingly, is scheduled to fly to the moon. Two days before the launch, Mattingly is compelled to withdraw from the mission because he has been exposed to measles and he has never had them before.  The possibility that he could become ill during a crucial part of the flight disqualifies him; and Jack Swigert, an astronaut who has been out of the loop for many weeks, is asked to fill in for Mattingly. Lovell decides to accept the substitute rather than wait for another turn to fly to the moon.

The problem is compounded once the astronauts leave earth.  While in flight, Jack Swigert performs the routine procedure of stirring the oxygen tanks, and the oxygen tanks explode causing a mechanical failure. Now the mission is not to land on the moon, but to get home safely.

The two characters who stay focused and don’t lose their cool are Jim Lovell and Flight Director Gene Kranz at Mission Control in Houston. Aiding them is Ken Mattingly who simulates what is going on in the space capsule in order to give the Apollo crew the best advice to stay alive. These three men, very bright and who fully identify with the Apollo crew, think creatively to come up with solutions that will enable the men to re-enter earth’s atmosphere and arrive home safely.

The Bible is filled with examples of people who, when faced with negativity and bad karma, rise above the problem and find a way to succeed. Joseph, son of Jacob, is one role model. According to a Midrash, he is left in a snake-filled pit by his brothers. He then is sold as a slave in Egypt, and later finds himself in prison where he languishes for a number of years. During all that time, he does not give up and surrender to his environment. Instead, he finds a way to survive and eventually he is catapulted to the position of viceroy of Egypt. He does not look at the present dark moment as forever. Rather he sees beyond it. He knows he has a mission, and in his own quiet and deliberate way works to actualize a bright future.

Apollo 13 affirms that same message. When things go awry, do not collapse. Instead, analyze the situation and develop a strategy for success.

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The Iron Lady (2011), directed by Phyllida Lloyd

Iron lady posterWhen I was first married, I attended Sabbath services at the rabbinic school where I studied. Present at the services were many of the rabbis who taught me during the week. I recall very vividly one occasion when the young child of one of the rabbis grossly misbehaved. He began to hit his father and used unbecoming language. In spite of the child’s appalling behavior, his father did not hit him or rebuke him publically.  He did not shout at him nor scold him nor physically grab him.

At the time, I wondered whether the father was teaching his son by example how to show restraint and how to control emotions or whether the kid was in control of the situation and mocking his father. To this day, I don’t know the answer. All I saw was one snapshot in time, from which no conclusions could be drawn. However, a recollection of the incident reminded me of how complicated it is to be the child of a celebrity or prominent leader in the community.

It can be a blessing or a curse. Consider for a moment the children of Margaret Thatcher as depicted in The Iron Lady, an exceptional film about a young civic- minded girl who rises in political power to become Britain’s prime minister.

The film opens when Margaret Thatcher is past her prime, now a frail and elderly widow functioning in the present but often swept back to the past through imaginary conversations with her dead husband Denis. She has much of which to be proud. Restoring England’s financial power in the face of great economic challenges, navigating the volatile relationship between Ireland and England, successfully managing the Falklands War are all high points of a long and illustrious political career. She also is a wise woman who enjoys sharing insights about life.  One particular speech encapsulates her lifelong wisdom: “Watch your thoughts for they become words. Watch your words for they become actions. Watch your actions for they become habits. Watch your habits, for they become your character. And watch your character, for it becomes your destiny! What we think we become.”

But there is a dark side. Her family pays a price for her rise to power and for the maintenance of that power.

Margaret Thatcher had twins, a boy and a girl, who have a lukewarm relationship with their mother. They are dutiful children, respectful, yet distant emotionally. There is love between mother and daughter but the connection is strained. Her son Mark lives in South Africa and is not always available even by telephone. At one point in the movie, Margaret watches a DVD of her little children playing on the beach, but it is only a hazy memory of a warm and loving time long since gone. Even her devoted husband is ambivalent about the price the family has had to pay for Margaret’s dedication to serving England.

Children of people in leadership roles do not travel a simple road. The eyes of the community are upon them. Sometimes it is fine and the children rise to the community’s and parent’s expectation. Sometimes they do not. It is instructive to note that there is little in the Bible said about the son of the greatest Jewish leader Moses. His son, Gershon, is a footnote in Jewish history, suggesting that Moses paid a personal price for his leadership of the children of Israel. Gershon never rises to a position of leadership or prominence. He remains average in spite of the fact that he was Moses’ son.  Instead, Joshua, Moses’s trusted student, assumes the mantle of leadership once Moses is gone.

The Sages tell us that it is good to work on behalf of the community, and blessings will accrue to you because of that valuable work. But clearly, the Sages also warn us about the potential negative effects of community involvement. Every one of us has to make a careful calculation of the costs and benefits of such holy labor.

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Unstoppable (2010), directed by Tony Scott

Unstoppable posterMany years ago, I asked a friend to mail a $10,000 check for me. He mailed it from the post office, but neglected to send it by registered mail as I requested because the line at the post office was long and he did not want to wait. Unfortunately, the check was lost and it took months before the situation was resolved. The check never was found, and no real harm was done, but the incident reminded me how one simple error in judgment can lead to an avalanche of problems.

An errant check is not the problem in Unstoppable; rather it is an errant train that can unleash a cargo of toxic chemicals if it is not stopped. The problem originates with a lazy railroad worker, Dewey, who decides not to connect the air hose to the rest of a long train, thereby removing the air brakes that are critical to stopping the train. Compounding his mistake, he leaves the locomotive cab when he sees that the train is lined up to go on the wrong track and runs to manually switch the track. Unfortunately, the train’s control levers move on their own accelerating its speed, and Dewey cannot reboard the train in time. Now the train is unmanned and moving very quickly towards populated areas.

Two heroes emerge to deal with this crisis: Will Colson and Frank Barnes. Colson is a young newly minted conductor, and Frank Barnes is an engineer who has been working with the railroad for 28 years. Together, they use the physical strength of youth and the wisdom of advanced years to devise strategies to stop the train, even at great personal risk. Both men, knowing that their lives are in danger, want to connect with family. Will, who is estranged from his wife, wants to speak with her but is fearful of being rejected by her. He doesn’t call but his thoughts turn to his wife and child, whom he may never see again. Frank, a widower, phones his daughters to tell them he loves them. It is a 9/11 kind of call, full of love and uncertainty about the future.

Jewish tradition emphasizes how important it is to obey the rules, especially in problematic or dangerous times. The Bible informs us that even the king is not to veer from the commandment; for if he does, his kingdom will not endure. Rashi, an 11th century Bible commentator, explains that Saul lost his kingship because he did not follow the instruction of the prophet Samuel. Samuel had told him to wait seven days for him to arrive before offering a sacrifice. Saul does not wait for the prophet to arrive and, as a result, loses his kingship. The commentators opine that Saul did not realize the importance of his position and how careful he had to be to perform his obligations correctly.

Neither does Dewey in Unstoppable. Dewey takes his work responsibilities casually, and people pay a price for his unprofessional conduct. He makes the mistake of a lifetime, jeopardizing the lives of many innocents. In a coda at the end of the film, we learn that Dewey no longer works for the railroad but now is employed in the fast food industry.

Unstoppable reminds us to take our professional responsibilities seriously. No matter how mundane our jobs may be, we are required to give it our best effort for our sake and for the sake of all those who depend upon us. We lead a different kind of life when we realize that every action of ours has a reaction in the lives of others.

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Winged Migration (2001), directed by Jacques Perrin, Jacques Cluzaud, and Michel Debats

winged-migration-posterThere was a time when my vacation trips would be spent traveling to historical points of interest, exploring museums and art galleries, and learning everything I could about the place I was visiting. In recent years, my downtime is spent differently. I no longer feel motivated to learn facts about specific tourist sites. I just want to travel to new locales and observe. I want to see natural landscapes and soak up the ambiance of the place. I do not want information. I want to feel connected to the universe. I want to see and hear the quiet energy that lies beneath the surface of everyday life. It is a different kind of experience and that is why I enjoyed Winged Migration, an unusual documentary about the yearly migration of birds.

This film tracks a number of species of migratory birds over a span of four years. Some travel over a thousand miles to find food each year; and then when food runs out at their destination, they return the same distance to their point of origin to find nourishment. They miraculously always fly the same route using the stars and familiar landmarks on land, in the sea, and in the sky to locate food sources and to get back home. Familiarity helps them to survive just as it helps us navigate difficult moments in life. In moments of crisis, we can return to our old routines and derive some stability in a stressful environment or situation.

Using in-flight cameras, the bulk of footage in the film consists of birds flying in the air. You can hear the air move under their wings and you have the sensation that you are flying alongside the birds. You are with them in the cold snow of the Arctic regions, you are with them when they escape a powerful avalanche, and you are with them in the bloom of summer with trees and flowers all around. The terrain, seen from the perspective of the birds, is breathtaking. The film truly is a visual work of art.

There is almost no narration in the film. There are just scenes of different species of birds traveling thousands of miles, crossing continents and oceans in search of food. There is no conventional plot. Instead, there are extraordinary images of birds desperately flapping their wings flying from one country to another. The key theme unifying all these migrations is survival. The birds cannot survive if they stay where they are. Movement is critical for survival.

The dominant visual in Winged Migration is a bird desperately flapping its wings to stay airborne on its long journey. For me, it was a metaphor of the human journey through life. All of us want to survive and thrive in life in spite of the adversities and challenges we all face. Like the bird, we have to keep moving and not allow challenges and occasional failures to cripple us.

The Biblical metaphor which captures this Jewish approach to confronting life’s challenges is the ramp upon which the priest walks when he approaches the altar to offer sacrifices. The priest does not climb steps. Rather he traverses a ramp, which has no natural place to stop or rest. The message to the priest, and for all men since the priest represents all of us, is to constantly strive, not to give up in the face of adversity. The Sages of the Talmud suggest that a successful life requires constant forward progress, constant movement and activity. The birds in Winged Migration teach us this valuable lesson.

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The African Queen (1951), directed by John Huston

African Queen posterI serve as a volunteer matchmaker on an international internet site, and as a volunteer I can choose which age group on which to focus. Although I try to be helpful to people of all ages, I especially like to work with the over-40 crowd. This is a challenging group since I find that the over-40 group is perceived very negatively as consisting of people who are confused, commitment-phobic, who have unrealistic expectations about a marriage partner, and who possess a streak of selfishness. While there may be a grain of truth in such a stereotype, I have found that, in most cases, these people have simply not found their destined one yet. And so I research the site and try to find a suitable match, and sometimes I happily succeed.

The idea that love begins after 40 is given cinematic reality in the classic film, The African Queen, starring a mature Humphrey Bogart, who plays Charlie Allnut, and Katherine Hepburn, who plays Rose, a Christian missionary. Charlie Allnut delivers mail and supplies to a remote African village while World War I rages in Europe.  When a contingent of German soldiers arrives at the village and sets it afire, Rose’s brother, also a missionary, becomes despondent and commits suicide. Charlie volunteers to take Rose, his surviving sister, to safety, and so begins their dangerous journey on Charlie’s boat The African Queen.

Charlie and Rose come from different worlds, but destiny has thrown them together. What begins as an adversarial relationship eventually morphs into love as they share perilous adventures together. Surviving treacherous rapids and the gunfire of German troops, they bond through shared adversity.

What emerges from their mutual trials is the revelation that Charlie and Rose share a common humanity, an innate honesty, and a positive attitude towards life. They are vastly different from their public personas. Charlie is not the proverbial drunken sailor; nor is Rose the conventional missionary.

Also noteworthy is their honest self-appraisal. Rose and Charlie have no illusions about one another. They do not long for a younger love. They live in the moment and want every minute to count. This approach to life is captured exquisitely in the final scene of the film in which Charlie asks a German ship captain to marry Rose and him when they are about to be hung for spying. The captain concludes the ceremony and declares: “By the authority vested in me by Kaiser William II, I pronounce you man and wife. Proceed with the execution.” What happens next defies description. Suffice it to say, the loving couple lives happily ever after.

What makes for a match in Jewish tradition? The Talmud tells us that making a match is like splitting the Red Sea, a miracle of major proportions. As a matchmaker, I can never predict why two people ultimately will connect emotionally. I just make a calculated guess and leave the rest up to God. The African Queen provides several examples of Providence taking over to produce positive results. Rain comes to free a boat entangled in a swamp. Makeshift torpedoes hit a target without being launched by a human being. All demonstrate that we can only do our best; but to be successful, God has to intervene.

Finally, what underpins my volunteer work is the belief that what binds a couple together is not just physical attraction. There has to be an intellectual connection as well. Moreover, there has to be a feeling of a shared spiritual destiny. Therefore, on the client’s profile page, I pay close attention to self-descriptions more than to dimensions of height and weight. Proverbs teaches us that “beauty is vain.” It passes and then we are left with who we really are.

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Hachi: a dog’s tale (2009), directed by Lasse Hallstrom

Hachi posterA friend of mine has two dogs. Whenever he and his wife go on vacation, they place the dogs in what is essentially a dog hotel where they will be fed, walked, and cared for while they enjoy their time off from work. Several months ago, one of the dogs died and my friend went through a genuine grieving experience. He was depressed, very mellow instead of his usual upbeat self, and generally quiet as he processed his loss. When I spoke to him, I felt that the dog was not just a dog to him, but functioned like a human friend, always there with him in times of trouble to comfort him and provide a beacon of light in dark times. The dog was a real companion that made his life more happy, more positive, and more fulfilling.

My friend’s attitude towards dogs resonated as I watched Hachi, the story of a remarkable dog who feels a special bond with its owner. Sent as a gift in a cage from Japan, the cage falls off a baggage cart leaving the dog alone and in danger. Professor Parker Wilson finds him and tries to locate its owner but to no avail. Soon he forms an attachment with Hachi and keeps him, much to the dismay of his wife Cate, who does not want a dog in the house. Cate relents, however, and soon the dog feels at home in the Wilson household.

One morning, Hachi follows Parker to the train station and returns in the afternoon by himself. There he greets his master as he exits the train station after a day at work. This ritual continues for a very long time, until Parker suffers a sudden fatal heart attack. The Wilson house is sold, Cate moves away, and Parker’s daughter Andy and her husband Michael take Hachi to live with them. Hachi, however, finds a way to return to his original home and then to the train station where he waits patiently for Parker for the next nine years. Hachi is fed by local vendors who remember his devotion to Professor Parker each day as he waited for him to return home.

Hachi is a dog story, but it is more than that. Like Aesop’s fables, animal stories are a metaphor for the human experience. Hachi reminds us to be intensely aware of the gratitude that we should show towards friends and family. Hachi is a foundling and Parker rescues him. That act of kindness has a ripple effect, remembered by Hachi for the rest of his life and celebrated by the many people who witnessed this act of loyalty and devotion by a dog.

The Talmud makes a similar point when it tells us that if someone teaches us only a single letter or a single verse, we must give that person honor. We are indebted to all those who are benevolent towards us.

In Judaism, the training ground for the nurturing of kindness is the home. It is here that the kindnesses that spouses show for each other and the kindnesses that parents show for children are locked into the family’s DNA. Here acts of kindness happen in the moment, but they transcend the moment and establish a psychological bank account for generations. The changing of a diaper, the emergency trip to the hospital, the act of giving birth all create emotional connections that are unbreakable.

At the heart of Hachi is the message that kindness needs to remembered and perhaps even memorialized. It is a dog story that tells us how important and meaningful it is to treasure the kind acts of others.

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Extremely Loud and Incredibly Close (2011), directed by Stephen Daldry

During my years as a synagogue rabbi, I would often speak at funerals and do my best to comfort the bereaved, but it wasn’t until I myself experienced a loss that I could truly empathize with the mourner. With time, we do adjust to the loss and life continues; but the shadow still remains. It is felt particularly when we have something good to share with family members, and we suddenly realize they are no longer here to share the moment with us.

When I achieved my crowning academic achievement, a doctorate in English Literature, my mother and father had already passed away; and I felt their absence acutely, for they would have enjoyed the moment with me as only a parent can celebrate the good things that happen in the life of a child. This sense of loss was intensified when I suddenly lost my wife in January of 1989. This was a tragedy of a different kind. My world fell apart. It was my personal 9/11.

Let me share a strange yet normal memory. I remember very vividly having chicken soup at the home of a friend in Israel after the funeral in Beit Shemesh. The soup was so tasty that I asked my host for the recipe so I could give it to my wife. I could not comprehend that she was no longer here.

I still can make no sense of the tragedy that affected our entire family during those dark January days. Perhaps this is why I responded positively to Extremely Loud and Incredibly Close, a film that deals in a thoughtful, nuanced way with the loss of a husband and father on 9/11.

The film recounts the story of Oskar Schell, a young boy whose father perishes on 9/11 in the Twin Towers. Through flashbacks, we see the close and loving relationship that existed between father and son. When Oskar’s father dies, the loss is devastating and he is inconsolable.

A year later, he explores his father’s closet and discovers a key in an envelope with the name “Black” written on it. Oskar then sets out on a journey to find out what the key fits, thinking that it is a message from his father. The journey connects him with a wide assortment of people who listen to his story, often befriend him, and share life’s wisdom with him.

In time, Oskar comes to terms with the reality that some things in life never make sense. His mother, suffering her own emotional pain, remarks: “It’s never gonna make sense because it doesn’t.” That does not mean, however, that one cannot find comfort in the memories a loved one leaves behind, in the life lessons learned from a beloved spouse or parent who is no longer in this world. The mystical figure of a person falling to his death at the beginning of the film is reversed at the end. The falling image falls up instead of down, signifying that Oskar has matured, conquered his fears, and is now ready to move on with the memories of his Dad animating him as he transitions into adulthood.

What happens in Extremely Loud and Incredibly Close is in many ways a reflection of the Jewish mourning cycle. The initial seven day grieving period is intense. The mourner does not even leave his home. But at the end of the week, the custom is to walk around the block, to begin a new cycle as it were. The pain is still there, but God is telling us to keep going in spite of tragedy. We will never understand the reasons for tragedy, but Jewish tradition reminds us that tragedy should not be the only thing that defines us, nor should it paralyze us as we face an uncertain future.

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Tender Mercies (1983), directed by Bruce Beresford

When I was a synagogue rabbi in the early 70s, one of my most unsettling moments occurred when I had to officiate at the funeral of a teenage boy who died in a horrific accident. It was a rainy day, as if God Himself were weeping. What made it especially painful was the fact the father of the boy was a Holocaust survivor. I was amazed when I looked at the family during the eulogy. There was palpable, overwhelming sadness in the air; but the family’s faith in the face of terrible tragedy was manifest. A number of years later, this man’s wife was murdered in a random act of violence, and I could not help but wonder how the family could survive such a progression of tragedies, and yet they did. The Ethics of the Fathers tells us that man can never understand the ways of the infinite God, and so we move through life with unanswered questions all around us. The pain never goes away, but we find ways to cope.

Tender Mercies, a beautiful story of personal redemption in the face of adversity, reminds us that we can never know why things happen. All we can do is appreciate the tender mercies God grants to us in our lives which are filled with interludes of happiness and sadness.

Mac Sledge, played by Robert Duvall, is an over-the-hill country music star whose alcoholism has ruined his career. He awakens one morning in a forsaken Texas roadside motel and meets the owner, Rosa Lee, a young widow with a son named Sonny, who has lost her husband in Vietnam. She offers him room and board in exchange for his work at her motel and gas station on the condition that he does not drink while he is working for her. Over time, their feelings for one another grow and Mac eventually asks Rosa Lee to marry him. They attend church regularly and Mac finds that life is now full of promise. His emotional baptism ceremony represents his break with the past and his resolve to see life anew. Rosa Lee is largely responsible for his spiritual conversion. In a poignant scene, she tells Mac that “I say my prayers for you and when I thank the Lord for his tender mercies, you’re at the head of the list.”

With such love and encouragement, Mac’s life slowly turns around. His reputation as a songwriter inspires young musicians, and Mac decides to resurrect his career as a country music artist in a modest way. Secretly, however, he yearns to reconnect with his daughter, Sue Anne, whom he has not seen for many years. When the meeting occurs, it is filled with the hope of reconciliation; but tragically Sue Anne is killed in an automobile accident only days after they meet.

The trajectory of his life is a mystery to Mac and he wonders aloud to Rosa Lee: “I don’t know why I wandered out to this part of Texas drunk, and you took me in and pitied me and helped me to straighten out, marry me. Why? Why did that happen? Is there a reason that happened? And Sonny’s Daddy died in the war, my daughter killed in an automobile accident. Why?”

In the final scene of the movie, Mac has an epiphany. While throwing a football with Sonny, he smiles. He finally comprehends that finite man cannot know the answers to the riddles of life.  Mac has lost a daughter, but he can still be a father to Sonny.  A feeling of purpose animates his life in spite of personal failures and family tragedies. His story echoes the adage from Proverbs, which says that “seven times the righteous will fall, and then they will rise again.” In the Jewish view, it is important to fail forward, to use failure as a way to stimulate emotional growth and understanding.

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Jane Eyre (2006, PBS version), directed by Susanna White

When I was in ninth grade, my Torah teacher told me what I should look for in a wife. He said that while outward beauty was important, it was not the critical ingredient for marital happiness. He urged me to stay away from girls who wore lots of make-up and who were acquisitive. For long-term happiness, you need a girl with good character, who is kind and understanding, soft in deed and word. His words made an impression on my young mind and I generally found myself dating those kinds of girls.

In secular literature, it is hard to find such a concern for good character when looking for a marriage partner. For example, in Jane Austen’s classic novel Pride and Prejudice, the parents of Elizabeth Bennett want her to marry a person of means. The key ingredients for marital bliss are wealth and eligibility, not good character. In Henry James’ Washington Square, Morris Townsend, the suitor of Catherine Sloper, is portrayed as a fortune hunter, interested in Catherine’s assets, not her character. In fact, Dr. Austin Slope, Catherine’s father, sees beneath Morris’s façade and forbids Catherine to marry him.

One notable exception to this pattern is Edward Rochester’s oblique pursuit of Jane Eyre in Charlotte Bronte’s famous novel Jane Eyre, which has inspired a number of film versions, the best of which is the PBS production directed by Susanna White and starring Toby Stephen as Edward Rochester and Ruth Wilson as a luminous Jane Eyre.

After ostensibly courting the wealthy and attractive socialite Blanche Ingram, Rochester finally confesses his love for Jane, whom he regards as a pure, simple, and virtuous soul.  Clearly, he values substance over form, good character over physical charm and beauty. It is of interest to note that Rochester is many years Jane’s senior, a person with much more life experience than Jane. Similarly, the Biblical courtship of Isaac for Rebecca, which is the topic of an extended narrative in the Bible, describes a relationship where the man is much older than the woman. But the age difference counts for little when the two lovers are on the same spiritual wavelength.

The quest to find a wife is a major task of Jewish men. To find one’s bashert, one’s destined one, a person must exert great personal effort and may also need to consult with many friends and relatives, including, of course, one’s parents. In the Bible, Abraham is actively engaged in finding a wife for his beloved son Isaac. He charges his trusted servant Eliezer with this responsibility and to travel to Aram-Naharaim, where Abraham’s family lived. There Abraham hopes that Eliezer will find a wife for Isaac.

Eliezer journeys there with ten of his master’s camels. The great explicator of Biblical text, Rashi, observes that the camels were identifiably those of Abraham because they were muzzled. Abraham’s camels would go out muzzled because of his concern for theft. He did not want his animals to graze in the field of others. Honesty was paramount to Abraham. For such a man, the litmus tests for a suitable wife were truthfulness, sincerity, and kindness, not the possession of wealth.

Eliezer, the trusted servant who came from the home of honest Abraham, determined that the woman who not only gives him water but his camels as well will be the one for Isaac, for she has demonstrated that she cares for all living creatures.

The story of Isaac’s quest for a wife is an early precursor of Rochester’s love for Jane. Both courtships remind us that, in the final analysis, wealth and beauty are passing. What remains is good character that lasts for a lifetime.

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