In cinema, children generally represent wisdom. Their innocence suggests a mind and spirit that has not yet been polluted by anger, disappointment, jealousy, greed, bitterness or any of the other flaws and foibles that accumulate as we turn the corner from adolescence to adulthood.
Writer-director Joss Whedon, the creator of the TV series Buffy the Vampire Slayer, saves the world from destruction yet again in the first of the summer blockbusters, Marvel’s The Avengers. The adventure is moderately enjoyable but rather exhausting.
Whenever people complain to me about the lack of “realistic” movies out there, I point them to tiny gems such as Ann Hui’s A Simple Life, Hong Kong’s entry for last year’s Oscar for best foreign language film.
The Best Exotic Marigold Hotel, by British director John Madden (Shakespeare in Love), is a “hands across the water” movie flavored with large doses of “there’ll always be an England” pluck. It culminates in a warm and thoughtful look at our innate ability to rediscover unexplored strengths within ourselves even on the last few miles of life’s journey.
Here’s your Ash Wednesday story. A mother carries her tiny daughter With her as she gets ashed and the Girl, curious and wriggly, squirms Into the path of the priest’s thumb Just as the finger is about to arrive On the mother’s forehead, and the Ashes go right in the kid’s left eye. She starts to cry, and there’s a split Second as the priest and the mother Gawk, and then they both burst out Laughing. The kid is too little to be Offended, and the line moves along, But this stays with me; not the ashy Eye as much as the instant when all Could have been pain and awkward But instead it led to mutual giggling. We are born of dust and star-scatter And unto this we shall return, this is The Law, but meantime, by God, we Can laugh our asses off. What a gift, You know? Let us snicker while we Can, brothers and sisters. Let us use That which makes dark things quail.