Steven Spielberg’s War of the Worlds churns up an emulsion of suspense and horror that engulfs you with the gray relentlessness of a low-grade fever. This is not the kind of thrilling, soaring adventure Spielberg created in Jaws or Indiana Jones and the Temple of Doom; it’s a cheerless piece of visceral manipulation.
And the graves were opened; and many bodies . . .     which slept arose, And came out of the graves after     his resurrection, and went into the holy city, and     appeared unto many. Matthew 27:52-53
When asked, “Just what is night anyway?”     Coyote closed his eyes,     Placed his burden basket over his head     And began making the sounds of hoot owl.         “The Burden Basket,” Elderberry Flute             Song, Peter Blue Cloud
What do you think of the little rumblings, the discontents, the warpings of fault lines and fissures? What seems to be said takes some thinking. He led captivity captive.¹ Now that he ascended, what is it but that he also descended first into the lower part of the earth.² What could it have been to descend into the earth: the magma and lava the dark heat nearly sweat lodged there? Was it where he wandered with his ash bucket, his firepans and shovel after Calvary, after the graves were opened? What did the dead do the three days he was in hell preaching on last chance to the unchanced? Did they look at one another and didn’t quite know what to do? Maybe some saw their families on the street and weren’t recognized. How had they changed that they didn’t know them? It would have been too much anyway for the families to know their dead were only waiting on Jesus and had three days to kill and would have to leave again for a second parting while the families were still grieving from the first. Still others hid out, pulling their tunics and cloaks and head cloths about them, holding their little angers, the mistreatments, the rapes, the robberies, and waited on the edge of town for him to return from hell and take them in the air.
Latino cinema has a long tradition of tweaking the Catholic Church for its supposed hypocrisy, involvement in secular politics and manhandling of sexual issues. Thirty-nine-year-old Argentine filmmaker Lucrecia Martel now joins in with her own rants on the rigidity and absoluteness of Catholic doctrine, especially as it pertains to children.
As a boy, I was a slave to DC Comics. When the new issues of Superman, Batman, Action, Adventure and World’s Finest hit the stands, I was off to the drugstore to purchase and devour a fistful of 12-cent comics. It was a ritual that continued for many years, until I finally moved on to sports biographies.
This soot-dark smear across the brow, between the eyes, will lead you, if the way be clear, through all the endless winter of our year, toward an elemental table, the tears and savage hubbub of that agonizing garden, the treacherous courtyard, hilltop, nails and spear, the cry, the dark descending fear, and then another garden with a cave and such an austere emptiness will fill the rest of history with clear resounding alleluias.
At least half of churchgoers in the United Kingdom claim they’ve heard their church organist occasionally slip in unexpected tunes, from popular songs to advertising jingles and theme songs from TV programs or movies. Sometimes organists are motivated by playfulness, other times revenge. One organist played “Money, Money, Money” by Abba while the offering was taken. Another played “Roll Out the Barrel” at a funeral for a man known for his drinking. (The organist got sacked for this transgression.) An organist in Scotland at odds with the elders played a thinly disguised version of “Send in the Clowns” during the procession in a worship service (Telegraph, May 3, 2013).