Great westerns have always wrestled with moral issues. John Ford’s The Searchers tackles racism; Howard Hawks’s Red River, loyalty; Sam Peckinpah’s The Wild Bunch, honor; Sergio Leone’s Once Upon a Time in the West, revenge; Clint Eastwood’s Unforgiven, redemption.
The satirical comedy Art School Confidential features Jerome Platz (Max Minghella) as a student at a prestigious Manhattan art college who discovers that it’s not the paradise he dreamed it would be. His classmates lack taste and imagination, his instructors are competitive and self-involved, and everyone is focused on the promise of a glitzy career rather than on education.
In the two-CD effort Why Not Sea Monsters? Songs from the Hebrew Scriptures and New Testament,(CarpetSquare) Justin Roberts steers clear of any ham-fisted agenda while staying faithful to the power and majesty of the Bible stories, and making them his stories. On the “Hebrew Scriptures” CD, Roberts gets things off to a clever start with “Why Not a Spark?” Singing in a style that suggests John Lennon, James Taylor and Glenn Tilbrook, Roberts lays out the tale of creation as if God were a smiling child in a swirling cosmic sandbox: “On the fourth day / God said, Where are the stars? / Where’s Mercury, Venus and Mars?/ Where’s all those old rusty cars? / Wait, that’s later!”
So Jesus’ wealthy friends did prove useful in the end. All four narratives seem to agree on this. Joseph, after all—the one from Arimathea, not his Dad— Joseph pulled strings with Pilate. Did he have to call in a few favors earned in questionable ways so he could claim possession of the corpse? Old Nicodemus too, Jesus’ night-shift friend from the Sanhedrin, Nicodemus makes his own fleeting reprise, carting along a ton—almost—of fragrant spices, nard and myrrh (again!), for preservation purposes. Although where he got such pricey stuff, late on a holiday Friday afternoon, is never quite explained. And that convenient, fresh-hewn, garden tomb; even back in the day, sepulchres such as those did not come ten-a-penny! Add in all the hired help they must have needed to get stuff from here to there and, of course, to roll and seal that massive rock . . . Whole thing makes you wonder—doesn’t it?— wonder if that narrow needle’s eye got prized wide open— camel-size, at least—to accommodate these late allies.
When Toni Morrison taught creative writing at Princeton University, all her students had been told in previous classes to write about what they knew. She said to forget that advice because first, they didn’t know anything yet, and two, she didn’t want to read about their experiences. She told them to imagine people outside their own experience, such as a Mexican waitress in Rio Grande who could barely speak English. It was amazing what these students came up with, Morrison said, when they were given license to imagine something outside their realm of experience (American Theatre, March 10).