The French film Caché (“Hidden”) is a stylish thriller tiptoeing around a psychological drama that lurks inside a political allegory. This is typical of the work of Austrian writer-director Michael Haneke (Code Unknown), who enjoys presenting confrontational films in which seemingly normal folks leading normal lives turn out to be not very normal at all. Caché, which won the Best Director Award at last year’s Cannes Film Festival, stars the enigmatic Daniel Auteuil and the luminescent Juliette Binoche as Georges and Anne Laurent. He hosts a television talk show about books; she is a writer who works in publishing—until an anonymous two-hour videotape interrupts their lives.
Adopting the approach of most movies made about the life of the notorious pleasure seeker, Lasse Hallström’s Casanova isn’t a biography but a free-form embellishment. It treats Casanova as a legend, a symbol—like Zorro.
In Oscar nominee Crash, writer-director Paul Haggis examines the U.S. racial divide in a series of interconnected short dramas that reach a powerful conclusion. It is a painful film to watch because Haggis offers no comfortable side with which the viewer can identify—until, that is, a conclusion provides a note of grace-filled hope. The racial bias of both black and white characters is exposed, leaving everyone culpable. As in many Krzysztof Kieslowski films, there are moments that suggest a transcendent hand is at work.
The myth that sports are racially redemptive makes for formulaic movies. Glory Road feels a lot like Remember the Titans. The films (both produced by Jerry Bruckheimer) show how a team’s drive to win a championship overcomes racial divisions and leads blacks and whites to bond like brothers.
It was not meant as exclusionary, the way the boy laid his arm along the pew, not touching her back but cupping the bowl of his hand over the girl’s shoulder, exactly the way his father encircled his mother in decorous Sunday embrace.
Near in age and adoring, his forsaken younger sister saw the story of all Eve’s children, an enacted parable of man leaving father and mother to cling to wife, heard Scylla and Charybdis’ seductive hymn, felt the tension of two great loves, perceived in a piercing moment ties tighter than the bonds of blood.
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.
Children who sing in a choir, play in an orchestra, or perform in a play are more likely to make good moral choices compared to their peers. This finding was the result of a study at the University of Birmingham involving 10,000 British children and 250 teachers. The study also concluded that participation in sports doesn’t necessarily lead to better moral choices. The findings suggest that sports build character only when parents and coaches work to ensure that outcome. Children who go to church, get good grades, and have parents with a higher level of education also did better in the moral choices measure (Telegraph, February 27).