Once during adoration, someone nudged me in the ribs with an elbow. Which was odd, because the only other person in the room was an old man in high pants, deep in prayer or possibly fast asleep, way on the other side of the chapel.
Well, he wasn’t the only other person in the room. I was, of course, at adoration to visit that other Person in the room. And there he was, jabbing me in the ribs, for some reason. I had been reading something about Jesus as brother, and there he was, by my side, pestering me.
It is hard to tell stories like this without coming across as spiritually self-congratulatory and/or insane. No, Christ did not appear in the flesh, and there were no beams of light or audible hosannas, but I sure felt that elbow with my actual, physical nerves.
I can still feel it, years later. It has meant different things to me at different times. One thing: Jesus is not a glowy, hollow-eyed, bleachy-robed, mystical, ultraman but a man, a guy, who looked and acted so normally that most of the world assumed he was just another Jew. Just our brother.
I thought of that nudge, that “by your side” sensation, when I was chatting with my husband about the Prodigal Son, who had a brother, too: the infamous elder brother. Commonly, Christians assume the elder brother is the Jewish people, kicking up a fuss as the Gentiles are grafted onto the tree. Or else maybe the elder brother is all of us, everyone who has been a good child to the father, and just cannot deal with the screw-ups getting mercy and welcome.
But my husband asked: What if the elder son is Jesus? Jesus, our brother?
Image: The Prodigal Son by Albert Sterner, 1930. New York Public Library digital collections (Creative Commons) Creative Commons CC0 1.0 Universal Public Domain Dedication (“CCO 1.0 Dedication”)
Man, I really dropped the ball with movie reviews this year. Sorry about that! We did end up watching a few more movies, but not as many as I hoped. Here’s some quick reviews:
The Secret of Kells
It was such a beautiful, such an interesting movie, just visually ravishing.
but I came away unsatisfied. The kids didn’t start the movie knowing that the actual Book of Kells is the Gospels, and they didn’t know it by the end, either. Which is weird! It’s weird to have a whole movie about a powerful book, but never mention what the book is about. It’s okay for a movie not to teach religious things, but the whole lynchpin of the story is that the book, and what preserving it represents, is what chases out evil and darkness. They explicitly say so. And yet they never tell you what kind of book it is. That is a major flaw in the story. There’s also some suggestion that art itself, or the creative process itself, or possibly just uncurtailed creativity, is what conquers evil. But they simply don’t develop this idea.
I wanted to like the movie, and the images in it were very powerful. But I don’t know what it was about; and for a film that’s absolutely drenched in portent, that’s a problem. Normally I’m not a fan of voice overs, but in this case, I would be in favor of someone recording a simple explainer to tie together all the themes that someone apparently thought were speaking for themselves. Anyway, I’d like to watch it again, because I’m sure I’m not catching everything, but I was disappointed in how glib it was.
Audience suitability: Kids ages 7 and up watched it at our house. It’s not gory or anything, but it’s fairly intense, with lots of scenes of violence and war, as well as scary, threatening magical creatures. So not suitable for sensitive kids. (I found the portrayal of war upsetting, myself.) It does portray supernatural powers and creatures as factual, but that’s part of the plot: It’s the struggle between the old pagan world and the new Christian order. So we talked to the kids about how that actually happened (if not exactly as portrayed); and we also talked about how, exactly, Christianity brought light into the darkness. I just wish this movie had demanded a little more of itself.
***
St. Philip Neri: I Prefer Heaven
It’s a long ‘un, and we have only watched the first part, right up until some prostitutes show up and one of our kids asked what a prostitute was and my husband said he would tell her tomorrow, and then he claimed that he said “we” meaning the royal we, meaning me. And then some of the kids went on a class trip to DC, and left their fanny pack of insulin in the Botanical Gardens, and everybody’s alive, but somehow and we haven’t gotten around to watching the rest of the movie yet.
That being said, this is one of the most winsome, appealing, entertaining portrayals of a saint I have ever seen. Also some of the best child actors I have seen in a long time.
There aren’t many clips available online. Here’s the end of the scene where he has to get the kids together to try to impress the pope, so he’ll be allowed to have his oratorio.
This is one of the hokier scenes of the movie, but in context, it was also deeply sweet and moving, and they pulled it off, slow motion and all. The way he so humbly and strenuously appeals to the crucifix on his wall, clearly fully expecting to get some response, was really striking. I don’t know anything else about Philip Neri, so I don’t know how accurate the movie is, but the character is a wonderful portrayal of holiness, which is saying something. The actor did a great job of portraying a man with a specific personality, including flaws and bad habits, but also a holy self-forgetfulness, single-mindedness, and joy that really rang true. He also had the most blindingly white chompers I’ve seen in ages.
It is in Italian with English subtitles. They are pretty easy to read, and the dialogue is not terribly complicated, so everyone got into the swing of it pretty quickly. The story moves along briskly and it has lots of funny parts and plenty of bathos. It’s not a sophisticated movie, but it avoids gooey sentimentality by letting the characters act like real people, even if the situations they are in are painted in pretty broad strokes.
I also enjoyed seeing the costumes and hairstyles and food of Renaissance Italy (a real breath of fresh air while folks are learning history through, augh, Bridgerton). The whole family enjoyed it, which almost never happens. We streamed it through the Formed app.
***
The Miracle Maker
A stop motion animation movie from 1999. Kind of a strange movie.
I don’t disagree with anything Steve Greydanus wrote in his review of this movie, which he recommends every year. They did several tricky scenes extremely well; they used various kinds of animation to great effect; they were very clever in how they framed the whole thing, making Jairus’ daughter a full character who actually knew Jesus and spent time with him. And they more or less pulled off showing Jesus as someone with supernatural power and also as a magnetic man you would want to be friends with. That’s a lot!
But I’ve seen this movie three or four times, and I always find it mildly off-putting. Part of it is that Ralph Fiennes sounds so unlike Jesus to me. It’s partly just the timbre of his voice; but it’s also his delivery. Anyone would have a hard time figuring out how to deliver the mega-familiar lines from the Gospel, but he largely decides to go full Charlton Heston, all sweat and megaphone. Yes, the material is dramatic, but the constant sturm und drang approach just washed over me and didn’t leave a mark. As someone who’s heard those words a thousand times, a more subtle and thoughtful reading might have caught my attention.
But at the same time, if I were completely unfamiliar with the life of Jesus and the basic tenets of Christianity, and someone showed me this movie as an introduction, I would come away thinking it was an incoherent mess. It’s very episodic (which, admittedly, the Gospels also are; but if I were making a 90-minute movie, I’d keep the themes and structure very tight, and they did not), and Jesus doesn’t appear to be following any discernible plan, but just sort of chasing his moods. He comes across as a little bit nuts, honestly. The writers lean too much on the viewer to connect the dots and make sense of who Jesus is and what he’s trying to achieve. It should have been six hours long, or else they should have been much stricter about what belonged in the movie. It’s hard to say why they chose specific scenes and left others out.
I also struggled with the faces of many of the characters who were supposed to be appealing. Jesus himself was mostly good to look at, so that was a relief; but the child Tamar and several others were goblin-like and unpleasant to watch.
But, the rest of the family liked it. I did like many scenes, and the crucifixion sequence was very affecting. My favorite scene is the miraculous catch of fish, which shows Jesus laughing as they struggle to drag all the fish into the boat, which I guess he would have done!
I think it’s a good thing to see lots and lots of different portrayals of Christ, so that the ones that ring true for you get lodged in your head, rather than just the one someone happened to show you that one time you saw a Jesus movie. So this is a more than decent choice for one among many.
***
And I guess that’s all we’re going to manage this year! We want to finish I Prefer Heaven, definitely.
Here are my previous Lent movie reviews from this year:
If you like a good insult, you’ll love today’s readings.
First, Moses tells the people to keep God’s commandments perfectly, and God will reward them. It is the kind of reading that might drift along unheard right over our heads because we’ve heard this message so very often in Scripture. But the fact that we’re hearing it in Lent makes it a bit more uncomfortable. The entire context of Lent is: This is what happened because people didn’t keep the commandments.
The Old Testament is the story of people who got very clear directions about how to behave. Like us, they heard it over and over again, and they just couldn’t hack it. So God had to turn up in person.
And when he was there, he made things crystal clear, telling the disciples directly:
You have heard that it was said, You shall love your neighbor and hate your enemy.
But I say to you, love your enemies,
and pray for those who persecute you.
Has anyone ever told you there are jokes in the Bible? The one I found the other day made me laugh until I cried.
A little background, first. My old therapist had one of those wretched inspirational posters on his wall. It was a stock photo of a misty lake, and the caption said something about needing the courage to step off the shore so you can begin your journey.
It never made sense to me. What kind of journey is that? We don’t have to wonder what will happen when someone steps off the shore: They sink. Step off the shore, under you go. Bloop! End of journey.
Well, that poster may have been an illogical cliché, but it also turned out to be decent advice—as long as you don’t take it literally. But it was terrifying. Feeling nothing under my feet is the worst thing I have ever felt. There is always the temptation to scramble around and flail your way back to familiar ground because even if you recognize that your old life is a disaster, at least it is familiar.
But I did it: I stepped off into the void many times over the course of several years while I was in therapy. I was learning what in my psyche was craziness, what was garbage and what were traps I laid for myself, but also what was good, sane, powerful and admirable. What truly belonged and could be developed further and how to do it. It was an untangling process, and what was salvageable about myself was much more solid and worthwhile than I had feared. It is such a cliché to say “I found myself,” but that is more or less what happened when I took a big step away from security. I discovered, to my relief, that there was a real me there, in the heart of all the dysfunction.
Then, armed with a new sense of self, I started working on untangling some relationships. This was, if anything, even more terrifying. I knew that if I cut away everything that was unhealthy, there might be no relationship left.
People are who they want to be, and if you are going to become healthier and more whole yourself, you have to let other people be who they choose to be. Sometimes this means the relationship will end. You will lose someone you did not want to lose. This is a thing that happens sometimes, when you step out, away from secure footing. Many of my relationships changed. Some became stronger. Some were lost.
Then, at a certain point, my therapist asked me to look hard at my relationship with God and with the Catholic Church.
Someone on Twitter asked, “What is your favorite line from a hymn—one line that is so rich, you think on it over and over again?”
How strange and wonderful to read the responses. I was familiar with some of the verses that people carried with them, and had never heard of others. Some seemed like things that any human would take comfort from, and others pointed to the fact that there certainly are all sorts of people in the world with all kinds of taste; there certainly are.
My own choice? “He is Alpha and Omega; He the source, the ending, He.” This is from “Of the Father’s Love Begotten,” the most musically and textually perfect hymn I know, and it has come back to me, over and over again, since the day I first heard it. Listen:
It is a doctrinal hymn, which explains why it gives you so much to think about (not that more emotional, lyrical ideas can’t grip your mind and stay with you!)
Of the Father’s love begotten ere the worlds began to be, he is Alpha and Omega, he the Source, the Ending he, of the things that are, that have been, and that future years shall see, evermore and evermore!
I’ll add the rest of the verses at the end. This hymn is a flawless marriage between sound and sense. This recording begins with what I consider the ideal arrangement: A single male voice with no accompaniment but some medieval bells and chimes. This puts it into that otherworldly space of quiet brilliance on blackness, as if you’re witnessing something outside of time, which is what the song is about.
The first two lines, “Of the Father’s love begotten/ere the worlds began to be” climb up and then slightly down the scale somewhat tentatively, like an explorer coming upon something that compels him but fills him with awe; but “ere the worlds began to be” ends on a long note, searching for a clear view of what we’re talking about. And then we see it: In “He is Alpha and Omega,/He the source, the ending he,” the voice rises and then returns back down, digs down and then climbs back up, with the tune following the sense of the words: Wherever you go, Christ is there. Then finally, with the last three lines, I hear a little portrait of human life: “Of the things that are” gets a quick mention, and then “that ha-a-a-a-ave been” gets a more lingering treatment, because my gosh, we have been through a lot. And then “and that future years shall see” is almost muttered in a lower voice, because it is still shrouded in the future; but then: Evermore and evermore! Ah, back to Jesus. It’s always Him. All is cared for, in him. Nothing is unaccounted for.
You guys, I got so lost this year. I can’t explain it here, but I became angry and hurt and confused, and I turned my back on Jesus until I couldn’t even remember what the big deal was anymore. You get used to being cold and you don’t feel cold anymore, and you forget what it’s like to be warm. But it is coming back to me.
I hear all the jokes about how 2021 is just going to be another miserable year, and how foolish it is to hope for something better. But I can’t help it! It’s not about the things that ha-a-a-a-ave been and that future years shall see. It’s about Jesus. I know everything’s a big mess. But nothing is unaccounted for; no one will be lost or forgotten. He is so bright and so good, evermore and evermore.
Everyone who reads this, I pray for comfort and solace, answers and illumination, and rest in Jesus.
~~~~~~~~~~~~~~~~~~~~~
2 O that birth forever blessed,
when the Virgin, full of grace,
by the Holy Ghost conceiving,
bore the Savior of our race;
and the babe, the world’s Redeemer,
first revealed his sacred face,
evermore and evermore!
3 This is he whom heav’n-taught singers
sang of old with one accord,
whom the Scriptures of the prophets
promised in their faithful word;
now he shines, the long expected;
let creation praise its Lord,
evermore and evermore!
4 O ye heights of heav’n, adore him;
angel hosts, his praises sing:
all dominions, bow before him
and extol our God and King;
let no tongue on earth be silent,
ev’ry voice in concert ring,
evermore and evermore!
5 Christ, to thee, with God the Father,
and, O Holy Ghost, to thee,
hymn and chant and high thanksgiving
and unwearied praises be,
honor, glory, and dominion
and eternal victory,
evermore and evermore.
~~~~~~~~~~~~~~~~~~~~~
Image: Christ Anapenos (Eyes never-closed) Icon – By the hands of Christian Tombiling, of Indonesian Eastern Catholic Community CC BY-SA 4.0, via Wikimedia Commons . The description reads: Christ is sitting on His bed with arms supporting His head, watching over us. He is inside the cave, eventhough the cave is too small to bear Him. Background is sky of star. The inscription is written, taken from the Psalm 120: “Behold he shall neither slumber nor sleep, that keepeth Israel”
We buried my father a few weeks ago. He and my mother had bought plain Trappist coffins for themselves years ago, to spare us children the trouble. But my father’s house, even though it had many rooms, was short on space, because it was so full of books — books to sell, books to read, books to just . . . have. And the coffins were also full of books. Books everywhere. Think of all those words, words, words.
Some years ago, when my sister lived there for a while, her little son took a marker and scribbled on the side of the casket, as kids do. I think he must have been pre-literate, because it almost looks like a letter, but maybe not. Who knows what he was trying to write. Whatever intentions the child had went down into the grave with my father’s body.
If this sounds grim, I’m telling it wrong. We all thought it was hilarious. That’s something my father would say: “You’ll go to your grave not knowing,” with a satisfied wiggle of his eyebrows. He loved having a secret, and he loved having a joke. And he loved talking about death.
At the cemetery the rain dripped off my hood and onto my virus mask, down my rain jacket, off the lame bunch of flowers I had bought at the supermarket, because I didn’t know what else to do. So lame.
When my father died, I had to ask my friends how I was supposed to respond to people who had sent Mass cards. I wanted to know if it was all right to thank them via email, or if I needed to send out paper cards of thanks. The part of my mind that wasn’t crying for my father was fascinated by the flourishing of social problems that sprung up overnight surrounding his death.
If someone I don’t know expressed sympathy on Twitter, was it weird to “like” their sympathy? Would it be offensive to tell a mutual friend of my brother that he probably wasn’t ready to receive any casseroles? I was afraid I’d have to come up with something to say at the burial, and I didn’t know what to say.
Was it okay to tell a little joke as the coffin was lowered into the grave? I could hardly help myself, so I whispered it to my husband, who laughed; and then I worried that the laugh might have been caught on the livestream that my brother’s girlfriend was sending to my siblings who couldn’t be there because of the virus.
It occurred to me, nobody knows how to do this. Nobody knows what to say or how to act. This is true any time anyone dies, because there is nothing more unknowable than death. How we love to talk about death. But the ones who can still talk are the only ones who don’t know what they’re talking about.
The only people who understand what it means are, by definition, not telling! So sue me, this makes me laugh, and I know my father would find it funny, too. He spent his whole life talking about death. I wonder what he thinks now.
Thanks for reading, thanks for commenting, thanks for laughing at my stupid jokes, thanks for getting mad when I say stupid things. I loves you all, but Jesus loves you more.
****
****
Body of Christ, from Mary’s body;
Blood of Christ, from Mary’s blood.
Jesus the bread, Mary the yeast;
Mary the kitchen, Jesus the feast.
Mary the Mother by whom we are fed;
Mary the oven, Jesus the bread.
Mary the soil, Jesus the vine;
Mary the wine maker, Jesus the wine.
Jesus the Tree of Life, Mary the sod;
Mary our God-bearer, Jesus our God.
Mary the silkworm, Jesus the silk;
Mary the nurse, Jesus the milk.
Mary the stem, Jesus the flower;
Mary the stairway, Jesus the tower.
Mary and Jesus, our castle entire;
Mary the fireplace, Jesus the fire.
Mary God’s ink, Jesus God’s name;
Mary the burning bush, Jesus the flame.
Mary the paper, Jesus the Word;
Mary the nest, Jesus the bird.
Mary the artery, Jesus the blood;
Mary the floodgate, Jesus the flood.
Mary and Jesus, our riches untold;
Mary the gold mine, Jesus the gold.
If He was capable of healing with a touch, surely He could have performed some other kind of miracle that would have changed everyone’s mind about Mosaic Law, or He could have made the man incapable of spilling the secret, or He could have done a thousand other things to get out of the bind the man made for him when he spilled the beans. The way He chose to do it is impractical and confusing, and it doesn’t make sense to me.
Easter is April 14th 16th. I know, because I have Googled it eleven times in the last week people on Facebook told me so after I got it wrong after Googling it eleven times. That means if you have Amazon Prime, you can still order a nice Easter book for your kids, and it will get here in time.
A traditional Orthodox story telling how Mary Magdalene goes to a feast with the Emperor Tiberius. She spreads the thrilling news that Jesus has risen from the dead.
When it reaches the Emperor’s ears, he says, “Do you see this egg? I declare that Jesus can no more have risen from the dead, than this egg could turn blood red.” Which it does.
“The story opens with three trees on a hilltop; one longs to be made into a dazzling treasure chest for diamonds and gold, the second wants to be a mighty sailing ship that would carry kings across the ocean, and the third simply wants to remain on the hilltop to grow so tall that when people see her, they will think of heaven. As woodcutters fell each tree, we find that although at first they cannot understand why their dreams weren’t fulfilled in the way they wanted, God used them for much greater purposes than they could ever dream.”
Wildsmith’s own passion for the story of Jesus’s crucifixion and resurrection is unmistakable in his glorious, metallic-gold-hued illustrations, which tell the story more vividly than words ever could. In fact, to his credit, Wildsmith adapts the story of Jesus’s last days in as simple and straightforward a manner as possible, allowing young readers to glean the substance from the paintings, symbolism, and, most likely, discussion with grownups who may be reading along.
The donkey’s-eye-view of the events allows a slightly different perspective from the standard, without being overly intrusive as a literary device. Lush jewel tones capture the richness of the narrative, and mesh in a strangely beautiful way with the simple paintings of Jesus, the angels, Mary Magdalene, and others in the biblical cast of characters. The Easter Story will make a gorgeous addition to any Easter basket. (Ages 5 and older)
So difficult to choose just one or two by Maïte Roche. I can’t find a reasonably priced edition of My First Pictures of Easter, which I recommend heartily, so keep an eye out! It’s a treasure.
You will also love MY FIRST PICTURES OF JESUS, a sturdy little board book with captivating illustrations for little ones to pore over. This book is arranged with lots of pictures and only a few words, to inspire your own conversations with kids.
Another lovely offering from Roche: MY FIRST PRAYERS WITH MARY. Here’s one of my favorite illustrations from this book: Mary teaching baby Jesus to walk
It includes several short, simple prayers to Mary, with large, bright pictures of Mary, Jesus, and Joseph, accompanied by smaller pictures of modern children on the facing pages. The faces are very inviting.
A departure from dePaola’s familiar Renaissance-inspired, style:
From the reviews:
“This joyous book sings thanks and praise for everything in land, sea, and sky-from the sun and moon to plants and animals to all people, young and old. Beloved author-illustrator Tomie dePaola captures the beauty of God’s creation in his folk art-style illustrations. With text inspired by Old Testament Scripture and artwork fashioned after the beautiful embroideries and designs of the Otomi people from the mountain villages around San Pablito, in Puebla, Mexico, this is a wonderful celebration for all to share.”
Illustrations in the style of my man Bruegel! This is on my wish list. From the reviews:
“[A] young donkey named Bethlehem and the interaction he has with Jesus beginning the Messiah’s birth and proceeding through the flight into Egypt, the baptism by John, the wedding feast at Cana, the events of the Last Supper, and finally with the Jesus’ crucifixion at the hands of the Roman authorities.” Christ appears somewhere on each page.
I was skeptical, and boy do I want to be careful showing my kids any moving, speaking representation of Christ. This is not perfect, but it’s good, and powerful. Hope to rewatch soon and provide a more detailed review.
Sometimes Christ says, “I am the way,” and when you try to follow Him, you find yourself alone in the world. Sometimes He says, “I will give you rest,” and when you accept, then the real work begins. Sometimes Christ says, “I am love,” and when you go to Him, the first thing you feel is a terrible pain.
Then what? What are we supposed to do then, when we are repelled or confused or hurt by these unexpected “mixed metaphors” of our encounters with a Christ who is all things?
