Shotgun Stories (2007) is downright Shakespearean

About ten minutes into Jeff Nichols’ 2007 movie Shotgun Stories, I asked my husband, “Am I crazy, or is this, like, Shakespeare?”

Check it out: In rural Arkansas in the heat of summer, a woman knocks on the door of a shabby house. Her son opens, and she announces, “Your father’s dead.” The three brothers inside respond to this news in various ways, according to their natures. They next turn up at the funeral held by the dead man’s newer wife and his four newer sons, who enjoyed comfort and security after their father gave up alcohol, took up religion, turned his life around — and abandoned his first family entirely. The oldest son interrupts the eulogy to tell the world “You think he was a good man. But he wasn’t,” and he spits on the coffin. The upgraded family doesn’t take kindly to affront, and they take their revenge — and the bitter feud inevitably unfolds from there.

https://www.youtube.com/watch?v=OdVw3_FclyY&feature=emb_title
 

“He made like we were never born,” says the oldest son; and then he spends the rest of the film showing the world that, now that the father is dead, the first son is here, and he will not retreat. It is as if he cannot. Later, when his estranged wife finds out that there was a fight at the funeral, she asks him, “You think that was wise?” and he answers, “Doesn’t matter.” All the men in the movie are caught up in a violent drama that rolls out inexorably, as if it’s beyond anyone’s control. It is very hard to fault them for any of the choices they make, even when they will clearly lead to suffering, because they are behaving as one must in their world. It is as if the death of their father abruptly demands a higher, more elemental way of responding to the world — acting, rather than just enduring. (At the same time, at least some of the sons want the next generation to have something different.)

The three sinned-against sons are drawn in a few deft strokes that make fully-realized characters: One ambitious but prideful, one passive but single-minded, and one meek but intensely loyal. They are, you gradually realize, named “Son,” “Boy,” and “Kid,” (even the family dog has a more human name), while the upgraded family of sons are named after the father and after apostles. There is even a “fool,” a meth cooker named “Shampoo,” who cruises in and out of scenes delivering news, badgering, and instigating more drama. We never even see the father, dead or alive, but we know him well, through the memories of the seven sons he left behind.

There may possibly be an Old Testament/New Testament story being played out between the two families, working through themes of fathers who abandon us and yet somehow ordain our every move. I need to watch it again, because I know I missed a lot the first time around. Here’s a trailer that gives a pretty fair overview, although it doesn’t include the other two brothers, which is a shame:

 

What’s extraordinary about Shotgun Stories, and what also blew me away in Mud, also directed by Jeff Nichols, is the sense of place. Rarely, rarely have I seen such a true and real and immediate world through the lens of a movie camera. When the three brothers slump dejectedly in the street of their cracked, tired old town, I feel like I’ve lived there all my life and I’m sick to death of it. When Son reaches down to clear out the drainage pipe in the fish farm where he works, I feel the mindless weariness of it my sore elbow and my damp shirt cuff. I see exactly which parts of the tract home were fixed up by Son’s fed-up but not heartless wife, and which parts have fallen under the fate-haunted influence of the three brothers. The movie is clearly filmed on a shoestring, but it doesn’t look cheap, just true. 

What I haven’t mentioned is how funny the movie is, in unexpected spurts. The third son, Boy (Douglas Ligon), a gentle, pudgy, part-time basketball coach who lives in a van down by the river, tries at one point to hook up a full size air conditioner to his van; and ever since his attempt, his radio will occasionally start blaring cheesy power ballads, and there’s nothing he can do about it. He endures this several times, at the worst possible moments, and it is only after the fourth time that he thinks to turn the volume down. But it is Boy who eventually becomes the center of the action after Son can’t protect his brothers anymore.

The casting is, as in Mud, impeccable, and the acting is flawless. Michael Shannon as Son is tremendous, infuriating and heartbreaking at once, his face conveying three layers of emotion for every word he tightly utters. Like the dead father, the shotgun of the title barely makes it on screen. Instead, you see scars of the past, and are waiting throughout the entire movie to see whether or not it will go off again, and what will come of it all. You will not be able to take your eyes away.

Shannon is also great in Boardwalk Empire (a flawed but fascinating show) and Knives Out. If you read his IMDB page, you’ll be amazed at how many and what varied things he’s been in.  

Rated PG 13. Some violence and fleeting foul language; very intense in mood; suitable for teenagers. Highly recommended!

Where to watch Shotgun Stories

Make me a channel of legitimately sourced quotations

Emily Stimpson, bless her, once swatted down a story I’ve heard my whole life.  Stimpson says:

[T]he election of our wonderful new Holy Father, Pope Francis, has triggered an avalanche of people talking about the first Francis and his injunction to, “Preach the Gospel always. If necessary, use words.”

But see, here’s the thing. St. Francis never said that. We don’t know who did. But it wasn’t Francis. It’s not in any of his known writings. It’s not in any of his companions’ writings. It’s not in anyone’s writings about Francis for the first 800 or so years after his death.

Someone invented the quote and put it into poor St. Francis’ mouth. And ever since then, people have used it as an excuse to not evangelize with words, to not have the uncomfortable conversations or say the unpopular things.

I have also learned, to my great relief, that there is no compelling reason to believe that St. Francis ever wrote the spiritually flaccid “Make me a channel of your peace” prayer.

We can assume that these misattributions were honest mistakes:  somebody once upon a time said something that somebody else liked, and somebody else said, “Hey, that sounds like something St. Francis would say,” and somebody else took it to mean that St. Francis did say it, and so on, like a centuries-long game of telephone.  But no matter what the intentions, sloppiness with attributions can lead to real trouble, especially if the person to whom the quote is misattributed has some influential heft.

Even if you’re sure you have your attribution right, quoting people rightly can be tricky.  A few days ago, someone posted an inspirational image on Facebook.  Before a backdrop of cattails in the sunset, it said in golden script,

“It is in God’s hands. One must be content to leave it there. One must have Faith.” — C.S. Lewis

Something about that chewy use of the impersonal “one” made a gong go off in my head.  Did C.S. Lewis really say that?  The sentiment was too vague to be called false, exactly, but it sounded . . . chewy.  So I looked it up, and it turns out the quote is from Perelandra, where Elwin Ransom has been transported to an unfallen planet ruled by an unfallen Lady and her absent husband.  To Ransom’s horror, Hell has sent a representative to try to tempt the Lady into defying God.  It describes the thoughts that go through Ransom’s mind as he figures out what to do next — what God (Maleldil) wants from him. The quote in question is in bold:

He, Ransom, with his ridiculous piebald body and his ten times defeated arguments – what sort of a miracle was that? His mind darted hopefully down a side-alley that seemed to promise escape. Very well then. He had been brought here miraculously.He was in God’s hands. As long as he did his best – and he had done his best – God would see to the final issue. He had not succeeded. But he had done his best. No one could do more. “‘Tis not in mortals to command success.’ He must not be worried about the final result. Maleldil would see to that. And Maleldil would bring him safe back to Earth after his very real, though unsuccessful, efforts. Probably Maleldil’s real intention was that he should publish to the human race the truths he had learned on the planet Venus. As for the fate of Venus, that could not really rest upon his shoulders. It was in God’s hands. One must be content to leave it there. One must have Faith ….

It snapped like a violin string. Not one rag of all this evasion was left. Relentlessly, unmistakably, the Darkness pressed down upon him the knowledge that this picture of the situation was utterly false. His journey to Perelandra was not a moral exercise, nor a sham fight. If the issue lay in Maleldil’s hands, Ransom and the Lady were those hands. The fate of a world really depended on how they behaved in the next few hours.

So, yeah, Lewis said that, in the same way that Shakespeare said, “To thine own self be true”: through the mouth of a character who’s immediately proven wrong. It was not a recommended course of action; it was an illustration of the sort of lies we can tell ourselves when we’re trying to get out of something.  Attributing the shorter quote to C.S. Lewis without context is only half a step above the Hollywood promoter who prints posters that say, “Critics say ‘[Y]ou’ll love this movie!  It’s full of … good scenes!”‘” when the critic’s actual words were, “If you’re a grade A moron, you’ll love this movie!  It’s full of nonsense, and has no good scenes!”

And of course, some people don’t even bother to be technically accurate.  Have you heard the story that Pope Francis, when handed the papal mozzetta, said waspishly, “Wear it yourself!  The circus is over.”  That quote turned out to be made up out of whole cloth,  either by someone who really did regard Benedict XVI as some kind of bling-happy, medieval vulgarian, or by someone who maliciously wanted to portray Francis as someone who saw Benedict that way.  Either way, there is no evidence that Francis said it — and, more importantly, there is no evidence that he is the kind of person who would say something like that.

As Shakespeare once said, there’s the rub.  Consider the purported source.  Listen to your spidey sense.  If you see a quote by a famous person, and it either sounds the tiniest bit “off” to you — or, conversely, if it makes you think, “Oh man, that’s exactly the kind of thing I knew he was thinking all along, and now we’ve got him” — then think, and do a little research, before you forward it to all your friends!

As Marie Antoinette once said, “Famous people say enough stupid things on their own without you making stuff up.”  Well, I bet it sounds better in French.

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This post originally ran in a slightly different form in The National Catholic Register in 2013.