“Right” vs “Rights”

Here’s something for the Guns and Mental Health debates:

What’s really at issue: In essence, the ideal of right (what is true, good, and mutually beneficial for all and not a few, I.e. THE TEN COMMANDMENTS) has ceded to the ideal of rights (there’s a law that says I can do this, so I can and I will. The impact on others is of no concern for me. ). Big Difference.

Consider reading this article for more in-depth exploration of this distinction:

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Homily for the Fifth Sunday in Ordinary Time: Sunday 4th of February 2018

 Reading 1JB 7:1-4, 6-7

Job spoke, saying:
Is not man’s life on earth a drudgery?

Responsorial PsalmPS 147:1-2, 3-4, 5-6

  1. (cf. 3a) Praise the Lord, who heals the brokenhearted.

Reading 21 COR 9:16-19, 22-23

Brothers and sisters:
If I preach the gospel, this is no reason for me to boast,
for an obligation has been imposed on me,
and woe to me if I do not preach it!

GospelMK 1:29-39

On leaving the synagogue
Jesus entered the house of Simon and Andrew with James and John.
Simon’s mother-in-law lay sick with a fever.
They immediately told him about her.
He approached, grasped her hand, and helped her up.
Then the fever left her and she waited on them.

When it was evening, after sunset,
they brought to him all who were ill or possessed by demons.
The whole town was gathered at the door.
He cured many who were sick with various diseases,
and he drove out many demons,
not permitting them to speak because they knew him.

Rising very early before dawn, he left
and went off to a deserted place, where he prayed.
Simon and those who were with him pursued him
and on finding him said, “Everyone is looking for you.”
He told them, “Let us go on to the nearby villages
that I may preach there also.
For this purpose have I come.”
So he went into their synagogues,
preaching and driving out demons throughout the whole of Galilee.

It’s easy to fall into the existential angst of Job – “what does anything matter?” We let the words of Ecclesiastes echo repeatedly in our heads: “All is vanity. Life is meaningless.” When we’re in that state of mind, it is profitable to remember that faith insists that humanity needs a Savior.  God initiated a Covenant with mankind for this very purpose: deliverance from mere existence into fullness of life.

For us, the story of Jesus is a healing story.  It’s restorative, transformative.  Jesus’s destiny was and remains a healing ministry just as he healed Simon Peter’s mother-in-law and myriad of others long ago.  But note Jesus’ exemplifies an essential aspect of his restorative technique right here in today’s Gospel for all of us to appreciate:  solitude: “Rising very early before dawn, he left and went off to a deserted place, where he prayed.”  We must remember that prayer does not / must not always include words.  Sometimes in our despair, words are even too much for us to bear.  Solidarity with God requires silence, too.  Here’s a perfect example from a story by religious sister and spiritual writer José Hobday:

“One summer Saturday when I was 12, I was waiting for my friend who wanted to come over. We had planned the morning together. She was quite late. I was fretting and complaining and generally making a nuisance of myself. In fact, I was becoming rather obnoxious to everyone else in the house.

“Finally, my father said to me ‘Get a book a blanket and an apple and get into the car!’ I wanted to know why, but he repeated the order. So, I obeyed. My father drove me about eight miles from home to a canyon area and said, ‘Now get out.  We cannot stand you any longer at home. You aren’t fit to live with.  Stay out here by yourself today until you understand better how to act. I’ll come back for you this evening.’

I got out, angry, frustrated and defiant. The nerve of him! I thought immediately of walking home.  Eight miles was no distance at all for me. Then the thought of meeting my father when I got there took hold and I changed my mind.

“I cried and threw the book, apple and blanket over the canyon ledge. I had been dumped and I was furious. But it is hard to keep up a good, rebellious cry with no audience, so finally, there was nothing to do but face up to the day alone.

“I sat on the rim, kicking the dirt and trying to get control of myself. After a couple of hours, as noon approached, I began to get hungry. I located the apple and climbed down to retrieve it– as well as the book and the blanket.  I climbed back up and as I came over the top, I noticed the piñon tree. It was lovely and full.
I spread the blanket in the shade, put the book under my head and began to eat the apple.  I was aware of a change of attitude. As I looked through the branches into the sky, a great sense of peace and beauty came to me.  The clouds sat in still puffs, the blue was endless; I began to take in their spaciousness. I thought about the way I had acted and why daddy had treated me so harshly.  Understanding began to come and I became more objective about my behavior. I found myself getting in touch with my feelings, with the world around me.

“Nature was my mother, holding me for comfort and healing. I became aware of being part of it all, and I found myself thinking of God. . .. I felt in communion with much that I could not know, but to which I was drawn.   .  .  Of touching the holy.

“By the time my father came to get me, I was restored.  Daddy did not press me about the day.  He asked no questions and I gave him no answers.  But I was different and we both knew it. . . Before I got out of the car, I thanked him.”

May we begin with a little more silence now then we usually do—that is, before we return to the words of The Creed.  And so, may the balance of this Mass increase our comfortability with solitude and the mystical presence of Jesus.

Four Oscar Contenders:  THE POST, THE SHAPE OF WATER, LADY BIRD and CALL ME BY YOUR NAME

All four of these Best Picture Nominees are worthy of your time and investment.  Here’s Why:

THE POST directed by Steven Spielberg and starring Meryl Streep and Tom Hanks confirms the essential role of the press to insure a healthy democracy and honesty in government. It’s an important slice of history.  If you happened to see the recent Ken Burns/ Lynn Novik VIETNAM documentary on PBS this fall, you’ll appreciate THE POST even more. THE POST relays how the Washington Post struggled with the ethics of printing The Pentagon Papers –US classified reports documenting the futility of the Vietnam war. The papers revealed how a succession of American Presidents (Eisenhower, Kennedy, Johnson and Nixon) sacrificed TRUTH to perpetuate an “American Myth” — INVINCIBILITY!  The TRUTH: Cold War fears prompted administrations to reject stalwart military advice to end the war and prevent the violent death of millions. The film centers on Kay Graham (Streep), the first ever female major newspaper publisher, and the plethora of ethical and legal considerations she must wade through as Ben Bradlee (Hanks) demands publication. Streep inhabits her role with the usual aplomb and, this time around, Tom Hanks cultivates outward quirks and idiosyncrasies that brings his performance closer to an outright impersonation. Not his usual style. It works.

There’s a high degree of cohesive interplay among the supporting cast that creates an aura of “in-the-moment” authenticity—all to Director Spielberg’s credit.  Standouts: Bruce Greenwood as Robert McNamara (whose friendship with Kay Graham causes her considerable angst), Matthew Rhys as Daniel Ellsberg and Bob Odenkirk as reporter Ben Bagdikian. The film’s pace is slow; the script is familiarly linear. The result is a more comfortable movie-going experience despite the high-pitch stress THE POST depicts.  The movie is almost contemplative–but not quite. Its message is irrefutably vital: The Courage to speak (and print) the Truth makes life worth living. The Truth will set you free.

THE SHAPE OF WATER is a grand, spectacular adult fairy-tale, a riff on Beauty and the Beast that insists on the audiences’ transformation rather than that of the characters who are perfect as they are. Well, almost.  Beauty’s arc includes a sexual awakening along with developments in courage.   In this venture, director and writer Guillermo del Toro (with co-writer Vanessa Tyler) melds fantasy with more traditional Hollywood suspense seamlessly with dream-like impressionism in sharp contrasts with metallic laboratories with the burgeoning technologies of the 1950’s.  His movie deserves a wide audience from high schoolers on up for the plot not only depicts Love’s triumph but exposes the many false ideals and vanities of American manhood that continue to confound and confuse every generation.   Actress Sally Hawkins is intrinsically believable and enchanting as the mute Beauty. The “Beast” is strikingly portrayed by Doug Jones with an assist from CGI and inspired costume designer Luis Sequera along with an army of terrific makeup artists.  Their collaborative Amphibian Man creation is more appealing and less freaky than del Toro’s PAN’S LABYRINTH creature. I found it most engaging. Once again actor Michael Shannon is a standout as the villain while Richard Jenkins and Octavia Spencer offer sensitive portrayals of the milk of human kindness. Michael Stuhlbarg as a scientist and (spoiler alert) spy with an ethical backbone offers another informed, convincing performance.  The music by Alexandre Desplat richly enhances the proceedings with a fitting appropriation of “You’ll Never Know” (music by Harry Warren, lyrics by Mack Gordon, 1943) at significant plot points. Opera diva Renée Fleming uses her pop alto voice for a lovely version of that plaintive Oscar winning hit during the closing credits. A wonderful, all-around entertainment.

 

LADY BIRD might just be the most enjoyable coming-of-age, mother-teenage daughter, old school-new school conflict to hit the screen in quite some time. Captivating performances by the fast becoming Irish (and now American) Living Treasure Saoirse Ronan as the teen and Laurie Metcalf as the Mom and fine supporting cast make this “little picture” a major one. With a clever, funny script and adept direction by Greta Gerwig, the movie is a gem. Gerwig elicits first-rate performances from the entire cast, especially Lucas Hedges (a boyfriend), Lois Smith (Sister Principal) and Beanie Feldstein (the girlfriend). The “feel” of the film is impressive in the way each of the character’s respective flaws are as much humbling for the audience as they are dramatically engaging. And, in a surprising change from the usual Hollywood wisecracking, LADY BIRD offers an honest and overall positive depiction of a contemporary Catholic school.  Hurrah!  Best of all, LADY BIRD is more than just a story of growing older and wiser, but an incisive exposé of conflicted social mores and the perils these present to moral development, personal authenticity and integrity in relationships from family to the wider world.

 

CALL ME BY YOUR NAME offers another kind of coming-of-age story with a central emphasis on sexual awakening, in this case with same-sex attraction, albeit with bisexual undertones.  Tomothée Chalamet is excellent as Elio Perlman, a seventeen-year-old whose fascination with an exceedingly handsome thirty-something research assistant (solidly and sensitively played by Armie Hammer) is fraught with age appropriate confusion and elation, awkwardness and excitement. Director Luca Guadagnino offers a stylized romantic view of the relationship highlighted by stunning views of summers in the Italian countryside and earthly delights of teens and young adults swimming in lakes and rivers.

This love story occurs in the context of a highly educated Jewish Italian American family residing in Italy as Elio’s father (once again, a formidable presence and well-crafted performance by Michael Stuhlbarg) pursues and catalogs artifacts of ancient Roman Art. Mom is played by international actress Amira Casar with strength and grace.  The three that make up the Perlman family are true contemporary Renaissance figures, exceedingly well-read, fluent in multiple languages (Italian, French, German and English), dignified, warm, welcoming and hospitable to special friends ranging from foreign academics and local neighbors.

An only child, Elio is in some ways more mature than others his age and it is easy to see how his emergence into manhood would include an attraction to an older man even if that man weren’t as Adonis-like as Mr. Hammer is in appearance.  Still, one would think a sexual attraction on the part of a mature teen would emerge from mentor/ mentee relationship, with mutual likes and dislikes established, common visions and life goals. But the characters, at least initially, have little in common except their masculinity and their connection to Elio’s parents. Still, Elio’s youth accounts for a great deal here. What is not clear, however, is what makes Elio attractive to the older Oliver? Was it Elio’s infatuation with Oliver that elicits comparable sexual response in Oliver?  Perhaps, but the script does not clarify the relationship enough beyond the sensual dimensions, nor does it explore in any detail the realities of a grown man initiating a minor into gay sex, although Oliver does express some misgivings at the onset. Overall, the story presents Elio as ready and willing, and primarily the initiator –more the cat than the mouse, but the ethical question remains.  I left the film asking, “is this a story of a genuine first love or more a sentimental episode of sexual attraction and exploration?” Professor Perlman’s words to his son, Elio, near the conclusion of the film offer some insights as to the importance of self-acceptance and the value and beauty of intimacies in friendships, but the moral dimensions of each character’s actions are left for the audience to decide.  These questions, by the way, apply to Elio’s heterosexual encounters with an adventurous (same age) female neighbor, but would apply with equal gravity to this story if it concerned an adult woman with a not-yet-eighteen teenage boy.

Adults introducing teens into sex, no matter the sexual orientation, no matter who initiates the invitation or who evokes the desire or the foreplay, is rife with psychological, emotional and spiritual consequences. Considering contemporary issues such as Kevin Spacey’s scandal, for example, or the tragically long-standing cases of priests’ abuse of teenagers, I hope my reflections here offer some food for thought regarding even “consenting minors. ” Indeed, this film engenders wide-ranging public discussion.

I welcome you to read another of my movie reviews: The Oscar contender:  GET OUT!

https://frjamesdiluzio.com/2017/03/