Life Through the Lens: The universal law of validation - Parkersburg News
“People are desperate to tell you who they are – desperate to be seen.”
The Laws of the Universe (through teaching freshman English):
* Divine Oneness: all children are the same, from the same source, bonded to one another immutably … and they all ask the same question: “Can I go to the bathroom?”
* Vibration: everything that exists is energy vibrating and moving … especially when asked to sit still and complete an assignment. Energy has never vibrated and moved so much.
* Correspondence: the universe is nothing but repeated patterns … as is every essay I’ve assigned. “Hmm, this one looks an awful lot like that one …”
* Inspired Action: you should act because a strong inner urge compels you to do so … unless the urge is begging for you to bang, shout, scribble, scream, pinch, punch, throw, spit, or wipe. Ignore that one – wait for the next one.
* Transmutation: energy can neither be created nor destroyed … neither can that smell in my room? Like, what is it? Stir fry mixed with maple syrup mixed with hamster cage? A freshman is a walking bouquet of mystery.
* Cause and Effect: for every action, there is an equal reaction … for every zero on an assignment there an equal zero placed in the gradebook. Weird how that works?
* Relativity: the universe is nothing short of neutral, yet we perceive it through our own personal lenses … meaning: you can’t please everyone! Even if I show an amazing movie in class, there is always that kid in the corner that “hates the director’s take on postmodern film.”
* Rhythm: nature works in cycles. Nothing lasts forever. The things you want to hold will fade – the things you want to escape will fade … no student that I want to keep will keep … all students come and go. It is the best and worst part of teaching, the relentless rhythm of it all.
* Validation: Stars and trees exist to be witnessed. Color and beauty are here to be appreciated. Everyone wants to be seen. From babies to teens to adults to the elderly, everyone wants to be seen.
Years before his Broadway sensation Rent, Jonathan Larson (Andrew Garfield) knew he was born to be a musical theater composer … but no one has notified the world yet. Instead, he has been handed a life of waiting tables and sharing rent. While he spends his free time writing and composing, his daily life is a steady wake-up-call … one that he can’t ignore forever.
His big break is here: he has been granted a “workshop” for his musical Superbia, a time for talent to be showcased and producers to be wooed. Larson is told it will be great … but it needs an extra something … a new song number at its climax. With the workshop approaching and the new song not exactly jumping off the page, Larson finds his life is begging for his attention: his girlfriend is starving for his notice, his best friend is withholding shattering news, but Larson has no time for any of it. It is now or never – it is Broadway or bust – it is all or nothing …
The workshop begins, the songs are a sensation … but the phone isn’t ringing. Is it time for Larson to hang up his dreams and subscribe to routine-reality?
I believe this to be director Lin-Manuel Miranda’s best addition to cinema. It is light where he is typically heavy – it is strong where he is normally weak. He allows Larson’s story to shine and speak for itself (and sing for itself, too!). There are moments of waste and scenes of confusion, but it is a strong film.
One complaint is with the Steven Levenson screenplay adaptation – it left me feeling a bit cold toward a story full of emotion. For me, it never really established a genuine depth. Another complaint is the actual music – it was hit-or-miss. Some songs showed style and skill … but others were filler and forgettable.
Andrew Garfield was great in his musical debut. He appeared unafraid of the content or the music. Alexandra Shipp, as girlfriend Susan, had my favorite vocals … but was only given one song!
Although not my favorite film of the year, it was enjoyable and, at times, memorable! It can be streamed right now on Netflix.
REPORT CARD: “Tick, Tick … BOOM!”
Grade: B.
Comment: A worthwhile story behind the story
Where would you go if you just murdered and incinerated a person? Correct answer: the carnival. Obviously.
Stan Carlisle (Bradley Cooper) did just that. In his attempt to distance himself from his crime, Stan volunteers for a traveling carnival, eventually working his way into a full-time-gig. Free bed, free food … as long as you don’t mind sleeping behind all of the pickled jars of nature’s misfits. Naaaah … no nightmares there.
Stan becomes friends with the carny-folk, learns their tricks, and even shows aptitude for one in particular: mentalism. His life of motion, his distrust of people, his proclivity to scam … these all add-up to a wonderful ability to read people. He is provided with an expert’s former game plan, complete with script and nonverbal signals. This is enough to earn real luxury and consistency! All he needs is a pretty-assistant … and there she is! Carny Molly Cahill (Rooney Mara), the carnival’s resident electrocuted-gal, sees her opportunity to leave and jumps at it.
Stan’s new show is a massive success. He and Molly have all they could ever want … but darkness creeps in. Is it ever enough? Molly feels constricted – Stan feels underappreciated. Stan has been warned of the power he possesses, the potential for disaster when misused – mentalism can create and destroy … but DANG if it doesn’t make for a good show. When Stan is confronted during a show and actually tested, he lets his powers loose. He “proves” his psychic abilities and even bridges into the paranormal, promising communication with the deceased. He wows the audience, scares Molly, and intrigues a few special guests.
Dr. Lilith Ritter (Cate Blanchett) sees potential in Stan and his “gift.” She refers him to a prominent judge who needs to speak to his dead son. The money wafted in his direction is enough for Stan to jump at the chance! Fake convos with dead people … for stacks of cash … heck yeah! Molly begs him to turn it down, but Stan is hungry.
This success leads to more opportunities, but Stan seems to lose himself a bit more each time. It is almost as if Stan has fooled himself, as well …
Nightmare Alley is a definite disappointment. The whole film feels sloppy and purposeless. Writer/director Guillermo del Toro has offered up a weak slice of his style here. Instead of embracing the darkness and morbid, as is his strength, he merely flirts with it. This film, to be effective, needed to go much further … and be shorter! Dang! It was a full hour too long.
A strength of the movie would be the production design of Tamara Deverell; the world she creates is rich and textured.
Bradley Cooper does an acceptable job, showing some range and power. Cate Blanchett out-performs her underwritten role. Willem Dafoe, as carny Clem Hoatley, delivers as always. Rooney Mara is soft yet magnetic. Richard Jenkins is adequately intimidating as Ezra Grindle.
Although well-acted, the movie suffers from a lack of direction and decision. Nightmare Alley can be seen in theaters right now.
REPORT CARD: “Nightmare Alley”
Grade: C-.
Comment: A forgettable forgery of fright
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source: https://www.newsandsentinel.com/opinion/local-columns/2021/12/life-through-the-lens-the-universal-law-of-validation/
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