Real St Patrick

Fifteen hundred years ago, a Dublin-based shepherd made his mark on history by turning the Chicago River green, staggering inebriated through the city, and inventing the "Kiss Me I’m Irish" hat. Along the way, he wrote Bushmills whiskey drinking songs about the pain of being alive, mixed a cocktail whose name evokes an act of terror, and dyed his hair red. He magically expelled snakes from the island of his birth, wrote a lyrical memoir of his terrible childhood, won the Rose of Tralee beauty contest, mixed lager and Guinness together (presumably out of an excess of self-loathing and bad taste), had a great oul’ Famine, stared meaningfully across the Atlantic, and dreamed of America.

He still hasn’t found what he’s looking for.

It’s St Patrick’s Day weekend, and despite the fact that millions of people will celebrate something like this vision of what it means to be Irish, pretty much none of the above is true.

Patrick wasn’t Irish, for a start. Born in Britain, he didn’t tend sheep in Ireland until after he was kidnapped and taken to Eire at age 16; there probably weren’t any snakes; and Bushmills didn’t receive its grant to distill until 1608. ...

We know very little else for sure about Ireland’s patron saint, the embodiment of the spirit of the place where I was born and raised, and the reason many of us will be partying this weekend to remember a land where most of us have never set foot, but which holds a strange call for people across the world.

To help me negotiate the labyrinth of Patrick stories, I’m grateful for my friend Davy in Belfast, a man who fuses the written record with oral tradition, and arrives at a conclusion that’s worth reflecting on today, tomorrow, and beyond.

For Davy, Patrick matters for one reason above all: Before Patrick, we were seen only as barbarians or primitives — a theme that prevailed in much of the British-Irish conversation until not so long ago. Anti-Irish humor was a staple of English stand-up comedy, not to mention the explicit sectarianism of "No Irish Need Apply" want ads on employment noticeboards and rental accommodation alike.

Mutual suspicion mingled with real violence, of course, and centuries of enmity characterized relationships across the two neighboring islands. It wasn’t mystical, it wasn’t romantic, it wasn’t fun.

And at the end of the day, we didn’t drown our sorrows by consuming mixed drinks called "Irish car bombs."

This might all have been avoided had we been attentive to the spirit embraced by our patron saint — a fella who came from Britain, and told everyone else what we already knew: The Irish are human.

This Patrick — Davy’s Patrick, my Patrick, hopefully something like the real Patrick — embodied empathy with people who are different. He knew that his own good was intimately connected to the common good; and that the powerful can perhaps be saved from the effects of their oppression only by walking humbly with those they have hurt.

Not an easy task, of course. Nor is it easy to dispute the assertion that it’s true. So when I celebrate Patrick’s Day this weekend, I’ll think about what it means to be human, and see the full humanity in others.

I’ll think of another man, born on St Patrick’s Day a hundred years ago — Bayard Rustin, who mentored Martin Luther King in Gandhian nonviolence, organized the March on Washington in 1963, and was forced to stay in the background on account of the refusal of others to respect his humanity.

I’d like to think that Patrick would have said Rustin was human. So would John O’Donohue, the closest to a personification of Celtic spirituality Ireland has seen in recent times. This priest, poet, prophet and friend died four years ago, but left behind work of immense importance to anyone wanting to embrace an Irish spirituality, perhaps best summed up in his short poem ‘Fluent’:

"I would love to live as the river flows, carried by the surprise of its own unfolding."

And maybe that’s the aspect of Irishness that would be most valuable to meditate on this St Patrick’s Day:

To live in the tension between Being and Becoming; to stay still long enough to change the things you can, accept the things you can’t, and have the wisdom to know the difference.

Learning to laugh at the absurd part of life, committing to political compromise instead of killing each other, and taking care of the vulnerable?

Couldn’t hurt.

Three Colors: The Best Blu-ray release of the past year

I walked into a bar in Galway eight years ago next week, took a empty chair, ordered a Guinness, and met one of the finest men, and most faithful friends I've ever known. Colin and I were at a wonderful little film festival devoted to the works of Krysztof Kieslowski; a film festival the quality of whose art was matched by its warmth of spirit. A community emerged over that weekend, experiencing the transcendence of Kieslowski's work in the presence of some of his co-creators; filling the spaces between us with shared glances, glistening eyes, and listening noises. Once Colin and I had spent enough time together with our eventual mutual friend John O'Donohue - another mystic artist - to consider ourselves friends for life, we coined the phrase ‘better than Kieslowski’ to denote anything we liked – ice cream, whiskey, art, music, even the way a cup of coffee tasted, but mostly just the depths of friendship. One of the last conversations I had with John touched upon how he considered love of this director to be almost a prerequisite for friendship!

Kieslowski is best known for two film series – the Decalogue, an abstract rendering of the Ten Commandments in contemporary life, and the three films that make up the Three Colours Trilogy – widely acclaimed as among the greatest films of the 1990s, taking as their theme the three facets of life represented in the French Tricolor flag – liberty, equality and fraternity. John loved these films – for their author seemed to know something about life that eludes the technojargon-dependent world in which we live: The meaning of freedom, partnership and family as outlined in the ‘Three Colours’ films is both attractive and sometimes difficult to understand – which, for John, meant it was worthy of attention.

So I was delighted when the Criterion Collection released the trilogy on Blu-ray and DVD recently. Criterion is exactly the right home for Kieslowski - the care and attention they devote includes offering special features that invite the viewer to take a long time to work with the grain of what we're seeing. The Criterion edition of Three Colors is nothing less than one of the best home viewing collections ever released.

In ‘Blue’, the first of the trilogy, Juliette Binoche plays a recently widowed character, who in grief comes to learn the need to let go of the things that hold her back from being truly free; but realises that happiness is not real unless it is shared.

Along the way, Kieslowski shows us through some of the most delicately beautiful imagery in cinema (a child’s face lit within a traffic tunnel, a doctor reflected in a woman’s eye, the light on a woman’s face as she watches an elderly person try to recycle a bottle) what he feels about the world:

• That giving to others is what makes you free.

• That we need to learn discernment in a world which teaches us that television is reality.

• That the only thing people really want to know is whether or not someone loves them.

• That there is a relationship between the cross of Christ and love between human beings.

• That the political unification of Europe may hide some unpleasant truths, but is a miracle given that only fifty years before the film was made, European nations were battling each other for the soul of the world.

• That sexuality can be used both to heal and to sever.

‘Blue’ is a film about brokenness and the imagination of what new things could come to us if we let them. John would often ask the question ‘If it is true that nothing good is ever truly lost, what would you like to have back?’ The corollary to this, of course, is that there are some things that are worth letting go of. From the need for Europe to let go of its former enmity, to the old woman’s need and desire to do good by letting go of the bottle for recycling (an image fundamentally related to making the world better for future generations, and a reminder of what this woman’s generation suffered and struggled through in the Second World War era), to the central character’s profound dilemma – grief and what to do with it, the images and themes in ‘Blue’ deserve sustained attention. It is such a rich film for times that often feel impoverished.

The Three Colors Trilogy is available from the Criterion Collection.

Films of the Year 2011

Presented without much comment, but with the invitation to discuss and add your own titles, my cinema year 2011. (And apologies for text size issues - Wordpress really needs to sort out its IPad compatibility issues... When I get back to my laptop I'll fix what needs addressed here.) For what it's worth, I still think 'Andrei Rublev' is the greatest film ever made (and hope for a Blu ray release in 2012).

Just outside the top ten/Undiscovered Gems from 2011

Bridesmaids - a female 'Tootsie', and as good as that film.

Warrior - the most emotionally substantive ring fighting film since 'Rocky'.

Road to Nowhere -a slow-burning endless loop return from Monte Hellman.

Anonymous - the most underrated film of the year: an inspirational comic drama about how art can change the world.

Cameraman: The Life and Work of Jack Cardiff - a delightful, educational, and ultimately lazy moving labor of love focused on a man who painted some of the finest images on film, and seems to have been one of the kindest people in his field.

J Edgar - An art movie with the guts to paint a historical villain as a human being.

The 'B' List

Rango

Rise of the Planet of the Apes

Contagion

Drive

A Better Life

The Descendants

Melancholia

Midnight in Paris - Which is glorious when it takes place in the past; but a little didactic in the present.

Something Special, but Not the Whole Package:
The Adjustment Bureau
The Way Back
Battle LA (honest: kinetic cinema that (perhaps un-selfconsciously) presents the truth about war addiction and the lies nations tell to defend their violence.)
Paul
Win Win
Source Code
Hanna
X Men First Class
Buck
Project Nim
Sarah's Key
Attack the Block
Crazy Stupid Love
50/50
The Ides of March
The Skin I live in
Margin Call
The Rum Diary
The Muppets
The Girl with the Dragon Tattoo
Young Adult
The Way
The Adventures of Tintin (a leap forward for animation art, with the most beautifully crafted Speilbergian chase sequence since Indy, Short Round and Willie Scott went down a mine shaft; but lacks heart and a clear sense of purpose)
Disappointments:
Mission Impossible: Ghost Protocol/Country strong/Limitless/The Company Men/The Conspirator/The Beaver/Harry Potter/Captain America/In Time/ Sherlock Holmes (left early but intend to see the rest eventually)Terrible Messes

Green Hornet/Sucker Punch/Your Highness/Thor/Horrible Bosses/Cowboys and Aliens

Chief Sinner
Transformers: Dark of the Moon

Films I Haven't Managed to See Yet

(I'll revise this list as I see them)
Barney's Version/Biutiful/Even the Rain/Certified Copy/Jane Eyre/Meek's Cutoff/Cave of Forgotten Dreams/Sympathy for Delicious/The Trip/The Ledge/Tabloid/Winnie the Pooh/Another Earth/The Interrupters/Senna/ Amigo/Higher Ground/Margaret/Into the Abyss/London Boulevard/Twilight/Tyrannosaur/The Artist/We Need to talk about Kevin/ Tinker Tailor Soldier Spy/Carnage/War Horse/Pina/Iron Lady/Extremely Loud and Incredibly Close/Albert Nobbs/Uncle Boonmee Who Can Recall His Past Lives/A Separation/Extremely Loud and Incredibly Close
Best Films of 2011 (US Release)

10: A Dangerous Method - A threesome with Freud, Jung, and Speilrein; the revelation of how flawed people can produce great work; an up close and personal engagement with how to get up close and personal with yourself.

= with: 10: Submarine - Brilliantly funny and smart coming of age in Wales tale; it's a cliche to say it, but 'Submarine' is a British 'Rushmore'.

9: Super 8 - Far more subversive than its reputation allows, more than a homage to Spielbergian childhood-wonder-and-brokenness adventure stories, but a love letter to the USA we want to believe in, wrapped in an alien invasion plot whose resolution provides a kind of fantasy wish-fulfillment for those whose vision of post-9/11 necessity asserts the primordial importance of restorative justice for perpetrators, and empathy with survivors in place of retribution and keeping victims in a place of idolatrised yet powerless martyrdom.

8: Le Havre - Gorgeous, color- and light-filled tale of community helping a lost one, managing to take in population movements, gangster cinema, the power of love, the greatness of baguettes, the simple miracle of living one day at a time, and the dissolution of boundaries between 'The Man' and 'the man'.

7: Beginners - My favorite performance from my favorite actor - Christopher Plummer - in a charming, thoughtful, moving and gloriously funny tale about learning to be yourself.

6: Of Gods and Men - love and choice and attempted atonement for religious imperialism: facing the fact that each of us if going to die for something, so we should make it count.

5: Take Shelter - A film about terrible anxiety that gifts its central character with the dignity of allowing his suffering to become a gift to the world: Take Shelter takes seriously the notion that sometimes the people we call mentally ill are actually apprehending profound truth, and both need time to adjust, and could be part of our salvation.

4: Hugo - Magical, intelligent, exciting: I felt as I had done when I saw 'ET' at 7 years old, 'The Exorcist' at 16, 'The Sacrifice' at 20, 'Magnolia' at 24... that is to say, I was watching a MOVIE that understood something about life without feeling like it, offered eschatological hope, and elevated my sight beyond myself.

3: The Mill and the Cross - Maybe the 'best' film released this year - far as the revelation of cinematic art goes; certainly the best 'Jesus film' I've seen since Denys Arcand and Martin Scorsese tried their hands at it; a work of mystery, beauty, and profound insight into the human-divine condition.

2: The Tree of Life - Too many words have been written about a film that is more about the language of feeling and sensation than semantics. We could talk for hours about it, but I'd rather just experience the film again; Malick calls to mind Meister Eckhart's astonishing adage that 'the eye with which I see God is God's eye seeing me'.

1: The Guard - My favorite film of the year; a perfect fusion of humorwish cultural critique displaying the best and worst of what it means to be Irish (and in Ireland) in the post-Celtic Tiger era.

3 Women/Warrior

In Which Olive Oyl and Carrie go Head to Head for the Sake of the Female Id, an English lad and an Australian bloke re-enact the tortured soul of American masculinity, Nick Nolte tries not to crumble, and Robert Altman smiles down from the heaven he didn’t believe in.

When you’re watching Robert Altman’s ‘3 Women’ on Blu-ray, it would be easy, if potentially clichéd, to equate the grain of the image with the seriousness of the director’s intent.  It’s like looking at the lined face of an old professor; but on Blu-ray you can see inside the lines.  Everything looks so clear on the just-released Criterion edition, and the California desert images are so evocative of a world that hasn’t yet left the Old West behind that it almost makes you yearn to be watching it on a scratched and faded print at an isolated Drive In.  The trouble with Blu-ray is that it makes everything perfect, which sometimes crowds out the space for an imperfect human response.  It can be a bit like looking at the Grand Canyon: contemplation is invited, analysis pretty much impossible.  (Think of the difference between watching ‘Attack of the Clones’ in high-definition [on disc or theatrically projected] and the first time you saw ‘The Empire Strikes Back’ in a theatre; the fact that ‘Empire’ felt more substantial wasn’t just because it has a better script and you were six: the grain and the matte paintings and the models and, yes, even the performances, were more real than a computer can generate, or a digital image can convey.)

But a perfect film deserves perfect presentation, I suppose.  So ‘3 Women’ has what it warrants; and it wasn’t a bad way to spend a couple of mild insomnia-induced hours the other night.  Given that the idea behind the film came to Altman in a dream, we were on solid ground.  And when the camera opens us into a swimming pool in which young people are guiding the elderly toward their metaphysical exit, we the audience are being born too, so the shift in consciousness that comes late at night - reflective, open to something new - meant it was natural for me to be along for the trip.

Altman was an intellectual artist of the most engaging kind: his camera, fluid, as Bruce Cockburn would say, like the wind in grass, inviting us to observe just like he did, around and near the action, but never in it.  He was a man of vast tastes (too easy it is to suggest that because his films had a certain demeanor that the themes were unified - I mean, c’mon, this is a guy who had Anouk Aimee take all her clothes off to make a satirical point about fashion, put US army medics in a Last Supper tableau as a preamble to suicide, and had Harry Belafonte invert everything we think we know about Harry Belafonte so that he could channel Christopher Walken into a jazz era Missouri psychopath).  The intellect and tastes here engage the question of what it means to be human - so far, so much that’s-the-point-of-art, I guess - specifically what it means for its trio of female protagonists to be human in a world that wants to make them into machines; either as workers in the factory farm, or as the receptacles of men’s lust or anger, or as the bearers of the very image of humanity by having children.

These are not likeable people - played by Sissy Spacek and Shelley Duvall and Janice Rule - walking around in circles in the water as they’re dying.  Their faces are frightening, their behavior irritating; they invite pity at best, and sometimes fear, because you wouldn’t want to get too close to them, partly because they are carrying on the surface that which you fear most about yourself: that you will never know who you are, that you will always be alone in the world, and that you will spend your life trying to impress people who don’t give a damn.

The murals that Rule is painting in the swimming pool evoke archetypal myth; but the pool obviously has to be drained to permit the paint to dry: it’s a barren space for her to project her fantasies.  The 3 women seem to be animated only in their dreams: when Spacek’s Pinky convinces herself that she is someone else; when Duvall’s Millie thinks of the near-ridiculous cowboy Edgar; when Rule is painting ancient stories without ever uttering a word herself.  No one could accuse Altman of wanting to be someone else - or at least no one could accuse him of being obsessed with trying.  Is this the task of living: to avoid wanting to be someone other than who we are?  Maybe.  But is his coruscating critique of the lives of these women just cynicism?  Does the fact that the film opens with people walking round in circles, waiting to die, suggest nihilism on the part of its director?  I don’t think so.  ‘3 Women’ is the work of a man in love with cinema (not just the obvious antecedent in Bergman’s ‘Persona’, but the mythic American West too, and there’s even a touch of ‘The Exorcist‘ in the nightmare sequence toward the film’s climax)  - and just as Kubrick saw ‘The Shining’ as an optimistic film because it avers a belief in an afterlife, you can’t be entirely cynical if you’re in love.  There’s a very telling moment when Millie walks in on an elderly couple making love, on a night when they are distressed by something that has happened to a loved one.  Bad things happen, but you can still live; as a certain other film-maker/lover might say.  We’ve mislaid some of the tools that might be useful in determining how to function as a whole person; the task for now is to figure out how to figure out who you are without stealing someone else’s soul.

[Brief note: I’ve been thinking about something that Thulsa Doom, the bad-bad-BAD guy  in ‘Conan the Barbarian’ (which I saw for only the first time this month), says to the Austrian oak at that film’s violent climax, so derivative of the final encounter between Willard and Kurtz that it’s a good thing John Milius wrote that film too otherwise Francis Coppola would be the new Art Buchwald.  Thulsa Doom killed Conan’s mother when he was a child; and Conan has pursued vengeance against Thulsa Doom ever since.  When he is just about to kill his enemy, Thulsa Doom suggests that this might not be in his best interest, because his whole identity has been so shaped by revenge that he will not know how to live after eradicating his enemy.  ‘It will be as if you never existed,’ says Thulsa; and for a moment I thought that Milius was going to tell the truth about retribution: that it serves to perpetuate, not heal, the wounds of violence.  But such moments of philosophical clarity do not a Dino de Laurentiis 80s epic make; so Conan cuts Thulsa’s head off, and all is well.  Just such a kind of vengeance drives Pinky in ‘3 Women’, and in one of the most surprising collisions of artist intent I’ve seen, you can see a populist male version of ‘3 Women’ at your local multiplex right now.  ‘Warrior’ is a far more thoughtful film than its posters suggest; in fact, it may be the post-9/11/Iraq war/war on terror/WTF just happened? movie we’ve been waiting for.  Two angry brothers and a broken dad isn’t the most original narrative trope, but neither is love conquers all; doesn’t mean it can’t contain vast emotional truth.  ‘Warrior’ is about the need to transcend the violent shadow and the avoidance of anger alike; about how being a man who hopes to do justice to the calling of being human requires integration of what is too simplistically called ‘masculine’ and ‘feminine’; about how people deserve a second chance, not least because your desire to withhold that chance from those who have harmed you may actually be continuing your own experience of woundedness.  It’s a wonderfully engaging, brilliantly edited, emotionally honest film that moved me.  Its vision of what the integrated US American male could be is the inversion of Conan’s path: violence begets violence until someone is willing to change the script.  We need an interruption.]

'Warrior' is on general release; '3 Women' is available on Blu-ray and DVD from Criterion.