Jessica Ahlquist is a normal teenage girl. She goes to school, reads Harry Potter and.. oh yeah, challenged her school board on the legality of having a Christian prayer plastered on the wall of her public school.
I recently wrote on the prayer in school debate. My opinion on it, in my mind, seems pretty uncontroversial. After all, I don’t believe that Christians should be barred from praying in school. I don’t think that a Christian student who holds a Bible study on school grounds in any way impedes on the rights of non-Christians (whether they be Muslim, Jewish, Hindu, Atheist or whatever).
However, Christianity stands on the rights of others when it imposes its particular belief system on the grounds and walls of publicly funded property. How often do we hear, “I don’t want my tax dollars to pay for welfare babies” (or something in that line), but rarely do these same people have a problem with tax dollars being spent on public displays of faith.
A public school is a secular school. If you don’t like that, send your children to a private school of your religious preference.
Yes, some public schools once used the Bible as a textbook. And our country used to condone slavery. Just because it happened in the past doesn’t make it right.
Jessica Ahlquist is expressing her 1st amendment right. Most certainly, the government cannot step on the free expression of religion in private life, but at the same time, it cannot respect the establishment of any religion in public life. Before you argue that the government has no place telling people of faith how they can express their beliefs, tell me, how do you feel about Sharia Law? Hypocrite.
As a 16-year-old, Jessica is probably prone to the same types of immature mistakes that all teenagers are. She will post on her Facebook an overly-emotional lyric from a pop song because of a boy that broke her heart. She will fill a journal with silly, trite expressions of individuality. She will say things she regrets and wish she could just disappear.
But, as a 16-year-old, Jessica Ahlquist is standing up for one of the most basic rights of American independence, and if you can’t feel pride in that, you probably believe that your religious freedom is more important than other people’s religious freedom.
You promise utility to the Lilliputians who look up to you for their meager moments of happiness but a tall girl is all legs and sharpened heels; accustomed to standing for attention, not at it.
II. Marge Champion was the model for Snow White
You will be kissed and awakened by just the right touch of malice in the poisoned Adam’s apple of your eye. This story’s twist is just another citrus pout in a drink you didn’t pay for.
III. Beyond the Standard Model
This is how the universe operates. Even though you don’t have opinions or a point of view you’ll always find a man to fill in your blanks and justify your lack of gravity.
Tonight was the State of the Union address, but I didn’t watch it.
Don’t take that as a political statement. I just didn’t happen to be home because I was out doing other things and didn’t make it home until after the rebuttals and punditry had played its round.
So, where was I? At the movies.
As I’ve already discussed numerous times, my recent (un)employment situation has cut into my income a bit, so I don’t get out to see movies in the theaters all that much. But, a few financial opportunities have come up this week and I decided to reward my battered psyche with a trip out to the ol’ cineplex to see my number one most anticipated movie of the holiday/Oscars season:
The Descendants
If you’re a regular reader of this site (hi, all one of you), you might recall my post on the 10 Films I’d Actually Pay to See in Theaters. Well, having now seen Alexander Payne’s “The Descendants” I’ve officially seen 2 of said films (“The Muppets” being the other one… so, yeah, I like my variety).
While watching the film, I was a little concerned that the movie would never really surprise me because a lot of the big plot points were detailed in the trailer. Thankfully, after about the first half hour, the film expands beyond the basic premise into a true character piece with powerhouse performances from George Clooney (always great) and Shailene Woodley, who plays his eldest daughter (and who I may or may not have developed a crush on during the film; it’s okay, her character is 17, but she’s actually 20, so it’s not creepy… right?).
But, this isn’t a review of the movie. If you loved Payne’s “Sideways” (as I did), then you’ll be infatuated with this film. If you merely liked “Sideways” you’ll still probably enjoy this film, and may love it even more for the beautiful cinematography. It’s Hawaii, what do you expect?
Instead, I want to pontificate a bit on some thoughts I had while watching the film. (Don’t mind the tissues.)
The Hero’s Journey
Anybody who has ever taken a Creative Writing course or read anything about literature is most certainly familiar with the term, “the Hero’s Journey.” I’m not going to go into it that much here, but in as generic and dumbed-down language as I can put it, the concept is that heroic characters all follow a similar path in myths and stories.
In modern literature and film, the concept of ‘hero’ is best replaced by the term ‘protagonist.’ It isn’t that ‘hero’ is technically inaccurate, only that in our modern conception of the term, we think of heroes in the Achilles/John McClane mold of the word: Larger than life figures who overcome great obstacles on their way to a definitive victory. In the post-Post Modern world where most intricate narratives eschew the obvious hero/villain dynamic, the term ‘hero’ seems grandiose.
Modern protagonists are rarely ‘heroic’.
Character Arc
You see, in watching ‘The Descendants,’ what I couldn’t help but focus on is that the ‘hero’ of the film (George Clooney’s character) is on a journey, albeit one without the obvious good guy/bad guy dichotomy. There aren’t any true villains in the film. Without giving away too much of the film, yes, there are some people that we, the audience, will dislike because of who they represent to the protagonist’s life, but anytime we feel comfortable in our disdain for a particular person, the film undermines our cathartic anger by revealing the humanity in the ‘villain.’
Another basic trope in literature is the ‘character arc.’ This ties into the hero’s journey because in both ideas, we see our protagonist/hero develop over the course of the story. It’s about as basic a concept in literature as there comes. We read stories and watch movies because we want to witness the character arc. Yes, the overall plot can be the draw, but without a main character (the hero/protagonist) to relate to and vicariously experience the narrative through, the story feels inert.
All effective stories have a character arc. The success of the story depends on how fulfilling that arc is to the reader/viewer.
Movie Critics and Joe Blow
What got me thinking about all this, and why I’m writing it out here, is how subtle the character arc of “The Descendants” is. In fact, from some views, you could argue that Clooney’s character ends up right where he begins. Without giving away too much of the plot (because it’s worth experiencing firsthand), it would be fair to say that the father of the story ends up coming full circle by the end of the film, yet it represents a very profound change.
This is why films like this – slow-paced, character intensive, emotionally bare, but not exploitative – can often leave the general audience cold while being critical darlings. As a general rule (because, every once in awhile, a film like this becomes a crowdpleaser), movies like “The Descendants” fail to find a large audience, but come awards season they end up with a dozen or more nominations across the board and critical accolades up the wazoo.
Why is this?
Well, this isn’t a case of ‘the general audience being just too dumb to get it’ as it usually gets portrayed when critics and the public disagree. The real problem is a complete disconnect between what the two parties want from a film.
The Bucket List
I have never seen the film “The Bucket List.” It was a very popular film: A cultural phenomenon that featured two of the most respected (and successful) movie stars in modern history. It was a true populist hit. Chances are, you saw it and liked it.
Unless you were a critic. Check out that disparity between critical reception of the movie (an abysmal 40%) and general audience adoration (a respectable 81%). What’s the deal? Do critics just automatically hate anything that the public likes? Is the public just a bunch of bumpkins who like whatever pap Hollywood puts in front of them?
The answer to both questions, I believe, is ‘no.’
Character Arcs
If you watch the trailer for “The Bucket List,” it should be fairly clear what the ‘character arc’ is going to be. Morgan Freeman’s character will learn to take chances and live life (before he “kicks the bucket”), whereas the heartless misanthrope played by Jack Nicholson will “find the joy in life.” The trailer lays it all out there and no one is going to leave the theater surprised by the ending.
And that’s okay. In fact, that’s the point. The reason a movie like “The Bucket List” is a crowdpleaser is because the crowd knows what they’re getting when they buy their ticket. There is no chance that when the credits roll Freeman’s character will have given up on his Bucket List and succumbed to death, or that Nicholson’s character won’t be softened in some manner. The trailer has laid out their character arcs and when you pay your $11, you’re going to see what you paid for.
Now watch the trailer for “The Descendants”:
It’s not so much that you can’t foresee a narrative arc for George Clooney’s character (obviously he’s going to struggle and make it through), but the character arc, the growth and change this person will undergo, isn’t readily apparent from that two and a half minutes.
Like I said at the beginning, while I was watching this movie, I was initially afraid the movie wasn’t going to expand beyond the obvious plot points detailed in the trailer, but once that foundation was set, the movie constantly surprised me. Not with dramatic moments or twists, but with genuine character development and moments of humanity.
I’ve never seen “The Bucket List” but I doubt any audience member was surprised by anything that happened throughout its running time.
Better?
I’m not going to be disingenuous and say, “Both kinds of films are fine, neither is better than the other.” As a writer and a ravenous devourer of literature and film, I find far greater enjoyment in stories that tread in real world ambiguity. Though every interesting story must have character development, to truly be profound, that development should feel like the natural progression of true moments in a real life, not just preplanned stops on a ‘heroic journey.’
So, yes, I believe “The Descendants” is a better film than “The Bucket List,” even without having seen the latter film. I can say this because I know just by watching the trailer how the characters will grow in “The Bucket List,” but I can’t say the same of “The Descendants.”
There are other aspects of the film that matter, too. A well-written and honestly human story can be wrecked by poor acting or direction. A generic script can be made so much better by a strong cast or a truly visionary eye behind the camera. But, for me (and I imagine a lot of movie critics), a great film starts with a great script, and without that any movie has a steep hill to climb.
The Difference Between Critics and The General Audience
This is obvious, but it’s worth stating: Critics see a whole lot more movies than your average moviegoer. Even someone who considers themselves a true film aficionado will almost certainly not see as many movies in a given year as a professional critic.
This is why critics and moviegoers tend to clash. For a critic who has seen a hundred movies, seeing a trite character cliché played out for the dozenth time is not only deeply unsatisfying, it can be aggravating, even insulting. It’s not that the cliché in and of itself is all that bad (like they say, clichés exist for a reason), it’s just that once you’ve seen it six, seven, eleven times, it gets old and hard to stomach.
The old curmudgeon learning that people are really good and that life is worth living might be okay to see once a year. It’s a nice reminder to enjoy life. But see it once every other week and you’ll grow bitter.
This is why a movie like “The Descendants” is such a (deserving) critical darling. It’s actually a fairly uplifting film in the end, but its route to that gratifying conclusion is not entirely obvious and it’s willing to undercut easy character development with contradictory moments that make easy hero/villain categorization nearly impossible. By the end of the film, there’s pretty much nobody to hate.
Is “The Descendants” a better film than “The Bucket List.”
Yes. Almost certainly, yes.
Is “The Bucket List” irredeemable as a work of art?
No. Almost certainly, no.
As an audience, every one of us asks for something specific from a work of art. Our enjoyment isn’t a reflection of our intelligence or are creativity, but rather it reveals what we expect from our art.
We are either looking to be entertained, or we are looking to be enlightened.
Considering how prolific and unfettered the man is, it’s kind of suprising that there are any songs Ryan Adams hasn’t released. Even in semi-retirement, he still managed to release the double album III/IV, recorded with his Cardinals cohorts, a true clearing house collection if ever there was one (there’s a couple of winners on there, but I’ve probably only listened to the whole thing all the way through twice).
The man writes in his sleep, though, so there seems to be a never ending stream of unreleased material, as you can see here (the list is old, so some may have been officially released since). A lot of those songs have made an appearance in concert a few times, but probably plenty of them are classic Ryan clunkers, maybe a nice idea that just never came together.
Still, if you know where to look, you can actually find legitimate recordings of some excellent unreleased songs. Albums worth of music were recorded in the early years of his solo career, including 48 Hours and The Suicide Handbook (actually a double album), but were never released. A few of the songs on those albums were later cannibalized and re-recorded for other official releases. But most of the songs never got a proper release, and that’s a shame because some of Ryan’s finest songs are in the bunch.
Here are my pick for the top 5 unreleased songs in Ryan Adam’s vast stable. Here’s hoping he gets around to pulling them out for official release.
Song: “Memories of You” - Unofficial Appearance: Destroyer
I have this recording in my collection. It sounds like it’s probably a live performance, but it could have just been an intentional low-fi recording (à la “What The Devil Wanted“). Either way makes sense. As is, it sounds like a Whiskeytown b-side, but add a little harmonica in there and this would have been a wonderful addition to the already near perfection that is Heartbreaker.
Song: “Walls” – Unofficial Appearance: 48 Hours
Ryan has never sounded more country. And I don’t mean alt-country. I just mean country. And that, it turns out, is a great thing. Twangy, melancholy and melodic, this is why country music used to be the genre that ‘real men’ listened to, before it became a force of pop sheen and jingoistic propaganda.
Forget all that, and just listen. The backing vocals remind me of the best appearances by the Cardinals, which were always about accenting Ryan’s worn but still entrancing voice. If you love Ryan’s Whiskeytown output or his most countrified moments with the Cardinals, this is the hidden gem you need to have in your library.
Song: “Idiots Rule The World” – Unofficial Appearance:The Suicide Handbook
Certainly not treading any new ground, “Idiots” details Ryan’s longing for a girl he’s lost. The thing is, no one writes these kinds of songs better than Ryan, so I’ll gladly take as many as he wants to put out. This is a bit of a strange one from him, though, as it actually sounds like an outtake from Love Is Hell era Ryan, which could be thought of as a dig, but isn’t. At his best, it doesn’t matter what style of music he’s playing because the underlying song works in any genre.
The canned drum shuffling in the background is a bit odd, but I love the guitar work in this song and, let’s face it: That’s a great title.
Oh, that harmonica. I’m not sure if Ryan gets just how great a weapon that is in his arsenal, but it pretty much automatically makes every song at least 25% better, and here it does not let down. As much as I enjoy Ryan when he’s all broken up about a girl, there’s something special when he mixes in a little more cocky bitterness. This Angelina sounds like a real piece of work, and all the sexier for it.
I love the lyrics, I love the swing of the melody and I love the harmonica. Doesn’t get much better than this from Ryan.
Song: “Karina” – Unofficial Appearance: 48 Hours
As you can see, this makes 3 songs on this list from 48 Hours. When they make those lists of unreleased classic albums, it deserves to be on them. I’m convinced if Ryan had released 48 Hours after Heartbreaker (instead of Gold, an album I like just fine), he would have bought himself at least a half decade of good will before the critics started turning on him. Oh well.
On a great album, “Karina” is the heartbreaking and stunning climax, a song that (despite no harmonica) hits all the right notes and manages to feel as forlorn as anything on Heartbreaker but with a sturdy resolve that suggests the narrator of “Come Pick Me Up” is finally moving on. I don’t know who Karina is, but I’m in love with her.
“Everytime I tell myself there’s nothing left, may I always say your name and think of you.”
“Goodbye Honey” off of Making Singles, Drinking Doubles (technically this isn’t ‘unreleased’ as it appears officially on a compilation album, but it’s never been on a proper album and, well, damn, it’s just a great drunken kiss off to a girl. With harmonica!)
It’s a puzzle in her clenched-teeth smile as she remarks on the slowed particles in her coffee between telling me her father is passing and the rent is past due.
Her lids barely open beyond the sunset auburn of her eye shadow, and she sips at the foamy milk chocolate bile anyway,
before casually admitting she’s met someone new. But at this stage she only tells him about the good days. I still get the bad, like the years when she used to kiss my cheek.
