Friendly Persuasion

Posted on December 13, 2002 at 5:17 am

Plot: This is the story of the Birdwells, a loving Quaker family in the midst of the Civil War. Eliza (Dorothy McGuire), a devout woman, is the moral center of the family. Jess (Gary Cooper) is a thoughtful man, not as strict as Eliza on prohibitions like music and racing his horse, but with a strong commitment to his principles. Their children are Joshua (Anthony Perkins), a sensitive young man who opposes violence but feels that he must join the soldiers; Mattie (Phyllis Love), who falls in love with Gord, a neighbor who is a Union soldier; and Young Jess, a boy who is fascinated with the talk of war and battles.

A Union soldier comes to the Quaker prayer meeting to ask the men to join the army. They tell him that they cannot engage in violence under any circumstances. “We are opposed to slavery, but do not think it right to kill one man to free another.” Even when the soldier points out that this means others will be dying to protect their lives and property, no one will support him.

The Confederate army approaches, and Joshua and Enoch, a freed slave who works on the Birdwell’s farm, decide to join the Union. Eliza does everything she can to keep Joshua from going, even telling him that in doing so he will not only reject what he has learned in church but he will reject her, too. Jess says that Joshua has to make up his own mind. “I’m just his father, Eliza. I’m not his conscience. A man’s life ain’t worth a hill of beans unless he lives up to his own conscience. I’ve got to give Josh that chance.” Joshua prays for guidance, and leaves to join the army the next morning. At first Eliza won’t respond, but then she runs after him to wish him well.

As the war gets closer, Jess and Eliza refuse to run away from their farm as others are doing. When Josh’s horse comes back without him, Jess goes looking for him. He finds his good friend Sam mortally wounded by a sniper. When the sniper shoots at Jess, too, Jess takes his gun away, but will not harm him; he tells the sniper, “Go on, get! I’ll not harm thee.” Josh is wounded, and deeply upset because he killed a Confederate soldier. Jess brings him home.

In the meantime, the Confederates ride into the farm, and in keeping with her faith, Eliza welcomes them and gives them all her food. But when one of the soldiers goes after her beloved pet goose, she whacks him with the broom, amusing her children and leaving herself disconcerted and embarassed. Jess and Josh return, and the family goes off to church together, to continue to do their best to match their faith to their times.

Discussion: This is an exceptional depiction of a loving family, particularly for the way that Jess and Eliza work together on resolving their conflicts. They listen to each other with enormous respect and deep affection. Jess does his best to go along with Eliza’s stricter views on observance, because in his heart he believes she is right. Nevertheless, he cannot keep himself from trying to have his horse beat Sam’s as they go to church on Sunday, and he decides to buy an organ knowing that she will object. In fact, he doesn’t even tell her about it. She is shocked when it arrives and says that she forbids it, to which he replies mildly, “When thee asks or suggests, I am like putty in thy hands, but when thee forbids, thee is barking up the wrong tree.” Having said that if the organ goes into the house, she will not stay there, she goes off to sleep in the barn. He does not object — but he goes out there to spend the night with her, and they reconcile and find a way to compromise.

All of this provides a counterpoint to more serious questions of faith and conscience. In the beginning, when the Union soldier asks the Quakers if any of them will join him, one man stands up to say that nothing could ever make him fight. Later, when his barn is burned, he is the first to take up a gun. Even Eliza, able to offer hospitality to the same men who may have just been shooting at her son, finds herself overcome when one of them captures her beloved pet goose.

Jess is willing to admit that the answer is not so simple. All he asks is that “the will of God be revealed to us and we be given the strength to follow his will.” He understands the difficulty of finding the right answer for himself and for Joshua. He resolves it for himself in his treatment of the sniper, and he respects Joshua and the issues involved enough to let Joshua make his own choice.

The movie is a rare one in which someone makes a moral choice through prayer, which many families will find worth emphasizing. Josh, who was able to respond without violence to the thugs at the fair, decides that he cannot benefit from risks taken by others unless he is willing to take them, too. He cries in battle, but he shoots.

The issue of how someone committed to non-violence responds to a violent world is thoughtfully raised by this movie.

Questions for Kids:

· How is the religious service in the movie similar or different from what you have experienced?

· How was the faith of the characters tested in this movie? What did they learn from the test?

· How should people who are opposed to violence respond to violence when it is directed against them? When it is directed against others?

Connections: The screenplay was written by Michael Wilson, who received no screen credit because he was blacklisted during the Red Scare. His involvement makes the issues of conscience raised in the book even more poignant. The book on which the movie is based, by Jessamyn West (a Quaker, and a cousin of Richard Nixon) is well worth reading. Cooper faces some of the same issues (and has a Society of Friends bride) in “High Noon.” “Shenandoah,” with Jimmy Stewart as the father of a large family who tries to keep his sons out of the Civil War, raises some of the same themes without the religious context. It later became a successful Broadway musical.

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Based on a book Drama Epic/Historical War

Hello, Dolly!

Posted on December 13, 2002 at 5:17 am

Plot: Dolly Levi (Barbra Streisand) is a matchmaker in turn of the century Yonkers, outside of New York. She is hired by Horace Vandergelder (Walter Matthau) to find him a wife. He also hires her to take his niece Ermengarde (Joyce Ames) to New York City, to encourage her to forget about marrying her artist beau, Ambrose (long-legged Tommy Tune). Instead, Dolly makes matches for his two clerks (Michael Crawford and Danny Lockin), advises them on how to get promotions from Horace, and helps Ermengarde get permission to marry Ambrose. Finally, after a series of intricate maneuvers, Dolly makes a match for herself, with Horace.

Discussion: This is one of the last of the big-time, old-fashioned musicals, with lavish production values and a dozen hummable tunes. The very slight story is bolstered by terrific singing and dancing — staged by two masters of the genre: Gene Kelly, who directed, and Michael Kidd, who choreographed. The elaborate sets, costumes, and musical numbers make this movie a treat for the eyes and ears.

Dolly is almost a magical figure, with business cards for every purpose. When she tells Ermengarde and Ambrose they can earn the money they need by winning the dance contest at Harmonia Gardens, she produces one that says “Artists Taught to Dance.” With all the confidence it takes to transform the lives of everyone around her, she still hesitates when it comes to herself. She still mourns her late husband Ephraim, but she wants more out of life “Before the Parade Passes By.” Yet when Horace finally proposes, she waits for a sign of Ephraim’s approval. What she gets is a sign that Horace has the qualities she is looking for, that, as she suspected all along, his gruff exterior conceals a warm heart and a wish to help others.

Questions for Kids:

· Why doesn’t Dolly just tell Horace the truth about what she thinks is right for him and for Ermengarde?

· How does she help the people in the movie to think differently about themselves, and how does that help them change?

· What does Dolly mean when she sings “Before the Parade Passes By”?

· When the young couples sing “We’ve Got Elegance,” do they really think they are fancy?

· What would you do if you were Barnaby and Cornelius at the Harmonia Gardens?

· What is the difference between Dolly’s view of money and Horace’s view?

Connections: Michael Crawford went on from male ingenue parts (“A Funny Thing Happened on the Way to the Forum”) to star in the title role of “Phantom of the Opera.” This story, originally a German play, has been produced in a number of forms, including “The Matchmaker,” a non- musical play written by Thornton Wilder (of “Our Town”), filmed with Shirley Booth, and most recently redone by avant-garde playwright Tom Stoppard from the perspective of the two clerks as “On the Razzle.”

Activities: Take the kids to a parade, preferably one where they can march along. They might also enjoy making some hats inspired by the spectacular creations in the movie.

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For the Whole Family Musical Romance

Changing Lanes

Posted on December 13, 2002 at 5:17 am

Most thrillers have audiences asking themselves what the characters will do next. This one will have them asking themselves what they might do in this situation, because it is a movie about how close all of us are to abandoning the thin veneer of civilization and breaking all the rules to lash out at each other. This is a harsh thriller about two men whose moral bearings are dislodged by a cataclysmic accident.

Ben Affleck plays Gavin Banek, a successful Manhattan attorney involved in a bitter contest over the control of a charitable foundation. On his way to court, he literally runs into Doyle Gipson, (Samuel L. Jackson), an insurance agent with a desperate plan to keep his estranged wife from leaving town with his children. Gavin, in a hurry, tries to pay the damages up front with a blank check. Doyle, wanting to straighten out his life, wants to swap insurance numbers. Haste and anxiety boil over into anger, and the confrontation leaves Doyle stranded without a ride.

The chance meeting has serious consequences for both characters. Doyle was on his way to family court. He is a recovering alcoholic, who is trying to start a new life. He is on his way to court to show his ex- wife and sons that he is buying a house, so that they will not move to Oregon. The plan is a surprise, to be delivered at the custody hearing he was en route to, when he collided with Gavin.

Gavin reaches court in time but without a crucial document, left at the scene of the accident with Doyle. Events quickly escalate out of control. Without the document, Gavin and his legal partners (one his father-in-law), are vulnerable to charges of fraud; Doyle, because of the accident, arrives late to family court and loses visitation rights with his children.

They confront each other again, but Doyle is too angry about losing his case to give Gavin the file. Gavin lies to the partners about the file to buy time, while Doyle goes into a bar to have a drink. Each blames the other for his troubles and wants revenge. What follows is a battle of wits, with each character striking at the other with all of his available resources, culminating in a second highway crash.

“Changing Lanes” is an explicit allegory about how the flaws of good people can bring them to the brink of murder. Both Gavin and Doyle are appealing, seemingly decent characters. But Gavin lacks the maturity to take full responsibility for his actions, while Doyle’s rage — an even more profound addiction than his alcoholism — overwhelms his good sense.

They both hover at the point of forgiveness, but neither is willing to let go of their self-righteous indignation and make mature choices. The characters along the way each present them with choices, each representing a world view that Gavin and Doyle must adopt or reject. Sidney Pollack (best known as a director) is outstanding as Gavin’s corrupt boss and there are other strong supporting performances by Toni Collette, William Hurt, and Amanda Peet.

Parents should know that this film involves a lot of realistic emotional violence which can be upsetting. A family is separated by the alcoholism of a parent, and there is an extremely harrowing scene of a father being forcibly removed from his son’s school. There is also a later confrontation between the father and mother where the father is told he’ll never see the children again. The physical violence in the film is brief and mild by modern standards, but realistic. There are religious references (the movie takes place on Good Friday) that some families will find awkward or heavy-handed.

Families who see this movie should talk about the characters’ conflicting impulses to forgive and to get revenge. What finally convinces Doyle to give the file back? What did his friend mean when he told Doyle “Alcohol was never really your drug of choice?” Why was Gavin unwilling to go to Texas to do his pro-bono work, and what do you make of his final speech to his father-in law? In a way, this is a movie about the way people do and don’t listen to each other and how that makes us feel. Where do we see that theme most clearly? Why was Gavin able to ignore the reality of his situation? Was the end of the film realistic? Parents will want to discuss safe driving habits with their teens after seeing this film as well.

Families who enjoyed this movie might also want to look at “Panic Room,” which also deals with divorced families and with emotions running out of control.

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Drama Family Issues Thriller

Amistad

Posted on December 13, 2002 at 5:17 am

Plot: In 1839, a group of Africans sold into slavery were being transported to the United States on a Spanish ship. Off the coast of Cuba, they escaped from their shackles and attacked the crew, leaving two crew members alive to take them back to Africa. The Spanish sailors tricked the Africans and sailed up the coast of the United States until an American naval ship off the coast of Connecticut captures them. The Africans were brought into court to determine their fate. They were claimed as property (“like livestock”) by both the Spanish crew and by the American captors.

Roger Baldwin (Matthew McConaughey), a property lawyer persuades abolitionists Theodore Joadson (Morgan Freeman) and Lewis Tappan (Stellan Skarsgård) that he has a theory that will help the Africans. He argues that it is not a property case at all. The law provides that only the child of slaves can be a slave. Since the Africans were not born slaves they are free, and their actions were merely self-defense in aid of restoring their freedom. If Baldwin can prove that they were born as free people in Africa, and not, as their captors alleged, slaves in the West Indies, they would not be considered property; they would be considered human beings.

The trial attracts the attention of President Martin Van Buren (Nigel Hawthorne), who is in the midst of a campaign for re-election and very aware that he will need the support of Southern voters to win. He is under additional pressure from the eleven-year-old queen of Spain, Isabella II, and her ambassador, who raise claims on behalf of the Spanish fleet. When the judge and jury appear sympathetic to the Africans, Van Buren arranges for a new judge to hear the case without a jury.

Meanwhile, the Africans try to understand what is going on around them. Baldwin and Joadson are able to find a man who speaks Mende, the language of Cinqué (Djimon Hounsou) and some of the other Africans. They win in court and the government appeals. Former President John Quincy Adams (Anthony Hopkins) represents them before the U.S. Supreme Court, where seven of the nine Justices are slaveholders. In a moving and eloquent argument, he persuades the Justices (with one dissenter) that the Africans were free, and that if they had been white, they would have been called heroes for rebelling against those who tried to take that freedom away.

Discussion: Adams explains that in court the one with the best story wins. Indeed, we hear many different stories in the course of the movie as each character tries to explain why his view is the right one. In the first courtroom scene we hear several different “stories” about what should happen to the Africans. All of those stories assume that the Africans are property; the only question is whose property they are. Interestingly, as “property,” they can not be charged with murder or theft. One cannot be both property and capable of forming criminal intent. The only issue before the court is where the Africans will go.

As Baldwin begins to tell Joadson and Tappan his “story” of the case, we see them slowly becoming aware of what had always been obvious to us. The Africans cannot be property. They were free, in which case their actions were not only honorable but heroic, in the same category as America’s founding fathers, our own “story” about who we are as Americans. Despite the attempts of Van Buren to subvert the legal system established just decades before, the essential commitment to freedom is so much a part of the story that, at least in this one brief moment, justice triumphed. Adams, the son of the second President, made that his story.

Questions for Kids:

· Why was it important to prove where the Africans were from?

· What was Calhoun’s justification for slavery?

· Why does Tappan say that the death of the Africans may help the cause of abolition more than their freedom?

· Why does Spielberg organize his story this way, taking the audience from the confrontation to the courtroom and only later providing the background about the capture of the Africans?

· What does it mean that there is no Mende word for “should”?

Connections: Chief Justice Storey is portrayed by real-life former Supreme Court Justice Harry Blackmun.

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Based on a true story Drama

Peter Pan

Posted on December 13, 2002 at 5:17 am

B+
Lowest Recommended Age: Kindergarten - 3rd Grade
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Characters in peril; a swordfight
Diversity Issues: Sexist comments about girls, insensitive comments about Indians
Date Released to Theaters: 1953
Date Released to DVD: February 4, 2013
Amazon.com ASIN: B00A0MJ9ZA

Disney’s latest release is a beautiful Blu-Ray of one of its animated classics, the Disney version of the Victorian classic about the boy who would never grow up. Wendy, Michael, and John Darling, three London children, meet Peter Pan, a boy who can fly. He has been drawn to their warm, comfortable home, and to Wendy’s stories. He sprinkles them with fairy dust and they fly off past the “second star to the right,” where he lives in a magical place called Neverland. There they rescue an Indian princess, and fight pirates led by Captain Hook, before returning home to wave goodbye as Peter returns to Neverland without them.

The animation in this movie is as lively as its energetic hero. The scenes set in Victorian London are beautiful, and the shift in perspective as the children round Big Ben and fly off to Neverland is sublimely vertiginous.

Most children see Peter as that wonderful ideal, a child with the power to do whatever he pleases for as long as he pleases. The story does have moments that are whimsical but also very odd — the nanny is a dog, the crocodile that ate Captain Hook’s hand keeps following him for another taste, Peter loses his shadow, the Lost Boys have no parents, and unlike Peter, no special powers, fairy guardian, or unquenchable brio. Some children find this engaging, but a few find it troublesome, or worry about what happened to Peter’s parents and whether he will be all right without them. They may also be sad that the story ends with Peter bringing the Darling children home and then going back to Neverland without them.

Parents should know that the “What Makes the Red Man Red” song is embarrassingly racist and sexist. There is also a sexist overlay to the entire story, with Peter rapturously adored by all the females and at best indifferent in return. A best-selling pop psychology book of some years ago played off of this notion, theorizing that some men suffer from “The Peter Pan Syndrome” (fear of commitment), dividing women into two categories, mother-figure “Wendys” and playmate “Tinkerbells.” Tinkerbell, who is, of course, a fairy, is the only female in the story who is capable of much action other than nurturing, and she is petty and spiteful (though ultimately loyal). When he first meets Wendy, Peter says “Girls talk too much,” which one boy who watched with me thought was rapturously funny.

Families who watch this movie should talk about these questions: Have you ever thought that you didn’t want to grow up? Have you ever thought that you’d like to be a grown up right now? What would you do? Would you like to visit Neverland?

Families who enjoy this movie will also enjoy the many other versions of this popular story. Interestingly, this animated version was the first to feature a real boy (instead of a woman) in the title role. The Mary Martin version for television that parents of today’s kids may remember from their own childhoods is available on video, with Cyril Ritchard impeccable as Mr. Darling/Captain Hook, and a terrific score that includes “I’m Flying” and “Tender Shepherd.” A remake with Cathy Rigby as a very athletic Peter is also very good. Don’t waste your time on Steven Spielberg’s 1991 sequel, “Hook,” with Robin Williams as a grown- up Peter Pan who must go back to rescue his children from Dustin Hoffman as Captain Hook with the help of Julia Roberts as Tinkerbell. The stars, the production design, and some spectacular special effects cannot make up for the incoherent joylessness of the script and genuinely disturbing moments like the death of one of the lost boys.

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Action/Adventure Animation Based on a book Based on a play Classic Comedy DVD/Blu-Ray Pick of the Week Fantasy For the Whole Family Musical Stories About Kids
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