Sister Wendy's American Collection

Before getting this installment of the series, I watched another one on paintings. I was a puzzled as to why Sister Wendy touched on so few works. She examined maybe ten paintings and that was it. A review I read said, “ There were just too few paintings. How is it that Sister Wendy could leave so many well-known and important works out of her documentaries?” The answer came to me while watching this segment of the series “The Art Institute of Chicago, and The Cleveland Museum of Art.”

Sister Wendy Becket’s knowledge of so many aspects of art is astounding. In addition, she appears to float through the galleries, as if their floors were clouds. She feels at home with paintings, but can talk your ear off about ceramics. She knows the old masters, as well as the new ones from the last century. I could not help but feel that she loves art and perhaps, may live vicariously through it. The vast palette of colors artists spread as opposed to the monotony of black and white clothing every day. The restraints of her world yet the freedom, expression and possibility of the world of art she explores.

Sister Wendy enjoys the study of art. I believe there is only one thing she likes better outside of her commitments to God, and that is showing people how to appreciate art! This is the key to unlocking the meaning! As I was watching her at the Art Institute of Chicago, it became clear that it was not all about the artist and the piece on display. That means quite a bit or the piece would not be there. Rather, it is so interesting to unlock the secrets of a particular piece through observation and perhaps, researching the era in which the piece was done. These are some of the lesson learned from this incredible individual.

Let us examine a prime example of this. At the Cleveland Museum of Art, Sister Wendy discusses a painting by Frederic Church named ‘ Twilight in the Wilderness’ that was done in 1860. It shows a valley with a lake. It is American landscape. Sister Wendy, through her knowledge of history, and art, examines the symbolism within. This lays the astonishing groundwork for her interpretation.

She begins by mentioning that there is an eagle perched on a branch to the left. She swiftly states that some people like to acknowledge this and it’s meaning as an American eagle. In addition, the crossed twigs by the water and perhaps, the spiritual relevance to the viewer. She then mentions a few other observations. However, the she delves deeper. Moreover, I am paying attention, learning and aware of it!

Sister Wendy notes “that menace in the skies and the boiling, blood red tide tides of water.” Then, in a tone of resignation states that the Civil War was coming and the scene would soon be experienced across the country. Brilliant. Imagine the awareness level while browsing the galleries. It gets better. She turns to the painting next to it. As it turns out, this is a work by one of Church’s contemporaries. It too, is an American landscape. The setting is similar to the prior piece, but the sun is streaming down from the heavens and lights the trees as if a new day has begun. Yes, Sister Wendy reveals that it was done in 1866, and the war had ended.

Had I passed through that gallery, I assuredly would have missed the significance. I may have glanced, tilted my head, and then moved on. That will not happen on subsequent visits. I work at an art museum, and feel as though I have learned about art. Through watching Sister Wendy, I admit that there is so much more to learn. So much more to see, and thanks to her, I have a clear idea of where to look. Time to get out and into the galleries. Thank you Sister Wendy, for helping a blind man to see again.

The Decalogue

Krzysztof Kieslowski was a Polish filmmaker from Warsaw (1941-1996) that brought great pride to a country that has had to overcome many hardships in order to survive. This is one of the reasons I love the Polish people. Another is that I grew up with them in my native Chicago, Illinois. They are a resilient, strong, and intelligent people. Above all, they are amongst the most caring and generous souls I have ever met. It is fitting then that they had a brilliant filmmaker who stayed in Poland through thick and thin to document their lives.

I was thinking of how I might describe Krzysztof Kieslowski’s ‘The Decalogue’. My thoughts throughout kept coming back to the American series ‘Twilight Zone’. We know it is a series of ten episodes. Each one is a loose study of one of the Ten Commandments. We are also aware that each episode has a character that resides in the same group of Warsaw apartment buildings. Yet, none are carried over into subsequent episodes. Finally, it is clear that the ‘The Decalogue’ was filmed in 1988. So let us go a bit deeper. It is something Kieslowski would insist upon based on his character studies.

Krzysztof Kieslowski co-wrote each segment of ‘The Decalogue’. His collaborator was Krzysztof Piesiewicz; a lawyer who Kieslowski felt added a different perspective to compliment his own style. Kieslowski directed every movie. I originally thought that he was consulted on every aspect of the filming, as like a Coppola might be. However, I found out that Kieslowski invited nine different Cinematographers to participate. He gave each one total freedom on their movie. He remarked in an interview that this brought freshness to each episode. He said that he was particularly concerned that the crew not be bored.

The characters in the movies run the gamut from young to old, clever to naive, and intelligent to foolish. However, each has a common thread running through their lives. Each must make a decision that may change their lives. This is reflected in each of Zbigniew Preisner’s dramatic and sensitive scores. The movies are intense and there is little in the way of action-based sequences. Some of the episodes may bring sadness, while others tend to make one reflect on the subject matter.

I favored the first and last episodes. In particular, Decalogue X has a nice comedic touch throughout and it is a great way to end the series. Kieslowski certainly emphasizes that point with the last lines uttered in the Decalogue. It is his signature and a fond farewell to a wonderful project. Included below are a few lines of my initial reaction to each of the ten movies.

I

Henryk Baranowski... Krzysztof
Maja Komorowska... Irena
Wojciech Klata... Pawet

A brilliant, inquisitive child takes every opportunity to learn. Every day and each moment that passes bring questions to his fascinated mind. Those around him provide insight and enlightenment, if only to give pause to his incessant thirst. Such is the world of a child. Yet, lessons are learned throughout life, and sometimes, the experience can be as harsh as the coldest winters.

II

Krystyna Janda... Dorota
Aleksander Bardini... Ordynator
Olgierd Lukaszewicz... Andrzej

Desire is an inferno not easily controlled by mere mortals. Add anxiety and deadlines to the mix and one can only hope to handle the flame without being burned. This is precisely what one self-absorbed individual is seeking to accomplish. Standing in the way is a wise and resourceful individual who might be the solution, but also garners her scorn. The results are predictable only in the fact that nothing is certain and God still has the best curveball in the game.

III

Maria Pakulnis... Ewa
Daniel Olbrychski... Janusz
Joanna Szczepkowska... Zona Janusza

Sometimes we believe what we want to believe for selfish reasons. Then again, manipulation is not often successful without a willing victim. Regardless, the outcome is never certain until the hours pass as if acts in a play lit by the moon and staged in the shadows.

IV

Adrianna Biedrzynska... Anka
Janusz Gajos... Michal

How fully has a life been lived when its meaning can be replaced with a sentence? What we know can sometimes be the furthest thing from the truth, if we convince ourselves it is so. This Decalogue examines the value we place on our relationships. Quite often, the outcome tests the very foundations they are built on. Moreover, to be sure, that is why they are laid in the first place.

V

Miroslaw Baka... Jacek
Krzysztof Globisz... Piotr
Jan Tesarz... Taksowkarz

Choices are the freedom to make your own way. The will to bring harm is perceived as better than what? Is life so boring? Then it must be served a just dose of reality. However, isn’t that what you ran away from in the first place? So is it back where you started, or ahead to the unknown. Getting what you desire can taste very harsh. Moreover, it turns out to be anything but free.

VI

Grazyna Szapolowska... Magda
Olaf Lubaszenko... Tomek
Stefania Iwinska... Gospodyni

What you see…is it what you really want to get? On the other hand, as it has been reported “Ask for what you want, you just might get it” Additionally, the ‘object of our affection’ can turn into the ‘obsession of the object’ if one isn’t careful. Earle wrote “he may just live long enough to become a man, if he can survive the tempest of youth’.

VII

Anna Polony... Ewa
Maja Barelkowska... Majka
Wladyslaw Kowalski... Stefan
Boguslaw Linda... Wojtek

Missed opportunity. We are always in a hurry and run past the open doors. Our instinct for survival is suppressed only by our emotions. They can make miracles happen or lead us into disaster. However, one surety exists: we cannot flee them.

VIII

Maria Koscialkowska... Zofia
Teresa Marczewska... Elzbieta

What becomes of the past? All we know is that it can be resurrected at a moments notice. That is the power of the mind. Most anything can push memories to the forefront. A glance. A gesture. Perhaps, the past is reawakened in a familiar story. Whatever the case, if it calls at your door, be sure before you invite it in. This time, you can change it.

IX

Ewa Blaszczyk... Hanka
Piotr Machalica... Roman

Sometimes, we have to go to the edge to see what is really in front of us. Had we been looking, we could have seen it coming from behind. The difference is measured in the miles logged running to avoid truth, at all costs.

X

Jerzy Stuhr... Jerzy
Zbigniew Zamachowski... Artur

Two brothers, two distinct lives. Ah, if one is conservative, the other must be liberal. If one is rich, the other is poor. How deep does it go? Moreover, what might it take to make them alike? Nothing you say? Oh but it is so simple and has been around forever…

Knowing

An interesting tale that I went into blind. Again, this newfangled notion of Knowing all about the various aspects of a film spoils things. More than likely, it is because I am growing older and used to a movie naturally unveiling its secrets and charms. Perhaps, the youth of today, who were born into the information age are naturally conditioned to expect a synopsis that will make sense with the subliminal every-scene-flashed-before-your-eyes trailers. At any rate, it was nice to let this one unfold on its own.

Knowing is a decent, well made film. It stars Nicholas Cage. Cage is a reliable actor because he plays himself, as he believes the character would be as Nicholas Cage. Audiences accept Cage in this way. We like him as a measured lunatic (Honeymoon In Vegas), a funny lunatic (Vampire’s Kiss), and a full on lunatic (Wild At Heart). When allowed to, Cage steps out of his skin and into roles fashioned for the big boys (Leaving Las Vegas). He excels in such surroundings, but you get the sense he does not love them.

Chandler Canterbury is fine as Cage’s young son burdened with having to grow up too soon. Rose Byrne turns in a nice performance as a link to the to the mystery Cage so desperately needs to resolve. Both provide welcome company to Cage’s tossed-into-the rabbit hole existence.

Special effects abound, and the CGI just keeps getting better with each new release. The computer gaming industry pushed visual and audio technology to greater heights until Hollywood got a hold of it. The town did what it does best: make magic. These days, teams of amazing technologists can be as important to a film as the cinematographer. They will one day replace them, when exterior locations are too unhealthy for filming.

My only grousing with ‘Knowing’ is in some of the run of the mill goofy movie dialogue. However, it is minimal, and I tried to chalk it up to the characters ‘state of shock’ disposition. I would have liked to see a bit more science, especially from the academia angle that was introduced early on. However, it is addressed in the ‘special features’ section.

The story line is equal parts fantasy and science. As a sci-fi fan, I rate the film a respectable six out of ten tribbles. I would like to compare this film to some favorable films I have seen, but it would give too much insight into the plot. In addition, I would rather be sparse in a review so you might enjoy the surprises as well.‘Knowing’ is a nice rental when you’re in the sci-fi mood.

Deception

Going into this I had fair warning as to what it was about. The name guarantees as much. That said my interest raised as each chapter unfolded. Knowing how the genre is, working out the inevitable twists and curveballs ensued. That is part of the experience. Yet, this film has something different about it. A subtle expression that grows into an intriguing smile.

Director Marcel Langenegger worked with writer, Mark Bomback, to make the film work for both their tastes and sensibilities. Their collaboration is for the good of the project. He also brought in Dante Spinotti, a fine Director of Photography. He was largely responsible for the look of the Chinatown sequence and it was my favorite sequence of events.

I wanted to see ‘Deception’ on the strength of Hugh Jackman and Ewan McGregor’s involvement with the film. Both are extraordinarily fine actors and I could not imagine either appearing in anything sub-par. They took on assignments that cast them in a different light than most are used to viewing them in.

Mr. Jackman dives into his role with the same gusto he has become famous for. I feel that few actors can match his range. His ‘Wolverine’ is much more than a raging mutant. Jackman squarely lifted the ‘X-Men’ gambit to his shoulders and skyrocketed into mega-franchise orbit. He also has history on Broadway and lit the boards afire in ‘The Boy From Oz’. His turn as 'Van Helsing' the great vampire hunter sees Hugh in the action-adventure region and earning high praise.

Mr. McGregor plays an accountant who goes through his daily paces as one of the army of eternal extras who drift through the scenes of New York’s rich, powerful, and flamboyant theater of the absurd. McGregor’s skill is on display as a timid, almost apologetic excuse of a being that I would have loved to seen introduced ala ‘Twilight Zone’ by Rod Serling. His character certainly passes through it.

What gives ‘Deception’ its edge is an outstanding performance by Michelle Williams. Her interaction with both stars is intense, but in particular, with McGregor she is magical. Ms. Williams says more with a glance than words could express. Each scene finds her generously sprinkling talent in all directions. Oh, she does indeed speak, and I savored every word.

A quick nod to Charlotte Rampling who I might well have wrote the above paragraph for had she been given more screen time. She makes ample use of what time she does receive. Ms. Rampling has a rather brutal, but matter-of-fact way of taking over a scene. Her dominance is simply never in question.

The sliding scale for a psychological thriller begins with ‘Hitchcock brilliant’ and works its way down from there. ‘Deception’ is definitely north of its genres norm, and a solid companion on one of those nights when the phone is not ringing.