(EP cover for Dying for It, the extended play released in March 1988 by The Vaselines).
Dying for It opens the EP of the same name as a bit of an awkward teenage song craving for physical intimacy. Eugene Kelly and Frances McKee sing of having time with little to do and a floor seemingly begging for action.
As mentioned here, Molly’s Lips “is about the Scottish actress Molly Weir, who played Hazel The McWitch in late ’70s/early ’80s BBC children’s show Rentaghost.” As Eugene Kelly was quoted in the same place, Weir “always struck us as a great character, so we just wanted to sing a song about kissing her.”
Teenage Superstars is the first of two songs from Dying for It to cast the singer into a starring role of sorts for Jesus. The twist for this song is the notion of the band being unburdened among teenagers for the band’s aspiration beyond angst while being mourned by angels for efforts to sacrifice their soul in reaching for reaching fame.
Jesus Wants Me for a Sunbeam, as noted here, “is a parody on the Christian children’s hymn I’ll Be a Sunbeam” as composed by Edwin O. Excell. The song indicates that Jesus would prefer doing without the advocacy for souls that The Vaselines could perform, yet they declare their choosing not to do so.
(Jean-Pierre Marielle as Jacques Saunière in the Ron Howard movie The Da Vinci Code).
The movie begins with the pursuit if Louvre Museum curator Jacques Saunière, as portrayed by Jean-Pierre Marielle, in the world famous Paris, France art museum by Roman Catholic, albino monk named Silas; Silas was portrayed by Paul Bettany. Saunière, while coming out of the exchange dead, leaves clues amongst the artwork of Leonardo da Vinci, the namesake for the movie, the book, and the clues embedded in the art around the museum that lead the police to summon renowned Harvard University symbologist Robert Langdon to the case.
(From left, Paul Bettany as Silas and Alfred Molina as Bishop Aringarosa in the Ron Howard movie The Da Vinci Code).
Robert Langdon, as portrayed by Tom Hanks, initially is suspected of the murder of Jacques Saunière, by police captain Bezu Fache, as portrayed by Jean Reno. Police cryptologist Sophie Neveu, as portrayed by Audrey Tautou, disagrees that that Langdon should be suspected of her grandfather’s, that is Saunière’s, murder; Neveu and Langdon shake Fache’s pursuit and deduce that Saunière was a grand master of the French founded Priory of Sion.
(From left, Audrey Tautou as Sophie Neveu and Tom Hanks as Robert Langdon near the Louvre Museum in the Ron Howard movie The Da Vinci Code).
Silas, meanwhile, works for an anonymous to him person he calls The Teacher, which has links to the Bishop Aringarosa led Opus Dei. Aringarosa, as portrayed by Alfred Molina. Circumstances send Langdon and Neveu to Sir Leigh Teabing, as portrayed by Ian McKellan.
(Jean Reno as Police Captain Bezu Fache in the Ron Howard movie The Da Vinci Code).
It was Teabing, a purported expert on the Holy Grail, who introduces a theory contrary to accepted religious canon about a relationship between Mary Magdalene and Jesus, which motivated much of the subtextual mystery functioning in the movie. Charlotte Graham portrayed Mary Magdalene in The Da Vinci Code.
(Ian McKellen as Sir Leigh Teabing in the Ron Howard movie The Da Vinci Code).
The thriller aspects of the movie, along with the intrigue underpinning the mysteries animating the story for the movie, largely worked. That the resolution went in the direction it did was a bit provocative for my taste, though that does not mean the fiction did not work. I give The Da Vinci Code as directed by Ron Howard 3.75-stars on a scale of one-to-five.
(From left, Harvey Keitel as Judas Iscariot, Willem Dafoe as Jesus, Barbara Hershey as Mary Magdalene, Victor Argo as Peter the Apostle and Verna Bloom as Mary (Mother of Jesus Christ) in the Martin Scorsese movie The Last Temptation of Christ).
The movie itself opens with an account of Jesus that deviates dramatically from the tales shared of the holy man and the events surrounding his life as shared in the New Testament of the Bible. We first encounter Jesus, as portrayed by Willem Dafoe, in Judea. The carpenter’s son is confronted by Judas Iscariot, as portrayed by Harvey Keitel, with a mandate to murder his friend for collaborating with the Romans to crucify Jewish rebels. Judging the messianic path in front of Jesus, Judas declines the mandate and spares his friend, warning him away from harming the rebellion.
(From left, Randy Danson as Mary, sister of Lazarus, and Peggy Gormley as Martha, sister of Lazarus in the Martin Scorsese movie The Last Temptation of Christ).
After being baptized by John the Baptist, as portrayed by Andre Gregory, and saving the prostitute Mary Magdalene, as portrayed by Barbara Hershey from a stoning, Jesus begins preaching in accordance with the visions he receives from God. A cursory telling of Jesus‘ preaching yields to a dramatized period of deprivation with temptation by Satan, portrayed in vocal form by Leo Marks. Having passed these tests, Jesus emerges from the desert and his nursed back to health by the sisters of Lazarus, namely Mary as portrayed by Randy Danson and Martha as portrayed by Peggy Gormley. Besides raising his health, the sisters encourage Jesus to follow the dictates of his flesh by settling down, getting married and having kids.
(Tomas Arana as Lazarus in the Martin Scorsese movie The Last Temptation of Christ).
Lazarus, dramatized in being saved from death by Jesus, was portrayed by Tomas Arana. It is with his ministry reaching Jerusalem that the Cleansing of theTemple of Jerusalem followed by the betrayal of Jesus at Gethsemane is dramatized following a dramatized negotiation for such between Judas and Jesus. It is in the court of Pontius Pilate, as portrayed by David Bowie, that Jesus‘ remaining passion is decided, with the aforementioned arrest, visit to Pilate and subsequent whipping, humiliating walk through the streets and crucifixion.
(From left, David Bowie as Pontius Pilate and Willem Dafoe as Jesus in the Martin Scorsese movie The Last Temptation of Christ).
The steps in punishment meted out by the hand of Pontius Pilate are shown, with the story of the moment just before death introducing a new storyline at the moment just before death. A Girl Angel, as portrayed by Juliette Caton, representing herself as a Guardian Angel for Jesus indicates to the savior that he’s suffered enough. Oblivious to the crowd gathered at the crucifixion site, Jesus is taken away to marry Mary Magdalene as God has found pleasure with Jesus and wants him, Jesus, to be happy. This lasts until Magdalene abruptly dies, Jesus living with Lazarus‘ sisters into old age with children, and Paul as portrayed by Henry Dean Stanton proclaiming the resurrection. With the Siege of Jerusalem burning Jerusalem revealed to Jesus among other things, the story has Jesus realize this temptation was indeed a ruse by Satan. Crawling back to the crucifixion and begging to die per the original vision, the temptation of family, marriage and a burning city is rebuffed with Jesus‘ death.
(From left, Juliette Caton as Girl Angel and Willem Dafoe as Jesus in the Martin Scorsese movie The Last Temptation of Christ).
The tug between the spiritual and the physical feels like the full value proposition that the film’s director, and the writers for the source book and the movie, had in mind. To say that exploring this point through the telling of this controversial temptation, as mentioned in the introduction to this summarization and review, was brave is perhaps the best light that I have to place on the emotions I experienced with my screening of the movie. While I understand the choices made in conveying the pull between the wants for spirituality and physicality, that exploration didn’t need to use the leader of what has been passed to us as Christianity to do so. I give The Last Temptation of Christ as directed by Martin Scorsese 3.5-stars on a scale of one-to-five.
(Cover art for Christmas Album by Herb Alpert & Tijuana Brass).
Winter Wonderland is presented as the opening song with vocalizations to support the instrumentation, minus specific lyrics for the song. Two primary lyrical bents do exist for the song, which we’ll not address in detail here given the presentation of the song as an instrumental.
Vocalization as an interlude to begin Jingle Bells. Presented as an instrumental like Winter Wonderland, the arrangement offers a strong influence for a Herb Alpert & the Tijuana Brass sound that characterizes the album.
(The title page of The One Horse Open Sleigh, the original title for Jingle Bells as written in 1850 by James Pierpont at Simpson Tavern in Medford, Massachusetts).
My Favorite Things continues the vocalization introduction of the preceding songs, taking the Rodgers and Hammerstein creation of Richard Rodgers and Oscar Hammerstein II in a direction that offers both upbeat and slow musicality. The full result provides an interesting take to an unexpected song for this collection.
The Christmas Song, sometimes referred to as Chestnuts Roasting on an Open Fire or simply Merry Christmas to You, was written by Robert Wells and Mel Tormé. With soft singing accompanying softly strummed stringed instruments through much of the song, horns roll in for a brief point about two-thirds of the way through the song.
Written by composer Alfonso Esparza Oteo, Las Mañanitas is a traditional Mexican birthday song. The inclusion on the Herb Alpert & Tijuana BrassChristmas Album, beyond being culturally on-point, feels like it can be a reference to the birth of Jesus Christ.
(Herb Alpert in 1966).
Sleigh Ride was composed by Leroy Anderson for light orchestras. The tempo changes beginning a bit past the 90-second mark and continued through the song present an original and appreciated instrumental take on the song that I find highly appealing.
The Bell That Couldn’t Jingle is an original song written by Burt Bacharach and Larry Kusik. Begun with a chorus singing the song almost as a chant, the almost playful arrangement slightly more than 30-seconds into the song has charm. The singing for The Bell That Couldn’t Jingle returns to a convention present in The Christmas Song.
Written by Sammy Cahn and Jule Styne, Let It Snow, Let It Snow, Let It Snow begins with soft horns from the start. A cautious amount of singing is presented in a lovely song that needed the vocals not at all. Stated another way, the instrumentation carries this song of its own accord.
Jingle Bell Rock was first released by Bobby Helms with writing credits resting with Joe Beal and Jim Boothe. The Christmas Album version by Herb Alpert & Tijuana Brass takes an instrumental approach that inspires clear excitement among the performing musicians; the occasional vocalization that trickles in gives the recording character.
(The cover art for Jingle Bell Rock, which was first released by Bobby Helms in 1957).
Jesu, Joy of Man’s Desiring as composed by Johann Sebastian Bach brings a beautiful rendition to a beautiful song to close the album. The harmonizing vocals accompanying the performance brings a choir feel present with many songs for the album. The horns offer the best part of the song for me.
The jazz sound of Miles Davis takes a captivating turn with the album Sketches of Spain, released in July of 1960. An album of the cool, jazz instrument and trumpet jazz styles, the album was recorded from November 15th to November 20th, 1959 in New York City, New York. Imbued with classical and folk feeling coupled with flamenco percussion, there’s so much art to this album that I cannot help but recommend that you listen.
(The cover art for the Miles Davis album Sketches of Spain, which was released in July of 1960).
(In addition to the trumpet, Miles Davis played the flageolet and the flugelhorn on Sketches of Spain).
The Pan Piper strikes a mysterious yet uplifting, joyful tone. Invoking magical feelings to my listening, the arrangement is lovely.
Saeta feels first somber then disciplined. I find Davis‘ solo within the song stunning and hypnotic. The song is inspired by a song sung mostly during ChristianHoly Week in Spain.
Solea is a form of flamenco music. The Gil Evans arrangement was simply amazing. Evans was from Canada.
(Composer Gil Evans did some of his best work with Miles Davis).
The movie Nefarious (2023) was set primarily the day Oklahoma had set for the death penalty by electric chair for serial murderer Edward. Based on the 2016 political novel A Nefarious Plot by conservative talk show host Steve Deace, Chuck Konzelman and Cary Solomon direct their own screenplay asks a psychologist to decide if Edward is faking an alleged demonic possession to avoid his fate.
(From left, Tom Ohmer as Warden Moss and Jordan Belfi as Dr. James Martin in the Chuck Konzelman and Cary Solomon movie Nefarious).
The movie begins before Edward’s scheduled execution day with psychiatrist Dr. Alan Fischer, portrayed by Mark De Alessandro, ending his own life. Fischer had been tasked with judging whether Edward was competent to receive his death sentence. It is against this backdrop that we are introduced to Dr. James Martin, a subsequent psychiatrist tasked with determining the mental fitness of the condemned death row inmate. Martin, as portrayed by Jordan Belfi, is escorted by Warden Moss to a place where Martin can meet with Edward. Tom Ohmer portrayed Moss.
(From left, Daniel Martin Berkey as Fr. Louis and Sean Patrick Flanery as Edward aka Nefarious in the Chuck Konzelman and Cary Solomon movie Nefarious).
Sean Patrick Flanery portrayed Edward, who upon meeting Dr. James Martin, presents himself to the doctor not as Edward but as the personality of a demon whose name translates in English roughly to Nefarious. The film focuses heavily on the argumentation not of the justice of the death penalty, but on moral qualities embodied in United States political policy using an absolute Christianity as the basis of the proposed self-evident basis of those moral qualities.
(From left, Sean Patrick Flanery as Edward aka Nefarious and Cameron Arnett as Trustee Styles in the Chuck Konzelman and Cary Solomon movie Nefarious).
The movie addresses an escalating series of mortifying personal experiences in the life of Dr. James Martin. Edward in his guise as Nefarious argue against a bald self-righteousness with intimate knowledge of Martin’s personal life to make the point the arguments that even for purported atheists like Martin can become more just in the Christian political morality that the movie was advocating. The reverse psychology of the argumentation could convince many, though whether it should is another question altogether.
(From left, Jordan Belfi as Dr. James Martin and Glenn Beck as himself in the Chuck Konzelman and Cary Solomon movie Nefarious).
The movie Nefarious makes its arguments largely through the shared stories of Dr. James Martin, Dr. Alan Fischer, Edward aka Nefarious, and Warden Moss. The place this movie went was one that I find myself interested in, though I feel unfairly manipulated by its tone and approach in making the case that it did. Given my disappointment in the storytelling, which perhaps clouded my engagement with the performances of Flanery and Belfi especially, I give Nefarious as directed by Chuck Konzelman and Cary Solomon 3.25-stars on a scale of one-to-five stars.
As the All Music website helps clarify here, “Trans-Siberian Orchestra is…not a permanent musical organization. Rather, it is the trade name for the session orchestras assembled for a number of symphonic rock cross-over albums produced by Paul O’Neill.” O’Neill was from Queens, New York City, New York, offering a series of rock cross-over albums that we begin looking at today. The Christmas Eve and Other Stories album was released on October 15, 1996.
(Presented is the album cover for Christmas Eve and Other Stories. This Trans-Siberian Orchestra album was released on October 15, 1996).
O Come All Ye Faithful/O Holy Night follows the album opener with a more pronounced piano with guitar introduction to two songs eventually fused with drums into a clear harder hitting rock sound than typically heard from either song. This song is presented in strictly instrumental form.
(Adolphe Adam of Paris, France set O Holy Night to music with the song’s original composition in 1847).
A Star to Follow begins with pronounced adult male singing and supporting instrumentation at first to God Rest Ye Merry Gentleman. The presented composition moves into pre-teen children singing to the expected joy of the Christmas celebration. A third movement returns a chorus of the men singing the words Merry Christmas with the kids singing harmony. An appealing effect follows with an adult choir adding lyrics for the Ukranian folk chant Carol of the Bells. The song ends with the children singing their willingness to follow into the magical joy the holiday promises.
An acoustic guitar introduces First Snow for a few seconds before giving way to a clear electric guitar melody with accompanying drums. Following A Star to Follow, I felt the evocation of satisfied revelry for adults and children. Hinting at a notion of Christmas with snow does not hurt, either. The song plays as a full instrumental without lyrics.
The Silent Nutcracker plays to a more fully throated acoustical instrumental performance. Hints of Silent Night are again made in strictly instrumental form for a more extended playing in what proves to be another song presented without lyrics.
A Mad Russian’s Christmas opens with piano playing in solitude an authoritative electric guitar riffs accompanying. A series of explicit rock melodies follow in instrumental succession, invoking classic orchestral rises and falls of mood to tunes sure to be recognized by most. Of all the songs on Christmas Even and Other Songs, A Mad Russian’s Christmas perhaps best exemplifies why the word orchestra belongs in the Trans-Siberian Orchestra.
With The Prince of Peace, the reintroduction of singing proves welcome and as emotionally uplifting as the reason for the season sung about. An adult female sings of Jesus Christ‘s birth, explicitly invoking Hark! The Herald Angels Sing just beyond minute and a half into the presentation.
Christmas Eve/Sarajevo 12/24 begins with a few seconds worth of traditional instrumentation introducing God Rest Ye Merry Gentleman. A fully instrumental presentation continues from here with a different rocking sound, evoking anticipation, discovery and magic coming with the next day. The birth of Jesus with the celebration indicated with A Star to Follow earlier in the album come to bear again. The band Savatage, who played a significant role in bringing this song to life, were formed in Tampa, Florida in 1983.
(Christmas Eve/Sarajevo 12/24 was released as a single by Savatage and Trans-Siberian Orchestra. Trans-Siberian Orchestra a side project of several members of Savatage).
Good King Joy raises the octave level on every song that preceded it on Christmas Eve and Other Stories by announcing the birth of Jesus with a bright introductory verse of Joy to the World. Heavy piano and guitar follow in furtherance of the Jesus‘ birth. Switching to a rhythm and blues theme three minutes into a song that plays more than six minutes with lyrics invoking the nativity story with the Magi in Bethlehem works magic.
Ornament brings us back to a raspy blues singer view of a young lady separated from her family leading up to Christmas. We find that the viewpoint is that of a father desperate to have his daughter call a truce to whatever ails the relationship. A specific ornament between the two stands in as the token of hope, memory and joy to bring the two together again on this pending Christmas day.
The First Noel is presented in an acoustic and quick interlude of instrumentation. The song itself reminds of the birth of Jesus and the first nativity in less than a minute of song.
A sympathetic and acoustic, storytelling vibe brings the song Old City Bar. The bluesy father from Ornament continues the story of the disconnected daughter who couldn’t get home on Christmas Eve. The song is a sad tale that turns unexpectedly happy with cab fare to JFK Airport in New York City to get home to her father.
Promises to Keep opens with distinct piano playing that quickly opens to the singing of children in chorus taking upon themselves the seeking and the keeping of the promises of love represented by Christmas. The wishing upon stars give way to keeping the spirit and goodness through the season, the years, the lifetimes. The sweetness is meaning like a music box invoked through the song.
This Christmas Day brings the optimism and feeling of Christmas in stringing together Ornament, Old City Bar and this song with bright strings of lights, ribbons, and the returning home of the daughter to her home, accompanied by the joy of her father. With the promise of desperation giving way to promises delivered now and forever, the feeling resonates through repetitions of the lyrics of “Merry Christmas, merry merry Christmas!”
An Angel Returned frames the album with the opening song of Christmas Eve and Other Stories, An Angel Came Down. In referencing Kyrie (Lord) and at least partially calling upon the “Kyrie, eleison,” or “Lord, have mercy” prayer, this song with new lyrics (An Angel Returned) set to essentially the same music (An Angel Came Down), the Christmas spirit as embodied by faithfulness expressed in song has transformed people through the joy felt in the hope of the savior’s birth on the night of Christmas Eve as told through the songs of this album.
(Pictured here is Paul O’Neill, the founder of Trans-Siberian Orchestra).
O Holy Night was presented as a bonus song beyond the original album, with an instrumental version of the song that varies from the second half of O Come All Ye Faithful/O Holy Night earlier in the album. This presentation feels like it was played on guitar, though a dobro might have been the primary instrument.
God Rest Ye Merry Gentlemen adds an additional bonus of 75-seconds of an exclusively acoustical presentation of the song.
(From left, Jena Malone as young Eleanor ‘Ellie’ Arroway and David Morse as Theodore Arroway in the Robert Zemeckis movie Contact).
We are introduced to Dr. Eleanor ‘Ellie’ Arroway as a child, a dreamer in beaming with curiosity for connection and the love for her father, the one parent in the picture for her at the movie’s beginning. Theodore Arroway encourages this curiosity, pointing to a means of connecting with others using a radio connection in the family home. Shortly after introducing this dynamic, Ellie’s father dies. David Morse portrayed Theodore Arroway while Jena Malone portrayed Dr. Eleanor ‘Ellie’ Arroway as a child.
(From left, Matthew McConaughey as Palmer Joss and Jodie Foster as Dr. Eleanor Arroway in the Robert Zemeckis movie Contact).
Fast forward to the modern day, with the child grown into a doctor working at the Arecibo Observatory in Arecibo, Puerto Rico, searching for signs of civilized life in space as a part of SETI. It is here that Arroway meets Christian philosopher Palmer Joss. Matthew McConaughey and Jodie Foster portray Joss and Arroway as an adult. It is also here in Arecibo that the first notion of David Drumlin, the president’s science advisor, wants to pull funding for the research that Dr. Eleanor ‘Ellie’ Arroway has made her life’s ambition.
(From left, William Fichtner as Kent Clarke and John Hurt as S.R. Hadden in the Robert Zemeckis movie Contact).
The position of Drumlin’s position leads Ellie to pursue alternative paths of funding to continue her research. With friend Kent Clarke present to offer professional assistance and advice along the way, the two ultimately gain financial backing from Hadden Industries, run by reclusive billionaire industrialist S. R. Hadden. This gives Dr. Arroway the time to work at the Very Large Array (VLA) in San Agustin, New Mexico, near Socorro. Tom Skerritt portrayed David Drumlin. John Hurt portrayed S.R. Hadden. William Fichtner portrayed Kent Clarke.
(From left, Tom Skerritt as Dr. David Drumlin and James Woods as Michael Kitz in the Robert Zemeckis movie Contact).
Approximately four years later, Dr. Arroway discovers a signal that includes a repeating sequence of prime numbers at the VLA. Rather than close access to the telescopes at the VLA, Drumlin and National Security Council leader Michael Kitz, among many others, descend upon the facility with the intention of commandeering the facility and Arroway’s discovery. While assuming credit, astounding further discoveries are found that lead to an opportunity to contact an alien intelligence from the star system Vega, which is approximately 25 or 26 light-years away. The drama the ensues from here fascinates me to an enormous degree. James Woods portrayed Michael Kitz.
(From left, producer and director Robert Zemeckis, actor Matthew McConaughey and actress Jodie Foster on sight of the Robert Zemeckis movie Contact).
Many existential questions of justice, spirituality, politics, power dynamics, curiosity and love flow through the course of the movie Contact. I grant Contact as directed by Robert Zemeckis 4.25-stars on a scale of 1-to-5.
A truly stunning and visual epic story awaits you with the movie Life of Pi (2012), a movie directed by Ang Lee that celebrates the tenth anniversary of release later this fall. The movie is based upon Canadian writer Yann Martel‘s book Life of Pi, which was released in September of 2001.
(From left, Rafe Spall as The Writer and Irrfan Khan as Piscine Molitor ‘Pi’ Patel, adult in the Ang Lee movie Life of Pi).
The story of Life of Pi follows first the spiritual and metaphysical life of Piscine Molitor ‘Pi’ Patel, who is portrayed at various life stages by Gautam Belur at age 5, Ayush Tandon from age 11 to 12, Suraj Sharma from age 16 to 17, and finally Irrfan Khan as an adult. A young writer portrayed by Rafe Spall meets Pi as a middle-aged adult, requesting the telling of Patel’s life story as fodder for writing a life of the man’s epic adventure. It is there that we are first introduced to Piscine Molitor Patel as a young child from Pondicherry, India. The city has also been called Puducherry, Putucceri and Pondichéry.
(From left, Tabu as Gita Patel, Pi’s mother, and Adil Hussain as Santosh Patel, Pi’s father, in the Ang Lee movie Life of Pi).
We meet Pi’s family, along with the naming of Pi after a famous French swimming pool named Piscine Molitor in Paris. We see the boy grow alongside his older brother and parents, adopting the Greek letter Pi as his name to avoid bullying. Tabu portrayed Gita Patel, Pi’s mother who aids Pi’s spiritual growth through Hinduism, Christianity and then Islam as he grows. Pi’s father tries to secularize Pi in rational tradition, introducing the boy to the family’s zoo. Santosh Patel, as portrayed by Adil Hussain, forces Pi to see the Bengal tiger named Richard Parker kill a goat as a lesson to Patel’s son in the true nature of the animal. Pi’s brother, Ravi Patel, was portrayed by Ayaan Khan at age 7, Mohd. Abbas Khaleeli at age 13 to 14, and Vibish Sivakumar at age 18 to 19.
(Shravanthi Sainath as Anandi, Pi’s adolescent girlfriend in the Ang Lee movie Life of Pi).
The course of Pi’s story looks first to the adolescent affection he feels for a girl named Anandi, as portrayed by Shravanthi Sainath. The hopefulness of this blossoms, until Patel family father Santosh announces the familial need to see the family’s animals and move to Canada. The family sets sail, with the animals, on a Japanese freighter destined for the family’s new homeland. A storm at sea separates Pi from his family, who survives when thrown by a sailor onto a lifeboat as the Patel family, the freighter, and many crew and animals drown in the Mariana Trench.
(Suraj Sharma as Piscine Molitor ‘Pi’ Patel, ages 16-17, in the Ang Lee movie Life of Pi).
Pi survives in his lifeboat, first with a zebra, an orangutan, a spotted hyena and the Bengal tiger, Robert Parker. Adrift with some significant and fantastic challenges that follow, the movie affords life lessons that run the metaphysical and spiritual through a tale of survival that ultimately takes Piscine Molitor ‘Pi’ Patel to Mexico. The telling asks compelling questions through a fantastic and visually stunning epic tale that matches the underlying story to those visuals in ways that justify the presence of the visuals.
(From left, director Ang Lee and actor Suraj Sharma).
The invitation for self-reflection that is presented to the audience, cleverly and with immense satisfaction for this reviewer, brings an uplifting conclusion to a journey appreciated. The sadness that begins the journey, when moving to the lifeboat, is the hardest turn. I grant Life of Pi as directed by Ang Lee 4.25-stars on a scale of 1-to-5.
(From left (running), Ben Cross as Harold Abrahams, a Jewish student at University of Cambridge and Nigel Havers as Lord Andrew Lindsay, a Cambridge student runner in the David Putnam produced movie Chariots of Fire).
At the center of the Chariots of Fire movie are the stories of runners Harold Abrahams and Eric Liddell, both facing religious based strictures of different characters in their eventual journey to competing in Paris, France in the summer of 1924. Ben Cross portrayed Harold Abrahams, a Jewish student at University of Cambridge maligned for Anti-Semitic reasons in his running pursuits at the academy. Ian Charleson portrayed Eric Liddell, the son of Scottish missionaries to China, with a family structure that reinforces the glorification of God and Christianity.
(From left, Ian Charleson as Eric Liddell and Ben Cross as Harold Abrahams in the David Putnam produced movie Chariots of Fire).
The men face personal challenges and biographies over a period years before the Paris Olympics. Abrahams‘ story includes institutional obstacles based on heritage coupled with his romantic attraction to Sybil, a soprano and eventual fiancée as portrayed by Alice Krige. The choice for Harold Abrahams through the movie is his pursuit of a relationship with Sybil versus the focus on running at a world class, Olympic level.
(From left, Cheryl Campbell as Jennie Liddell, Eric‘s devout sister and Alice Krige as Sybil Gordon, Abrahams‘ fiancée in the David Putnam produced movie Chariots of Fire).
A similar confrontation is told for Eric Liddell through his sister Jennie Liddell, as portrayed by Cheryl Campbell. Jennie‘s character was criticized for inaccuracies of an assertive nature that belied the girl’s being significantly younger and not in a position to emphasize a religious focus that simply isn’t practical or likely. So, a poetic license of sorts within the cinematic story seemingly departed from this evident storyline. Several instances of this regarding historical accuracy occurred, though Eric Liddell‘s religious fervor was seemingly true.
(From left, Struan Rodger as Sandy McGrath, Eric Liddell‘s friend, Ian Charleson as Liddell, and Ian Holm as Sam Mussabini, Harold Abrahams‘ running coach in the David Putnam produced movie Chariots of Fire).
When Eric Liddell first races Harold Abrahams, Liddell beats Abrahams. In a step to address an underlying sense of anti-Semitism among University of Cambridge advisors that this incident partly ends up revealing, Eric Liddell‘s coach Sam Mussabini agrees to begin coaching Abrahams with Abrahams full willingness. In revealing this hear, you can sense some of the larger obstacles the movie Chariots of Fire aims to share as part of the larger message of self-sacrifice for the sake of achievement. Ian Holm portrays Mussabini in the movie.
(Nicholas Farrell as Aubrey Montague, a runner and friend of Harold Abrahams in the David Putnam produced movie Chariots of Fire).
Liddell and Abrahams attend the Paris Olympics as members of the British team with Aubrey Montague, Lord Andrew Lindsay and Henry Stallard, portrayed by Nicholas Farrell, Nigel Havers and Daniel Gerroll, respectively. The thrills and agonies of victory and defeat, befitting an Olympic year as this is in the aftermath and presence of COVID-19, draws me to appreciate Chariots of Fire for the drama, the sport, and the critical success of the film. I give Chariots of Fire as directed by Hugh Hudson 4-stars on a scale of 1-to-5.
Matt Lynn Digital 