Of Gods And Men?

COMMENTS

----- Forwarded Message ---- From: Donald Nunraw … To: William J … Sent: Wed, 9 June, 2010 21:15:15 Subject: Fw: [Blog] The title of the film of Tibhirine Dear, William, Thank you for clear my theology channels. My thoughts on the title, 'Of Gods and Men', strained my straightjacket of Thomist theolgy. It became even more difficult finding the the title is on the popuale series of 'Star Trek'. Your response looks into the scenario of the monks in Algeria. The depth of your thoughts seem to echo the outlook we have been learning from Mgr Teisier regarding reconciliation of Christian and Muslim people. To my amazement I have just read the long Review from SCREEN DAILY. It will speaks for itself. (following). Donald. + + + + + + + + + + + + http://www.screendaily.com/reviews/the-latest/of-gods-and-men-des-hommes-et-des-dieux/5014095.article Of Gods And Men (Des Hommes Et Des Dieux) 18 May, 2010 | By Jonathan Romney Dir: Xavier Beauvois. France 2010. 120mins One-time enfant terrible Xavier Beauvois has long been a respected presence on the French scene, making his name with dramas such as Don’t Forget You’re Going To Die (1995) and the police story Le Petit Lieutenant(2005). With Of Gods and Men, his time for wider recognition has surely come, this thoughtful but urgent piece showing that Beauvois has matured into a masterly director with tight, calm control of his material. Miles from the edgy, confrontational tenor of Don’t Forget…, Beauvois’s new film muses on the meaning of religious vocation in a violent world, and tackles its difficult subject with authoritative, non-sensationalist forcefulness. Timely themes - the dialogue between Islam and Christianity, questions of fundamentalist violence – make for a newsworthiness that will boost the film’s visibility in France, where it is released in September. The religious milieu might seem a drawback for wider sales appeal, but given the surprise niche success ofInto Great Silence, the 2005 German documentary about Trappist monks, this accessible and soberly life-affirming film should find solid uptake among buyers of material for discerning art-house audiences. Festivals will pledge their faith big-time. The film is inspired by real events, the still not entirely explained kidnap and murder of seven monks in Algeria in 1996 – but the narrative leads slowly round to the tragedy, which happens only at the very end, and largely off-screen. In a Cistercian monastery in North Africa in the 90s, eight monks live in cordial harmony with the local population. Brother Luc (Lonsdale) is the resident doctor, dispensing tender care and good advice, while the monastery’s head Brother Christian (Wilson) is as much versed in the Koran as in the Bible, giving him a special insight into, and respect for, the Islamic nation he has chosen to work in. But the country is increasingly in the grip of fundamentalist violence: early on, the film’s one piece of explicit brutality, the murder of some Croatian workers, is handled with discreet but arresting effect. As tension mounts, the brothers must decide whether to stay or leave, Christian coming under pressure from the friendly but increasingly impatient mayor to close the monastery, causing much soul-searching among the brothers, some of them contending with crises of faith. When a fundamentalist militia group turns up at the monastery, Christian trades Koranic quotes with their leader, and a détente is produced – but it clearly can’t last. Despite the not inconsiderable drama, Beauvois never attempts to make this a thriller à la Costa-Gavras. Rather, he carefully builds up a sense of the coherence and rhythms of the monastic life, interspersing the narrative with scenes showing the monks’ services (the cast contributing some well-tuned Cistercian chanting). Scripted by Etienne Comar with Beauvois, the film is especially compelling in its balancing of theological and political dimensions, showing that its heroes are not living in an ivory tower but are deeply involved in the meaning of their calling in relation to the outside world. The film is very timely, especially in France, where debate on Islam and the secular domain continues to be a political hot potato. What’s at stake is reconciliation between Islam and Christianity, with both French and Arab characters attacking fundamentalism: the film’s bottom line is that the two religions share a common respect for humanity. Key moments include a scene in which the monks resist the menacing presence of an army helicopter by effectively chanting it away; and a sort of Last Supper, as the monks enjoy each other’s company to the strains of ‘Swan Lake’. In this scene, cinematographer Caroline Champetier shows a wonderful sensitivity to the actors’ faces, mapping their emotional nuances in intimate close-up. Visually, the film is in a mode of low-key realism, with imposing but sparely composed landscapes firming up the sense of place. Viewers may detect echoes of Bresson and Pialat, but while Beauvois downplays the flourishes, this shouldn’t blind us to just how much directorial individuality there is here. The ending especially is all the more powerful for being, against expectations, intensely restrained. The ensemble cast downplay superbly, Lonsdale contributing his usual magisterial warmth and Wilson registering intellectual and spiritual conflict with great subtlety. Jacques Herlin also makes a strong impression as the monastery’s wizened but impish doyen. + + + + + + + + + + + ----- Forwarded Message ---- From: William J … To: Fr Donald … Sent: Wed, 9 June, 2010 18:33:55 Subject: Re: [Blog] The title of the film of Tibhirine Dear Father Donald, You kindly ask for my thoughts on the title chosen for the film depicting the life of the Atlas Martyrs, "Of Gods and Men". I believe that the title is telling of the Algerian crisis, indeed of radicalism itself... In the Catholic Church understanding, acceptance, and even where these fail, tolerance is shown for all faiths, for we believe that there is One God who embraces all mankind and who is honoured by all religions in their own way. I do not know what the radicals believe, their actions are so foreign to belief in the God of love, but their fanatiscism suggests to me that they must believe in God in a totally different way. And thus the film charts the life of 'Men' and of more than one god... Those who watch the film will judge the 'Men' of either side, and, I believe, will know beyond doubt the God (singular) who reigns in the hearts of the Atlas brothers and who is witnessed to by their actions. … in Our Lord, William.