Today’s guest post was written by Carrie Givens – writer, teacher, editor, friend, and a member of the Greener Trees online discussion group.
I have a friend who is a composer. One of his pieces, performed by a quartet of two violins, viola, and cello, he wrote following the sudden tragic death of a mentor and professor. There’s a moment, late in the fugue, when the first violin raises its voice to the heavens in a single, pure, heartbreaking note. It holds, longer than you think it should be able to hold, seeming to carry all the sorrow of the world.
There’s a moment that happens sometimes after a grey or rainy day when the sun breaks out below the clouds as it sets, turning all the world a rich, gold. As evening winds down, we are left in quiet with this strange and lovely light which tinges everything with beauty.
In Ang Lee’s Sense and Sensibility, there’s a scene where the camera pulls back from the mother and daughter working at the table into the next room, and we watch the final moments of their conversation from afar, framed by the doorway, lit by the light coming in from an open door and interrupted by the gentle flapping of an apron hung on a wall hook blowing into the frame.
Michael Gungor, in his book The Crowd, the Critic, and the Muse, writes: “The single atom in the atomic bomb can lay waste to a city. Maybe one note of music holds within it the power to end war” (p. 62).
There is power in great beauty. Beauty heals, it soothes, it allures, it inspires. And when we see it, in a film, in a book, in a moment, it can catch us by surprise and stay with us forever. We can lift it up from the depths of our memory again and again, and every time it draws us toward the Creator of beauty, the Beautiful One Himself.
Jeffrey Overstreet begins Chapter 13 examining Krzysztof Kieslowski’s Three Colors: Blue. He writes, “Every scene—in fact, almost every shot—unfolds like a poem. . . .Kieslowski leaves clues for us to consider—little windows into understanding the state of Julie’s heart. When we take the time to think about them, we begin to participate in the film in a way that popular commercial cinema doesn’t allow. There are long passages in Blue in which no one says anything and we must shift our attention to what we see in order to discern what is happening.” (p. 305-306)
Are there other films that come to mind in which the filmmaker leaves clues like this—focus on particular objects, use of light, use of music or sound? Have you found yourself participating in those movies in the way Overstreet talks about above?
“Blue became a way I could move through my loss by experiencing someone else’s journey rather than facing my own pain directly. It coaxed me to give creative shape to the grief.” (p. 308)
Have there been movies, other works of art, or moments of beauty that have helped you through a time of loss, sorrow, or grief? Has art ever helped you “to give creative shape to the grief”?
“The power of narrative lies in the succession of events: This happens and then that happens. . . . Imagery speaks even when nothing is happening, offering us something more than provocation to anticipate what’s next.” (p. 309)
What are some of the ways that the nature of film as a visual art form – one based in imagery – impacts how filmmakers approach narrative? Are there movies you’ve seen where the filmmaker has taken full advantage of the opportunity to tell stories through images?
“Saint John of the Cross wrote that man is like a window through which God is shining. If the window is clean and undefiled, it allows us to see past it, to the light. We hardly notice it at all. And yet, if a man gives evidence of any kind of arrogance or ego and self-interest, then that window becomes noticeable. It is not fulfilling its purpose. It is not merely a vessel for the light.” (p. 320)
“There was a man sent from God, whose name was John. He came as a witness, to bear witness about the light, that all might believe through him. He was not the light, but came to bear witness about the light.” (John 1: 6-8)
“You yourselves bear me witness, that I said, ‘I am not the Christ, but I have been sent before him.’. . . He must increase, but I must decrease.” (John 3:28, 30)
How do the words of Saint John of the Cross and John the Baptist speak to one another? Have you seen characters in movies or met individuals in life who have exemplified being a “window”? What have you learned from them?
“There have been so many moments at the movies that have become part of my history, giving me images that function as a vocabulary, enhancing what I experience when I am away from the screen.” (p. 322)
Much of Jeffrey Overstreet’s final chapter is made up of retelling the experiences he mentions in the quote above, when a moment from a movie enhances what he experiences away from the screen. Have you had moments like that?
Carolyn Clare Givens lives outside of Philadelphia where she’s a freelance editor and writer. She edits and writes for The Curator and teaches as an adjunct faculty member at Cairn University. She has bumped around the world, growing up as a missionary kid in Michigan and Hong Kong, and serving on staff at Alaska Bible College.
If you’d like to join us or to catch up on the conversation:
Week 1 – How We Watch
Week 2 – Saving the World
Week 3 – Fools and Jokers
Intermission – Raising Arizona: An Appreciation
Week 4 – The Art of Darkness