Reconciliation in a Panther's sprint

There was definitely no initial intention to pen anything about "Black Panther", as it struck me as more or less what you would expect from Marvel, albeit with heavy dosages of black affirmation and women empowerment (though they were satisfactorily done). However upon deeper examination of the dynamics between T'challa and Killmonger, I have been increasingly moved to write something. Spoilers ahead of course.

Both characters have proven to be relatable in their own manner, with valid standpoints. In fact one could postulate that they are two sides of the same coin in relation to the burden of historical baggage. As an audience, I was originally quite upset with Killmonger's death, as it felt as if he was not given opportunity for closure and reconciliation with his family and nation, with the ending seeming like a one-sided politically correct ending with T'challa emerging triumphant.

In other conflict ridden relationships in the Marvel Cinematic Universe, producers have been willing to let things run their course to add value to all characters involved. Thor and Loki's sibling rivalry has moved beyond Greek tragedy cliche, to become more representative of the tongue-in-cheek jousting between siblings in daily life.  Captain America's tortured loyalty to his unlucky friend Bucky aka Winter Soldier has even been the center piece theme in Civil War, to get us to question ourselves, and our three way tug of war between professionalism versus past and present relationships. What bugged me was Marvel's stinginess to afford Killmonger time to let things develop and morph between him and T'challa. However upon deeper scrutiny of "reconciliation", especially the final scene between T'challa and Killmonger, I may have to rethink things.

Killmonger had grown up feeling severely displaced, perhaps due to how he esteems his ancestral roots, motivating him to conceptualise his masterplan of igniting civil unrest to all former colonial master nations.  After his fatally mortal wound by T'challa, Killmonger is brought by T'challa to his favourite personal spot, with hopes that he finally repents of his ways. And he does. It is only in that spot that Killmonger takes in the full majesty and beauty of his ancestral land, realising he had been too consumed with vindication and hatred, and neglected to appreciate his time there, lest to say assimilate and contribute. It is with this full awareness that Killmonger gets the humble clarity to decline his cousin T'challa's kind offer to preserve his life, taking accountability over the short-lived but grave carnage he inflicted upon his homeland. Death itself being the honourable act of reconciliation and coming to peace, with T'challa giving him a proper Wakandian warrior's burial.

This turn of events is swift and grim, and it is sad to see the character depart. However the convincing reconciliation's speed of a panther's sprint, makes this character's arc of development and dynamics with others extremely commendable, distinguishing it from all of other Marvel's conflicted relationships. After all quality need not be tied to the bondage of time.

The Florida Project: A cautionary tale to clip our Icarus wings lest we crash

Everyone wants to have a good time, and the film "The Florida Project" starts off with this premise, narrating Moonie's summer holiday at The Magic Castle Motel in Orlando, within close proximity to Disneyland. While Moonie and her friends' enjoyment feature heavily in the film's foreground, what is happening in the background and sideframes offer a much bleaker contrast (Spoilers ahead). 

Business at the motel is dwindling such that manager Bobby resorts to renting out room units to housing poor families, which have complicated backgrounds. Bobby sees this as a win-win arrangement for all , and is very sympathetic and accommodating to them, and even then he is forced to tow the line when matters infringe the law. While the adults like him and Ashley juggle burdens of being providers and protectors over the children (there is one particularly harrowing scene where we adults saw how close the kids were to impending danger if it were not for Bobby's efforts), the kids remain largely oblivious to such matters happening around them, completely basking in simple joys.

And this brings me to Halley, Moonie's mother. Plenty of audiences expressed immense sympathy for hers and Moonie's eventual turn of events. Despite how callous it may sound, it may actually be a necessary gamble taken by Social Welfare Services, to separate Moonie from her mother, cruel it may be, to give her a proper opportunity in life. Perhaps like the character Ashley, whatever early empathy  for Halley got worn off as events in the film progressed. While we do not negate how unfavourable conditions are stacked against Halley in life, she has displayed a chronic stubbornness against  taking ownership of her life, no better than a child.

The best examples demonstrating this are actually in the minor scenes of the film. When everyone gets to know news of a fire breaking out at the abandoned motels, she views this situation as a novelty, getting Moonie to go to the scene and even posing for selfies in front of the burning unit. She is completely oblivious to Moonie's discomfort and guilt, having been responsible for this prank gone wrong. Another example would be her feast with Moonie at the diners, out of spite for Ashley, spending extravagantly despite her already precarious financial situation. And we have not even touched upon her later physical assault on Ashley after the failed attempt to make amends while also soliciting financial assistance. Halley is indeed trapped in the throes of toxic financial impoverishment, but her impulsive and emotional nature and behaviour definitely exacerbated this downward spiral into despair.

 

Letting Moonie remain with Halley is akin to letting two children take care of each other, a recipe ripe for disaster. We can already see Moonie picking up some of Halley's very undesirable life principles and mindset. Sympathisers will of course protest, decrying that the cruelty of separation will only further toxify Moonie's growing up process. However as Halley does not display any intent to take ownership of her life and situation, the end process when staying with her mother may prove equally hopeless.

When hope is nowhere in sight, we would all like to behave as children do, flying on our Icarus wings into a beautiful land of fantasy, where magical beings miraculously help resolve all our troubles and woes. However in the process, we may not realise the wax holding our wings are slowly melting, and our eventual crash may only serve to plunge what seems like paradise into an inferno. To preserve the rainbow in paradise, we may have to grow up instead.

Anger containment: Finding peace despite the senselessness

No one likes to be on the receiving end of anger, no matter whether it is justified or not. After all that is what makes forgiveness so appealing, as it neutralises this load that no one dares to bear. Which brings me to examine the Oscar season movie focusing squarely on anger management, "Three Billboards Outside Ebbing Missouri", and how anger turn out to be a vehicle of goodness.

An interesting post I had read earlier from a fellow movie enthusiast, expressed immense personal dislike in particular towards the film's lead protagonist Mildred. In particular the view drew contrast between Mildred and the protagonist in an earlier Oscar winning movie in 2016 dealing also with anger and grief, namely Lee Chandler from "Manchester by the Sea". The thesis was that Lee Chandler is much more worthy of sympathy than Mildred as he self-directs his torment, unlike Mildred who has selfishly dragged the entire town into her pot of vengeance, such that everyone emerges a "loser", as in her words.  

If you examine solely the direction in which the anger is exacted, Mildred does appear extremely unreasonable. However upon scrutinising the origins behind the two different stories and characters' grief and anger, we may better understand and empathise with Mildred. Spoilers ahead for both films.

Lee Chandler originally had a happy family with wife Randi and three children. As you find out eventually in the course of "Manchester by the Sea"', it is unquestionably through Lee Chandler own negligence when being intoxicated, that the fire which engulfed and killed his children was ignited. Meanwhile, the situation for Mildred in Thee Billboards is markedly less clear-cut.

Mildred's early ill treatment at the hands of her former husband Charlie sets up the dysfunctional environment which her children Angela and Robbie grew up, leading them to have a conflicted relationship towards their mother. In the light of this setting, Angela rebels against Mildred by insisting on taking the family car without permission out for a drive unsupervised, which culminated in her very own rape and murder.

The similarity between Lee Chandler and Mildred is their grim realisation that nothing they can do will ever bring their children back to them, and this aspect of manifests as self-directed grief and anger, which both Lee Chandler and Mildred possess.

Mildred Hayes unfortunately has an additional baggage of other parties being also involved in the genesis of the tragedy (for example her fickle ex-husband Charlie who has quickly moved onward to a new relationship with a minor; her muted son Robbie who despite having done his part to help, was too little too late). Coupled with the chronic ineptitude of the town law enforcement team (namely Willoughby and Dixon) to solve the case, she has taken upon the huge mission of getting all these members to be accountable for their own part in this lack of closure.

Over the course of the film, despite the initial wrath Mildred had drawn from majority of the townsfolk, I would say things have worked out for the better for all involved in a weird way, all thanks to Mildred's efforts, extreme they may be. Through the final letters of Willoughby before his death, we sense empathetic comradeship between Mildred and him, notwithstanding their conflict with each other from a professional standpoint. It may very well have been Mildred's situation that prompted Willoughby to prioritise his family over all else in his last days. He even sponsors her for additional rent in putting up the billboards, indirectly conceding his remorse at not being able to do more. Robbie consents to showing grudging support for Mildred through a stoic calmness in school and helping her with setting up of the replacement billboards. Also, it is Mildred's case coupled with the departure of Willoughby, that starts Dixon's personal and professional journey to maturity. Even her ex-husband Charlie takes some ownership over his irresponsibility in the bar scene.

 

Midway in the film, there is a rare scene of Mildred displaying her vulnerability (the other being the scene where Willoughby coughs blood in front of her) , confiding with a deer. Through this we see her for exactly what she is, a woman who is unfortunately bearing way more than the usual load from family tragedy, questioning God, to whom should she pass the load onward and how to do it.

Then she had concluded in a exasperated manner her doubt in the existence and presence of God. Oddly though, from the outcome of everything, she may actually be the vehicle of God himself on others, as everyone has come to terms with themselves when the film ends. Let us hope that as she drives off with Dixon on that road trip, she also finally finds her own much needed peace. That peace which everyone gets, is the best victory for this senseless world.

Prelude to Oscars: This is the Greatest Show!

More than two months have passed since the opening screening of "The Greatest Showman", which shows no sign of abating, with its recent release of a "Sing-along" version in theaters (the only other recent movie to have done so was the wildly popular "Frozen"). This is perhaps the best testament to the origins of the entertainment industry, that no matter what the motivations driving the production of any film, all members behind the production unanimously agree that they definitely want the audience to have a great time. To get into the festive mood before the results get announced, I am penning this fun post of using the musical numbers from "The Greatest Showman" to have a look at the generic life lessons behind great shows, enjoy!

"A Million Dreams"

One may directly or indirectly draw encouragement, strength and even inspiration from film and its characters, be it whether the film is wholly fictional or inspired from true events. Films are ultimately stories about peoples, providing wisdom and insight on how to or how not to proceed onward during dilemmas, so that we can continue full speed ahead to pursue what is key to us.

"The Other Side"

Sometimes films may discovery journeys. They throw curve balls to push our limits, bring us down rabbit holes to venture into realms out of our usual comfort zones, introducing us to themes, issues which we were formerly oblivious to, unearthing principles and mindsets which lurking within us.

"This is Me"

Many use the film watching experience as a vehicle of escape or diversion from the burdens of life, and once in a while we encounter a film which seems to affirm our own efforts, making film watching a divine positive review of the movie of our current stage in life.  Coming of age, a theme present in many films, is actually a never-ending process, which we will only fully actualise at the end of our lives.

"Tightrope"

Rarely do films only set out in single mindedness, to teach us a sole lesson, mirroring how we try so hard to juggle and balance multiple identities, to fulfill many needs and wants in life. Meeting the expectations of all members of the film-going audience is also a precarious challenge, and there will definitely be some who will be lost along the way, just like how we may falter once in a while in life's balancing act.  

"From Now On"

Life is messy, and will sometimes leave us feeling like wrecks. This dissatisfaction may not be necessarily be a bad thing, as it may prompt us to scrutinise ourselves properly, identifying what we sorely lack, and direct us towards any much needed decisive changes that have been long overdue.

"The Greatest Show" 

Film making is ultimately an art, and it is very easy for critics like me to rip the product to pieces according to my own beliefs or preferences after a simple viewing session. Despite this, I still cannot negate all the hard work and team work that all members of the production team went into painstakingly putting on the show. To extend on this point, we also should bestow this basic recognition towards each other for the our own life's "Greatest Show". Let's give each other a hand of applause!