My Name is Bernadette

The film, My Name is Bernadette (2011), focuses, almost as an obsession, on the question of whether the girl “actually” saw the Virgin Mary in a series of visions at Lourdes. All too often, miracles are treated as ends in themselves, rather than as pointers to something deeper. Even the girl in the visual and auditory (albeit only to Bernadette) apparition identified itself only in terms of a supernatural miracle, the Virgin Mary’s Immaculate Conception. I contend that Bernadette’s awe-inspiring spirituality visually conveyed on screen, and Monsignor Forcade’s spiritually-insightful advice to Bernadette as to her functions in her upcoming life as a nun is more important than the miracles, even from the standpoint of religion. In other words, the story-world of the film, which is based on the true story of Bernadette at Lourdes, is a good illustration of a what happens when everyone in a large group of people reduces religion to science and even metaphysics and misses the sui generis (i.e., unique) and core elements of religion. Such is the power of group-think that conflation of different, albeit related, domains of human experience can remain hidden in a societal blind-spot. Not even the film makes this blind-spot transparent.

The full essay is at "My Name Is Bernadette."

Christian Devotionalism in Film

Brian De Palma’s film, Obsession (1976), harkens back to Hitchcock’s film, Vertigo (1958) primarily in that resemblances between a character-contrived myth, or story, and the closely related, though different in key respects, social reality in the film (i.e., what’s really going on in the film’s story-world) trigger perplexed reactions for the character being duped by other characters in the film. I thought she died, but there she is . . . or maybe that’s another woman who looks like her—so much so that I believe I can will the woman to be her. The human mind may be such that it convinces itself of even a supernatural explanation than admit that one’s own mind has been fooled by someone else’s cleverness. At the very least, resonances between the impossible and the possible can increase the uncertainty of the beholder. Doubt as to what is really going on can be stultifying, and the human mind is all too willing to fill in the gap by either resorting to a supernatural explanation or making something so as if believing it to be so is sufficient to render it really the case.

The full essay is at "Obsession."

Between God and the Devil: La Dolce Vita (the Sweet Life)

Thus says the LORD: Cursed are those who trust in mere mortals and make mere flesh their strength, whose hearts run away from the LORD. They shall be like a shrub in the desert, and shall not see when relief comes. They shall live in the parched places of the wilderness, in an uninhabited salt land. Blessed are those who trust in the LORD, whose trust is the LORD. They shall be like a tree planted by water, sending out its roots by the stream." Jeremiah 17:5-7

Levi Strauss theorized that the function of a myth lies in reconciling basic contradictions, whether they are felt within a person or at the societal level. Such contradictions, and even dichotomies, can be used to energize a story’s dramatic tension and for comic effect, such as through misunderstandings. Typically, contradictions are reconciled in the denouement of a narrative; if so, the audience gets a psychic payoff. Otherwise, the audience is left with the uneasy feeling that the world is somehow not in order. I don’t believe that Fellini reconciles the contradictions in his film, La Dolce Vita (1960). The last scene, in which the film’s protagonist, Marcello, a young and handsome single man who is a tabloid columnist, turns back to follow his high-society drinking friends, who are leaving the beach. He makes the choice to return to his life of late night parties with empty socialites rather than to walk over to the only sane, available woman in the film.  Marcello does not find or establish an equilibrium, but goes on as a lost soul. Although religion is not much discussed by the characters in the dialogue, the film’s structure can be described in terms of going back and forth between two contradictory basic principles—one represented by the Roman Catholic Church and the other by the Devil. In spite of the back-and-forth, which even includes the visually high (overlooking Vatican Square) and low (in the basement-apartment of a prostitute), the main characters remain as if in a state of suspended animation between the dichotomous and contradictory relation between God and the devil. If commentators on the film haven’t highlighted this axis, the verdict could be that film as a medium could go further in highlighting religious tensions and contradictions than it does—not that going beyond religious superficialities to engage the minds of viewers more abstractly necessarily means that the contradictions must always be resolved or sublimated in a higher Hegelian synthesis and the dichotomies transcended. 

The full essay is at "La Dolce Vita."

Fatima: The Miracle of the Sun

The film, Fatima (2020), tells the story of the three Roman Catholic children in Fatima, Portugal, who in 2017 claimed to see and hear the Virgin Mary periodically over a period of 6 months. The film centers around Lucia, the oldest of the three children, and, moreover, the question of whether the children really encounter the Virgin, or are lying, hypnotic, or even psychotic. In the film, as well as in “real life,” a miracle is associated with the last visitation. In the story world of the film, the visitation really happens, and the multitudes watching the children come to believe this when the Virgin delivers on a miracle as promised. Historically, believers as well as nonbelievers who were present at the event have testified that the Sun moved around in the sky and even came closer. If this really happened as witnesses have described, then the empirical “proof” in the story world of the film is not the whole story, and the religious truth therein is not limited to the faith narrative, but holds in an empirical, supernatural sense. An implication is that Jesus not only resurrects in the Gospel stories, but also as an empirical event in history. But, then, why have such supernatural events been so rare since the “time” of Jesus?  And, yet, witnesses as far as 40 km away from the visitation of the Virgin reported seeing the miracle of the Sun.

The full essay is at: "Fatima"