Author: Shari K. Green

This is an origin story unlike any other. What the filmmaker (award-winning director Garth Davis of ‘Lion’) is attempting to get across to the world, and he does a fair job of making his message clear, is that Mary Magdalene was a good human with substance. He does this especially with the summation at the end of his movie. Mary was a woman with great spiritual convictions who was not a prostitute but someone who followed Jesus, touched people in the name of Jesus and believed, as his apostles did. The title of the film alone may lead you to think that this is just another movie that’ll condemn and denigrate her, like so many before it has done. This feels different. It is different. It’s often said that Mary’s presence in Jesus’ life was that of a temptress. She was vilified as an adulterer to simply blame, as women often were, maybe still are.

However, at the end of ‘Mary Magdalene,’ there’s an epilogue that says Mary was present at the death, burial, and resurrection of Christ. That it was a popular misconception to even suggest she was a prostitute. More interestingly, in 2016, she was formally identified by the Vatican as an Apostle. She was their equal and the first messenger of the resurrection.

She was never truly recognized for her role in history. As the only woman amongst all of these men, she was made out to be, basically, a whore… to put it bluntly. ‘Mary Magdalene’ sets out to correct that.

We meet the young woman, played by Rooney Mara, when she’s living and working in a small fishing community. She’s about to be forced to marry someone with whom she doesn’t love, most likely, barely knows. Her father has ordered her to wed and being the sort of freethinking flower-child that she is, she bolts. Well, I got a little ahead of myself.

See, what happened is, she has seen, from afar, this Jesus fella (Joaquin Phoenix), who had gotten a lot of buzz about town. Naturally, she just had to check him out for herself.

Mary instantly likes what she sees. She’s very drawn to his charisma, his energy, and spirit. Who wouldn’t want to be around someone who loves life and spreads messages of goodwill and hope? Doesn’t hurt that he helps baptize people several times a day and therefore probably doesn’t smell of sheep dung constantly. He also promises those who follow him that a kingdom awaits them at the end of their journey. All things considered, many willingly and happily march with him toward Jerusalem, spreading the word of God and love along the way.

She wants in. The last straw for her is when her father insists there’s a demon living inside of her and almost drowns her in an attempt to force the demon out. He chillingly screams at her when she asks that she be allowed to marry on her how timeline. He accuses her of shaming her family. How dare she desire to be her own person, right? She discovers Jesus is leaving town in the morning to move onto the next so, here’s her chance. It’s now or never. She’s told she’ll never be allowed to return. Those terms are acceptable to her. She gets in line with the others, including Peter (Ejiofor) and Judas (Rahim).

Soon, she’s baptized by Jesus in what looks like water as cold as Lake Michigan in October. And now you know why actors are paid the big bucks. I would have been screaming for the green screen on that shot, but that’s me. Anyway, Jesus has asked they all spread his message to the people in his absence. ‘You go here while I get this group here,’ kind of thing. Word of what he’s capable of has gotten out so he’s swamped. Mary takes the job so seriously that she helps those who Peter cast as, ‘Beyond help.’ She comforts them, prays with them, gets them water and soothes them as they slip away into the great beyond. It’s here where Peter sees her true worth… and sees doubt in his own. He thought they were only to baptize those who could follow not waste time on those who couldn’t carry the load! He watches her show true mercy and is humbled by it.

There was something fascinating about what we see next. Jesus being hailed the Messiah. Rome catching word. His mother, the Virgin Mary, making her appearance. These things happen in the third and most intriguing act of the picture. The pacing picks up when we get here and observing Mary and Mary face one another… it seemed surreal. I’m not religious but was seduced by the idea of it. Mary gives Magdalene a bone-chilling warning to prepare herself for the loss. The words haunt her. The story doesn’t get into why Judas was who he was, only glosses over the fact that he sold Jesus out but does touch upon his guilt some in the end.

Except for the pacing and the absolutely gorgeous musical score that overpowered much of the intense dialogue, the movie, genuinely, captivated me. Mara does walk around with a dumbfounded look on her face throughout the flick that never really speaks of her maturity, but she was tender when she needed to be and had a strong presence.

Phoenix was heavy. He looked the part; acted the part. During the crucifixion, he became Jesus. He was so convincing, I’d believe we were watching a long-lost video of the historic event itself. This man who wanted only peace and love was killed for it. Incredible story. Deep film. Outstanding performance by Phoenix. A little bit of a yawner BUT, good for a matinee or cable watch. Curious? I wouldn’t miss it. Lover of music? I wouldn’t miss it. Joaquin Phoenix fan? Don’t even think about missing a chance to see this on the big screen.    

Opening today at the Harkins Shea 14 and the Mary D Fisher Theatre.

Before the film starts a card reads, ‘In 1922 Louise Brooks traveled from Wichita Kansas to New York City with a chaperone. Within a few years, she was to become one of the most famous film stars in the world.’ So, I had to look her up. This film is in fact inspired by a true story. Louise Brooks was a sensation up on the silver screen during the Jazz Age. Her film ‘Pandora’s Box’ was an instant classic.

In this film, Louise (Haley Lu Richardson) is headed toward New York. Her mother’s friend, Norma (McGovern) agrees to be the chaperone that accompanies her. She’s going to attend a dance class at a brilliant school. Being that she has only been in Kansas her entire life, Louise has no idea of the type of dangers that await an unsuspecting, pretty, young lady, especially the type who are spoiled and have something to prove. On the train on the first night, as Norma was sleeping, Louise slipped off and had dinner with a cute young man and his uncle in the dining car.  Louise isn’t pleased with Norma and she explains to Louise that dining alone with men could get her into trouble. It’s all in appearances. She tries to get Louise to understand that word can spread and, ‘Men don’t like candy that’s been unwrapped.’ This makes Louise laugh while Norma grows frustrated, but still, she continues trying to keep the girl straight.

On their first night in NY, Louise wants to go out, but Norma doesn’t allow her to. Dance is in the morning and she refuses to help her miss it. She takes her job seriously. By now, your eyebrow is raised and you’re curious as to what might Norma have missed when she was in her youth?

While Louise is in her dance class, Norma visits the old orphanage where she was first raised. She meets with a nun and asks if she could learn who her birth parents are. The nun tells her that all files are to be kept confidential. Norma may want to know who she is by knowing her parents but knowing she’s a child of God should be adequate enough. She tries several more times, pleading, but the sister will have nothing of it and Norma eventually leaves.

Back at dance class, the lively, independent, free-wheeling, Louise, catches the eyes of the teachers. Having left early, she heads to the soda fountain for a snack. She has caught the eye of a one Floyd (Burnap) from behind the counter, too.

When the film stays on her storyline, it’s cheerful, lighthearted and playful. When we dig into Norma’s life, one we see as less and less joyous or tranquil by the moment, we feel emptiness. The two characters are so undeniably different, it feels as if you’re jumping into two entirely different films when we hop back and forth between the storylines. To be honest, maybe two films would have been good, too. But we do learn some reasons for Norma’s negative, almost jealous attitude toward Louise having so much fun. The façade begins to crumble, and cracks show themselves as she goes back to the orphanage to try once again and retrieve her records. She finds herself engaged in a conversation with someone willing to help. He’s Joseph (Géza Röhrig). Too easily, but convenient to move the story along, with his help, she gets what she needs. After, she’s lighter… her shoulders have less baggage. Being that Norma and Joseph are now smitten with one another, we flashback to what’s wrong with Norma. FINALLY! Scenes involving her husband revealed that she has every reason to be sour toward love… and everything that goes with it. I won’t tell you what those are but there’s an incredibly intense scene where Norma confronts her husband with the kind of rage, you’d never expect Elizabeth McGovern to muster. Anger rears its ugly head again when she meets someone from her past, yet she chokes it down, once again burdening her shoulders.

Soon, Louise is going off on her own, but Norma is still there encouraging her through every moment. The future star tells her chaperone something that shocks her to her core but instead of stopping her from advancing and jumping in with what the advice of what she SHOULD do, Norma praises her charge on her strength and attempts to give her more. She’s good at keeping secrets, Norma. She attempts to steer but doesn’t sit in judgment of the direction the youngster is going. It reveals a lot about Norma’s character. She’s a good woman with good intentions. Regrettably, her morals keep her from her own happiness but as the film progresses, she does learn there’s more and when the moment comes, I’m happy to inform you she does seize an opportunity to have it all. It’s an ambitious move, but no one gets in Norma’s way when she wants something.

See ‘Chapparone’ for the characters, the acting, the history and for Blythe Danner who has one small but memorable scene. In Phoenix, see this exclusively at Harkins Shea 14.

The public deals with several incredibly weighty subjects. Mental illness, homelessness, lack of homeless shelters, the closing of libraries and the disconnect between public officials and the public. Regrettably, its delivery of these messages feels artificial, often strained. Writer/director Emilio Estevez (The Breakfast Club, Young Guns), who I expected to and was hoping would have a home run with this film, seems as unsure of himself behind the camera as he does in front of the camera. What he wants to say is necessary to hear and acknowledge and it’s important for us to consider but the script often feels stiff and farfetched as if it were Estevez himself who was legitimately concerned about how it would be perceived.

Stuart Goodson (Estevez) manages a branch of the Public Library in Cincinnati. He loves his job, loves the people who meander in the doors and loves books. Books are distinct and something tangible. When he needed something real, they helped him get sober. He tends to them the best he can when they’re defaced, which lately, are damaged with symbols of hate.

At the beginning of the narrative, we meet some of the homeless who like to come in not just to read, but to have somewhere to go, to feel a sense of community and to stay warm. As the shelters fill, they’re faced with fewer choices of where to stay in extreme weather. Estevez knows it’s important to show the library patrons in the best light possible, so we’re shown how kind-hearted and amusing they are, even mocking the situation in which they find themselves. After meeting the pompous public officials who want to oust them from their temporary home for the night, Christian Slater and Alec Baldwin, you’re on the side of Goodson’s customers even more.

On this particular day, nightfall hits and the homeless decide they’re not leaving. Some are veterans and feel the city owes them a place to sleep for the night. As people did on Wall Street, they choose to ‘Occupy’ the library. Under pressure from a pending lawsuit as it is, Goodson does his best to get them to leave, but the seventy or so people who simply want a roof over their heads and some heat for the night, aren’t going anywhere. When the story makes it to the city’s politicians and then to the news, the story gets blown up and suddenly… it’s a hostage situation?? As wannabe mayor Josh Davis (Slater) pushes the plot that Goodson is the bad guy, the very plot of the movie becomes somewhat ludicrous, to say the least.

After an hour into this two-hour movie, you’re not so much concerned for Goodson, even though Estevez is pushing you to, as you are the overall subject of the piece. The discord within the storyline of the homeless taking over a public library to stay warm is lost in filling our heads with humdrum backstories and the set-up for a trite love story that doesn’t fit. Don’t even get me started with how the homeless is characterized in this fictional account of who they are. We’re supposed to see them as the trampled and crushed… but why do they have to be depicted as psychotic, as well? That’s where this powerful theme is lost. Estevez wants to show you that humans can do better. Perhaps he should have led with that himself. 

*Check local listing for a theatre near you where you can view this film.

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