Friday, November 20, 2009
Rhythm of Life
Thursday, November 19, 2009
Where The Wild Things Are, reviewed.

Like Fantasia set to an indie-rock soundtrack, Where the Wild Things Are strings along a series of dazzling and incoherent images complemented by musical compositions which reinforce and/or augment meaning and mood. Spike Jonze—director of music videos, the one-two meta punch of Being John Malkovich and Adaptation, and actor who played Three Kings’s hilarious hick—serves up Maurice Sendak’s children’s book as a music video where the best scenes are extended sequences of motion, color, sound and mood. And so moody! Jonze and hipster novelist Dave Eggers have plumbed the book’s inherent darkness and come up with a world of lonely people (I suppose a denouement-set montage scored with Eleanor Rigby would have been too on-the-nose) whose only consolation is acting out like—wait for it—a wild thing.
Young Max, like so many child protagonists, is fatherless and lacking in friends. His ripe imagination, showcased in the “real world” scenes where he composes freudian-slip stories for his mom and barks orders at a fence, provides the excuse for the film’s extended digression on loneliness, fantasy and escape. After biting his mom and shouting Sendak’s brilliant child-angst exclamation “I’LL EAT YOU UP!” at her, he runs out of the house into dark suburbia and ends up in a fantasy-wilderness of heaving, anthropomorphized beasts who share Max’s confusion, loneliness and anger. Like the fatherless Max, they are kingless and pine for someone to bring authoritative order to their lives. One of the film’s central tensions is the problem of authority; not that these beings despise it, but rather they long for it and find it elusive. Glum concessions like “There’s no such thing as a king” suggest the intractable chaos left in the wake of absent fathers and, ultimately, an absent god.
Jonze shot the film in Australia, its images painted like some beautiful desolation, wide open spaces that are all rustic earth tones and blue skies. Those music video sequences show Max and the wild things at play, running, having a dirt fight and—most spectacularly—building the greatest child’s fort ever conceived. Max orders the wild things to construct it, and they rip trees straight out of the ground in order to thatch a hulking home for themselves. The film’s other great tension is that between self and other, individual and community; if Max learns any lesson, it is that he must consider the needs and feelings of others in his words and actions. This comes to a head when the others realize that Max had only himself and his imagination in mind when he designed the fort. The wild things’ friendship provides him with support, but also exposes his selfishness.
All the poetry of themes and images granted, I still found the film contrived. Maybe were I a couple of years younger, or perhaps less in touch with the roots of my own loneliness and angst (and what I take, as a Christian, to be some plausible solutions), then I might have emotionally resonated with its thematic structure. Jonze and Eggers succeed at describing and illustrating the isolation and loneliness of growing up fatherless and friendless with a moody, great-looking and mildly frightening film. This is no small accomplishment. Yet that darkness remains a little too intractable, too unresolved. Not that the conclusion needed to wrap up all of Max’s issues, but making the changes he went through more explicit would have helped.
Where the Wild Things Are evokes another Disney classic, Alice in Wonderland. Any narrative framework that moves from the real to the fantastic/absurdist and back to the real involving wide-eyed children does. I like the film better than Disney’s Alice, but not better than another recent film which evoked it, Miyazaki’s Spirited Away. I think the difference might be that while Max seemed coddled when he returned home, Chihiro was so transformed by her wild ride that she didn’t need to be coddled. I like my coming of age movies to convey the dynamics of the central character, however subtle and token. If Wild Things wasn’t intended as a coming of age movie, but perhaps rather a child’s rebellious night out of the house, then I find its one hundred angsty and childish minutes as self-indulgent as the chocalate cake Max enjoys at its end.
Monday, November 16, 2009
Cranmer & Hope
Saturday, October 31, 2009
This Week in Encouragement
Wednesday, October 21, 2009
The spirits [and minds] of the prophets
I remember something Stuart Greaves said during my summer 2003 internship at IHOP.* He exhorted our group of young charismatic zealots not to "manifest" when we felt the Holy Spirit--not to shake and convulse and scream, as much as could be helped--by sharing a story from his youth.
During a certain season, the Spirit began to grip him intermittently and he would groan and shake in God's presence. These experiences interrupted the daily flow of his life, driving, being in church (I hope I'm remembering this correctly). When a leader who was discipling him spoke to him about it, the young Greaves replied, "I'm sorry--I just can't control it. It's God." His leader rebuked him, saying, "No. The spirits of the prophets are subject to the prophets" (1 Corinthians 14:32). Greaves went on to instruct us, saying that wild manifestations are alright when you first encounter the spirit, but as you mature they really help no one. He exhorted us to, when we feel the weight or power or fire of God's presence, resist any urge to manifest but rather turn that spiritual energy back towards God by means of contemplation, prayer or some combination thereof.
These words returned to me this weekend at the conference I attended with some seminary friends. It was called "Dreams, Visions and the Mystical Realm" (they should add that subtitle to Urbana and see what happens). I think Greaves's instruction was relevant in two ways. The basic application occurred Saturday night, when I really did begin to feel God's presence in such a way that might have lent itself to convulsions (and it was happening as I was observing other people go through holy shakes, no less). Rather than whoop, shout, or shake (not that there's anything essentially wrong with such expressions), I focused that divine gripping into intercessions in tongues peppered with maranatha pleading ("Come, Lord Jesus!").**
The other application had to do with many times in the conference where my mind flat out rejected what was being said, but through stirring up my spirit through muttered prayers I was able to receive from the Lord and suspend my judgments. This is not to say that I because I was feeling spiritual I just accepted everything I heard uncritically, but I feel like I was able to be encouraged and provoked by God through this man's ministry. Without the extra prayer I just would have gotten a headache. In the first case, I restrained the fire, in the second I fanned the flame.
The truth that our spirits are subject to us speaks to the relationship of spirit and mind. The charismatic tendency (I speak as one reared charismatic) is to welcome the Spirit and shut out the mind, encouraging a kind of divine possessing where we lose control and God takes over. I contend that this has more in common with Eastern mysticism and Gnosticism than the spirituality encouraged by the Christian Scriptures. To have an active mind is not less spiritual, to turn off one's mind is not more spiritual.
I am reminded again of Psalm 27:4 (another mark of IHOP's influence on my life). It's words don't encourage mindlessness, but rather mindfulness. "Ask, seek, behold, inquire" are sensory words about a creator god who can be known, explored and given witness to in concrete ways.
The incarnation testifies that spirit and flesh dwell together, not one over the other. Jesus did not set us an example of self-emptying so that he could be remote controlled by the Holy Spirit, but rather he "became obedient to the point of death--even death on a cross" (Philippians 2:8). The life of worship ought to be characterized by a fiery spirit and an active, disciplined mind that daily yields volition to God's direction--not his usurpation.
"I appeal to you therefore, brothers and sisters, by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship. Do not be conformed to this world, but be transformed by the renewing of your minds, so that you may discern what is the will of God--what is good and acceptable and perfect." ~ Romans 12:1, 2; emphases mine
*International House of Prayer
**I contend that shouting because of a mystical God moment does not "release" something abstract in the Spirit, as is common to say in charismatic parlance. I don't see that in the Bible.