Reflection Upon The Nativity film 2010

Tatiana Masleny as Mary and Andrew Buchan as Joseph in The Nativity film 2010
Tatiana Masleny as Mary and Andrew Buchan as Joseph in The Nativity film 2010

I recently watched again “The Nativity”, the TV mini series first broadcast by the BBC at Christmas 2010 but this time I watched the entire film on DVD.

I remember the series had a strong impression on me when I first viewed it and we could hardly wait for each new episode. Seeing it as a continuous story was a different experience from viewing it in episodes;  I found it much more challenging and harrowing, especially the scenes in which Mary is judged and reviled both by her fellow villagers in Nazareth, and by householders and innkeepers in Bethlehem.

Tatiana Masleny and Andrew Buchan both gave brilliant performances as Mary and Joseph  and I must confess John Lynch came over as a very handsome and rugged Gabriel.

Here’s a Youtube link to a beautiful and moving song by Kate Bush with clips from The Nativity film.

Seeing this very realistic re-imagining of the Nativity story again, I realised afresh how divisive the story is, for all those who engage with it, whatever they believe.  To see Mary portrayed like this when she has been so revered by Catholics over the millennia with titles like Queen of Heaven and Mother of God, is certainly very challenging. And it makes me wonder again about the assertions of Christian theology, most notably the question of how God could have chosen to bring his Son into the world by causing Mary so much suffering … huge issues arise from this, and provide much material for argument and discussion. Once again this brings up the question that many have struggled with, of why Jesus could not be the son of God and also born naturally by Joseph.

I thought this portrayal of the story has the power either to strengthen and enhance the faith of the viewer or make them lose it. It all depends on the stance the viewer takes before they come to the story.

Certainly I remember the leader of our group at an Alpha course a few years ago beginning the discussion by saying he did not believe in the virgin birth.

But in this film version, we see Joseph as key. His ability to wholeheartedly believe what Mary was telling him, saved her from the judgementalism and hatred and rejection of all those around her – which, without the protection of Joseph, may even have resulted in her death before Jesus was even born.

This gives us much to reflect upon.

 

 

 

A Diversity of Spiritual Outlooks Through Time at the British Museum in London

The Great Court, British Museum, London
The Great Court, British Museum, London

On Saturday 23rd December 2017  I went to see the exhibition “Living with Gods:  peoples, places and worlds beyond” at the British Museum in London. The exhibition curator Jill Cook had set out to show the development of religious symbols through physical objects which people in widely diverse cultures and historical periods have used to denote their relationships with a spiritual reality beyond nature.

 

The exhibition ranged from a 40,000 year old sculpture of a lion man, through a Buddhist wheel of life held in the claws of the god of death, via a Japanese Shinto household shrine, to a Soviet communist poster of an astronaut with a rather inane grin on his face floating in space and declaring “There is no God.” On the Buddhist wheel of life the artist had depicted instances of human and animal suffering and wickedness of all types, which I must confess reminded me of Dan Brown’s description of Dante’s Inferno…

I was also interested to learn that the image of the many-armed creator/destroyer god Lord Shiva is on display outside CERN in Switzerland, as a symbol of the atom.

However, inevitably much was missing from the exhibition. For instance, I found no reference to the aboriginal image of the Rainbow Serpent said to be one of earliest of religious symbols, in this case symbolising Creation. Neither did I find the spirituality of the North American Indians, nor the mystical system of the ancient Chinese Book of Changes, the I Ching.

The whole tapestry and landscape of humankind’s attempts to build and sustain a relationship with spiritual reality beyond the observed world is so vast and complex, this exhibition inevitably could give just a small representative taste alongside a dispassionate commentary. In reality each religious outlook and philosophical system deserves its own special in-depth study in order to do anything like justice to it – and the curious investigator can find many books to help.

But one of the most moving parts of the exhibition for me was the display about the Japanese persecution of Christianity in the 17th century, during the time of the Portuguese Jesuit mission to Japan, a story told in the brilliant novel Silence by Shusako Endo, upon which was based the 2016 film starring Andrew Garfield.

I remember the impact the book made on me, when those being persecuted were ordered to trample the fumi-e – a bronze plaque showing Christ on the cross. I found myself gazing in awe at an authentic  fumi-e and thought again of the powerful end to the novel Silence.

One of the most interesting things about that novel was the way it showed how Christianity may be introduced into what may seem an alien culture and how those within that culture may take on the Christian faith and understand it within their own cultural terms. I remember a scene in the novel where Japanese Christians were being tortured by being tied to stakes on a beach while the tide rolled in and out around them. They gained the stength to endure by continually singing, We are going to the temple, going to the temple of God.

If there is any lesson at all to be learned from an exhibition of this type, perhaps it is that we have the challenge ahead of us to communicate what we believe to be the truth, whilst also respecting other human beings and where they are in terms of their own worldview.

 

 

The Full Monty and What it Says About Not Being Controlled by Your Circumstances

Recently I watched the 1997 British comedy drama film  “The Full Monty” again. The Full Monty film posterThe reason why I love it is that it’s about “little” people deciding not to be controlled by their circumstances. Six men who in their different ways are suffering during the decline of the Sheffield steel industry, decide to do something nobody believes they can deliver on.

If you haven’t seen this wonderful film then I highly recommend it; read about it here. Somehow that message of hope is encapsulated in one of the outstanding elements of the film: the faces of the audience members in the club at the end. They express joy, laughter, fun and delight. Their reaction is a natural response to “local lads” demonstrating that if we choose, we can all have the courage to:

  1. compete with those who seem to be hugely successful “out there”
  2. get up on stage and run the risk of making fools of ourselves
  3. demonstrate that we will not allow ourselves to be controlled by our circumstances.

This is a universal message, relevant in so many different ways in today’s society. This is why “The Full Monty” is an inspiration to its audiences and why, using humour, it delivers a powerful truth, relevant to all our lives.

That’s Life – in the Eyes of Noel Coward

I’ve loved the work of Noel Coward since I first saw one of his comedies, in my teens. Noel CowardAmong many different archetypal character-types which I hold in my mind, is that of an indolent Noel Coward male lead, lounging against a mantelpiece wearing a silk brocade smoking jacket, elegant, mannered, and dispensing witticisms with the greatest of ease: the sort of individual who would instantly impress in a social setting; but what’s really going on behind that stylish, confident exterior? I had this image in mind when I created the character James in my novel Mystical Circles (and James reappears in A Passionate Spirit).

In Coward’s play Present Laughter, the male lead, Gary, a successful comic actor, lives out of the image of himself he projects on stage.

He is the focus of everyone else’s obsession.

Gary is a poser – he throws tantrums, acts in a theatrical manner, and hates it when others accuse him of “over-acting” – which he, of course, does all the time. Only his secretary and his supposedly-estranged wife see him in a plain unvarnished way.

Meanwhile, a strange, intense young aspiring playwright, Mr Maule, is obsessed with him and latches onto him and challenges him.

Gary want to get rid of them all, yet cannot see he himself is a magnet for them.

In this play, we see yet again the beloved Noel Coward tropes:

  1. A flouncing self-important male lead;
  2. A sullen fag-smoking housekeeper;
  3. A strange insecure subsidiary character who has a major effect upon the action;
  4. A femme fatale triple-crossing vamp married to the MC’s best friend, having an affair with the MC’s other friend, and with the MC himself.

In this play, the women who spend the night with Gary, and have to explain themselves to visitors in the morning, always:

  1. appear for breakfast wearing Gary’s dressing gown and his black silk pyjamas;
  2. say they had forgotten their latch-key, which was why they had to stay the night; and
  3. claim they slept in the spare room.

Just so do so many of us feel compelled to behave in predictable patterns, so that we might as well be following a script that’s been written for us.

It’s comedy, farce, satire … but isn’t it often just like life? Comedy is a wonderful vehicle for communicating truths. Don’t we find sometimes – especially in this society, and on the current political scene – that people behave as if they were characters in a farce, acting out a parody of themselves?

This is the human comedy.  And comedians only need to tweak real life a very little: just a slight exaggeration – for us to see how absurd this all is.

I think this is why, in moments of insight, we instinctively respond to good observational comedy, especially when it is delivered with warmth – for there are occasions when we recognise ourselves reflected back in the wit of the comedian. And when that is so, we might see opportunities to try and interrupt this pre-determined script, and start acting as if we genuinely do have free will, instead of behaving like characters pushed hither and thither by the plot…

The Fatal Flaw in Human Nature, Castles in the Air, and Dreams and Visions

My recent visit to an English Heritage castle, Goodrich Castle in Herefordshire, stirred up some reflections on life.20170501_124937-1

A visit to a medieval castle cannot help remind you that this great pile represents in stone the major themes in human nature: war, power, wealth, moral and economic hierarchies, social injustice and religion.

Of course what we choose to focus on when we visit a castle is conditioned by the story we attach to it; and when I visit my nearest EH castle at Kenilworth my mind is usually full of the intriguing romance between Queen Elizabeth I and Sir Robert Dudley Earl of Leicester, because that’s the angle English Heritage love to take.

However at Goodrich Castle, several different images whirled around my mind: a chapel in a gatehouse with arrow slits in it, murder holes, double portcullis, double gates, two drawbridges, luxury accommodation and all the contemporary mod cons for the aristocratic family and their friends, and the reminder that the 200 servants would have just dossed down anywhere they could find that was as warm and comfortable as possible.20170501_112727

I found myself thinking about three things:

First, social justice.

We’re very conscious of it now in our society, only because our eyes have been opened to it; perceptions have changed. To modern Christian eyes social justice has always been at the heart of the gospel. But has it? For many centuries the most dedicated Christians were oblivious to it. So has it always been there, and they were just wilfully blind? Or is it only there because we’ve formed a political agenda for it?

Second, religion and violence.

They were pious Christians with rich Chapels and they had all the arrangements in place to hurl boiling oil on people and shoot arrows at them through slits in the walls of their chapel even as they were worshipping. But can we ever judge those who lived in a different age by our own values and standards in very different times? Many who oppose the Christian faith now cite its history as evidence that it is sheer folly. To what extent can we judge the truth of a system of thought/ a religion/philosophy/worldview by its human history?

Third, human nature.

In church recently someone said to me, “He who expects nothing is never disappointed. My view is that human nature is fatally flawed. But that doesn’t mean I don’t think there could be some improvement.” This reminded me that the teachings of Jesus go against human nature. You cannot actually follow through the logical implications of Jesus’ teaching without battling human nature.

What is human nature anyway? With the benefit of hindsight we see the behaviour of medieval castle inhabitants as folly, and it all seems very black and white to us. Future generations looking back will see and think exactly the same about our behaviour now, in 2017, down in our very own microcosm.

Many of our own “dreams” are foolish, vain things – “wishful thinking, ” “pipe dreams”, “castles in the air”. They are not worthy of being fulfilled and are not designed to be fulfilled, but are destined to dissipate in the desert air.

All we can do is take little steps forward according to what seems right, or helpful, or appropriate to us at the time.

We always have to see our “dreams” in this context, of failed, fatally flawed, human nature. And to realise that we’re down here in the microcosm and can only see through a glass darkly, notwithstanding all our little dreams and visions.

 

 

Joan of Arc: Mystical Experiences and Empowerment

The other day I saw an encore screening of George Bernard Shaw’s play “St Joan” from National Theatre Live.St Joan National Theatre Live I studied this play at university. Then, as in my recent viewing, I was entranced by the character of Joan herself, and by the words Shaw puts into her mouth.

Joan has  special resonance for me because when I was young, as a member of a children’s choir, I sang in a performance of Honneger’s “Joan of Arc at the Stake” – an oratorio with words by Paul Claudel, a Catholic poet. The performance was at the Royal Albert Hall; Mia Farrow played Joan, and Andre Previn conducted the London Symphony Orchestra. We sang the part of the children of Lorraine.

The character of Joan had a strong impact upon me. I remember several words from “Joan of Arc at the Stake” and they are largely from Joan herself, in which she described her visions and her mystical inspiration, in terms that totally encompassed their reality.

To me the central thing about Joan of Arc was “empowerment”.

Joan was an illiterate peasant girl who claimed she heard a trio of saints speaking to her; and on the basis of this she believed God wanted her to lead the French army to fight and defeat the English, and place Charles II on the throne of France. In 1431, when she was nineteen years old, the English led by the Earl of Warwick tried her on numerous charges, one of which was blasphemy, and sentenced her to be burnt at the stake. The part of the saints were sung by soloists in the music drama; and I felt that Paul Claudel  handled the whole work from the viewpoint that Joan’s experiences were real.  The work has been accused by critics of being several things, including weird, bizarre, sentimental and heavily Roman Catholic, but I loved it, just as I love Elgar’s “The Dream of Gerontius”, another musical work which has in the past had the same accusations levelled against it.

When I reflect upon Joan and the fascination she holds for me, I see her as someone who was marginalised, who had religious experiences which empowered her, and who refused to be controlled by her circumstances:

  1. Whether or not a postmodern assessment concludes that her ‘voices’ may be accounted for by mental illness – perhaps schizophrenia, or psychosis –  she definitely had profound religious experiences.
  2. She acted upon these experiences.
  3. She derived from them courage, strength and vision to prevail again huge male-dominated interests in Church, State and Army. Both Shaw and Claudel show her as clear sighted, strong and single minded against her powerful interrogators.

I think of similar cases of young girls and women who have had profound religious experiences which then impact the future course of their lives and the lives of many others:  Bernadette of Lourdes, St Therese of Lisieux and Julian of Norwich.

Part of the fascination of these individuals to me is that between them they usually demonstrate one of a number of recurring features, which tend to marginalise: these elements include being young, female, poor / of peasant background or illiterate; and suffering from serious illness, whether bodily or mental. Another element that often appears is the gift of healing. There are many other examples, of whom a good proportion have had visions or extraordinary powers of insight, on the basis of which they have gained enormous influence, and have captured the imagination of future generations.

What do you think? Can you offer other examples of young female visionaries who have had a big impact on the world and may have captured your imagination?

 

The Laborious Art of Book Writing

I love this post by Lucy Mills and it echoes my own thoughts about the process of writing a book. Lucy is writing an inspirational book, not a novel, but she describes an experience common to all those who throw themselves heart and soul into writing a full-length work for publication. Lucy refers to the revision process; but I can testify that even getting that first draft written presents the same challenges. It can be compared to an artist, covering the canvas before they can begin to work on the details. Do read and comment on Lucy’s post.

Lucy Mills

“Reading through…I think it’s OK…so hard to tell when have seen it so much…but it might be OK, after all…If I can fix a few things and fill a few holes, I might even be pleased, in the end…”

I wrote those words on a recent Instagram post.

I’m still writing the book, balancing it with other editing work, which is proving an exercise in drawing lines, even more so than I already do.  Deadlines do have a tendency to congregate and with every new demand in my editing job, I have to take a deep breath and not panic.

Panic is the worst thing for creativity, for me, at least.

Undivided Heart is developing its personality and it won’t be taken lightly, taking me into deep questions of identity and meaning. I only hope it manages to balance the ‘depth’ with readability.  I continue to plug away at it…

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Creative Artists: In the Minority, and On the Outside Looking In

Today on Radio 4, whilst stuck in slow-moving traffic due to an accident on the M40,  I listened to the Midweek programme, in which Libby Purves interviewed four guests – Diana Moran, fitness expert; Jack Thorne, playwright; Dashni Morad, singer and presenter; and finally Omid Djalili, comedian and actor. For the purposes of today’s blog post, I was particularly interested in what Omid Djalili had to say.Omid Djalili

Talking about his own development into a highly successful comedian and actor,  he made the point that throughout his life he has always felt, on every level, part of a minority within another minority… and so on. That has informed his comedy.

I loved him in the film The Infidel when he explored questions of identity as well as the boundaries and prejudices between two major world faiths, Islam and Judaism. He was brilliant in his role of a man who had been brought up an East End Muslim then discovered he was adopted, and really a Jew.

The point he was making in the Radio 4 programme related to the topic of one of the chapters in my new book Perilous Path: A Writer’s Journey, in which I explore the feelings of someone else highly successful in the arts; this time, a bestselling author. And I feel there is a close connection between being in the minority in a minority, and feeling as if you’re always on the outside looking in.

The author in question is Howard Jacobson and he made his remarks in another radio interview, just after he’d won the Man Booker Prize.Howard Jacobson

Here’s that chapter, a taster from my new book:

ALWAYS ON THE OUTSIDE LOOKING IN: WHAT DOES A BESTSELLING NOVELIST HAVE TO TEACH ASPIRING WRITERS?

I was listening to a bestselling novelist (Howard Jacobson) speaking on the radio about his success in winning a major book award. Among the many things he said which touched and amused me, I was most impressed by the answer he gave to this question:

 “Now you’ve won this prestigious award, do you feel you’ve arrived? Do you now feel you’re on the inside?”

And he replied,  “No. I have always felt myself to be on the outside of everything, looking in.”

What a wonderful response the interviewer received to this question! And it seemed to me an authentic writer’s response. As observers of human life, this is what creative writers spend their lives doing. Often whilst researching for novels, we are on the outside looking in. We do not necessarily wish to ‘get involved’ or ‘drawn in’, although there are times when we must ‘come alongside’ those we observe, in order to truly understand.

This is especially true of those on spiritual journeys. To be a traveller on this path, you need an open mind and an open heart, and must be prepared to go anywhere and come in on anything. This does mean exploring other spiritual outlooks, other worldviews. This should be no contradiction to a spiritual traveller, whatever religion they belong to. As Rabbi Lionel Blue discovered, ‘my religion is my spiritual home not my spiritual prison’.

The great mystics have transcended religious boundaries in order to experience the presence of God beyond them all. So, how can we always be outsiders looking in? Or is it sometimes necessary to get involved, and come alongside? I believe both can co-exist simultaneously. There is, in fact, never a time when a writer is so fully involved, he or she cannot at some future time stand back and write it. Every experience, no matter how negative or difficult, can prove raw material for a writer because in the act of writing a story you are often drawing upon unconscious material. Novelist Margaret Drabble remarked that fiction writers are good at ‘turning personal humiliations and losses into stories … they recycle and sell their shames, they turn grit into pearls’.

I am particularly fascinated by group dynamics. And in order to learn about those you have to participate. But you can also observe. The truth lies in paradox. Thus the most successful creative people can literally be, in the eyes of the world, on the inside. Of course they have arrived! And yet they can still feel they are always on the outside looking in.

 

 

 

 

The Gatiss/Moffatt Post-StoryTelling World of Sherlock

We’re familiar with the phrase postmodern and more recently with the notion of post-truth. benedict-cumberbatch-as-sherlockBut now I think, for writers, it is true that there is a post-storytelling phenomenon – which moves beyond and over-turns current rules. And it’s illustrated in the scripts that Steven Moffatt  and Mark Gatiss create for their TV drama series Sherlock.

It is now becoming more and more acceptable for audiences, on first viewing, to be confused by a story, but to stick with it for the sake of their love of the characters. This is certainly true of the most recently aired Sherlock episode: The Final Problem  which presented a great challenge to the brilliant acting skills of Benedict Cumberbatch, Martin Freeman and Mark Gatiss.  Clues as to what is or might be going on are planted in the current or the previous episodes, and because audiences can now view the episode many times, story-tellers are exploring new territory to take advantage of this.

Moving seamlessly between what’s in the mind and what’s actually happening in the physical world, Moffat and Gatiss break genre expectations (for which I here use the word rules – for so long as they can be deemed to exist) to involve their characters in events in the physical world whilst they remain free of the natural consequences, by some means which is not clear – other than through the clues I mention above. The popularity of the story of the modern Sherlock Holmes and John Watson itself seems to justify the transgression of the rules – or the pushing of these rules to their extremes – just like the characters themselves.

We saw Moffatt and Gatiss work brilliantly with a terrifying metaphor – a little girl the sole conscious person on board an aeroplane in mid-flight, needing to be talked into landing the craft. This was very archetypal and the stuff of nightmare, and a powerful metaphor for a small child under stress. But it’s not clear until the very end that this scenario is not happening in the physical world, but it is a metaphor, and in the mind.

However in one respect the story-telling remains strictly true to the original Conan Doyle stories – Sherlock’s ability to take things to an extreme pitch of personal danger to himself and to those closest to him, and then to emerge from it calm, self-possessed and in control. He does that in Conan Doyle’s original story The Adventure of the Dying Detective, where Watson is convinced Holmes is dying from a dreadful Asian disease, but when Holmes has secured the villain’s confession, and Inspector G. Lestrade has walked in, the “dying” Holmes suddenly transforms to his normal self and says, “All is in order, and this is your man.”

I remember well how I felt when I read that story – I was every bit as gripped by that as by watching the latest Sherlock episode on TV. So the Moffatt-Gatiss Sherlock is true to the original in this respect. Moffatt and Gatiss are replicating this factor using very impressionistic stylistic techniques made possible by today’s film/TV technology.

The very essence of Sherlock Holmes’ intellectual genius is his ability to make cool, measured calculations based on reason, whilst in a situation where the majority of people would be undermined by tumultous emotions. But right at the centre of The Final Problem, is Sherlock’s discovery not of his intellectual genius, but of his heart. The appearance of Lestrade at the end and John in the blanket is so reassuring and comforting – “order is restored, John’s in a blanket just as Sherlock was in the very first episode of all,  A Study in Pink…. and Sherlock has saved him through supreme reasoning powers allied to his loyalty – and he has told Molly he loves her (twice, and sounding genuine).” So Sherlock has a heart. If he had a choice to live without John’s friendship and loyalty, or to live without Mycroft’s power and intellect, he would choose the second; and when no words could be used to communicate with his profoundly damaged sister Eurus, he alone communicated with her – using his violin.

I read a very telling admission in an interview with the two writers: they say of their character Sherlock “everything he has worked towards, everything he has tried to get away from in himself and deny about himself, is what makes him strongest.”

All in all – on first viewing we are confused, but still electrified – and we love and care for the characters more than ever.

 

 

 

Dark TV Drama for Christmas 2016 and New Year 2017

This year darkness seems to be the keyword for some of our best drama offerings on TV: from Agatha Christie: The Witness for the Prosecution:cast-of-the-witness-to-the-prosecution

through Jonathan Creek: Daemons’ Roost;alan-davis-as-jonathan-creek

Sherlock in The Six Thatchers.benedict-cumberbatch-as-sherlock and the Bronte Family in To Walk Invisible.
the-3-bronte-sisters-in-to-walk-invisible

In Sherlock we discovered that Death had an appointment – with Mary Watson in the London Aquarium. Maybe London is Sherlock’s city and he knows the turf. But he was still unable to keep Mary safe, as he had promised. In the Agatha Christie drama, we were drawn in to the personal tragedy of a detective who was finally outwitted by the criminal; in Jonathan Creek we saw our lovable main character largely responsible for the horrific death of a villain; and in To Walk Invisible we were shown a tough and bristly Emily, a Branwell totally lacking in inner resources when things go wrong, a bossy and controlling Charlotte and a rather ineffectual Anne: and all of them powerless against tidal waves of blind misfortune.

I read in an interview with Toby Jones (star of the Agatha Christie episode, and also due to appear as the next villain in Sherlock) that Ten or twenty years ago, Poirot and Miss Marple were cutting edge. But the viewer’s brain processes genre faster now.

I feel this sums up well the challenge facing today’s TV drama writers, screenwriters and novelists.  We can no longer get away with anything that approaches transparency or simplicity in plotting or tone or characterisation; especially if we write crime, suspense or thrillers, we have to be at least two or three steps ahead of the viewer / reader. For us, “the game” of which Sherlock speaks has to be the game we play with the reader’s expectations, which are now razor-sharp. In our books we can only get away with characters like Mrs Hudson saying things like “I’ll just go and make a nice cup of tea shall I?” if there is some kind of double or even triple irony bound up in the package of words and character and context.

Against all this perhaps, the Outnumbered Christmas Special was refreshingly light, unless you count the darkness of 1) being led astray by a mischievous old man, now deceased, to travel a long distance to scatter his ashes in a random beauty spot 2) the abrupt discovery that your son plans to disappear off to New Zealand long term, and 3) walking away defeated from a car accident having trashed your car, totally unaware your daughter has obtained evidence that the other party was completely at fault….

All of these dramas, though, are essentially English, and all are about life, and we love them, together with their characters and situations. The darkness in some way is cathartic for us; we identify, we exercise our powers of empathy as we are drawn into the tragedy and horror and irony of the characters’ experiences… and this is why drama, and fiction, is a gateway to truth, and so profoundly important in our lives.