ruby_fff

The documentary "Get Off Your Knees" somehow links my thoughts to one of Lincoln's character asset 'negative capability' as described in David Herbert Donald's book "Lincoln" (Preface: page 15, Simon & Schuster Paperbacks) - 'that is when a man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason.' That is the essential spirit to the story of John Robinson in this WMHT (NY state) Education Communications' 60-minute film. From his birth and childhood, through interviews/talking heads with his father, uncle, grandmother, teachers on his growing up period, school and college years (at Delman, NY), yes, university (at Syracuse, NY), too, to looking for a professional position, hearing from his colleagues, friends and to his courtship and marriage to Andrea, his wife, and father to his children of three.

When we first meet John introducing himself (at age 40) on stage to an audience of teenage youths, we have no clue to his physical condition until he mentioned about his 'multiple-congenital amputee'. He was born without arms and hands, no knees and upper legs. If you miss the PBS showing of this film, go to the official site at "wmht.org/getoffyourknees" - you can watch online the video (whole 60 minutes) and get to appreciate what John went through, his family doubts about his future yet amazed by his relentless tenacity in overcoming his physical shortcomings (pardon the pun) and with creative solutions undeterred by daily challenges. His open attitude in life along with his sense of humor facilitate ease for others interacting with him, including on the golf course. To him, his goal is to lead an 'ordinary life' as everyone else would without being constantly mindful of the limb shortness. As his daughter Ariel simply mentioned that her Dad is just like any other Dad but shorter, and there are certain things he can't reach. That's all.

We are fortunate that WMHT television director (also writer, producer, editor and camera) Dan Swinton delivered this documentary of John Robinson Story accessible to wide audience (PBS and beyond). The online web site provides: Discussion Guide with notes & comments by Robinson and Swinton, a Disabilities Self-Awareness Survey, Facilitator and Question lists; Resources and related community links; preview selections or watch the video itself; Photo Gallery; Media press release synopsis; info on available DVD of the documentary and John Robinson's autobiographical book "Get Off Your Knees: A Story of Faith, Courage and Determination".

Hearkened back to DH Donald's "Lincoln" (same page 15 of Preface), his 'pragmatic approach to problems, a recognition that if one solution was fated not to work another could be tried.' You can see that illustrated in John Robinson's account of how he tackle his daily routines and being 'comfortable with uncertainties.' We can see he truly enjoys the life he leads and family and friends, against all odds. No regrets. Why the title 'Get off your knees'? The anecdote is included in the documentary, and amusing, it is.

There are two other inspiring documentaries caught on PBS which are worth mentioning: "The Way Bobby Sees It" and "Life. Support. Music." The former is about Bobby McMullen, a mountain biker who's determined to take on a challenging downhill course race, even though he's 'legally blind' - a fascinating intense account of fearless human strive by directing team of Jason Watkins and Wendy Todd. The latter is yet another encouraging life-affirming chronicle of the family of Jason Crigler, a talented musician-guitarist-composer, unswervingly stood by Jason in spite of the grim prognosis after his unexpected brain hemorrhage life event, how persistence of a unified force & caring support miraculously pulled him through it all - it is moving at times even suspenseful, comprehensively directed by Eric Daniel Metzgar.

There's no worry that the film would be heavy due to subject matter. "Hereafter" is a comfortably-paced film experience from veteran director Clint Eastwood (at wondrous prime age of 80). Peter ("The Queen") Morgan's screenplay on 'life after close encounter with death' is seemingly simple yet full of spirited (pardon the pun) ingredients. There are vignettes depicting different social strata of life situations: rich and famous in the French television media and European publishing world as we follow a career-driven female journalist; quietly solo 'blue-collar worker' shying away from exposure of his 'possessed gift' in San Francisco; struggling addict, London single mom dealing with custody of her boys and the lone twin attachment to his lost brother. Morgan skillfully scripted three intersecting story lines inclusive of contemporary social elements and events: natural disaster, bomb attack, fatal accident, culinary classes, corporate meetings, company layoffs, foster care, book fair.

As in most of Eastwood directed films, there's never hurriedness or push for emphasis of themes. We are watching and experiencing at comfortable pace the development of the characters as the stories unfold. The characters, we care. Not just the three main ones, but the supporting roles are just as interesting and touching - fine acting all round. Bryce Dallas Howard as Melanie - sensual-sensory moments at the food tasting segment with Damon reminds me of the flavorful w-d Sandra Nettelbeck's 2001 German gem "Bella Martha". Brief appearance by Marthe Keller as reassuring Dr. Rousseau at the Swiss hospice institute reminds me of her 'terminal' role in d Sydney Pollack's 1977 "Bobby Deerfield" opposite Al Pacino. Derek Jacobi as himself fondly reciting Dickens is always a welcoming interlude.

Matt Damon, second time round collaboration with Eastwood (he was fantastic in his South African Rugby team captain role in Eastwood's 2009 "Invictus" opposite Morgan Freeman), once again delivered a subtly convincing and sensitive George Lonegan, the reluctant psychic who felt trapped by his not so hidden gift. Cécile De France as Marie Lelay let us share her anguish and determined pursuit for true understanding, recognition of her near-death experience. Marcus at such a young age, quite pensive and resolute in his search for connection with his brother, is well-portrayed by the McLaren twins.

Besides being director and producer to "Hereafter," Eastwood is also the composer of the film score. I appreciate the palpable energy and loving care contributed to the accompanying music as the scenes reveal and the stories evolve - the guitar strains and the piano rhythm so aptly integrated to the movie experience.

Along with screenwriter Peter Morgan, Steven Spielberg is one of the executive producers and it was said that he actually introduced the original draft to Eastwood, who promptly bought the rights to the book 'Hereafter.' There's an insightful article titled "Eastwood Breaks Another Mold" (by C. McGrath) which provided background notes to how the script and film came to be. Almost as fate plays a hand and the two important players (Eastwood-Morgan) 'intersect', we are fortunate to get to enjoy the remarkable film production of 'Hereafter': a perceptive study of life after death on the sly, dramatically rewarding.

"Le Concert" film title in French suggests French production involved (with Mélanie Laurent, Miou-Miou and François Berléand - definitely French et Paris). Core story sets in Russia, began with strains of "Elvira Madigan" - promise of familiar classical pieces we enjoy. Abrupt distraction introduced our 'hero' of the story (Andrei Filipov well-portrayed by Alexei Guskov) and hint of comedic intimations began. The rounding up of his former orchestral members (80 of them, no small matter) gave us vignettes of varying walks of Moscow life. The urgency timing of performance date in 2 weeks, the logistics of flying everyone to foreign soil of Paris - language interpretations, events-process travel visa coordination, plus a solid impersonator as the group's Bolshoi Orchestra spokesman for the journey. 'tis a lot to cohesively deliver by director Radu Mihaileanu, and he pulled it off. We get to appreciate a genuinely heart-warming movie and fantastic music played to our ears.

Plot actually thickens as we're clued into the Parisian-side of things, with the repeated 'no's' of Guylène, underplayed by Miou-Miou as the young lady violinist's guardian and agent, and the retorting 'yes's' of Anne-Marie Jacquet convincingly portrayed by Mélanie Laurent - including her virtual playing-performing on the violin (what a young successful thespian at that, whose remarkable in her role in Quentin Tarantino's "Inglourious Basterds" 2009), plus the comic tempo of François Berléand as Olivier Morne Duplessis, the Parisian contact for the event. Yes, 'dramedy' leads us to unspoken secrets of the past, of artistic struggles and hard times during political differences, and, is Anne-Marie truly an orphan genius with no past?

The story reminds me of similar turn of events for artists in China during Cultural Revolution period, when they, too, had to experience hard labor camps and fatal physical coldness conditions. Chen Gang, co-creator of the "Butterfly Lovers' violin concerto" 1959 at age 24, his famous composer father Chen Gexin of many popular Mandarin songs in '30-'40s (like "Rose, Rose, I Love You") died in 1957 at age 47 and survived by his loving wife who tenaciously brought up their four children, who became successful musicians themselves. In "The Concert" we get a glimpse at such circumstances and how people affected might cope and carry on with their lives.

"The Concert" is a heart-warming movie, with its delights, humorous situations, poignant disclosures to the unfolding story, and as one would expect (so the film poster and trailer both suggest) the climatic central concert piece where we see Laurent impressively plays the violin concerto (of Tchaikovsky's). A satisfying experience all in all, encouraging want of enduring friendships not easy to come by and that we'd dearly cherish and revere.