"Eli Stone": Changing the World on the Small Screen

Movies are undoubtedly my greatest entertainment passion, but every so often something on the small screen catches my attention that’s well worth a look. That’s especially true when the material aspires to virtues like making the world a better place. Such is the case with the quirky new comedy-drama-fantasy offering, Eli Stone (Thursdays, ABC, 10 p.m. Eastern).

The series follows the life of the show’s title character, a high-powered San Francisco lawyer (Jonny Lee Miller) who begins experiencing unexplained visions, often at the most inopportune times, such as during meetings with his boss (Victor Garber) and in intimate moments with his fiancée (Natasha Henstridge). Many of these spectacles at first seem irrelevant and annoying, but they quickly turn bizarre, even unnerving. The apparitional appearance of pop star George Michael singing his hit song Faith in Eli’s living room, for instance, stretches the suddenly befuddled protagonist’s limits of believability, causing him to question his very sanity.

As events unfold, however, Eli realizes that the visions have significance; these profoundly meaningful, fittingly synchronistic materializations awaken him and steer him in a new direction – that of taking on the worthy causes (and cases) that no one else will handle. That’s how, for example, he comes to represent the mother of an autistic child whose condition was believed to be caused by a faulty vaccine preservative. Or how he takes on the case of immigrant agricultural workers whose infertility is suspected to have been the result of pesticide exposure. But as fulfilling as these undertakings might be, Eli embraces this newfound gift of prophecy reluctantly, especially when he discovers what actually might be driving it.

The series features snappy writing and a host of colorful supporting characters, such as Eli’s wisecracking though devoted assistant (Loretta Divine) and a sage but streetwise acupuncturist/spiritual advisor (James Saito). The plot lines are solid, presenting genuinely uplifting stories, but telling them without the overwrought sentimentality of many of this genre’s predecessors (think of the scripts as having been more inspired by Mad magazine than Kodak moments). Some of the visionary sequences are a bit over the top (and feature a little too much George Michael music for my taste), but the show’s real strengths shine through in its quieter moments, when it aptly illustrates how small gestures can reap rich rewards.

It remains to be seen if Eli Stone can find an audience, especially in the wake of the recent Hollywood writers’ strike and all the attendant fallout on production and broadcast schedules. The show is fortunate to have the enormously popular Lost as a lead-in to its time slot, but its success ultimately will depend on how well it stands on its own. In the meantime, perhaps the best thing that fans of this series can do is to draw from the wisdom of Eli’s unlikely muse, who simply said “you gotta have faith.”

"One The Movie"

Imagine waking up one morning with an inexplicable urge to make a movie. You’ve never made a film before, nor are you clear where the idea came from. What’s more, the topic is a weighty one—a cinematic exploration of the meaning of life and the oneness of humanity. If you can picture the challenge—and the opportunity—posed by that seemingly daunting task, then you can appreciate the unique odyssey of Ward M. Powers, lawyer turned filmmaker, in creating “One The Movie,” a reflective documentary subtitled “A Contemporary Journey Toward a Timeless Destiny.”

The film, available on DVD and periodically screened at alternative viewing venues, has slowly garnered attention around the globe over the past two years, quietly growing in popularity, in much the same way as productions like “What the Bleep Do We Know” and “The Secret.” Its theme is a simple one—addressing the ties that bind us, rather than those that divide us. But as basic as that may sound, its implications are far-reaching, particularly in terms of how we collectively see ourselves and how we might unite to solve the world’s myriad problems.

Powers and his team of novice collaborators examine these issues primarily through interviews conducted with leading spiritual and philosophical figures, such as Deepak Chopra, Barbara Marx Hubbard, Ram Dass, Thich Nhat Hanh, Robert Thurman, Father Thomas Keating, Llewellyn Vaughan-Lee, Riane Eisler, and Sadhguru Jaggi Vasudev, as well as in a brief commentary from the Dalai Lama. However, there are also numerous clips from chats with everyday folks, conducted in an impromptu, man-on-the-street style and featuring observations that are often as insightful—and telling—as those of their more famous counterparts.

Several themes come up repeatedly, most notably the need to overcome fear and negativity and to embrace the positive aspects of our power and existence (sounds like a certain book and Web site I know!). Taking these steps, in conjunction with a recognition of our own intrinsic universality, can go a long way toward changing ourselves and the world in which we live—if only we’ll allow ourselves to embark on that courageous and daring journey.

Powers took that journey in making this movie. In creating the finished product, he enlightened himself about his chosen subject matter and his purpose in life as much as he inspires his viewers to do the same for themselves. He lived his message in the process of delivering it, a decidedly personal yet powerful way to drive home the point he set out to convey.

As the work of a first-time filmmaker, “One” does have its shortcomings. It’s a little too self-congratulatory at times, some of the editing could have been handled more effectively, and a quasi-fictional narrative whose story line appears intended to mirror some of the interviewees’ commentary would have been better left out entirely. However, considering the magnitude of this ambitious undertaking, tackled by an amateur working only with friends and a mail order camera, the result is a thoughtful contemplation on who we really are and where we’re going.

As we enter this special time of year, “One” makes an excellent viewing choice in the spirit of the season. It also gives us a sense of hope as we head into yet another new year, a time of fresh beginnings and of the realization that, underneath all our superficial differences, we all truly are one.

(2005; Ward M. Powers, director. For more information about ongoing projects inspired by the movie, visit http://www.onetheproject.com.

"Bella"

Sometimes the simplest solutions to our life’s problems are the best solutions. They’re also the ones we most readily overlook. We get so caught up in our everyday lives that we simply don’t give ourselves the luxury of time—time to step back, take a look at the question at hand, and rethink our approach to resolving it. “Bella” (“Beauty”), a recently released, heart-tugging drama, explores this process—excuse the pun—beautifully.

When Manny, a hot-headed, workaholic, New York restaurateur (Manny Perez), fires Nina, one of his waitresses (Tammy Blanchard), for being routinely late (unaware that her recent tardiness has been due to her being “late” in another way), his head chef (and younger brother), Jose (Eduardo Verástegui) comes to her rescue. He spontaneously, and uncharacteristically, abandons his kitchen post to console his newly dismissed co-worker. Even though Jose and Nina barely know one another, they quickly develop a bond by spending a leisurely day together, first in the city and then later with Jose’s family at their suburban Long Island home. Their time away from work and in each other’s company is a welcome change; the unexpected break gives each of them an opportunity to assess their individual issues and to attend to wounds that each of them has carried around for a long while but that have stubbornly failed to heal.

For Nina and Jose, escaping their daily routine proves not only refreshing but revelatory, yielding simple yet effective solutions that neither of them had previously imagined. And all it took was for them to give themselves permission to take a much-needed respite to confront and resolve the challenges in each of their lives.

“Bella” is a wonderfully warm and touching film, and it makes its case with genuine heartfelt emotion—no sloppily sentimentality or schmaltziness here. It’s easy to feel for these characters as they work through their challenges (thanks in large part to the stellar performances of the leads). But what’s most gratifying is to see the characters discover how truly easy this can be when they simply allow themselves the opportunity to experience it. Getting away from the workaday world to take time and smell the roses can do more than just fill one’s nostrils with a pleasant scent; it can also shift one’s perspective quickly and with surprising ease if given a chance. And that’s the real beauty of this film.

(“Bella” – 2006 (production), 2007 (release); Eduardo Verástegui, Tammy Blanchard, Manny Perez, Angélica Aragón, Jaime Tirelli, Ramon Rodriguez, Ewa Da Cruz, Armando Riesco, Sophie Nyweide, Ali Landry, Alexa Gerasimovich; Alejando Gomez Monteverde, director; Alejandro Gomez Monteverde, Patrick Million, and Leo Severino, screenplay)

"Poor Boy's Game"

We hear the term “entertainment value” attributed to a particular movie or TV show as an assessment of how well it amuses us, moves us emotionally, or even distracts us from the stresses of daily living. But the very best storytelling—whether it’s spoken, written, or presented in images—not only entertains us, it also enlightens us and helps us better understand ourselves and our world. To me, that’s the value of entertainment. So, to paraphrase the subtitle of And Now for the Good News, I look forward to sharing with you movies and television shows—present and past—that will inform, inspire, and fill you with optimism.

To start us off, I’d like to tell you about a powerful movie that I saw at the recent Chicago International Film Festival. “Poor Boy’s Game,” a new Canadian production, is the latest feature by upcoming director Clement Virgo. Set in Halifax, Nova Scotia, one of the few overtly segregated communities in a nation otherwise known for its tolerance and cultural diversity, the film tells the story of a white boxer (Rossif Sutherland) who is released from prison after serving time for an especially brutal assault on a young black man (K.C. Collins). Upon returning home a rehabilitated man, he must nevertheless confront the ghosts of his past on both sides of the racial line, most notably the father of his assault victim (Danny Glover).

However, despite such tense circumstances, as the story plays out, all involved realize that their old ways of addressing their issues and differences no longer work; solutions that were once employed unquestioningly are suddenly ineffective and inappropriate, and new measures are needed if things are ever to change. All of the film’s principals try out alternative approaches, some of which don’t work but most of which do. What’s most important, though, is that the once-entrenched characters are willing to make the effort to explore new means for handling such matters as anger, violence, vengeance, victimhood, responsibility, tolerance, and, most importantly, forgiveness. And it all ultimately gets sorted out in the realm of sports, culminating in a suspense-filled climax that will keep viewers guessing—and glued to their seats—right up until the end.

“Poor Boy’s Game” has been making the film festival circuit for the most part thus far, so finding it may take a little effort, but it’s well worth it. It’s refreshing to see a group of once-intractable characters entertain new ideas and to see their efforts presented in a film that never passes judgment on them. It also helps that this is all wrapped up in such a riveting and entertaining package. What the players in this drama take away from their experience—and what we as viewers take away from witnessing it—is nothing short of inspiring.

(“Poor Boy’s Game” – 2007; Rossif Sutherland, Danny Glover, Flex Alexander, K.C. Collins, Greg Bryk, Tonya Lee Williams, Laura Regan, Stephen McHattie, Wes Williams; Clement Virgo, director; Chaz Thorne and Clement Virgo, screenplay.)