Movies That'll Inspire You

Hi, I'm Brent Marchant, author of Get the Picture, here to bring you movies that will inform, inspire, and fill you with optimism—because what we focus on matters!

Is there a movie you think our Good News audience will enjoy? I'd love to hear from you: BrentMarchant@momentpoint.com

"Milk"

A Visionary Hero

Heroes arise from every conceivable milieu. Some may seem like obvious candidates, while others are the unlikeliest of champions. But no matter what backgrounds these noble souls may hail from, once they come into their own, they’re forces to be reckoned with, for the impact they have in reshaping their worlds is formidable. One such hero provides the focus for what is undeniably one of the year’s best movies, the recently released biopic “Milk.”

This outstanding new film tells the life story of Harvey Milk (Sean Penn), a mild-mannered, discreet, somewhat unfocused gay New Yorker who moves to San Francisco with his lover Scott (James Franco) in the early ’70s in search of doing something constructive with his life. Little did he realize what would come of it.

Not long after opening a camera shop in San Francisco’s Castro district, a once-conservative neighborhood that was quickly becoming home to the city’s emerging gay population, Milk grew increasingly dissatisfied with the prejudice and injustice heaped upon his peers by everyone from local business owners to the police. But rather than become indignant and embittered about these patently discriminatory practices, Milk channeled his energy into politics, organizing his constituents into a voting bloc ready to exercise its power. For his efforts, Milk was elected to the San Francisco city council as the first openly gay politician to hold major public office in the country.

But Milk’s vision extended beyond the Bay Area. He looked outward across the nation, hoping to use his experience and that of his community to influence activities elsewhere. He was particularly troubled by initiatives launched to overturn gay rights ordinances in communities across the country, a movement spearheaded by former beauty queen Anita Bryant. To squelch the campaign, Milk ultimately brought the fight to California, an effort through which he was successful in stemming the tide on both the local and state level.

Despite his success, Milk made enemies along the way, most notably fellow councilman Dan White (Josh Brolin). Frustrated at his inability to achieve his own goals, White eventually resigned from the council but later regretted his decision. When his reinstatement was denied by Mayor George Moscone (Victor Garber), White took out his anger on Moscone and Milk, shooting and killing both of them in San Francisco City Hall.

But Milk’s impact did not die with his death. He became a symbol of the gay rights movement, inspiring countless initiatives at the state and local level across the country.

“Milk” is a top-notch picture from start to finish. Penn’s performance in the lead role is outstanding, as are the portrayals by Brolin as Milk’s troubled nemesis and by Emile Hirsch as Milk’s protégé Cleve Jones. Credit screenwriter Dustin Lance Black with giving an excellent script to the superb ensemble cast and director Gus Van Sant for pulling it all together into a riveting package.

The inspiration this film delivers is palpable. And that in itself is both heroic and visionary.

(“Milk” – 2008; Sean Penn, Emile Hirsch, Josh Brolin, Diego Luna, James Franco, Alison Pill, Denis O’Hare, Lucas Grabeel, Victor Garber, Howard Rosenman; Gus Van Sant, director; Dustin Lance Black, screenplay)

“The Express: The Ernie Davis Story”

Sports movies are, admittedly, often among some of the corniest and most formulaic films out there. But every so often, one comes along that, if it doesn’t break the mold, it at least bends it enough so that its cinematic lineage is not quite so obvious. And, if we’re lucky, that movie just might teach us a few things about life in the process. Such is the case with “The Express: The Ernie Davis Story.”

This well-crafted biopic tells the life story of Ernie Davis (Rob Brown), “the Elmira Express,” a charismatic, lightning fast halfback from upstate New York who went on to tremendous success in the football program at Syracuse University. Davis played a pivotal role in leading his team to the 1960 national collegiate championship through an undefeated regular season and a post-season victory in the Cotton Bowl, a game in which he was named MVP. Two years later, Davis would win the prestigious Heisman Trophy as the most valuable player in college football, the first African-American to do so.

But Davis’s accomplishments extended beyond the football field. At a time when the country was still rife with racial prejudice and blatant segregation, Davis earned respect for himself without stooping to the crass, confrontational ways of those who would try to hold him back. He let his accomplishments on the field speak for him, never having to lower himself to his detractors’ level, yet all the while always keeping sight of who he truly was as an individual off the field.

Davis’s achievements also show us what’s possible to accomplish through collective and not just individual efforts. His spirit of teamwork aptly illustrates his understanding of the significance of the connectedness of all things and the role it plays in fulfilling common goals. When Ernie won, everybody did.

Sadly, Davis’s football accomplishments ended when his collegiate career was over. He was drafted by the NFL’s Cleveland Browns, but he was stricken with leukemia and died at age 23. However, despite that fact, Davis’s many accomplishments were so respected by the professional team he never played for that the jersey number that was to be assigned to him was retired without him ever having taken a snap of the ball.

“The Express” is a wonderful film on many levels – inspiring, touching, and entertaining, all without being trite or overly sentimental. It’s a great period piece and features a dynamite performance by Dennis Quaid as Davis’s collegiate coach, some of the best work he’s ever done. But one of the things I like most about it is that it’s a film one can enjoy without necessarily being a football fan. It’s about people, and, if there’s nothing else Ernie taught us, it’s that people count just as much as whatever other endeavors we pursue in life.

(“The Express: The Ernie Davis Story” – 2008; Rob Brown, Dennis Quaid, Darrin Dewitt Henson, Omar Benson Miller, Nelsan Ellis, Charles S. Dutton, Justin Martin, Justin Jones, Nicole Beharie, Aunjanue Ellis, Elizabeth Shivers, Saul Rubinek, Chelcie Ross, Chadwick Boseman; Gary Fleder, director; Charles Leavitt, screenplay; Robert Gallagher, book)

On a personal note: In the interest of full disclosure, I must say that I’m probably a bit partial about this film, given that I am myself a Syracuse graduate. Davis’s playing days were over long before I attended, so I never got to see him work his magic on the field. But I’m proud to see that his story is finally making it to the big screen, given that it has been almost 50 years since he achieved his enviable accomplishments. Davis has sometimes been referred to as the one of the greatest football players no one has ever heard of, but I’m hoping this film will help to change that and to earn him the recognition he deserves for his achievements both on and off the field.

“Henry Poole Is Here”

In an age like ours, when people are so hungry for meaning in their lives that they strain to see it in everything from building structures to snack foods, it’s refreshing to see films come along that help viewers to address that question. One such picture that does so is the gentle comedy-drama “Henry Poole Is Here.”

When the film’s title character, a soft-spoken young atheist (Luke Wilson), receives a diagnosis that he’s dying, he chooses to slip away by quietly drinking himself to death. He seeks sanctuary for this undertaking by buying a run-down bungalow and moving into the house as-is. However, his well-meaning real estate agent (Cheryl Hines) feels guilty about the home’s condition and has the structure’s exterior rehabbed with new coats of paint and stucco. The plastering leaves much to be desired, as evidenced by a big ugly water stain along one of the outside walls. But that stain soon becomes the focus of widespread attention when one of his neighbors, an overzealous Catholic busybody (Adriana Barraza), sees the face of Christ in it and is profoundly moved by this unlikeliest of miracles. This, in turn, sets in motion a host of vignettes involving Henry and a cast of colorful characters, all of whom have different, yet profoundly moving experiences at the wall. And in the end, they all come away from it with something to believe in.

To be sure, this film has received its share of criticism, largely for its predictability and sentimentality, which at times verges on being manipulative, and I wouldn’t entirely disagree with those complaints. However, the picture is so well written – far better than the story it covers – that it’s worth seeing for that alone. Some have also been critical of the film’s religious proselytizing, but it’s never heavy-handed in my view. Its overarching emphasis on notions like faith, trust, and hope – concepts that transcend religion – are more important, even if they’re couched in somewhat conventional imagery. In my opinion, those ideas can help to provide meaning in anyone’s life. And that’s something to believe in.

(“Henry Poole Is Here” – 2008; Luke Wilson, Radha Mitchell, Adriana Barraza, George Lopez, Cheryl Hines, Morgan Lily, Rachel Seiferth, Richard Benjamin; Mark Pellington, director; Albert Torres, screenplay)

“The Visitor”

Ever feel like a stranger in your own skin, unable to tap into “the real you”? You might even feel like a visitor to the confines of your own being. Figuring out a way to reach that elusive inner self can be a wrenching personal task, but it’s one many must undertake to find real happiness in life. It’s just such a journey that’s the focus of the recently released drama, “The Visitor.”

Walter Vale (Richard Jenkins) is a lonely widower and bored economics professor in a Connecticut college town. When asked to present a paper at a conference in New York, he initially drums up excuses to get out of it, preferring to wallow in his rut, but, in the end, he reluctantly agrees. He thus sets off for the city in which he once spent much of his time, his only real connection these days being an apartment he keeps there. But his journey is ultimately more than just a business trip; it’s also an excursion into the depths of his soul.

Upon his arrival in New York, Walter finds his apartment occupied by an immigrant couple, Tarek (Haaz Sleiman), a Syrian drummer, and his girlfriend Zainab (Danai Gurira), a Senegalese jewelry designer, the unwitting victims of a fraudulent rental scam. They initially agree to leave, but when Walter sees their plight, he extends them an invitation to stay, an uncharacteristic gesture of empathy for the long-withdrawn protagonist. A new web of friendships is thus born that will change Walter in ways that he can hardly begin to imagine, allowing his true self to emerge.

“The Visitor” is an engaging film, its title both literal and metaphorical. It’s also a movie that inspires in many ways. Such inspiration is perhaps most obvious in the surfacing of Walter’s new persona. But it’s also apparent in its heartfelt humanitarian and political messages, sincere and zealous rallying cries for reform to a society that needs change if it’s to live up to the ideals it claims to hold so dearly, particularly for those new to our shores who are in search of a better, fairer way of life.

Walter’s story will tug at your heart, but it will also build a fiery passion within, just as it does for him. And, in the process, you just might find out things about yourself that you never knew before, again, just like Walter. With a film like this to enlighten us, none of us need be strangers in our own skin ever again.

(“The Visitor” – 2007 (production), 2008 (release); Richard Jenkins, Haaz Sleiman, Danai Gurira, Hiam Abbass; Thomas McCarthy, director; Thomas McCarthy, screenplay)

"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.)