Spirituality in the 2019 Best Picture Nominees
I suppose it depends on how one defines spirituality if what follows makes sense. In the Christian Scriptures, spirituality tends to be spoken of more narrowly as the life deriving from the Holy Spirit. In broader cultural lingo, spirituality encompasses much more. There is a myriad of ways to define spiritual or spirituality and to delve into those waves is not the point of this modest piece. For the purpose of looking at film, I think it’s appropriate to define spirituality as a grasping for the sacred, the meaningful, and the “Other.” It’s an attempt to move to a place of meaning, purpose, and transcendence. The longing for something greater is near-universal and that longing is present in just about every film (and piece of art for that matter).
Why do I love movies? They transport me to experience feelings and thoughts that reflect my own longings for something greater. The experience itself is often moving and transcendent. They are entertaining, funny, awe-inspiring, thought-provoking, but also create a sense of empathy for the human experience. Roger Ebert famously called movies, “empathy machines” as they allow the viewer to identify with characters different from themself. In movies, I can feel what it is like to be a person who goes through experiences I do not and likely will not encounter. In this way, I can understand the human experience more deeply and see my own longings present in the lives of others.
I began thinking more about this after watching The Hollywood Reporter’s annual directors roundtable. In the discussion, Little Women director Greta Gerwig makes some brief throwaway comments that would be a long tangent for another day. She says, “It’s so interesting to me to watch people who make films about faith and in some ways, I feel like everyone here has made a thing about faith, and I’m interested in that. And sometimes it’s directly about faith, like Silence (Martin Scorsese’s 2017 film) is directly about faith. But I think we’re always trying to figure that out. Anyway, I’ll think that thought later…” It is that thought I’m attempting to continue and apply to the nine Best Picture nominees of 2019.
2019 was a very good year for movies, specifically the last three months. It is one of the rare years in which I gave a positive review for all the movies nominated for Best Picture. All 9 are worthwhile watches. Of course, some films’ spirituality is easier to see than others. You may think some of these spiritual meditations are a reach and perhaps they are. Nevertheless, here are the spiritual and transcendent longings present in each of the nine films.
1917 (Dir. Sam Mendes)
The plot to 1917 is straightforward. During WWI, two British soldiers—Blake and Schofield—are tasked with going into no man’s land and across enemy lines to deliver a message to another band of British soldiers: they are to call off the attack because it is a German trap. To fail to do so would be almost certain death for thousands of soldiers, including Blake’s older brother. What follows is intended to look like two long shots as the viewer is immersed in a cinematic experience that must be seen on the largest screen possible.
Blake and Schofield’s motivations are twofold—first they are motivated by a sense of duty as a member of the British military, and second they are motivated by compassion and love for both Blake’s brothers and the many other fellow soldiers. When the film allows the two leads to breathe and interact with others, their compassion shines. They are truly good-hearted people who believe in a cause and a mission worth fighting for. They do not only fight, but they sacrifice themselves. They continue to move forward when going back would be much easier and safer. In this way, they are Christlike figures whose individual sacrifice is intended to free and safe the many. Mendes’ film is dedicated to his grandfather and is informed by his stories of the trenches and frontlines of the Great War. In this way, the film is a prayer of thankfulness to those who have gone before and sacrificed for the prosperity of not only those around them, but those who come after them. 1917'‘s spirituality is in the individual sacrifices of those with small roles. Many war films do this, but few do it better than 1917 and Nolan’s recent Dunkirk.
Ford v Ferrari (Dir. James Mangold)
Set in the early 1960s, Ford v Ferrari follows the Ford Motor Company as they attempt to break into auto racing and challenge the perennial Italian power, Ferrari. Christian Bale is the headstrong driver Ken Miles and Matt Damon is the mastermind Caroll Shelby. The two men are tasked with winning the 24-hour race Le Mans, something never done by Americans. It’s been categorized as a “dad movie.” What does that mean? Well, it appeals to older males and fathers. Why? Because it’s about men, cars, and engines, but also because it’s nostalgic, patriotic, and features a wonderful father-son relationship. Dad movies, according to The Ringer, are also focused on teaching something to someone younger.
In this film, Ken is constantly teaching his son (played by up-and-comer Noah Jupe) not only about cars but about his own longings for the “perfect ride.” Ken and Carroll are both desiring perfection out of themselves, their team, and their automobile. The Ford Motor executives are characterized as greedy, selfish, and egocentric men. Ken and Carroll are not interested in winning for Ford Motors or beating Ferrari primarily, but they are interested in doing something they are passionate about with perfection. The ending subverts expectations and underscores these motivations. The spirituality here is a longing to do what one has called to do with as much excellence as possible; in doing one’s passion and calling well and with integrity, one achieves a sense of satisfaction and happiness.
The Irishman (Dir. Martin Scorsese)
For decades, Martin Scorsese has made films about fallen men. Beginning with Mean Streets and Taxi Driver to GoodFellas and The Wolf of Wall Street, Scrosese’s men (often gangsters) follow their sinful urges and often bring carnage to those around them. These men’s lives often look tantalizing and, one could argue, romanticized for the viewer. Scorsese himself seems to be drawn to these magnetic characters. In I Heard You Paint Houses (known to the public as The Irishman), Scorsese’s leading man is Robert de Niro’s Frank Sheeran. The film follows Sheeran’s life through several decades and CGI’s faces as he rises to become a major figure next to the famous Teamster leader Jimmy Hoffa. The film follows American history alongside Frank, Jimmy, and Joe Pesci’s Russell Bufalino.
Without getting into spoilers, Frank Sheeran lives a life of crime as a hitman and mobster. His reputation as “one who paints houses” is a metaphor for killing people. This is his job and role for Jimmy. In seeking to protect and provide for his family, he ends up alienated those he loves most, particularly his daughter played by Anna Paquin. Protection and provision for one’s family does not look like violence. This traditional masculine trope is flipped on its head by Scorsese. Being a “tough guy” gets you nowhere long-term.
spoilers ahead
What separates the Irishman from the other gangsters in Scorsese’s filmography is that Sheeran grows old. He outlives all his friends, coworkers, and fellow mobsters. Scorsese is meticulous to pause and show the time and cause of death for several new characters when they are introduced. The entire film is a recollection by Sheeran in his nursing home at the end of life. He actually confesses to a priest so the film can be thought of as one long confession. In the end, Sheeran is alone in a room with nothing to do but think about his life and what he has done. He resists death, even picking a burial location above ground to avoid the finality of six feet under dirt. The Irishman’s spirituality seeks to reexamine what it means to be a real man, a good husband and father, and a good person. The allure of crime and power will fade, as we all will “like flowers in the field.” (Psalm 103; 1 Peter 1)
Jojo Rabbit (Dir. Taika Waititi)
Taika Waititi brings his trademark playful New Zealand wit to 1940s Nazi Germany. The film follows the titular character, Johannes "Jojo" Betzler, a ten-year-old German boy who is all-in on Nazi propoganda and even has an imaginary friend, Adolf Hitler. His training at what effectively is a Wes Anderson-esque Nazi summer camp goes terribly awry in an attempt to prove his bravery and stave off being teased for his timidity. Jojo returns home to live with his mother and heal from his wounds. Jojo’s mother (played by Oscar-nominated Scarlett Johansson) is secretly apart of an organization to oppose Hiter and the Nazis. Her tender love towards Jojo is patient with his Nazi enthusiasm, while still challenging his ideology.
The story gets going when Jojo encounters and older Jewish girl secretly hiding in a secret part of the house. The teenage girl, Elsa, is being cared for by Jojo’s mother. While at first Jojo uses Nazi propoganda to dismiss the girl as an inhuman monster, his friendship with Elsa slowly changes his mind, to the horror of his imaginary friend.
Jojo Rabbit’s spirituality is found in its promotional tagline: “an anti-hate satire.” The spiritual longings for Waititi and the film are for people to love those who are different from them. The hope is for peace in the midst of diversity. When the Neo-Nazis making their presence felt in the tragic 2017 Unite the Right March in Charlottesville, attitudes towards Nazis was not longer something to merely think of in retrospect—it is a current issue. Tribalism, nativism, and nationalism are now in the news and social media feeds daily, and Jojo Rabbit’s prayer is one of peace and empathy. It was only when Jojo was confronted with a Jew in a real-life relationship that he could move past his silly stereotypes and blind hatred. Jojo Rabbit’s spirituality affirms the importance of not only all types of peoples, but every individual person. This is a Western ideal because of the Christian influence on the West and the teachings of Jesus.
Joker (Dir. Todd Phillips)
Joker is easily the most divisive of these nine films. Joker is also unfortunately the film with its hand closest to the heartbeat and mood of 2019. The DC spin-off follows a down-on-his-luck Arthur Fleck, a man struggling with mental illness, unemployment, bullying, and a condition that causes him to break into hysterical laughter at the most inopportune times. He is socially awkward and unable to function well in everyday society. The film depicts his transformation from hourly clown to influential public icon as the city of Gotham descends into chaos when the lower class rises up against the rich. Arthur embodies those who have been cast aside, disrespected, bullied, and ignored. When he can no longer take it, he hits a breaking point. He no longer sees his laugh as a tragedy, but as a comedy. In other words, he trades his existing worldview for Nihilism and Absurdism. Nothing matters anymore except creating chaos and seeking revenge on those who have wronged you. There are seemingly no more consequences, both personal or otherwise for Arthur.
spoilers ahead
In the end, chaos defeats order. The weak rise up and take power. There are many who despise the film and see it as an overwhelming one-note pandering to those who feel victimized and overlooked. It can be seen as a dangerous V for Vendetta-esque call for an uprising of Nihilism and revenge. These opinions are valid. Nothing of the sort has happened in theaters or otherwise as of this writing. The only thing that has happened is the public seems to love this message that resonates with many; Joker became the highest-grossing R-rated film ever. Simon & Garfunkel’s 1966 song “Blessed” quotes Jesus’ Sermon on the Mount singing, “Blessed are the meek for they shall inherit. Blessed is the lamb whose blood flows. Blessed are the sat upon, Spat upon, Ratted on.” But what happens if those who inherit the earth are not meek and do not belong to the Kingdom of God? What happens if their worldview is not one of empathy and kindness, but anger, revenge, and chaos? The ending of Joker depicts such an ending.
The film captures a divided and angry mood in America. More importantly, the film is a warning of the result of a society without kindness and empathy. It’s a movie that depicts just what might happen if we give in to hopelessness and absurdism.
Little Women (Dir. Greta Gerwig)
Louisa May Alcott’s now-classic novel was originally written in two parts in the late 1860s. Set during the Civil War, the four March sisters live with their mother as their father is off fighting for the Union. The independent and precocious protagonist, Jo, is an aspiring writer. Amy, the catty younger Meg, the oldest sister, is the responsible and idealistic lover. Amy, the younger sister, is a catty and dramatic aspiring housewife. Beth, the other younger sister, is pure and quiet. The film takes in their lives in two time periods. Rather than telling Alcott’s story chronologically, writer/director Greta Gerwig puts her unique spin on the novel by going back and forth and starting in the later time period. By going with a nonlinear structure, the film comes across as both a memory and helps viewers process the disappointment of later plot developments in a more understanding way.
Thematically, Gerwig tackles both the life of a writer and the life of a woman. Jo’s writing process is depicted with realism as her hand cramps and the publishers balk at her stories. Gerwig sees writing as not only a profession, but a calling and a sacred passion. This makes sense, given Gerwig herself is a writer as well as director. The second theme is the life of a woman. In a line not from the book, Jo says, “Women, they have minds, and they have souls, as well as just hearts. And they’ve got ambition, and they’ve got talent, as well as just beauty. I’m so sick of people saying that love is just all a woman is fit for. I’m so sick of it! But—I’m so lonely.” In this line, the spirituality of Little Women emerges. People, men and women alike, have a desire for both greatness and relationship. God himself said of Adam in the Garden, “It is not good for man to be alone.” () This applies not only to romantic marriages, but also family, friends, and coworkers. Each individual has a heart and soul meant to be shared with others. But each individual also has gifts and aspirations to become something with the passions God has given. Little Women sees the choice between relationships and career success as not mutually exclusive. Gerwig makes no judgment on the sisters’ choices. To be great, successful, wealthy, or otherwise is up to the desires of the particular sister. Individual choice matters in the spirituality of Little Women. Make no mistake, romantic aspiration are fully present in this story. The longing looks of Laurie towards Jo (and subsequently Amy) show a passionate desire to love and be loved.
A final theme is simply the spiritual virtue of warmth and kindness. Whether it is the relationship between Mr. Laurie and Beth, the sacrifice of Mr. March as an army chaplain, or the choice to give away their food to a needy mother, Little Women serves up a welcome warm blanket of kindness. It is the antidote to Joker’s nihilism.
Marriage Story (Dir. Noah Baumbach)
Noah Baumbach, director of quirky dramadies like Frances Ha and The Squid and the Whale, delivers an emotional gut-punch in this story about a theater director and an actress. The theater director, Charlie (played brilliantly by Adam Driver) lives in New York with his acting wife Nicole (a second great performance of 2019 by Scarlett Johansonn) who aspires to move to Los Angeles and further her television acting career. The truth of the matter is their impending divorce. When Nicole hires an aggressive lawyer, the divorce process escalates into turmoil, both relationally and economically. Stuck in the middle is their innocent child, Henry, who Nicole takes to Los Angeles. The film is messy and much virtual ink has been spilled on whose side Baumbach is taking in this film. Regardless of your opinion, what is clear is the film is a spiritual lament on broken relationships and fragmented families.
“What God has joined together, let no one separate.” (Mark 10:9) Jesus’ words were said in response to a question regarding divorce and the Mosaic Law. While there are certain instances where divorce is permissible, it is never the ideal or the way God intends. I don’t imagine many couples say their vows on their wedding day without the intent or desire to be together until death. Divorce, even one that begins relatively amicably between Charlie and Nicole, is never easy or painless. It is an experience both Charlie and Nicole regret, something made worse by their continuing love for one another, even if that love is not the same as it was before. The spiritual connection between two people in marriage is not easy to lose. The modern American process of divorce capitalizes on personal greed and self-centeredness, pitting the two parties against one another, further driving them apart. At the end of the day, Marriage Story’s spiritual message is a lament of broken marriages.
A particularly poignant scene comes late in the film in which Charlie sings “Being Alive” at karaoke with his theater troupe. The song, from the Stephen Sondheim comedy “Company,” includes lines like, “Someone to hold you too close, someone to hurt you too deep, someone to sit in your chair, to ruin your sleep…” The song is a realistic portrait of the ups and downs of marriage. Marriage opens oneself up to being deeply hurt but also deeply loved. It is living life with one another; being alive with another person. The song then changes perspective, “Somebody, hold me too close; somebody, hurt me too deep; somebody, sit in my chair and ruin my sleep.” It’s a spiritual longing for a connection; a desire for marriage and love. It is what humans were made for. To be alive with another.
Once Upon a Time in Hollywood (Dir. Quentin Tarantino)
Quentin Tarantino is a cinematic icon, along with the likes of Martin Scorsese. Two giants of pop culture competing against one another for Best Picture and Best Director is any cinephile’s dream. Both Scorsese and Tarantino are making what can be considered “twilight films,”— it’s not their last film but it’s the sun is setting on their careers. Tarantino has said this is his second-to-last film and Scorsese has likely directed his last gangster film. Tarantino’s twilight film includes literal sunsets and takes place in the transitionary period of 1969 Hollywood, as “Old Hollywood” is about to give way to the “New Hollywood” of the 1970s. It is a changing of the guard that fits Tarantino’s two main characters and is juxtaposed with the rising star, Sharon Tate (played by Margot Robbie).
Tarantino’s two main leads are Rick Dalton (Leonardo DiCaprio) and Cliff Booth (Brad Pitt). Rick has perhaps seen his most successful days as a TV Western actor, reportedly based on the real-life Burt Reynolds. He wants to break into film, but feels his time has come and gone. Cliff Booth is Dalton’s right-hand man, employee, chauffeur, and best friend. Booth is also Dalton’s stunt double. Sharon Tate, a real-life Hollywood actress and former wife of famous director Roman Polanski. She is best known for being murdered in the infamous 1969 Manson Murders. The film follows these three characters leading up to a revisionist history take on the Manson Murders, much like Tarantino’s previous films Inglourious Basterds and Django Unchained.
Quentin Tarantino is known for his bloody violence and smart eccentric dialogue, especially in the two aforementioned revisionist history films from the last ten years. Though Once Upon a Time in Hollywood certainly gets there in its final act, Tarantino takes his time and surprisingly paints a tender portrait of a life lost. Sharon Tate is portrayed as a gentle and kind soul with limitless excitement ahead of her. The scene of her seeing her own movie in the theater is particularly touching. The actual historical Sharon Tate is seen on screen as the audience laughs in admiration around Margot Robbie. Tarantino is laying the foundation for understanding the tragedy of a life lost. By spending time with his characters, the viewer begins to love them as they laugh with them.
spoilers ahead…
Tarantino’s decision to kill the would-be Manson killers and keep the Sharon Tate character alive is not only a value judgment of wanting evil punished and good to live, but a desire to rewrite wrongs and bring justice to injustice. In this way, Tarantino is echoing Christian values and longings for justice, peace, and a world where wrong things are made right.
Parasite (Dir. Bong Joon-Ho)
2019 was a year where the theme of the “haves vs the have nots” emerged in a number of movies. Us, Ready or Not, Joker, and Parasite were all films that pitted upper and lower class against one another. Of these good movies, Parasite may do the best job of depicting class struggle, something writer/director Bong Joon-Ho has been interested in throughout his filmography.
The Kim family lives in a ramshackle apartment, somewhat beneath ground. They are surrounded by stink bugs and poorly cobbled pizza boxes they are supposed to put together for a local pizza chain. They struggle for the simplest 21st century needs like wi-fi. Their prospects are limited and their outlook grim. They soon come into an opportunity to be gainfully employed when the family’s son, Ki-Woo lies about being a university student to tutor the daughter of a wealthy family, the Parks. The family then poses as a different employee to help out the wealthy famiily. A comic of errors ensues as the Kim family attempts to keep the ruse going and the income flowing.
While a number of other twists take place that I will not get into (I really encourage you to seek out this film and watch it without spoilers), Bong’s spiritual longing can be thought of as anti-capitalist, but it is more likely to be understood as a discontentment with inequality. Bo Seo of The Atlantic writes, “The driving insight of Parasite is that, while the Korean class system’s injustices may stem from its distancing effect, its most profound harms result from proximity—from the intense relationships of interdependence forged between the rich and the poor under capitalism. The entanglement of the Kims and Parks stems from this paradox: The efforts of the rich to isolate themselves from the rest of society only bring them nearer to those whose life circumstances they wish to escape.” All this to say, the spiritual longing is for equality. In the Kingdom of God, all are level beneath the cross. There is no rich or poor in the society of Jesus, all are welcomed in by faith in his grace to experiences the riches of his love.