Dialing Up One’s Destiny for the Last Time
All things eventually come to an end, whether we’re ready for it or not. We may not like what we see, either, especially if we’re troubled by what’s on the horizon. We might even feel like there’s more that we could or should have done to forestall what’s unfolding while we had the chance, opportunities that slipped through our fingers and are unlikely to come again. But sometimes destiny has a way of intervening, giving us another unexpected shot at realizing our aspirations and perhaps even making a meaningful difference. Such are the possibilities posed to an iconic screen legend in the final chapter of a long-running movie franchise, “Indiana Jones and the Dial of Destiny” (web site, trailer).
Intrepid archaeologist Dr. Indiana Jones (Harrison Ford) has lived a full and adventurous life in his quest to retrieve famed antiquities and to educate America’s future. He’s spent years lecturing attention-rapt university students at revered institutions and scouring far-flung historic sites in search of exotic relics. But, in 1969, with retirement looming, he’s on the brink of an uncertain and less fulfilling future. As it is, he struggles to teach archaeology to bored, disinterested undergrads at a less prestigious college, an unrewarding step down from what he’s accustomed to academically. And, outside of work, he lives by himself in a cramped, disheveled Manhattan apartment, conditions considerably less desirable than what he’s used to. He’s also engaged in divorce proceedings from his wife, Marion (Karen Allen), and attempting to recover from a personal tragedy, circumstances that have taken virtually all of the joy out of his personal life. With prospects like these, what does he have to look forward to? Have the elements that made life worth living vanished from his existence for good? Or is it possible to somehow turn things around and give him hope for a new future? Indeed, will destiny intervene to change his fate?
Flash back to 1944, when Indy was at the height of his game. While in Europe during World War II, Jones and his esteemed Oxford colleague, Basil Shaw (Toby Jones), search for the Lance of Longinus, the sword said to have been used to pierce the side of Jesus Christ while on the cross during the crucifixion, an artifact believed to possess magical powers. As the duo looks for the relic, however, they face competition from their longtime foes, the Nazis. The Germans desperately want to add it to their collection of ancient objects believed to possess supernatural capabilities, tools that Führer Adolf Hitler has become obsessed with acquiring as a supposed means to defeat his enemies. And, in the race to find the artifact, it appears that the Nazis have come up with it first. Chief investigator, astrophysicist Dr. Jürgen Voller (Mads Mikkelsen), hands over the lance to German military leader Colonel Weber (Thomas Kretschmann), who has it loaded onto a train filled with other antiquities bound for Berlin for a heroic presentation to the Führer. There’s just one problem – the relic is a fake, and Voller knows it.
When Voller makes this revelation to the Colonel, he adds that he has found something more valuable than the counterfeit artifact – a portion of the Antikythera, an enigmatic dial mechanism believed to possess tremendous powers that was allegedly created by the ancient Syracusan mathematician Archimedes. In fact, legend has it that the special powers of the Antikythera in its complete form played a crucial role in protecting the Sicilian City of Syracuse during a siege by the Romans in 212 BC. But the Colonel isn’t interested in Voller’s substitute discovery, especially since it’s incomplete. He considers it a useless mechanical device, dismissing it from the train’s inventory and leaving it in Voller’s hands.
Meanwhile, as all of this is playing out, Jones and Shaw are hot on Voller’s trail, and, when they discover he’s aboard the train bound for Berlin, they secretly stow away to track him down. They also quickly discover that the lance is a phony and that the train carries all of the other stolen relics – including the remnant of the Antikythera. And, once they find Voller, a battle ensues for its possession, a rollicking struggle that lands the relic in Shaw’s hands, who took possession of the device for further study.
For the most part, the story behind the Antikythera subsequently went cold. But, in 1969, it gets revived when Basil’s adult daughter, Helena (Phoebe Waller-Bridge), also an archaeologist, pays a visit to Jones. She expresses an interest in picking up on her late father’s studies and seeks Indy’s help. That’s because he now secretly possesses the device, and she is the only one who knows.
So how did Jones acquire the relic? Not long before Basil’s death, he gave it to Indy, asking him to destroy it. It seems that Shaw’s studies of the device took a toll on him, and he insisted that its destruction was the only way to prevent anyone else from experiencing a similar fate. Jones agreed and took possession of the device, but he couldn’t bring himself to destroy it, choosing instead to hide it in the archives of the college where he taught.
And that’s where the story picks up again. Indy retrieves the relic from the archives to help Helena launch her study of the artifact, but it quickly becomes apparent that she’s not the only one interested in it. Before long, a host of other players seek to get their hands on the device, including a deep cover US government agent (Shaunette Renée Wilson) and Indy’s old Nazi nemesis, Dr. Voller (who now works for NASA under the alias “Dr. Schmidt”), backed by a trio of notorious henchmen (Boyd Holbrook, Olivier Richters, Martin McDougall). To complicate matters, Helena’s intentions soon prove to be less than honorable, particularly when she absconds with the device and seeks to sell it on the black market to the highest bidder, aided by her street smart teenage accomplice, Teddy (Ethann Isidore), all the while striving to steer clear of her hotheaded former fiancé, Rahim (Alaa Safi), who aggressively tries to win her back with the help of his mob family associates.
Through it all, Jones tries to keep his scorecard up to date with regard to who he can trust, who has the device, where the other half of it is and what everyone’s intentions are. He also tries to keep on top of where to look, a journey that takes him from New York to Tangier, then to the Greek waters of the Aegean Sea, and then to Sicily, an odyssey filled with plenty of twists, turns and misdirections. Of course, Indy also has his share of allies to back him up throughout this ordeal, including his old friend, Renaldo (Antonio Banderas), a seasoned Mediterranean frogman, and longtime relic-hunting colleague Sallah (John Rhys-Davies), who helped Jones in his quests to find the Ark of the Covenant and the Holy Grail (as chronicled in “Indiana Jones and the Raiders of the Lost Ark” (1981) and “Indiana Jones and the Last Crusade” (1989), respectively). He also has his famous wits about him that help him out of tight spots and provide him with the intuitive guidance he needs in determining what to do next, something he has to do frequently as this story plays out. But, then, that should come as no surprise, given that this has always been his destiny.
As the title suggests, “destiny” truly proves to be the key theme that runs through this story. It makes its presence felt in a variety of ways, both big and small, but always in important regards, at least where Indy is concerned. He experiences the myriad ways in which it can be dialed up, yet it always allows him to be its master, too. That’s crucial for all of us to bear in mind if we want to go out on top.
“Destiny” is one of those elusive, enigmatic concepts that many of us believe in but find hard to describe in words. It’s often couched in terms like “what was meant to be,” as if it’s somehow intrinsically tangible to the point where its materialization is predetermined and inevitable. But how do such manifestations come about? A capricious act of the Universe? An action of our own making? Some combination of the two? Or is there some other factor at work, such as an entrenched belief in their unfolding? Then again, maybe it’s some of all of the foregoing.
For Indiana Jones, that last explanation seems most likely, but, in my view, the lynchpin element rests with our beliefs. They serve as the catalyst for launching our manifestations, the trigger for initiating the process of realizing the existence we experience. It’s unclear whether Dr. Jones adheres to or is even aware of this school of thought, but, considering how many times he’s witnessed magical phenomena and how frequently he’s seen his desired outcomes materialize as reality, it seems unlikely that these happenings can be chalked up to mere coincidence or random chance. It’s as if they were meant to be, the fulfillment of his destiny. He seems to be a master of this practice, whether he realizes it or not.
Jones has had a lifetime of such experiences, as seen in the four films that preceded this offering. It’s something that he would probably like to see go on indefinitely, too (as would the fans of his cinematic adventures). But, as manifestation thinking maintains, everything evolves and changes, as if it’s in a constant state of becoming. And, as the looming changes in his life emerge, it’s something that Indy can’t escape, either, something that’s meant to be, his destiny as it were.
However, the manner in which that destiny is fulfilled is nonetheless somewhat open to interpretation. There are a number of paths available to reach that destination, and it’s Indy’s choice as to which one he wants to pursue. And, given how he’s lived his life, it’s pretty obvious how he’d like to proceed – following the same sort of route he’s always traversed, going out in a proverbial blaze of glory no matter what may happen, just as he always has. After all, at the risk of sounding repetitive, that’s his destiny, and he’s dialed it up once again, even if for the last time.
Many critics and viewers have been disappointed with the approach taken in this installment of the franchise. They claim that it lacks “the spark” of previous offerings, that it’s more of a downer than its predecessors. And, as the first film in the series not to be directed by Steven Spielberg and not to feature a story by franchise creator George Lucas, it’s understandable to see how one might feel that way. However, given that this is the finale of the series, it required a different treatment than what was employed in the prior pictures. This one reflects the onset of conditions that many of us face as we age, and they may not always be pleasant or give us much to look forward to. If you doubt that, just look at the life Indy leads as he’s on the verge of retirement.
What’s more, unlike the other pictures in this series, “Dial of Destiny” does not suggest that there will be further Indiana Jones adventures to come. It’s the end of the line and needed to be treated as such. The reason: the characters have gotten old, as have the actors portraying them (Harrison Ford was 77 when the picture was filmed in April 2020). As much as viewers may enjoy these films and as much as they may want to see more of them, there’s only so much that these performers can do with encroaching age. And so, to give these actors and these characters a proper degree of dignity, they have been provided with a fitting, appropriate, credible send-off – hence the narrative and ambiance chosen for this story. This is nothing new in filmdom, either; we’ve seen it before in other long-running movie franchises, such as with the James Bond series, the “Star Wars” franchise, “Star Trek” and, most recently, even “Star Trek: The Next Generation” and the legacy of Capt. Jean-Luc Picard. And now the time has also come for Indiana Jones.
Another criticism leveled against this film is its use of de-aging CGI technology in the 1944 flashback sequence, making Harrison Ford look considerably younger than his present-day offscreen age. Purists and cynics have called it “cheating.” But, as Ford responded to the criticism, how is de-aging CGI any different from any other cinematic tool used to create a specific look for an actor portraying a particular character? What about makeup? Costumes? Prosthetics? Motion capture technology, such as that used to create the character Gollum in “The Lord of the Rings” and “Hobbit” series? Couldn’t they be considered “cheating” as well? This is a specious argument and an empty criticism.
What’s more, it seems these days that it’s become all too easy to blast popular, commercial fare simply because it is popular, commercial fare. Granted, some offerings of this type genuinely deserve whatever grief they get, but others, such as this release, don’t merit the unfair potshots fired at them just for innately being mainstream pictures. In many ways, “Dial of Destiny” is very much cut from the same cloth as its box office blockbuster predecessors, but there are enough distinctions, new developments and lesser-known elements (such as the choice of the somewhat obscure Antikythera relic for the story’s focus) to keep it fresh and interesting throughout. Now, this is not to suggest that this final entry in the series is without its faults – it’s overlong, some of its action sequences could have been easily pared back (despite being expertly crafted) and the storyline tends to sag somewhat in the middle. However, Indiana Jones has once again given moviegoers a rollicking good time with a captivating narrative, an intriguing assortment of twists and turns, clever humor, and an array of colorful characters all vying for their piece of the pie (if not the entire pie itself). The film also provides fans of the franchise with deftly handled touches of nostalgia and nuanced efforts at achieving closure for the series, without dangling obvious or ambiguous carrots of there being more to come or any kind of impending reboot. Director James Mangold successfully puts the series to bed and tucks it in nicely while rounding off any remaining edges, something that it and its fans deserve. So, to all those cynics out there who are shamelessly bashing this release to be fashionable or hip, all I can say is “Pipe down and lose the attitude already.” This is good, solid filmmaking, even if it’s not exactly on par with what preceded it. The film is currently playing theatrically.
In November 1970, not long after this story takes place, former Beatle George Harrison released the song “All Things Must Pass,” the title cut to an album of the same name, his first after leaving the band. It’s a bittersweet melody, one that reverently honors what has passed but warmly welcomes what is to be, a mixture of sadness for what’s gone and optimism for what lies ahead. Those sentiments are something we all face in our lives, sometimes in small, everyday ways, sometimes in big, often-dramatic transformations. It’s an inherent part of our reality, and, in this film, we see how it’s part of Indiana Jones’s existence, despite the seemingly timeless nature of his character and his exploits. This, too, is destiny playing itself out, and tears are almost certainly involved as it unfolds. But they need not be tears for what we have lost but tears of thankfulness for what we had, wisdom to which we should all adhere when it comes to looking back on our lives and what it brought us.
A complete review is available by clicking here.
Walking One’s Talk
It’s one thing to talk a good game, but it’s something else entirely to back it up with authentic action. Indeed, it’s a definitive example of being able to walk one’s talk, a practice that can be difficult to carry out, especially if preceded by exaggeration, deception or flat-out fabricated bragging. But, for those who are able to live up to their words, tremendous heartfelt satisfaction often results, particularly if our efforts benefit those we care about. Such are the questions explored in the delightful new domestic comedy, “Somewhere in Queens” (web site, trailer).
The Russo family of Queens, NY is an honest, proud, hard-working, courageous lot (well, for the most part; at least that’s what they’d like to think). The family patriarch, Dominick “Pops” Russo (Tony Lo Bianco), runs a construction business employing his son, Frank (Sebastian Maniscalco), and his grandsons, Luigi (Franco Maicas) and Marco (Adam Kaplan), all of whose attitudes, perspectives and outlooks are more or less cut from the same street-smart, wise-cracking, rough-and-tumble cloth as Pops. Joining them in the business is Dominick’s other son, Leo (Ray Romano), a genuinely nice, sensitive man whose temperament and sensibilities are somewhat different from his dad, brother and nephews. And, because of this, Leo is often the target of ridicule and mocking from his relatives, but no one can question his work ethic, sincerity or concern for others, even if those qualities set him apart from other family members.
Thanks to his diligent efforts, Leo has managed to build a modestly comfortable life for his high school sweetheart-turned-wife, Angela (Laurie Metcalf), and his reserved 18-year-old son, Matthew (a.k.a. “Sticks”) (Jacob Ward). He’s worked hard at achieving what he’s accomplished, even if the outcome hasn’t been especially glamorous, ritzy or flashy. But his compassion and concern for his family has truly been undeniable, even if not always understood or fully appreciated.
In particular, Leo has long been sensitive to Sticks’s needs given his terribly shy nature. Indeed, as Sticks has gotten older, Leo’s grown wary that his son’s inherently withdrawn character could end up inhibiting his access to promising life opportunities once he graduates high school, saddling him with an underwhelming future, one not unlike what Leo himself has experienced. Likewise, Leo’s also worried about Angela’s happiness and peace of mind. As a recent cancer survivor who’s been declared disease-free, she nevertheless worries her doctors may have missed something. It’s a lot for Leo to handle, but he does the best he can under the circumstances.
Thankfully, there have been some positive developments of late. Sticks has managed to find one activity that has helped bring him out of his shell – his love of basketball. He’s become a stellar performer on the court, too. In fact, a college recruiter (P.J. Byrne) informs Leo that his son may have a good shot at a sports scholarship – not at a big name school that could lead to professional aspirations but one that will at least provide an opportunity to cover the cost of Matthew’s education. Leo also learns – much to his surprise – that Sticks has taken up with a vivacious new girlfriend, Dani (Sadie Stanley), who appears to have significantly bolstered his personal confidence and self-esteem. Indeed, things could be looking up.
More good news comes when Angela learns through her most recent wellness screening that her latest cause for concern turns out to be a false alarm – scar tissue and not something more serious. It allows Leo to shower her with comfort and reassurance, the kind of support she so desperately needs at this time, especially when faced with the possibility that her only child may be moving away from home, leaving the house a little more empty than she’s accustomed to, Leo’s presence notwithstanding.
For the first time in a while, Leo looks upon the future more optimistically than he has in ages. But, just when it seems that he and his family have turned a corner, Sticks announces that he’s dropping his plans to pursue the scholarship. The reason? He’s devastated by the heartache of his breakup with Dani (one that she initiated), a sudden, unexpected development that has completely dowsed his enthusiasm. Needless to say, Sticks’s decision also devastates Leo, so he desperately seeks to make things right. He secretly approaches Dani and pleads with her to pose as Sticks’s girlfriend until his scholarship tryouts are complete, hoping that this will lift his spirits enough to motivate his performance. She reluctantly agrees, and Sticks reverses his decision. His practice sessions improve markedly and makes plans to resume his pursuit of the scholarship. Through it all, though, Leo and Dani are both on edge, hoping that their little plan succeeds, providing they can keep it under wraps. But will it? And what will it mean for everyone if it doesn’t?
Meanwhile, as this primary story thread plays out, a number of additional subplots unfold involving other members of the Russo family, such as the ongoing search for romance undertaken by Rosa (Dierdre Friel), Leo’s bubbly, plus-sized, unattached sister. Then there are the less-than-veiled flirtations of Pamela (Jennifer Esposito), a widowed client of the Russo family construction company who has bedroom eyes for one of its employees (i.e., Leo). And, of course, there are the uncertainties and insecurities that Angela and Leo wrestle with in light of the impending changes their household may soon experience.
Of course, none of the foregoing is meant to suggest that “Somewhere in Queens” is all seriousness and heavy-handed drama. Quite the opposite. While the film has its profound, thoughtful moments, the story is peppered with delightful humor, much of it reminiscent of genuinely funny domestic comedies of the past. It especially brings to mind “Moonstruck” (1987), with its wickedly funny portrayal of Italian-American family life in the Big Apple, much of which factors into how matters eventually turn out.
But, just because seemingly good intentions underlie what’s transpiring in this story, that doesn’t mean there won’t be issues to resolve. And those intentions are rooted in the characters’ beliefs, an important consideration given the role that our beliefs play in the manifestation of the reality we experience, the philosophy that maintains these intangible resources give birth to the existence around us. It’s not clear whether the Russos have ever heard of this school of thought, but its principles are certainly reflected in how their lives unfold.
If we hope to achieve the reality we want, it’s crucial that we operate from a standpoint of honesty and authenticity. And, even though the family likes to think it does so, there’s definite evidence to the contrary. For instance, in the interest of helping out his son, Leo is willing to go to great lengths to do so, a quality many of us would probably see as admirable. But is he really being caring and supportive by launching his clandestine plan to have Dani pose as Sticks’s girlfriend after their breakup? Because there’s an element of a lack of integrity imbedded in this scheme, Leo’s good intentions are being tainted by the absence of this critical component. It leaves the door open for his plan to potentially become compromised. It could become derailed by unforeseen, unintended side effects. Worse yet, it could fail completely, collapsing in a pile of disastrous consequences. Indeed, how is that helping?
But, to understand what’s afoot in this scenario, it’s important to recognize what’s really going on, and that requires an examination of the beliefs involved here – all of them. As becomes apparent, Leo engages in this plan not just for Sticks, but also for himself. He’s worried that, upon graduating high school, Sticks may be facing a fate not unlike his own. Leo fears that Sticks won’t be able to live a life of satisfaction and fulfillment, something he’s had to endure himself, and he doesn’t want to see his son subjected to such a discouraging future. It’s possible that Leo may also feel like something of a failure in terms of how he raised Sticks, not providing him with sufficient guidance to overcome his shyness and to set him on a path aimed at a wider range of opportunities and a greater degree of achievement. In essence, Leo’s fear of these eventualities have prompted him into taking more drastic measures.
By its nature, fear is itself a form of belief, one that can seriously undercut one’s manifestation efforts. Its presence often contradicts one’s creative intentions, thwarting their materialization in part or in totality. That in itself could thus sabotage anything Leo hopes to accomplish through his questionable collaboration with Dani.
In a scenario like this, however, it’s important to remember that the efforts of multiple parties are in play. Consider those of Sticks, for example. For whatever reason, he’s chosen to be painfully shy and bought into beliefs that have made it happen. It may not be readily apparent why he has done so, either; his reasons are his own, and it’s really no one else’s business why he chose to do so. Perhaps there was some vital life lesson he wanted to learn through this creation. Or perhaps there was something else behind his manifestation efforts. Or perhaps his withdrawal was driven by apprehensions about the world around him, especially growing up amidst intimidating, often-outspoken relatives. In any event, though, his behavior was his creation, and there may have been nothing that Leo could have done to prevent it – or to overcome it. Leo’s fears in this regard, though understandable, could thus be patently unfounded.
Considering the fun-loving, freewheeling attitude that seems to pervade life in the extended Russo family, it could be that no one wants to admit having any perceivable apprehensions about anything. Such outlooks might be viewed as going against what’s expected of being a Russo. Indeed, as evidence of that, Leo has experienced firsthand what can happen when a family member acts differently from everyone else. Such treatment could inspire its share of anxiety – and go a long way toward shaping the beliefs, behavior and outlooks of other family members similarly situated.
In addition to the aforementioned beliefs underlying the perspectives of Leo and Sticks, consider the case of Angela. She, too, has her share of fear-based beliefs in her consciousness. Admittedly, she has legitimate cause for feeling that way given her recent health scare and her worry whether she is truly in the clear. But there’s more to it than that; she’s quietly apprehensive about Sticks getting the scholarship and going away to college, emptying the house of her only child. She almost feels as if she’s trading one ingrained fear for another. And, even though she dearly loves her husband, given his low-key demeanor, perhaps she’s uncertain whether or not he possesses the capability to make her feel secure in the face of these uncertainties.
In light of the foregoing, one might legitimately wonder whether there are viable solutions to these issues, and that concern arguably merits consideration. However, answers may well be available, provided we take certain steps with respect to our beliefs. Specifically, solutions based on honesty, authenticity and integrity can go a long way toward resolving these matters. Because manifestations based on such beliefs aren’t tainted by considerations that could undermine them, they have a greater chance of unfettered success, yielding appropriate solutions without caveats or strings attached to them. That being the case, then, Leo, Sticks and Angela would all be best off by owning up to what they really feel and believe, putting those elements into practice in creating the outcomes they want. That’s essentially an act of walking one’s talk and, if employed correctly, could genuinely reflect the honest, proud, hard-working, courageous beliefs that the Russos hold about themselves – and truly mean it.
Genuinely funny family comedies – those without rampant silliness, obnoxiously cynical, smart-mouthed kids, and saccharine-encrusted coatings – have become a rarity in recent years, but, fortunately, this debut feature from actor-writer-director Ray Romano has breathed some new life into this genre. This film about the lives of a middle class, blue collar family in one of New York’s outer boroughs is a delightful though far from sappy offering very much in the mode of pictures that don’t get made much any more. It’s chock full of hilarious one-liners from a smartly written script executed with snappy direction, steadily paced editing and fine acting, especially the award-worthy performance of Laurie Metcalf as the athletic prodigy’s mother. The picture also presents one of the best-ever send-ups of traditional Italian-American family life, raucously funny without becoming riddled with stereotypes. To be sure, a few story threads would have been better cut out or scaled back, but, on balance, “Somewhere in Queens” serves up a charming, entertaining offering with a number of unexpected twists and turns to keep the material fresh and lively. The film may not have received much fanfare with its limited theatrical release earlier this year, but, thankfully, it’s available for streaming online and more satisfying than a big bowl of pasta. Abbondanza!
There are times when we care so deeply about others that we’re willing to do almost anything to help them out, even if we end up engaging in dubious ventures. But those intentions – no matter how good they may be – could wreak havoc if employed in less-than-honorable practices. It’s at times like that when we must weigh the consequences of our beliefs and actions against what can potentially result from them and then act in a principled manner. To pursue another course may yield outcomes more damaging than what we can imagine. And there’s no honor in that.
A complete review is available by clicking here.
Acceptance, Forgiveness and Choice
When it comes to the notions of acceptance and forgiveness, it’s always important to remember that they’re beliefs that come with another inherent quality – the power of choice. Indeed, in both cases, we’re free to choose to either embrace or ignore these virtues, regardless of what others may think of us or how the perspectives we adopt might make us look. At the same time, though, we must also consider the consequences that come with either of these choices, some of which we find difficult to live with, especially if there’s no chance of us being able to go back and make amends for them later. Such are the thorny questions that the members of a family in crisis must examine for themselves in the new domestic drama, “Monica” (web site, trailer).
When an adolescent expresses his belief that he would like to undergo the transition as a transgender female, his family is appalled, kicking him out of the house. His mother, Eugenia (Patricia Clarkson), is especially outraged, dropping him off at the bus station and leaving him with the parting words, “I am no longer your mother.” And so, with those cold, terse sentiments, he leaves behind his life in Ohio to start anew in California.
Scroll ahead to a time many years later. Having proceeded with her transitionary plans, Monica (Trace Lysette) now lives her new life. The process has been far from easy, and it’s not particularly perfect, even now. She has her share of issues to work out, especially where relationships are concerned. But, despite these challenges, she carries on, continuing to find herself and to live life on her terms, something in which she appears to take considerable satisfaction.
Events soon take an unexpected turn, however. Monica receives a phone call from her sister-in-law, Laura (Emily Browning), someone she’s never met in person. Having not been back to the Midwest since her unceremonious departure, she’s been out of touch with her family and the events that have transpired during that time, conditions that have left her unaware that she even has a sister-in-law. In any event, when Monica asks Laura about the reason for the call, she learns that her mother is terminally ill, suffering the devastating effects of a malignant brain tumor. Laura recommends that Monica return home, partly because her help as a caregiver would be greatly appreciated and partly because it may be her last chance to achieve any sense of closure, the pain of the past notwithstanding.
At first, Monica is unsure what to do. But, after giving the matter some thought, she decides to make the trip back east, not certain what the visit will be like, what impact it might have on her, how she’ll be able to handle herself under the circumstances and whether it will provide her with answers to so many unresolved questions.
So what does Monica find? For starters, she meets family members previously unknown to her – Laura and her three children, Brody (Graham Caldwell), Britney (Ruby Fraser) and Benny (Brennan Pittman, Leland Pittman). Monica is initially unsure what to make of these relatives she’s never met, but she’s welcomed warmly and sensitively, treatment that she finds comforting under the circumstances.
Laura then outlines what Monica can expect when she meets Eugenia, the first time she’ll be in her mother’s company since undergoing her transition. Laura explains that, given the advanced state of Eugenia’s condition, she often experiences trouble with mobility, as well as memory-related issues. And, because Eugenia has never met her child as Monica, it’s unclear whether she’ll even recognize her own offspring. That wrinkle makes the situation even more unsettling for Monica; how should she introduce herself to her own mother?
Laura lends a helping hand with this. When she and Monica arrive at Eugenia’s house – Monica’s childhood home – they’re greeted by Leticia (Adriana Barraza), the patient’s doting caregiver. She leads them to Eugenia’s bedroom, where Laura introduces Monica as an additional caregiver, someone who’s going to provide her and Leticia with much-needed assistance. Laura later explains that she did this without further elaboration so as not to intrude on whatever plans Monica may have in mind to let Eugenia know who she is, a conversation whose nature Monica herself has yet to work out.
It soon becomes apparent to Monica that her visit will likely end up lasting longer than she may have originally anticipated. So, until she decides how to handle “the talk” with her mother, she chooses to maintain her ambiguous identity. In addition to buying her time to figure what she wants to say to Eugenia, it allows Monica an opportunity to get reacquainted with this person who has become a virtual stranger to her after all these years and in the wake of the onset of her illness. It proves to be a wise move, too, given that Eugenia doesn’t exactly warm up to the appearance of “strangers” in her life under these trying conditions unless they prove themselves worthy of her acceptance, which, thankfully for her sake, Monica manages to win over.
As Monica works toward winning over Eugenia’s approval, she needs to do the same with her brother, Paul (Joshua Close). Through their conversations together, it’s apparent the siblings were quite close when they were younger, but they’re not entirely sure where they stand now. Paul was devastated when his then-brother suddenly vanished, and, when he meets his sibling for the first time since her transition, he openly admits that he wouldn’t have recognized her as his relative if he were meeting her independent of this situation. Paul seems to want a return to the closeness he once shared with Monica, but how does he go about achieving that? Monica is likewise unclear on this point, despite a desire to attain it, especially since her brother may soon be the only immediate family member she has left. The ups and downs of this part of the process further complicate this family reunion, with no clear-cut answers in sight.
Meanwhile, as all of these various relationships evolve, Eugenia’s condition continues to deteriorate. Will matters be successfully resolved before it’s too late? What form will they take? And what will that mean for the future? While it’s true that there’s a lot to be made up for, there’s also an opportunity for much good to be carved out as everyone heads down the road together. Here’s hoping that things turn out better than when Monica was still a teenager.
Situations like this really test our beliefs. What are we to make of what happens going forward in light of what transpired in the past? Can we accept what happened and move on from it, or are we destined to forever hold an unshakable grudge? What will each course of action produce as a result? Will the mitigating circumstances of a scenario like this (i.e., Eugenia’s memory loss) make a difference in terms of how we proceed? Or will we be stuck, unable to make a decision? These are all important considerations to address, for they will impact what we ultimately choose to believe, how we act as a result and what will occur as a consequence. Such are what emerges when we draw upon our thoughts, beliefs and intents in manifesting the reality we experience. It’s unclear whether Monica has ever heard of this way of thinking, but she should nevertheless be prepared for it and what it can produce based on the beliefs she adheres to – and puts out there.
This scenario is potentially perplexing, given that Monica has a range of options available to her. So the key question she must address is, “Which one should I choose?” She could stay mired in bitterness. She could embrace forgiveness. But will opting for forgiveness provide a sense of satisfaction considering what happened in the past? At the same time, will passing up an opportunity to bestow it leave her feeling fulfilled given that time may be running out for being able to avail herself of that option? And, in light of the fact that Eugenia doesn’t even know who Monica is, will either choice even matter in the end?
Given the circumstances, the key consideration Monica must bear in mind is that, no matter what she does, the decision is hers, because the power of choice involved in it is hers. It’s a birthright that resides in her consciousness and is always available to her to do with what she wants – and, in this case, what she believes is best. But, again, what will she choose?
Perhaps looking within would provide some valuable clues in making her decision. Maybe she needs to ask herself, “What do I want most out of this situation?” In particular, she might want to consider examining what she wanted to come out of this scenario when she first approached her mother in announcing her intent – acceptance of her desires, her wishes and her nature.
When an adolescent young man tells his mother that he yearns to make the transition to become the woman inside him and that heartfelt revelation is rejected, he experiences a blatant dismissal, one that truly hurts given that it comes from his own parent, someone who supposedly loves him. The lack of acceptance is hurtful in a way that cuts very deeply and leaves a lasting, undeniable impression. But now that this individual has become the woman she so dearly longed to be, is it right for her to respond the same way her mother once did, to willfully deny her acceptance of who she is? Isn’t that somewhat hypocritical? Can she live with herself by buying into such beliefs, especially since she may soon no longer have the chance to change things?
Fortunately, Monica has tools at her disposal that may prove helpful in making her decision. In addition to her innate power of choice, she also has access to circumstances that she can draw upon to test the waters with Eugenia. For example, she can explore various possibilities for how to handle her relationship with her mother through her reassessment of her relationship with Paul, which has also undergone more than its share of strain over the years, including in the current time frame. She can ask herself, “What do I want from the situation with my brother for the future?” What’s more, can she draw from those discussions and transfer those insights into her assessment of her circumstances with her mother? And, if so, what?
Monica is not the only one who has an opportunity for such an exercise. Paul has the option to do the same, both in his relationship with his sister and in his marriage to Laura. As becomes apparent, he’s been experiencing issues with his wife for some time, and he’s having trouble identifying the cause. But perhaps he need only look to himself; indeed, isn’t it possible that he may have internalized some of the toxic beliefs from what appears to have been a volatile upbringing and he’s now projecting them into his feelings for Laura (and possibly Monica)? Perhaps it’s true when they say that some of our beliefs stem from learned behaviors in our youth that we consequently (and unconsciously) repeat by projecting them outward into the existence around us? If Paul manages to recognize and understand this, he may have an opportunity to rewrite his beliefs and repair his relationships with his wife and sister. Maybe some of that might even rub off on Monica, too.
Perhaps the most important point to recognize in all this is that these circumstances are not intractable. Change is truly possible, provided we recognize what’s at the heart of what needs to be fixed. By employing our powers of choice and our ability to alter what’s not working, we have an opportunity to strike out in new directions and to shift the future in ways that aren’t determined by a damaged past. The question is, “Do we have the courage and fortitude to make that happen?” For Monica’s sake, let’s hope she does.
Acceptance, reconciliation and forgiveness are arguably among the hardest feelings for many of us to deal with, but coming to terms with them is by no means impossible. That’s the choice being given to an estranged mother and daughter in this thoughtful new meditation from writer-director Andrea Pallaoro. The filmmaker’s third feature outing presents a deftly nuanced, sensitively handled story of a family painfully torn apart trying to put itself back together again under trying circumstances and while there’s still time. The pacing comes across as somewhat slow (undoubtedly by design), so those expecting material that moves along at a brisk, breezy clip may not find it to their liking, but, given the profound nature of the subject matter, it suits the narrative perfectly. There are admittedly a few plotline gaps here and there, but they’re more than adequately compensated for by the film’s superb ensemble cast, razor-sharp writing, and gorgeous, atmospheric cinematography. “Monica” may not have received much fanfare upon its theatrical release earlier this year, but this fine streaming offering is well worth the time, providing viewers with a moving cinematic experience that many of us can probably relate to – and whose wisdom should be thoughtfully considered should the need for drawing upon it arise in one’s life.
It might be tempting to want to sweep difficult situations (like those depicted here) squarely under the rug, especially when no easy answers present themselves. But, to be truthful, little is served by doing so; the difficulties remain and will probably only grow worse by failing to address them. So, in situations like these, it’s up to us to work on solutions, putting on our thinking caps to figure out what we believe and move on from there. As hard as it might seem to believe, the answers are present; all we need do is look within to find them and put them into action. And, by following Monica’s lead, we just might succeed and transition to a new level of understanding.
A complete review is available by clicking here.
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