Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

A Potent Cautionary Tale

Cautionary tales often have some of the most significant impact when brought to life on the big screen. These pictures generally deliver powerful, troubling, concern-filled messages with a sense of graphic, in-your-face urgency, all aimed at warning us of catastrophes potentially waiting to happen. And, when they reveal the nature of those calamities, they shock us into submission in the hope that we take steps to avoid them before they materialize. Such is the case with the latest offering from writer-director Alex Garland, “Civil War” (web site, trailer).

In a dystopian version of America of the near future, the nation is locked in a brutal domestic conflict in which the last remnants of society are quickly deteriorating. Nineteen states have seceded from the Union, forming various rebel factions, the most powerful being the Western Forces contingent made up of combatants from California and Texas. The WF alliance has amassed legions of troops trained on battling the military of the Loyalist States, soldiers who are demoralized and only loosely devoted to the administration of a corrupt, self-serving, third term President (Nick Offerman) whose autocratic rule has caused him to fall out of favor. And, as the film opens, the Western Forces have made their way east to a new front line in Charlottesville, VA, their last stop on their way to launching an assault on Washington, DC – and removing the President from power by any means possible.

From a political standpoint, that’s about as much as what any viewer needs to know, because these considerations are truly secondary to the message of this film. Given the prevailing brutality that has been unleashed in this conflict, the greater concern for those in this story is a simple one – survival. Finding ways to stay alive has become the priority for those caught up in the unrelenting madness on display here. And, considering that, when the bullets start flying overhead, in all honesty, ideology doesn’t matter a damn.

In light of the foregoing, then, “Civil War” is a vehicle designed to take viewers on a tour of the war zone to show them what they might expect under circumstances like these. Leading this excursion is a quartet of journalists who are attempting to make their way from New York to Washington via a circuitous route through western Pennsylvania and West Virginia in order to get an exclusive interview with the President, a conversation that’s likely to be his last. It’s an inherently dangerous journey given a lack of essential resources, the presence of rogue militia forces, battlefield hot spots, and, of course, the inherent mistrust of journalists, who are believed to be responsible for fanning the flames of the insurrection.

Leading this entourage are Lee Smith (Kirsten Dunst), a war-hardened photojournalist, and her reporting partner, Joel (Wagner Moura), a Reuters correspondent. They’re joined by Lee’s aging mentor, Sammy (Stephen McKinley Henderson), a veteran New York Times reporter, and Jessie Cullen (Cailee Spaeny), a neophyte photographer who wants to become a wartime field correspondent. Lee is not comfortable with Sammy and Jessie tagging along, concerned that their presence could complicate matters and get in the way of doing her job. That’s because, despite her outwardly tough-as-nails demeanor, there’s a strong compassionate streak that runs through her, and she’s quietly uneasy that this attribute could compromise her commitment to her work.

So, with that backdrop in place, the foursome sets off on their odyssey, one that takes them through an array of situations in which they witness the civil war in all of its various expressions. And they quickly find that there’s nothing at all “civil” about this conflict. It truly is a real-life mural of a world gone mad featuring depictions of angry participants only concerned with venting their unbridled fury on any target and of innocents caught in the crossfire struggling to stay alive. The journalists see symbols of a once-civil society in ruins, such as a bombed-out shopping mall whose parking lot is strewn with the wreckage of downed helicopters, as well as a winter wonderland theme park with holiday figure statues having been pelted by barrages of bullets. They also have a range of unsettling experiences, such as a visit to a Norman Rockwell-esque small town that looks like a replica of Mayberry but with snipers on the rooftops and a chilling encounter with a trigger-happy militia man (Jesse Plemons) on the verge of wanting to kill everyone just for kicks. Indeed, as David Bowie so famously sang in the 1985 thriller “The Falcon and the Snowman,” “This is not America.”

The journey takes quite a toll on viewers and characters alike. By the time the principals make their way to Charlottesville, they see firsthand what’s become of one nation under God – and a preview of what’s to come as Western Forces troops begin their move on Washington. The journalists are themselves conflicted over everything they’ve witnessed and experienced and yet can’t tear themselves away from carrying out their intended mission, caught up in the mayhem as much as those actively firing their rifles, a situation that Jessie observes as being a time of her life in which she has never felt so afraid and so alive simultaneously. Suddenly, the nobility of pursuing the truth almost seems to be more than they can bear, given the nature of what the truth itself is. It’s like a bad car accident from which no one can look away – only on steroids, horrific in every regard.

Is this what we want for our future? And is it indeed possible? Those are the questions that this film is asking us, holding up these ideas and images squarely in our faces and forcing us to take a good, hard look at them. The outcome ultimately will depend on what we believe we want. We can indulge such notions and let all hell break loose, or we can step back from the brink and envision a different result. In either case, though, whatever happens will occur as a result of our beliefs and how much power we imbue them with. Some of us may doubt that such possibilities can arise as a result of this sort of thinking, but we need only look to countless examples from history to see that the supposedly unimaginable can emerge when backed by enough intangible but palpable belief support. In cases as diverse as the rise of fascism to the fall of the Iron Curtain, we have witnessed the unthinkable brought into being, simply because those behind them believed strongly enough in their manifestation. So who’s to say that we couldn’t see something comparable happen in a scenario like this? That’s the point this film is striving to drive home.

In a mass event like the one depicted here, a variety of beliefs contribute to its unfolding, as seen in the diverse scenarios playing out, all of which form a part in the overall story. But those conceptions with the greatest belief support rise to the top to characterize the major themes running through it, for better or worse. And, in this case, we witness the results of pent-up anger and frustration being let loose, largely without focus and merely for their own sake, driven by the beliefs behind them. That’s why the term “civil” war in this context becomes such an ironic misnomer.

Given how we’ve allowed events to play out in our own society these days, it’s easy to see and understand how such a result can arise. With so many of us believing that our world is off track, it’s consequently understandable how such fever-pitched emotions have been born, feelings that are becoming increasingly more difficult to contain. And, as shown here, we witness what can happen when the safeguards are finally dropped. While it’s true that some of the players in this story are directing their hatred specifically toward political figures like the President, it’s also apparent that those same raw sentiments are being inflicted by some on any convenient target, especially if the perpetrators dislike or disagree with those on whom they’re taking out their frustrations. And, after a time, the rogue combatants begin to take an almost-perverse glee in their actions, as if they’re addicted to what their strong-willed beliefs have wrought. In no time, the result is chaos, a melee of turmoil and anarchy that has little to do with which political faction is doing what. With the genie out of the bottle, control is lost, and it may be a long time before it’s restored, if at all.

This illustrates the dark side of our beliefs and what they can manifest. The power and persistence of these intangibles takes over. We may not be able to see, smell or taste them, but we can certainly bear witness to what they yield. And that is the key takeaway from this film.

I find it curious how many viewers have sought to overanalyze this picture, looking desperately for the key cause of what’s driving the narrative – and then complaining that they’re not finding it, blaming the filmmaker for a fatal flaw in the creation of this offering. However, that thinking misses the point entirely in my view, as if those viewers aren’t seeing the proverbial forest for the trees. And that in itself is troubling to me, because, if we’re so blind that we can’t figure out the central message of this release and what it’s trying to tell us, we may one day find ourselves caught up in circumstances like these without having seen what the filmmaker was trying to warn us about in the first place. I implore viewers to open their eyes to see what’s going on and being cautioned about here before it’s too late.

“Civil War” may not be a perfect film, but it’s definitely an important one, sending out a big red flag to all of us in hopes that we recognize it before events like this come to pass. Director Garland is making an unadulterated statement that, when the bullets start flying, it may be too late to turn back, especially if we allow our emotions to get the better of us. That point is driven home with utter clarity over and over again in the film, even in such elements as the soundtrack, which features music reflective of the adrenaline rushes that the combatants – and journalists – experience in partaking in these events, a subtle but chilling reminder of the unrestrained emotions let loose in this cautionary tale. To be sure, there are some story elements that probably could have been made a little clearer and the pacing could stand some quickening in a few sequences. Moreover, in achieving his objective, the filmmaker holds nothing back, occasionally engaging in excesses that can make this a difficult watch, one definitely not for the squeamish or faint of heart. But the picture’s message is one of grave importance, especially in today’s trying, polarized climate. We’d be wise to pay attention to what’s being said in this landmark offering, handily the best – and most troubling – release of 2024 thus far. 

Despite this film’s troubling nature and somewhat mixed reception, it’s heartening to see director Garland get his career back on track with this release after a disastrous outing in his previous picture, “Men” (2022), an inscrutable and disappointing effort that represented a low point in his filmography. “Civil War,” by comparison, marks a return to form, comparable to his earlier superb works, “Annihilation” (2018) and “Ex Machina” (2014), a film truly worthy of the praise it has received. The picture’s fine performances (particularly Dunst, who turns in some of her career’s best work) and its excellent production design, cinematography and film editing make this one a genuine knock-out. It effectively combines the best attributes of in-the-trenches war correspondent films like “Under Fire” (1983) and “Salvador” (1986) with the chilling effects of domestic conflict pictures like “Delicate State” (2021). In sum, this one may make viewers squirm in their seats at times, but, if so, then it’s done its job. The film is currently playing theatrically.

In the run-up to conflicts like this, there are invariably multiple turning points where we can set ourselves on a new path that can help us forestall the kind of pandemonium depicted here. The question, of course, is, will we avail ourselves of them while we have the chance? If we don’t, the inevitable may ultimately emerge, at which point there’s almost no turning back without first putting ourselves through a hellacious ordeal like the one shown here. And it’s hard to fathom that we, as members of a supposedly civilized society, would turn our backs on those opportunities while they’re open to us. Maybe it takes a picture like “Civil War” to give us the wake-up call we need before we find ourselves in over our heads – and unable to find our way out.

A complete review is available by clicking here.

Wrapping Up the Chicago Latino Film Festival

    

With the 40th (and my first-ever) Chicago Latino Film Festival now in the books, it’s time to take a look at what I screened. So what did I think of the four films I saw? Find out more at “Wrapping Up the 2024 Chicago Latino Film Festival.”

The Joys and Perils of Growing Up

Childhood is the time of life when we form our views about how the world works and what it potentially has in store for us. It presents us with a variety of options for how we come to regard it, either positively or negatively or somewhere in between, a perspective often determined by the circumstances to which we’re exposed. But what matters most in all this is what we end up doing with our beliefs about these conditions and experiences, as they ultimately shape what unfolds going forward. And, as we generally come to find out, it helps to have kindred spirits who accompany us for this journey of exploration. Those are among the ideas examined in the moving new coming of age drama, “We Grown Now” (web site, trailer).

Itʼs 1992, and living in Chicago’s infamous Cabrini-Green Public Housing Project is about as challenging a place to grow up as any. Even though the complex has long had a reputation for crime, violence and street gang activity, it was near its worst at this time, particularly in the wake of the killing of seven-year-old Dantrell Davis, who was fatally shot while walking to elementary school with his mother. The shooting raised awareness of the conditions at the facility, but it also resulted in a harsh crackdown for residents, including those just seeking to live as normal a life as possible under such circumstances.

This is the backdrop against which two young boys, Malik (Blake Cameron James) and Eric (Gian Knight Ramirez), are growing up. As lifelong friends from birth, they spend much of their time together, attending school, exploring the world around them and attempting to have fun in the midst of what has essentially become an urban warzone. However, despite the challenges of this way of life, they seek to maintain their sense of youthful exuberance and wonder, striving to keep the prevailing situation from impinging on their lives and their outlook for the future. Even though they’re still trying to figure things out for themselves, they remain vigilant and hopeful about tomorrow, recognizing the potential and self-worth that they each possess, despite the presence of circumstances that threaten to derail their plans and hold them back. And, of course, having a companion along for such a challenging ride can’t hurt.

Malik lives with his single mother, Dolores (Jurnee Smollett), grandmother, Anita (S. Epatha Merkerson), and younger sister, Diana (Madisyn Barnes), while Eric resides with his widowed father, Jason (Lil Rel Howery), and college age sister, Amber (Avery Holliday). Each household wrestles with its respective challenges, but the young friends do what they can to make the best of their circumstances and to offer support to their families. And, through it all, they envision what life can be like, keeping their eyes firmly planted on its possibilities in the face of its realities, considerations skillfully depicted and seamlessly integrated in a series of fantasy and dream sequences.

This curious combination of opposing conditions yields an innately contradictory outlook on life. On the one hand, Malik and Eric get an up-close look at the harshness of economic difficulties and street violence. At the same time, however, they also have opportunities to avail themselves of the beauty of the Windy City’s stunning lakefront and the richness of its culture at facilities like the Art Institute of Chicago, as well as the simple joys of just being able to play with other kids in Cabrini’s outdoor courtyards. These experiences enable them to simultaneously see both the best and the worst in life and their environment, allowing them to foster a worldview that shows them the diverse possibilities that life can offer. The question in this, of course, becomes, what will they choose to embrace?

In the midst of these explorations, though, Malik and Eric must also confront the everyday personal developments that come with growing up, some of which significantly test their abilities to come up with ways to respond. These can be painful experiences, to be sure, but it helps to have a wide range of outlooks waiting in the wings to draw upon in devising feasible solutions, options that the boys develop through their interactions with one another. These options, in turn, enable them to form the beliefs they need to create a world around them that suits their needs, wants and desires. And, after all, isn’t that one of the primary objectives sought in the process of growing up?

What we end up choosing to believe during this time of life is crucial for what we end up manifesting subsequently. Our beliefs provide us with a template for our lives going forward, and they set the tone for our existence. It’s unclear how many of us are consciously aware of this school of thought (especially in the tender years of childhood), yet its influence is undeniable, especially when we look back years later and examine how we arrived at where we’re at as adults. In some ways, though, at least where Malik and Eric are concerned, it’s apparent that they have some sense of this in their youth, particularly when they stridently proclaim how they see themselves in the face of a world that seems determined to test them and their ability to get by.

The importance of the beliefs we form and embrace at this stage of life can’t be overstated, as they tend to set the course for what lies ahead. In many respects, this is a time when we often come to characterize the nature of our existence as one that embodies the notion of the glass being half full or half empty. In actuality, it’s rarely an all-or-nothing proposition, though how we perceive its character can negate that idea, leaving us stuck in a mindset where conditions tend to reflect our beliefs – and hence saddle us with outlooks that reflect either one end of that spectrum or the other.

Because of this, and despite the challenges of their circumstances, Malik and Eric have an opportunity to view both ends of the continuum, to both dream and to see reality for what it can be. I find it interesting that they’re in a version of Chicago that simultaneously shows the city at its best and at its worst. Consequently, this provides them with a sense of balance that they can draw upon to temper their thinking – and, hence, the formation of their beliefs and the manifestation of the existence they experience.

To some, this may sound like oh so much warm fuzzy pie-in-the-sky thinking given the conditions under which the youngsters are being raised. However, isn’t it ultimately preferable that they don’t grow up seeing their world only through the lenses of rose-colored glasses yet still maintain their ability to dream about ambitious possibilities for their futures despite the prevailing difficulties of their circumstances? These are profound conditions under which to grow up and come of age, and, to their credit, Malik and Eric appear to make the most of them, all challenges aside. They may not inherently know where they’re headed, but they at least recognize the potential and leave themselves open to it. And, fortunately for them, they have each other as they embark on this journey, a fortuitous scenario that provides them with much-needed comfort and support, as well as mirrors and sounding boards for one another, resources that can only help them to navigate the uncharted territory before them.

As the film’s title suggests, the boys ultimately welcome the opportunity to embrace the sentiment that it expresses, uncertain and unnerving though it might seem. But doesn’t that come with the territory for all of us during our youth? And aren’t we better off for recognizing this, accepting the responsibility that comes with it and facing it head on, no matter how undefined and intimidating it might seem? It’s a skill (when backed by appropriate beliefs) that can serve us well as we mature and grow into adulthood. It’s also one whose absence can leave us out in the cold if we don’t develop it during our formative years, the kind that Malik and Eric are in the process of developing as their story unfolds.

No one ever said growing up was easy. It’s inherently a time for a lot of hard lessons, but they’re the kind of teachings that we need to help prepare us for life. And, depending on the circumstances, it can be particularly challenging but also rewarding at the same time. Such is the experience of Malik and Eric in writer-director Minhal Baig’s third feature outing, an intimate, sensitive yet gripping depiction of childhood under difficult circumstances but one that’s laced with hopeful aspirations for becoming who we want to be. This nominee for three 2023 Independent Spirit Awards, including best feature, is just about perfect in every regard, from its gorgeous cinematography and expert film editing to its fine original score and the performances of its superb ensemble cast, particularly the young protagonists, who come off completely naturally and effectively. What’s more, there’s almost nothing in the narrative of this film that we all can’t relate to in one way or another, even if we didn’t grow up under the same conditions as those experienced by the characters in this film. It will touch you deeply and certainly move you – possibly to tears at some point – but this is a worthwhile release that absolutely should not be missed. The film is currently playing theatrically.

Trite though it may be, an old adage maintains “That which does not kill us only makes us stronger.” That’s certainly applicable to the circumstances faced by the characters in this picture. They no doubt have their struggles – some that many would say no one should have to face, especially those of a tender young age. However, those conditions also prompt them to seek something better for themselves, thanks to their outlooks and the presence of others around them who help to foster those perspectives. By recognizing and embracing these kinds of elements, we each have an opportunity to become “grown now” – and to enjoy the fruits that come from such thinking.

A complete review is available by clicking here.

Extolling the Virtues of Faith, Inspiration and Accomplishment

 

Stories about those who give their all for others are truly inspiring. They set examples worthy of emulation and can help to motivate us to do more, including under circumstances where we may have thought that there was little we could do to help. Undertaking these measures can indeed be daunting – perhaps even overwhelming – but, when we see a need and are sufficiently motivated, there’s no telling what we can accomplish. Such is the case of an empowered, undeterred woman determined to carry out her mission, as seen in the new film biography, “Cabrini” (web site, trailer).

In 1887, Mother Francesca Xavier Cabrini (Cristiana Dell’Anna) began her effort to launch an ambitious project – creating a Roman Catholic mission to China. She travelled from her native Lombardy to the Vatican to seek the approval of Pope Leo XIII (Giancarlo Giannini). But, before she could even make her impassioned pitch, she had to get past the Pontiff’s gatekeeper, Fr. Morelli (Giampiero Judica), who didn’t believe she could fulfill her goal. For starters, the skeptical cleric doubted that a sister from rural Italy would be able to pull off such a grand venture in such a foreign and faraway location. It didn’t help that she was a woman, either. He dismissively rejected her proposal and denied her the opportunity for an audience with the Holy Father. He consequently encouraged her to turn heels and go home, returning to her more familiar duties as head of the Missionary Sisters of the Sacred Heart of Jesus, running its day school for orphans and foundlings and teaching courses in embroidery. But Mother Cabrini was not about to let Morelli’s narrow-minded attitude stand in her way. She refused to back down and managed to catch the ear of the Pope, who had heard of her reputation for getting things done, subsequently agreeing to meet with her.

When Cabrini and the Pontiff conferred, she enthusiastically made a case for launching her mission to China. The Pope saw value in her plan, but he was not sure that she was ready for such a substantial challenge and offered a counterproposal. He suggested that she move ahead with her venture but in a different locale – New York. He believed that there was a pressing need to offer vital assistance to the flood of Italian immigrants who were relocating to America, a supposed land of opportunity that wasn’t living up to its billing, partly because of a lack of economic and employment prospects and partly because of the extreme prejudice that the new arrivals encountered in the so-called promised land. As the Holy Father advised, Mother Cabrini should look “not to the East, but to the West.” And, if matters proceeded well in New York, he offered hope that one day she might be able to proceed with her original plan.

Despite the Pope’s conditional approval, Mother Cabrini decided to take him up on his offer. And so, in 1889, Mother Cabrini and a group of her sisters crossed the Atlantic to New York. But, upon arrival, she was met with challenges from the outset. She was to assume management of a failing orphanage in the city’s notorious Five Points neighborhood, home to many of New York’s Italian immigrants. The residents endured deplorable conditions, facing ordeals related to poverty, disease, filth and immorality. Cabrini and her entourage discovered this on their first night in the neighborhood, where they witnessed the degrading exploitation of a local prostitute, Vittoria (Romana Maggiora Vergano), and the brazen cruelty against her by her pimp, Geno (Giacomo Rocchini). However, with Vittoria’s assistance, the new arrivals were able to secure a place to stay to get them off the streets, even if it was in a brothel.

Shortly thereafter, the sisters earnestly began renovation of the orphanage, a challenging task, to be sure. They also got a firsthand look at the prevailing conditions on the streets of Five Points, such as the unabashed thievery engaged in by the area’s orphaned and abandoned children, like young Paolo (Federico Ielapi) and his teenage brother, Enzo (Liam Campora). Cabrini quickly discovered that she and her cohorts were going to need help, and so she decided to pursue the assistance that the Pope had helped to set up for her, help to be provided by Archbishop Corrigan (David Morse) of New York’s Roman Catholic archdiocese.

In meeting the Archbishop, however, Mother Cabrini found herself faced with the same kind of resistance she encountered with Fr. Morelli. Corrigan offered little encouragement and even went so far as to suggest that the sisters board a boat bound for Italy. Again, though, Cabrini wouldn’t hear of it, refusing to back down. In doing so, however, she was forced into accepting the conditions laid down by the Archbishop, most of which seriously restricted her ability to seek meaningful aid from New York’s Roman Catholic benefactors. She was informed, for example, that she could not solicit financial aid from Americans, meaning that, if she were to seek such support, it would have to come from the Italian immigrant community – most of whom had virtually no money to spare.

These circumstances forced Cabrini to get creative in her undertakings, which, to her credit, she did. Before long, she managed to get the orphanage up and running, securing the financial and logistical assistance needed to further her goals. This was quite a challenge given the conditions under which she was operating, including her own failing health – respiratory issues brought on by a near-drowning accident she experienced in her youth. Nevertheless, despite these impediments, she carried on to seek the fulfillment of her goals.

Cabrini’s success was welcomed by her Italian peers, especially when they could see what magic she could work. At the same time, however, this success was met with opposition from public officials, most notably Mayor Gould (John Lithgow), whose prejudicial view of Italians was inflicted on Cabrini as much as it was on members of the immigrant community. He routinely harassed Cabrini for city code violations at her mission’s properties, a crusade aggressively led by various agency inspectors and Deputy Mayor Jenkins (Andrew Polk), imposing heavy fines and threatening Cabrini with shutting down her operations. But, considering how far she had managed to come with limited resources, the good Mother continually fought back, routinely finding creative ways to respond to her challenges and calling out officials when justified.

Moreover, Mother Cabrini was not alone in these fights. She was adept at recruiting allies to her cause. Vittoria, for instance, became a staunch backer of the sisters, leaving behind her life in Five Points to offer everyday logistical assistance. In providing the health care that her constituents so desperately needed, she sought the aid of the physician who treated her, Dr. Murphy (Patrick “Patch” Darragh), a kindly Samaritan who regularly supplied helpful clinical and practical advice. Securing financial aid from well-connected donors was often difficult, but, through her persuasiveness, Cabrini managed to win over an accomplished opera singer, Maestro DiSalvo (Rolando Villazón), and an influential legislator, Senator Badio (Federico Castelluccio), back home in her native Italy. And, to help get out the word about the plight of the city’s Italian immigrant community, she convinced New York Times reporter Teddy Galloway (Jeremy Bobb) to write about their circumstances, articles that raised awareness of the need for public support to raise funds and combat the shamelessly bigoted policies of Mayor Gould and his minions.

Despite the odds being against her on numerous fronts, Cabrini succeeded in her mission in New York, an effort that would spread far and wide across America and overseas – even in China. And, despite pessimistic prognostications about her health (initially estimated at no more than three years), she lived on for decades to see many of her objectives fulfilled, some of which were carried on by her followers after her death in Chicago in 1917. After her passing, she would eventually become canonized as the first American saint in 1946. It’s quite a record of accomplishment for someone who was once readily dismissed by those who didn’t know her – or the depth of her inspiration, creativity and faith.

Given what Mother Cabrini was able to accomplish, it’s obvious that she had an uncanny ability to envision what she wanted to accomplish and to make it happen in finished form. Her beliefs in her ideas and herself, backed by a tremendous wellspring of faith, were integral to the fulfillment of her objectives, resources responsible for the manifestation of the existence she experienced. It’s unclear whether the good Mother was aware of this school of thought, but, considering what she wrought, it’s apparent she was familiar with the concepts underlying it and knew how to work with them to achieve the intended results. And what results they were.

As a member of a religious order, many would contend that it should go without saying that she had a tremendous sense of faith to draw upon in her endeavors. And, even though she likely viewed her practices in these areas in a religious context, the notions underlying them were virtually identical whether expressed in theological or philosophical terms. So, regardless of how one might term these ideas, the basis behind them in each case was the same (indeed, you say tomato, I say…).

Thus, no matter which context one uses to refer to these principles, the basic tenets that make them work are essentially identical. For instance, fundamentally speaking, the materialization of one’s envisioned outcomes is an act of faith driven by the belief that they can be made manifest through a collaboration between us and God (or the Universe, All That Is, Source or whatever other term best suits you). This divine partnership is at the heart of how our reality comes into being. And the stronger the faith in that notion, the more likely that the results will appear as hoped for. Mother Cabrini obviously understood this and made it the platform for the miracles she brought into being.

In a similar vein, it should be noted that bringing about these manifestations is essentially an act of creation, the divinely inspired practice that underlies the appearance of everything in our existence. It accounts for the transformation of the intangible into the tangible, with our beliefs providing the juice to realize the finished state of these materializations.

In addition to the collaboration that takes place between us and our divine partner, it’s also often facilitated by the collaboration between us and our familiars, working together in an act of co-creation. This is accomplished through the mutual intents and acts of us and others, evidenced here by Mother Cabrini’s collaborations with allies like Vittoria, Dr. Murphy, Maestro DiSalvo, Senator Badio, Mr. Galloway, Pope Leo, and, of course, the countless volunteers and supporters who backed her in her efforts. Even her so-called “enemies,” such as Fr. Morelli, Archbishop Corrigan, and Mayor Gould and his lackies, served as backhanded collaborators in this process. By imposing roadblocks in her path, they kept Mother Cabrini focused on her goals, prompting her to remain vigilant and determined in seeing through on her various undertakings.

To further facilitate the fulfillment of her goals, Cabrini also relied heavily on her sense of creativity to get things done. Because she faced many limitations in her work, she needed to think outside the box, employing unconventional means to achieve her objectives. In doing so, she was able to skirt many of the restrictions placed upon her yet still satisfy the requirements integral to the realization of her vision. She frequently rose to the occasion on this front, too, such as making her mission in New York succeed as a stepping stone on the way to her organization eventually fulfilling her dream of establishing a mission in China. Keeping an open mind in such matters is crucial to become an effective manifestation practitioner. And that, in turn, depends on recognizing the infinite belief options open to us at any time when it comes to devising the means to see our dreams come true.

All of the foregoing is indicative of Mother Cabrini’s reason for being – living out her destiny and practicing her value fulfillment, the act of being her best, truest, most authentic self for the benefit of herself and others. So many individuals in need benefitted from her tireless efforts in New York and elsewhere, and they have much to be thankful for when it comes to her determination, commitment and diligence. She lived her truth and believed in her convictions, and it clearly showed in the results.

Providing care, comfort and compassion to the world’s downtrodden is undoubtedly a noble, if exhausting and often-frustrating, cause, especially when pleas for help go ignored or fall on deaf ears. Yet, every so often, someone comes along who tirelessly keeps on fighting for those less fortunate, as was the case with Mother Cabrini. She successfully provided the medical care, housing and general support for those in need, raising awareness of their plight and fighting for their welfare. Writer-director Aléjandro Monteverde’s latest presents a detailed profile of a woman who wouldn’t give up at a time when the deck was stacked against her, both on the bases of her gender and nationality, as well as (in some cases) as a representative of the Church. The picture’s superb production design, fine period piece production values and gorgeous cinematography lend much to this release, as do the performances of Dell’Anna and Lithgow, along with a host of supporting characters. Admittedly, this slightly overlong offering has occasional problems with pacing, monodimensional character development, overdramatic elements (particularly in the soundtrack) and an underdeveloped back story. At the same time, however, “Cabrini” tells an inspiring and uplifting tale of someone who accomplished a lot but hasn’t really received the attention she’s due. This film helps to make up for that oversight while reminding us all that we can play a part in fulfilling her dream of genuinely creating an empire of hope for the world.

As much as I enjoyed the message and sentiment of this film, however, I must take issue with an important aspect of it. In essence, “Cabrini” tells an engaging and inspiring story, but, to a great degree, that’s just what it is – a story. In its defense, the picture does a fine job of accurately detailing Cabrini’s many accomplishments in fighting prejudice, aiding the immigrant community, and establishing much-needed hospitals and orphanages both here and abroad. And, when it comes to telling a fact-based tale from the distant past, it’s understandable how a film must come up with dialogue to capture the nature of the circumstances, given that it’s unlikely anyone still alive was around when the depicted events took place. However, in my view, as someone who was trained and practiced as a journalist and historian, it’s incumbent on a project’s writing team to strive for scrupulous precision in crafting the narrative, an area in which “Cabrini” fails on many fronts according to what has been outlined in published reports. When a movie resorts to changing the facts of certain situations, creating fictitious characters who are composites of historic figures and making up others who are apparently complete fabrications, those steps cross a significant line, veering from the realm of biography and slipping into the field of fiction, something this offering does on more than a few occasions. I can forgive exaggeration and embellishment, but out-and-out invention is something else entirely. I’m disappointed that the filmmakers felt the need to do this with this release, as it weakens the project’s credibility and detracts from its other fine attributes. Viewers should bear this in mind while watching this film. Indeed, to paraphrase an old journalism aphorism, don’t believe everything you see on the movie screen. The film is nearing the end of its theatrical run and should be available for streaming in the near future.

When our backs are up against the wall, it may be tempting to give in. But, thankfully, not everyone feels that way, and Mother Cabrini was one of them. She left an indelible mark on the world and the many people she and her followers touched. If ever there were someone who could truly be called a saint, it was her – and now her story allows us all to see the truth in that.

A complete review is available by clicking here.

Copyright © 2024, by Brent Marchant. All rights reserved.