The Lust for Life at Death’s Door
There are times in life when what we crave most is, regrettably, not available to us. That’s particularly true for those on death’s doorstep. While individuals experiencing such circumstances may understand and even accept the inevitability of the fate they face, there may still be a part of them that wants or needs to hold on, perhaps to complete unfinished business, address a task that has not yet been tackled or ensure the care and well-being of others. Those conditions may provide enough motivation to carry on, despite the difficulties involved. And doing so could be so essential to them that the failure to succeed in these endeavors might prevent these individuals from being able to rest in peace. Those are among the themes explored in the moving new smart horror offering, “A Quiet Place: Day One” (web site, trailer).
Terminally ill poet Samira (a.k.a. Sam) (Lupita Nyong’o) is in the final stages of cancer. She resides with her support cat, Frodo (Schnitzel the cat, Nico the cat), in a hospice facility outside of New York City. She’s in a great deal of pain and severely depressed about what’s approaching. In many respects, she has little hope for the future, even losing interest in writing the poetry that was once a quintessential part of her being. In fact, Sam’s depleted health and despondent mood have left her so weakened and disengaged that she’s only willing to agree to certain suggestions from staff members unless her demands are met. Sam’s conditions may not seem particularly significant, but they’re nevertheless important to her, as they’re about all she can handle (or look forward to) anymore.
In an attempt to lift her spirits, one of the hospice caregivers, Reuben (Alex Wolff), tries to convince Sam to join other residents for an outing in the city to attend a marionette show. She’s hesitant, but she agrees to go along if the staff agrees to take her out for pizza after the show, terms that are amenable to the caregivers. And so Sam, accompanied by Frodo, is on her way to a day in New York.
However, as the bus that carries residents into the city begins its journey, strange occurrences begin to take place, such as the appearance of fighter jets in the sky. But, despite these unusual developments, the bus continues on its way to the theater. Once inside, though, the strangeness escalates, with loud explosions occurring outdoors and the image of what appear to be meteors falling from the sky. Military vehicles fill the streets, too. It quickly becomes obvious that something is seriously amiss.
The source of the trouble surfaces not long thereafter – the appearance of gruesome, reptilian-like creatures. Viewers who have seen the two previous films in this franchise will immediately recognize them as the alien invaders who have come to earth to prey on humanity. And, as in those two prior installments, the creatures are blind but possess an acute sense of hearing, hunting by way of sound.
The unlikely trio of English law student, Eric (Joseph Quinn, left), terminally ill poet, Samira (a.k.a. Sam) (Lupita Nyong’o, right), and Frodo, the comfort cat (Schnitzel/Nico, center), seeks shelter from an invasion of aliens in New York in the thoughtful and engaging new smart horror release, “A Quiet Place: Day One,” now playing theatrically. Photo courtesy of Paramount Pictures.
As all of this is new to the residents of New York, they don’t know how to respond, quickly falling victim to the invaders whenever they make any kind of a sound. Meanwhile, as Sam, Frodo and Reuben seek safety for themselves, they manage to adapt surprisingly fast, though they soon discover that even the slightest slip-up in remaining silent can prove deadly.
In the wake of the initial devastation, Sam encounters survivors who have managed to figure out the secret of staying alive. They quietly shuffle through the streets of Manhattan heading toward the South Street Seaport, following instructions broadcast by officials from helicopters flying overhead. Authorities have learned that the creatures can’t swim, so survivors are being evacuated by boat, especially now that the military has destroyed all of the bridges leading into Manhattan to keep the aliens from being able to migrate off the island. At last a ray of hope emerges.
But, despite these official advisories, Sam disregards them. Instead of traveling south to the awaiting boats, she heads north toward her old apartment in hopes of finding pain medication that she may have left behind before moving into the hospice. Along the way, she’s joined by an unexpected companion – Eric (Joseph Quinn), a young Englishman who relocated to New York to attend law school. He’s severely shaken by what’s happened yet has miraculously found a way to keep himself alive, thanks in large part to Frodo, who led him to Sam and safety in a temporary hiding place.
Thus begins the journey of an unlikely trio trying to navigate the vastly changed New York landscape. Their odyssey is an interesting one as they seek to stay alive at all costs, quite an irony for Sam given the state of her health and outlook. She takes advantage of these circumstances to assess her conditions and to determine what she needs and wants to do with whatever time she has left. Considering the aliens’ presence, she could succumb to them at any time, a condition not unlike what she has had to learn how to contend with in the wake of her illness. She’s also concerned for the well-being of her companions, Eric and Frodo, both of whom could well have futures ahead of them if they have the courage and will to survive, qualities that, based on her own experience, she might be able to help them bolster for themselves.
But can Sam muster up the strength and fortitude she needs to accomplish this, particularly with death all around her? She must ask herself how badly she wants that and then take the steps necessary to achieve it. With the resources she requires for this at a premium, can she gather them together at a time when she needs them most? Her life – and those of whom she’s come to care about most – depend on it. But, if she succeeds at this, she just might get everything she wants – even that pizza she wanted before heading into New York.
When emergency situations like this arise, we’re often tasked with having to think on our feet. We likely don’t have much time to respond to the circumstances we face, and that can make things difficult when it comes to creating the best outcomes for ourselves. That’s especially true in situations where we’re already faced with trying conditions. How do we balance everything around us? It can be overwhelming, to say the least, and, given what Sam is going through, she can certainly attest to that.
In scenarios like this, our beliefs can play a particularly crucial role in determining how things turn out, as they generally determine what results, even under less dire conditions. But, when we’re faced with having to make quick decisions, as in a situation like this, it helps to have a firm grasp over these resources and allow them to take over for us in a pinch, almost as if we’re putting them on autopilot to get us through these challenges. It’s unclear how many of us are aware of this line of thinking, but, at times like this, we had better hope we have a good handle on it, as it just might save our lives.
This is vital to Sam, given that death’s presence has been all around her for some time, even before the aliens invaded. It has been weighing heavily on her, too, consuming much of her attention and will to live, arguably preventing her from making the most of whatever time she has left in terms of wrapping up her affairs, making a difference in what remains of her existence and addressing the needs of those she cares about. The scenario playing out around her in many ways forces her hand, pushing her to focus on what’s most important, setting priorities and creating the means to address them under the prevailing circumstances.
In essence, Sam is being forced to “get busy,” to tap into her toolkit of beliefs to accomplish what she seeks to do while she has the chance. Ironically, she’s coerced into embracing a lust for life at a time when she’s already on death’s doorstep, only now there’s been a sense of urgency added to the mix, prompting her to draw upon her personal wherewithal to achieve what she most wants to undertake and successfully complete. Admittedly, there can be a great deal of self-imposed pressure associated with this, but an impending deadline can provide a tremendous degree of motivation, impelling us to get the job done, especially if we hope to pass on with the satisfaction we believe we’ll need to be able to rest in peace.
Fortunately, Sam has drawn valuable assistance into her life to carry out this eleventh hour mission. Frodo, for example, frequently leads her to where she needs to be to stay safe and productive in accomplishing these last-minute goals. It’s almost as if the loyal feline has an intuitive sense of guiding Sam to the right resources for carrying out these tasks.
Likewise, Eric’s presence helps to revive Sam’s awareness of the vitality she possessed in her old life before she got sick. He also provides her with an opportunity to help him develop the kind of courage that he will now need to carry on under the conditions of the new normal, something she undoubtedly had to learn how to do for herself when she received her cancer diagnosis. Being able to help teach him that gives her a sense of purpose during the waning days of her life, something we all need as a fundamental part of our existence, even (and perhaps especially) when the end is near. She thus passes along a gift to him in exchange for the assistance he provides in helping her stay safe in the midst of this ordeal – and to help comfort her through the one that she’s already been experiencing for some time.
Facing our mortality might not be one of the most pleasant experiences we go through in life, but, if we can embrace an outlook that allows us to remember what life was like when it was good, we can approach this inevitability with a sense of inner peace that might not otherwise be in place. The beliefs associated with that can help enable an exit from the earthly plane characterized by gratitude for having had the experience of life in physical existence, a sense of appreciation that may well help to make the upcoming transition one that’s more filled with joy and thankfulness than one brimming with dread and despair.
Smart horror films are one movie genre of which not nearly enough offerings are produced. These pictures are proof positive that edgy, spooky stories can be successfully made without having to kill off the entire cast or engage in spectacles of gratuitous gore. The works of filmmakers like Jordan Peele and Alex Garland exemplify this, as do the three releases in this impressive franchise. And this latest entry is, without a doubt, the best of the lot. “Day One” not only draws upon the mythology introduced in the series’ first two films, but it takes matters in a new, more profound direction and does so, ironically, by way of a prequel going back to the origin of this gripping, ongoing saga.
What separates this film from its predecessors, however, is that it presents yet another story in the franchise but from an entirely new angle, with new characters, a new setting, and a new, more insightful, more nuanced focus. Instead of small-town America, where the first two pictures were set, this offering takes place in New York City, showing what happens when the Big Apple is attacked by the now-familiar aliens that hunt by way of sound and the measures that surviving humans must take to stay silent to keep from being spotted. In telling this story, the film also examines the perils of having to suddenly adjust to a “new normal” under unpredictable conditions, as well as the need for all of us to pull together in a united front in the wake of these trying circumstances, tasks we all had to deal with ourselves not all that long ago. But there’s more to it than that, including metaphorical themes and symbolic imagery that truly make this more than just a horror film (and even more than just a smart horror movie at that). While it’s true the story meanders somewhat at times, it nevertheless presents viewers with a thoughtful tale, punctuated by excellent camera work, a fine soundtrack, and a superb, award-worthy performance by Nyong’o. Even if you haven’t seen the two previous films in this series or don’t ordinarily have much interest in this genre, writer-director Michael Sarnoski’s second feature outing is well worth your time. It’s a smart, smart, smart film that rises far above what one might typically expect from a horror flick – and one that will leave you with a lot more than just a few good scares upon exiting the theater.
Taking care of life’s business can be challenging enough, even under the best of circumstances. But, when acutely altered conditions like those depicted here figure into the mix, this task can become exceedingly difficult. At times like that, we must believe that the unfinished business we seek to complete can be accomplished in good order, with the means needed to do so materializing as and when required. Some would heartily contend that we should apply such zest for living even at times when circumstances are far less demanding and daunting than these, and their argument is indeed compelling. Perhaps if we took life less for granted we might come to realize that and not wait until death approaches before we apply that thinking. Imagine what we might accomplish then – and what a wonderful world we’d all live in.
A complete review is available by clicking here.
New Movies for July
Join yours truly and show host Frankie Picasso for looks at seven new films and a few other surprises on the upcoming movie review edition of the Frankiesense & More video podcast, to begin airing Thursday July 18 at 1 pm ET. Since we’ll be on summer vacation next month, we’ve got a full picnic basket of cinematic goodies to hold you over until our return in September. So tune in on Facebook or YouTube for all the summer movie fun!
Putting the Luster in Our Golden Years
Retirement is supposed to be one of those times of life that we eagerly look forward to. Having the free time to do what we want, when we want, is thought to be liberating and thoroughly enjoyable. But, for some, the transition from full-time working life to full-time leisurely living can be challenging, especially in the relationships of long-partnered couples. Each party may have different views about what lies ahead and what they want out of that time, conditions that can lead to stress, strain and unexpected problems – all of which likely weren’t envisioned beforehand. So how do we infuse the hoped-for luster in these golden years? That’s the challenge addressed in the charming Swiss comedy-drama, “Golden Years” (“Die goldenen Jahre”) (web site, trailer).
After 37 years of hard, dedicated work, Peter Waldvogel (Stefan Kurt) is getting ready to retire. His wife, Alice (Esther Gemsch), anxiously looks forward to the change, as she believes it will now give them more time to spend with one another, a chance to grow closer than they’ve been in a while, to fall in love all over again. She also hopes that they can meet new people, see new places and have new experiences together, an opportunity to explore life more fully.
After 37 years of work, Peter Waldvogel (Stefan Kurt, second from right) celebrates his retirement with his wife, Alice (Esther Gemsch, second from left), his best friend, Heinz (Ueli Jäggi, right), and Heinz’s wife, Magalie ((Elvira Plüss, left), in the charming Swiss comedy-drama, “Golden Years” (“Die goldenen Jahre”). Photo courtesy of Music Box Films.
Unfortunately, though, Peter doesn’t exactly share those sentiments. He doesn’t know what to do with himself. He’s accustomed to spending his days working, and now having all of this free time leaves him without direction – or the motivation to figure out what he wants for this part of his life. He spends most of his time stretched out on the couch, doing nothing, with most of the remainder playing chess with his good friend, Heinz (Ueli Jäggi).
Needless to say, Alice is less than thrilled with the way matters are playing out. She’s especially disappointed that Peter shows little enthusiasm for the retirement gift given to them by their children, Susanne (Isabelle Barth) and Julian (Martin Vischer) – a Mediterranean cruise with stops in Marseille and Barcelona. Peter even looks for ways to get out of going on the trip, a possibility for which Alice has no tolerance.
Concerned about the way her life is headed, Alice confides in her closest friend, Magalie (Elvira Plüss), Heinz’s wife. While on a hike together, however, Magalie falls ill and dies. But, before passing away, she tells Alice a long-held secret and asks her to collect a stack of telling documents from her nightstand, ideally before Heinz discovers them. As it turns out, the documents are letters sent from a French address over a number of years that spell out the details of this surprising revelation. This, of course, leads to a dilemma for Alice: Does she tell Heinz about his wife’s secret? What’s more, should she inform the writer of those letters about Magalie’s death?
Magalie’s passing also creates new issues for the couple. Heinz is, of course, devastated by this development and becomes more dependent on Peter and Alice for comfort, support and company. What’s more, Magalie’s death has a profound impact on Peter, prompting him to become obsessive about his own health and mortality. He finally gets up off the couch and devotes much of his time to exercising and changing his lifestyle, such as turning vegan and giving up alcohol. And, even though Alice appreciates his interest in his well-being, she sees some of these changes as being excessive, taking much of the fun out of the retirement they were supposed to be enjoying together. But, if all that weren’t bad enough, Peter invites Heinz to join them on the cruise. He tells Alice that he was merely trying to be polite, not expecting Heinz to accept the offer – but is stunned when he actually does. So what was supposed to be an intimate experience for the couple turns into an awkward time with a third wheel.
As the cruise unfolds, Alice spends much of her time by herself. In large part that’s because Peter heads to the ship’s gym frequently and hangs out with Heinz more than Alice. Peter also fails to notice the stylish new makeover that Alice undergoes, something that even Heinz recognizes. As a result, Alice now feels lonelier than ever. She compensates for this somewhat by unexpectedly befriending a fellow passenger, Michi (Gundi Ellert), another Swiss vacationer who’s on her own, having divorced her inattentive husband. The two women compare notes about their circumstances and find common ground. Michi reveals that she has let go of her past, offering Alice valuable guidance and helping her have some of the fun that’s been noticeably lacking from her life, developments about which Peter is completely oblivious.
Uncertain of how to spend his ample free time, newly retired Peter Waldvogel (Stefan Kurt, right) spends much of his time playing chess with his best friend, Heinz (Ueli Jäggi, left), in director Barbara Kulcsar’s delightful comedy-drama, “Golden Years” (“Die goldenen Jahre”). Photo courtesy of Music Box Films.
By the time the ship arrives in Marseilles, Alice has had enough. She ditches Peter and Heinz and goes off on her own. She relishes the freedom of going exploring on her own. She also has a chance encounter with another retired couple, Ingrid (Therese Harder) and Josef (André Jung), a pair of free spirits who now spend their days following their impulses and living in the moment, tooling around Europe in their RV. Alice is inspired by their carefree example, increasing her desire to be her own person, especially now that she sees what her future with Peter will probably be like.
Rather than return to the cruise ship, Alice texts Peter, informing him that she needs a break from things for a while. She stays behind in France, drawing upon this opportunity for a diversion of her own – paying a visit to see Claude (Monica Budde), the person identified in Magalie’s letters. It turns out to be an experience that opens Alice’s eyes even wider to possibilities for her future. And this raises an important new question: Can she go back to her old life at this point?
Meanwhile, Peter begins to realize what he could be on the verge of losing. He suffers a severe panic attack and decides to forego the remainder of the cruise, heading back to Zurich instead. But, once there, he finds himself alone. He seeks out the company of his daughter, which is hardly a viable solution in light of her own marital problems. He then invites Heinz to move in as his roommate, a stopgap measure to help him cope with his loneliness but a pale substitute compared to the companionship of Alice. However, considering how events are unfolding, will he be able to win her back?
What transpires from here proves to be even more surprising than what anyone expects, both on and off the screen. However, what’s most important to recognize is the honesty that goes into what occurs. If the ultimate goal is to restore the luster that belongs in one’s golden years, that kind of frankness is an essential element for making that outcome possible. But are Peter and Alice genuinely up to the task in light of the stakes involved? It’s a question that they – and many other similarly situated couples – must address if they ever hope to find happiness during this time of life.
Retirement is often one of life’s landmark moments, signaling a turning point in the course of events. Its significance should not be underestimated, because conditions usually change so much that what transpires afterward is frequently quite different from what preceded it. And exactly how events unfold is directly tied to our beliefs about the alteration in circumstances, because they shape the nature of that new existence. It’s unclear how many of us are aware of this effect and its impact, but, considering the magnitude of what emerges from this school of thought, we’d be wise to learn about it, how it shapes our lives and the role that our beliefs play in the process.
When his wife suddenly dies, retiree Heinz (Ueli Jäggi, center) spends much of his time – perhaps a little too much – in the company of his best friends, newly retired Peter (Stefan Kurt, right) and Alice (Esther Gemsch, left), in the charming Swiss comedy-drama, “Golden Years” (“Die goldenen Jahre”), available for streaming online. Photo courtesy of Music Box Films.
The ways in which we live our lives prior to a milestone event like retirement are based on routines that generally follow relatively set patterns that arise from our beliefs. This has a certain degree of predictability and expectation associated with it, and it affects all areas of our existence, from our careers to our leisure time pursuits to our interaction with loved ones and so on. For Peter, this involves going to his office each day and spending whatever free time he has with Alice, his children and his friends. For Alice, as a homemaker, her reality centers around domestic chores, social activities with friends, visits to Susanne and Julian, and enjoying whatever free time Peter can spare. But that pattern promises to change drastically once her husband retires.
Once Peter’s retirement becomes official, the couple has an opportunity to put a new routine into place. But there’s a major issue with that: While Alice has had the chance to envision what she would like that new pattern to be, Peter hasn’t given it much thought. Consequently, while Alice has been able to begin putting beliefs into place for shaping the nature of that new reality, Peter doesn’t have a clue how to proceed. In fact, he doesn’t really know what he wants out of this new phase of his life, both for himself and in his relationship with Alice. He’s lost, and his lack of vision is threatening to take him down a path without direction, one that Alice clearly doesn’t want. And it doesn’t take much to figure out what kind of a future that will hold for their marriage.
In large part, the failure to foresee what lies ahead comes down to a lack of planning, including envisioning what one wants out of that forthcoming time, and that’s primarily attributable to a failure of understanding the role, and drawing upon the power, of our beliefs. Peter clearly hasn’t done this. As for Alice, even though she may not fully grasp all of the particulars involved in how this works, at least she has determined what she generally wants out of life after retirement, such as seeing new places, meeting new people and having new experiences, none of which Peter has apparently contemplated. No wonder they’re not on the same page.
Retirees Peter and Alice Waldvogel (Stefan Kurt, right, and Esther Gemsch, left) look out on an uncertain future together while on a Mediterranean cruise in director Barbara Kulcsar’s delightful romantic comedy-drama, “Golden Years” (“Die goldenen Jahre”), now available for streaming online. Photo courtesy of Music Box Films.
So what accounts for this difference between them? Perhaps it’s because Peter had so little free time in his working life that he never gave life after retirement a second thought. Alice, meanwhile, had more free time on her hands to contemplate possibilities, which may well account for her ability to picture what’s to come. In addition, she had more time to socialize with friends, another source of inspiration for this. And, of course, there were her many conversations with Magalie, discussions that often involved dialogues about dreams and aspirations. One such talk takes place at Peter’s retirement party, where Magalie speaks candidly, if a bit cryptically, about not having regrets for how we live our lives. It’s a statement that leaves a significant impact on Alice, both at that time and even more so later on when she learns of her friend’s long-held secret, one that obviously gave Magalie a great deal of fulfillment – not to mention no regrets. And, as Alice approaches her golden years, she wants the same result for herself, whether or not Peter joins her for that journey.
Fixing this requires calling upon our sense of personal power. Now, while the point of our personal power resides in the present, it can’t hurt to put in some effort on this in advance, especially when it comes to making plans for what occurs once we reach a milestone in our lives. It’s something that many of us fail to do, causing us to subsequently find ourselves lost when the big moment arrives and thereby keeping us from enjoying what that time of life has to offer. It can also create a potentially irreparable divide in the relationships we cherish greatly, such as our most heartfelt loving partnerships. Do we really want that to happen? If not, we had better take heed of the caution served up by this story.
A key that’s often significant to satisfaction and fulfillment in retirement is finding a purpose for ourselves. Just because we’re no longer working at a full-time job doesn’t mean that we no longer have a drive to feel needed and useful. To that end, we may not put in as much effort or as many hours as when we were working full time, but that doesn’t mean loafing about as couch potatoes is an adequate substitute. Determining what to do in this regard means getting in touch with our value fulfillment, an understanding of what our destiny should be during this phase of our life. This requires us to ask ourselves what matters most, what allows us to be our best, truest selves for the betterment of ourselves and others. This could take the form of chartable pursuits or artistic endeavors or caring for loved ones, among many other possibilities. These undertakings can revitalize our lives, especially when conducted in the company of those we love or who share common interests. Such ventures can indeed add luster to our lives – and truly make these years golden. Perhaps it’s something Peter and Alice should seriously consider for themselves.
Relations between Peter Waldvogel (Stefan Kurt, left) and his wife, Alice (Esther Gemsch, right), become strained while on a Mediterranean cruise given to them as a retirement gift by their children, as seen in the romantic comedy-drama “Golden Years” (“Die goldenen Jahre”), available for streaming online. Photo courtesy of Music Box Films.
Many of us may legitimately wonder what retirement is supposed to be all about, and, as a new phase in our lives, such decisions shouldn’t be taken lightly. It offers us many options, but the choices we make with regard to them carry their share of challenges, too, as this delightful romantic comedy-drama so poignantly shows. Director Barbara Kulscar’s latest offering presents a refreshingly honest take on what can emerge in the golden years of life, a time of transformation but not necessarily one that emerges in the form that we might have pictured. Admittedly, some elements of this story are rather predictable, but then there are also numerous twists and turns that take it in unexpected directions. The film also would have benefitted from better audio quality (a growing problem with many releases these days) and a score that doesn’t sound like it was plucked from a 1980s Neil Simon movie. However, the performances of this film’s fine ensemble cast, its beautiful cinematography of European locales, and its delightful and sometimes-edgy humor make this release an enjoyable watch. “Golden Years” is available for streaming online.
Undoubtedly, we’d all like for our golden years to live up to their hoped-for potential, and, if we approach them realistically, they truly can, as long as we provide the necessary spit and polish to make that happen. It may take some adjustment, including envisioning what we want and making the effort to see those hopes and dreams realized. But the payoff can truly be everything we hope for. And that’s what a life’s work can ultimately yield, providing us with rewards beyond measure – and then some.
A complete review is available by clicking here.
It’s Never Too Late To Grow Up
In an age where personal accountability has become increasingly hard to come by, it’s comforting to know that it’s never too late to grow up. Granted, willingly assuming responsibility for our actions and attitudes may not always be easy, pleasant or fun, but it’s something we all must ultimately do, no matter how much we may not want to. Once we do, however, we may discover aspects of ourselves that we never knew about, providing us with a sense of pride, maturity and self-worth that we didn’t think we possessed. And that can open new windows into ourselves, offering us tremendous opportunities for personal growth and development, as seen in the insightful indie comedy-drama, “Late Bloomers” (web site, trailer).
Louise Cole (Karen Gillan) really needs to grow up. The aimless, 28-year-old Brooklynite just doesn’t seem capable of getting her act together. She’s apparently had her share of relationship issues and family challenges, with all of them ultimately going south in one way or another. The would-be musician has had trouble launching a career, too, mainly because she doesn’t seem to have taken it seriously enough. In light of the foregoing, it’s indeed about time for her to turn things around – if she can, that is. However, given the direction that events have taken, it may finally be time for fate to take a hand.
After attending a party one night, while in a drunken stupor, Louise falls and breaks her hip. The incident lands her in the hospital, necessitating surgery to repair the injured joint. This is followed by an extensive rehab program, first while admitted and later on an outpatient basis. She’s somewhat out of her element, given that she’s far younger than most of her fellow patients, but she does what she can to make the best of her circumstances. And, while bedridden, she meets someone who will significantly change her life – her hospital roommate, Antonina (Margaret Sophie Stein), an elderly, cantankerous Polish woman who speaks no English.
Physical therapy patients (and onetime-hospital roommates) Louise (Karen Gillan, right) and Antonina (Margaret Sophie Stein, left) struggle to get along with one another despite a clash of outlooks and their inability to speak the same language, as seen in the insightful indie comedy-drama, “Late Bloomers,” available for streaming online. Photo courtesy of Bindery Films.
Louise and Antonina get off to a rough start. They quarrel, despite not speaking a common language, and even engage in some modest physical altercations, like throwing small objects at one another. They’re also assigned to the same physical therapy program, and they even run into one another as outpatients, so there’s no escaping one another, no matter how much they might like to avoid one another.
However, when they run into one another outside the hospital, their relationship begins to change. Upon leaving one of their therapy sessions, they meet each other at a bus stop, where they wait seemingly forever for their ride home. As it turns out, Louise learns that the bus is seriously delayed, so, rather than wait another hour for it to arrive, she decides to catch a cab. But, as she gets in the taxi, she notices that Antonina is by herself at the bus stop, without assistance, and she has no idea how long she’ll have to wait for the bus to come. So, using hand gestures and fruitless attempts at verbal communications, she invites Antonina to join her.
Upon arriving at Antonina’s apparent destination, she still seems unable to make her way home. Louise steps in to assist again, finally arriving where Antonina lives, an apartment she shares with her granddaughter, Sylvia (Michelle Twarowska). Although Sylvia is initially skeptical about this stranger who helped her grandmother get home, she soon comes to appreciate Louise’s help, even going so far as to offer her a job as Antonina’s caretaker. And, given that she could use the money, Louise accepts.
This unlikely duo gets off to a somewhat rocky beginning. Antonina proves to be just as ornery at home as she was in the hospital, often refusing to do what’s asked of her and making Louise’s job difficult (presumably something she did with Sylvia, too, which is why she offered Louise the job). However, as time passes, relations improve. Louise and Antonia even appear to become friends, despite the fact that they still can’t communicate well. And the impact on Louise is undeniable as well.
Caring for Antonina begins to instill a sense of responsibility in Louise. She generally becomes accountable for her actions, both with her client and in relations with others, such as her roommate, Brick (Jermaine Fowler), and her father, Al (Kevin Nealon), both of whom applaud the change. It seems as though Louise may finally be on the verge of growing up.
So what accounts for this shift in attitude? Taking care of Antonina resurrects some old memories for Louise, most of which relate to her relationship with her mother, Dorothy (Talia Balsam), a victim of early onset Alzheimer’s Disease. As seen in flashbacks, Louise served as a caretaker to her mom, too, but didn’t always do as good a job as she thought she should have. Her “failures” in this area only helped to reinforce all of the other disappointments she experienced during that time of her life, setting a pattern that has persisted since then. That experience affected her self-esteem and her assessment of her aptitudes, keeping her from moving forward and making any kind of progress in virtually all areas of her life. As a result, she not only came to believe that she was incapable as an adult, but also as a daughter, leaving her lost and directionless overall.
Being with Antonina helps Louise change this. But can Louise keep up the good work? Or will she backslide into her old ways? What’s more, will this experience help her to set matters to right with her mother, or is that relationship a lost cause (for reasons other than the progression of her illness)? Attaining maturity can truly be difficult, and success may not arrive overnight. But is that any reason to give up trying? One can only hope that this is a realization that Louise will come to understand and appreciate for herself and where others in her life are concerned.
When unfocused 28-year-old hip surgery patient Louise Cole (Karen Gillan, left) takes a job as a caretaker for Antonina (Margaret Sophie Strein, right), a cantankerous elderly woman who speaks no English, the irresponsible young woman finally starts to grow up, as seen in director Lisa Steen’s debut feature, “Late Bloomers,” now available for streaming online. Photo courtesy of Bindery Films.
The key to growing up, of course, is the willingness to take on responsibility for oneself, and, sadly, this is becoming a lost practice. Admittedly, it’s easier and less painful to release oneself from personal accountability, chalking up misfortunes and disappointments to someone or something else. However, responsibility begins at home, with each of us, usually based on the choices we make. And those choices stem from what we believe about ourselves and our world. That’s important to recognize in light of the role that our beliefs play in the manifestation of the world around us. It’s unclear how many of us are aware of this line of thinking, but, given the vanishing capacity for accountability that seems to be all around us these days, it would appear to be a regrettably growing trend. And, in Louise’s case, it’s the central element in all of her frustrations, regrets and general dissatisfaction.
One might legitimately ask where this is coming from, and that would be a good question. Indeed, why would someone like Louise willingly (albeit subconsciously) embrace beliefs that repeatedly bring about such dissatisfying results? By all rights, such an approach to life would seem self-defeating and counterproductive. But her reasons ultimately are her own, and, in her mind, there might be valid purposes for unwittingly pursuing such a course.
For example, in flashbacks involving her younger self (Keira Jo Lassor), viewers witness the frustration that Louise experiences with her music. It’s not that she’s all that bad, but she’s new to all this, still learning the ropes (and the chords). Yet there also seems to be a streak of perfectionism running through her outlook, and, if that goal goes unfulfilled, there’s a good chance she’ll feel discouraged. As a youngster, though, she can’t see that this is a product of her learning curve and not some grand universal conspiracy out to get her. Consequently, this lack of understanding results in an erroneous belief in the latter, prompting her to give up and disregard responsibility for what’s transpiring. And thus a pattern is set, one that persists from childhood and on into adulthood, one that’s also continually reinforced with each successive “failure.” In addition, the more these disappointments mount, the more they begin to affect her overall mindset, eventually leading to an attitude of “What’s the point in even trying?” and culminating in a continual search to find blameworthy culprits for these missteps. With such a perspective in place, one might rationalize that there’s nothing to be gained by seeking to become accountable.
This also becomes apparent in flashbacks to a time when Dorothy is diagnosed with Alzheimer’s. Louise, now grown, is responsible for her mother’s care, and, admittedly, it proves to be quite an undertaking, one that she’s not always up to. So, when things go awry, the results once again drive Louise into denial about being willing to accept responsibility. In this case, though, the impact is so significant that she comes to believe that she may be incapable of becoming accountable for her actions. And that takes this notion to an entirely new level, one that’s hard to escape.
This is not meant to give Louise a pass on this issue. Even she knows on an intuitive level that, at some point, she must address this question if she ever hopes to have an enjoyable life. But what will it take?
To help convince her reluctant elderly patient (Margaret Sophie Stein, right) to begin wearing adult diapers, caregiver Louise Cole (Karen Gillan, left) models one to show her how “sexy” they can be, as seen in the indie comedy-drama, “Late Bloomers,” now available for streaming online. Photo courtesy of Bindery Films.
Strange as it might sound, in this case, the answer lies with a broken hip. In many regards, up to this point in her life, Louise has routinely sought to run away from the problem. This is apparent with the many issues she has had in her life with career, family relations, romance and so forth. But, if the question is ultimately to be called, at some juncture, Louise is going to have to stop fleeing. And her accident provides the circumstances necessary for this.
Metaphorically speaking, it’s impossible to keep running away from one’s challenges when one is physically immobilized, as she is after surgery and, to a lesser degree, during her stint in rehab. She’s forced to stay put, which naturally leaves her with a lot of time on her hands. That provides her with an opportunity to think, to reassess herself and her life, a common occurrence for many of us when faced with health-related matters. Indeed, since there’s no place to go, one might as well deal with matters at hand: in this case, an introspective look at one’s life, beliefs and choices, especially for what lies ahead, and a lack of accountability is at the core of all this.
Then there’s the appearance of a “catalyst” to help nudge this process along: in this case, Antonina, whose presence prompts Louise to begin employing a new set of beliefs about herself and her existence. When Louise sees the care that Antonina requires, she can’t help but step up and pitch in. She experiences the good that comes from doing so, feelings that accompany acceptance of her own accountability.
Antonina’s inability to speak English also factors into this equation. The language barrier between Antonina and Louise forces the caretaker to make a concerted effort to communicate with her. That takes work – the kind that comes from fulfilling a critical job requirement, assuming responsibility for making sure her patient understands what needs to be done. This helps to bolster Louise’s confidence in her ability to attend to her duties, to be accountable for her actions. It also calls for Louise to get creative in coming up with ways to effectively express herself, given that she doesn’t speak Polish (although she takes steps to learn the language, another sign of proactively assuming responsibility for herself). And all of this prompts Louise to tap into her intuition to a greater degree, one of the key components in forging our beliefs and the manifestations that arise from them.
In addition, caring for Antonina helps to make up for Louise’s experience in attempting to care for her mom, enabling her to take herself off the hook for whatever failures she feels she may have committed during that time. This change in outlook results from a fundamental change in her beliefs about that experience, enabling her to move forward free of guilt and the self-esteem problems that have been holding her back. The removal of these negative influences thus opens the door to make her willing – and able – to accept the issues of responsibility that she’s been dodging for so long.
In essence, this experience with Antonina provides Louise with an opportunity to learn a valuable life lesson. While many of us may think that accountability is something that comes “naturally” to all of us, it’s nevertheless apparent that it’s something learned, something that springs forth from our manifested experiences and the underlying beliefs that drive them. What’s more, Louise’s odyssey illustrates that there’s no specific timetable for grasping this wisdom. Some of us may embrace it early on in life, while, for others, it might entail the concept of genuinely becoming late bloomers. Louise probably falls into that latter category, but at least she finally gets it. And, as we all well know, when it comes to lessons and understandings as important as this, it truly is better late than never.
As this picture illustrates, it’s heartening to see that it’s possible for those in need of getting their lives in order can still do so, even if later in life and if the process doesn’t always flow as smoothly as envisioned or hoped for. Director Lisa Steen’s debut feature serves up a charming mix of laughs (many of them unexpected in nature) that are well integrated with its share of tender, sensitive moments, all brought to life by the excellent performances of the two leads and a host of colorful supporting players. The film effectively examines the issues that can hinder or prevent the adoption of personal accountability, as well as the simmering frustration that the elderly may feel when they’re essentially treated as being invisible or ignored, significant accomplishments for a picture that’s essentially a comedy. While there are a few points where the narrative meanders a bit, these are more than made up for by everything that the filmmaker, cast and crew get right. Based on what I’ve seen here, I’m anxious to see what this director comes up with next, as this effort represents an auspicious start to what I hope and believe will be a promising filmmaking career. The film is available for streaming online.
Life would probably be a lot easier for all of us if we were hard-wired for our accountability skills from the outset. However, as we have come to see from both this film and our own life experiences, it doesn’t always work out that way. And, the longer its development gets put off, the more difficult it can be to acquire this capacity. That’s unfortunate, given how important it is to surviving everyday life. But, if we find ourselves presented with the circumstances to allow it to mature and blossom, we should avail ourselves of them, considering how much more manageable – and fulfilling – its emergence will make our lives, not to mention the tremendous and lasting impact it can have on our involvement in the lives of others.
A complete review is available by clicking here.
Copyright © 2024, by Brent Marchant. All rights reserved.
Recent Comments