"Philomena"

Last Year's Best Picture nominee, "Philomena," is based on the nonfiction book, "The Lost Child of Philomena Lee," by journalist Martin Sixsmith. For 50 years, “Philomena,” (Judi Dench) longed for the son who was taken from her by the nuns entrusted with their keeping. Ashamed of being an unwed mother, she kept that secret all those years. She sets off on a journey to find her son with political reporter, Martin Sixsmith (Steve Coogan). Martin isn't thrilled about doing a human interest story, but he needs the job.

As an ex-Roman Catholic, Martin voices an issue many can relate to – how the church shames people for having sex. “Why would God bestow on us a sexual desire that he then wants us to resist?” He can’t understand why Philomena would protect the very nuns who shamed the unwed mothers into indentured servitude and then sold off their babies. But Philomena’s faith is not limited to a flawed institution; it is built on God’s forgiveness.

Director Stephen Frears takes us on an “odd couple” road trip, steering clear of sappy MOW (Movie of the Week) pitfalls. Comic moments are accentuated by exaggerating their differences: Philomena’s small town naivety in contrast to Martin’s world-weary cynicism. Much of the humor comes from Philomena taking everything Martin says literally. When he politely asks her how she is, she goes on …and on…about her hip replacement. She is portrayed as a sort of "everymom." In the end, she doesn't want the story published because she is ashamed. While Martin finally understands the importance of sharing this “everymom” story - to help other mothers whose children were given up for adoption.

Movie blessings!

Jana Segal

www.reelinspiration.blogspot.com

"Mother and Child"

"Mother and Child" is a drama about three women connected by their roles in an adoption. Adoption has had a deep impact on each of their lives.

Karen (Annette Bening) is a bitter, fifty-year-old, health care professional who takes care of her distant, defeatist mother. Karen has never gotten over the loss of the baby girl that her mother forced her give up when she was a teen. She writes letters to the daughter she never knew. She is jealous of any attention her mother gives their housekeeper and her little girl. The girl is a painful reminder of what she has lost. Karen's heart has been closed off for so long that she doesn't know how to respond to the attention from the new physical therapist (Jimmy Smits) at work. Her mother encourages her to be careful so she doesn't "fall" again.



Elizabeth (Naomi Watts) was adopted by an uncaring couple. Shrouded in protective armor, she has grown up to be a cold, steely lawyer in complete control of her life. When she is hired at a new firm, she uses sex to control her bewildered, delighted boss and keep him at safe distance.

Lucy, (Kerry Washington) a successful baker and loving wife, has failed to conceive with her husband. She is bound and determined to adopt a baby - even if that includes anxiously jumping through the hoops created by the baby's birth mother (Shareeka Epps) or raising a child on her own.

This film shows the filial longing and feeling of loss caused by breaking the natural bond between mother and child: how the child doesn't feel complete without her mother and the mother feels that a part of her is missing. There is a deep seated emptiness. The wounds are passed down from generation to generation. These women must find the strength to open their hearts in order to end the cycle of loss.

Motherhood is hard even with the support of a traditional family. Some young women can't find the strength to meet that challenge alone. They make the difficult decision to give their baby up for adoption - in hopes that it will have a better life. This film suggests that the struggles of single motherhood may be less traumatic then severing the maternal bond.

What makes this film special are some painfully authentic scenes. While there are some TVmovie-like conversations about the trials of adoption, there are also silent moments where the action does the talking. It is in these silences that the audience ponders the meaning. In a sense, the experience is enhanced by what the audience brings to it - their memories and experiences allow them to relate. It is those silences that make this a powerful work that leaves you thinking as the credits roll.

Of course, there are some viewers who will not relate to this at all - some will be offended by the inherit subtext that adoption is an unnatural state. Some may complain that the fathers are conspicuously absent. Indeed, the male characters are relegated to supporting roles in the world of, "Mother and Child."

This is film for single mothers who made the difficult decision to put their baby up for adoption, the children they lost, and the people who love them.

Movie blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Then She Found Me"

Actress/Director Helen Hunt

Award-winning actress Helen Hunt makes her feature directing debut with, "Then She Found Me," adapted from the best-selling Elinor Lipman novel about an adopted woman who wants to have her own child.

At first, I had some problems getting into it. The opening sequences felt rushed and contrived. Before April has a chance to deal with one tragedy, another one takes it's place. Writer/Director Helen Hunt seems to rush through some life altering events without allowing her character to learn the inherit lessons.

April has an urgent need to have her own baby to experience that special bond that she never felt as an adopted child. That's when her shallow, self-centered husband (Matthew Broderick) chooses to leave her.

Before she has time to digest that her husband is gone, she meets a man who just might be her soul mate - the father of one of her students. The film seems to be saying that love doesn't come in a neat little package (a bundle of joy) or even at a good time. Love is messy - full of human weakness and flaws. In this case, the package comes with a lot of extra baggage. Colin Firth is vulnerable and sexy as the recently dumped father of two who bumbles his way through the initial stages of this potentially important relationship. Helen Hunt gives an honest, nuanced performance as the confused and conflicted April. Kudos to Ms. Hunt for creating the most romantic relationship I've seen in a very long time.

To further complicate matters, April's birth mother (Bette Midler) turns up to show how really flawed love can be. This is your typical sitcom fare with Midler playing it predictively over the top. However, despite the best jokes being thrown away in the trailer, the Divine Miss M got some good laughs. And there are some touching moments of genuine bonding between the two women.

I also appreciate how the film touches on the spiritual side of being Jewish - not just having the characters perform rituals for the sake of tradition.

Sometimes good art, like life and love, can be flawed. I found this to be the case with THEN SHE FOUND ME. I'm looking forward to seeing it again. If you've been longing for a truly romantic comedy, go see THEN SHE FOUND ME as soon as possible and bring your friends. Lets send a message to Ms. Hunt to keep up the good work!

Movie Blessings!
Jana Segal
www.reelinspiration.blogspot.com

"Bella"

A New Kind of Love Story

After the success of the Passion of the Christ, there was new interest in the Christian market. Hollywood still wasn't sure how to handle this potential market. Some Christian films had come out, but most weren't good enough to show that this was a viable market. In 2005, I attended the Screenwriting Expo presentation on "The Christian Market." An experienced Hollywood Producer/Writer spoke about how Hollywood wasn't ready for overly Christian films. To break in, Christian filmmakers needed to produce films with Christian morals but not preach at the audience. I've been known to get a little preachy myself -- preaching that the theme or lesson should come out of the action. The consequence of the character's action proves the theme.

This Fall, two movies came out that took this concept to heart: "Bella," and, "Lars and the Real Girl." (Really!) The characters did not preach but demonstrated Christian values through their actions.
I went to Bella because it won the People's Choice Award at the Toronto Film Festival and sounded like an inspiring independent film to review for Reel Inspiration. I didn't even realize until I was well into it, that it was a Christian film. (It becomes clear that the main character is Christian when he prays silently before a meal.) When a waitress is fired from her job for being late, the owner's brother chases after her to see if she is alright. All around them is the hustle and bustle of New York, people busy making another dollar. The film seems to say that there are more important things than making money -- like taking care of each other. This guy takes the day off to comfort and listen to this woman without judging her. He gains her trust. This is a new kind of love story -- where people show love through acts of kindness.

This heartfelt film is beautifully acted and has some important themes. The only problem I had was that it took a while to get going probably because the conflict is internal. There's not a lot of conflict in sympathetic listening. I'm not a big fan of flashbacks and there's a few. It may seem a little talky to some people - reminiscent of Before Sunrise. 

"Bella," is the true love story that shows how one day in New York City changed three people's lives forever. Jose, an international soccer star (Eduardo Verastegui) is on his way to sign a multi-million dollar contract when a series of events unfold that bring his career to an abrupt end. He retreats from the world. A waitress (Tammy Blanchard) struggling to make it in New York City, discovers something she's unprepared for. In one irreversible moment, their lives are turned upside down...until a single gesture of kindness brings them both together, turning an ordinary day into a unforgettable experience.