"The Giver" is yet another young adult dystopian novel
turned into a movie, but it actually preceded many of the others. This engaging,
perfect-for-our-times narrative by Lois Lowry was published in 1993, and is
required reading in many schools. There is controversy surrounding the content,
but for the life of me, I can't figure out what the problem is. (I've put a
shout out several times on social media and get very weak answers.) I have not
read the book (I view, not read), but LOVE the movie on the movie's own merits.
The fact that good people are wishy-washy about this movie
is very scary to me. Do we no longer know how to read parables and allegories?
Do we no longer grasp basic theological and philosophical principles to make
good judgments about literature and the visual arts?
NOT JUST ANOTHER DYSTOPIA
"The Giver" is closely aligned to other science fiction
"cautionary tales" of the strain of "Brave New World,"
"Gattaca," "A Wrinkle in Time," and "The Adjustment
Bureau," with its focus on the power of emotions and love to overcome tyrannical
control--even if the control is supposedly for the ultimate good of humanity. I
actually found "The Giver" to be closest in theme to M. Night Shyamalan's
"The Village" (an excellent, under-seen, underrated film), due to the
similar quest to wipe out violence and tragedy in society, and attempt utopia.
The film starts off, appropriately, in black and white.
Three teens are coming of age in their simplistic world where they will be
assigned their lifelong jobs based on their emerging talents. Babies are genetically
engineered and raised by "Nurturers" in nurseries. The main
character, Jonas (Brenton Thwaites), is strikingly different from his peers,
however. Sometimes he sees glimpses of color. He sees more, he sees beyond. The
governing board (led by the inimitable Meryl Streep) notices his special gifts
as well, and they read it as a positive. So much so that they assign him the
very special task of "Receiver of Memories." Only this person is
allowed to know history, allowed to know what came before this bland existence
in order to advise the board and become a wisdom figure.
The entire basis of this society is the elimination of
memory (so that war will never occur again), rules designed to keep everyone in
their place ("sameness" so that there is no competition, difference
or inequality), and dispensing of morning drugs to suppress all emotions (including
sexual "stirrings"). "Precision of language"--a kind of
political correctness--is demanded in an effort to never give offense, never be
curious, never express oneself, never be different, never know more than what
is prescribed.
A SACRAMENTAL WORLD
In his role as Receiver, Jonas begins to EXPERIENCE a
sacramental world. Things have deeper MEANINGS that can be felt and expressed
in many different ways beyond basic information and intellectualizing. He
experiences that the powerful role of EMOTIONS in our lives can be channeled
for the good (whereas the belief of his society is that they always lead to violent passions, contempt and murder).
Just like our own increasingly more callous and
uncomprehending society that treats people like things, Jonas' society gets rid
of the weak (that is, the very young and the very old) with mercy-killings
euphemistically called a "release to elsewhere." Jonas' own
"father" is a benign executioner, and Jonas excuses him because he
realizes his father does not UNDERSTAND what death means. (Just like our
society doesn't understand life and death either, human dignity, human value,
the value of the vulnerable and suffering, and our responsibility to care for
them.)
THE PRIMACY OF THE FAMILY
On one hand, the message of the film might seem to be: Rebel
against anything keeping you down! Rebel against rules and regulations!
Experience whatever you want to experience in life! But that's not it at all.
It's rather: no pain, no gain; no cross, no crown. The answer to misused
freedom is not removing freedom, but well-used freedom which will always
involve love and sacrifice. But where is love and sacrifice and human
connection and tenderness first learned? In the family, in the home.
Our family life is not controlled by constant surveillance
and outside forces (unless we count consumerism and peer pressure), but on our
own we have reduced our family life to frenetic scheduling, no family meals,
everyone blocking everyone else out through personal media devices, domestic
arts outsourced, parents too busy or too cool to parent, kids and teens running
the show, common courtesy and manners left untaught, etc.
A MAN AND A BABY
My favorite part of the entire film is the young man saving
the baby by trekking out into the wilderness with him. The baby in question
happens to be a little boy (Gabriel), which makes "The Giver"--at
least partially--a sweet buddy movie. When's the last time you saw a young man
taking on ANY kind of fatherhood role in a film (outside of a raunchy comedy
that reinforces the idea that young men being responsible is just ridiculous)?
What makes this story so apt for our age is that we ARE
living in an incredibly unnuanced, one-dimensional, diminished, reductionist, soothe-pain-and-unpleasantries-by-all-kinds-of-drug-and-drug-like-escapes
culture. No one gets hurt in Jonas' dystopian world. But is anyone really living?
Really living a human life? Or DO people get hurt? The dirty little secret it
that clandestine brutality keeps open brutality in check.
The whole film could be summed up in one word: MORE. There
is so much MORE that we can have. John
10:10.
OTHER STUFF:
--THEOLOGY OF THE BODY? Heck, yeah! The kernel of society,
love, life, happiness is the male/female relationship, the family and babies. When
the Jonas discovers the great deceit and deprivation everyone has been living,
he exposes the falsehood thus: "A 'dwelling' is not a home. Our 'parents'
are not really our parents." Actually, this is an AWESOME Theology of the
Body introduction movie.
--There are Judaeo-Christian overtones with the concept of
"forbidden knowledge"; "Jonas," the reluctant prophet; and
even an apple prominently featured.
--Katie Holmes does a great job as Jonas's robot-like
maternal unit (and Department of Justice Minister), striving to keep Jonas in
line. Jeff Bridges is "The Giver" to Jonas' "Receiver" of
Memories.
--Jonas' girlfriend, Fiona, stops taking her dulling meds
and tries some "precision of language" of her own: "I'm not
UNCOMFORTABLE, I'm AFRAID." (I went to a bio-ethics seminar once and the
speaker promoting human cloning tried to quell the audience's misgivings with:
"What is it about 'nuclear cell transfer' that makes you uncomfortable?")
--The baby who plays Gabriel has the "knowingest" look on his face at all moments.
--The trailers are lame. Don't judge the movie by 'em.
--The Giver's speech about humanity's ability to live love
and peace reminded me of John Paul II's "peace is possible!" speech,
and his great faith in the POSSIBILITY that we can find and live another way.
--"If you don't feel pain, you won't feel anything
else, either." --"Ordinary People"
