Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
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The Town and the City (1950)
Context: He saw that all the struggles of life were incessant, laborious, painful, that nothing was done quickly, without labor, that it had to undergo a thousand fondlings, revisings, moldings, addings, removings, graftings, tearings, correctings, smoothings, rebuildings, reconsiderings, nailings, tackings, chippings, hammerings, hoistings, connectings — all the poor fumbling uncertain incompletions of human endeavor. They went on forever and were forever incomplete, far from perfect, refined, or smooth, full of terrible memories of failure and fears of failure, yet, in the way of things, somehow noble, complete, and shining in the end. This he could sense even from the old house they lived in, with its solidly built walls and floors that held together like rock: some man, possibly an angry pessimistic man, had built the house long ago, but the house stood, and his anger and pessimism and irritable labourious sweats were forgotten; the house stood, and other men lived in it and were sheltered well in it.
Variant translations:
Zeus has led us on to know,
the Helmsman lays it down as law
that we must suffer, suffer into truth.
We cannot sleep, and drop by drop at the heart
the pain of pain remembered comes again,
and we resist, but ripeness comes as well.
From the gods enthroned on the awesome rowing-bench
there comes a violent love.
Robert Fagles, The Oresteia (1975)
God, whose law it is
that he who learns must suffer.
And even in our sleep, pain that cannot forget
falls drop by drop upon the heart,
and in our own despite, against our will,
comes wisdom to us by the awful grace of God.
Edith Hamilton, The Greek Way (1930), pp. 61 and 194 ( Google Books https://books.google.com/books?id=D3QwvF3GWOkC&lpg=PA61&ots=BacvHvGm6e&dq=%22And%20in%20our%20own%20despite%2C%20against%20our%20will%2C%20Comes%20wisdom%22%20-kennedy&pg=PA194#v=onepage&q=%22our%20own%20despite%22&f=false)
Robert F. Kennedy quoted these lines in his speech announcing the assassination of Martin Luther King, Jr. on 4 April 1968. His version http://www.americanrhetoric.com/speeches/rfkonmlkdeath.html:
Even in our sleep, pain which cannot forget
falls drop by drop upon the heart
until, in our own despair, against our will,
comes wisdom through the awful grace of God.
Variant translations of πάθει μάθος:
By suffering comes wisdom.
The reward of suffering is experience.
Wisdom comes alone through suffering.
Source: Oresteia (458 BC), Agamemnon, lines 176–183, as translated by Ian Johnston ( Google Books https://books.google.com/books?id=qz1HpBZ1fTwC&lpg=PA13&ots=C7aohrZRF1&dq=Drips%20in%20our%20hearts%20as%20we%20try%20to%20sleep%2C&pg=PA13#v=onepage&q=Drips%20in%20our%20hearts%20as%20we%20try%20to%20sleep,&f=false)
1920s, Notes on Democracy (1926)
Context: Democracy always seems bent upon killing the thing it theoretically loves. I have rehearsed some of its operations against liberty, the very cornerstone of its political metaphysic. It not only wars upon the thing itself; it even wars upon mere academic advocacy of it. I offer the spectacle of Americans jailed for reading the Bill of Rights as perhaps the most gaudily humorous ever witnessed in the modern world. Try to imagine monarchy jailing subjects for maintaining the divine right of Kings! Or Christianity damning a believer for arguing that Jesus Christ was the Son of God! This last, perhaps, has been done: anything is possible in that direction. But under democracy the remotest and most fantastic possibility is a common place of every day. All the axioms resolve themselves into thundering paradoxes, many amounting to downright contradictions in terms. The mob is competent to rule the rest of us—but it must be rigorously policed itself. There is a government, not of men, but of laws—but men are set upon benches to decide finally what the law is and may be. The highest function of the citizen is to serve the state—but the first assumption that meets him, when he essays to discharge it, is an assumption of his disingenuousness and dishonour. Is that assumption commonly sound? Then the farce only grows the more glorious.
I confess, for my part, that it greatly delights me. I enjoy democracy immensely. It is incomparably idiotic, and hence incomparably amusing. Does it exalt dunderheads, cowards, trimmers, frauds, cads? Then the pain of seeing them go up is balanced and obliterated by the joy of seeing them come down. Is it inordinately wasteful, extravagant, dishonest? Then so is every other form of government: all alike are enemies to laborious and virtuous men. Is rascality at the very heart of it? Well, we have borne that rascality since 1776, and continue to survive. In the long run, it may turn out that rascality is necessary to human government, and even to civilization itself—that civilization, at bottom, is nothing but a colossal swindle. I do not know: I report only that when the suckers are running well the spectacle is infinitely exhilarating. But I am, it may be, a somewhat malicious man: my sympathies, when it comes to suckers, tend to be coy. What I can't make out is how any man can believe in democracy who feels for and with them, and is pained when they are debauched and made a show of. How can any man be a democrat who is sincerely a democrat?
Oh would I were a Boy again, reported in Bartlett's Familiar Quotations, 10th ed. (1919).
Reviewing Phillip Johnson's Darwin on Trial for Nature in 1992, as quoted in Perspectives on Science and Christian Faith Vol. 45, p. 47 (1993) by American Scientific Affiliation
"Adam Raised a Cain"
Song lyrics, Darkness on the Edge of Town (1978)
Source: Beyond Hypocrisy, 1992, Doublespeak Dictionary (within Beyond Hypocrisy), p. 153.
Sec. 325
The Gay Science (1882)
Review http://www.reelviews.net/movies/v/van_helsing.html of Van Helsing (2004).
Half-star reviews
The Messiah, VII. 460; as quoted in Beautiful thoughts from German and Spanish authors (1868) by C.T. Ramage, p. 240
Le programme de stabilité et le pacte de responsabilité : la trajectoire des finances publiques de 2014 à 2017 http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2499496 Article in Revue de Droit Fiscal n31-35 (2014).
Budgetary policy, From the Expensive 30 toe the Expensive 36, The Expensive 30
From his sermon "The Absolute Necessity of Salvation through Christ", 2 January 1758