Wednesday, June 8, 2011

"I Seek But One Thing" : Redemption, Forgiveness, and Ambiguous Endings in "On Stranger Tides"

[A couple of warnings: First, yes, I think waaaay too much about these things. I couldn't get this out of my head, so I figured I'd just write it down instead. Second, HERE BE SPOILERS. Proceed at your own risk.]





Today's Special: Neatly sliced green apples. Sorry, no rum (and don't ask why it's gone).



A young man lies in a jungle clearing beside a deep pool. His life blood is pouring out of him from a wound in his abdomen, a souvenir of a battle he wanted no part of. Desperate for some relief – any relief – he drags himself to the pool’s edge and splashes water over the wound. Suddenly, a mermaid appears in the pool below. She is the mermaid he helped capture (to his everlasting regret) and with whom he has fallen in love, and now she appears like an angel in his final hour. She sees his pain and promises that she can save him, but the young man wants only one thing: forgiveness. With a kiss, the mermaid draws the young man into the pool and guides them both along the dark passageways beneath the water.



And… then what?



The story seems unfinished. What becomes of the young man and his mermaid love? Does she truly save his life, or does she return to the man-eating ways of the rest of her kind? Does she grant him a quicker, more merciful death by drowning, or does she turn him into a merman so she he may live with her happily ever after?



The ending to the romance of Philip and Syrena in On Stranger Tides leaves a lot of questions unanswered. How you choose to answer those questions depends on how you interpret the rest of the movie – and there is more than one way to do that.


Redemption and Forgiveness



Redemption is a recurring theme throughout On Stranger Tides, and more than one character is in need of it. The main focus, though, is on two cases that play out side by side over the course of the film.


The first man in need of redemption is Blackbeard himself, the pirate that even other pirates fear. Given the enormity of his crimes, no one really seems to believe that this terrifying man is capable of redemption – no one except his daughter, Angelica. Having once been on the road to becoming a nun, Angelica was brought up to believe that anyone can be saved, no matter how sinful they once might have been. She also has personal reasons for believing that her father can be redeemed. While we don’t know a great deal about her life, we can assume that a child who grew up without a father likely had a difficult life full of disappointments and unkindness from others. Angelica desperately wants to believe that her father can be redeemed, and that he is, at heart, a better man than the others she has met in her life. She even convinces her father to keep Philip alive, as she believes the missionary might be able to lead Blackbeard onto the path of righteousness. Blackbeard, for his part, seems to have little interest in redemption, and only plays along with Angelica’s notions about his soul because his daughter is a powerful and motivated ally, and it is in his best interest to keep her happy. In the end, Blackbeard’s true nature is revealed: when he is given a chance to redeem himself by giving his life to spare his daughter’s, he chooses to kill her and save his own life instead. Were it not for Jack’s switching the chalices, Blackbeard would have allowed his own daughter to die for him.


The story of Philip and Syrena’s romance is also a story of redemption, and whether it contrasts Blackbeard’s journey or runs parallel to it depends on whether one believes that it is Philip or Syrena who is presented as in need of redemption.


Philip is a missionary, and, from what we see of his character, he not only preaches the Word but lives it as well. He refuses to take sides in the mutiny about The Queen Anne’s Revenge, despite the abuse he’s received from Blackbeard; he stands up for the rights of the oppressed and the imprisoned; and he faces death without fear, valuing forgiveness over his own life. However, even Philip has done something that he regrets: in the mermaid battle at Whitecap Bay, he stabs Syrena in the tail, effectively trapping her and making it easy for the pirates to capture her. The difference between Philip and Blackbeard, however, is that Philip actively seeks redemption, and he spends the rest of the film trying to atone for his sin by becoming Syrena’s champion and protector. When she is gasping for air in the glass coffin, Philip defies Blackbeard to save her life, even stealing a sword from the zombie henchmen to open the coffin lid. When Syrena gains legs and Blackbeard declares that she will “walk or die,” Philip takes a third option and carries her the rest of the way. And when Syrena is tied up to die, he tries not once but twice to free her, the second attempt (this one successful) happening while he was bleeding profusely from a mortal wound to his abdomen.

This contrast between Blackbeard’s indifference toward redemption and Philip’s active pursuit would seem to lend itself to the moral that redemption is not easily attained, and the one who is worthy of forgiveness is the one who has worked to deserve it. Blackbeard did nothing to deserve redemption, and therefore did not receive it. It stands to reason, then, that Philip, who has done everything in his power to atone for his sin, should be rewarded with forgiveness from Syrena and whatever healing powers she has at her disposal. One hopes that the film is not so cynical that it would put forth the message that no one can be redeemed, no matter how hard they try.



There is, as I said, another way to interpret the story of Philip and Syrena. If one believes that the focus of their tale lies in Philip’s belief that Syrena can be redeemed of the deadly nature of her kind, then their story forms a parallel to Angelica’s belief that Blackbeard can change his own nature. We saw how Angelica and Blackbeard’s story ended: despite her unwavering devotion to him, Blackbeard was never anything but a self-interested, selfish man, willing to destroy anyone in pursuit of his own interests. Perhaps Philip’s belief that Syrena is different than her kin is similarly misplaced, and the moral of both stories is that no one can fight against their own nature. Philip lets himself believe that she can be good because she is beautiful and because he is in love with her, but in the end, she is a mermaid, and nothing, not even the love of a good and honorable man, can change her nature. In the end, she acts as all mermaids act, and she kills Philip because that is what mermaids do, just as Blackbeard tries to sacrifice his daughter's life for his own because it is in his nature to serve only his own interests.


Death or Life

In weighing these two possible interpretations of Philip and Syrena’s story and how it contrasts or parallels Blackbeard’s story, I believe that the first interpretation is better supported by the film. Several scenes in the movie are dedicated to Philip’s pursuit of redemption: he saves her from suffocating in the glass coffin; he saves her again in the “Walk or Die” scene; he stands up in her defense when Blackbeard tries to harvest her tear the first time; and he tries twice to free her from her bonds, the second time while suffering from a mortal wound. In fact, half of Philip’s final scene is devoted to his quest for forgiveness. In contrast, comparatively little time is spent on the question of Syrena’s nature and Philip’s mission to save her soul. In one scene, he comments that she is beautiful but deadly, and then learns that she was trying to save him in the battle at Whitecap Bay, not attack him. Later, when he tries to free her the first time, Philip tells Syrena that she is different – an echo of the very same reasons Syrena gave for saving him. These are the only scenes that deal with the notion of Syrena’s redemption; when compared to the large number of scenes devoted to Philip’s redemption, I believe it is clear that the focus is on Philip’s quest for forgiveness rather than on a mission to save Syrena’s soul.


So what does this mean for the ending? I believe it means that Philip, having fought so hard to undo the damage he did when he used violence in the Battle of Whitecap Bay and helped capture Syrena, will receive the forgiveness he worked toward and asked for. Knowing that the man she loves is truly different from others of his kind that she has known, Syrena will do what she can to save his life. What exactly that entails remains a mystery. Hopefully, we’ll get our answers in the fifth installment of Pirates of the Caribbean.

Saturday, November 20, 2010

"We're alone" : Thoughts on the darkest chapter yet in the Harry Potter film series

Today's Special: A shot of firewhiskey and a plate of whatever Hermione managed to forage today (we're on the run, after all).

It's always darkest before dawn.

That phrase is a cliche for a reason, and it can be applied not only to the daily cycle of light and dark but also to war: the darkest, most desperate moments come just before the climactic final showdown.

That darkness is given full reign in this, the tense and emotional penultimate film set in the months leading up to the Harry Potter's final battle. Having come of age, Harry and his friends are no longer children, and they soon realize exactly what that means. Hogwarts is no longer their bright, magical haven. Monsters of both the human and magical creature variety lurk everywhere, and they are doling out death, not the loss of house points. Friends and family are in danger, and the one thing that can save everyone - finding the Horcruxes and killing Voldemort - seems more out of reach than ever. And the worst part is that, for the first time, our intrepid Trio has no one to turn to. That isolation is brought home in one particularly effective scene early in the film. After Harry, Ron, and Hermione have been chased by Death Eaters and have taken refuge in 12 Grimmauld Place, Hermione casts a spell to determine that no one else is in the house. Her verdict - "We're alone" - resonates all the greater against the chilling blackness that surrounds the three teens on all sides. They are, indeed, alone - in more ways than one.

The focus of this film lies very much on the now-isolated Trio. We watch as the hopelessness of the dark and dangerous times takes it's toll on each member, from withdrawn, brooding Harry to anxious, take-charge Hermione to moody and increasingly jealous Ron. It's little wonder, then, that the friendships that have formed the bedrock of the series find themselves strained until they finally reach a breaking point: an intense and emotional scene in which Ron angrily leaves a heartbroken Hermione and a seething Harry to continue the Horcrux hunt without him. The three actors, for their part, portray the emotional interplay among the three teens flawlessly, allowing us to feel the heartbreak when the Trio's bonds are broken as well as the joy when the three are finally reunited. The series lives and dies with the relationship between these three, and in this film, the emotional power of the Trio is alive and well.

Not all of the story, however, is as clear as the emotional ups and downs of the three teens at its center. Rather like the Trio's frustrating and aimless camping trip itself, much of the film feels jumpy and unfocused. The story wanders a bit, throwing in lots of information without quite enough structure for us to see how the pieces fit together toward the ultimate resolution. Maybe this is a consequence of the choice to split the book into two films; perhaps it's simply the price we pay for trying to fit such a dense, detail-laden story into the more streamlined medium of film. As one who has read all the books numerous times, I have to wonder if fans who have only seen the movies would find this one difficult to understand. They'd no doubt be wondering who that Gregorovitch fellow is that Harry mentioned, or why Harry keeps looking at a broken fragment of glass. This continuity lockout may lessen the dramatic effect of the film for the more casual viewer.

The scenes that do work (and there are many of them) do so because they transcend the plot details and go straight to the heart. When Ron is taunted mercilessly by the locket Horcrux, we are right there with him as his feelings of inadequacy, worthlessness, and jealousy come to the surface. When Hermione all but shuts down following Ron's departure, we feel the heartbreak right along with her. And when a certain character dies in the final moments of the film... well, you may find yourself shedding tears you hadn't expected.

While the film does have some flaws when it comes to flow and continuity, the emotional truths of the story come through beautifully thanks to solid performances and the deft hand of director David Yates. In the end, this dark, intense film does what it sets out to do: it forms a stable foundation for what promises to be an epic final chapter.

Friday, May 14, 2010

Taking down the "Gone Fishing" sign...

Wow, I've been gone a long time, huh? Sorry 'bout that...

I have been busy the last few months, but that's no excuse... it's not like the world of geeky awesomeness is going to wait for me to have time to blog, is it?

Never fear: I'm back to serve up my own take on the weird and wonderful things going on. And I'm sure all, what, maybe two of you who are actually reading this will be very relieved.

Let the geekiness commence!

Tuesday, February 2, 2010

"Epitaph Two: Return"

SPOILERS AHEAD. YOU HAVE BEEN WARNED.

Today's Special: Tongue soup (no, not really... or is it?) and berries from the Safe Haven garden.


Ask just about any Whedonite, and they'll tell you that when a Whedon show gets the chance to have a REAL, honest-to-God finale, it is going to be an incredible piece of television (or film, in the case of Serenity). In that vein, "Epitaph Two: Return" did not disappoint. Here are my thoughts on the finale, in no particular order:
  • Of the two deaths that I predicted, I was right about one of them. I TOTALLY called Topher's death, even the fact that he would die performing an act of heroic sacrifice. It is both sad and beautiful that the man whose tech brought about the thoughtpocalypse died returning everyone's minds to their rightful bodies.
  • I was wrong about the other death, though. I predicted that either Victor/Tony or Sierra/Priya would die, falling in line with the usual Whedon practice of splitting up couples. As it turns out, neither one of them died, and I couldn't be happier to be proven wrong. Apparently even Joss wasn't willing to tear apart such a sweet couple, because Tony and Priya are together at the end of the series, making them members of perhaps the smallest club in the Whedonverse: the Happily Ever After Club. A side note: As much as I love Tony/Priya, if I had a time machine and super bargaining/intimidation skills, I would gladly trade their happily ever after for a Wash/Zoe happy ending. True story.
  • Of course, the Whedon Curse had to claim a member of one couple on the show, and Paul was the unlucky one this time. In true Whedon fashion, the death was quick, sudden, and unexpected. BOOM - headshot - and Paul is dead. This being Dollhouse, however, dead doesn't necessarily mean all dead, and Echo and Paul are reunited in an unusual but strangely perfect way: Echo uses Topher's chair to upload Paul's consciousness into her mind, meaning they will (literally) be together forever. The person who left behind the wedge with Paul's consciousness on it? Well, that leads me to my next point:
  • You know that slight resentment I've been feeling toward the Dollhouse writers since the revelation re: Big Bad Boyd? Well, they are forgiven. Why? Because they gave me a gift in the form of Sane!Alpha showing up as an ally (a beloved and trusted ally, no less) in the finale. Evil!Alpha was awesome (in a "Holy crap, he's frickin' scary" kind of way), and I love Alan Tudyk no matter who he's playing, but getting the chance to watch Alan Tudyk without having to hate his character? That totally made this fangirl's day. Come to think of it, I would just be deliriously happy if Joss Whedon's next project was some version of "The Alan Tudyk Show." Who's with me?
  • As much as I love the fact that Whedon and Co. got a chance to actually end the series, wrap up the story lines and show at least a bit of where they were planning to go, this finale makes me lament all the wonderful stories that DIDN'T get told - at least not in full. If the series had lasted the 5 seasons that were originally planned, then we might have had a chance to see the development of a great many things that were shown in the finale. For example, Alpha's rehabilitation and redemption would have made for a fascinating story arc, along with the rise of the Tech Heads, the estrangement of Priya and Tony, the birth of T, the kidnapping and mental unravelling of Topher, etc., etc. Oh well. I guess that's what fan fiction is for...

Friday, January 22, 2010

Gleeking out

Today's Special: A round of slushies for all!

Lots of great Glee news lately. First, the show wins the Golden Globe for Best Television Show - Comedy or Musical. Then, we get the sweet, sweet news that NPH will likely appear in an episode (directed by Joss Whedon, no less). What could possibly top any of that?

Three words: Glee. Concert. Tour.

Only a few of the locations have been released so far, but more are sure to come. Here's hoping there's a show planned within driving distance of every Gleek out there!

Tuesday, January 19, 2010

When Fandoms Collide

Today's Specials: Slushies, frozen yogurt (spork included), and all the pig's blood you want (or not, if you aren't of the "creature of the night" persuasion)

People, I fear I may actually pass out from all this awesome.

Here's the scoop: Dr. Horrible star Neil Patrick Harris (NPH) may appear on the episode of Glee directed by - wait for it - Joss Whedon.

Back when I heard the news that Joss was directing a Glee episode, I had an idle notion - a fleeting, hopeful wish - that Joss might use his considerable pull among members of the Whedonverse (a.k.a. actors who have appeared in Whedon shows) to get one or more of them to appear in the episode. I even thought, fleetingly, that NPH might be the guy to do it. But I sure didn't think it would actually happen.

But now, barring some Grinch-like CBS executive stealing all the joy from the hearts of Whedonites and Gleeks everywhere, NPH WILL reunite with Joss this spring and treat Glee to his particular brand of awesome.

I. CANNOT. WAIT.

Saturday, January 16, 2010

Geek Find of the Day

So there I was, strolling through Borders, drooling over the books as usual, when I wandered over to a display of science fiction books. And there, waiting for me, was a small box labeled "Pon Farr." Intrigued, I read further and discovered that it was a Star Trek-based PERFUME.

That's right, ladies and gentlemen: Star Trek fragrances have arrived.

This find sent me into such geek-gasms, I could barely stand. And Pon Farr is just the start. Genki Wear, a company that has already made a name for itself with its line of decidedly geeky jewelry and accessories, has two other Trek fragrances. The first, which I also saw at Borders, is a cologne called "Tiberius" with the tagline "Boldly Go." But the best and funniest is a cologne called "Red Shirt," which bears the tagline, "Because Tomorrow May Never Come."

Really, I'm just glad I live in a world where things like this exist.