Goodbye Christopher Robin Beckons Us Back to the Hundred Acre Wood

Peace in wartime, happiness in sadness, fame in obscurity, and stillness amidst the busyness. These are all longings we experience in life on earth. And all are present in the film Goodbye Christopher Robin. The movie is about author and playwright A. A. Milne and the creation of Winnie the Pooh, centering around a boy who loved his toys and the woods. A creative telling of Milne’s life and his relationship with his son, the film shows the impact of one bear on a boy and the whole world. Goodbye Christopher Robin opens with Milne as an adult in post–World War I London. He suffers from war trauma, which is triggered by loud pops and bangs. He’s returned from battle but it stays with him; he becomes disenfranchised with play-writing in the city and flees to the country to write a book against war. Once there, he hits writer’s block and must find inspiration. He finds it in an unlikely place: the imagination of a child and the wonder of nature. These became his new weapons to fight off the existence of war. As the nanny, Olive, says in the opening of the film:

Once upon a time there was a great war that brought so much sadness to so many people, hardly anyone could remember what happiness was like. But something happened that changed all that. It helped us to believe in the good things, the fun things, and a world full of imagination. And then, just like a tap you turned on, happiness came pouring out.

Winnie the Pooh happened. And it became a global sensation. Milne’s son, whom he and his wife called Billy Moon, became known for his birth name, Christopher Robin. The real boy was popularized as an illustrated book character. His toys became Pooh and friends, and his beloved woods were renamed the Hundred Acre Wood. Suddenly, everyone wanted to know about the boy and his imaginary world. He was expected to pose for magazines, attend social events for book promotion, and have tea with important people. Everyone was happy again… but not the real Christopher Robin.

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The Place of Real Arrival

Good science-fiction consists of more than just alien invasions, body-snatchers, and “Take me to your leader.” Done well, sci-fi tells us deep truths about ourselves and our world. The Oscar-nominated film Arrival most definitely falls into this type of good sci-fi because of the way it takes the viewer deeper into the emotions of human experience. As film critic Anthony Lane wrote in The New Yorker, “What lingers, days after you leave the cinema, is neither the wizardry nor the climax but the zephyr of emotional intensity that blows through the film.”

Director Denis Villeneuve is the wizard behind the wizardry of Arrival, while Amy Adams plays the main character: a respected linguist named Dr. Louise Banks. The United States Army seeks out Dr. Banks and her top-notch translation skills so she can help them decipher what a group of mysterious, newly arrived aliens want with the human race.

Arrival doesn’t begin with the aliens, however. The opening sequence of the film shows us intensely emotional scenes from the life of one person, beginning to end. In a matter of minutes, we feel boundless joy, soul-twisting loss, and the agony of sorrow. Villeneuve masterfully crafts this sequence, helping us see and feel the fleeting nature of time from a distance, and all at once. We are voyeurs on the outside of time, looking in.

This isn’t how we normally experience time, of course. We live in time. It’s something happening to us in a specific moment, like a dot on a timeline. In the first few minutes of the film, we are seeing one person’s timeline all at once, which highlights the brevity of life and causes us to feel as Solomon did, that life is a vapor and a vanity.

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“I Done It Already”: Why ‘The Revenant’ Doesn’t Fear Death

The fear of death grips us all. It can feel like a large gaping hole in our field of knowledge and experience. We are born with the instinct to self-preserve, and fear can be one of our biggest motivators. In the award-winning film The Revenant, the fear of death is a central theme, especially as displayed through the antagonist, John Fitzgerald (Tom Hardy), whose methods and motives of self-preservation contrast those of the protagonist Hugh Glass (Leonardo DiCaprio).What is the biggest indicator of fear in Fitzgerald’s life? It’s his hoarding.The word “revenant” originates from the French verb revenir, which means “to come back” or “to return.”

Leonardo DiCaprio is a haunting apparition in his Oscar-winning role as Hugh Glass. He primarily haunts Fitzgerald, but in a way he also haunts all of us. Glass is living proof of a battle with death. He fights death in the form of a bear and continues the battle for life as he seeks revenge for the death of his son. Glass haunts us all because he has faced one of the biggest fears of mankind—death. Yet by the end of the film, Glass is able to say, “I ain’t afraid to die anymore. I done it already.”

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