Tag Archives: movies

Believing in A Beautiful Mind (Part 2)

In part 1, I commented briefly on some of the beliefs expressed by characters in A Beautiful Mind:

  • reductionism or materialism can be used to justify one’s urges
  • beliefs don’t necessarily need to be grounded in science to be valid
  • meaning and significance are found in relation to others

As viewers we follow John Nash through this transformation.

A comment about the production of the movie itself – the plot is loosely based on the story of John Nash, a Nobel-prize winning mathematician.  Most Hollywood biopics tinker with events, characters and timing, to make a point or to give a story more dramatic flow or impact. A Beautiful Mind is no exception. Please consider these thoughts in relation to the movie characters and not necessarily to the actual persons.

Now we turn to Alicia, who is the primary transforming force in the story and is  at times, mildly existentialist:

It’s called “life,” John. Activities available; just add meaning.

and angry at God:

Alicia: Guilt over wanting to leave…Rage…against John, against God, and…But…then I look at him…and I force myself to see the man that I married. And he becomes that man. He’s transformed into someone that I love. And I’m transformed into someone who loves him. It’s not all the time, but…it’s enough.

This is understandable. Putting it mildly, these are difficult times, and we find ourselves in these times from time to time as we seek meaning in the hard (or mundane) things of life. Alicia is, to her credit, honest and doesn’t allow her frustrations to dwell. At other times, Alicia asserts that God is responsible for beauty in the world:

Alicia: God must be a painter. Why else would we have so many colors?

Alicia perceives beauty in the appearance of light and within the context of the story it wouldn’t be too big a stretch to say the physics which govern it as well. Mathematicians and scientists see the world in a unique way – finding enjoyment and seeing beauty in nature, in the stars, in the patterns and laws which govern the physical world. Only a Nash could say any mathematical solution is elegant. Only they could see nothing wrong in developing a mathematical description for a mugging.

The fact that we can describe the phenomena and their relationships within the universe through the laws of physics and expressing these interactions precisely in a language – mathematics – is indicative of an ordered, rationally intelligible universe. One we would not expect to appear by chance – less so, one in which we humans could live in order to make these very observations. Nor must the laws of this universe exist by the necessity of it’s own nature. In other words, the universe didn’t need this particular configuration.

The scientific minds in A Beautiful Mind have room for God in their thinking and appreciate his handiwork, but their foundation for their worth is slightly misplaced. If God exists and he created us for his purposes, our lives are already imbued with meaning and significance and worth.

“…you created all things, and by your will they were created and have their being.” Revelation 4:11

We don’t need to create our own meaning. We don’t need to rely on achievements or success for our worth as humans, though those things may be good. What we do already matters. If there is a god, everything matters and we ought to be properly related to him – Christianity claims we do this through Jesus. Our very reason for being, and that which we perceive as beautiful, find their source in the mind of God. The Most Beautiful Mind.

Recommended resource – God’s Undertaker: Has Science Buried God?, John C. Lennox

Believing in A Beautiful Mind (Part 1)

In the 2001 film, A Beautiful Mind, mathematician John Nash struggles with
schizophrenia forcing him to re-evaluate his beliefs and how he actually comes
to know anything. Some observations:

Nash holds to reductionism to justify urges:

Nash: I don’t exactly know what I am required to say in order for you to have intercourse with me. But could we assume that I said all that. I mean essentially we are talking about fluid exchange right? So could we go just straight to the sex.

Beliefs are based on evidence:

Alicia: How big is the universe?
Nash: Infinite.
Alicia: How do you know?
Nash: I know because all the data indicates it’s infinite.
Alicia: But it hasn’t been proven yet.
Nash: No.
Alicia: You haven’t seen it.
Nash: No.
Alicia: How do you know for sure?
Nash: I don’t, I just believe it.
Alicia: It’s the same with love I guess.

All that is real and true is not necessarily based on scientific data:

Alicia: You want to know what’s real? This…
[putting her hand on his heart and his hand on her face]
Alicia: … this is real.

Can we trust our minds to produce and hold true beliefs?

Dr. Rosen: You can’t reason your way out of this!
Nash: Why not? Why can’t I?
Dr. Rosen: Because your mind is where the problem is in the first place!

Nash eventually accepts that the most significant things in his life, and those things which give his life significance, are beyond scientific explanation:

Nash: What truly is logic? Who decides reason? My quest has taken me to the physical, the metaphysical, the delusional, and back. I have made the most important discovery of my career – the most important discovery of my life. It is only in the mysterious equations of love that any logic or reasons can be found. I am only here tonight because of you
[looking at and speaking to Alicia]
Nash: You are the only reason I am. You are all my reasons. Thank you.

In the next post, I will discuss A Beautiful Mind in relation to God.

The Artist (2011)

The Artist portrays an artist at the end of an era and the end of himself. The year is 1927 and silent film star George Valentin is at the top of his game, and he knows it, soaking in the glory of adoring fans. His marriage is stale, sharing little of his love for himself with his wife. Life is about the next big movie, the next standing ovation.

Enter Peppy Miller – a pretty young fan and aspiring actress who meets George through happenstance and the two fall into an infatuation. He tells her that, to be successful, an actress must have something the others don’t, and paints on her a beauty spot. Still, George is too consumed with his pursuit of glory to pursue any relationship seriously. Meanwhile, cinema is changing from silent film to talkies. Reticent to change, George invests his life into developing his next silent film and prove his popularity. Peppy’s success in talkies soon eclipses George’s fame and he struggles over his rapidly dimming stardom.

The Artist is a triumph dramatically, technically, artistically. Jean Dujardin, in an Oscar-winning performance, is superb as Valentin. His performance alone is worth the admission price. Bérénice Bejo as Peppy is energetic and fun along with the fine supporting cast which includes John Goodman, and James Cromwell as George’s long-suffering driver and friend. Much of The Artist‘s comedy is derived from numerous sight gags, and the original lush and jazzy score, set design, costuming and hairstyles perfectly capture the era. The Artist deservedly won 5 Academy Awards, including Best Picture, and so I find small irony in that a film about fame and greatness has itself received so much critical acclaim, moreso in a genre more than 80 years past its heyday.

Fame is a tenuous relationship based on the currency of glory. Audiences seek the glorious thing of film. The Artist, and experience, tells us the public are always looking for something new – including the ‘fresh meat’ of new stars. In return, glory is given by crowds, either in box office takings or critical acclaim. Filmmakers offer the glorious thing, and they in turn seek after and receive glory, either in box office success or winning critical acclaim.

Valentin is caught up in this cycle as both a giver and consumer of glory. But he must give in order to receive. And so he gives – his money, time, friendships. Deluded by his waning grandeur, Valentin elevates his glory through his art to ultimate status and all but gives his life for it. His obsession leaves him dislocated, disconnected and isolated.

In our celebrity-saturated Western culture, The Artist dares to propose that glory for the sake of glory diminishes people. And art too. In the redemptive conclusion, Valentin finds his place in the world as a true artist, performing with a renewed sense of enjoyment, purity and humility – “With pleasure”, he declares as he prepares for another take. In this way, The Artist celebrates the cinema it so lovingly and beautifully embodies. True art is glorious regardless of critical acclaim or age, and if The Artist receives half the praise that goes its way, I’m sure the redeemed Valentin could live with that.