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the contemplative diva

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the contemplative diva

Category Archives: Film

the fragile Diva

09 Sunday Mar 2014

Posted by thecontemplativediva in Femininity, Film, Pop Culture, Spirituality, Women's Thought

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marilyn-monroe - 1Thinking about Marilyn Monroe a lot these days. She’s stunning and vulnerable yet gets a really disrespectful rap in our culture, and I’ve been trying to sort out why.

I work with a bunch of dudes, and asked a couple of them in the story room recently, “What category of woman do you put Marilyn in?” “Not a role model,” was the first reply. “Alcoholic, pill popping, whore,” was another. They see the mistress of JFK, singing “Happy Birthday,” lips all pouty, skirt blowing up in the wind. She certainly was all of that, oozing sex appeal with an embarrassing need for validation, yet still somehow she strikes me as a woman who was very in control of her destiny, not willing to be controlled by her daring choices nor man’s perception of her.

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I recently watched a short documentary about her life and learned a few things that surprised even me.  Like, did you know she was the first woman in Hollywood since Mary Pickford (the silent film star) ever to own her own production company? And she was such a big fan and friend of Ella Fitzgerald, that she petitioned a famous night club owner in Hollywood to let Ella perform there back in the days when not even famous blacks could sing in night clubs, promising that every night Ella sang, she, the enigmatic Marilyn Monroe would be in the audience. And the club owner did it, and Marilyn showed up for her friend, Ella, every night…

That’s no bimbo move.

But Marilyn knew she was a fantasy. The girl you secretly admire but never actually make your wife…or your friend.  She didn’t fit in a traditional role, she didn’t want what was readily available to a pretty girl like her and in refusing what was offered her, called into question everyone else’s assumed role in culture. Women scorned her, men lusted after her. What to do with a woman who identifies with something bigger than herself, unapologetically chooses to follow It, and oozes a peculiar, disarming confidence along the way? We are all given the option when confronted by a woman like Marilyn – to embrace Her or reject Her…and in choosing either we demand of ourselves to either step up to the plate of life, or retreat.

This peculiar something Marilyn embodied is mysterious and challenging.  It harkens to another time, long ago when being a woman of power didn’t necessarily mean giving up all your feminine attributes. To be a goddess in a former world meant being both seductive and a wise leader. It’s a frightening kind of power women possess, it’s been called cunning, manipulative…we’ve been re-storied by men as temptresses, brujas, whores, bitches and witches, Delilah’s and Jezebel’s….simply because of our alluring power. True feminine power is a scary kind.  It weakens the structures we build to protect us from all feeling.

20140224-224508.jpgWhile undeniably striking Marilyn appears on the surface, I get that one wouldn’t necessarily consider her a “tower of strength.” Her pout distracts from the limitlessly freeing multi-dimensionality of what being a real woman like Marilyn actually offers to me, and all women alike.  She was tragic and empowered in a way that we don’t dare celebrate so no wonder it’s hard to recognize strength in her…or in oneself. It’s simply easier to pity than feign to understand. Easier then to put woman in a box – strong or weak, secure in herself or self-loathing, confident or wracked with self-doubt. Hollywood, God bless this town, seems to beckon these enigmas. It may be one of the few spaces where insecurity and vulnerability are invited, and then tricked into putting it all out there for everyone to see.  Marilyn owned her sexual prowess, and her weakness.  And that is a lifestyle granted only to the extremely daring and courageous.

Seems men and woman alike aren’t quite sure how to manage the fascination with this kind of woman.  There’s something about Marilyn that was so desirable, yet she could never be possessed by anyone. Studios tried.  And men certainly tried. And because she could not be possessed, I gather they could not figure out how to love her. And I am coming to believe her life was a tragedy not because she had a tragic childhood or an addiction to pain medication. The tragedy was that truly, the lady just needed to be loved. Not possessed, Loved.  Underneath all her liquid appeal, she was really just a fragile diva. Very needy, very wounded and very unwilling to hide it from anyone.  She knew she was a fantasy because she knew the truth of herself. It wasn’t just the way she dreamed, it was her awareness of her own duality…That she could be at once a persona, yet always still just a person.

I’m thinking a lot about how to walk that line – of the persona and the person. Because what’s occurring now in culture is a type of woman whom we call strong, confident, secure of herself…who doesn’t seem to need a thing. This kind of confidence comes quite naturally to some, that ability to project strength, to keep going in the face of fear and never let on to the truth of what’s really occurring inside you. It’s so damn attractive, and it is often quite a real strength to be admired. Yet, it seems once a woman exhibits that kind of strength, she is qualified as this “type,”and that qualification seems to come at the cost of her full expression of herself. Not sure that’s the ideal either?

marilyn monroe4Half the beauty of being a woman is being able to love fully in our bodies, and through our feelings. The widest range of emotional expressions is at our disposal, to embrace and mirror back what we experience in the world. To laugh and cry, to smile and pout. To nurture and to need. It is our luxury as women, it is our natural biological cycle to be Moved…to care…To Feel.

The impulse to disregard our feelings, our Be-ing, is in effect to deny the Essence of a woman. No matter how masculine the everyday rhythm of this world (and it is so) – to win, to own, to rush, to war. No matter how insistent the compulsion to play at a man’s game – to rationality, to logic, to strategy, to succeed. We cannot do so at the cost of our feminine power. I will not put up walls, button up, give good face.  If my crying makes you cry, good for you. Connect for one moment as the Feminine does, with the suffering of this world, with the recurring loss of innocence, the desperate grasping for hope, the incessant hum of injustice, the raging inequality – and your powerlessness to do anything about except to Feel It All. Touch Her, for one moment…sit with Her and let Her break your heart. And just. fucking. cry. about it.

That’s the gift, the absolute joy of being a woman. We have the pleasure of knowing that this expanse of feeling inside us, no matter how overwhelming, won’t be the end of us, and it won’t be the end of you, and it won’t be the end of this world. It is just Who We Are at this moment, at any given moment. We are disappointed, broken-hearted, yet we still Love. We are betrayed, and betrayed again, and again, yet risk love once more. Because that’s what women do.  We give birth and watch it die, over and over and over again…for Love.

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I feel it all I feel it all
The wings are wide, the wings are wide
Wild card inside, wild card inside
…I’ll be the one who’ll break my heart…
–Feist

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#12YearsASlave

19 Tuesday Nov 2013

Posted by thecontemplativediva in Film

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12 Years a Slave, Brad Pitt, Chiwetel Ejiofor, Solomon Northup, Steve McQueen

12 yearsDecided to finally go and see this movie.

I’ve gone through stages of interest regarding this film. When I first saw the trailer months ago, I wanted to see it immediately. The cinematography looked amazing.  The cast, stellar. I’ve been an admirer of Chiwetel Ejiofor. …And it was a Brad Pitt, Plan B production. If you know me, anything Brad goes.

When the film hit the festival circuits, there was a buzz about the brutality. People walking out of screenings, etc. My perspective started to shift.  So I spent a few weeks after it was theatrically released in a relative state of disinterest. Did America really need another black suffering narrative? Where are the simple stories of romance, beauty, culture?  Where are films about black people, just being People in love, living life, experiencing its joys and pains in the context of family, work, travel, or play. Why do we so rarely see the black experience…without it being a black experience of suffering?

I didn’t want to love the movie just because it was about black history. And I didn’t want to contend that it was Oscar worthy just because it featured a black actor in a leading role.

But I finally went to see it. And it is not a black movie, about black people suffering. It is a sweeping universal cinematic tale of tragedy. And I’ve always loved tragedies. I live for epic, autobiographical, period pieces. Give me long, drawn out, sweeping shots of nothingness and very limited dialogue, and I’m hooked. What others find slow, I find breathtaking.

And 12 Years a Slave is just that. From the opening scene, I was captivated. Time cannot be counted. Each scene has an intensity and a longing. I wanted every one to end. Disappointed immediately only to enter into another scene equally as dulling.  I sighed noticeably with each transition, but I did not cry. I had no concept of time. No concept of hope. I just wanted to be free of it. And the director, Steve McQueen, was brilliant in that he was intentional about not marking time. There were no remarkable changing of seasons.  There was no over attachment to characters who you see grow old and die so you could say, Ah…there a lifetime has passed. Solomon Northup made no acquaintances, except the poor, miserable Patsey who I will say nothing further of here except that to think of her for too long now could make me silent with anguish, flood me with ancestral memories beyond my conscious recollection. …But back to Solomon…he made no acquaintances with whom he could share his suffering. He learned immediately one of the most psychologically brutal effects of American slavery imagineable…that to form attachments to any person, place or thing, is to suffer a worser fate, is to hasten the coming of despair. The result, Solomon didn’t share a thing with anyone. You were left only to discern his pain and anguish. You were invited into his mind. To consider what he was thinking. To confront your own limitation…that you will never really be able to relate.  Ejiofor and McQueen mastered the cinematic art of “show don’t tell.” And another visceral life lesson I walked away with…that when Solomon did choose to be vulnerable, he risked everything. He was strategic in the sharing of his experience. He was no fool to believe an ignorant, hopeless slave (just reality, not a judgment) could offer him what he needed. So often in life, those who don’t know to aspire to anything more can only commiserate with us. Solomon wanted none of it. He was an educated man, he questioned their god because had tasted true freedom, hope, aspiration, love, life itself. And he would form attachment to nothing less lest misery overcome him.  I was not prepared for the ending. It seemed as if suddenly, it was over. What act had we been in? Every one was the same agonizing, hopeless, nothingness. Subtle action. No dramatic attempts to free himself.  Barely identifiable mid-point. No climax. I was disoriented. Even the musical score seemed to reveal little. How long had I been watching? His release came without anticipation. Was it really over, just like that? How long had he been a slave?

For 12 years he was a slave. And for 133 minutes, I let Steve McQueen hold me in solemn vigilance. It was stunning. If you love film, go see this movie.

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