; movieschocolatebooks: December 2013


Saturday, December 28

Ain’t Them Bodies Saints

Director of photography Bradford Young worked his magic once again and the outcome simply leaves you breathless: the Texas landscape is glittering under the soft sky, wrapped in a golden aura that makes you wanna lose yourself in this visual paradise. Now, this guy does this for a living and one could hardly hold this against him; the director, David Lowery, on the other hand, is so swept off his feet with the scenery that drags the predictable plot beyond patience. In a word, it is up to you to decide whether Ain’t Them Bodies Saints is exceptionally visual or poorly plotted. To my mind, this gorgeous movie swings dangerously between visual pleasure and predictable, unspread storyline. The one thing that saves them all is the great performances of Rooney Mara (Ruth), Cassey Affleck (Bob Muldoon) and Ben Foster (Patrick).

The ingenuous versions of Bonnie and Clyde, Ruth and Bob are part of a gang of bandits that choose to live a life of outlaws that obviously goes sour. Surrounded by the police force in an abandoned house, three of them -Ruth, Bob and Freddy- fight back till the former shoots a policeman, Patrick, and the latter gets killed. Bob takes the blame for the shooting, asking pregnant sweetheart, Ruth, to play the victim and wait for him. Four years later, Ruth and her daughter Sylvie are leading an ordinary existence under Patrick's protective eye when the news of Bob's escape hits the news. Ruth sends him word through Skerritt (Keith Carradine) -Freddy's father and the brain operation during the old bandit days- not to come after them as he'll get caught. As it often goes, love is unstoppable and subject to many misfortunes so the rest of the story is foreseeable.

The frail woman, with mute gestures and hurting eyes is the center of this love triangle: outlaw- object of desire- lawman. And Rooney Mara really plays the card of the needy, rebellious teenage beauty turned into a miserable, silent mother who hasn't slept in four years and hasn't ceased to love the bad guy. But then again, how bad is Bob? He is not a cold-blooded criminal and later on, during his escape adventure, we see hesitation and despair in his eyes and reluctance in his hand while pulling the trigger. He is full of dreams of a better future, love for a woman who promised to be his forever, anticipation to meet his little girl and a naivety that makes him walk around with a suitcase full of cash. Patrick, the lawman, feels mysteriously drawn to the woman who shot him, as if his wounded gasp for air met her panicked gaze somewhere on the clear blue Texas sky and forever bound to one another. Ruth says little to him, yet her body language and noiseless looks and moves are accepting. Her heart still belongs to the outlaw out of a sense of duty and long-lost teenage love, yet her quiet gaze, frailty and tormented soul draw the sheriff deputy towards her. The shy smiles hidden under Patrick's fair moustache and his moist eyes speak more than a thousand words to Ruth's heart and his kindness to her and the little girl are a balm to her bleeding heart.

Ain’t Them Bodies Saints is not about big gestures, feels hardly set in a palpable time and place, identifying with the unfortunate fate of faceless Ruths and Bobs, a simple story that rather builds around body movement, gestures, looks and unspoken truths. It is a movie where the middle part is more important than the beginning of the story or the predictable denouement, where the time in-between is more intense, complicated and dramatic than the happy smile on the face of the audience once they are offered the well-guessed ending. Ain’t Them Bodies Saints also recalls echoes of past similar stories such as Terence Malick’s 1973 first feature, Badlands, another romance on the run; however, it has its own rhythm and pace, a fullness and beauty that warm the heart and thrill the eye. The experience feels immediate, throwing the viewer right into the cosy Texas fields, stirring the senses and drawing him into plotting the story. The mixed emotions and the modernism of the film itself shall keep on lingering within the audience, courtesy of Bradford Young' s imagery and Daniel Hart's great score, turning Ain’t Them Bodies Saints into a worthwhile journey.

Wednesday, December 25

Ironweed by William Kennedy

Fear and guilt are the most powerful emotions in the world, drawing the actions and choices of the characters of William Kennedy's novel, Ironweed.  The book was winner of the Pulitzer Prize and National Book Critics Circle Award in 1984 and William Kennedy won the 2009 O’Neill Award for Lifetime Achievement. Apart from worldwide recognition, the author turned his book into an excellent script for the movie with the same name, directed by Hector Babenco and starring Jack Nicholson and Meryl Streep. Therefore, it is much easier for the imaginative reader to add a face and a great performance to the unforgettable characters, Francis Phelan and Helen Archer. They are on the bum, drinking themselves into oblivion, running away from the sins of the past and the despair of the future. Depression years in Albany, New York, are tough times for everybody, especially for the homeless, whose dreams failed to come true and to whom redemption is forbidden.

Francis and Helen have been together for nine years, both trying to find solace in drinking, the former to forget having accidentally killed his 13-day old son, Gerald, the latter, in an attempt to come to terms with her choices and past. Francis used to be a talented baseball player who ran away from his wife and two children, Bill and Peg, after having dropped his little son, Gerald. His wife, Annie, has never revealed this secret to anyone, thus protecting a man whom she always loved despite his obvious mistakes. Blood is thicker than water and family members are always there for you- to judge you, to forgive you, to scold you and to wipe away all harm. Why do people always need to cling to other people to feel complete? Frances's grown-up children seem to lead an ordinary adult existence, yet their father's sudden return into their lives feels as natural and necessary as the next thing. Mother and grown-up children acted as if they had been expecting the head of the family all their lives, as if time stood still and twenty years of absence vanished into thin air.

Bum life is all about cold, dirt and hardship. Bums lack clothes, food, shelter, dignity, intimacy, respect, a future, health, money, love, family- in a word, a decent life. You might think that going bum is a choice and that certain people decide to lead such a life of misery, when, in fact, there is a broken soul behind every pair of bum eyes. Booze seems to be the only consolation, though it is only short-lived and more depressing. Frances has led a tough life, had to make tough choices and now the past is coming back to haunt him. The people he accidentally or intentionally killed have materialised themselves into silent ghosts that follow him everywhere, bringing back old and painful memories about bad choices. When all explanations are given, when all demons are confronted, Frances is left only with guilt- that of having put a sudden end to his infant's life, that of having abandoned his family, that of forcing Helen to make compromises. The guilt of having taken several lives has grown roots into him, turning Frances into a lifetime hobo who could never find peace of mind and put an end to his restlessness.

Apart from the short-lived happiness Frances felt around his wife and children, the only nice episode of his broken life is Katrina. His first love, the woman next door, builds herself into a lively hallucination that takes Frances down the memory lane in a series of flashbacks. Katrina was not only the woman who showed him how love felt but also filled his empty life with unspoken emotions. Helpless Katrina later becomes needy Helen, whom Frances fails to protect and keep safe on the bum; compromise means survival and the love thrills of teenage love are long gone, alive merely in enghosted memories. The only strong, mature woman in his life is Annie, his wife who takes him in and back, effacing all twenty-two years of hardship, grief and loss.

William Kennedy has a special sensitivity that lives in every word and breathes in every character. The book has humour, imagery and great characters. The scenes about bum life are the core of the book in terms of poetry and richness. Seeing the world through books is smart and rewarding, a certain manner of enriching yourself and expanding your horizons. Ironweed feels like a tender touch, a memorable journey into the plentifulness of the human soul, the colourful layers of goodness and broken hopes in everyone of us. 

Friday, December 20

Lindt Truffel Eierlikör

The art within food or food turned into art- a controversy that has been inciting the gourmets' minds for a long time. Me- I haven't decided upon gourmet or epicure yet, but, while carefully considering the matter, I never say no to novelty and taste challenges. I am putting a great deal of effort into training my senses and keeping high expectations when it comes to food, in general and chocolate, in particular. To most people, chocolate is simply chocolate; to the fortunate, it is the ultimate desert; to me, it is a passion. And Lindt is the name of my passion.

Food or refined chocolate combinations might be fleeting as they do not last in time like other artistic manifestations, but I would like to point to the fact that the value of art lies in the emotions/sensations it triggers in the beholder or eater, for that matter. The destructive nature of taste itself -one has to alter form in order to appreciate the taste behind the piece of art- does not render it transitory in meaning; apart from the meaning behind a person's offering food to another, overtones of refinement lie in the food. Art, in its simplest definition, is anything made by humans, be it appealing or not, which, to my mind, includes various culinary manifestations that both tempt the eye and spoil the taste buds. And I should obviously add the smelling sense for whenever I unwrap a bar of Lindt, the unique scent simply melts down any form of resistance. Not that I would put up any fight with chocolate or Lindt for that matter. Intelligent people simply pick their battles and indulge into blissful Lindt moments. My latest Lindt discovery is a friendly one by all means. It is the Lindt Truffel Eierlikör Gourmet bar. It is slim, golden, tempting- 100 g of pure happiness. As you might have easily guessed by the sophisticated name, it is Lindt chocolate filled with yellow, creamy eggnog, with a slight, yet powerful, trace of alcohol- enough to add personality to the soft bar.

I simple loved the shape of this chocolate bar as it easily fits my bag, next to my e-reader, making this explosive combination to die for. Reading and watching movies are the best match for chocolate, should you ask me, as chocolate is the best incentive to trigger emotions and challenge the senses.  Lindt Truffel Eierlikör Edition Gourmet is a limited edition for the Lindt lovers- those who appreciate tradition and velvety. Lindt chcolatiers make the best combinations, always pleasantly surprising their most faithful admirers for whom novelty is always a way of blending the love for chocolate and the most unexpected ingredients. This Edition Gourmet also includes Truffel Chocolat and Marc de Champagne, flavours you simply cannot pass. If you ask me, chocolate makes the best gift, so grab your favourite bar and your favourite gal and make it a day to remember!

Tuesday, December 10

Fantasia Ripieni by Zaini

I love a good story. The way it blends with the product, the person or the image, magically weaving its gossamer web all around. Chocolate, movies and books are only successful to the extent they spin off an uncanny story that throbs in the heart and mind of the audience. And how we yearn for an unmissable story that will echo in our heart, making our own stories exceptional journeys inside and outside ourselves. This particular chocolate is full of story layers. First, it is the story of Luigi Zaini, a man who had a glorious dream: to satisfy the various needs for sweet in various people. His chocolate promised diversity and an unforgettable scent that would lure the passers-by of Milan area for 100 years.

Luigi knew that chocolate needed the seductive touch of a woman and thus Emilia, the dark block of chocolate, was born. Emilia, the cook who inspired Luigi, together with Olga, the wife, continued the work of this resourceful man and created the famous chocolate sports figurines that inspired children to take up football. Neither Depression years, nor the destructive World War could ruin the great dream or defeat the Zaini's ambition to make chocolate a sweet for all tastes. Olga Zaini, the first Italian entrepreneur woman, together with Luigi's sons, took the chocolatey dream further, making Zaini one of the most famous chocolate manufacturers of the world, with a long and successful tradition and lasting passion.

The chocolatier's story comes to life in the skillful hands of an English teacher who travelled to Italy to get inspiration and sketch her own story and that of her pupils. In Napoli, she discovered, enjoyed and decided to share her chocolatey adventure -Fantasia Ripieni- with one genuine chocolate lover. The assorted filled chocolates -Torroncino, Gianduja, Amaretto, Caffe- nicely travelled inside the generous luggage of the altruistic teacher, happy to rejoice in the curious hands of the chocolate lover. Layers of addictive aromas pampered the taste buds and enchanted the heart. The chocolates are smooth pralines with no bits made from cocoa, toasted hazelnuts and sugar. They are not too sweet and they melt instantly, leaving the specific aroma lingering for some time. They are not Zaini's most famous products -the Disney-inspired surprise eggs are more popular- yet they are happy, little chocolates, of different shapes and sizes, wrapped in bright colours that instantly catch your eye. A certain packet of chocolates fulfilled its destiny, taking Luigi Zaini's story beyond the seas, making his dream more lively than ever, in the generous hands of the English teacher who spoilt her chcocolate addict of a friend.

Thank you, Ioana Stancut!

Italian for Beginners

Italian is a passionate language, usually associated with romantic destinations and ravishing men and women. Yet, there is one thing to enjoy listening to people speaking Italian, and there is a huge challenge in learning the language of love. Lone Scherfig, the first Dogma female director, surely managed to make Italian the perfect excuse for a charming Danish comedy. The movie, written and directed by Scherfig, follows the aesthetic principles of the Dogma 95 movement regarding natural lighting, hand-held cameras, character improvisation and real life settings which beautifully blend in a warm comedy about lost souls and the redeeming power of love. Italian for Beginners makes a good story about all those loners who channel their energy into positive hobbies meant to give purpose to their loneliness.

Italian for Beginners lacks the bitter tone of Thomas Vinterberg's Celebration/Festen and deglamours the lives of single people by turning the spotlight on the various shades of social isolation. However, the movie has a warm touch and its naturalness feels sparkling and refreshing. Inspired by Circle of Friends by author Maeve Binchy, the movie has a romantic nuance and its story revolves around three men and three women. Andreas (Anders W. Berthelsen) has recently lost his wife and is temporarily filling for the position of the estranged pastor, Reverend Wredmann. He is staying in the hotel where Jorgen Mortensen (Peter Gantzler), the junior manager, who hasn't had an erection in four years, is working. Jorgen's best friend is Halvfinn (Lars Kaalund), the hotel bar's hot-tempered manager. Andreas is having a hard time coping with the loss of his wife and Reverend Wredman's legacy, Jorgen is courting a young waitress whereas Halvfinn gets himself sacked for bad treatment of the customers. Their hidden needs and desires are echoed in the hearts and faces of three beautiful women: Giulia (Sara Indrio Jensen), the beautiful waitress who resigns in support of her boss's dismissal and who secretly covets Jorgen Mortensen, Karen (Ann Eleanora Jorgensen), a hairdresser with magical touch that brings Halvfinn to life and helps her dying mother find her peace and Olympia (Anette Střvelbaek), the clumsiest blond ever, ruining the business of the pastry shop owner for whom she works as a sales assistant and caring to the needs of an abusive father. The Italian course offered by the City Council is the perfect place for them to meet and grow fonder. The rest is the work of Cupid.

Italian for Beginners is European to the bone- it is extremely amusing, with unexpected turns of events, with a sort of unfiltered passion and genuine performances; it feels rather as an indie shot according to a different Vow of Chastity that values originality and genuineness. The movie is funny in the way all older people in the story rapidly find their end- Marcello, the Italian teacher, Olympia's father, Karen's mother- and make room for the young ones to develop and find their path. Even the rest of the elder supporting characters are low-profiled, acting only as props to the unfolding of events. The six interconnected characters end up spending a day or two in a rainy Venice -not the glittering, romantic spot you would imagine it to be- that acts as a trigger to their unspoken emotions and desires. Spontaneity would be the best word to describe Lone Scherfig's movie that feels like an Italian/French comedy, shot in a purely Dannish Dogma style, with the touch of an Ingmar Bergman story and the matchmaking voluptuousness of a Nora Ephron romance. Bliss and comedy go together hand in hand without turning Italian for Beginners into a weightless story that feels too predictable or too judgemental. The movie does not push the viewer into a happy ending ever after kind of story, it just allows things to happen, no promises, no guarantees. Old people- addictive, abusers, unfaithful- may be dead but there is no assurance that things won't come back to haunt them and shape the rest of their life. For the time being, six loners enjoy a moment of fleeting joy that might turn into a Lars von Triers's Melancholia desperate, gloomy end of the world mood. Or not!

Saturday, December 7

Lindt Pralines Classic

I may not be the biggest fan of chocolates, but this little box really took me by surprise. Well, gifts always make the best surprises and Lindt Pralines Classic sure came as an unexpected revelation. The one thing that puts me off about a box of chocolate is the fact that, being a control freak, I like to know what it is that I eat and reign over my empire of senses. A box of chocolate is bound to hide some unpredicted flavours that ruin the pleasant feeling. So, much as I love chocolate, I keep away from little boxes of chocolate. On the other hand, how can a girl say no to chocolate?

Eight little, beautiful, good-looking chocolates, some of them with their mirror-liked twins, were waiting for me in the elegant box. Lindt chocolate makers go to all this trouble to make you feel like royalty when opening a little box of chocolates. Everything is perfectly wrapped, gracefully packed for the right eyes and taste buds. The hand-made little pralines are created for the connoisseurs, going back to the 17th century, at the court of the sophisticated French Sun King Louis XIV. Bored by politics, tired to please the whims of the ladies around him, I can only image how this mighty king took refuge to his private chambers, climbed his mahogany bed, covered with silky sheets and indulged himself into the addictive eating of pralines. Every now and then, he would lift his gaze, eyes half-closed, mouth full of the divine chocolates, only to express his gratitude, by mumbled sounds, to Comte du Plessis Praslin, the creator of this delicacy. Comte du Plessis, the head chief of the French field marshal, gave the name to the little miracles that were used even to soften the hardened hearts of political foes. From royal hands to those of the commoners, the pralines were refined by the conching method by Rodolphe Lindt, a visionary man himself.

So much for history and imagination. Back to the wonderful pralines. I thoroughfully enjoyed the Dragon au Champagne -a white and dark Marc de Champagne truffle cream chocolate- the star-shaped Macchiato, filled with coffee cream and covered with white chocolate and the Caramelita, a double-layered caramel bombon, covered with bittersweet chocolate. The others -Cornet d'Or, Triangle aux Noisettes, Nuss- Krokant, Orange Marzipan, Schicht Nougat- were also remarkable little jewels, with their own individual flavour and sophisticated name. Some men name their cars, some chocolatiers name their pralines; it is simply a matter of  perspective and dedication. The only disappointing thing was the fact that the box was only 125 g. But then again, good things come in small packages, right?

Friday, December 6

Middlesex by Jeffrey Eugenides

Do a person's innate qualities prevail over his or her experience? Do they shape its being and course of life decisively or is the knowledge he or she acquires from the environment the thing that draws his/her fate? In a word, the nature versus nurture debate, as the polymath Francis Galton put it. Somewhere in-between, free will got easily overlooked, yet, in Jeffrey Eugenides's book, Middlesex, -one of the most amazing books I have ever read- such factors do no limit the main character's self-determination. Whether a gift or a burden, intersex cannot be denied or overlooked and though it outlines a certain path in life for Cal/Callie, choices are never limited.

And I am back to Tolstoy -“All great literature is one of two stories; a man goes on a journey or a stranger comes to town.”- who apparently both wrote and read good literature. In Middlesex, which is both the condition and the name of the street where the main character, Cal/Callie, grew up, journeys define the characters' lives that find themselves at the mercy of a recessive gene. Sex and inheritance seem to be connected in mysterious ways, shaping the life journey of the Stephanides clan from Greece to America, from typical to middlesex. Genetics mischievously rewrites the destiny of three generations, starting with a dark secret and ending with the miraculous birth of a creature that shares two genders, two worlds and two lives. Besides the 5-alpha-reductase deficiency syndrome, Cal/Callie is the embodiment of each and everyone of us, searching for an identity that could clothe our body and define our lives. We may not be pseudohermaphrodites like Callie, but we are all bound to confront the same questions related to our individuality. Both question and answer are tricky, thus the fortunate ones give their uniqueness a voice, whereas others spend a lifetime struggling to come to terms with the devils within.

Calliope Stephanides's gender rises a debate in the Detroit house of her pregnant mother, Tessie, her father Milton, who is anxious for a girl, and her grandmother, Desdemona, whose magical silver spoon indicates the unborn child is a boy. Calliope is born to shatter all doubt and is raised as a girl until she has an accident and it is revealed, at 14, she is a hermaphrodite. A man's mind trapped in a woman's body, Callie/Cal runs away to avoid surgery: ''Sing now, O Muse, of the recessive mutation on my fifth chromosome''. His/her journey is more than a bildungsroman, a historical novel, a tragedy or comedy, it is the story of gene through time. The gene seems to have a mind of its own, raising the striking question of the red thin line between destiny and DNA configuration. To what extent are we the result of genetical combinations and the making of our own self? The answer is somewhere in-between our choices. Desdemona and Lefty are first brother and sister before embracing their roles of perfect strangers falling in love. Their arrival in the land of all possibilities does not change their infidelity, since betrayal is echoed in the choices of the next generation. Milton, their son, marries his cousin, Tessie and the circle of neurochemical giving in repeats itself. The ruthless Greek gods make their presence felt in the veins of their mortal subjects regardless of time, space or morals.

What makes this book exceptional? Well, there is its fine irony, to begin with. Cal/Callie has a double perspective upon things- a feminine intuition and a male's grasp of history. The first person gets easily switched with the third person and this shift is not tiring or disruptive; on the contrary, both characters have humour and a sense of self-irony. Cal/Callie does not take matters too tragically and the shift from emotional to journalistic style adds up to the richness of the story. Also, Middlesex is a versatile novel that, similar to the dual nature of the main character, mirrors different themes such as rebirth, racism, identity crisis, gender or the American dream. It is that kind of book that has it all - excellent story, well-built characters, Greek mythology, a historical approach and so much more. It feels as a journey through time, across continents, cultures, religions, a journey from the outer world into the vivid inner world of a character on which both heredity and time left their mark. This is a novel about the making of a nation: from Prohibition and the Great Depression to World War II, the troubled times of 1967 riots, the Flower Power movement, Watergate and the energy crisis. America lives in the faces and choices of the Stephanides family. It is not always the perfect picture that mirrors in their eyes, yet it is an honest one. It is a picture of fight, tolerance, acceptance, strength and, above all, love. Love salvages and dooms all living creatures and particularly favours the brave. To them all!

Sunday, December 1

Detachment sau educatia conteaza by Cheltuitus Banus

Detachment- poti fi ''prost'', adica limitat sau indiferent cu ceea ce ti se intampla sau poti sa ai o parere si ambitia sa te ajuti in formare si alegeri, sa te aperi folosindu-ti inteligenta si cunostintele acumulate. Poti sa te opui manipularii si influentelor negative, tranformarii in non-persoana, argumentand competent, avand o parere si implicandu-te. ''IT TAKES COURAGE TO CARE'' as a teacher and human. Sunt ''educator'', iubesc sa predau, sa fiu intr-o institutie de invatamant, intr-o biblioteca, intr-o expozitie! Iubesc ceea ce aceste lucruri reprezinta! Iubesc profesorii dedicati si cei ce stau printre elevi, indiferent de varsta unora sau a altora, iubesc discutiile ce folosesc cuvinte multe si frumoase, ce fac referire la o carte, ce ma provoaca sa am o idee proprie, iubesc sa ma lupt in idei si in argumentari, devin pasionata si ma dezvolt facand asta, sunt fascinata de puterile unui profesor-educator. Sunt fascinata de scoli si biblioteci pentru ca acolo simti energia viitorului si puterea fiecaruia.

Adrien Brody, Marcia Gay Harden, James Caan, Christina Hendricks, Lucy Liu, Blythe Danner, Tim Blake Nelson, William Petersen interpreteaza tipologii de profesori, de educatori si indrumatori ce ar putea exista in toata lumea. Ideea ce mi-a placut in acest film este universal valabila- copiii au nevoie de noi -adultii responsabili, de exemple si din partea ''de dincolo'' -din '' bucataria cuvintelor''- de indrumare, de oameni implicati, rabdatori si curajosi, care sa arate si o alta fata a lumii... Cateodata, ca profesor nu te ''lupti'' doar cu revolta copiilor si a noului respins instantaneu de acestia pe motiv de neintelegere, te ''lupti'' si cu parintii lor. Esti un cruciat in lupta cu indiferenta si micimea, cu cuvintele scurte si ostentative, ucigatoare de vise- filmul o exemplifica minunat...

Povestea se invarte in jurul lui Adrien Brodi, profesor bun, dar neimplicat pe termen lung, datorita desconsiderarii sale de catre sine insusi, datorita problemelor personale, familiale...Doreste sa ofere ce are mai bun, doreste sa ajute, dar fara implicare aprofundata si pe termen lung. Il sperie timpul si implicarea aprofunadata, este dezamagit de sine, isi cunoaste limitele si le respecta. Este omul dincolo de profesor, este tipul de educator si formator de oameni buni. Este profesor de limba engleza, intr-o scoala de cartier, unde dramele copiilor si lipsei de educatie se vad clar si au repercursiuni in spatiu si timp. El este cel ce deschide mintile cu responsabilitate. In Detachement vedem cum societatea considera ca scoala este locul unde toti au doar drepturi, fara a considera ca au si obligatii- cam cum suntem noi in societatea in care ne desfasuram ca oameni. In scoala copiii invata ca au si obligatii...Este o oglinda in care cadrul didactic nu mai este respectatat pentru ceea este, pentru responsabilitatea actului invatarii ce il ofera, ci este denigrat si minimalizat din toate partile- de parinti si implicit de copii care stiu ca au drepturi, nu si indatoriri, de societatea de consum, ca valoare economica si investitie in invatamant...Vedem cum scoala este goala si deprimanta in momente in care ar fi trebuit sa fie animata si efervescenta. Scoala si educatia sunt subiectul paralel dramei omului HENRY Barthes (Adrien Brody) si nu numai...Vedem cum oamenii se obisnuiesc cu o activitate si incep sa se plafoneze, sa devina rutina si sa desconsidere ceea ce au, uitand sa se implice activ in pastrare. Vedem cum cei mai multi prefera sa se simta din start victime si sa stea cu capul plecat, decat sa considere ca mai au o sansa- si asta ca sa nu mai fie a ''n'' oara dezamagiti, vedem oameni fara speranta, vedem cum parintii au uitat sa fie parinti si educatori ei insisi. Sunt cuvinte frumoase spuse aici, in acest film, sunt vorbe de suflet, pe care ca om implicat intr-un proces de educatie astepti sa le auzi de la cineva, sunt vorbe pe care ti le spui si crezi ca uneori sunt niste cerinte prea mari de la cei din jur....Vezi cum munca si implicarea in viata unui copil, ca educator, te fac sa fii mai bun, te fac sa fii imun la rele, te fac sa te detasezi de problemele tale, te fac sa imparti problemele pe care le ai si sa le compartimentezi corespunzator importantei si sa te implici partial sau total, sa vrei binele cuiva, sa consideri ca exista speranta, te fac sa crezi in ziua de maine, in zambete si in imbratisarile copiilor.

Sa fii ''educator'', ''pedagog'' este una dintre ele mai frumoase meserii din lume si nu este doar a unor oameni ce sunt platiti pentru asta, ci este si pentru parinti -ei sunt primii educatori ai unui copil. Cadrul didactic este ''cimentatorul'' si ''the gap filler'' in educatia tanarului, este the final touch...dar numai daca te implici. Henry Barthes este sau ar trebui sa fie, fiecare dintre noi, cadru didactic sau nu. Henry Barthes: We have such a responsibility to guide our young so that they don't end up falling apart, falling by the wayside, becoming insignificant. Putem fi cei ce dam posibilitatea stralucirii, suntem mesterii papusari dincolo de cortina, suntem regizorii vietilor unor fiinte avide de cunoastere si stralucire. Suntem baza cu care si pe care copiii o vor avea in viata lor de adulti... Dar putini realizeaza importanta lor ...si se desconsidera ... Henry Barthes: It doesn't take strength Meredith, you've gotta understand that, unfortunately, most people lack self awareness.