I love writing these blogs about my favorite stories. I get to watch them again and live in them again. A good movie inspires my soul. I hope that you decided to watch the movie again and that it was a richer experience for you.
But I'd like to share some of that richer experience. What did you think about the movie? I'd love to hear back in the comment section. These are our archetypal stories -- like the ancient myths, they tell timeless stories. How did it, or maybe it didn't, affect you?
So please, make a comment and let's see what all of us story-lovers have to say. What experiences or insights did the story guide you to?
After I saw Milagro Beanfield War, we had a water issue come up in the town I lived in. Having that story as a guide, I decided to do two things: (1) write a movie about saving the water in our community--very different from Milagro Beanfield War but using the archetype of community to solve problems and (2) I became a community activist.
The kind of stories we tell ourselves are so important.
So once again - please share!
The Bard's Grove
"There are times when people need stories more than they need nourishment, because the stories feed something deeper than the needs of the body."
Charles DeLint, The Onion Girl
Sunday, January 27, 2013
Aquarius, Community & The Milagro Beanfield War
Emerging Archetypal
Themes:
Aquarius, Community & “Milagro
Beanfield War”
WATER! What would we do without it? Our human bodies are comprised of 80% water. Without water, we die. When there is no water, the land dries out and
turns into a desert. When there is no
water (feelings) flowing between people, we are left to stand alone in the face
of the vastness of the universe. The
truth is, WATER IS LIFE!
Like the
Wasteland of the Arthurian legends, our civilization has created a wasteland—both
externally and internally. With the central
pillar of our society the accumulation of profit coupled with rugged
individualism, we have allowed the Earth to be raped and pillaged and the
waters and air to be poisoned. At the
same time, patriarchy has relegated our feeling life to irrelevancy, denying
the truths of the heart. With profit as
the main goal, we are too easily caught up in the old Protestant ethic: if you
are rich, God loves you. If you are
poor, you are a sinner. This religious
belief, coupled with capitalism, creates an inner wasteland of hopelessness and
fear of death.
So despite our external riches,
our inner life suffers. People aren’t
built to survive in the wasteland. Our souls need something more than money to
make life worthwhile, otherwise we fall into depression, anxiety, fear and
anger. That’s why the wasteland can only
be healed by the Holy Grail, the watery feminine aspects of life, love and
community.
Aquarius
What does this gift of water have
to do with the fixed air sign of Aquarius?
Called the sign of the Water-Bearer, the constellation of Aquarius is
most often imagined as the figure of a man pouring water from a jar. The ancients imagined that this whole section
of the night sky was a great celestial sea: Aquarius is surrounded by the
constellations of the Whale, the Fishes, the Dolphin and Eridanus—the River
Po. For when the Sun passes through the
sign of Aquarius, it heralds the rainy season in these ancient lands. The
symbol for Aquarius, two wavy lines ≈≈, seems to represent undulating lines of
water.
But the astrological sign of Aquarius
is considered a fixed air sign, representing rational intelligence and social
interaction. Aquarius is more concerned with
Ideals than feelings—the awakening of the Mind and its vast potentials, as well
as the urge for true
freedom. The brilliance of the Aquarian mind seems to reflect the working of
the Cosmic Mind. That’s why Aquarius is
so often related to the Archetypal world. Carl Jung saw the coming Age of
Aquarius as an age when the archetypes are lived consciously by humanity. If
this is the truth behind the image of the Water-Bearer, than we can say he is
pouring out the watery contents of the collective unconscious for us to
access.
Aquarius
calls us to stand up for our ideals. And
it does this through community. When we
band together, we create a stronger energy than when we stand alone. The water of our feeling life connects us to
each other and to our ideals. That’s why the symbol of Arthur’s Round Table is
so apt for this sign. We are called to
become a community of equals.
The
Milagro Beanfield War
Robert Redford’s 1988 movie, The Milagro Beanfield War, is a poignant
reminder of what we have to lose if we continue to allow profit and consumerism
to displace family, community and our connection to the Earth. The movie is delightfully enchanting without
being preachy, with characters you care about, music that fills your heart and
images of both the beauty of the nature as well as the ugliness and ruin our
modern life-style leaves behind. It is magical-realism
at its best. And it certainly
exemplifies the Aquarian ideal of the strength of community to combat even the
biggest Goliaths.
The movie is multi-layered, thanks to
John Nichols’ novel and screenplay. On
the outer level, it’s a story of the conflict between a poor Hispanic town and
the powerful land-developer who wants to turn the surrounding land into a
high-class resort. On a more personal
level, it’s about a young man’s inability to find work in his own community and
how the very lack of real community makes this takeover of the land possible. It’s a story of passionate beliefs and
surprising accidents which lead to the return of water in their lives. But the deepest level of this story deals
with belief. It’s about belief in the powers
of the unseen spiritual realities, belief in our ability to overcome tyranny, and
belief in the power of community.
The star of the movie for me was the
character of Amarante, exquisitely embodied
by Carlos Riquelme. Along with his Coyote
Angel sidekick, a tricksterish Robert Carricart, they play off each other to
perfection as the old wise man and his guardian spirit. They
stand for what is good and solid in life and so can see the bigger picture
taking shape around them. They know what
needs to happen if they’re to save the village.
And these two old coots do it! Along
with a little help from their friends.
Redford evokes an enchanting
atmosphere from the very first frame.
The desert at sunset—at its best.
The Full Moon infusing the scene with magic and mystery. A strange wind comes blowing through the
night, carrying with it a haunting song, which grows into a joyous shout,
swirling up dust and dancing along the hillsides. There is the Trickster, playing his flute and
dancing with the wind. ‘Til dawn. It’s a new day.
Our Coyote Angle is on a mission, to
wake Amarante up to the dangers facing his community. Amarante is the oldest man in the village and
talks with angels and the dead. He is
open to the Unseen Real and so is the perfect person to listen to the call of
Wisdom.
Old Coyote tells Amarante the truth:
It’s your town that’s dying. Amarante
treats him as the nuisance he is because of course the first time we recognize
a deep truth we don’t want to hear it. It
will disturb our routines.
Next we get to meet all the
townspeople of Milagro (meaning Miracle), who are unique and delightful. There’s Ruby (Sonia Braga), the town mechanic
and passionate energy behind renewal whose motto is, ‘Let’s get to work’. There’s Bernie (Ruben Blades) the local law
officer, mediator and peace-maker of the village, who’s open to the Unseen Real
himself and senses a change coming with the wind. We have forest rangers, and the old men’s
brigade, local characters and Shorty (James Gammon), Devine’s gruff but kind
overseer and Flossie Devine (Melanie Griffith), relegated to the role of dumb
blond with a heart-of-gold wife. Not
only is this story about community, it also creates community with these unique
characters.
Then
we finally get to meet our hero Joe Mondragon—perhaps the new Pendragon? Joe (Chick Vennera) and Nancy (Julie Carmon) Mondragon
are poor, still in love and have 3 kids.
Joe can’t get construction work with the new resort going up (Miracle
Valley) and in his frustration and righteous anger, he kicks open the water
gate by his father’s old bean field. The
bean field has gone dry and brittle because the town’s water rights have been
taken away—and the water diverted for use at Mr. Devine’s resort.
Joe
is the only hold-out on selling his land to Devine, but out of work with a
family to support, he’s now considering it.
Old Amarante lives across from the bean field and seeing Joe there, begins
to describe how beautiful the field used to be when his father worked it. As Joe allows himself to see the beauty of
his home and the water sinking into the land once again, his anger turns to
determination. He’s going to let the
waters flow and plant his family’s bean field again.
Amarante
heads into town to casually mention that Joe is watering his bean field. The news quickly spreads through town, causing
consternation, curiosity and excitement.
Ruby rushes over to the bean field and joyfully acknowledges that she
always knew Joe had some greatness in him.
Soon the whole town comes to watch as Joe plants his beans. The town’s energy is shifting, spiraling
around the running water and the bean field.
As
the news spreads to Mr. Devine, the inevitable conflict starts to take shape
between the rich land-developer and the poor farmer. But first, we need more characters to help
Amarante and Coyote carry the story forward.
We’ve seen the waters of feeling come back into play. Now we need the head to follow suit, because
we need to unite our heads and heart in order to overcome tyranny.
First
there’s Charlie Bloom (John Heard), a burnt-out, retired hippie lawyer—big time
progressive lawyer and crusader of lost causes—whom Ruby tricks into helping explain
exactly how hurtful the resort will be for the townspeople. And then there’s Herb, an Eastern graduate
student come to study indigenous people in the Southwest. His eager openness to experience is coupled
with an innocence that is endearing. His
journey at Milagro grounds him in his body and leads him to a belief in the
power of Spirit. Herb becomes fascinated
with Amarante, who prays to saints, especially to St. Jude, Patron of Lost
Causes. His love for Amarante opens his
mind to the power of archetypal energies.
I’m happy to say both of these intellectuals do learn to think with
their hearts!
And
then of course there’s the villain—over and above Mr. Devine (Richard Bradford),
the developer. It’s Christopher Walken
as Kyril Montana, and as old Coyote tells Amarante, ‘the bogeyman just came to
town’. Need I say more? He is the brains
behind various schemes to stop Joe. In
his marvelous way, Mr. Walken continues to portray the male repression of
feelings which comes out as violence.
As
Montana strategizes ways to stop Joe and Bloom from rallying the townspeople,
Coyote Angel tells Amarante, ‘you’re gonna need a big sacrifice here’. The idea of sacrifice—to make sacred—is important
to remember as we work to change our world.
Yes, it does involve sacrifice—sometimes even a death. This wonderful story reminds us that if we
stand for our ideals and aren’t afraid to embrace the sacrifice—of time,
energy, vision, death—we end up succeeding.
This
marvelous movie speaks to all of us who want to change the way the world works. As Ruby says, “What good is a hometown when
everyone you know is gone”. Aquarius
speaks to our need for community. And it
also speaks to the need to open up to the archetypal forces of Spirit. As Amarante explains to Herb, “People have
forgotten how to talk with angels, who have time to spare.” The
Milagro Beanfield War reminds us of the important things in life.
Mr. Redford is a well-known environmentalist,
a true Bard in the old sense—the storyteller and wisdom keeper of the tribe
that has a responsibility to comment on the welfare of his people. The Milagro
Beanfield War is Mr. Redford’s love-song to the Earth and to the beauty of
the human spirit. It’s a moveable feast of sensual delights,
feeding our ears, our eyes, our hearts and our spirits. I think this is his best film.
Wednesday, January 9, 2013
Emerging Archetypal Themes: Capricorn, Fathers and Fly Away Home
January is often a dark, depressing
month. It doesn’t have the anticipation
of December or the hope of February.
January is also when we’re deep in Capricorn’s territory. Just remember that the old sea goat enjoys
both the high snowy mountains and cold, dark depths of the ocean.
There are many themes associated
with Capricorn. The sign of Capricorn
symbolizes worldly power and our collective structures: government, finance,
law, education, the environment, corporations.
I thought about finding a movie that fit those themes, and the list is
extensive when it comes to Capricorn’s shadow side: “ambitious, materialist,
power hungry. . . . Calculating,
manipulative, quick to exploit any weakness…the epitome of slick, insidious
opportunism.” (Steven Forrest, The Inner
Sky, p.81) Network,
Wall Street, and Erin Brockovich are all find examples of Capricorn’s shadow. Or
just look at what’s going on in our society, especially since Pluto entered
Capricorn in late 2008, exposing the corruption in our social system. There are great documentaries made in the
past five years about the negative impacts of our social system, from food to
fracking to waste and water.
The deeper truth of Capricorn is
that it represents our inner freedom to act according to our own nature and
contribute that nature to our society.
In the East, it’s called Dharma.
“Dharma is to cultivate the
knowledge and practice of laws and principles that hold together the fabric of
reality, natural phenomena and personality of human beings in dynamic
interdependence and harmony. “ (Wikipedia)
When our inner life and our personal values shine through our public
life, we achieve Capricorn’s goal. Capricorn
is where our destiny shines.
But for us to accomplish our destiny,
we need good role models. And the most
important role models are our parents. So
I decided to look at another aspect of Capricorn we often neglect to mention. Just as Cancer symbolizes the Archetypal
Mother, Capricorn is the sign of the Archetypal Father. Just as the “archetypal Mother is the matrix—the form into which we pour our experiences,
the archetypal Father represents the
dynamism of the archetypal, for the archetype consists of both form and energy.”
(C.G. Jung, Archetypes of the Collective Unconscious, p. 101-102) Mother
and feminine consciousness comprise our being,
while Father and masculine
consciousness make up our doing.
Like the Tarot card of the Emperor,
the Father archetype stands for law, order, authority and the world beyond the
home. The Father stands for the rules of
our society, the structures that support our community. He is responsible for teaching his children
to respect and obey the rules of his society so that they can take their place
in the world. Under patriarchy, the
Father rules supreme. In many societies,
it’s his ‘way or the highway’. The rules
are what’s important, not the individual emotional body (the Mother, feminine
consciousness). At his best, the father serves as the bridge between home and
society, and the self and our life purpose.
Instead of telling his children
what they CAN’T do, a great father finds out what his child needs to do and
helps him/her to do it.
As fathers go, one of my film
favorites is Gregory Peck as Atticus Finch in To Kill a Mockingbird. There
is a sense of strength and morality that shines through his role. But the film that really expresses for me
what the great father can do to help his children is the film Fly Away Home.
Fly Away
Home
The 1996 movie, Fly
Away Home, is a gem of a movie. Jeff
Daniels and Anna Paquin play Tom and Amy Alden, an estranged father and
daughter who are reunited after many years when Amy’s mother dies in a car
crash. It’s a wonderful story about how
our kids teach their parents to grow up.
The movie begins in the rain.
Anna and her mother are driving home together in New Zealand, and we can
see how connected they are as they laugh and discuss their day. And then suddenly, the car is forced off the
road. Anna wakes up in the hospital with
her father by her side, come to take her back to Canada now that her mother has
died. Tom tells Amy, “I’ve come to take
you home.”
Neither Tom
nor Anna know what to do with each other.
Tom is an artist, a metal sculptor, and a bit of a rebel. He tells Amy ‘I’m
going to be busy. I have a lot of work
to catch up on.’ Her answer is, ‘ I’m
not a baby. You don’t have to hold my
hand.’ They are definitely prickly with
each other. Anna retreats into herself,
not wanting to be there at all.
Tom seems to be one of those men who never grew up, what Jung
would call a puer. He’s constantly trying to fly with his own
home-made wings. The first morning in
Canada, Amy wakes up and watches her father’s attempt to fly, which ends with
him crashing in the field. As Amy
watches, he slowly gets up and starts laughing like a lunatic, without any
thought for how Amy might feel seeing her only living relative crash and
perhaps die.
Jung spoke about the Puer aeternus, which is Latin for eternal boy. In Greek and Roman mythology, the term
designates a child-god who is forever young.
Psychologically, a man who is a puer
typically leads a provisional life, fearing to be caught in a situation where
he might not be able to escape, such as marriage or a regular job. He covets his
independence and freedom and tends to find any restriction intolerable. He chafes at boundaries and limits because
his emotional life has remained at an adolescent level. We would say he had a Peter Pan complex. He loves
to fly.
I think
Tom has a bit of the puer in him as
most of the baby boomers do who seem determined to act young until they die. But he makes a successful landing when his
daughter comes to live with him. He begins to grow up and take responsibility,
even though he doesn’t know how. He’s one of those self-centered artists,
living alone although his lover Susan comes and goes in his life. He later admits to Amy, when she asks him why
he rarely came to visit her, that he was afraid and angry for letting her mom
and her go, and besides, New Zealand is far away. He was an absent father because he couldn’t
find the father within himself. But now
with Amy living with him, things start to change.
As a puer, the idealist and rebel in Tom has
been focused on his concern for the environment. His love of the land is one of the things
that ties him down to Earth. There is a
developer who illegally tries to bulldoze some land near Tom. While Tom and Susan hurry off to a Town
Council meeting to protest the project, Amy wanders the land. She comes to where they’ve bulldozed the
trees and discovers an abandoned nest with eggs. She takes the eggs back to the barn in her
old ‘snuggly’ and hides them in a drawer, wrapped in her mother’s old scarfs
that she discovers in the barn along with her baby carrier. Unbeknownst to Amy, in saving the eggs, she
begins to reclaim her mom.
Soon all the eggs hatch, and Amy
discovers that she’s become mother to a flock of Canadian geese!
Geese
are interesting. They attach themselves to
the first moving thing they see. If the
mother or father goose is not there, they bond with whoever is. And so Amy becomes their surrogate mother.
Symbolically,
geese are found in a number of fairy tales, such as The Goose Girl and The Goose
That Laid the Golden Egg. There is something magical about them. They were sacred to the Roman goddess Juno,
goddess of marriage. Perhaps you
remember the Mother Goose Tales? Stories
and imagination seem to be part of their mythology. And their migration patterns gives them a
solar aspect (the golden egg), disappearing south in the autumn and returning
north in the spring.
Even
more interesting is the fact that in Celtic lore, the goose symbolizes
parenthood and the responsibilities of raising a family. Geese mate for life and both parents raise
their young. The geese perfectly
symbolize the lesson Tom is learning about being a father. It is by example that they teach their young
how to migrate south; it is by example that we teach our children to succeed.
As Amy
becomes more and more connected with her geese, Tom begins to take more of an
interest in Amy. And as Amy begins to
mother the geese, she influences Tom, her uncle David, Susan and even Tom’s
flying buddy, Barry. Her mothering
changes the whole feeling of the household.
You can see the love growing.
Here is
where Tom develops into a great dad. Realizing
that the geese won’t be able to migrate without their help, Tom and his friends
devise a plan to lead the geese south in a small plane they build. When Amy wants to keep the geese with her in
the barn all winter, Tom asks her if she thinks that’s fair for the geese. They were made to migrate and be free. And so he offers to lead them south. But when they keep following after Amy, Tom
realizes that she’s going to have to do it.
He respects her enough to give her the opportunity to spread her wings
and help these birds that she loves. He’ll
build two planes to fly with her as she leads her geese south.
Meanwhile,
the local animal officer, while speaking out on behalf of the wildlife in the
area that was bulldozed, is too ready to obey a set of rules that would
imprison the geese instead of setting them free. Just before Tom and Amy plan to lead the
geese to a bird sanctuary in North Carolina, he steals them from the farm. And so they steal them back and head out on
their journey.
As they
fly south, they are forced to land at an air force base, then fly over open
water and even through a foggy city. It
isn’t a surprise that the media picks up the story. People know they’re flying south and watch
for them to fly overhead. At the bird
sanctuary, people gather to await their arrival, while a developer also waits
to bulldoze the area if no birds make their home there by November 1. That’s one of the reasons for bringing the
flock south—to save the sanctuary. Just
before they get there, Tom’s plane goes down in a field and Amy has to fly the
geese there alone. When she tells him that she can’t find her way without him, Tom
says he knows she can do it. She’s
strong and brave like her mom.
So Amy and the geese arrive just at
sunset and save the sanctuary. Her geese
know how to migrate and they have a home.
And now so does she.
Fly Away Home is a beautiful movie about
how a father can help his child follow her vision and her bliss. As
more and more fathers take a bigger role in raising their children, I can only
hope that they remember that their job is not only to protect and provide for
their families, but also to guide their children as they make their way in the
world.
From the Bard’s Grove,
Cathy
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