“City of stars, are you shining just for me?
City of stars, there’s so much that I can’t see.
Who knows? I felt it from the first embrace I
shared with you
That now, our dreams - they’ve finally come true.”
La La
Land (2016)
Remember La La Land?1 Oddly,
although it absolutely cleaned up at the 2016 Oscars and seemingly everyone
spent a couple of months raving about how amazing it was, I get the impression
that it dropped off the radar at a near-vertical gradient subsequent to that.
Indeed, I’ve barely heard anyone mention it since, except when I went to an
evening screening of it at one of those big Christian holiday event
thingbobbies this spring just gone.2 When my older sister and I
arrived back at our accommodation afterwards, our flatmates of course made
polite enquiries as to whether we’d enjoyed the film.3 We looked at
each other with furrowed brows. Like, it wasn’t terrible, but was it really
worth all those Oscars? was the gist of our response. Then I added something to
the effect that I felt I needed longer to ponder in order to decide whether I
liked it; I hadn’t yet acquired a satisfactory sense of what I thought it was
trying to do. What was the point it was making? What were the ideas it
wanted me to buy into?
As a bit of a side note, I have come to realise
that not everyone agrees with me that all films (and books and video games and
every other kind of fiction) are trying to get their viewers (or readers or
players or whatever) to buy into one particular set of ideas or another. But I
for my part don’t believe it’s possible to tell a story in a way that doesn’t
advocate certain notions about the nature and purpose of life, the universe,
and everything, over against other ones. Consequently, I’d much rather be able
to discern something of what the director or writer or creator wants me to buy
into, and so to decide from an informed perspective the extent to which I
actually want to buy into that, than to not be able to, and so render myself
susceptible to starting to buy into it without particularly noticing or
thinking through the relevant rationale. I don’t mean that there’s inevitably
some ruthless agenda lurking behind every tiny element of a piece of
storytelling, and that I take it upon myself to expose the conspiracies; I’m
just trying, as ever, to watch watchfully.4 And to that principle, La
La Land presented something of a challenge. It was a disorientating film.
It defied my attempts to map and delineate it. It constantly confounded my
expectations even as I readjusted them.
Still, a good deal of time and thought later, I
think I might have grasped the thrust of it. I think disorientating the viewer
and confounding her expectations is precisely what it’s designed to do:
specifically, it deliberately falls short of every Hollywood trope it can get
its hands on. In a market saturated with the same old rosy-glowing story -
though beset by evil opposing forces, our heroes ultimately overcome every
obstacle until everything they ever dreamed of, including each other, is theirs
- it punches real-life disappointment through that shining bubble. The really
key place I think this comes across - spoilers ahead - is during that
dream-sequency bit right before the end of the film, that takes place while Mia
and her husband watch Sebastian perform a piano piece in his jazz club.5
The dream sequence represents what was supposed to happen. When Mia
first went to compliment Sebastian on his playing, he was supposed to stop and
chat, instead of barging past her in a huff. When Mia took a gamble by staging
her one-woman play at her personal expense, it was supposed to enjoy a full
house and a standing ovation, instead of sparse applause from an even sparser
audience. When the story ended, Mia and Sebastian were supposed to have stayed
together despite everything stacked against them, instead of having broken up
for the dull, pragmatic reason of allowing each to pursue his or her own
career. I know, because every time, what really happened caught me by surprise,
whereas the dream-sequence version felt, you know, right.
La La Land denounces La La Land as a mere la la land, if you catch my drift: it
denounces Hollywood and everything Hollywood normally wants us to buy into as
mere fantasy. In a properly delicious bit of generic playfulness, it’s a
Hollywood musical, made in something close to the traditional style, that
dedicates itself to dismantling everything Hollywood musicals have
traditionally represented. In real life, the story doesn't tend to go the way
you’d think it was supposed to if your life were a Hollywood musical. Sometimes
you get a lucky break, sometimes you don’t, and that doesn’t come in a nice
predictable story arc. Sometimes pouring your heart and soul into a project
isn’t enough to persuade other people to believe in it. Often the paths
available to you aren’t as clear cut as chasing your dream at any cost versus
outright abandoning it. Often it turns out that you can only have some of the
elements of the perfect happy ending you’d imagine for yourself.
The very neither-here-nor-there-ness of this set of
ideas made it harder than usual to pin down as the fundamental point of the
film. And, to move us into this week’s scriptural content, I think a similar
thing is going on in the book of Qohelet, or Ecclesiastes.6 You read
it and think, hang on, what are the ideas this wants me to buy into? If you’re
looking at the epistle to the Romans or something, the argument is all nicely
laid out in logical order, but Qohelet seems to chase dead ends and contradict
itself and come out with some weird stuff that doesn’t feel as if it really
belongs in a library dedicated to the glory of God, any more than an ending
where the key couple aren’t together belongs in a Hollywood musical. It
disorientates the reader and confounds her expectations, and you know what? I
think that’s precisely what it’s designed to do. Very much like La La Land,
the structure of the thing is a key part of how it makes the point that
sometimes things don’t turn out the way you think they’re supposed to.
It’s good to be wise, says Qohelet. Things work out
well for people who behave wisely. And we go, great, yes, that makes sense. But
then he adds, mind you, the wise person and the fool both end up dead, just the
same as one another; and you can be as wise as you like and still be forgotten
after your time; and fools often seem to end up powerful, and it only takes a
little foolishness to bring all the benefits of your wisdom crashing down; and
anyway, nobody’s really wise, because nobody knows the future, and so we can
all be caught unawares and left floundering by unexpected turns of events; and
it’s impossible for anyone to really understand the world and how it works. All
right, we frown, so wisdom is actually useless, then. And he replies, well, no,
it’s still definitely a lot better than folly. And while we’re busy scratching
our heads over that, he continues: it’s good to be righteous. Things work out
well for people who fear God and do what’s right. And we go, great, yes, that
definitely makes sense. But then he adds, mind you, the righteous person and
the wicked both end up dead, just the same as one another…7
If you try to catch hold of one thread of thought
in the book of Qohelet and follow it along, you end up tied in knots - and
that’s really the whole point. The book is about the nature of life, the
universe, and everything, and its conclusion is that life is disorientating and
confounds our expectations. It makes you think it’s going to go one way, and
then turns around and does something else instead.
This is actually all stupendously comforting,
because it means that when we look at life, the universe, and everything, and
see exactly the disorientating mess that Qohelet did, that’s not because we’re
lacking the wisdom to discern a nice, neat story arc hidden somewhere under the
chaos. Qohelet is most readily identified as Solomon,8 literally the
wisest person ever if we don’t count Jesus, and yet his conclusion about life
is that it’s impossible to truly make head or tail of it. We should be
expecting that things won’t turn out the way we think they’re supposed to.
But the really good news is that the reason life
seems like such a disorientating mess is because we can’t make head or
tail of it, in that we can’t see the big picture. We can’t grasp the totality
of the ginormous, impossibly elaborate story that God is telling through the
whole of human history. It confounds us because we’re too tiny to get how all
the individual elements of it work together. The way life disorientates us, then,
isn’t a cause for despair, but for rejoicing, that we have a God great and
mighty enough to purpose order out of all this seeming chaos.
La La Land is right that things often don’t work out the way we think they’re supposed to. But if we’re trusting a God whose wisdom to decide and power to ordain how the world works soar an infinity above ours, that fact need neither surprise us nor trouble us. The comfort of Ecclesiastes is that it doesn’t hold back in describing the chaos of life, the universe, and everything - and thereby it declares the full disorientating extent of it subject to the will and rule of almighty God.
Footnotes
1 If not,
here’s the opening scene to remind you: https://www.youtube.com/watch?v=xVVqlm8Fq3Y.
2 Namely
Word Alive, which takes place each spring at Pontins in Prestatyn: https://wordaliveevent.org/. It’s really
good, but it’s probably already all booked up for next year because that’s what
seems to happen, so my recommendation might be slightly pointless by now.
3 Another
thing we did with our Word Alive flatmates was play a lot of Ticket to Ride, a stupendously
fun board game first introduced to me by a dear friend maybe a month before
that: https://www.daysofwonder.com/tickettoride/en/usa.
4 This is
a principle I explored in ‘The Art of Watching Watchfully’, which you can find
under March 2017 in my blog archives if you’re mad enough to want to read more
of my ramblings today.
5 I can’t
find said scene on YouTube. Sorry.
6 Qohelet
(קֹהֶלֶת) is the Hebrew title, Ecclesiastes (Ἐκκλησιαστής) the Greek
translation of it: in both cases the book shares its title with the character
who provides most of the narration. Often this character is called the Teacher
in English; the Hebrew word occurs in no other book of the Bible, but it’s from
the root קהל (qhl) meaning to assemble, so the idea behind the English translation is that
this was someone who gathered a bunch of people to listen to what he had to
say. The Greek word for ‘assembly’ is ἐκκλησία (ekklēsía), which in the New Testament is used in the
specific sense of ‘church’ – so that’s why the title Ecclesiastes bears so strong
a resemblance to words like ‘ecclesiastical’, ‘ecclesiology’, French église,
and so forth.
7 The book circles round to
these ideas repeatedly, so I won’t link to a particular part of it; you’ll get
a better feel of what I’m getting at by giving the whole thing a skim: https://www.biblegateway.com/passage/?search=Ecclesiastes+1&version=ESVUK.
8 Qohelet 1:1 identifies the
author as ‘the son of David, king in Jerusalem’; verse 16 adds that he was
wiser than anyone in Jerusalem before him; 2:7 adds that he had greater
possessions than anyone in Jerusalem before him, and verse 9 of the same
chapter that he was himself greater; 12:9 adds that he taught the people and
wrote down collections of proverbs. Methinks ’tis Solomon.