Susan Peterson

2879 votes Writer - Terrence Malick Summary - A Hidden Life is a movie starring August Diehl, Valerie Pachner, and Maria Simon. The Austrian Franz Jägerstätter, a conscientious objector, refuses to fight for the Nazis in World War II average rating - 7,9 of 10

Everyone wants to imagine themselves the hero in a movie about heroes. Not everyone wants to consider what it would take to do what’s right when nobody may ever know ? when their actions will be hidden. A Hidden Life is not a hero’s story. Instead of battlefield valor or underground daring, the latest film from Terrence Malick ( The Tree of Life, Badlands, Days of Heaven) is a tale of something much more difficult to emulate: goodness and courage, without recognition. It’s about doing what’s right, even if it seems the results hurt more than they bring good to the world. It’s set during World War II, but our Austrian protagonist Franz Jägerstätter, based on a real-life conscientious objector, does not save Jews from Nazis or give rousing speeches. In the end, what he’s done counts for what seems like very little. A Hidden Life is Malick’s most overtly political film and one of his most religious, urgent and sometimes even uncomfortable because of what it says ? to everyone, but specifically to Christians in places where they’re the majority ? about the warp and weft of courage. It’s a film that seems particularly designed to lodge barbs in a comfortable audience during an era of rising white nationalism. Jägerstätter could have lived a peaceful life if he’d simply ignored what was happening in his homeland and been willing to bow the knee to the fatherland and its fascist leader, whose aim is to establish the supremacy of Franz’s own people. But though it will bring hardship to his family and the harshest of punishments to himself, he simply cannot join the cause. The question A Hidden Life then forces us to contemplate is an uncomfortable one: Does his life, and his death, even matter? A Hidden Life tells a story that might never have mattered If you haven’t heard of Jägerstätter (played by August Diehl), well, that’s sort of the point. He was not, by most measures, a remarkable man. An Austrian farmer in a small village, with a beloved wife Franziska (Valerie Pachner), several small, towheaded children, and aspirations for a quiet life, Franz wrote no books, made no films, led no movements. He was, in a word, ordinary. Jägerstätter did eventually become better recognized for his part in the war. In 1964, the American sociologist Gordon Zahn wrote his biography, titled In Solitary Witness. Thomas Merton included a chapter about him in his 1968 book Faith and Violence. An Austrian TV series told his story in 1971, and in 2007, Pope Benedict XVI declared him a martyr. He was beatified on October 26 of that year. But he is no household name for most people, and his life was profoundly unspectacular, save for the way he swam against the current. His pastoral life at home is interrupted by the rise of the Third Reich. Franz does his military service at a base, away from the war, without seeing combat, and soon is sent home to his happy family. But Hitler adulation is rising, and it creeps into their small village. Soon, people are greeting one another with “Heil Hitler. ” A quiet life. Iris Productions Franz has heard what is happening in war ? the exterminations, the persecution and slaughter of innocents ? and he becomes certain that his faith will not permit him to participate if called to active military service again. His conscience might have permitted him to serve in a hospital, but for one thing: All Austrian soldiers are required to swear an oath of loyalty to Hitler. And he refuses. It’s a true story, and a simple one, but couched in Malick’s signature style, it becomes something more lyrical and pastoral. The home that the Jägerstätters share is in a place that looks, quite literally, like paradise, all green and gray and sunshine. Even their hard labor on the farm takes on significance: This is good land, and what it produces is good, too. The life they live has importance, as part of the larger creation. When Franz realizes he cannot yield, though, he and his family become pariahs, spat upon and shunned by most of their neighbors. Love of their country means love of Hitler, and everyone around them, even Franz’s mother, is willing to accept this. Hitler, they say, only wants to help his country and his people, who were in degenerate shambles before he came to restore order. “He did what he had to do, ” an old man from the village proclaims in the town square. “He was not content to watch his nation in a state of collapse, ” he says, deriding the “foreigners” who turned their homeland into “Babylon. ” How could anyone object to that who truly loved his home? Much of the film’s nearly three-hour runtime is devoted to the couple’s wrestling with Franz’s conviction. You can see why. From the distance of history, it’s easy to imagine that we all would do what he did, that we would see evil for what it is and resist it. At the time, though, people accuse him of being conceited, of sticking to principle because he feels he’s above everyone else, of harming his family and his village needlessly. “Don’t you think you ought to consider the consequence of your actions for them? ” someone asks him. Even the ministers agree. Yet Jägerstätter stands firm. A Hidden Life is designed to discomfit the audience A Hidden Life is not, primarily, a valorization of the life of Franz Jägerstätter, who lived in private and died in obscurity when the Reich executed him in 1943. It is, instead, a surprisingly pointed indictment of the audience by Malick, who has no punches to pull. I happen to know this film has been in the works for many years. I had conversations about the project five or six years ago, when I worked at Christianity Today; that’s only worth saying because A Hidden Life feels as if it could have been written last year, a movie created in direct critique of our age, in which radical right-wing nationalist sentiment and white supremacy too often cloaks itself in the disguise of Christianity. Will your life matter if you die? Reiner Bajo/Iris Productions In this film, swearing allegiance to Hitler ? and, more importantly, to his nationalist ideals ? is frequently compared to bending the knee to the Antichrist. That’s not a small matter, but Malick (not normally known for his left hook) seems to have come out swinging. Franz’s faith is not showy, but he is horrified when he consults his village priest and he stops short of condemning the Third Reich. The bishop, too, glosses over the issue when Franz comes seeking counsel. “The priests call them heroes, even saints, ” Franz says of the way the clergy speak of those who engage in the Third Reich’s military atrocities. There’s no way this is an accident. A Hidden Life may have been in the works for years, and it tells a story from nearly eight decades ago, but it is the work of an American filmmaker who is watching the state of the world. When Franz resists his neighbors’ pleas to make nice with the government, there’s a purpose. When he says Christ’s example will not let him swear fealty with his mouth and believe something else in his mind and heart, he is doing something that would seem daring today in the churches of America or Europe, in those places where to be Christian is construed to mean supporting a xenophobia Christ never would have stood for. As a longtime observer of Malick’s work (though I’ve found his post- Tree of Life films lacking), I was startled to see just how biting A Hidden Life is, particularly toward any Christians, or others, who might prefer their entertainment to be sentimental and comfortable. In one scene I can’t get out of my mind, an artist painting images in the nearby church tells Franz, “I paint their comfortable Christ, with a halo on his head … Someday I’ll paint the true Christ. ” The implication is painfully clear ? that religious art prefers a Jesus who doesn’t accost one’s sensibilities, the figures who make us feel good about ourselves. We want, as the painter puts it, to look up at the pictures on the church’s ceiling and “imagine that if they lived in Christ’s time, they wouldn’t have done what the others did” ? in other words, if we had been around when Jesus was, we’d have known better than to execute him. When, of course, most of us most likely would have just gone along with the crowd. A Hidden Life revisits some of Malick’s most deeply seated themes It’s an especially interesting story for Malick to tell. The filmmaker is strongly influenced by his Christianity, but also by the philosopher Martin Heidegger. In 1969, Malick published the authoritative translation of Heidegger’s The Essence of Reasons, just as he was abandoning a doctorate at Harvard on Heidegger, Kierkegaard, and Wittgenstein. His films often hew closely to and examine ? in both narrative and form ? ideas about the essence of humanity and phenomenology advanced by Heidegger. (You can detect as much Heidegger as the Bible in The Tree of Life. ) But Heidegger, whose philosophy often feels unusually gentle and empathetic to the human condition, also famously joined the Nazi Party on May 1, 1933, shortly after being elected rector of the University of Freiburg (and about a decade before Jägerstätter’s execution), and he remained part of the party until the end of the war. For most people of goodwill who find Heidegger’s work valuable (and I include myself here), his apparently willing association with the Nazi Party is confounding and infuriating. How could a man who wrote those ideas apparently ignore what was happening around him? Or, worse, condone it? There are few answers, though people have been wrestling with them for decades. It is at least one lens through which to read Malick’s imagined scene between Jägerstätter and a Nazi Party official, in which Franz tells the official that he does not condemn anyone, assuming that some swore their allegiance to Hitler and find themselves in a position f

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Download Full Gizli Bir YaÅ?à vendre. Real 'Hidden Figures' Math Genius Katherine Johnson Dead at 101 2/24/2020 8:55 AM PT 8:52 AM PT -- Taraji just posted about Katherine's death, saying, "Thank you QUEEN for sharing your intelligence, poise, grace and beauty with the world! Because of your hard work little girls EVERYWHERE can dream as big as the MOON!!! " Waiting for your permission to load the Instagram Media. Katherine Johnson -- the mathematician portrayed by Taraji P. Henson in the Oscar-nominated film "Hidden Figures" -- has died. NASA announced the pioneering figure died Monday. It was her groundbreaking math work that helped calculate the trajectories for Alan Shepard 's history-making journey in space. She was also the one who gave the go-ahead for John Glenn 's mission into orbit. Johnson, who was initially rejected by NASA when she first applied, was tasked by Glenn to check the computer's work by redoing all the math done by a computer that had been programmed with the orbital equations that would control the trajectory of the capsule in Glenn's Friendship 7 mission. And, as part of the pre-flight checklist, Glenn asked engineers to "get the girl" to run the same numbers through the same equations that had been programmed into the computer... by hand. Glenn famously said, "If she says they're good then I'm ready to go. " The mission went on without a hitch. OSCARS "Hidden Figures" was released in 2016 to much acclaim. It earned an Academy Award nomination for Best Picture. Octavia Spencer was also nominated for Best Supporting Actress. Johnson was honored at the 2017 Oscars. Johnson, who retired in 1986 from NASA, authored or co-authored 26 research projects. She recalled her greatest contribution to space exploration the calculations that helped with Project Apollo's Lunar Lander -- the moon-orbiting Command Service Module. She was born on August 26, 1918, in White Sulphur Springs, West Virginia. She was famous before even her NASA days... she was one of 3 black students handpicked to integrate West Virginia's graduate school. Johnson graduated from West Virginia State College in 1937... earning degrees in mathematics and French. Johnson arrived at NASA before it was known by those letters. She started at NACA (National Advisory Committee for Aeronautics) in 1953. It became NASA five years later. Getty In 2015 and at 97 years of age, President Barack Obama awarded Johnson the Presidential Medal of Freedom. She was 101. RIP Originally published -- 7:25 AM PT.
90% comments are related to game of thrones.? You are my queen dany. Since I've watched "To the Wonder" back in 2013, I've been deeply fascinated with the career of one Terrence Malick. He has now brought us the wonderful "A Hidden Life.

Based on real events; August Diehl (Inglourious Basterds) stars as Franz Jägerstätter, an Austrian farmer whose tranquil life with his family was fractured by him being drafted to fight for the Nazis in World War Two. We're taken on his journey as he must stand by his religious beliefs and moral opposition to them, and his family faces persecution from fellow neighbors of their tight-knit village. On that note, the Catholic beliefs of him and his wife are highlighted in a positive light in this story, which is perfectly welcome. The technical aspects of this movie are grade A+ the immersive cinematography, score and immaculate sound design. One can see this film having elements of a few of Malick's previous films; the rural landscapes of "Days of Heaven" the World War Two setting of "The Thin Red Line" and beautiful yet bittersweet family dynamics ( The Tree of Life. br> If you're not a fan of Terrence Malick, then this probably won't do much for you. If you are or have enjoyed any of his previous films, then definitely give this a shot. For my two cents, this is his best film since "The Tree of Life.

Grade- A.

Malick made his name in the ’70s with Badlands and Days of Heaven, films that established him as a master of poetic imagery and haunting stories. The work that A Hidden Life most reminded me of, though, was The Thin Red Line, his 1998 masterpiece about the subtle and violent horrors of war. That film is set during World War II in the Melanesian islands of the South Pacific, another haven of natural beauty defiled by chaos and death. While it centers on American troops rather than the Austrian soldiers of A Hidden Life, it likewise emphasizes the loss of paradise both ideal and physical, and the visceral disorder that follows a catastrophic conflict. A Hidden Life goes a step further by implicitly tying Jägerstätter’s dilemma to the present day; the film begins with real-life footage of Nazis marching with torches, an uncomfortable and pointed echo of photos from the 2017 white-nationalist rally in Charlottesville, Virginia. Moments later, the film cuts to a secluded mountain town where, for Jägerstätter and his wife, Franziska (Valerie Pachner), that threat seems a world away. Malick’s gift for depicting raw emotion through camera movement and largely wordless montages?the couple farming, or dancing, or celebrating in the square with other townspeople?is in full force for the first act of the film, showing a giddy joy that will eventually give way to something crueler. Sure enough, signs of authoritarianism begin to show even before troops start marching through the town. The new mayor is a strident xenophobe, given to outbursts of nationalistic language that give Jägerstätter pause. Military planes begin to rattle the skies overhead. Clouds and fog appear across the hills and valleys; the cinematography, by Jörg Widmer, is staggering, translating the sight of a gathering storm into a symbol of God’s wrath. Though Jägerstätter is dragged into the army early in the war, he never sees combat, because of France’s quick surrender. When he’s conscripted again, he has to make a more principled choice: a rejection of Hitler that he knows could lead to his execution. At 174 minutes, A Hidden Life is Malick’s longest theatrical film yet. The extended running time seems intentional, contributing to the sense of entrapment that arises when Jägerstätter is imprisoned for refusing to swear allegiance to Hitler. Even as the plot turns totally static, this section of the film contains its most dramatic, effective sequences, in which Jägerstätter is dragged before authority figures?a priest, a bishop, a Nazi general?and forced to defend his beliefs. Malick can turn philosophical quandaries into tactile, engaging scenes, and these conversations are incredible, often racked with anguish as Jägerstätter realizes that even the men of God he admires are trying to talk him into compromise.
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Looks like this and 1917 are gonna be worth seeing. The soundtrack from that clip is wonderfully enchanting. The movie tells the moving story of a man sticking to his principles and beliefs until the most extreme consequences; his courage is absolutely remarkable. As much as I respect such an act of courage, this provides too thin a plot too sustain a nearly 3 hours movie. In fact we are offered very long, elegiac sequences of the Austrian mountains, scenes from the bucolic life of a community of peasants living in a small village on those mountains, beautiful shots which look more like fillers than a relevant part of the story.

But the main flaw of the movie for me, the one that created a big disconnect from minute one was to see the actors playing in English; in the context of such a poetic, hyper realistic type of movie, the least thing you would expect is to find Austrian peasants and Nazi soldiers speaking English. The effect was for me as if the actors were telling me: Ha-ah, we are not the real characters, we don't even speak their language; we are just actors playing them in a movie." I thought this was a gross mistake, one which put me off from the very beginning and prevented me from connecting with the story and its characters.

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About The Author: Lyn Bender
Bio: Psychologist. Into human rights and social justice. Free the refugees. It's a climate emergency. I'm with Greta