 AUGUST, 2001 |
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SHREK
(2001, 87 minutes, PG)
You can't judge an ogre by his cover -- i.e., appearance, behavior, or reputation. You can't judge a princess by those criteria, either. Ogres, princesses, dragons, donkeys, and fairy tale creatures of all sorts and descriptions are more than they seem to be in this absolutely delightful and wonderfully inventive computer-animated film. One of the feature's producers, Aron Warner, said the goal of the production was "to tell a great story that's funny and charming and has a good message." Pacific Data Images, the film's animation studio, works magic with noted children's author William Steig's story about a big, green ogre named Shrek (voiced by Mike Myers) forced out of his quiet forest to rescue a princess who is to be the bride of the megalomaniac human king Lord Farquaad (voiced by John Lithgow).
While obviously having a hoot creating the characters and what they term "stylized reality," the animators don't forget the "good message" in the story. That message is as multilayered as the film -- or as ogres, who, according to Shrek, are "like onions" with layers of feelings and personality.
The film's inspirational message is that it is wrong to judge solely by appearances, because doing so frequently leads to false, hurtful judgments, prejudices, and discriminations. It is, of course, a theme explored in many fairy tales and movies, from that "tale as old as time," Beauty and the Beast, to Chocolat. In Shrek, the message comes through several characters.
First, there's the title character himself. Shrek is, after all, an ogre, and is what might be called appearance-challenged -- in a word, ugly. As an ogre, he has the reputation of acting like an ogre and being unpleasant and frightening. You might not think that such a being has conventional feelings, much less that he has fears and insecurities.
Getting to know Shrek, however, reveals that he is indeed a creature of onion-like layers. "There's a lot more to ogres than people think," Shrek says. He has a big heart to match his body, as well as a sensitive, kind nature; and he is lonely and hurt because of being falsely judged and discriminated against.
"The world seems to have a problem with me," he says sadly. "They judge me before they even know me. That's why I'm better off alone."
In an attempt to shield himself from people's preconceived notions of him and to protect himself from the resulting hurt, Shrek builds an emotional wall around himself to keep others out. His friend Donkey (voiced by Eddie Murphy) observes, "I think this whole wall thing is a way to keep something out," and Shrek agrees.
Shrek also develops a protective persona -- what Donkey calls Shrek's "I don't care what nobody thinks of me thing" -- that he shows to the world. However, Shrek does care what people think of him, and is, for example, deeply bothered that he is considered to be a "freak."
Second, Princess Fiona (voiced by Cameron Diaz) has some lessons to teach us about the dangers of judging by appearances and making assumptions about people. She appears to be the stereotypical beautiful, bossy, vain princess, only interested in finding "true love" that she equates strictly with meeting and kissing her handsome Prince Charming. There's more to this princess than meets the eye, however, and she has occasion to teach Shrek that even those discriminated against such as himself can get caught up in falsely judging by appearances. Shrek doesn't think he cares for the princess because she is beautiful (he would prefer someone who looks more like an ogre).
"Maybe you shouldn't judge people before you get to know them," the princess tells Shrek. Touche!
For her own part, Princess Fiona is a victim of others' preconceived notions of what a princess is supposed to look and be like; the stereotype conflicts with her true self, and her personal quest is the resolution of that conflict.
Third, there is Donkey. If judged solely by appearances, he may look like an ordinary donkey. If judged by his constant talking, he might seem like a mental lightweight. But look again. Out of the mouth of this donkey come some truly insightful observations.
For instance, Donkey cautions Shrek not to get too wrapped up in his layers theory (and thus miss the obvious) and gives him a gentle reminder about friends and forgiveness. "That's what friends do -- they forgive each other," he says.
Fourth, the dragon provides another lesson in the error of quick judgments. Sure, the dragon breathes fire and does its ferocious dragon thing, just as Shrek does his mean ogre thing, but even the dragon is more than it appears. Just ask Donkey, who has a special reason for knowing! The film also teaches that, while there is wisdom in knowing not always to judge strictly by appearances and outward behavior, sometimes the appearances and behavior are indicative of a person's true character. For example, Lord Farquaad's small body perfectly suggests his lack of admirable character, and his large head suggests his enormous ego. The important thing is to give the person the benefit of a doubt and to size up a person's total personality traits. Appearances sometimes can be valid indicators, but also, as Shrek reminds us, "Sometimes things are more than they appear."
ANGEL EYES
(2001, 104 minutes, R)
Literally, the "angel eyes" of the film refer to the caring eyes of Sharon, a Chicago policewoman (Jennifer Lopez) who befriends a mysterious loner who goes by the name of Catch (Jim Caviezel).
Figuratively, the "angel eyes" refer to the Spirit-charged positive perspective that is within our power to bring to even the most traumatic situations. All too often, of course, we tend to resist seeing with and through "angel eyes" and to dwell instead on dark, depressing memories and outlooks. In countless times too numerous for our own good, we accentuate the negative and forget the positive; we consider the glass half empty, rather than half full; we cast our gaze down instead of up.
Sharon can't let go of hurtful family memories. Her mother says, "You just think of the bad. You never remember the good." While Sharon herself thinks that she is moving beyond these memories and considers other members of the family stuck in them, she actually is acting out her internal hurt and rage through her very physical police work.
Catch too is haunted by painful memories, and his expressive eyes and lackluster demeanor suggest tragedy and loss.
The situations of both characters clearly show what happens when we let ourselves be engulfed in negative memories, or when we spend our lives trying to run away from or deny those memories -- but still in actuality letting them control us and keep us from discovering the magic of the present moment.
Sometimes, certainly, life presents experiences that grieve, scar and torment us, but we do ourselves and others a disservice when we fail to learn and grow from events. We also hinder growth when we fail to acknowledge that change is the nature of life, and that one of our main lessons seems to be to understand the value of change and learn to embrace changes as opportunities to discover new avenues of love. Sharon and Catch must face their memories and hurts, and become open to change and new opportunities in the present (including their own relationship). Each has the power to choose to see life with "angel eyes." Each has the power to choose to accept the past -- both all the good and all the bad -- and to put all memories and experiences in their proper perspective. By choosing to remember the good along with the bad, they can find more peace, balance, and fulfillment in the now.
And Sharon makes an important observation about the nature of experience and the tendency we have to put a label of either "good" or "bad" on any experience. She says, "It doesn't have to be perfect. It can be whatever it is."
The story, written by Gerald DiPego, also shows the value of individuals joining in love to heal their beliefs in being separated from their good. With Sharon and Catch, there's also a suggestion of a divinely-appointed connection. "I guess we were supposed to meet," Catch tells Sharon. The movie's title song, written by Tamara Walker, is beautifully apropos to the story: "Every heart wants redemption, and deep inside there's a connection that's waiting for a touch . . . it doesn't take too much to set your spirit free, if only you believe."
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