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ON FAITH & MEDIA View Comments

And So It Goes

By
Kurt Jensen
Source: Catholic News Service


Scene from movie 'And So It Goes'
The indignities of romance in one's 60s entwine with a mortifyingly weak and implausible script for two aging actors in "And So It Goes" (Clarius).

Michael Douglas, who plays grumpy widower and real estate agent Oren, and Diane Keaton as lissome widow and aspiring singer Leah, are engaging as they go through their paces. It's just that director Rob Reiner and screenwriter Mark Andrus have nothing new to say about either the vicissitudes of aging or the need to connect with family members.

It's a mostly moral story told in the style of a "family" film, although so weakly, its intended audience isn't even clear. Adults won't mind it. Anyone under the age of 20 probably won't be interested.

In leafy Fairfield, Connecticut, Oren, whose wife died 10 years ago, has been trying to sell his mansion for $8.6 million, but has found no takers, in part because of his occasional racial insensitivity. He's staying in a small apartment building he owns, along with Leah, whose late-life singing career stalls because she bursts into tears whenever she mentions her dead husband and the love they shared.

Into this comes Oren's son, Kyle (Austin Lysy), with a granddaughter, Sarah (Sterling Jerins), that Oren didn't even know he had. Kyle fathered the girl, who's about to turn 10, back in his drug-addiction days. He's about to serve a jail term -- not for narcotics, but on a trumped-up charge related to his boss being investigated for insider trading.

Oren makes a single attempt to return Sarah to her junkie mother, an episode that seems tacked on. More troubling, Oren makes no attempt to get the woman into any kind of rehab program. Once her addiction is evident, he simply takes Sarah away.

Formula takes over after this. Sarah teaches her caustic granddad the importance of compassion. This, in turn, helps him come up with a way to set Leah's singing on a more lucrative path, and Oren and Leah both stumble into the perils of a physical relationship.

Ambling, philosophical stories about adult romances in pretty settings can be enjoyable. But here, the philosophy is reduced to wisecracks and the ambling obstructs reality. Fairfield, however, has never looked lovelier.

The film contains implied premarital sexual activity, a scene of childbirth, a few uses of profanity and fleeting crass language. The Catholic News Service classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents strongly cautioned. Some material may be inappropriate for children under 13.

*****
Kurt Jensen is a guest reviewer for Catholic News Service.



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Philip Neri: Philip Neri was a sign of contradiction, combining popularity with piety against the background of a corrupt Rome and a disinterested clergy, the whole post-Renaissance malaise. 
<p>At an early age, he abandoned the chance to become a businessman, moved to Rome from Florence and devoted his life and individuality to God. After three years of philosophy and theology studies, he gave up any thought of ordination. The next 13 years were spent in a vocation unusual at the time—that of a layperson actively engaged in prayer and the apostolate. </p><p>As the Council of Trent (1545-63) was reforming the Church on a doctrinal level, Philip’s appealing personality was winning him friends from all levels of society, from beggars to cardinals. He rapidly gathered around himself a group of laypersons won over by his audacious spirituality. Initially they met as an informal prayer and discussion group, and also served poor people in Rome. </p><p>At the urging of his confessor, he was ordained a priest and soon became an outstanding confessor, gifted with the knack of piercing the pretenses and illusions of others, though always in a charitable manner and often with a joke. He arranged talks, discussions and prayers for his penitents in a room above the church. He sometimes led “excursions” to other churches, often with music and a picnic on the way. </p><p>Some of his followers became priests and lived together in community. This was the beginning of the Oratory, the religious institute he founded. A feature of their life was a daily afternoon service of four informal talks, with vernacular hymns and prayers. Giovanni Palestrina was one of Philip’s followers, and composed music for the services. </p><p>The Oratory was finally approved after suffering through a period of accusations of being an assembly of heretics, where laypersons preached and sang vernacular hymns! (Cardinal Newman founded the first English-speaking house of the Oratory three centuries later.) </p><p>Philip’s advice was sought by many of the prominent figures of his day. He is one of the influential figures of the Counter-Reformation, mainly for converting to personal holiness many of the influential people within the Church itself. His characteristic virtues were humility and gaiety.</p> American Catholic Blog When we suffer, we don’t just come to understand the pain of Christ’s cross more, we come to understand the depth of God’s love for us: that he would endure such pain for us—in our place. We have a God who endured death so we would never have to do so.

The Gospel of John the Gospel of Relationship

 
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