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ON FAITH & MEDIA View Comments

The Road

By
John Mulderig
Source: Catholic News Service

The theological ambiguity underlying "The Road" (Dimension) is highlighted by a scene set in a ruined church.

As the two main characters in this moving but relentlessly grim post-apocalyptic drama take shelter in the abandoned sanctuary, alert viewers will note that, although its artwork is in shreds and its altar has been displaced, a cross-shaped window shines above the wayfarers with a light virtually absent from every other environment they—and we with them—have encountered.

That's about as much hope as this dystopian tale holds out in chronicling the desperate journey through a devastated America of a father, identified only as The Man (a mesmerizing Viggo Mortensen) and his son, called only The Boy (fine newcomer Kodi Smit-McPhee).

Traveling on foot along what's left of the interstate highway system, some years after the unspecified cataclysm that destroyed both the ecology and civilization, the pair encounter marauding cannibals, crafty thieves and a few shell-shocked survivors—most notably The Old Man (Robert Duvall), an aged, nearly blind prophet figure pondering the meaning or unmeaning of it all—on their way to what they hope will be a marginally better life along the coast.

Occupying the pitted no-man's-land between a Samuel Beckett play and "The Road Warrior," director John Hillcoat's adaptation of Cormac McCarthy's Pulitzer Prize-winning novel is a stark examination of one man's efforts to preserve, and pass on, humane values—to "carry the fire," as Joe Penhall's script terms it—a labor in which he is refreshed only by the instinctive goodness of his youthful companion.

Yet, in the excess of his love, the father indulges in a quasi-idolatrous exultation of the boy that, like the borderline-blasphemous sentiments expressed by other characters, would be completely unacceptable in a less extreme context.

The film contains complex moral and theological issues, grisly images, cannibalism and suicide themes, rear and brief partial nudity, a few uses of profanity and occasional rough and crude language. The USCCB Office for Film & Broadcasting classification is L—limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R—restricted. Under 17 requires accompanying parent or adult guardian.

******
John Mulderig is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.




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Jutta of Thuringia: Today's patroness of Prussia began her life amidst luxury and power but died the death of a simple servant of the poor.
<p>In truth, virtue and piety were always of prime importance to Jutta and her husband, both of noble rank. The two were set to make a pilgrimage together to the holy places in Jerusalem, but her husband died on the way. The newly widowed Jutta, after taking care to provide for her children, resolved to live in a manner utterly pleasing to God. She disposed of the costly clothes, jewels and furniture befitting one of her rank, and became a Secular Franciscan, taking on the simple garment of a religious.
</p><p>From that point her life was utterly devoted to others: caring for the sick, particularly lepers; tending to the poor, whom she visited in their hovels; helping the crippled and blind with whom she shared her own home. Many of the townspeople of Thuringia laughed at how the once-distinguished lady now spent all her time. But Jutta saw the face of God in the poor and felt honored to render whatever services she could.
</p><p>About the year 1260, not long before her death, Jutta lived near the non-Christians in eastern Germany. There she built a small hermitage and prayed unceasingly for their conversion. She has been venerated for centuries as the special patron of Prussia.</p> American Catholic Blog The confessional is not the dry-cleaner’s; it is an encounter with Jesus, with that Jesus who is waiting for us, who is waiting for us as we are.

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