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ON FAITH & MEDIA View Comments

J. Edgar

By
Sr. Rose Pacatte, F.S.P.
Source: AmericanCatholic.org

Clint Eastwood’s latest directorial masterpiece is a biopic about J. Edgar Hoover (1895 - 1972) with Leonardo DiCaprio in the lead role.  Hoover directed the Federal Bureau of Investigation for 48 years and, according to the film, was a virtual demigod, a hybrid of a government servant who served his own ego above all.
 
The film shows aspects of American history few are probably familiar with such as the Palmer Raids carried out under the direction of Attorney General Alexander Palmer, “The Fighting Quaker” to qualm activities of anarchists, real (bombings did occur) or perceived, between 1919 and 1921. It was one of the first times the Justice Department acted against theoretical threats and ideas, something that Hoover would continue using illegal wiretaps and other means to protect the country as he thought was needed.
 
Hoover saw socialism and communism everywhere.
 
Much of the film is dedicated to the kidnapping of the 18-month old son of Charles (Josh Lucas) and Ann Morrow Lindberg and the scorn with which the New Jersey State Police treated Hoover’s belief in forensic science to solve crimes. If there is one thing that Hoover did that remains a huge civil and cultural influence today, it is in the area of forensics. There would be no CSI or legal programs without his groundbreaking work in forensics and centralizing the data.  Ideally, this kind of information could catch criminals as well as, hypothetically, clear the innocent. He also envisioned a national identity card, though even today, this idea is not acceptable to U.S. Citizens because of privacy issues. To Hoover, his vision of national security tempted the Constitution and all civil rights.
 
The film shows Hoovers close relationship with his secretary of more than fifty years, Helen Gandy (Naomi Watts). He trusted her above everyone as some say because they were both “married” to the Bureau. She destroyed many files upon his death and insisted none were official, though Hoover was known to have kept personal files on many people. He best friend and colleague was Clyde Tolson (Armie Hammer), with whom some think Hoover had a homosexual relationship. Tolson was Hoover’s deputy and they took vacations together; neither married. No one knows for sure what Hoover’s sexual orientation was, he was most certainly repressed, but the film seems to represent that his mother (Judy Dench) had a dominant influence on him in all ways and deterred him from a sexual relationship with a man. He lived with his mother until her death.
 
The story is told in a non-linear style, moving back and forth between the years, editing the young and aging the characters in an almost seamless fashion.  The film is surely going to be recognized for make-up and costume design.
 
DiCaprio is brilliant, as usual, and inhabits his character completely. Armie Hammer as Tolson often tries to reign in Hoovers zeal, and is a loyal yet vulnerable friend though Hoover’s fastidious pride almost never allows empathy. The script by Dustin Lance Black is complex and crisp.
 
Eastwood’s vision is interesting because he is commenting on American individualism taken to the extreme of almost unbridled power that neither elected or appointed government officials could regulate.
  Eastwood never strays far from the Western myth and the consequences of accepting it without question.


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Scholastica: Twins often share the same interests and ideas with an equal intensity. Therefore, it is no surprise that Scholastica and her twin brother, Benedict (July 11), established religious communities within a few miles from each other. 
<p>Born in 480 of wealthy parents, Scholastica and Benedict were brought up together until he left central Italy for Rome to continue his studies. </p><p>Little is known of Scholastica’s early life. She founded a religious community for women near Monte Cassino at Plombariola, five miles from where her brother governed a monastery. </p><p>The twins visited each other once a year in a farmhouse because Scholastica was not permitted inside the monastery. They spent these times discussing spiritual matters. </p><p>According to the <i>Dialogues of St. Gregory the Great</i>, the brother and sister spent their last day together in prayer and conversation. Scholastica sensed her death was close at hand and she begged Benedict to stay with her until the next day. </p><p>He refused her request because he did not want to spend a night outside the monastery, thus breaking his own Rule. Scholastica asked God to let her brother remain and a severe thunderstorm broke out, preventing Benedict and his monks from returning to the abbey. </p><p>Benedict cried out, “God forgive you, Sister. What have you done?” Scholastica replied, “I asked a favor of you and you refused. I asked it of God and he granted it.” </p><p>Brother and sister parted the next morning after their long discussion. Three days later, Benedict was praying in his monastery and saw the soul of his sister rising heavenward in the form of a white dove. Benedict then announced the death of his sister to the monks and later buried her in the tomb he had prepared for himself.</p> American Catholic Blog In all the sacraments, Christ gives to us the transforming power of his love, which we call “grace.” But in the Eucharist, and only in the Eucharist, Jesus gives us even more. He gives us his entire self—Body and Blood, Soul and Divinity. Of course, the proper response to a gift of this magnitude is gratitude.

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