Monday, May 20, 2019

Daffodils film review: crafting a Kiwi lectionary

Monthly I write a film review for Touchstone (the New Zealand Methodist magazine). Stretching back to 2005, some 140 plus films later, here is the review for May 2019.

Daffodils
A film review by Rev Dr Steve Taylor

Daffodils packs an emotional punch, a Kiwi soundtrack in which the songs actually silence the words that sustain relationships. Daffodils began life as a play, created by Rochelle Bright in 2015. Returning from New York because she wanted to tell New Zealand stories, she starts close to home with the tale of her own parents falling in, then out, of love.

The plot is artfully constructed. Kiwi songs – Bic Runga’s Drive, the Mutton Birds’s Anchor Me, Dave Dobbyn’s Language and Crowded House’s Fall At Your Feet – are like pearls, each sung by Maisie (played by Kimbra) and her band in front of adoring fans. As Maisie polishes these well-known Kiwi pearls, her estranged father Eric (played by George Mason), dies alone in a hospital bed.

2019 is a year for movie musicals. Daffodils shows New Zealand can foot it with the likes of Bohemian Rhapsody and A Star is Born. Songs carry emotion and narrate life.

Individual pearls shine brighter when strung together. Continuity comes in Daffodils with the story of Eric, meeting Rose beside the daffodils in Hamilton Gardens. We watch them fall in love, get married and have children. Yet as they mature, they can’t shake the immaturity of the lies they let themselves believe about each other’s lives.

One way to understand Daffodils is to turn academic. Tom Beaudoin, musician and theologian, touts contemporary popular culture as the amniotic fluid in which young adults become familiar with themselves (Virtual Faith : The Irreverent Spiritual Quest of Generation X, 1998). We love, laugh and lament to the songs that define our generation. It makes sense of the story of growing up in Christchurch told by local lad, Roger Shepherdson. In Love With These Times (2016) is the story of the birth of Flying Nun Records and the creation of a distinctly New Zealand songbook, songs that define an era and thus a generation.

What is significant for church readers is that the Daffodils’ songbook comes devoid of religious hymns. The tunes from bygone Britain no longer evoke memory or stir emotion. Rose and Eric get married in a church. But when relationships get rocky, the hymns of the wedding and the rote learned vows have no reconciling power.

Yet neither do the Kiwi pearls. This is the ironic sadness of Daffodils. Kiwis might have a unique pop culture soundtrack, but the songs as sung actually silence the language needed to sustain relationships.

For preachers wanting to connect with a Kiwi culture, why not ditch the hymns. Instead take the songs from Daffodils and link them with a Gospel story:

• Bic Runga’s Drive with Mary’s haste to connect with Elizabeth in Luke 1:39-45;
• Dave Dobbyn’s Language in conversation with Jesus Heals a Deaf and Mute Man in Mark 7:31–37;
• Crowded House’s Fall At Your Feet in harmony with the events of the Garden of Gethsemane in Matthew 26:36-46;
• The Mutton Birds Anchor Me as a tune alongside Jesus’ reinstating of Peter in John 21:15-19.

In each of these Gospel stories people are living with and in silence. Yet through Divine encounter there are ways to face the lies they’ve let themselves believe.

Posted by steve at 09:01 AM

No Comments

No comments yet.

RSS feed for comments on this post.

Sorry, the comment form is closed at this time.