Sign of the Times: Airbending Spiritual Peril

This afternoon our family went to see The Last Airbender. Critical reviews raged against the movie for its acting, story sequencing, avoidance of Asian actors (the story's cultural background is Asian), and the general disappointment it caused among fans of the cartoon. What all these "critical" reviews failed to take into account is that The Last Airbender is aimed at kids ages 10 and under. In this context the movie was a huge success. As soon as the film ended a little kid sitting behind us said, "That was so cool!" Both of our kids loved the film. We were able to enjoy the film, too, because we knew this was aimed at a younger audience (and the acting was commensurate with that aim). It didn't try to appeal to all age groups, but instead focused on what was developmentally appropriate for kids (not tweens, teens, or Airbender-cartoon purists). We enjoyed the film and had a lot of fun. If they make the two sequels that are planned we will probably see those, too.

Now, having said all that, there is something that Christian parents should be aware of when exposing their children to The Last Airbender: Eastern spirituality. The movie drove home a worldview where a spiritual realm was in constant contact with the physical realm. Okay so far. But this spiritual realm is said to be populated by numerous "spirits" that watch over mankind, help out, and direct nature. These spirits are depicted as friends of mankind who share their spiritual powers. In the movie they are depicted as a large dragon, as two fish representing Yin and Yang (and these govern the moon and water). The power of these spirits is depicted as natural and not to be feared. Rather, in this spirituality, we are encouraged to trust and be open to these spirits and their particular wisdom. Herein lies the danger.

What Eastern spirituality has observed is the true existence of the spiritual aspect of the Earth. What is more, they have observed the actual existence of numerous spirits. Up to this point this is consistent with Orthodox conceptions of creation. Yet the many spirits that inhabit the "spiritual plane" of the Earth are in fact not friends of mankind but demons, i.e. fallen angels. It is a well established fact that the angels that rebelled and were defeated were cast out of heaven and now abide on earth. These are the demons that have lured men into worshiping them as gods. These are the demons that possess men and women, who tempt and attack all mankind, especially those struggling on the path of virtue and Grace.

It is interesting that one spirit in the film is depicted as a fierce dragon, a serpent with a terrifying face, given the biblical references to the Devil as that ancient serpent, that dragon, who leads the whole world astray. Also of interest is when one character in the film disguises himself in a demon mask, and is feared to be a "blue spirit." These sorts of demon visages are accepted as a normal part of Eastern spiritual culture. Compare a typical demon mask with the visage of the Hindu idols, and with the accounts of demons given by holy Christian men and women in spiritual combat, and you will find a striking similarity. For a long, long time demons have been openly at work in Eastern societies, pretending to be mankind's friends and lords, but in fact have only managed to lead men and women further into spiritual bondage and slavery that leads to complete and everlasting condemnation.

One critical of the traditional Christian belief about the so-called friendly spirits of Eastern spirituality might forcefully point out that such spirituality preaches a philosophy of peace and harmony. This is but a ruse, to lead modern man into relaxing his guard. Once relaxed, and in ignorance of the mercy, love, and power of God for our salvation, modern man then finds enough "truth" in the philosophy of the East to seek more. Then the demons lead modern man into the appearance of a personal relationship with the benevolent forces of the spiritual realm. Then modern man finds himself imprisoned, taken over, and harmed beyond physical comprehension.

In the context of a movie for children parents ought to be aware of the subtle message of Eastern spirituality: the world is full of spiritual mystery and friendly spirit-beings that can help you find inner peace, help your life's struggles, and give you true power. In reply to this message I recommend a book that sheds much light on the terrible danger of that message: "The Gurus, the Young Man, and Elder Paisios." This book, dealing with Eastern Indian spirituality rather than Chinese spirituality (Shyamalan is Indian, btw), is the chronicle of a man who chose to give Eastern spirituality and Orthodox Christian spirituality equal opportunity, and nearly lost his soul. Another book that should be read in conjunction with the first (and in consultation with a dependable Orthodox friend or priest) is Fr. Seraphim Rose's "The Soul After Death," which gives careful and detailed explanation about the spiritual dimension of creation.

Do I think The Last Airbender ought to be avoided? No. It was a fun movie. I simply think that parents should be aware of the danger that is creeping more and more into our culture, especially when it appears in forms that are appealing to children. We live in a world that is marching forcefully away from Christ and toward whatever else it can put in His place. Atheism is one threat, Oprah Winfrey's celebration of all faiths is another, but making friends with mysterious Eastern spirits and spiritualities is a yet another threat just as real and maybe far more destructive.

Film Review: Hana and Alice

I mostly post on theological topics, but I do have other interests - really!. One is things Japanese. I am interested in Japanese culture, language, and film.

Recently I viewed a 2004 movie called Hana and Alice by director and writer Shunji Iwai. On the surface this film seems quirky: Hana, a teenage girl, schemes to trick a boy she secretly likes into thinking he has amnesia. While following him around Hana observes him colliding with a door and stumbling to the ground unconscious. When he awakens there is a girl he doesn't know - Hana - crouched over him in concern. She immediately takes advantage of the situation, insisting that they are in a relationship together, and that he has forgotten how he professed his love for her. As the tale unfolds she brings her best friend, Alice, into the plot as the boy's ex-girlfriend, whom he also has supposedly forgotten all about. As the facade progresses, though, the boy begins to fall for Alice, which provides a challenge to the girls' friendship, not to mention the confused boy. While initially off-beat, the story grows beyond its simple hook to tell of the personal challenges of two teenage girls grappling with their need to be loved, and one teenage boy who must decide if he will engage his own life and relationships or not.

The Story

The director begins by establishing the tight friendship between Hana and Alice, and at the same time Hana's infatuation with an exceedingly dull and bookish young boy who just happens to be named Miyomoto Musashi. The first third of the film focuses on Hana and her efforts to convince Miyomoto that he has forgotten all about his professed love for her - which he never professed, of course. I've seen picnic tables with more personality than this Miyomoto boy, but throughout the movie it becomes clear that this dullness is both intentional and integral to the character.

Once I was convinced that this film was solely an exhibit of quirkiness, the story shifts. The director, Iwai-san, chose to focus on each girl seperately, bringing their two stories together in the end. He spends time with each girl's story, rather than the quick back and forth sequencing between the two that happens in American cinema. Eventually it became clear that this film is not so much about a shy girl's scheming as it was a character study of three people: Hana, who tries to gain love through control and manipulation; Alice, who seems like someone who has everything going for her, but in truth has no one in her life who shows her love; and Miyomoto, who does not participate personally in his relationships, but sits passively by as other people lead him by the nose.

I enjoyed Hana's character development, which really doesn't come to a head until the end of the film. Throughout the film she continues to dig herself deeper and deeper, spinning more and more webs to convince Miyomoto that they have a real relationship. Of course in the end he figures out the lie and Hana is faced with the very thing she hoped to avoid by manipulating poor Miyomoto in the first place: the possibility of rejection.

Alice's story didn't come into play until later in the movie, but it is equally as strong as Hana's if not more. Alice is a pretty girl who "gets discovered" by a talent agency while walking on the street. As she tries out at auditions, though, she clearly lacks confidence in herself. As her story unfolds the viewer finds that her parents keep themselves emotionally at distance from Alice. Though her actions on screen seem to scream, "I love you, so please love me!" her parents each are too preoccupied with themselves to do anything more than go through the motions with her. When Alice joins in Hana's scheme as Miyomoto's supposed ex-girlfriend, she easily falls into the the role, making up things for him to "remember," weaving a very convincing tale that catches up both of them in feelings for each other.

Miyomoto's character development, like Hana's, comes to fruition at the end of the film, when he confronts Hana about her deception (having inadvertantly confirmed his doubts from a mistake in one of Alice's "memories"). Finally taking control over his life and feelings he must decide what to do about Hana and Alice. Having made his decision for or against each of the girls at the end of the film, what follows his decisions is left open, because the choice belongs to Miyomoto, as it should have from the beginning.

Further Comments

The director, Shunji Iwai, does a wonderful job creating his own story world and drawing the viewer into it. Not only does he direct and write the story, but he is the producer and the author of the music, too. It was originally shot as a series of short films, but was later changed into a full-length film. The acting is well done, too, with Yû Aoi (Alice) winning the Japanese Professional Movie Award for best actress. It is set in modern-day Japan. The film is in Japanese with English subtitles, which helps certain uniquely Japanese mannerisms and vocal expressions shine forth. At one point Hana begs Alice's pardon, using a characteristicly Japanese form of apology involving a deep bow, folded hands with arms extended before the lowered head, and the shortened plea of "Gomen!" In another scene two models mock Alice by pulling down on their lower eyelid and sticking out their tongues. This is the sort of stuff I enjoy seeing as one interested in things Japanese. The movie is a pleasant example of modern Japan as experienced by teenagers. I enjoyed the dynamic of entering high school, Japanese diet, and much of the nuances that belong to Japanese society as they showed forth in Iwai-san's film. It's a nice change from samurai flicks and Japanese classics I usually watch.