The first gulp from the glass of natural sciences will turn you into an atheist;
but at the bottom of the glass, God is waiting for you.
–Werner Heisenberg (“creator of quantum mechanics”)
–Werner Heisenberg (“creator of quantum mechanics”)
A feverish look shines from the eyes of a young woman as three men in cloaks of fine linen march her into the village square. Her skin is the color of olives; her long, dark hair is not plaited. She wears a plain robe woven from wool and on her feet sandals of leather. Derisive catcalls and cries of “Adulterer!” “Harlot!” greet her from the gauntlet through which she is pushed and prodded. The white disk of the noonday sun allows no forgiving shadows.
The local Inquisitors are using the young woman as bait, setting a trap to ensnare an itinerant rabbi from far-off Nazareth, who teaches in parables and dares to question their authority. They confront him as he stands near the well, observing the trial about to begin. The laws of Moses command that adulterers be stoned, they taunt him, what say you about this one?
Jesus knows his foes well, these thin-lipped dogmatists of the letter of the law. In all their studies of the prophets, they have forgotten nothing and learned nothing. He has foiled their stratagems before, and he regards them with an expressionless scorn. The crowd impatiently awaits his reply. Stones in hand, they have their work to do. Jesus does not speak immediately. Looking over the crowd, he says in a voice that carries to the far side of the square:
“He that is without sin among you, let him cast a stone at her.”
Jesus fixes a steady gaze on the Inquisitors, as their smirk of arrogance fades. Those among the crowd who a minute ago were crying for the woman’s blood now have silent tongues. The faintest of breezes rustles the leaves on the sycamore trees. Somewhere in the distance, a child cries. The Pharisees are reduced to shuffling away in silence; not a word of response have they spoken. They are convicted by their own consciences. The crowd disperses, pondering Jesus’ words. “What does it mean?” a voice asks. No one has a ready answer.
The young woman alone remains with Jesus. She stands silently, in a daze. The cold sweat trickles down her back. I do not condemn you, Jesus says, and she feels the strength returning to her legs. She begins to weep, as relief flows through her like a river. But Jesus is not one for situational ethics. He places a hand on her shoulder and says, “Go, and sin no more.” Before leaving, the woman gets a cool cup of water from the well and offers it to Jesus. He smiles, but with sadness in his eyes, and thanks her.
For one sun bleached afternoon, the law tempered with mercy is redeemed from the ones with bloodless lips who would see it etched into stone. Jesus has spared a woman who broke one of Moses’ laws; in so doing, he has invited the wrath of the patriarchs. Jesus knows that soon they will have their day.
“The hope symbolized by light from the heavens is that renewal awaits us, if only we remain open to the mystery and take the opportunity to appreciate the wisdom abiding in the spiritual.”
The arts offered a space where we could pause for reflection, and perhaps glimpse a faint glow from over the horizon, amidst the malaise weighing on 1970s America. That most innovative of film makers, Steven Spielberg, slipped the bonds of science fiction’s conventions in a visionary movie. He portrayed an alien spaceship with a spiritual aura, like those Renaissance religious paintings where the radiance from above promises a hopeful future and a chance of renewal.
When the 1977 film Close Encounters opens, a luminous space ship dazzles airline pilots by its unearthly maneuvers, while air traffic controllers in the American heartland try to make sense of what they see on their screens. Unable to reconcile what they are witnessing with their familiar experience, they dismiss the extraordinary, rather than seeking its meaning. As the story unfolds, an aged Mexican villager with a beatific smile tells scientists that the sun came out at night and sang to him, as a Madonna might to her child. When the scene shifts back to Indiana, the specter reappears, and Spielberg sends a curious, not fearful, child chasing an elusive orange vapor into the prairie night. What is hidden from the wise and learned is sometimes revealed to children. As Spielberg later explained, “Close Encounters is all about children opening doors to beautiful sources of light.” It is difficult to imagine a more numinous response to the angst then afflicting America.
In Close Encounters, the viewer is from the opening drawn into a world of light, music, and wonder, which captivates the senses more than the intellect. Instead of intrepid explorers, we meet ordinary people, tentative in their search for the strangers. They are warm and approachable, unlike the steely glint of heroism. The viewer can identify with their uncertainty in the face of the astonishing. Close Encounters shares Hamlet’s response to the dreams and phantoms of other worlds: as strangers, give them welcome.
As the story begins, a utility company repairman, Roy Neary (Richard Dreyfuss), heads out in his truck when the spaceship’s over flight turns out the lights and plunges Muncie, Indiana into an eerie darkness. He gets lost in the outer burbs, but the aliens seem to find him, and he looks up to a dazzling white glare before the ship glides off into the night sky. Although rattled, Neary listens to the cacophony of voices on his CB radio so he can track the ship’s path, and pursue it. Throughout the movie, this Everyman follows his inner voice, strange and compulsive though it may be, to search for the unknowable. Does obsession lurk in the shadows of the deepest religious experience? Implicit in the movie is this ambivalence.
Although the events in the film unfold as seen by the Everyman character, we have to focus elsewhere to approach the essence of the film. A marvelous work of art, or an idyllic scene in nature, when truly taken in by the viewer, can inspire a sense of awe, but a more profound appreciation flows from knowledge. Similarly, a childlike wonder may inspire a quest for the mysterious light, and Neary’s obsession may pursue it, but only an enlightened guide can enrich the numinous experience.
In Close Encounters, the awareness is provided by a scientist, Claude Lacombe–although what variety of scientist remains nebulous. The actor is an icon of French New Wave cinema, Francois Truffaut, who had expanded the frontiers of film creativity in the 1960s. As the refrain in the movie goes, this means something.
Lacombe’s point of view gives permission to the viewer to reflect on the mystical light. “The light shineth in darkness, and the darkness comprehended it not.” Through Lacombe’s perspective, we are invited to wonder and perhaps to begin to understand; what the radiance might represent is left to us. Given the increasingly materialist and secular outlook that was emerging in the 1970s, and since then has become increasingly dominant, this signifies a counter vision.
Consider that Lacombe is not an American pragmatist, but a French intellectual with a philosophical hue. He is drawn to the mystery, and his métier is the illuminating question. Yet, he is neither conducting an investigation nor solving a problem–that is the province of the technician. Lacombe might well agree with Einstein that scientific thinking involves a free play with concepts. He has the brilliant intuition to use several musical tones as the language to reach out to the aliens, relying on child’s play in the most fateful of communications. Recall the Mexican villager’s description of the ship: the sun that sang. Where a film involving space travel might well focus on the technology, the crucial tool in Close Encounters is simple music, and the goal is communication with strangers.
The scientist has set out on a quest—as have the child, Neary’s everyman, and, through identifying with the film’s characters, the audience. Each has taken a risk, even if it is only the hazard of unsettling their comfortable thinking, in hope of being renewed.
Lacombe’s philosophy accepts the possibility that there are things in heaven and earth that dwell beyond the realm of facts. He is like Einstein, who once said that he developed his relativity theory because he was still able to ask childlike questions about space and time. Lacombe has retained the child’s sense of wonder, yet he has cultivated the detachment necessary for insight into the shining enigma. William Blake wrote that the child’s toys and the old man’s reasons are but the fruits of the two seasons. Close Encounters’ script mirrors this: Lacombe is the adult companion to the Indiana boy who opens the door to the beautiful light. Not by force of logical argument, but through being open to creativity and inspiration, he calmly persuades his colleagues of the potential inherent in reaching out to the visitors. Lacombe is a prophet without self-righteousness.
With the majestic arrival of the mother ship at Devil’s Tower, a light from above shining in the darkness, time seems to be suspended, and the spiritual quest of Close Encounters reaches its apotheosis. We are by now alerted to the interplay of light and music that bounces back and forth between the ship and human technology. Emerging at last, the aliens appear, bathed in a diffuse white light. Neary and other explorers ascend into the ship, but the viewer does not follow them into the inner sanctum. What waits beyond the pale is left to the imagination, as each individual’s spiritual vision is her own. We no longer look through a glass darkly, but we are not yet seeing face to face. In Close Encounters, there is enlightenment, but no revelation—no definitive answers, only intimations. The hope symbolized by the light from the heavens is that renewal awaits us, if only we remain open to the mystery and take the opportunity to appreciate the wisdom abiding in the spiritual.
© Tom Schultz, 2017. Unauthorized use and/or duplication of this material without express consent from this blog’s author is prohibited.
I guess there’s a reason that people have been turning to Proverbs in search of wisdom for 3,000 years. Of course, it’s one thing to read this–even believe it–and a much more difficult task to live it. Difficult, but profoundly rewarding.
A timely reminder that the light can pervade the most trying of times, as in the past few days in the United States.
Photo Challenge: Look Up
Last night, I went to see the Detroit Symphony Orchestra play one of my favorite pieces, Beethoven’s 6th, or Pastorale. The Michigan climate did not mirror the music–the April evening was more like February, complete with snow and blustery winds. The music, by contrast, brought a warm glow to the hall. The sublime melodies of Beethoven not only foretold spring and summer days to come, but gave voice, if only briefly, to that spark of Divinity we can touch if we are open to it.
Reminiscence of an early summer day at Iargo Springs, a season when hope seems eternal. The silver waters flow into the Au Sable River in northern Michigan, and then into the Great Lakes, eventually joining the waters of the Atlantic.
Photo Challenge: Optimistic