Sunday, January 23, 2011

Pearl Diver

           This film portrays Mennonites as a people separate from the rest of the world, but not removed from the world. It shows Mennonites engaged in the world’s issues, but attempting to resolve those issues in was that they see are truer to the Bible.  The conservative Mennonites in the film live simply, and emphasize community, gentleness, and faith. Dialogue and set are both used to show a simple, strong community. The Mennonites in the film use limited technology, and the film itself is not very high tech at all. This could be because of a lack of budget, but could also reflect the simplicity of the Mennonites. For example, no one is messing with their Blackberry or iPod on the film, and one of the sisters, Hannah, even chooses to use a typewriter over a computer for her work. These choices reflect some of the simplicity. On the other hand, many of the shots are not as edited or are of simple scenes, such as lush sunsets and tranquil farmland. These scenes may also reflect the choice of the filmmaker in how to gives feel to the movie.  
            The plot of Pearl Diver tells Mennonite stories of immigration, family, tragedy, and coping, as well as stories of cultivating land and community. The land seems to play are particularly important role in the film. King shows us how significant the countryside is to the people in the film through scenes mentioned above as well as through plot. Hannah, one of the sisters, spends quite a few scenes meandering around the corn fields with Isaac, a mentor figure to her. When Marian and John are selling the farm, it is seen as a tragedy. For this family, the land holds comfort (memories of their mother and family), work, and tradition. The land even ends up holding what saves them -- an extraordinarily expensive necklace that Isaac buried, but digs up, saving Marian and John from the move.
        King's film can show a secular audience how how important land is to the Mennonites, and can show a Mennonite audience some of their roots. Even Hannah, who had moved away from the farm and is considerable more modern than the rest of her family, finds solace and connection in the waving cornfields, soft grasses, still ponds, and rich earth.

2 comments:

  1. Kate, what are some of the other Mennonite stories in this film besides the Dirk Willems story?

    When does a portrait of a cultural group become a stereotype, and how do we tell?

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  2. You say that the film presents being a mennonite writer as a precarious position, but I think it goes further than that. It seems to suggest that family relationships should take precedence over self expression. While I would look like a bad person to argue that a story is more important than a person, I do find that conclusion troubling, because it leaves almost no space for art to exist.

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