She Lost Millions and Found Her True Calling: Amy Shippy
Broken and shattered. These are familiar emotions after a crucible — especially one that forces you to start over after losing a multi-million-dollar business.
But start over is exactly what our guest this, week, Amy Shippy did — and continues to do. She’s started four new businesses, including the one she says is her true calling to a life of significance — Lady Biz Wiz — where she helps female entrepreneurs tackle the unique challenges professional women face.
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Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible.
Amy Shippy:
When we lost our furniture business during the recession in 2012, I guess is when we ended up losing the business, we had held on for quite a while, hoping the recession was going to end, and it didn't. I remember at that point being very angry. I was angry it had failed. We were very successful. We had three children when it failed, versus when we started, we had none. We were dating. And I remember being very angry and I remember just feeling broken. I felt so utterly shattered.
Gary Schneeberger:
Broken and shattered...familiar emotions after a crucible, especially one that forces you to start over after losing a multi-million dollar business. But start over is exactly what our guest this week, Amy Shippy, did and continues to do. She started four new businesses, including the one she says in her true calling to a life of significance, Lady BizWiz, where she helps female entrepeneurs tackel the unique challenges professional women face.
Warwick Fairfax:
So, Amy, it's so wonderful to have you on the podcast. I love learning a bit about you and all of the things you've got going on. You've got the Lady BizWiz coaching, mentoring, consulting businesses, as well as a book that you wrote, The Lady Biz Quick Launch Guidebook: Taking Your Business from Concept to Market. Great idea. But you also are an entrepreneur, so you've got several businesses, which we'll get into. Lottiebelle's, Blue Poppy Designs, and Marche de Macarons, something?
Amy Shippy:
Perfect, yes.
Warwick Fairfax:
I did do a bit of French-
Amy Shippy:
You passed.
Warwick Fairfax:
... many moons ago in high school.
Which is wonderful, but before we get to that, I'd love to hear a bit about the backstory because you've been an entrepreneur probably your whole life. I think I read somewhere you grew up in Hilton Head but live in Savannah, so talk a bit about growing up. And were there seeds of that entrepreneurial spirit as you were growing up that led to who you are?
Amy Shippy:
Yeah, so I have been an entrepreneur my entire life. I grew up with entrepreneur parents and entrepreneur grandparents, so I would say that I'm a third-generation entrepreneur. I remember talking to my mom when I was about 12 years old to help me get together a lemonade stand that I could sell lemonade on the golf course in Palmetto Dunes.
Entrepreneurship is just something I've always done. I started my first real business, I would say, at 21 years old and went from there. And for the past 30-plus years, I have been basically an entrepreneur. So, I love creating something from nothing, which I think is really the defining definition of being an entrepreneur. You have an idea, and then how do you pull all the parts and pieces together to get something launched? Which really becomes the inspiration of my book that we talked about.
But Hilton Head is, especially in the '80s, I'm going to date myself pretty easily, so the '70s and '80s, Hilton Head was a very small, mainly tourist-driven island. And so you got to meet a new group of people every week as they came in. And so I think that really honed a lot of the entrepreneurial spirit of being able just to talk to strangers, get to know people. My mom said I was the welcome wagon at five years old walking down the Hilton Head Beach and would greet every person on a towel and welcome them to the island, so I guess my whole life I've been a person who likes to engage with people. And that is part of, I think, a lot of what has made me successful as an entrepreneur.
Warwick Fairfax:
What's interesting is some people grow up in families in which get a safe job. Many decades ago, IBM or whatever it was, General Electric gets one job, never leave. And if the kid said, "I'm thinking about starting a business," they say, "Don't. It could fail." So, a lot of people are told, "Don't even think about it." But yet I'm sensing in your family, you didn't get that message. It was like, it feels like entrepreneurial spirit was encouraged, because in many families, it's try to scratch it out of you and, "Be sane. Don't be a risk-taker because risky is not safe." So, it sounds like you grew up in a very supportive environment in some ways.
Amy Shippy:
I do really truly feel that way. And it is, entrepreneurship is very risk-based. If you are very risk-averse, entrepreneurship is going to obviously be a hard peg to put into a square hole type of thing. But because my grandfather on my mom's side, my grandfather on my dad's side, my dad and my mom and my stepdad were all entrepreneurs, it was just always something that I watched people do that. So, it did not feel very risky. Did my parents always think every idea I had for a business was great? Well, they might poke holes. And they did.
My parents poke holes in everything I do, so don't get the idea that they're like, "Great, just go for it." They would really put me a little bit through the wringer to make sure I had thought out the process, which I think is really, really important in the entrepreneurial path, is that you have somebody that's just not telling you, "Go for it," but really, with a discerning idea, wants you to look at that concept from multiple facets because that's not traditionally what it is.
And then I met my boyfriend, who became my husband. We've been married for 26 years. And he did not really come from an entrepreneurial background at all. His parents were both school teachers, but he had this entrepreneurial spirit as well. And so he's always super supportive of everything that I've done, and so we've been in many businesses together.
I had a lot of, I guess, affirmation and a lot of encouragement, and always have in being an entrepreneur. Not that they always thought it was great. When we went into our furniture business, my dad still ran credit cards on a machine and took his deposits up to the bank, and he's like, "This World Wide Web thing is not going to go, Amy. That's just got to be a flash in the pan. I don't know what you mean taking credit cards over the phone. This is not going to work out." And he was wrong. But anyway, it stuck around.
Warwick Fairfax:
That is so wonderful.
Talk about that first business, FurnitureBiz.com, because it was very successful, but yet it was challenging. That feels like a lot of what you do now comes out of the lessons learned and that experience, so talk about that journey. How did you found it? What made you think of doing that?
Amy Shippy:
So, it was really my second business. My husband, like I said, he was my boyfriend at the time, and my father had a furniture business in Alabama, so furniture was in a space that he really did understand outside of the whole World Wide Web thing, which he didn't quite get at all. He really understood furniture. And I had worked at a furniture business right out of college selling sofas. That business had come up for sale. I was going to buy it, and then at the 11th hour, he ended up selling it to somebody else.
And then my husband, like I said, my boyfriend at the time, he was working at Havertys Furniture and we were truly on our way to where my dad had a vacation home in Florida and we had about eight hours drive. And Rob said, he goes, "Amy," he goes, "I like the furniture idea. Your dad will get behind that. From a financing standpoint, he'll help guarantee some of the funds for that." Because he had already told me that he was going to guarantee the funds for the furniture business I ended up not buying. And that eliminated an obstacle because I didn't have to really sell my dad on a concept that he wasn't really familiar with.
And my husband's like, "This ready-to-assemble furniture, it sells really great at Havertys." It's not really what Havertys sells, which is where he was working at the time, but they had another section that sold it. He's like, "I think we could build a whole business out of selling ready-to-assemble furniture." And so we talked it through on the eight-hour drive, and when we got down there, we pitched it to my dad, and he's like, "I like that idea."
And I was actually... One of the only two jobs I've ever had that have not been entrepreneurial at that time was working at Gulfstream Aerospace as a data analyst in engineering, and it was a pretty nice little job. And we got back from that and my dad's like, "I think that's great." And a month later, I went to the bank and they wrote me a check. And I never thought funding could be so easy. And my dad's like, "Yeah, funding's only easy because it's on me if you fail. And you're coming to Alabama to work in my furniture store if you don't make it." And so huge incentive to make it work.
And so we took $50,000 and bought a bunch of ready-to-assemble furniture and hired actually a church youth group that was trying to raise money for a big mission trip they were going on. And so we had all these high school kids come in and assemble all of this furniture for us, and it helped fund 18 kids to go on this mission trip from what we paid them. And really, 30 days later, we were in the furniture business with the store.
And it was ups and downs, as all businesses do. And the fact that, like I said, he was my boyfriend at the time, there were those obstacles to overcome, and how did that work being my business? Because my dad had guaranteed it. We weren't married, and what did that look like? And then working with your significant other is not always the easiest thing to do. But really, we started as a furniture store. It was a brick and mortar furniture store. It was 1997 when we started, and so the internet was really, really brand new. Amazon was coming online around that time. We really were not thinking about an internet business, but within a year, we did. It was a lot of work, but a lot of fun. I love the idea of working hard but seeing that payoff.
Gary Schneeberger:
It's interesting to hear you talk, Amy, about having all the ups and downs because you said something that you've had all the ups and downs, but you said you've recovered from both. It's an interesting perspective because at Beyond the Crucible, we talk all the time about recovering from crucibles, but it's true, you can be successful, and there's a little bit of recovery you have to do from that too, right?
Amy Shippy:
There is. When we launched our furniture business during the recession in 2012, I guess is when we ended up losing the business, we had held on for quite a while, hoping the recession was going to end, and it didn't. And I remember at that point being very angry. I was angry it had failed. We were very successful. We had three children when it failed, versus when we started, we had none. We were dating. And I remember being very angry and I remember just feeling broken. I felt so utterly shattered.
And I remember I actually... Oddly enough, and I really do believe this was totally predestined and really how you don't always have to overcome obstacles by yourself. These were obstacles that were overcome, and healing is not always something that happens because I wanted to be healed, because I always don't know where that healing is going to come from. But about six months before our business failed, my in-laws had actually gone to a retreat. And it was a retreat that my husband and I had been invited on several times over the past probably six or seven years. We had always declined it because I was having a baby or it was just really not an opportune time to go.
My in-laws were really adamant when they got back, and so they actually signed us up for this retreat and paid for it and everything. They're like, "You're going. There's no choice." And our business goes out of business in August and the retreat is actually early October. And I spent most of September, to be honest with you, in the bed. I was just shattered. I was as shattered as you could be. And my husband went the previous weekend, and then I went. And I'm like, "Okay, well, I can go along to get along. They paid for it. I'll go and do my thing."
As you mentioned, I do have a background in religion and I'm very faith-based, but at this point, I was really not having much of it. And I'm there and I remember, and there was a moment that I think the Lord spoke to me and I said, "I'm not interested, really not interested in what You have to say. You have shattered me. I don't have any interest. I'm hurt, I'm broken. I don't know what to do." And there was a moment in that conversation as I'm arguing, I'm arguing, I'm literally arguing with the Lord, and I said, "I don't know what to do. You have thrown me and shattered me as far as the east is from the west, and I don't know how to put myself back together." And He said to my soul, He goes, "But I do. I know how to put you back together." And I said, "I don't believe you. I really don't believe you. It doesn't feel like you've got my best interest at heart." And He goes, "But I know the plans I have." And I'm like, "Yeah, great. Go sell that to somebody else."
And there was that moment in that conversation of me being really defiant and not wanting to listen that He said, "If you will just lay your crown back at my feet, I will take care of this." And it was so overwhelming to me that the next day I was at lunch, and still at this retreat thing that I'm going through the motions, and a gentleman sits next to me. And it's really a fully women's retreat, except for four men that are there as the spiritual leaders. And I'm sitting at this table and this gentleman sits next to me and he says, "Tell me your story." And I'm like, "I don't have any story to tell. I'm just here. My mother-in-law bought this and I'm here." And he is like, "Well, I think you have a story because I've been watching your answers. You have more knowledge. Tell me your story."
I'm like, "I really, dude, have no story. Thank you for sitting next to me. I'm sorry, I'm probably not the best. I'm just not in a good place." And he says, "Well, let me tell you my story." And he proceeds to tell me a story, and he turns out to be the chaplain of a hospital in Savannah. And he says, "I would love you to come and volunteer as a chaplain." And I'm like, "Well, okay, great." I'm going to go home from this, we all say things at retreats. I don't know. I'm like, "Not really interested, but thank you so much." And he says, "No, here's my card. I want you to come." It took me about two weeks when I got back from that retreat. And it was uplifting, but your world goes back to the world when you get home. Nothing had really changed.
And so two weeks I drive around in my car and the Lord keeps saying, "Make the call, Amy. Make the call." I'm not interested? Really? What if it was just platitudes? Really couldn't take any rejection right now. And He says, "Make the call." And I made the call and he says, "What's taken you so long? It's taken you two weeks. We've been waiting for your call." And three days later, I started as a chaplain. And what I got to see in that time is I had this obstacle, this brokenness, and it was real. It was a real true brokenness as anybody suffering brokenness has. It's a real brokenness. And it really doesn't matter if that brokenness is financial or that brokenness is in death or loss of a loved one. Loss is loss and brokenness is brokenness.
And I started volunteering at the hospital. It was a job I had. I had no job. I had nothing. And I got to sit with people facing other obstacles that were much more unrecoverable than mine, because I sat there when they turned life support off on loved ones. And those are not recoverable. Those people have gone and they're not coming back. And I got to see over the eight months that I did that, the obstacle that I had, which was a real loss, was an obstacle that I believed that I could overcome. And so what it showed me is that obstacles happen and recovery is necessary. And for me, submitting was necessary.
But when I got on the other side and opened my macaron business, which was nine months later from the time that I lost my business I opened my macaron business, it wasn't a long time, that what He said was true. "I'll put you back together." And He put me back together one patient at a time in a hospital while I sat in the gap of some really devastating losses. And it was an honor to sit in that gap. And a lot of that gap was built in silence. There were no words. There are no words that will help people in pain a lot of times. But what it showed me is that I wasn't a one-trick pony in the business world. The things that were part of me generationally or who I was didn't die with that business. It was there for me to take and grab ahold of if I was willing to take the risk again.
Warwick Fairfax:
So, Amy, talk a bit about that brokenness because that whole Furniture Biz, it seems like it's a great idea and you've got Ikea and a whole bunch of others now that are ready-to-assemble furniture and they look pretty good. And certainly back in the day, I've assembled a lot of Ikea and some other things, as we all have. So, it sounds like there was maybe frustration, maybe anger, so talk a bit about that brokenness. I don't know if there was identity wrapped in there, but before we talk about how you came back from it and maybe how the Lord helped heal you, put you back together again, talk a bit about that brokenness and why you felt... Anybody's going to feel bad if a business fails, but everybody's different. Why was it so bad for you? Or what are the elements of brokenness that you felt you had to deal with?
Amy Shippy:
Well, there was a lot of pride in that. We had started this business with $50,000 and we had grown it to about $14 million a year in sales. I was a multimillionaire by the time I turned 30. There was a lifestyle that we had built. We had plans that we were raising our children with these ideas and these resources. And I took a lot of pride in what we did. I took a lot of pride in our success. There was a lot of pride about that.
And so to a lot of degree, I identified a lot with the business. And when the recession came, I had actually been staying at home for a number of years. Like I said, I had three children. And so my husband really ran the day-to-day business and I oversaw the finances and oversaw the trends and things like that. And then when my husband said, "The recession is hitting us. You need to come back and you need to put your brain behind this and see if you can save this." And so I went back to work, and I did it for two years and I lost about 40 pounds in the process. I felt like I lost half my hair. Just the stress of it all. I was up at 4:00 in the morning.
And so I had fought. I had fought for two years, and I would think that I was going to get on the other side of it. I remember thinking at the time that if I ever do write a book about this, and I do feel like that one day will happen, it's called Holding My Breath. I felt like I would be pushed under and I would be held there until I was about out of oxygen and I would just have enough reprieve, like I was going to fix this, to get a big gulp of oxygen only to be shoved back down again. And furniture was just very much tied to lending and housing. And people weren't moving. They weren't opening offices. So, those are a lot of what we saw, and so it just wasn't going away.
So, I was beat up pretty good by the time that I said I couldn't fix it. And I remember my husband walking in the bedroom about three weeks and he's like, "You've had three weeks. Get over this. We've got to get back into it. You've got children. We've got a world. You're done. You've had enough time to sulk about it." And I didn't feel like there was enough time. I didn't think it was quite enough time.
But in the end, I think when you are suffering with brokenness or devastation or these things that cause you pain, I do think, at least for me, it was helpful to have a spouse that said, "You know what? We're not being defined by this. You're not going to be defined anymore by your successes, and you're going to be defined by your failures, Amy. You're defined by who you are intrinsically you, and you're going to have successes and you're going to have failures, but if we measure who you are based on either of those things, then I think you're really limiting who you are."
Warwick Fairfax:
What was some of those key early lessons in which you rewired your brain and psyche to think differently next time you're going to launch a business?
Amy Shippy:
I really can't really give myself credit for rewiring anything. I think when I had that moment where I was just defying God, I just was truly just saying no. I have a degree in religion, so I know all of the things. And that's what He kept saying to me. He goes, "You know all the things. You know all the words. You could quote them back to me." And He goes, "They're all in your head." He goes, "But somehow they're just not in your heart anymore." And I said, "I get it." I really was utterly argumentative and was equally mad at him, if not more mad at him than anybody else. I felt like he had...
And so I tried to bargain. I did. I did a bargaining plan with him and I said, "God," I said, "I'll believe You if You'll light the path and give me stadium lighting with all... So I see that there's no bumps in the road. And if You'll do all of this for me, I will do what You're asking." And He's like, "I'm not going to." He goes, "I'll give you a light before the next step." He goes, "I'll let you know that the next step is solid." He goes, "But I'm not going to do that." And I'm like, "But that's not what I'm asking." He said, "But I'm not doing that." He goes, "But I will fix it." And it's not fixed. I really wish He'd fix it in the same success that I'd had prior. It's been a much slower build. I make a good living out of what I do. It's not the living that I made before. But He was true.
And so what I really learned was I like having all the answers. I do. But I don't. And I sometimes just have to trust Him that the process is going to be the process. And I've been equipped with the skills and knowledge that I have, and if I just sometimes let the process do, it works out. And so when I'm having a bad day, and I still have days that I don't... I'm busy, and 90% feels like it falls my way. I'm going, it's like 90% falls in line, and then 10% doesn't. And sometimes that 10% doesn't, and I get in my car and I talk about this with a lot of women business owners, I said, "I get in my car and I cry." And I'm not a crier. If I start crying in front of my husband, he's going to buy me flowers. It's really [inaudible 00:24:53]. He's like, "I don't know what to do with you. You don't cry, so what's going on?" He gets very scared.
And I said, "Well, I don't cry. I don't cry really in front of people." And I said, "But sometimes I cry, and I get in my car and I drive and cry and drive and cry and drive and cry." And then eventually, I get to the end of that road of how many tears I can shed, and then I turn the car around. And when I turn the car around, it's time to get back to business. And so what I tell myself all the way back, depending on how long I've driven, all the way back, I tell myself, "You know what, Amy? You hit it pretty much 90% of the time. That's a good average. You win more than you lose." And I reaffirm myself on the way back that says, "You know what? You have this. You've gone down failure, you've survived it, you've reinvented. You've got this."
But I also very much am a strategic planner. So, for my business, I set goals usually from mid-December to mid-January. I go through my goals for the next year. I set yearly goals and I break that down. And when I work with women in business or really anyone in business, I do talk about setting very achievable goals because I believe if you set a goals that you can achieve in quick succession, it creates a dopamine drop that keeps you building a momentum. And that momentum does take you through.
So, I'm not that ethereal. I really do have... And I keep them on my phone. My cell phone, in the notes I have, "I want to make X amount of dollars. How many tumblers is that? How much is that going to make me? How many do I need to do?" So, I'm really very, very strategic about that because I'm really, at the end of the day as a business person, I want to make a profit. I'm very, very intentional. And when something doesn't work, I think we can blame a lot of people for a lot of things, but I don't think we have real change until we look in the mirror and see what we added to the pot that created what we create.
Warwick Fairfax:
Yeah, that's so well said. Talk a bit about how that's led you to do what you do now. And you have a lot of interesting businesses, Lottiebelle's, Blue Poppy Designs, Marche de Macarons. And maybe one of the things that's really on your heart is working with women in business, Lady BizWiz. How did that all end up there? Because it seems like you have so many lessons, life lessons that yet you've got to do the blocking and tackling of goals and metrics and numbers, as we do at Beyond the Crucible, but then not tie your identity to what you do because inevitably there'll be obstacles you couldn't possibly have foreseen. And maybe-
Amy Shippy:
There are.
Warwick Fairfax:
... there'll be obstacles you should have seen and didn't. Maybe that's the 10%, is like, man, how could I have missed that one? I guess I must've been asleep that day. So, stuff's going to happen.
Amy Shippy:
Stuff always happens. To answer that question, I'm very fortunate that I have a group of women entrepreneurs that I will go to. If this is a problem I can't solve it, I don't know why I can't solve it, and I'll call. And they're like, "Well, have you thought about it this way?" And I'm like, "Nope, never thought about it that way." And I'm like, "But that's all a really good way to think about it."
Sometimes you just can't see the forest through the trees. That saying is true because you're so ground in to what you want to do and how you saw it happening. So, that, I think, is what has inspired my passion to working with women in business is because they want to be at the five-year mark in their business image-wise, branding, look, feel, sales, but they don't want to go through month one. They want to get to year five. And I'm like, "Do you know how many times I've changed my logo over the years? Do you know how many times I've changed my packaging over the years?" I couldn't afford the packaging I have now when I first started. I wanted to make a profit and I didn't want to have a lot of debt. When you look at me in the five-year market, that is not what it looked like at the one-month mark.
And so people get hung up on this vision that they want to have, and I'm like, "Well, let's make it the vision of actually becoming profitable. So, let's look at what your startup costs are. How many of your widget do we need to sell till you break even? And then how many of those widgets do we need to sell a month broken down by the week so your business funds sell?" And I said, "And maybe we can't afford the marketing that we want right now, but what are some marketing options that we can do that are free? And you can't afford the packaging that you eventually want, but what can we package in now that gets you off to the races?"
I do have multiple businesses. They were not started at the same time. That's the other thing people think, they're like, "Well, you just started three businesses." And I'm like, "No, I didn't have triplets." No. I said, "I waited for each one to be potty-trained before I got to the next one." I have triplets. My husband will take me on vacation for a week and I'll come up with five businesses, and then that's how I am. Most of those do not come to fruition, but I love business ideas and breaking it down and solving the puzzle.
But the macarons came out of my time as a chaplain. I was working as a chaplain. I thought I was actually going to go back and apply to get my Masters of Divinity, and I really felt like the Lord was calling me to be a chaplain. I was like, okay, well, here You are. You destroyed me, put me back together again, and I'm going to be a chaplain. Because it was just an amazing opportunity and I felt so successful at doing it. I don't know if that's even a right word to use with chaplaincy, but I felt like it was just so intrinsically part of who I was to be able to sit in this gap with people. And so I really thought that's what I was going to do. Yay, I'm not going to be an entrepreneur anymore. I'm going to go get a job and I'm going to go be a chaplain.
And six months into that, my best friend wanted to do a cookie swap party, and she's like, "What cookie are you going to make?" I'm like, "I don't know." I'm like, "I think I'll do this." And then truly three days before the event, I hadn't made any of the cookies. I decided to make French macarons because I found them on a food blog and whipped up, didn't really know that you really can't whip up macarons, but I did. I whipped up 200 of them. Didn't know that was challenging. I now have failed every which way possible to making macarons, but my first 200 French macarons turned out beautifully. Didn't know that there was any trouble in making them, and there's all kinds of problems in making them. And everybody at this cookie swap party wanted to know about these silly little cookies. And the irony is, I don't even think I had one. I don't actually eat sweets. I have no sweet tooth really whatsoever.
But 90 days later, my best friend's, like, "I think we could do a cookie business." 90 days later, we were in the cookie business. With $800. We started that whole business with $800. And we found there was just some, I think, divine opportunities that opened up. And that's another thing I talk about with women and really anybody, not necessarily just in business, but overall, is are you looking for opportunities? You would be amazed on how many opportunities present themselves that you're not even aware of them being an opportunity because you're scared to say yes to an opportunity.
And so this opportunity came up and we opened the business. And I took that $800, and inside of three years, we were at $350,000 in sales, which is a lot of $2 cookies. That's a lot of cookies. And it just reaffirmed that the knowledge and the skills that I had were not built around that business that had failed. They still were with me. I think if you're a writer, which I'm not, I think if you're a writer and you have a book that doesn't do well, it doesn't mean that you're not a great writer. It just maybe means that it just wasn't the right timing for the book or whatever. So, if you're good at something and you feel passionate about it, I think you should go for it, even if it doesn't work out exactly the way you thought it was.
But yeah, the business, I think at the end, God shared with me that I'm an entrepreneur. That is my DNA. It is so intrinsically who I am that to go to not do what I do and what I love would've made me not as happy long-term. But I will forever be thankful for that season of sitting at that hospital and having the opportunity. It healed me. I tell people, I said, "I got healed in a hospital, but I wasn't sick, not with cancer or anything else. I was sick in my soul. I was in this time of brokenness." And it was in that hospital that God Himself, the great physician that He is, healed me back together. So, I do tell people, I said, "I got healed in a hospital, but I wasn't sick in the traditional way."
Warwick Fairfax:
So, what's interesting to me is you have these businesses that you found and do, but you're not just a business owner. You're also a coach, a consultant, an advocate for women entrepreneurs in particular. That feels a little different in the sense that you feel a calling to help other business owners, particularly women. How did that come about? Because you could have just kept founding businesses and that's who you are, but it feels different. It feels like there's a particular calling here.
Amy Shippy:
It is, and it's actually the desire of my heart. The desire of my heart is actually to scale my two businesses that I own into an exit strategy in the next few years and do Lady BizWiz for the rest of my life. I feel very passionately about business, obviously. And a lot of people who do consulting come out of the corporate world where they've worked in corporations and then they're like, "Well, I've worked in corporations I know." And I'm like, "Well, I've never worked in a big corporation. I build corporations, and so I can tell you exactly what it is."
But what I find particular about working with women in business is... Actually, I was talking with a lady. I'll give this as a great example. It's not my example. It's another lady's example. And she said, so she goes, "Here's the difference between men and women." She goes, "Men can look at a job posting and they can fill in 50% of the qualifications. They're like, 'I'm good for that job,' and they'll apply for it. Women can look at the same posting, and if they don't hit 100% of the qualifications, a woman is not going to apply for that job."
As women, we want to be 100% qualified. And it's just a mentality. It's not a right or wrong mentality. It's just the way that men and women look at obstacles and opportunities. And then women in particular take things a lot more personal than men do. So, when I have a thing that didn't go my way, I'll talk to my husband about it, he's like, "You're just taking it too personal." Now, that usually starts an argument in our household because I'm like, "Well, just hear me out." As husbands, it's not the best thing to say to your wife. It's not like my husband tells me to calm down. That also doesn't work, but-
Warwick Fairfax:
Yeah, do not say that, no.
Amy Shippy:
Do not say that. But women do take things personally because we do take a miss as a personal failure. Women, especially in this day and age, do feel like we've got to be it all. We've got to be in the marketplace, we've got to be in the household, we've got to be in the parental role. And so that's a lot of pressure on women.
And so when I speak to women entrepreneurs especially, which is what has really driven the passion behind it, is I'm like, "Yeah, you really don't need to have 100% of the skills. We can develop some of those skills." And I said, "Really, maybe 100% of those skills are not even needed in the business idea that you have. Maybe only 60% of them." But unless you get off the bench and into the game, all you can do is talk about it. And if you really are serious about a business and I think it's a valid idea... If I think it's a valid. If I don't, I will tell them. I will say, "I don't think you've really thought about this that well." Or, "My marketing strategy was going to post it on Facebook." I'm like, "Not really a great marketing strategy. You're not going to get a lot of... Unless you got a huge following, it's not really that effective of a strategy."
But what I can also tell women is, "That doesn't mean anything. We can talk about strategies that will work. What are you good at? What are you not good at? Are you a people person? Are you not a people person?" All these things can run successful businesses, but how can we leverage your business with your personality style to get you off the bench and get you into the game of being an entrepreneur basically at step A? We can talk about five-year goal, but if we can't get through one-month goal, six-month goals, and one-year goals, we never get to five-year goals. So, what can we set here that does not require... Don't typically recommend, most people I work with, to take out large amounts of loans. That's just an albatross. Those banks want that money back, whether your idea takes off or not. So, how can we scale this small to get you into the marketplace? How can we look at your margin? And things like that.
I started working with SCORE, which is a nonprofit mentoring nationwide program, I think it's a fabulous program, several years ago. And as much as I love what it does, it was all free mentoring. And what I found is when things were free for people, there wasn't always an intrinsic sweat equity value to it because it was free, so it cost them nothing whether to take the advice or not take the advice. But I did talk to... And 68% of their clients were female business owners. And actually, I think 73% of them were minority business owners. And there's a big need for minority and women business owners to make it in the industry, and so I love working with both.
But I do feel very passionate, I do feel like it's a total mission for me to break down business into easily digestible chapters, so to speak. I was telling Gary about that this morning. I read. I read a ton. And my children especially love when I can get a hold of a 1,400-page book that's going to keep me occupied for at least two weeks. And my kid's like, "How do you read a 1,400-page book?" And I'm like, "One page at a time." It doesn't matter how long the book is, if it's a good story, it can go on for a while.
And that's what I try to tell women about business. Business at its very basic is what is your input? What is your startup going to cost? What is your widget? How many of those widgets do you need to sell to make back your startup costs? How do you reinvest that? And then how do you continue to build those blocks and then develop and grow your company as it goes? And I try to take a lot of the fear out of it for women because women are, for the most part, rather fear-based. And not so much fear-based of... Well, we don't like failure. That's the truth. And our society doesn't really applaud failure. We've been so ashamed in mom failure and things like that, so those are just all core languages about women.
But I truly think that women truly have some of the best, especially product ideas. Some of the best products came from women because they found a hole in their home life that they needed a product that didn't exist one, and so they created one to make household stuff easier or raising children, or the lady who started Spanx. It was a hole in the market. And so I think women have great ideas. I just think that their confidence tends to hold them back.
And so what I do with Lady BizWiz is I'm not a rainbow and unicorn coach. I really want you to be successful, and so I really do the deep dive into how do you know your numbers? And so the master class I put together, we build out when you finish, you have a fully built-out business plan, because I think a lot of people don't understand the importance of a well-thought-out business plan, again, from all the facets, helping women create a solid foundation for their business. Because I think the foundation of most businesses are about the same. The walls is where I think the differences come in based on what they're selling, technology, things like that. Everybody has to have a marketing plan. Everybody has to have startup costs. Everybody has to understand how to price their product. Everybody has to understand how they're going to source their product or their ingredients or whatever. Those are all intrinsic across the board, so I work with taking the mystery out of some of that so it really doesn't seem something that's nearly as scary as women want to make it out to be.
Warwick Fairfax:
What's interesting, Amy, about what you said is you deal with the practical side with women entrepreneurs. Have a plan, one goal at a time, let's look at marketing, let's look at financing. But then you deal with the inner challenges. You got it, there's the practical, which is incredibly important, but then there's the inner fear. If I don't have it 100% sorted out, then maybe I shouldn't try. And I imagine too, it's easy to be very negative. "Oh, gee, why can't I be more objective as my husband or some guy and not take thing so personally?" You could go down that list, but I'm sure you probably go down the other list, which is women have some qualities that many men don't have.
Amy Shippy:
Absolutely.
Warwick Fairfax:
There's a lot of men that aren't very empathetic, that aren't very discerning. It's like he seemed like a nice guy to me. It's like, "Nice guy? Come on, didn't you see the signals? Come on, the guy's seen as a creeper. What's your problem?" Or men can get very competitive. Competition is okay, but it can get in the way of common sense. Does it matter who wins in the meeting? Let's just get something done and cooperate.
So, there are qualities that women have that men could learn a lot from women. So, it's easy to look at the glass half-full, but I'm guessing with women, you do the practical marketing, but you also tell them, "Yes, I realize there may be some things that you, Woman A, might feel like you wish you were a bit different than maybe some men you know." But maybe there's some qualities are not... They're underrating the qualities that many men don't have, if that makes sense.
Amy Shippy:
I think they do underrate themselves. And we aren't a one-sided thing. We have two sides. As much as I love the logical side of things, I'm equally an artist, and so I feed both of those parts of me constantly, because when those both are running at about 50/50, I am the happiest. So, we are not a flat object. And when you look at both, the business needs the foundation, it does, but if you neglect who you are where you're not firing on your greatest strengths, whatever they are, you're not going to be a happy person. And I think that you can take whatever your strengths are and you can put those into your business. You don't have to take what my strengths are. You need to take what your strengths are.
To your point, God didn't make a mistake when He made you. He made you exactly the way you were. How can we leverage all of these good things that you already are, if you want to be an entrepreneur, into being the best entrepreneur you can be? And so we are multifaceted, and that's the beauty of what we are. And you do need to take counsel. Scripture's clear about that. And get other sides. It's not the Amy train necessarily. But no, I think we're absolutely perfectly and beautifully and wonderfully made, and we have to care for both sides of that. And I think that's who makes the best business people.
Gary Schneeberger:
This is the perfect time, folks, to both ask a question I'm about to ask, but also to point out that sounds you heard was the captain turning on the fasten seatbelt sign. We've begun the descent to end our conversation. We're not there yet. Before we get there though, Amy, I would be remiss if I did not give you the opportunity to let listeners and viewers know how they can find out more about you, your businesses, and your coaching that you do with Lady BizWiz. How can they find you on the World Wide Web?
Amy Shippy:
So, you can find me on Instagram, @lady.bizwiz is my Instagram handle. You can find me at Lottiebelle's, which, if you like candy pecans or iced teas, it's my pecan and tea company, and it's @lottiebellesga on Instagram. Lottiebelles.com, ladybizwiz.com, and then Blue Poppy is bluepoppydesigns.com and @bluepoppydesigns on Instagram. All my social media are basically what my company's names are. And so we do from the design, the pecan stuff, we do corporate gifting and we can take care of any kind of gifts and things like that. That's what that is. And if you want to work with me, if you're finding obstacles in your business and you want to have help with that or you want to take the masterclass, all of that can be found on ladybizwiz.com. You can take the masterclass. You can work one-on-one with me. I am very small business-friendly in my pricing because I want to be accessible to everybody, so I'm not a really expensive coach to work with. I just really believe in getting people off the bench and into the game of business.
Gary Schneeberger:
Aren't you glad, folks, that there's a rewind button that you can go back?
Amy Shippy:
Sorry.
Gary Schneeberger:
Because there's a lot. No, there's a lot of really good stuff that Amy just spoke about, so please rewind and get all of those URLs so that you can find out more about the fascinating stuff that she's doing and that we've talked about here.
Speaking of fascinating stuff, Warwick, I know you have a question or two, and I'll turn it back over to you.
Warwick Fairfax:
So, Amy, there might be a business person, a woman in business, entrepreneur, and maybe today might feel like their worst day. They've been where you were, they've lost the business, they're angry at themselves, God, whoever's up there, maybe everybody they know, everybody they're in business with, family, kids, maybe a big long list and they're frustrated and maybe they're saying, "You know what the lesson is? I should never have gotten out of bed. The smart play is don't try, because then you won't fail." So, for the entrepreneur, the women entrepreneurs who had some failure, what would a word of heard be to that person who might feel like this is all too hard, I'm just staying in bed, because that way, I won't fail?
Amy Shippy:
I know how you feel. I know that that morning that you don't want to get up, you just don't want to face the day feels so insurmountable to you. And I've been there. I haven't wanted to get out of bed. I just didn't think I was worth enough and I just didn't think I had anything to offer. But I will tell you this, that is a lie. That is not who you are. That is not what you bring to this world.
And so if you are feeling that way, please talk to somebody. You are not alone. And this loneliness and this brokenness that you feel, it is not permanent. Maybe it's how you're feeling right now, but it is not a permanent feeling. So, get up, stand up, put one foot in front of the other, and just take a deep breath. You have succeeded in your life. If you've gotten here, you've succeeded more than you failed. So, hold on to that. On those days that I do not feel like enough, that is what I reach into. Somebody loves you. Somebody feels that you are precious to them. And if you cannot name that person, the Lord Himself says that you are worth getting out of the bed for today.
I am sorry that you are feeling like that is just something that you don't have the energy for, but I'm here to tell you that you are not alone. You are not the only person that have felt that way. I have felt that way, and I have been able to overcome because people and things that were bigger than me said that I could. And you can too. And I am so sorry you're feeling that way, but please do not feel defeated in that. Life has a lot in store for you.
Gary Schneeberger:
Folks, I've been in the communications business long enough to know when the last word's been spoken on a subject, and it was just spoken evocatively with an exclamation point by our guest, Amy Shippy.
Warwick, we just wrapped a conversation with truly, I say this all the time, I'm like a broken record, but it's true, a fascinating guest, Amy Shippy, who had both a pretty tough crucible but then had a tremendous bounce back, and she's living now a tremendous life of significance. Lots of things that we could talk about there. What are one or two things that you think that folks should focus on in this episode?
Warwick Fairfax:
We talk a lot about crucibles and people's worst day, but this is an interesting example of a business failure. Amy Shippy was somebody that was spectacularly successful. She grew up in an entrepreneurial environment, parents are entrepreneurs, grandparents. It seemed like every relative she had was entrepreneurial in a sense, which is amazing. She got a lot of encouragement.
She started this furniture business, I think in the late '90s, a business that was, back before it was that common, packaged furniture, which you put together once you got it. And then the internet came along in the late '90s and it was very successful. But then around 2012, the recession came and the business went under. And in a sense, at least for a while, it almost broke her. She was almost at a point where literally she couldn't get out of bed. She was angry at, well, probably everybody. Her husband was in the business, everybody from herself, husband, God. She's a person of faith. Just angry, frustrated.
And it sure seemed like she had her identity and success just wrapped up in what she did, so she had to unlearn all this. And she's always going to be an entrepreneur, but I think she's learned some powerful lessons of not to tie up who you are in what you do. I think one of the things we all have to learn is who we are is more than our worst day. It's more than how much money we have or how big a house we have or how successful our business is. It's about our characters, who we are as human beings, from my perspective, created by God.
That's something that Amy had to learn. And it was fascinating, one of the biggest ways she learned that is she was at a retreat that her in-laws had signed her up for before the company went under, before this furniture business went under. She's at this retreat six weeks, I think, before the company would go under. And she met some guy that was a chaplain in hospitals and he said, "Well, why don't you join me?"
Well, eventually, not that long after her business went under, she did. And she realized when you're talking to folks there at the hospital, some are about to suffer permanent loss. Their loved ones are about to die. There's no coming back from that, at least not in this world. And so she realized she suffered loss, but it wasn't permanent loss. And she was grappling with what she should do in life, and should she be a chaplain? And I think in not so many words, it felt like the Lord's saying, "No, I made you to be an entrepreneur and you need to keep going at it." Her husband encouraged her. So many things that you do succeed. Does everything work? No, things happen, but let's get back out there.
And really, that time in that hospital, just seeing people with permanent loss, she was able to get back at it. And she has started a lot of successful businesses. Her macaron business started not that long after her furniture business failed, and then she has other businesses, Blue Poppy Designs, Lottiebelle's. And they may not be as successful in terms of dollars as the previous business, but they make for a very comfortable living. And now, she's able to do what she's so passionate about in Lady BizWiz, which is, she said this is really her calling. She enjoys the businesses that she's in. She said she'll like to get out of them at some point, sell them.
With Lady BizWiz, she comes alongside women entrepreneurs and gives them the practical skills of how to create a business plan, a marketing plan, how to work on one step at a time, rather than focusing on what's it all going to look like in five years. "Okay, let's just try to get to step one, make it profitable. Let's not worry about five-year packaging that you don't have the money for. Let's focus on what you can do now." And she gives them a lot of very practical advice, but from her perspective, women can have a lot of self-doubt and fear. And she gives a very good example of saying with men, if they have 50% of the qualifications for a business, they'll apply. With women, if they don't have 100% of the qualifications, they won't apply. That's her perspective on women in business. So, she's trying to help them understand you don't have to have 100% of everything all together, just if you've got enough for step one, start.
So, she gives them both practical business advice as well as spiritual and just really sole advice to help them be the best they can be. And so this is really her calling and help overcome fear. She's learned so much. And she may not be as successful as she was before in terms of dollars, but in terms of life success, separating your identity from what you do, loving the businesses she has, really enjoying and thriving at helping other women business owners be successful, she is, I would say, more successful in the full meaning of that word. Success in terms of life, spiritual success, business success in the terms of enjoying what she's doing. Maybe less dollars, but she is loving life and really, in particular, loving helping other women business owners be successful and learning to just take it one step at a time. So, she's really thriving in all senses of that word.
Gary Schneeberger:
Yeah. We say it all the time. This is a big spotlight example of it didn't happen to her, it happened for her, her business failing, because there's ebullience in the way that she talks about it. She's energetic, she's happy, she's clearly living her calling, and that's obvious. And that's something that awaits everybody if we bounce forward from our crucibles.
Warwick Fairfax:
Well said.
Gary Schneeberger:
And that, folks, is a perfect place to end this week's episode. Until next time when we are together, please remember, we know crucibles are hard. We've been through them, but we also know they're not the end of your story. In fact, they can be the beginning of a brand new story that leads you to the best destination you can possibly get to, and that is a life of significance.
Welcome to a journey of transformation with Beyond the Crucible Assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the Helper or the Individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially the steps to get there. It's more than an assessment, it's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com, take the free assessment, and start charting your course to a life of significance today.
Prioritizing rest. Taking the time to take a break. It can sound counterintuitive to living a life of significance, but as we discuss this week, it’s actually critical to it.
Why and how? We discuss several reasons why slowing down can actually speed up your readiness to live a life on purpose, dedicated to serving others. And it all starts with remembering the words of superspy Jason Bourne: Rest is a weapon.
To explore Beyond the Crucible resources, including our free Trials-to-Triumphs Self-Assessment, visit beyondthecrucible.com.
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Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible. In our life and work, it's so important to have seasons of rest because by taking a break from what we do professionally, or maybe it's a mission that we're devoting our life to, we can focus on family, friends, and hobbies. And as we'll get into, it can actually freshen our thinking at work.
Gary Schneeberger:
Prioritizing rest. Taking the time to take a break. It can sound counterintuitive to living a life of significance, but as we discuss this week, it's actually critical to it. Why and how? We discuss several reasons why slowing down can actually speed up your readiness to live a life on purpose dedicated to serving others. And it all starts with remembering the words of super spy Jason Bourne. Rest is a weapon.
Well, here we are again, folks, after ... Right? The first episode after our summer series, Big Screen, Big Crucibles. And was that not ... You don't have to answer right now. Was that not big fun? Yes. I believe it was big fun and big insight as well. But we are coming back and we're coming back with an episode, folks, that this is behind the scenes at Beyond the Crucible that you may not know, that there's really no way you could know.
And that's this. The series that you just heard, Big Screen, Big Crucibles, was actually ... You heard it over the last two months, but it was recorded the two months before that. We recorded that in May and June. And the reason why we recorded it in May and June is the subject of what we're going to be talking about today, or is part of the subject of what we're going to be talking about today, which is the first podcast episode. Today is the first podcast episode since June. I don't know about you, Warwick. I'm feeling a little rusty right now, actually.
Warwick Fairfax:
Absolutely. But it's good to get back in the saddle.
Gary Schneeberger:
Yeah. For sure. Let's hope we don't fall off. The subject that we're diving into today, folks, is pressing pause on diving into our usual day-to-day routine. There are times when absolutely work and all those responsibilities are important. And they're always important, but there's also times where rest is important. And that's what we're going to talk about here today. And Warwick, this subject, right? We're talking about this because you, over the course of the summer, after we recorded the summer series, you had been doing some reflecting this summer about why rest is so important. So why did you decide, Warwick? Why did you think about doing this? Our first time back behind the microphones in a couple of months. Why did you decide to really drill down and talk about the power of pausing?
Warwick Fairfax:
So over the summer, we've been in Northern Michigan, about as far North in Northern Michigan as you can get without being in the Upper Peninsula. And we kind of plan this out in advance. So as you're mentioning, we record the summer series in May and June so that in July and August, while our podcasts are coming out ... And it was such a fun series on Big Screen, Big Crucibles, and some great movies we discussed. But we're not actually recording them in July and August, so that gives us an opportunity for a break. And being Australian, I grew up in a culture where it's okay to take a vacation, okay to take a break. You don't have bosses saying, "Say what? You want to take three or four weeks off?" And that's a week, maybe two. So culturally, a little bit different. So when I'm working, I give it 100%, but I believe in just having periods where you are not operating at the same speed, at least in terms of our work life.
So I value this time, as we'll get into, up in Northern Michigan where I'm not the usual full tilt with Beyond the Crucible. And as I thought about the importance of rest, one of the phrases I love is from a character that Robert Ludlum writes about, Jason Bourne. I think many of us have seen the Jason Bourne movies. And there's obviously a series of books behind them. And here's this sort of super secret spy type that does things that nobody else can do. And before he goes into battle, so to speak, or in some mission and somewhere on the planet, he has this expression, which is, "Rest is a weapon."
And so by that, he means if he's going to be up like 24, 48 hours up against the bad guys and trying to accomplish some secret mission, if you will. And without getting into it too far, Jason Bourne is somebody that he tries to do good, but it seems like the whole world is against him. So that's not easy to actually rest. But anyway, the concept is when he's going to be having to be at his best to survive and accomplish his mission, he has to be rested beforehand. So really, if he doesn't rest, it may be a life or death decision. It could cost him his life. So he's a smart guy. And therefore, rest is a weapon. So that phrase has always stuck with me.
Gary Schneeberger:
And the names of those movies, the three original Jason Bourne movies starring Matt Damon were The Bourne Identity, The Bourne Ultimatum, and The Bourne Supremacy. I would add to this, as we talk about this, we're really talking about what Bourne says. We're talking about the Bourne significance, right? We're talking about how to live a life of significance with rest. I think that's what we're going to unpack here as we keep talking.
Warwick Fairfax:
Absolutely. It's really critical. And I think more broadly, in our life and work, it's so important to have seasons of rest because by taking a break from what we do professionally, or maybe it's a mission that we're devoting our life to, we can focus on family, friends, and hobbies. And as we'll get into, it can actually freshen our thinking at work. So sometimes we feel guilty about taking a break. And again, I love America, I'm a dual citizen, Australian and American. But in America, probably more than many other Western countries, taking a break is not as easy a sell. At least traditionally, it wasn't as easy a sell. Like in Australia, they want to take a few weeks off and travel around Europe backpacking, it's like, "Sure. Go ahead." So you've really got to believe in it. Here, it can be a bit of a challenge culturally, but it's just so important to keep ourselves fresh. So sometimes you almost feel like we have to seek permission to rest. We feel guilty about it, but we shouldn't. And that's really, I think, a big theme that we'll be talking about.
Gary Schneeberger:
Right. And it's interesting that you said earlier, as we were talking, that when you're at work, right? In those seasons when you're ... You give it 100%. And I think what you're going to advocate here as we talk about the importance of rest is we need to give rest ... Strange as it sounds maybe at first hearing, we need to give rest 100%, right? That's critically important that we do it in an active way that does refresh us, right?
Warwick Fairfax:
That's such an important point, Gary. Yeah. Whatever I'm doing, whether I'm working Beyond the Crucible, on a nonprofit board, at least I've been on a couple of nonprofit boards and elder at my church and number of things I'm involved in, I give it 100%. But when I'm on vacation, yes, I'll check email once in a while, but if you're on vacation, you've got to be on vacation. There are some people that go on vacation, they're checking emails every second, they're scheduling five Zoom calls a day, and their family never sees them. That's not vacation and that's not rest. Doesn't mean that you have to go cold turkey, shut off your phone, but you just need to prioritize rest. And you know what works for you. But this being at work while on vacation, that's not rest. And a lot of people do that. They just cannot unplug.
Gary Schneeberger:
Yeah. And one of the things that makes it so interesting that we're talking about this is that I used the phrase earlier that rest, pausing to do that is kind of part of the soul, right? It's kind of baked into Beyond the Crucible. Maybe a more accurate way to say it is it's just a part, it's become a part because it's a part of you, and you're the founder of Beyond the Crucible, that rest is part of the brand of Beyond the Crucible, isn't it?
Warwick Fairfax:
It's interesting. Beyond the Crucible is a reflective brand. And certainly, part of the reason for that is that I'm a reflective person. I call myself a reflective advisor. For me to be at my best, thinking of ways to help people bounce back from their worst days to lead lives of significance, I have to have periods of calm where I can reflect. If I'm running a million miles an hour and stressed out, doing 85 things at once ... As a side note, I'm not a huge believer in multitasking because some people say they can do it, but I don't know, to me, you kind of do everything not as well, but maybe it's me. But all that's to say is if I'm running a million miles an hour and doing 85 things at once or have a lot of balls I'm juggling, I'm not going to be at my best.
I'm not going to be able to reflect and think of what are some ways that people can bounce back from their worst days. I write blogs, we do podcasts together, reflecting on different themes, we prepare discussions that we're going to have with guests. If I'm not in a good reflective space, I will not be a good interviewer for the guests we have. I won't have good points to discuss. It will significantly affect the quality of what we do at Beyond the Crucible and will mean that we're not able to help people bounce back from their worst days and live lives of significance as well as we could. So for me, it's absolutely critical. And I find when there are times when I'm sort of resting and walking in the woods or being a person of faith and my daily Bible study and reflection, maybe it's watching a movie, there's all sorts of things where I'm unplugging from work, ideas will come to me that might have nothing to do with what I'm doing. It might be chi. Rest is so important.
Or as I've been walking in the woods over the summer, I probably thought of three or four or five different ideas that could be future blogs or podcasts. So it just percolates in my brain. I'm not even trying, but by giving your brain a rest, it's amazing what can come up. So I am a reflective person, but if I don't have seasons of rest, it could be over the summer or just during the year in making sure I try to walk every day and have exercise, periods of rest on the weekend, if I'm not doing that, I'm not going to be a very good reflective advisor, reflective person. It will impact my life and the brand. So certainly, for this brand, especially running around at a million miles an hour, it's going to directly affect my ability to help people. So it's critical for me. It's critical for me to be able to help others, which is our mission.
Gary Schneeberger:
Right. And I'll jump in here as the American in this conversation to say ... Right? Because when that happens, when you go to Northern Michigan and you take that time, the rest of us on the team get a little bit of a break there too. A little bit of rest there too. And I think that's an important distinction. A break sounds like you're just kind of doing nothing, whereas active relaxing is going into those things that ignite you, that bring your soul up on fire and do some ... You're building relationships. You're doing some things like that.
So I'll raise my hand and tell everybody it's a wonderful thing for those of us who aren't accustomed to having two months, in essence, off of not everything that we do, we still worked, but certainly recording podcasts, we weren't [inaudible 00:13:58] over that time, which explains one of the reasons ... That's one of reasons why I'm probably not doing this very well. I'm stumbling over things because I haven't done this in two months. But the rest was worth it. And I'll get back into playing shape here at some point. But that is those of us who aren't accustomed to it embrace it as well. So I just wanted to make sure that was clear.
Warwick Fairfax:
Yeah. And thank you for that. And I guess another point I'd like to make is obviously it's important to Beyond the Crucible. And I would say more broadly, I think it's important for the work that we do and whatever that mode is. But I think what we underrate is if we don't have seasons of rest, then we're not going to be at our best to help others, not just at work, at home. How many times do you have the busy male or female executive that come back, the kids want to spend time with mom or dad, and they're absolutely fried because they're always fried? The pressure, the challenges. And sometimes there are things you can't do a whole lot about, but to the degree you can ... And the kids say, "Hey, Mom, Dad. Can you play? Can you throw a ball? Can you ... Let's bake something together, whatever it is."
And said, "No, leave me. No, I'm busy." It's just like, "Give me a break. I don't have time for stuff like this," whatever. We don't want to talk to our kids that way, but when we're fried, we'll say things we really would wish that we didn't. And then eventually, our kids won't ask. I think of that haunting song by Cat Stevens, Cat's in the Cradle. And it was like '60s, '70s. And the dad's busy and the kid's always asking him to play, throw a ball, and the dad says, "Well, I'm super busy right now, but we'll have a good time then where we can ..." Well, it never happens. And so the dad retires and says, "Hey, son. Let's hang out." And the son says, "You know what, Dad? I'm so busy at work. The kids are just all over the place, but we'll do it sometime. We'll have a good time then."
You don't want to live out that song. And so you want to avoid living out that Cat's in the Cradle song. You've got to find ways of having rest, whether it's a summer vacation, whether it's a Saturday, because if you're not at your best, you won't be at your best for your husband, wife, partner, friends, family. I think we underrate how important it is. In theory, we should love our spouse, partner, kids, relatives, friends. If we say we love them, we'll want to be at our best. To be at our best, we've got to find ways of resting and recharge our batteries. Otherwise, it's going to have relational lifelong consequences, not just at work, but in every area of our lives.
Gary Schneeberger:
Right. We're about to flip the script a bit, folks, and Warwick's going to ask me a question, but before you do that, I pulled a quote, as I tend to do on these episodes. And this is a perfect time for me to insert this quote. This is a quote from someone named Eleanor Brown. I'm not sure who Eleanor is, but this is what she said about what you're talking about right now. "Rest and self-care are so important. When you take time to replenish your spirit, it allows you to serve others from the overflow." And I love this last line. "You cannot serve from an empty vessel." That's what you've been talking about the last three or four minutes, right?
Warwick Fairfax:
It's such an important point. I think of when you're flying and they give you the safety instructions. "Mom, dad, if you're traveling with a kid, make sure you put the oxygen mask on first before you put it on your kid because you've got to be ... To help your child, you've got to be able to breathe yourself first." So yeah, we're not going to be able to help people, unless we're rested ourselves. And you're right. Help comes out of the overflow of the energy and compassion that we have. And they will tend to erode without rest. I don't care how much you believe in your mission, how much you want to help people. If you don't have seasons of rest, there'll be no overflow to help anybody, whether it's your mission or anybody else. So that's such a great point, is you want that overflow of energy and compassion.
Let's say your kid or spouse, partner has had a terrible day and they want to talk for an hour or two and they want you to just listen. If you're fried, I guarantee you, you won't be able to listen. I said, "You know what? Can we bottom line this? Can you give me the Cliff Notes? I've heard this spiel so many times. I'm really tired of you whining," or as you say in Australia, whinging. "Just get to the point and get over it." We'll say cruel and really hurtful things rather than if we're in a good headspace and a place of rest, then maybe we can listen for an hour or two and just say, "Gosh, I'm so sorry. That sounds so awful. I'm sorry you went through that at work. I'm sorry what your brother and sister said to you. I know that's an old wound. I'm so sorry." You can't do that if you don't have seasons of rest, which gives you hopefully the opportunity to have some level of compassion, ability to listen to those we love the most.
Gary Schneeberger:
Right.
Warwick Fairfax:
So let's flip the script a bit, as you suggest, Gary. So Gary, you wrote this really good blog with some great insights in June. And it's called Finding Peace in the Heat: 4 Ways Summer Can Help You Heal From a Crucible. And you talk quite a bit about the meaning of rest in that blog. So talk a bit about what is the meaning of rest?
Gary Schneeberger:
Yeah. And it's interesting, Warwick, that I wrote this actually in May. It came out in June before we ever started recording the series, before either one of us was on that little bit of a sabbatical break over the months that the series ran. So it's kind of like ... It's very fortuitous that that came out because they're connected. What you're talking about, what I talked about here back several months ago is all very much connected. And it's interesting that they're connected from two different points of the journey that we talk about, right? We're talking here on this episode really about making sure that taking rest to ensure that you can live out your life of significance the way that you want to. I, back in June, wrote about helping you overcome a crucible by taking rest. And one of the things that was really critical to what I wrote, I thought, was this idea of we need to redefine rest.
Just think about that for a minute, folks. To redefine rest. It's more than binging Netflix, right? It's more than collapsing into bed early. It's more than just kind of hanging out and looking at this ... It's more than whiling away the hours. It's more than, quote, unquote, "Wasting time". It's about what fills you, not just about what numbs you. That, I think, is rest with a purpose. And I think it works, as I said, on both ends of this continuum. It works as we're looking to do what we did this summer, which is to rest in order to carry out our lives of significance more fully, but it also works to help us overcome crucibles. It also works to help us slow down and to focus on the healing that we need. And one of the things I wrote in the blog, and I'll pose these questions out to you, our listeners and viewers, is ask yourself these questions.
What kind of rest do I need today? There's physical rest, right? Like naps and sleep. But there's also emotional rest. Setting boundaries is a good example. Creative rest, reading poetry, painting. Warwick talked a little bit about that. And spiritual rest. He talked about that too. Prayer, meditation, silence. And then this part, this sounds weird. It sounds weird for me to say this because I'm like, "This is the most important part," because I wrote it, but this part is really important, and I think I was inspired to do so. And that is this, schedule rest like it matters because it does, right? I don't think we can say that enough. To schedule rest is important because if you don't schedule it, the time to do it's going to pass you by, right?
Warwick Fairfax:
These are such important points. Just touching on that last point, we scheduled this rest in the summer a few months ago. We talked. I don't know if it was March, April, before. "Okay. We've done a summer movie series the last few summers. Are we going to do one? Okay. What's it going to be?" And then we figured it out. Summer movie series based on some of the best crucible movies. And then, okay, so we want to figure out a way to record it in May and be done by June. So it's going to be a little intense in May and June. And it was. Lot of work.
Gary Schneeberger:
Well, I would say it was more than a little. It was quite intense, right? And we had some ... Right? And not only was it intense, but the margin for error. This didn't work and that didn't work and something else happened. It was hard, but boy, was it worth it, right? When we got to the end of it, it was worth it. Not just because we got to rest afterwards, but because of what we created.
Warwick Fairfax:
Well said. Well said. Yeah. I spoke in my native Australian tongue or Australian English heritage. So as I jokingly say if an Australian says, or an Englishman, "Yeah. How's your business going?" "Oh, not bad." That means it's lights out. It's doing tremendously. If you say, "Ah, how's it going?" "Oh, we've bit of spot of bother," that would be kind of English. That means you're about to go bankrupt. Yeah. When I say it was a little intense, that means, boy, it was very intense.
Gary Schneeberger:
Yeah. Indeed.
Warwick Fairfax:
I translated that into American. So yes, I can't help myself. A little cultural Australian there. But yeah, it was intense. But the point about why we did it is, yes, we like a summer movie series, but it enables us to do a whole bunch of them together in ways that are a bit more challenging with regular guests. And it's a fun thing to do, but it means in July and August, yes, we're listening to the podcast and just previewing it, but it's much less work where we scheduled this rest months in advance.
We spend summer in Northern Michigan from basically first week in June to first, second week at September. That's something we schedule every summer. We figure out family that's going to come. We schedule all of that. So that doesn't happen by accident. If you're going to go on a trip somewhere with family, you schedule that. You'll have to book air tickets, book places to go. Spontaneous can work, but these days, spontaneous means you may not get into the place you want to get to. And it also means the price of the air ticket will be astronomical, unless a miracle happens. If you decide today, in two hours, let's jump on a plane, it can work, but the price will be astronomical. So all that's to say is it's important to schedule rest. And I like so many of the points you have here.
Yeah. You can binge Netflix, and that's okay, but it's like you want it to be things that sort of fill you up, not just numb you. Purpose is everything. And what are the things you like to do? Maybe it's walking in the woods. Maybe it's just going on an adventure or a hike. Maybe it's you like painting. There's all sorts of different ways of taking rest. Maybe you've got some challenging relationships. Okay. So maybe you want a season where you don't want back-to-back-to-back visits with people who are really emotionally challenging. You want to help them. But if your tank just keeps running dry because you just thought, "Let me schedule every challenging family member and friend I can have. We'll do back-to-back for about seven weeks, but just let's just go," it doesn't mean you don't care, but by the time you enter the last weeks of that, you'll have nothing left.
You'll do damage to those relationships. It's just you have to be smart. So it doesn't mean that you don't care, but create boundaries with relationships, as you put it. What are those things that help provide you spiritual rest? If you're a person of faith, like Gary and I are, yes, there might be seasons of prayer, meditation, some people do fasts, or silent retreats. Different people of faith have different rhythms, but find what works for you. Maybe you want to go for a weekend away or a week away with some guys or some women friends. There are different ways of having rest. Think about what are the rhythms that work for you, but plan it, be intentional about it, and don't just kind of, "Oh, I'll do it sometime." Plan it, schedule it, and reflect on what are the types of rest that really fill you up. And we're all different, so it'll be different for everybody.
Gary Schneeberger:
Yeah. So folks, if you want to know more about in depth the blog that was written for summer, that blog is called Finding Peace in the Heat: 4 Ways Summer Can Help You Heal From a Crucible. So that's the beginning end of our journey. And now, Warwick, let's talk a little bit about ... You've identified four points as we're walking out our lives of significance, four ways that rest benefits us as we're doing that. And the first one is this, it helps prevent burnout. How so?
Warwick Fairfax:
So it's easy to get burnt out at work. And sometimes we can get burnt out with the business or mission that they were off-the-charts passionate about, that we think will truly help people. And we think, "Well, I can't afford to take a break. There are people hurting. If I take a break, that means it's one less person that's going to get helped. I can't afford to quit. If they're suffering their challenges, they don't quit. So why should I quit?" You can convince yourself how, "I have a duty to just not quit and run 24/7," but we need to realize for us to truly be able to help people, especially if it's a mission we're off-the-charts passionate about, we have to take a break because if you don't take a break, not only will your thinking be less creative, you'll start snapping at team members that work with you. "Hey, this is too important. Okay? Do you have to take an hour lunch? How about 15 minutes? How about a half hour? Come on. Let's get with it. That presentation you did, it was terrible. Come on."
We tried to convince some investors or we were trying to get some partners on board who will help turbocharge our mission. "That was a solid B+, but anything short of A+ means we're not doing what we need to." You can be just really like a tyrant. And people will leave and say that, again, "I love the mission, but, gosh, you've turned into a jerk." They might say to you, "You just ... You're impossible to work with. You're so passionate. You're just making life miserable for the rest of us here." So burnout can really ... It can torpedo the greatest mission and the greatest business. You will just flame out and people will leave. So if you really care about your team and you care about your mission and business, we often say it's too important to fail, where your mission and business is too important for you not to have a rest. That should be the way you should look at it.
Gary Schneeberger:
Yeah. And it's interesting you said early on in what you were just saying that this idea of quitting. And it's important to note rest is not quitting, right? Rest is just resting. And I think a lot of us have this guilt that comes with rest. If I rest, I've stopped forward motion and I'm abandoning the journey or I'm abandoning the mission or the goal. And that's not true. If it's done intentionally, again, in a way that's designed to build you up, to feed you, it's actually helping you along your journey, right?
Warwick Fairfax:
It's true. And I think in some cultures, and it's not just the US, but there can be a cultural context making it harder to rest. Could be like, "Oh, it's easy for some. Wish I could take a break." And some people, their jobs are in a situation where it's harder to take a break. Doesn't mean it's nice to put a guilt trip on you, but it's like, "It's nice for some." I remember I was fortunate enough to go to Harvard Business School. And a lot of folks who go there work in investment banking or management consulting firms for a couple years before business school. I remember hearing stories from people in their 20s in investment banking. If you left for about 7:00 or eight o'clock at night, that's a half day.
Gary Schneeberger:
Right.
Warwick Fairfax:
10:00 or 11:00, okay, it's beginning to get acceptable. So you'd have people saying, "Oh, half day. Oh, that's nice for you. Oh, you took a weekend off. What's a weekend? There's no such thing as a weekend. You work 24/7 here." So it's just ... There certainly used to be this corporate pressure and cultural pressure that you do not take a break. And so that makes it harder when you feel like you're going to be guilt-tripped by your buddies. And they might find it funny needling, but it's not helpful. But you just got to realize or say to yourself, "Other people can say what they want. I'm not going to bow to cultural pressure or needling from my buddies."
It's like, "I believe rest is important for my family, for my business. And if I'm not doing this, then I'm not going to be at my best. And if people want to tease me, get on my case, have at it. I'm not going to just bow to needling or cultural pressure." You just got to commit to what you believe in. If you believe rest is important, don't let other people ... Guilt trips on you change the way you want to lead your life. It makes no sense.
Gary Schneeberger:
Right. The second point, the second benefit that you have pulled out, Warwick, about rest is that seasons of rest reduce the possibility of having your identity completely wrapped up in what you do. We've talked about this, you've talked about this quite a bit on the podcast, quite a bit in your blogs. Why is that so important, not to have your identity caught up in what it is that you do? And why does rest, does being intentional about rest, why does that help you avoid that?
Warwick Fairfax:
It's very easy for many of us to have our identity wrapped up in what we do. You feel like, "Okay. There's another rung. I'm vice president. I'm a director. I want to get to that next level." And nothing wrong with ambition and wanting to get to the next level, but when you have your whole identity defined as getting to that next level, you're just consumed with the upward trajectory. Maybe you have this nonprofit you think that will help so many people, and your identity is all wrapped up in it. And it's just very dangerous because when your whole life is defined by your business or mission, you'll tend to make poor decisions and you'll certainly find that resting, "Oh, I can't rest." But you've got to say to yourself, "Who I am is not defined by what I do, nor is who I am defined by how many people I can help."
You can get caught in the, "Hey, I know this other nonprofit that's helping twice as many people as we do. There's another business that's three times as successful as I am." The comparison game will make it impossible to have rest. And you'll just be consumed by what you do. So you've got to make a decision to say, "My identity is not going to be wrapped up in what I do. And therefore, I am also going to take time to rest to recharge my batteries." Because if your identity is wrapped up in what you do, it's like, "Well, if I take a break, and then we won't be as successful, we won't be able to help as many people."
That's part of what fuels the, "I can't take a break," as well as, "I'll get ragged on by my buddies." There's all sorts of causes, but one is the identity trap. So you've got to say to yourself, "My identity is not wrapped up in what I do. I'll do the best I can. And I'll help the people I can. And I'm not going to be defined by the size of the mission, the size of the business. And for me to be at my best, I'm going to have to take a break and have a rest." And it really ... Taking a break forces us to focus on other things, such as friends, families, or even favorite hobbies. I think it's so important to be able to do that.
Gary Schneeberger:
Yeah. Right. Your third point that you ... As we talk through this, what are we going to talk about? Your third point dovetails nicely off what you just said, and that's the third reason to press into rest is that seasons of rest help us be more creative and give us renewed energy for the mission that we care so much about, right? That thing that drives us when we're working. Rest helps us strengthen that. Helps strengthen that mission. Talk about that a little bit.
Warwick Fairfax:
Yeah. It's so true. When I think of being up here in Northern Michigan for the summer and the pace of life shifts, the things to do is ... We'll get into, but it's less of Beyond the Crucible. So as I'm walking in the woods or I'm praying or we're out on the water or whatever it happens to be, I'm not thinking about Beyond the Crucible, but ideas will percolate in my head. I've written down, I think, as I mentioned, five or six different ideas for blogs and podcasts. And so ideas come. That by giving ourselves a break, it can give us renewed energy for the mission. I really try to live what I believe. And as much as I love Beyond the Crucible and believe in its mission to help people bounce back from their worst day and lead a life of significance, I try to make sure that my identity is not defined by it. As a person of faith, my identity is in Christ.
It's in my faith. It's not in what I do. What I do is an outgrowth of what I believe, but it's not who I am. And so I really try to live that back to identity. But by having this season of rest, it gives me renewed energy. And all sorts of ideas percolate from it. Could be a walk in the woods. I've had times when I've been meditating on scripture, and out of left field, an idea comes from what we do at Beyond the Crucible, not related to what I'm praying about. I don't know how that happens. Maybe it's just me. I don't know. But it's when your brain-
Gary Schneeberger:
It's not-
Warwick Fairfax:
... is focused on other things. Or it could be a hobby. It could be a bike ride. Or I'm not a woodwork, but some people love having a wood shop and making things. It could be all sorts of things, but it really gives this renewed energy and renewed creativity. It's like you believe in your business, you want to be more creative, more energetic, think of ideas to take what you're doing to the next level, whatever that might be, and have a season of rest. It'll be better for your business and, well, your friends and family. It sounds kind of intuitive. How can having a rest be better for my business or mission?
Gary Schneeberger:
Right.
Warwick Fairfax:
Well, it can and it is.
Gary Schneeberger:
Yeah. And then the fourth point that you thought through while you were having your rest this summer, Warwick, was this, rest gives us the opportunity to find gratitude and joy in our family, our friends, and even in the small things in life. And this one really is a big one here as we're talking about rest, isn't it?
Warwick Fairfax:
Yeah. It's so true, Gary. I do find when I'm resting, I am able to be more grateful. And I purposely do try to be grateful. If I'm walking in the woods, often when I walk, it'll be with my wife, Gail, or with my family, but sometimes other things are going on and it's just me walking in the woods and I might be listening to music. Could be classical music, worship music, all sorts of different things, which I love doing. But I'll often think about how grateful ... I'll think about, "I can't believe we get to be up in this beautiful place in nature and walks through the woods." And I'll think of just how grateful I am for my faith and have God, Christ in my life. I think of how grateful I am to have my wife. We've been married 35 years or more. I think of my kids.
My older son got engaged earlier in the summer, actually up here in Northern Michigan, which was super special. I think about that a lot because she's a wonderful young woman. So I have a whole bunch of things that I am grateful for and I just run through them, and it just fills me with joy. When we're out on the water, I just think of how grateful I am just to be able to do that and just the beautiful scenery and just the warmth of the sun and being with friends and family. Yeah. There's so many activities up here that just fill me with joy, but rest gives us an opportunity to think of all the things that we're grateful for and just the joy in the little things of life. We have kayaks up here. And when it's calm, which is not always because it is Lake Michigan after all, but when it's calm, [inaudible 00:42:47] it's sunny, warm, calm, let's go on the kayak.
And I did rowing in high school and my college at Oxford. So I feel like I kind of know what I'm doing a bit with kayaking. I may not, but I have that feeling. And I love that. I'm just paddling along and just around the shores here. Where we are in Northern Michigan, it's just so beautiful, just seeing the boats, the houses. Just the water's incredibly clear here, so seeing the rocks underneath and the water lap against the kayak. And it's so restful, but it just fills me with such joy. Just a simple thing, paddling in a kayak. But it's all those things, they really recharge your batteries.
Gary Schneeberger:
Yeah. And in this period over the summer, I had the opportunity, right? My wife, Kelly, and I went to International Falls, Minnesota. I live in Wisconsin. So International Falls, Minnesota, folks, if you're not aware, it's both the icebox of the nation, it says, that's its motto, the icebox of the nation, but it's also at the very corner. It's on the Canadian border. And someone very special to my wife and I, a young woman who I've called for, gosh, 15 years now, my heart daughter, someone who I came alongside when she was younger and filled ... Was blessed to be able to fill a little bit of a father figure role in her life. We went up and visited her and her husband and their three kids in International Falls. And we did ...
We didn't kayak. We canoed. And I did not do that in college. And I was not very good at it on Rainy Lake up in International Falls, but it was still fun, right? Those kinds of things, you can't ... The things that happen there, both when you're having fun and you're just laughing and joking and doing things. We played this word game's kind of like Scrabble. It's called Upwords. And their middle son, Ben, who's named after me, Benjamin Gary Kershman is his name, right? So my namesake, right? Ben's playing the game. And Ben, very, very thoughtful about words, comes up with a word that isn't really a word. And it's not offensive, but it's just funny. And it just became like a running joke for us when we were there.
It's those kinds of things that you'll never ever forget that happened. Those are in the blog that we were talking about that I wrote. I wrote this line, "To find small anchors of joy when you're trying to bounce back from a crucible and you're enjoying rest." And I think you can find small anchors of joy when you're doing this that we're talking about as you're walking out your life of significance. And I tell you, I came back from that trip to International Falls, Minnesota, energized. My tank was at overflowing full. And that makes me better at everything that I do, both professionally and as a husband and stepfather here in the house, as a friend, as a brother, as all those things that I am. And I wouldn't have been able to do that, frankly, if you didn't have this idea every summer to take a couple of months off to go to Northern Michigan. If you didn't go to Northern Michigan, I wouldn't have gone to Northern Minnesota. So that benefits me as well. Yeah. You cannot overestimate how important those moments, those small anchors of joy are, right?
Warwick Fairfax:
Yeah. And I love that phrase that you used in the blog, "Small anchors of joy." I think I was watching a movie the other day. And one of the characters said, "Life is made up of just moments and memories." And it's true. What are the moments you're trying to build? I guess another way of saying good moments would be anchors of joy. Well, if you're running at a million miles an hour, that's going to be hard. Talk about sitting back, looking at the roses, smelling the flowers and all that. Well, you can't do that when you're running super fast. You wouldn't have been able to go to Northern Minnesota, whether it was Beyond the Crucible or other things you're involved in if it's like, "No, I can't afford to do this. I'm doing A, B, and C. And I'm flying here, there, and everywhere." Or whether it's us here in Northern Michigan. Most of my wife, Gail's family is from the Midwest.
And so they were within a few hours of here, which we live in Maryland most of the year, but we spend our summers here. Well, they come here and they love it between the boating and kayaking and all different activities and bicycle riding and just visiting some of the beautiful towns here and the walks we have in nature at various places. It's just a wonderful place. But that wouldn't be possible if we didn't sort of allocate this as a season of rest. And when family come, I'm able to be present rather than say, "I'm sorry. I'm doing a podcast every day this week and writing blogs. And enjoy."
Gary Schneeberger:
Right.
Warwick Fairfax:
That's not going to bless my wife or my kids. And so you've got to ... I've got to be present while I'm here.
Gary Schneeberger:
And one of the reasons that you have to be present is because while everybody who's watching and listening knows you as the founder of Beyond the Crucible and the host of this program, in Northern Michigan, around your family, you're known as what?
Warwick Fairfax:
Well, it's kind of like the resort manager because it's just us. In a resort, you've got a whole bunch of people to help. Well, it's just the two of us. So when we come here, we've got to open the house up and make sure everything's working, which usually it is, but sometimes it's not. So got some house management things to take care of, people to call to fix stuff. But whether it's boats, kayaks, we have a couple jet skis, which a lot of folks enjoy, Gail's family and all. And there's just a lot to get done, make sure everything's working, and make sure everybody knows how to operate everything. Yeah. It's not like we're just sitting back, reading a book all summer. There are seasons of that, but there's also seasons of hosting people and helping people get from A to B.
"And gosh, we've got 11 people here from Gail's family and our kids. What are we going to do? Well, let's see. Let's go ride bicycles. Well, the bicycle trail is 20 minutes away and we've got to get bikes from A to B. How's that going to happen?" So putting bikes in the back of cars and back on bike carriers. "And okay. What are we going to eat?" So it's different level of ... It's not really work, but it's different level of activity, just making sure that people are cared for and activities are planned and you can make things happen. Yeah. There is ... I don't want to say work, but different kinds of activity, different things to do, but it's not Beyond the Crucible. Some people might say, "Gee, it's summer. I'm going to take a couple weeks off to build a deck."
Well, doesn't sound like rest, but it's different levels of activity. It's resting from your normal job, at least for those who ... There's some that people actually really like building decks. I have a good friend that building decks or going on stuff with Samaritan's Purse to help people build houses in flood-damaged places, he finds that therapeutic. That's rest for him. It energizes him. That wouldn't be me. But for some people, building houses and decks, it's just therapy.
Gary Schneeberger:
Yeah. It's not my testimony either, Warwick. So Warwick, that landed the plane on the conversation that we're having here about the importance of rest and redefining rest in our lives, especially as we're walking out our lives of significance. What are some takeaways that came to you? And I know we haven't prepared this in advance because all this, folks, was kind of like a by the seat of the pants. So Warwick had these thoughts and we just kind of went with it, which is kind of fun for us. So how would you sum this up for folks? What are the takeaways you'd like to see them walk away from here with?
Warwick Fairfax:
I think the starting place is we often feel guilty about even thinking about having rest. Little easy in Australia. A little harder here and in some other countries. Or you might have friends that you know are going to tease us, "Oh, that's great. You can have a rest. And I can't. And hey, while you're having rest, I'm going to be plowing forward in my job and career. And so see you. I'll be way ahead of you while you're just sitting back resting and kind of doing nothing on the beach or whatever you do." So we can guilt trip ourselves into thinking, "I can't afford to have a break. If I have a break, there might be other people that will get ahead of me, the people that never take a break. I won't get that promotion at work."
Or it may be, "Boy, that business or mission I'm doing, I'm so off-the-chart passionate about it. The people I help, that they can't afford for me to take a break." But we can just guilt trip ourselves into thinking, "I can't take a break." But we need to realize, in the words of Jason Bourne, that rest is a weapon. If we care about our family, if we care about our coworkers, if we care about the people we want to help, we have to find ways of taking a break, whether it's taking a Saturday off, a weekend off, or a couple months off in the summer. When I say, "Take a couple months off," everybody's in a different situation, but find ways of having rest because if you don't, you won't be at your best and you'll probably start hurting your family, friends. Thinking of it positively, when we take a break, we'll be better with our families and friends.
We'll be more creative, more enthusiastic at work. We'll probably treat our coworkers better, those that work with us. And I think as you put it, Gary, in your blog, we're talking about small anchors or anchors of joy. We can think about all the things we're grateful for, our families, our spouse, partner, kids, friends, the work we do, and just find joy in a walk in the woods, find joy being on the water, find joy for those that like woodwork, building something in their wood shop. Wouldn't be Gary and I. But there are some [inaudible 00:54:18] that enjoy that, from what I've read about and know.
But none of that happens without rest. So if you feel like what you do is important and the people that you're with, friends and family, are important, if those things are important, your work, your mission, your friends, your family, if they're all important, you have to find a way to rest. Forget the guilt trips. Forget what other people might say. Forget what the negative voices inside you are saying. Make rest a priority. The people you're around or the work you do is too important for you not to rest. Just do it. Find a way. Commit to having rest.
Gary Schneeberger:
You're not out of practice, Warwick. It's been a couple months since we've done this, and you just got a perfect 10-point landing there on the episode. Folks, as we often do when we do episodes like this, and they're normally based on one of Warwick's blogs, but since this one is only based like about a third on a blog that I wrote at the start of summer, I'm just going to ... Rather than do three reflection questions, I'm going to do one because it's the most important, I think, reflection question. And that's this, how can you ... Think about this, folks. How can you redefine rest as you pursue your life of significance? Right? How can you redefine rest? We've been talking this whole episode about redefining rest, what it really means, what it really looks like when you do it. And then commit to doing one of the ideas that you come up with on a regular basis.
One of the things you heard Warwick say, as we're talking through this episode, was while he's resting, he's like, "Oh, and here's an idea for a blog I could write. Here's an idea for this I could do. And here's an idea for this I could do." As you lean into your rest, what are the ideas that you come up with on a regular basis? And how can you use those things to find joy in your life and accomplish other things? And that, folks, will end our first episode back. We did okay, Warwick. Our first episode back from our summer series.
Warwick Fairfax:
Indeed.
Gary Schneeberger:
So remember, folks, we will be back next week. And we do understand. We understand how hard crucibles are. Warwick's been through them. I've been through them. But we also know they're not the end of your story. And we've had so many guests on who've talked about how they're not the end of your story. They can be the beginning of your story if you learn the lessons from them and apply those lessons as you move forward in your life of significance.
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Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.
Big Screen, Big Crucibles VIII: The Monuments Men
In this final episode of our summer series, BIG SCREEN, BIG CRUCIBLES, we discuss the crucibles and the overcoming of them in THE MONUMENTS MEN.
That’s the name given during WWII to the ragtag team of art historians and curators who form a unit to recover stolen art before Hitler destroys it. The mission becomes urgent, and their crucibles more difficult, when they learn of Hitler’s order to destroy the artwork if the Third Reich falls and the Russians start looking to grab some of the spoils for themselves.
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life.
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Transcript
Warwick Fairfax:
Jeffries here, he absolutely buys into the vision that Stokes and the Monuments Men are carrying out. He is prepared to give his life for this vision of preserving artworks and civilization. I mean, he went there to try and save and protect the statue, that Madonna and Child. He must have known the chance of success is probably high, or certainly in the balance of just one man against however many Nazi troops there are there.
Gary Schneeberger:
In this final episode of our summer series Big Screen, Big Crucibles, we discuss the film The Monuments Men. That's the name given during World War II to the ragtag team of art historians and curators who form a unit to recover stolen art before Hitler destroys it. The mission becomes urgent and their crucibles more difficult when they learn of Hitler's order to destroy the artwork if the Third Reich falls, and the Russians start looking to grab some of the spoils for themselves.
Well, welcome friends to this final episode of this year's summer series of Beyond the Crucible, which we have called Big Screen, Big Crucibles. Why? Because they're about movies, big screen, and because as you'll discover in this episode, the final episode, the eighth episode, as all of them, but this one in particular has some big crucibles in it that people go through and some big lessons we all can learn from what those characters go through.
We have been doing this now, as I said, this is the eighth week and we're taking a look at films because they have a wide variety of crucibles is what we've been doing. The films that we've covered, including this one, has a wide degree of crucibles in it, and insightful lessons of how you can navigate your own, bounce back from your crucibles, and cast a vision for moving beyond your crucibles. It helps you get through your crucibles, and it helps you get past your crucibles, that's what we're hoping comes out of the movies that we're covering.
And this week, our final movie, film number eight, is The Monuments Men. The movie came out in 2014, and here's the synopsis. Inside baseball term for you guys, I worked in Hollywood for three years, this is called a log line. It's the most succinct summary of a film possible, and here it is for The Monuments Men. During World War II, a ragtag team of art historians and curators form a unit to recover stolen art before Hitler destroys it. The mission becomes urgent when they learn of Hitler's order to destroy the artwork if the Third Reich falls.
That is what we're going to be talking about here, that's some pretty weighty stuff. We saved, dare I say, the best for last. We saved some really, really good crucibles, good examples of crucibles that will help you navigate your way through yours. And Warwick, before we delve into the crucibles, the characters in the film phase, but before I go to the question I've asked you for every episode before this, I just want to share a couple of bits of trivia I put together off of the films and see if you can guess close to where we are. So we covered, this is the eighth film. We've covered eight films in this series. How long do you think those movies stacked end to end are?
Warwick Fairfax:
Well, I think each movie was probably a couple hours, so it would have to be at least 16 hours. I don't know, 17, 18 hours?
Gary Schneeberger:
Look at you. 17 hours and 31 minutes, and that's mostly because one of the films was Les Miserables, which was two and a half or more hours long. But here's another interesting fact about these movies, and it's funny because we have not talked about the actors who play the characters in these films. We've only talked about the characters that are being played. But it's interesting to know, folks, that the quality of these films that we're talking about, these films have in them, these eight films that we're covering in this series have in them eight Academy Award-winning actors or actresses. So in front of the camera, that doesn't even count the Oscar winners behind the camera. These are just in front of the camera, the folks who are doing the acting. That pretty much is a good sign of the quality of the kind of films we've been talking about, isn't it?
Warwick Fairfax:
Oh, absolutely. I mean, these are incredible movies with incredible actors. We'll hear more about this particular movie and George Clooney and what incredible performance he puts in this movie. But every movie we've discussed with great actors and actresses, and yeah, these are fabulous movies to discuss.
Gary Schneeberger:
Yeah, and Mr. Clooney is in fact one of those Oscar winners from in front of the camera as a best supporting actor Oscar winner several years back. All right, now to the question that always begins these episodes of our summer series, before we get into the crucibles that the characters in the film face, let's talk one last time here in the eighth episode about why we have come back again to films. This is the third time we've done a summer series that's focused on films a little bit different each time, but why again are we in the movie theater? Why again, are we looking at films as an example of what crucibles look like when we experience them and how you can get past them?
Warwick Fairfax:
Gary, we both love movies, but it's more than the fact that we love movies, which we do, it's in this particular series as well as the last several series. We have looked at movies through a Beyond the Crucible lens, and that's something that you've certainly mentioned as you mentioned a lot of these or some of these movies you've worked on in Hollywood.
Gary Schneeberger:
Including this one.
Warwick Fairfax:
Which is fabulous. And so movies typically portray a protagonist that is facing significant challenges that are seeking to overcome. So last few seasons, if you will, last few years we've covered movie superheroes, sports heroes, historical heroes, and indeed last year, we covered movies from the American Film Institute's Top 100 movies.
Gary Schneeberger:
Right.
Warwick Fairfax:
This year we thought we'd look at some of the very best movies where we had people overcoming significant crucibles to lead lives of significance, lives on purpose dedicated as serving others, and these are all great movies with enormous challenges, and we can learn so much from how they overcame these challenges, how they managed to turn their worst day into a life of significance from trial to triumph, so to speak.
Gary Schneeberger:
Yeah, and one of the things, folks, now that we're finishing the series, one of the things that I think makes it evident that the characters in these films do indeed go through crucibles just like me and you, is that of the eight movies, including this one, seven of them are based on a true story. The first words you see on the screen when it comes up, right, when they fade in based on a true story. Seven of the eight films including this one, the one that wasn't was based on true events and that it was a French Revolution, but it was Les Miserables. So these movies, one of the reasons they reveal so much about crucibles and how we get past them is that they're all based on people who have done that very thing. That's where the lessons get extracted from.
This eighth film that we're taking a look at, The Monuments Men, is set in 1943. That's when it begins. Anyway, World War II is still going on, and the Nazis are still planning on establishing what they're calling the Thousand-Year Reich. But the Allies continue to make advances in Italy and the war is beginning to turn, this is not Hitler at his strongest, the Nazis at their strongest, the war is starting to turn a bit. Paris though is still under Nazi control and it's pretty strong Nazi control. We see Hermann Göring, one of Adolf Hitler's right-hand men, arriving at an art gallery that has been under Nazi control, it seems for some time.
Göring visits Nazi officer Viktor Stahl, who is apparently in charge of the art gallery that has been taken over and he shows him paintings, Stahl does, shows Göring paintings, painting after painting that the Nazis have seized as their spoils of war. We don't yet know why the Nazis are so obsessed with history's greatest art, but we will find out why. Warwick, as Göring goes through all the art in the building, which Stahl has arranged for him, we also meet Claire Simone, a Parisian woman who's clearly working against her will for Stahl. While we don't know everything that's going on yet, we do learn that Claire is a very unwilling participant in it. Talk about what we see in this scene as it sets up what we're going to see in The Monuments Men.
Warwick Fairfax:
There is a moment of just small resistance. Sometimes in life you can't resist as much as you'd like to, but there is small acts that says, "I'm not good with this. I'm going to do something small that nobody will ever notice, but at least I'm doing something." So what does she do? Stahl asks for champagne. Okay, here he is with Reichsmarschall Göring, some very esteemed person. Like anybody in this situation, he wants to put on a good show, so he asked for champagne. So off Claire goes to get some champagne and she spits in the champagne glass for Stahl. I don't know if she spits in Göring, but she certainly does for Stahl. This clearly shows that she's not a collaborator because there were some French people that were collaborators but not her.
And so we learn in the scene that, clearly, the Nazis are obsessed with artworks. I mean, if they weren't, why would they appoint some Nazi officer to look over the museum? I mean, what would be the point? But he is looking over it and Göring is there visiting this art museum. He's wondering, "Okay, I want to take a painting for Hitler," and I'm sure he'll take some for himself at some point I would imagine. Maybe others, we don't know, but it does indicate what the Nazis are thinking. So it really shows that the Nazis are obsessed with artworks that they've captured throughout Europe and the Claire, in her own small way, at least at the moment, it feels like it's small, we'll learn it's not as small as we think
Gary Schneeberger:
Right, good foreshadowing.
Warwick Fairfax:
She's doing what she can to resist. Exactly.
Gary Schneeberger:
The scene then shifts and we find out even more. The scene shifts to Washington, DC where Frank Stokes is speaking from a podium to President Roosevelt in the audience and other VIPs who are with the President. He's not there to advise the president on how to win the war, but how not to lose the culture. He's not talking about here's how you win the war. He's talking about a subject more important to him, or as important to him I should say, which is how do you not lose the culture, the history, right? He wants to sure that the world, not just America, the world doesn't lose the history that could be sacrificed in what will be required to win the war. Warwick, this is a scene in which Stokes lays out a mission for something he deems as important as freeing civilization from Nazi rule. His mission is to save his words, the very foundations of modern society. What does he mean by that?
Warwick Fairfax:
Frank Stokes, as we see in this early scene, has a very tough task to persuade Roosevelt that amid all the challenges of World War II, that saving artworks is important. And he tells Roosevelt, "We're at a point in this war where we are at the most dangerous point for artworks," and he gives an illustration with the Ghent Altarpiece in Belgium that is a defining work at the Catholic Church which the Nazis have stolen. Stokes says, "We will win this war, but a high process will be paid if the foundations of Western society are destroyed." So the Allies are converging from the east with Russia from the west with the rest of the Allies, and Stokes wonders, "Who will make sure the Statue of David is still standing, or that Mona Lisa is still smiling?" I mean, he is presenting a convincing case very well, and he says, "Who would be their protector, the Mona Lisa and the statue of David?"
So Stokes has won over Roosevelt and Roosevelt says, "This is a compelling argument," and asks what he would suggest, what's next? Stokes says he wants to pull together scholars to identify the great works, including young art scholars and obviously to protect them. Just think about the mission that Frank Stokes is trying to sell to Roosevelt and indeed to the people he'll encounter on the battlefield as we find, which won't be easy.
It's one thing to be Abraham Lincoln and say to the north, "We need to remain United States of America, a union. We need to stop slavery expanding in territories and future states and ultimately to abolish slavery." That's something that everybody in the north can get behind. This is a mission worth dying for, to save the union and abolish slavery. People get that.
But to say, okay, maybe people will need to die to save artworks. It's like, okay, artworks? That's a tougher sell. And so just to sell Roosevelt was amazing, but as we'll find this mission will be very tough because there'll be a lot of people that will be like, "I don't get it. Saving artworks, there are more important things than artworks." So Frank Stokes has signed up for an incredibly difficult mission that is not going to be an easy one and won't be easy to get people to convince it's important. This is a tough one.
Gary Schneeberger:
Right, and one of the reasons it's not going to be easy, he says, as you pointed out, he wants art scholars, but young art scholars, well, guess what? Most of the young art scholars and everybody and all the other young people are fighting the war.
Warwick Fairfax:
Right.
Gary Schneeberger:
So that's going to be a tough task for him as he goes forward. But yet Stokes is officially given that mission, that very mission by Roosevelt. He's tasked with building a unit, not to fight the Nazis, but to rescue precious art from the fight against the Nazis. And he puts together, even though they're not young art scholars perhaps, he puts together a multitalented, multinational team, doesn't he? What makes these men who come to be known as the Monuments Men, what makes them unlikely heroes?
Warwick Fairfax:
We see it's March 1944, and Stokes's first stop is to enlist James Granger. He is in New York. He's one of the curators at the Metropolitan Museum of Art, so that's the first person he gets. Then he gets on board Donald Jeffries, who's English. We learn that he has a drinking problem and he almost went to jail and he's had a tough life, maybe made some wrong choices, but is grateful for an opportunity from Stokes. And then we see them enlisting Stokes and Granger, Richard Campbell, who's an architect in New York. They then get hold of Walter Garfield, who's a sculptor.
Next, they sign up Sam Epstein, who is Jewish. He was born in Germany, lives in New Jersey, will later find out that he actually grew up until being a teenager in Germany, fluent in German, and comes to the US in 1938 so he'll prove to be very valuable. Then we have Jean-Claude Clermont who studied at the School of Fine Arts and is French. And then finally, we see them enlist Preston Savitz, who's a theater director. So from architect, theater director, art curator, I mean sculptor, this is a diverse group of people and they may be experts at their field, but they're different personalities, different ages as we'll find different levels of fitness as they go through basic training.
Gary Schneeberger:
Right.
Warwick Fairfax:
So it's quite a diverse group of people.
Gary Schneeberger:
And they do go through basic training, and there's some funny scenes in there. One of them involves, I believe it's not Campbell, it's Walter Garfield. And he's going through some drill where he is got to crawl like he's crawling through right under those ropes. And Stokes comes up and says, "Hey, how are you doing?"
He says, "I'm doing fine, except I'm crawling through the mud and they're shooting blanks over my head."
And they go, "Are you sure they're blanks?"
And one of the guys who knows better says, "Oh no, those aren't blanks," they're shooting live rounds over their heads as they're going through it.
These guys are not guys who are accustomed to these sorts of things, this kind of environment, the wartime environment, but yet they're doing it because they believe this mission to be very, very important. So the men discover at a briefing that Hitler's passion for the great works of art stems, at least in part from his own failed attempts at painting, right? They're getting briefed on what's inside Hitler's lust for these artworks, and they find out that he had a failed attempt at painting. The team has an epiphany. The Nazis are stealing the art and they're hiding it somewhere, where this revelation expands the mission of the team, now known as the Monuments Men. Their first goal was to keep war from destroying great buildings and great art, and now it's added to their mission, the idea of needing to save it from being stolen, these artworks. How does that make the stakes even higher? And they were already pretty high. How does that make the stakes even higher as they get deployed on their mission?
Warwick Fairfax:
It turns out that Adolf Hitler was actually a failed art student at the Academy of Fine Arts in Vienna. Hitler, who's actually from Austria, is planning on building the Führer Museum in his hometown of Linz in Austria. And we'll see at one point that Hitler looks over this vast model of this museum and other buildings, and it's a whole landscaped, massive edifice to his glory basically. And it would be one of the biggest museums in the world. It would include stealing art from all over: Amsterdam, Warsaw, Paris, all over Europe. And so this shows that Hitler has this grand plan to steal the most priceless and valuable artworks in Europe to pull together in this museum.
I mean, this, as you say, does show how high the stakes are for the Monuments Men. It's not just about stopping these artworks being destroyed. It's clear that Hitler wants to steal them and take them and hide them, and will they ever be found again? So the stakes are certainly high. And now we move on to an early scene that shows just how challenging this mission is, and support on the ground is not easy. There might've been a director from on the high from President Roosevelt, but the average commander in the field is not with the program, and this is understandable.
It's July 1944, after D-Day, we see some of the Monuments Men are landing in Normandy, France, and first stop is to talk to the local American forces commander about their mission. And this commander is irate. He says basically, "I have no interest in preserving buildings, artworks, and church towers. I mean, I'm trying to save my troops. I'm trying to capture territory, free Europe from the tyranny of the Nazis." I mean, that's implicit in what he's saying.
So this is a challenging task because it's tough enough to figure out where the Nazis have taken the artworks, but then they're really not going to get much help of any from most of the local commanders that they talk to, so how are they meant to accomplish this? It's really, as the movie goes on, it just feels like the challenge gets more important and tougher.
Gary Schneeberger:
Right.
Warwick Fairfax:
That's the arc of this movie. The mission gets tougher, and it gets tougher to accomplish. And so that's what we learn here.
Gary Schneeberger:
And that's something, folks, if you're listening and watching this right now, you may have felt that in your own life, in your own situation, not in these circumstances, but we say all the time at Beyond the Crucible, while the circumstances of your crucible may differ from place to place, the emotions of it are the same. And what Warwick just described about running into a brick wall every time you try to move forward with your mission as the Monuments Men do, is probably that those, certainly something that Warwick and I have experienced going through our crucibles. So this is again, why we do movies is because what comes out of the movies are things that happen in real life to us, different circumstances, same emotions.
And as Warwick said, it can feel like a dead end, but newsflash, not a dead end yet for the Monuments Men. Claire discovers that Stahl is taking her gallery's contents to Germany as the allies approach Paris. She runs to the rail yard to confront him, but can only watch as he departs aboard the train carrying the cargo, all of the artwork that she had in her museum. Now it's on a train going somewhere, and she knows it's not somewhere good. This is a crushing moment for Claire, isn't it, Warwick? She has had to bide her time "working" for the Nazis in the hope of being able to retrieve what they've taken, but now they're gone. Talk about this scene because it's a moving one.
Warwick Fairfax:
It sure is. Claire has done her best to passively resist the Nazis and what they try to do with the artworks in her museum. You mentioned earlier about small acts of defiance like spitting in that champagne glass at Stahl and feeling like she has to stay in that museum to keep track of what's happening. And so now, her worst nightmare is coming about. It's a devastating moment for Claire, her beloved artworks from her museum. They've been taken away without much of any hope that she'll ever see them again. Her life's mission was to protect the artworks in her museum and parish from the Nazis, and it would seem that her life mission has failed, and she may never see them again. They'll either be burnt, stolen, we don't know what's going to happen. We have to assume that she feels the situation is hopeless, and that she feels completely helpless as she sees Stahl get on that train and the train leave Paris for who knows where.
Gary Schneeberger:
Yeah, and there aren't, right? She doesn't have any fellow travelers, any people, especially in Nazi-occupied Paris who are going to side with her. In fact, as you said, many believe that she's helping the Nazis out, not because of being forced to. So very difficult situation for her to be in. And the guys who have been selected for the Monuments Men, now that they've gotten through basic training, we don't know how well they've gotten through it, but they've gotten through it.
They all have military titles now, but there's a really important scene, Warwick, where Stokes tells his men, "The Nazis are on the run, but they are taking everything with them." So he decides that they should split up, and each team should get as close to the front lines as they can to intercept any art they can as it's being moved. But before they all head out to their individual missions, Stokes speaks to them actually over a radio that they've rigged up about how important those missions are. And this is the why of the Monuments Men, this is the why of why these guys are doing what they're doing. Let's take a look and a listen to the speech that Stokes gives.
Video:
Monuments Men Radio is about to go live.
I hope we play music.
Calling London, calling London, and all the ships at sea.
We read you loud and clear.
How far will this thing reach?
We'll find out tomorrow.
Roger that.
Are all the fellas there?
They are.
All right, listen up fellas, because I think you should know the truth as I see it. This mission is never designed to succeed. If they were honest, they would tell us that. They'd tell that with this, many people die, and who cares about art? They're wrong because it's exactly what we're fighting for, for our culture and for our way of life. You can wipe out a generation of people, you can burn their homes to the ground and somehow they'll still come back. But if you destroy their achievements and their history, then it's like they never existed. It's just ash floating. That's what Hitler wants, and it's the one thing we simply can't allow.
Gary Schneeberger:
Warwick, that was a heartfelt speech that lays out the life of significance that the Monuments Men are pursuing, isn't it?
Warwick Fairfax:
What's powerful here is that Stokes is really inspiring his team and inspiring a team for any leader is absolutely critical. And when you inspire your team, don't sugarcoat it, tell them the unvarnished truth.
Gary Schneeberger:
Right.
Warwick Fairfax:
This is very challenging. But also tell them, and obviously you want to make sure it's true or maybe you need to find another mission, but assuming it's a worthwhile mission, you've got to tell your team, "This is critical. It's important. We need to do whatever we can to accomplish it." In essence, he's really saying, Stokes is, that if you destroy people's achievements, history and culture, you destroy the very fabric of who they are. So he just lays it on the line so well in this clip.
Gary Schneeberger:
Yeah, and I'd like to think, right, these are only the Monuments Men who are hearing this on the radio, but I'd like to think if it gets out to more people, if more people hear it, just the way that it's articulated, it's so true. It's a civilizational moment, not just because is the world going to be free or is it going to be under the oppression of the Nazis, but it's also a civilizational moment because at stake are exactly what Stokes is talking about at stake. What's hangs in the balance is all of the creations, all of the ingenuity of generations of folks across countries of our civilization. I mean, he makes very clear that's an important thing to fight for, and I'd like to think that people who would hear that if they were listening in would agree.
Warwick Fairfax:
Yeah, it's such a great point. It occurs to me there's a modern illustration of how people think that artworks and buildings are a symbol of their civilization, and worth doing anything to preserve them. A few years ago, the great cathedral in Paris, Notre Dame burned.
Gary Schneeberger:
Right, yeah.
Warwick Fairfax:
It was pretty much burnt to the ground. There was hardly anything left. And the president of France, President Macron and all of the French people said, "This is the symbol of what it is to be French. This is the symbol of France. We will do whatever we can to rebuild it." They had some of the finest artisans in the country and probably elsewhere, all gathered together, united in a mission that might take a while, but we will recreate Notre Dame to what it was before. That's no easy mission to recreate the splendor of Notre Dame.
If this wasn't important, people would say, "Macron, why are you spending all this money and energy and time on a building? Aren't there more important things than art than buildings?" But the people of France, they got it. This is what it is to be French. This is the cathedral of Notre Dame. So even today, people realize when important symbols of culture are destroyed, you have to do whatever you can to preserve it, so yeah.
Gary Schneeberger:
And that is what the Monuments Men are doing here in World War II. As we move on, Granger stays in Paris and meets Claire. He discovers that the French private art collections have all been confiscated by the Nazis. He asks Claire to help him find the missing art, but she doesn't trust him at this point. She's worried that the Americans want the art for themselves. Meanwhile, Richard Campbell and Preston Savitz learn that van Eyck's Ghent art piece has been removed by the priests of Ghent Cathedral for safekeeping, but their truck was stopped, and the panels that compose the art piece are taken. The men are confronted by a German soldier who holds them at gunpoint, but they escape to freedom by giving this guy this gunman, this soldier cigarettes. That's the universal language of war, cigarettes. That's how they get away from that.
And Walter Garfield and Jean-Claude Clermont find themselves coming under fire. The two men with no military experience, despite basic training, negotiate with each other over who will fire back and who will draw fire so that the other one can fire back. Who's going to be a distraction? Who's going to play offense? Who's going to play defense? They negotiate over that, and the shooter who is firing at them ends up being, well, not who they expect. Warwick, unpack this scene a little bit for folks, these scenes a little bit for folks so they can understand what's going on as the Monuments Men move forward.
Warwick Fairfax:
So yeah, I mean, these people that fall in the Monuments Men, they're art experts, curators, sculptors, architects, theater directors, they're not soldiers. This isn't Delta Force. This isn't SEAL Team Six.
Gary Schneeberger:
Right.
Warwick Fairfax:
I mean, far from it, but they're in war zones. And when you're in a war zone, you might find the enemy, and they of course encounter conflict with the enemy. In the first of these two scenes, we see Campbell and Savitz, and they're outside and it's dark, and they find that there's this soldier, German soldier, and they have to use quite deft moves to defuse the situation. Now, this is a young German soldier. Nobody wants to be there. Even here, it's towards the end of the war. And what's amusing is neither of them smoke, Savitz or Campbell, but they offered this cigarette to this young German kid, really young German soldier, as they have guns pointing at each other.
And then Campbell says, "Well, let's all sit down." Somehow sitting down smoking a cigarette feels like less tense.
Gary Schneeberger:
Right.
Warwick Fairfax:
Somehow, this defuses the situation and this young soldier goes on his way and they're happy to just, they're not going to be pursuing him. They just got to let him go. They're not military experts here.
In the second scene, we see Garfield and Clermont talking to a priest outside of the church, and suddenly there's gunfire and they run for cover. Someone is firing at them from across the street in a second story window. So again, these aren't military people. They've got to figure out, well, what do we do? They pinned down, how do we get out of this? Garfield then sets down covering fire while Clermont runs to the building and runs upstairs to the second floor. And what he finds is this German soldier, he's just a boy. He's not even a teenager. I don't know if he's much above 10 years old. I mean, it is just horrifying. The boy is scared, and obviously he takes him away. And it's so sad, towards the end of the war, the Germans do indeed use youth, and it was seen maybe even younger than youth. They press them into service, and they don't always have a whole lot of choice, so it's just terrific this scene.
These two scenes showed that the Monuments Men, they need to find ways to deal with war, using skills that they may not have, like how to set cover and deal with the threat from this German soldier in the second story window, or using skills that they do have in the case of Campbell and Savitz, using pretty sly and cunning skills with the cigarette to defuse the situation. They're going to find all sorts of challenges, the Monuments Men, and they're going to have to find different ways to deal with them.
Gary Schneeberger:
One of the most moving scenes featuring this juxtaposition of men unfamiliar with war thrust into the thick of it comes next when Jeffries heads to Bruges to search for da Vinci's Madonna and Child, the only work of da Vinci's to leave Italy during his lifetime. He's turned away by the Allied officers when he tries to gain entrance to the cathedral, but he later sneaks in. And this scene, Warwick, which I'm going to have you talk about in a second, it really makes very stark the fact that these men who have dedicated their lives to beauty now find themselves in the thick of ugliness. So walk us through this moving and tragic scene.
Warwick Fairfax:
When Jeffries talks to the Allied commanders about saving artworks in Bruges, in particular, the statue of the Madonna and Child, the local commander, he has no interest in helping him. Jeffries is trying to convince them. Look, the Nazis sometimes blow up towns and monuments and buildings that have been around for hundreds of years, and there's this Madonna and Child statue and the church we've got to save. It's like he wants to save his troops, this local commander, not artworks, but Jeffries is so committed to the vision that he doesn't really take no for an answer.
Gary Schneeberger:
Right.
Warwick Fairfax:
Even though he's got no help, he is a band of one, and he just sneaks into Bruges and the church where the statue is, and he finds some priests in that church, and together they try to barricade the doors against the Germans, which they know, well, certainly Jeffries believes will certainly come. Jeffries is beside the statue trying to guard it. He has his gun out, his pistol. A German officer comes with his men and they exchange fire. The German officer ends up mortally wounding Jeffries. And as Jeffries lies dying, he writes a letter to his father really talking about from his perspective what a great disappointment has been. He referred to his drinking problem and the effect it's had in his life.
And he says in this letter, in this just heartbreaking letter to his father, that he longed, "for the chance to be back on the pedestal you so proudly placed me. Perhaps here I can make you proud again here at the foot of our Madonna."
So Jeffries here, he absolutely buys into the vision that Stokes and the Monuments Men are carrying out. He is prepared to give his life for this vision of preserving artworks and civilization. I mean, he went there to try and save and protect the statue of Madonna and Child. He must have known the chances of success is probably high, or certainly in the balance of just one man against however many Nazi troops there are there, I mean, you had to believe this is not going to be a mission that's going to be easy. Or you might even have thought, I don't know whether I'm going to survive this, whether he thought through all this, he must have known that this is not going to be an easy mission. And so in the short term, we can say that he didn't succeed. We find out that the Madonna and Child statue taken away, that he gave his life for what he believed in.
Gary Schneeberger:
Jeffries.
Warwick Fairfax:
Realized that he'd made mistakes in life, but he longed for a cause that could redeem his legacy. He says early on to Stokes, "Thank you for this opportunity." He wants redemption. He wants to turn his life in a different direction.
In fact, there's one scene in which early on Stokes asked him, "How long have you been sober?"
And he says, "Since yesterday, when you told me I'd be on this mission." It gives him a reason to be sober. What's the point? I'm here to try and save civilization. Okay, that's probably a pretty good reason to consider going sober.
So he's really tried to turn his life around, and his dying words to his father really clearly shows that his life has turned. And we would imagine that his father would've been very proud of him when I think we learned that his father hasn't really had that image of him before, so it's a touching and moving scene, it's sad, but it just shows that Jefferies is willing to give his life for this cause, and he wants his legacy to be different than just somebody that made poor choices in life. He does not want to be defined, as we say often here, by his worst day or his worst choices.
Gary Schneeberger:
And we also say often here that redemption is possible, and I think that that's what Jefferies is hoping for here. He wants redemption from the life that he believes in some ways he wasted that he talks about, and we don't know how his dad reacted, but I think we know enough about human nature to know that his dad probably did indeed offer that redemption after he found out how his son died.
The movie moves on, Granger and Claire meet again, and she seems to be softening a little bit to him. She takes him to one of the gallery's warehouses, and he sees stack after stack of discarded artwork. He asks her what it all is. She replies very simply and very sadly, "People's lives." Granger, not yet able to reunite classic art with its owners, does a touching, symbolic thing after this scene as this scene continues, doesn't he?
Warwick Fairfax:
Yeah, he really does. Claire tries to help Granger see the personal tragedy behind these stolen artworks. These aren't just stolen artworks, they're people's stories, people's legacies, people's history. And in this warehouse of stolen artworks, when Granger asks, "What is all this?"
As you mentioned, she says, "People's lives."
And then Granger asks, "For what people?"
And she says, "Jews, Jewish people."
This hits Granger hard. In a symbolic gesture, Granger finds one piece of art, finds the place where the owner of that artwork lived. It's an apartment building. So Granger goes to that apartment and he hangs that painting back on the wall. In some ways, it's really a fruitless gesture.
Gary Schneeberger:
Right.
Warwick Fairfax:
We see tragically a Star of David painted on the wall, which the Nazis did to Jewish people to their homes. This family have undoubtedly been taken to a concentration camp and may well not be alive. So you could say, "Well, what's Granger doing? He's putting this painting up in the apartment of people who are probably dead." But in a sense, that's not the point. He wants just show... He wants to do something. This gesture graphically depicts Granger's heart. He wants to unite artworks with their rightful owners. Maybe he won't be successful with this particular piece of art, but he's going to do his level best to try. It shows his heart also to Claire.
Gary Schneeberger:
Yeah, and after this scene, the movie takes a bit of a narrative detour from the plot of finding art to shining a light on finding hope and humanity amid the devastation of war. It's the Battle of the Bulge, and Campbell and Savitz are resting and going through care packages from home that they've received from home. There's food and letters, and Campbell's wife has even sent a record. And as he's taking a shower, he hears a voice over the speakers in the camp. Savitz has found a record player on which to play it. Warwick, this scene is a good reminder that amid the devastation of any crucible that we're going through, but especially in the devastation, the crucible of war, there can be compassion and humanity. Talk a little bit about that.
Warwick Fairfax:
As Campbell is taking a shower, we hear his wife who has his family around her, and she starts singing that classic Christmas tune, Have Yourself a Merry Little Christmas, and she says Merry Christmas to her husband. So this act of compassion, it greatly moves Campbell, and I'm sure provided a lot of Christmas cheer and encouragement at the whole camp. I mean, everybody knows that classic Christmas tune, Have Yourself a Merry Little Christmas.
Gary Schneeberger:
Right.
Warwick Fairfax:
Hear a voice from home, even if it wasn't their wives, you still a voice from home. So this scene really shows that amidst devastating and challenging times, the importance of compassion. Yes, the mission is important, but just as active compassion to his buddy, to his fellow traveler, to his fellow Monuments Men, Campbell. It's just a remarkable thing to do and just shows Savitz's heart and character.
Gary Schneeberger:
After this, the Allied forces learned that the Russians, who are technically on the side of the Allies in World War II, have created what they call a trophy brigade. And that trophy brigade is to capture and keep some of the art the Nazis have stolen and hang onto it for themselves as "reparations" for what they've lost in the war. Granger finds it hard to be upset as Stokes is upset, right? Stokes is very upset by this. Granger finds that a little hard telling Stokes, "Well, Frank, they lost 20 million people in the war."
With the Russians now looking for the same artworks the Monuments Men are looking for, Stokes tells Granger that they need to know what Claire knows to help them on their quest. Granger tells him, "I'm getting close," but he's not there yet. And then Hitler accelerates the pace even further by initiating what's called a Nero Decree, an order that if he dies, the artworks they have captured should be destroyed.
It's after all this that Campbell ends up at a German dentist. He chipped his tooth on food that was sent from home, so it's a funny scene. It starts out a little funny because he chipped his tooth and there's this not very good it seems, German dentist who's working on him. The Americans talk about their mission to the dentist, and the dentist says perhaps his nephew can help them about this art business that they're doing. The nephew turns out to be Stahl, right? Him from the first scenes of the movie, turns out to be Stahl, and the Americans recover a few pieces have already kept for himself from what the Nazis have stolen. I've raced through how all those things end, Warwick, take a slower walk through these scenes because they are integral to what happens here in The Monuments Men.
Warwick Fairfax:
Yeah, absolutely. When the Allies learned this Nero Decree, which is really named after Emperor Nero back in the time of Rome, in which you have that famous phrase, "While Nero fiddled, Rome burned," so the Nero decree is basically people get the idea. It's like this is not good. If he dies, all the artworks are going to be destroyed, which is really Stokes and the Monuments Men, their worst nightmare. So if this wasn't bad enough, so they're worried about they're racing against time to get these artworks, which if Hitler dies and the world's coming to an end, then they might all be destroyed. They're stolen, but maybe it'll be worth, they'll be destroyed.
Gary Schneeberger:
Right.
Warwick Fairfax:
If that wasn't bad enough, here we have the Russians coming from the East with their trophy brigade who are going to collect and keep all these stolen artworks. The mission of the Monuments Men is to restore artwork to their rightful owners, the museum and individuals. Clearly, the Russians have a very different agenda. They want it for themselves. Maybe they feel like with having lost 20 million people in the war, which is hard to imagine. I mean, that's such a massive number, that kind of tragedy, but that's their mission. So if the mission was tough before, it's now become exponentially more difficult.
That's why sometimes in life it feels like, can my crucible get worse? Oh, it does. It gets so much worse here. The artwork could either be burnt or stolen by the Russians. So it's a huge challenge. And then in the scene afterwards, it's sort of comical in some ways. Amidst challenging circumstances, the strangest opportunities can come from that. So somehow, we have Garfield chipping a tooth on a care package. And so he finds this German dentist, as you point out, not too good.
And this German dentist is not too smart, not too observant, frankly. I don't know that he really knows what's going on. So he says, "Hey, my nephew knows all about art," and I don't know if he realized what his nephew did in the war, helped supervise his art museum in Paris and is a dedicated Nazi. So here he invites, not only talks about his nephew, he invites Garfield and Savitz to his home and on the walls of this home, maybe Stahl wasn't that smart to do that. I mean, maybe somebody will come to their house that knows about art, you never know. He has all these famous artworks and he claims they're copies. Well, these are art experts. They know that's the real thing-
Gary Schneeberger:
Yeah, that's not going to fly for too long.
Warwick Fairfax:
And they look on the back of one and go, "Huh? These are famous artworks."
Savitz is very smart and savvy, a lot of smart and savvy people on this team, so he says, out of nowhere, "Heil Hitler," in this loud voice.
Gary Schneeberger:
Right.
Warwick Fairfax:
Now, Stahl's young boys instantly leap up. I mean, they're just small kids and go, "Heil Hitler," like a Pavlovian response. They're taught when you say that, you instantly jump up.
And so they're kids, they're not thinking, "Oh, let me be careful because I don't know who these people are," they're kids. So the jig is up.
So it just shows out of nowhere. They find some valuable artworks that Stahl has stolen just because Garfield chips a tooth, and this German dentist is foolish enough to say, "Oh, my nephew knows about art. Let me take you home." I mean, it's really funny, this particular scene.
Gary Schneeberger:
And Garfield does indeed because of that, right? Have himself a merry little Christmas because that's what his wife sang on the record, so.
Warwick Fairfax:
Indeed.
Gary Schneeberger:
Warwick, while the Monuments Men are not seeking to get into the middle of the battle, sometimes it's tough to avoid in the theater of war. Talk about that scene and how it shows that to be true.
Warwick Fairfax:
So here we have Garfield and Clermont. They get lost somewhere in the countryside. There are woods all over the place, and unfortunately they stumble into almost a hornet's nest. There are Allied troops on one side and German troops on the other, and they're about to fire at each other, and they don't know what's going on because both sides are hidden in the woods and there's farm line in between them. We see Garfield and Clermont that stopped their vehicle. Garfield gets out, and right in front of him, it feels like a foot or two away, sees a whole bunch of German troops hidden, and they're not quite ready to fire yet because they don't want the Allied troops to know what's happening. And it's obviously a deer in the headlights moment for Garfield. He tries to signal to Clermont to get back in the vehicle and leave.
And really before they can leave, both sets of troops start firing each other, and so they race back to the vehicle just to really get out of the line of fire. Sadly, Clermont is wounded and he is fatally wounded, so the Monuments Men have now lost their second member. They lost Jeffries before trying to protect that statue, the Madonna and Child at that church in Belgium, and now Clermont has been lost also. This really shows that this mission is an important mission, and their team is literally dying for the cause.
Gary Schneeberger:
Right.
Warwick Fairfax:
And they're willing to die for what they believe in. This is dying for art, which is really incredible when you think about it, but they believe that they're trying to save Western civilization, at least the symbol of it in the artworks that they're trying to defend and preserve.
Gary Schneeberger:
Yeah, and after this death, after losing another of his men, Stokes begins to muse about whether his team can really call themselves soldiers. This is a moving and meaningful scene, isn't it, Warwick?
Warwick Fairfax:
It certainly is. Stokes says to his team, the Monuments Men, that there were questions when the group was forming about whether they were really soldiers, whether they were risking their lives the way the other soldiers were. And Stokes says, "We're no longer observers. We're active participants who subject to the same heartache that the rest of the soldiers are. He says, when we lost Donald Jefferies, we earned the right to wear the uniform. Now we've lost our second man." In other words, Clermont. "From the beginning I told you that no piece of art was worth a man's life, but these last months have proved me wrong. This is our history, and it's not to be stolen or destroyed, it's to be held up and admired, as with these brave men, and now we owe it to them to finish the job."
So Stokes is not just reinforcing the vision, but this mission is growing in importance even to him. He now believes that saving art and history is worth dying for, even if their own men have to die for this mission, the Monuments Men. And what's interesting is that all the Monuments Men, they agree that this mission is worth dying for.
Gary Schneeberger:
Right.
Warwick Fairfax:
So much so that when Stokes says to Garfield, who saw Clermont die in his arms, and that's a pretty horrific thing to have gone through, he says, in a moment of grace, Stokes says to Garfield, "Look, why don't you go back to the US, get some R&R just to recover."
And Garfield says, "I'm not going. I want to stay and finish this." It's a clear message that Stokes's men, the Monuments Men are completely with him, and they believe that this mission is literally worth dying for.
Gary Schneeberger:
The Monuments Men then, Warwick, discover how the Nazis have been hiding the art, a major breakthrough in their mission. They have been using mines to store it, salt mines, copper mines, et cetera. They first go to the copper mine in Siegen. They find a brick wall in front of the salt mine, and once they get through it, they find vast amounts of artworks. They actually find 6,000 pieces of artwork. Warwick, that's a huge breakthrough for the Monuments Men, and a really important scene, unpack that a little bit for us.
Warwick Fairfax:
We learned that Stokes gets a map off an SS officer that is, as you say, a major break in the case. This map shows that the Nazis have hidden the artworks in salt mines at key locations throughout Germany. Before, they knew that the Nazis are stealing artworks, but they don't know where, where in the world are they going to find this? Where in the world are they going to find these artworks? So now they know where, this map shows that there are key salt mines throughout Germany where they're hiding these artworks, but they're in a race against time before the artworks are destroyed by the Nazis, because remember, with this Nero Directive, this is getting towards the end of the war.
If Hitler dies, then they may well be destroyed before they can get to these salt mines. And if they can't get to the salt mines first, assuming the Nazis don't destroy them, then the Russians might get there first, capture them and bring it back to Russia. So I mean, the mission keeps getting harder. So it's a huge challenge. But as we'll learn with Stokes and the Monuments Men, they're up to the challenge.
Gary Schneeberger:
Yeah. Very few challenges that they can't meet.
Warwick Fairfax:
Indeed.
Gary Schneeberger:
For sure. Next, what happens is that Granger is called from Paris to Germany. They need him now in Germany now that they know where the artworks are being stored. He meets with Claire before he leaves, and she tells him all that she knows. This is an enormous break in the case, as it were, for what the Monuments Men are doing. All this information that she gives him, Warwick, it really changes the trajectory of their whole mission. Talk about that and just what the value of what she tells Granger.
Warwick Fairfax:
Yeah, absolutely. Claire asked Granger to come for dinner at her apartment, and she tells him to dress formally. Well, I guess he left his tuxedo at home. I guess that's not in his kit bag, I suppose, and never know when you'll need it on the battlefield. But yeah, it just, obviously doesn't have it. So he wears the nicest thing he has, a nice shirt and a nice pair of pants, and she says, "Well, this is not formal enough," she happens to have a jacket and a tie, which he gives him. And so now he's appropriately attired and he tells her that he has to look for the artworks at a mine in Merkers.
She's read in the paper about what the Monuments Men have done at the mine in Siegen. She also reads in the paper that they've returned the artwork to their rightful owners, which is exactly what Claire would hope would happen. Her goal, her mission is to preserve the artworks and see that the rightful owners have them back in their possession, so now she clearly believes in Granger and in the mission of the Monuments Men. So Claire, then in this remarkable act of trust, she hands him her most treasured possession, a notebook, which he says is all she has, and she says that this is her life. A notebook is her life.
In this notebook, it lists every piece of art that came through her museum in Paris. It has train manifests and receipts, who each artwork belonged to, and who took it and where they took it. I mean, Granger is so grateful and he is awestruck with what he's received. He knows why this is so important. He's an art curator, the Metropolitan Museum of Art in New York, and Claire then tells him that there is this castle in Germany, Neuschwanstein where most of the artwork should be. So this act of trust by Claire in Granger, in the Monuments Men is remarkable.
And this notebook that she gives Granger is just graphic evidence of how much she trusts Granger. And as we'll see, Stokes and the Monuments Men, they know about the salt mines. At this point, they did not know about the fact that Neuschwanstein, this magnificent castle in Bavaria in southern Germany is where a whole bunch of other artworks would be. But they learn the fact that there are artworks at Neuschwanstein directly because of, she's a remarkable part of the story. And it's Claire, who was skeptical for so long, is finally convinced the Monuments Men and Granger are for real. It's not about bringing artworks back to America or Britain or wherever, it's about bringing those artworks back to their rightful owners. It's a remarkable scene.
Gary Schneeberger:
Yeah, and something about Claire just crossed my mind as you were talking about her giving Granger a jacket and a tie. When we first meet Claire, she's in the art gallery and she's under the thumb of the Nazis who are making her do stuff in it, that she has a jacket and tie lying around, that Paris had been under Nazi control for so long. Makes me wonder, maybe she had a husband and maybe they killed him because why else would she have a jacket and a tie just laying, just lying around to give there. And I think whether it's not said in the film, but it does maybe inform a little bit of just how both sad she is, how defiant she is in the face of the Germans who have stolen her life from her, and how she wants to get back at them. I mean, that's, any perspective on that?
Warwick Fairfax:
Yeah, it's so true. One of the things we learn is I believe she has a brother, Peter I think, in which she learns from Stahl, who actually is, I guess before the Nazis pull out, is uninvited, come to her apartment and tells her that he knows that her brother is with the resistance. Clearly, he suspects that she is with the resistance, but she's so valuable in terms of knowledge of art at the museum that she's too valuable to do away with, send to a concentration camp, understands what he would do with her. But she knows at that point that her brother is, she knows what happened to her brother, whether he was going to be killed, captured, what's going to happen. So yeah, she has to deal with a lot of tragedy in her life, but that doesn't really dissuade her for pursuing her mission to save the artworks in the museum and save the artworks for their rightful owners.
Gary Schneeberger:
Yeah. Well, next the men find out that they find more than a hundred tons of gold bullion in a salt mine in Merkers. It's now April 1945. Who do you think gets credit for finding all of that stuff? Well, the next scene, right? The next part of that scene as it plays out, tells us, we see the top leaders of the US military in Europe Generals Patton, Bradley, and Eisenhower giving a news conference or something like a news conference sitting for newsreels doing something. They're talking to press about finding this a hundred tons of gold bullion. Monuments Men don't seem to get credit for that.
After this, we see German officers and soldiers go to the Heilbronn mine. There are vast amounts of paintings there. There are soldiers with flamethrowers who are burning enormous amounts of priceless paintings just holding the flamethrowers. You've seen it folks in movies before. They're just torching all of this priceless stuff. The Monuments Men are now in this mine looking at the burnt remains, one of which is the frame of a Picasso painting. Then while in this mine, the men find a large stash of gold fillings from teeth, which the men realize came from Jews who were either murdered or sent to concentration camps. Warwick, these are terrible scenes, moving scenes. Talk about them and about what in the arc of this story, why these scenes are so meaningful.
Warwick Fairfax:
Yeah, I mean this shows they're having some success. They're finding artworks, and in this case, gold bullion in Merkers. Predictably, the top US military brass are there taking credit as any military brass would for finding a hundred tons of gold bullion. And they say to themselves, "Well, the brass are going to turn up for gold bullion, not for artworks. They care about gold. What about the art?"
Gary Schneeberger:
Exactly right.
Warwick Fairfax:
And there's some sort of cynical grumbling about it and it's understandable what they're saying. And then we move on from the Merkers mine to the scene in the Heilbronn mine, and it is tragic for two very different reasons because this is the mine where the Monuments Men find that their worst fears are realized. The Nazis have burnt vast amounts of priceless artworks. This is something that can't be recovered. As everything Stokes said, "Once artworks are destroyed, you cannot get that part of civilization back." It's irrecoverable, and so part of their worst fears are realized, and if that wasn't bad enough, then they find this small room which was sort of a hidden room, it's not very obvious what was in there.
And they find this large container of small pieces of gold. At first, not all of them know what it is, just bits of gold. But then one of them says, "These are actually gold teeth filings."
I mean, it hit them that this mine shows really evidence of the Holocaust, that and how evil the Nazis are. They don't just destroy priceless artworks. They kill millions of Jewish people, and they save their gold tooth fillings. I mean, this is a vast container. It's massive, with enormous numbers of gold teeth fillings in it. So it's sobering to say the least on the Monuments Men, and I'm sure it makes them feel like what we're doing to oppose the Nazis at any way we can and our bit of this whole mission of this war is to try to save these priceless artworks and bring them back to their rightful owners, in a number of cases, these owners, the Jewish people. Maybe those individual Jewish people might not live, but there might be relative somewhere, whether it's America or England or somewhere that we can hand these artworks to. I'm sure they're thinking we've got to do whatever we can to get these artworks back, including to the Jewish owners, do whatever we can to help.
Gary Schneeberger:
The team then heads to Neuschwanstein, which is where Claire told them that the artworks from her museum have been sent. The team finds priceless pieces there, matching what is in her notebook. There are large numbers of statues there, including a bronze statue by Rodin. Warwick, unpack that scene a little bit.
Warwick Fairfax:
This is really the realization of Claire's dream. Her part in this was to try to preserve the artworks that were in her museum in Paris. She has this notebook, she gives it to Granger, and here's Granger and the team. Here they are in Neuschwanstein and there are this, enormous numbers of statues. There's actually a Rodin bronze statue, and when they look at that notebook, it shows exactly where all the pieces are and they're there in Neuschwanstein. It's an amazing scene.
Gary Schneeberger:
While there, they find in the ledgers that the Ghent Altarpiece is in a mine in Altaussee. The crew then races to that mine to get the Ghent artwork. Warwick, again, I love this part of the show because I get to talk just not as much and you get to talk about the really meaningful stuff here. So talk about this scene.
Warwick Fairfax:
The climax of the movie, it really happens at the mine in Altaussee. This is the first time we actually see or at least hear of Germans helping the Monuments Men, hasn't happened in the movie yet, but some of the local miners have exploded the entrances to this mine to prevent the Nazis from destroying the artworks. And so there's just a bunch of rocks and rubble in blocking the entrances to the mine so the Nazis haven't been able to get at it, it would seem.
Now, on their way over as they head towards Altaussee, they find a soldier in his Jeep and the soldier in this Jeep says, "The war's over, and the Germans have surrendered," but the soldier also tells them that the Russians are going to be there at the mine the next day, and of course, could it possibly get worse? And it does.
The soldier then says the territory, this part of Germany where Altaussee is, that's the part of Germany that's going to be Russian territory. Now, as folks may know, when the war's over and the Cold War begins, Germany is divided into East Germany and West Germany. I would imagine Altaussee is going to be part of what will become East Germany, so the Russians are obviously, they don't give up territory once they get it. This is very sobering for the Monuments Men, it truly is a race against time. They need to get the artworks out of the Altaussee mine before the Russians get there, and they have almost no time, it's the next day.
They race to the Altaussee mine, and obviously they've first got to find a way to get past the rubble, which they do, and they're trying to get the artworks out as feverishly as they can. And so they've hoped that the Ghent Altarpiece is in that mine. That's what the ledgers at Neuschwanstein say that it should be there. And they don't know where the Madonna and Child statue is, but they're hoping they can find it at some point. And so this is where the perseverance of the Monuments Men pays off. Sometimes you feel like, where am am I going? Am I getting anywhere? Well, sometimes perseverance pays off, and it surely does here with the Monuments Men.
Not only do they get all the artworks out, they find the Ghent Altarpiece, one of the humorous episodes of this movie. This movie has both a lot of tragedy but some humorous moments, so one of the humorous moments we find Garfield and Savitz looking at a map of the mind trying to figure out where in the heck is this last panel of the altarpiece again. And one of them I think drops something, I think it might be Garfield. And he is trying to find it underneath this makeshift table. This makeshift table turns out to be one of the panels. He says, "Hey buddy, can you help me with this?" Because it's heavy. And lo and behold, they find the missing panel.
So when you least expect it, look what happens. That's great. They find the Ghent Altarpiece, and everyone is leaving, but Stokes is still there and it's like, "We need to leave. The Russians are coming." I mean literally, the Russians are coming. They're almost there, but Stokes is not willing to give up.
Finally, miraculously, he finds the Madonna and Child statue. It's in a mine car covered by some tarpaulin, and he is awestruck. It takes him a beat to get his wits about him and he yells to the team, "I found it. Let's get this thing out of here." It needs a whole bunch of people to push this heavy mine car.
They get the Madonna and Child statue, the artwork, the Ghent Altarpiece, they get them all out. We see that Stokes and the rest of the Monuments Men, they're leaving in a convoy of trucks towing behind the Madonna and Child and the Ghent Altarpiece. The mission of the Monuments Men have been accomplished and they've got the artworks, the Ghent Altarpiece, the Madonna and Child and comically, they leave a US flag over the mine entrance.
Gary Schneeberger:
Right.
Warwick Fairfax:
The Russian officer who's been, we see him now and again throughout the movies, he tries to find artworks, see this Russian officer looking up at the US flag, and there's a slight smirk on his face. You know when you lose, it's like well played. He appreciates may have lost to the opposition, which is what it's becoming between the Allies and the Russians. But yeah, well played if you will with the smirk on his face.
Gary Schneeberger:
The movie ends where it began, with Stokes addressing the US President. Only Franklin Delano Roosevelt had passed away before the war was over, and he was succeeded by his Vice President Harry Truman, who is now the president. That's who Stokes is talking to as he's debriefing the president of the US about the mission of the Monuments Men. Warwick, this scene reveals just how successful this mission was. Difficult, sure, but successful, this mission was in more ways than one, doesn't it?
Warwick Fairfax:
It really does. So here we have Stokes, the war's over, and he's meeting with Truman and some of Truman's key team, and he's outlining everything they've accomplished. Stokes tells him everything from paintings to sculptures to tapestries, even jewelry is being returned. He says it's the greatest collection of private art in the history of the world. We have found 5,000 church bells, 300 trolley cars, 3 million books, and thousands of Torahs, which is a Jewish religious book that you use in synagogue. He says that there were over 5 million pieces of art recovered. He tells Truman that there are more great artworks that are missing, and with Truman's permission, he would like to keep looking for them.
When Truman learns that Stokes has lost men, Clermont and Jefferies, he asked Stokes if it was worth it for a piece of art. And then he asked Stokes if he thinks Jefferies, one of the two men that were lost were killed, he asked Stokes if Jefferies would think it was worth it if he could speak, and Stokes says he thinks Jefferies would think it was worth it. So then Truman asked Stokes whether he thinks 30 years from now anyone is going to remember that these men died for a piece of art. It's an interesting question.
And the movie flashes forward 30 years. So now we see Stokes as an old man. He's 1977, and he is in a church in Bruges, Belgium, and he's looking at the Madonna and Child, and Stokes as an old man, answers Truman's question. The question is anybody going to remember what you did for art, that men died for art 30 years from now? And Stokes, an older man, says yes. In other words, people will remember that these men died for a piece of art and that they sacrifice was worth it. It's a great way to end the movie. It makes it clear that this mission will be remembered in history and it's worth it.
Gary Schneeberger:
Yeah, two things I'll say. Here's the third of the eight movies we've done that I worked on when I was a publicist in Hollywood. First thing is the actor, the individual playing the elder Stokes is in fact the elder Clooney. It's George Clooney's dad, Nick Clooney, who was a television host for several years, a couple decades ago, so that's why he looks so much like George Clooney, folks. It's George Clooney's dad, and we made a little bit out of that in our promotion of the film.
The other thing, in our promotion of the film, I'm going to hold this up. We make graphics that folks could use in social media about the work of the Monuments Men, and it does indeed say here that they did recover 5 million pieces of art. But it's interesting about the real life Monuments Men, and I'm going to have to fold this and get really close to read it because it's small type, but it says this, "The real life Monuments Men were a group of nearly 350 men and women from 13 nations who worked to protect monuments and other cultural treasures from the destruction of World War II."
So these individuals in the movie represent those, that larger group of 350 men and women who worked on this from 13 different countries, just really a true global effort to save civilization, both while the military was saving civilization from Nazi rule, the Monuments Men were saving civilization from losing its great and gorgeous history.
Warwick, I'm going to end this the way we've ended every one of these episodes in this eight part series. It's kind of sad. I'm a little bummed. It's sad to be honest with you that this is the end of the line. The last time I'm going to ask you a question about Big Screen, Big Crucibles. But here's the question: how does The Monuments Men offer hope and inspiration to move beyond our own crucibles, and how our pursuit of a life of significance can keep us going even when trials and setbacks come? What would you say is the greatest bit of inspiration The Monuments Men offers?
Warwick Fairfax:
Sometimes we have a mission or a cause that we think is critically important, but others may not see it that way. Frank Stokes and the Monuments Men believe that saving priceless artworks from being taken or destroyed by the Nazis, or being taken by the Russians was a cause worth dying for. Stokes believed that saving artworks was a part of saving our heritage, our civilization. When we believe so much in our cause, our life of significance, we're not always going to find that others believe that that's important.
They might say, "Well, okay, good for you, whatever."
And we might feel like we're a voice in the wilderness crying out, saying, "But this is important. I'm going to give my life to this cause."
Maybe we'll find very few fellow travelers, maybe we'll find none. And so it's not easy. But whether we have one fellow traveler or none, whether we find that nobody really believes in our mission or cause if we believe it's important enough, then we've got to find a way to move on, dig deep and fight for what we believe in, even if others, they may not just think, it doesn't matter, they may not agree, they might completely disagree in our and what we're doing, but you've got to really stand up and fight for what you believe in even if others either ignore it or even think it's wrong, stand up for what you believe in. And that's what this movie shows.
Frank Stokes and the Monuments Men, they fought to save artworks from being destroyed and stolen. They fought to make sure these artworks were brought back to their original owners as best they could, or at least I'm sure their family members. That's a noble mission, and clearly as we saw in the movie, there were countless Allied commanders that were like, "We don't think this mission is worth dying for, and so we're not going to help you," time and time again. And sometimes life is like that, sometimes we will not just be ignored, we will not be supported at all by those that we know in a mission that we feel like that we're off the charts passionate about is our life of significance. But we need to find a way to persevere and move on, even if others may not agree and may not support us.
Gary Schneeberger:
Cut and print. That is a wrap on Big Screen, Big Crucibles. If you enjoyed this, these episodes, we ask you to share them on social media, share them with your friends, let people know about it. We would ask you to like us both on the podcast app you listen to, and on YouTube where you watch, our YouTube channel, subscribe to those places so that you can get every episode of this podcast, Beyond the Crucible, that we do.
Now, I usually say at the end of an episode, "We'll see you next week." We won't see you next week because next week there's been a lot of work. Folks, we're going to take a week off. Next week, Warwick and I are going to take a week off, but we will be back with all new episodes on September 9th. So mark that on your calendar, just a couple of weeks. We'll be back on September 9th. Thank you for spending this time with us. And remember, your crucible experiences are not the end of your story. Not at all. Your worst day doesn't define you. You can indeed, like all of these individuals we've spoken about in our summer series, you can overcome those crucibles and lead a life of significance.
Welcome to a journey of transformation with Beyond the Crucible assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the Helper or the Individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially, the steps to get there. It's more than an assessment, it's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.
Life is good – oftentimes too good – at handing us moments that knock the wind out of our sails. A job loss, a dream denied or deferred, an embarrassing personal failure, a season of heartbreak — we’ve all faced crucibles that test our resilience and shake our confidence. It’s in these moments, as we’ve discussed often at Beyond the Crucible, that the path forward can seem impossibly foggy, and the temptation to quit can whisper loudly in our ears.
In our summer podcast series, BIG SCREEN, BIG CRUCIBLES, we’ve looked to the movies for encouragement and insight into how to navigate those life-shattering trials to extract the lessons that transform them into life-shaping opportunities. Hollywood, at its best, gives us characters who walk through fire and come out refined, not ruined. Their stories may play out on a screen, but the lessons they teach can illuminate our real-world journeys beyond the crucible.
Let’s lower the lights and take a look at three of these cinematic stories we’ve discussed and see what they teach us about resilience, purpose and transformation.
Erin Brockovich – Never Give Up on the Life of Significance You’re Pursuing
In Steven Soderbergh’s Erin Brockovich (2000), Julia Roberts brings to life the real story of a single mom who refuses to be overlooked or underestimated. Erin is brash, broke and initially dismissed by just about everyone — including the law firm she eventually strong-arms into hiring her. But she has something that no lack of formal training or legal degree can erase: tenacity and an unshakable sense of right and wrong.
When she stumbles onto medical records that suggest a small California town is being poisoned by contaminated water, Erin latches onto the case with bulldog determination. At first, she’s dismissed as a nuisance. She has no experience, no allies and no roadmap for taking on a corporate giant like Pacific Gas and Electric. Yet she refuses to give up on her quest to make a difference — not for recognition or riches, but because she sees the human cost of injustice and knows that pursuing this fight gives her life significance.
Erin’s story reminds us that pursuing a life of significance often requires enduring discomfort and opposition. People may doubt and dismiss us, circumstances may conspire against us, and the odds may appear overwhelming. But significance isn’t handed out like a participation trophy; it’s earned in the trenches of persistence.
Her triumph — securing a $333 million settlement for the affected residents — didn’t just change lives in that town; it changed Erin’s own life. She found purpose in refusing to quit, even when every obstacle screamed that she should.
In our own crucibles, there will always be a voice that says, “Why bother? It’s too hard. It won’t matter.” Erin Brockovich illustrates the value of tuning out that voice and pressing on toward a life of impact. The pursuit of significance often begins the moment we decide to persist, no matter how daunting the challenge.
The Pursuit of Happyness – Don’t Let Setbacks and Failures Define You
If Erin Brockovich shows us the power of tenacity, The Pursuit of Happyness (2006) teaches the liberating truth that our worst setbacks do not define who we are.
Will Smith’s Oscar-nominated portrayal of Chris Gardner brings to the screen a man navigating what seems like an endless series of personal and professional disasters. He invests his life savings in medical devices that don’t sell. His wife leaves him. He loses his apartment. He and his young son end up sleeping in subway bathrooms and homeless shelters. From the outside, Gardner’s life looks like a slow-motion collapse that always seems to pick up speed despite his best efforts.
And yet, amid the heartbreak and humiliation, Gardner refuses to internalize failure as his identity. He is experiencing failure — yes — but he does not become a failure. His circumstances do not define him; his determination and love for his son do.
Gardner lands an unpaid internship as a stockbroker at a prestigious brokerage firm. He has to compete against dozens of other candidates for a single job, all while trying to survive homelessness as a single parent. Every day, he puts on a suit and a brave face, and he fights to create a better future. That willingness to keep moving forward, step by step, even when life is crumbling, is what ultimately allows him to secure the job that changes his and his son’s lives.
The climactic scene — when Gardner finally gets hired and steps outside into the bustling San Francisco street, overcome with tears of relief and joy — is a reminder that with the right attitude and action, we can render defeat merely momentary. Failure, The Pursuit of Happyness screams in every frame, is an event, not a person.
When our own crucibles knock us down, it can feel like the world is stamping a label on our foreheads: loser, unworthy, done. But Gardner’s journey reminds us that we always have the power to rise. We can acknowledge the setback without surrendering our identity to it. Our failures are chapters, not conclusions.
Invictus – The Power of Vision to Overcome Even the Deepest Divides
Some crucibles are deeply personal; others belong to entire nations. Clint Eastwood’s Invictus (2009) tells the story of how newly elected South African President Nelson Mandela used the power of vision to begin healing a country scarred by decades of apartheid.
Mandela, elected his country’s leader after that country imprisoned him for 27 years, inherits a nation deeply fractured along racial and cultural lines. Hatred simmers. Distrust runs deep. And yet, he recognizes that symbolic victories can ignite real unity. His unlikely tool? Rugby.
The 1995 Rugby World Cup becomes a crucible for South Africa. Mandela champions the Springboks — the national team long seen as a symbol of white Afrikaner pride — as a bridge between communities. His vision is not about rugby; it’s about reconciliation. He believes that rallying the entire country behind one team, one hope, can begin to knit together the shredded fabric of South African society.
The film’s most stirring moments capture the quiet courage of a leader who dares to believe in a better tomorrow even while standing in the ashes of a bitter past. Morgan Freeman’s portrayal of Mandela radiates the steady conviction that a compelling vision can lift people out of despair and division and into shared purpose and passion.
When the Springboks win the World Cup in front of a united, jubilant home crowd, it’s more than a sports victory — it’s a national triumph of the human spirit. The vision Mandela cast — of forgiveness, shared pride and collective possibility — momentarily blots out the pain of the past and points toward a different kind of future.
Our personal crucibles may not involve reconciling a country, but the principle holds true: a clear, inspiring vision can help us endure and overcome even devastating challenges. Whether it’s a family goal, a business mission or a dream for personal growth, vision is the North Star that pulls us through the fog of pain and uncertainty.
Your crucibles may be painful, but they don’t have to be permanent prisons. Like Erin, Chris, and Mandela, you can turn trials into turning points — and step boldly into the life you were meant to lead.
Reflection
What is the life of significance you are pursuing? What step can you take this week to move forward, even if the path is steep or lonely?
Is there a failure or setback you’ve allowed to define you? How can you reframe it as a chapter in your story rather than the conclusion?
What vision for your life, your family or your community can help you rise above your current crucible? How can keeping your eyes on that vision change the way you face today’s challenges?
We share inspirational stories and transformational tools from leaders who have moved beyond life’s most difficult moments to create lives of significance.
This week, in the seventh episode of our summer series, BIG SCREEN, BIG CRUCIBLES, we look at INVICTUS.
It’s the story of how, after apartheid, President Nelson Mandela uses the national rugby team to unite a deeply divided South Africa and win the 1995 Rugby World Cup, transforming a nation through the universal language of sport.
It would prove to be a crucible-riddled pursuit that requires all of Mandela’s intelligence, charm, and ingenuity.
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life.
Download yours at https://mailchi.mp/09b58af7eebf/bigscreensbigcrucibles
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Transcript
Warwick Fairfax:
Mandela knows he needs what? White South Africans. He tells his Black Cheetah staff something that's very pragmatic. He says that, "The White minority still control the police, the army and the economy." He says, "If we lose them, we cannot address the other issues."
Gary Schneeberger:
This week in the seventh episode of our summer series, Big Screen, Big Crusibles, we take a look at the movie Invictus. It's the story of how after apartheid, President Nelson Mandela uses the national rugby team to unite a deeply divided South Africa and win the 1995 Rugby World Cup, transforming the nation through the universal language of sport, it would prove to be a crucible riddled pursuit that requires all of Mandela's intelligence, charm, and ingenuity.
Welcome friends to this episode of Beyond The Crucible, another episode of our summer series, Big Screen, Big Crucibles. Warrick, it's hard to believe, this is the seventh episode of the series.
Warwick Fairfax:
Indeed.
Gary Schneeberger:
It's gone by very, very, very quickly and we hope folks, seriously, that you've both enjoyed it and that you've learned some things from it, and I think we both think that you will enjoy and learn some more things from what we're going to talk about this week. Just to level set you on why we're doing this, we had so much fun last year when we did our summer series on classic films from the American Film Institute's list of the top 10 or the Top 100 films of all time, and we examined what these films can teach us about our crucibles and how to bounce back from them.
This time, this year, we came back to the cinema to drill down and really focus on movies in which there are the title says, on the big screen there are big crucibles in these films to extract some learnings for you to apply to your own crucible experiences. And our film this week, folks in Big Screen Big Crucibles is Invictus. Invictus came out in 2009. It's always funny Warrick when we do this and I say, what year the movie came out and I'm like, oh my gosh, I'm so old. It's just funny. This came out in 2009. I'm not even going to do the math. That was a while ago, but it's really good movie.
And here's the synopsis of that film. After Apartheid, President Nelson Mandela uses the national rugby team to unite a deeply divided South Africa and win the 1995 Rugby World Cup, transforming a nation through the universal language of sport. Interesting that as I've said a couple times in this series, I worked in Hollywood in publicity and it's unusual for a log line, a summary of a film to just give away the ending. So don't run away even though you know that South Africa wins the Rugby World Cup. Lots of good information and helpful insights for you as we get there. So, before we dive into the crucibles that were experienced in this movie by Nelson Mandela and others Warrick, let me do what I do on every one of these episodes and ask you this, why movies again? This is the third time overall that we've done films as a learning ground for us in moving beyond our crucibles. What are you hoping our listeners and viewers get from our discussion of these movies? What are you hoping that they've gotten from the six that we've already talked about?
Warwick Fairfax:
Yeah, both you and I love movies and we've enjoyed looking at them from a Beyond the Crucible perspective because often, when you watch a movie pretty much always, you're not saying, "Gee, how can I learn how to bounce back from my worst day?" Typically, when you're watching a movie, you just want to watch it and enjoy it.
And so, movies typically portray a protagonist that is facing significant challenges that they seek to overcome. That's really the point of many if not most good movies. We've covered movies superheroes, sports heroes, and as you mentioned last year, we've also covered historical heroes. And last year, we did a great series from the American Film Institute's Top 100 movies, incredible movies that we covered. So this year, we thought we'd look at movies where we thought were some of the best ones that showed people overcoming incredibly significant crucibles to lead a life of significance, a life on purpose dedicated to serving others. And these are a great series of eight movies with people overcoming challenges that are hard to believe anybody could overcome. So there's huge learnings that we believe in these eight movies that we're covering in this summer series.
Gary Schneeberger:
And I like what you said there about watching these movies through a Beyond the Crucible perspective because I'm going to date myself here folks, so I apologize in advance, but Warwick and I aren't doing this because we're Siskel and Ebert, right? We're not trying to be film critics. We're really trying to be elucidators of the lessons of moving beyond crucibles that these movies touch on. That's the reason that we're doing this. So it's not to be film critics, just so you know.
So let's get going here on Invictus. The movie set, the year is 1990 when the movie opens and the nation of South Africa, which is still under the rule of apartheid, is shown to be deeply racially divided. We see White South African high school kids playing rugby on nice fields while Black South African kids are playing soccer on dirt fields. It's really quite a contrast and very jarring as the movie starts. We then see a series of news reports that Nelson Mandela has been released from prison after 27 years in captivity. And as he is driven through the streets cheered by Black South Africans and spurned by White South Africans, we get a powerful glimpse of how divided the country is. Warwick, in this scene, Mandela's motorcade passes by a high school where the kids are playing rugby and there's an exchange between a coach and a boy on the team or in the school, we're not sure which, that spotlights the depth of the racial divide in the country. What happens in that scene?
Warwick Fairfax:
It's an incredibly powerful opening scene. Here we have Mandela's motorcade that's going by. He has been released from prison, it's 1990 and you see on one side, there are these White South African kids. It looks like a high school team, nice fields, green fields, and on the other side of the road, it's basically dirt with a bunch of Black kids playing soccer. And so, the coach of the boys' rugby team, the predominantly I think, exclusively really, White team, this coach says to one of the boys, "It is that terrorist, Mandela, they let him out. Remember this day, boys. This is the day our country went to the dogs." I'm sure on the other side if the Black kids knew it was Mandela, they would be cheering. It would be a stark contrast between those two sports fields.
It's really that road symbolized the divide in the nation and it's a sad commentary on the division within the country of South Africa. The White South Africans and in particular, the Afrikaners who are White South Africans of Dutch descent, they were at the heart of apartheid and they view Mandela as a terrorist who they may well believe belonged in prison from their worldview. He wanted to overthrow their way of life, they liked their way of life, and they put him in prison because he was opposing apartheid. The Black South Africans view Mandela very differently. They view Mandela as a freedom fighter who will help end the scourge of discrimination of apartheid.
Gary Schneeberger:
Yeah. And that "terrorist," if you're not watching on YouTube folks, I'm making finger quotes, terrorist, that terrorist we see four years later is elected the first Black President of South Africa. His presidency faces enormous challenges in the post-apartheid era, including rampant poverty and crime. And Mandela is particularly concerned about racial divisions between Black and White South Africans. So Warrick, he makes a bold statement. It's a proclamation really, in his inaugural speech after he is sworn in. What does he say and why is it so inspirational to the people of South Africa?
Warwick Fairfax:
So here's President Nelson Mandela. It's 1994. He is the first Black President in South Africa's history. Before apartheid ended, Black people couldn't vote, so obviously, he never would've been a president. So here he is and the words that he uses are moving and they're surprising. He says, "Never will this beautiful land experience oppression of one by another and suffer the indignity of being the skunk of the world." But what those words mean is that Mandela had a vision, not just that the oppression of White South Africans to Black South Africans would end. He also had a vision where the two races would live in harmony. And moreover, that South Africa would once again be invited back into the World of Nations because during the period of apartheid, especially in I guess '70s and '80s when pressure from the world really ramped up, South Africa was excluded from trade deals, from international sports, from really the world was trying to put pressure on the apartheid system to end.
But to have this vision where two races would live in harmony, especially the White South Africans, the Afrikaners who had spent many years, decades oppressing Black South Africans and then somehow, Black South Africans would forgive the beating, the torture, the oppression, this vision of two races living in harmony, it's a bold vision.
Gary Schneeberger:
Yeah. And it's also pretty incredible. And this is the first glimpse we get of it in the movie and it happens throughout the movie. The line that he says about, "Never suffer the indignity of being the skunk of the world." There's something to be said. This is the first time we see it I think, here in the film, Nelson Mandela does not... He gets put down a lot in this movie. He gets attacked a bit by... And his countenance is always happy. He's got extraordinarily high perseverance that he demonstrates in this film, doesn't he?
Warwick Fairfax:
Absolutely. He gets attacked on all sides. Now, it will be understandable if the White South Africans would be concerned about what he's going to do, but as we'll see, even as he starts to enact his policies, Black South Africans were like, hang on, we thought we were getting revolution, payback. Mandela is more about reconciliation than he is about payback. So there are people from all sides that are unhappy, and when he talks about South Africa being the skunk of the world, the South African government and apartheid were despised by most of the world, which means from Mandela's perspective, the country South Africa is really looked down upon as one that's in a mess and it's just depressing its people and will be excluded from the world of nations. He wants to bring South Africa back so that it's part of the world of civilized nations, if you will.
Gary Schneeberger:
So almost immediately when he arrives into the president's office, he hasn't even really met his staff. He calls a staff meeting, he assembles the staff together and he tells them a little more about his vision that you were just talking about and enlists them to be his fellow travelers in helping him make that vision. Which is still taking shape in terms of what his staff knows, even in terms of what moviegoers know. But he encourages his staff to become his fellow travelers to help make that vision a reality, doesn't he?
Warwick Fairfax:
Yeah, absolutely. When Nelson Mandela enters the presidential offices, there are his Black staff that are moving in, his team and then there's the White staff who worked for the previous White president. Now, all of the White staff assume, well, this is the first Black president, he's not going to want us here and we get it. And so they're just packing their boxes and Mandela calls a meeting of all the staff because he sees what's going on and he tells the outgoing staff that if they're leaving because of the color of their skin or their language, some of them who are Dutch South Africans will speak Afrikaner, that they're leaving because of the color of the skin or their language or who they worked for before, and that they feel that this disqualifies them from working there, they should have no such fear. He says they can stay so long as they feel they can work with him.
In other words, so long as they don't mind working for a Black president in particular, Mandela. He went on to say that the past is the past. They need to look to the future and he wants their help. He says to these White staff who are thinking of leaving, if they would stay, he says, "You will be doing your country a great service." So this shows, from Mandela's first day in office that he has a vision to unite the whole country and he wants the best people working for him regardless of their background.
Now, Mandela is a smart guy. He's an idealistic guy, but he is also pragmatic. The White members of his staff, the ones who stay on, they have a lot of experience in government. The people that he is bringing on board his team by definition, because they've been excluded from the political process, they don't have any experience in terms of governing. Why wouldn't he want some of the White staff to stay that can really help him work the leaders of government to accomplish his vision? It's not only an idealistic way of looking at life, it's a very pragmatic one. And we'll see throughout this movie, Mandela is both idealistic, but he's also pragmatic. The two can go hand in hand.
Gary Schneeberger:
Yeah. And there's an ingenious subplot that follows to get the main story that gets introduced after that meeting with the staff, to spotlight the ill will between Black South Africans and White South Africans. We get a close up look at how the tensions play out in Mandela's own security detail. We see that the relations between the established White officers who had guarded Mandela's predecessors and the Black African National Congress, ANC additions to the security detail are frosty. That's a charitable word. Are frosty and marked by mutual distrust. These early scenes with the security details show how much distrust exists between the races and what an uphill battle that President Mandela has on his hands, don't they? But they also show the way he plans to win that battle. It's very interesting. It's an uphill battle, but it gives us peaks behind the curtain of how he plans to win it, doesn't it?
Warwick Fairfax:
Yeah. So true. So you've got the Black security staff led by a guy named Jason who seems to be the head guy there. He says, "Well, we need more men." This is the first Black president. They realize there might be people that want to hurt him and we just need more men to be able to guard President Mandela.
But then we see that these White security officers, the ones that used to guard the previous White president that they're reporting for duty to the Black head of security, this guy Jason. Mandela signed orders saying that these White security officers will stay on. And one of them hands this piece of paper to Jason, the head Black security guy, and Jason goes directly to Mandela to protest. So in walks Jason to Mandela and Mandela tells Jason that these White security officers have lots of experience. They've been trained by what the British refer to as a Special Air Services, the SAS. This is equivalent to the U.S. Navy SEALs, Rangers. These are the best of the best. So these White security offices, they have some of the best training in the world to protect the president of South Africa. And so, Mandela says that in a rainbow coalition, reconciliation starts here with how his bodyguards look.
Jason says to Mandela, "Not long ago, these guys, maybe even these very people, these White Security officers tried to kill us." Mandela says, he knows and says, "Forgiveness starts here, now. Forgiveness liberates the soul. It removes fear. That is why it is such a powerful weapon." Mandela has this vision that his security team will represent the rainbow coalition that he's thinking of for South Africa, White and Black security officers. Now, Jason, the head Black security guy, he's not happy, but Mandela says, basically, try, make it work. Is basically what Mandela is saying.
And so it's such a powerful statement of having these two groups of people working together in light of the fact that these White security officers were part or very likely part of the apartheid system, they might've actually put people in prison, beat people up. We don't know exactly what these particular people did, but initially, you're thinking, how is this going to work? Because these two groups of people, they stare at each other and you're wondering, how are they going to be able to... They have to work together to be able to protect President Mandela, but Mandela has a powerful vision of unity that he believes will prevail even with these two groups of people that really, I don't know, really don't like each other, they're just staring at each other.
Gary Schneeberger:
Yeah. Before we move ahead, I want to put a pin in something that Mandela says that you quoted about forgiveness. He says, "Forgiveness liberates the soul." If we went out, Warwick, and we produced bumper stickers for Beyond the Crucible, that'd be a pretty good one, wouldn't it? Forgiveness liberates the soul. We talk a lot about that here. This movie talks a lot about it here, and that really is, as this movie plays out, that's a linchpin, a turnkey to what Mandela is both doing himself and encouraging those on his team to do, forgiveness.
Warwick Fairfax:
Yeah, it's such a powerful point, Gary. I'm reminded in the Bible, Jesus often says, "For those who have eyes to see, ears to hear," and the same applies to this phrase. There are many Black South Africans, upon hearing that kind of phrase, would say, "I have no idea what you're talking about. Forgiving these people? What they did to me, to my family, to those I love, to my friends? Forgiveness means we condone the evil that the Afrikaner South Africans did to us. Liberates the soul? I don't know what you mean." But for those who've managed to find a way to forgive, they would say it's so true.
So it's a concept that sounds very hard to understand by some, certainly the oppressed, and nobody was oppressed more than Nelson Mandela in prison for 27 years as we'll get into in the feared Robben Island prison off of Cape Town, South Africa. So this phrase is not coming from anybody. It's coming from Nelson Mandela who was imprisoned for fighting for freedom for 27 years. This is not said idly. These are not easy words for Mandela to say, which is why it has so much power. Mandela says that. It's hard to just blow past that, ignore it. It's a powerful phrase.
Gary Schneeberger:
Yeah. And forgiveness will play a major role in this film as we go forward and let's do that now, let's go forward. While attending a rugby match between South Africa and England, Mandela notices that the Black South Africans are supporting England rather than the mostly White Springboks, which is the name of the South African team due to the legacy of apartheid. He remarks that he did the same while imprisoned on Robben Island, and he learns that the newly Black dominated South African Sports Committee is voting on whether to keep the name Springboks and the colors of the Springboks as the name of the South African rugby team. He heads to a meeting to convince them to leave things as they are.
Not exactly the thing that you'd expect him to do, right? Or certainly the people who voted for him would expect him to do. But Warwick, it's a moving and important scene that follows. Mandela is putting some major political capital on the line to encourage those, as I said, who voted for him, to maintain the traditions of those who did not vote for him. Talk about what happens at this meeting and how Mandela acts to prevent what he believes would upend his plans to build a unified South Africa.
Warwick Fairfax:
It's an amazing scene when you've got the Black dominated South African Sports Council, understandably voting to change the name and the colors of the South African rugby team from the Springboks. It was a hated name. It was beloved by the Afrikaners, the White South Africans of Dutch descent. It's really incredible. And Mandela has a bigger picture. He has a broader vision. He has a vision of unity. So once he hears that the vote's going down and what's happening, he races to where this committee meeting is happening, and Mandela knows how important that rugby is, and the Springboks name to White South Africans, it's a part of their identity. From 1981 until 1992, because of apartheid, the South African rugby team, the Springboks, they weren't able to compete on the world stage. They couldn't play New Zealand, Australia, England, World Cups. They couldn't weren't part of international sports.
And White South Africans, they greatly minded this, not being able to see their beloved Springboks play against some of the best teams in the world. So now, their beloved team could finally compete. As we'll see, the World Cup was coming up in a little over a year in '95. This is a huge deal, and Mandela realized how important it was not to lose White South Africans. They're already suspicious of him. They're already nervous and anxious, but if he starts eliminating the Springbok name and the colors, the green and gold, then they'll say, "We knew it. Okay, Mandela is going to oppress us. We oppressed him. Well, it's payback time. Here we go." All of their worst fears would've been realized, and that's exactly what Mandela fears would happen.
And so, he says to this committee, we need to restore the Springbok name and colors immediately because they'd voted to remove it. He says, as we've mentioned on Robben Island, "My jailers were Afrikaners," he says, "I had to know my enemy before we could prevail against them, and we did prevail." And then he says some remarkable statements. Mandela says this, "Our enemy is no longer the Afrikaner." Now, that makes no sense. Some White South Africans were a bit more liberal politically, and they were against apartheid. But the Afrikaners, those of Dutch descent, they were predominantly, if not all, for apartheid. So he's basically saying, those diehard apartheid people, they're no longer our enemy. What? He then goes on to say, "They are our fellow South Africans, our partners for democracy. They treasure Springbok rugby. If we take that away, we lose them. We prove we are what they feared we would be. We have to be better than that. We have to surprise them with compassion, with restraint and generosity."
He says, "I know all of the things they denied us. This is no time to celebrate petty revenge. This is the time to build our nation using every single brick available to us, even if that brick comes wrapped in green and gold." His audience, these Black members of the sports committee, they knew that the green and gold meant Springbok colors. That's an incredible statement to say. And then he finishes by saying, Mandela does, "You elected me as your leader. Let me lead you now." Now, it wasn't easy. It took quite a few votes, but eventually, the Springboks name and green and gold colors was restored.
Mandela knows he needs what? White South Africans. He tells his Black chief of staff something that's very pragmatic. He says that the White minority still control the police, the army and the economy. He says, "If we lose them, we cannot address the other issues." So he cannot afford to antagonize all of the White South African minority. Some will never be for him, but he needs some of that White South African minority to be with him because they have all the institutional knowledge. Police, army, the economy, he can't lose them all. And so, this symbolic issue of keeping the Springboks name and the green and gold colors, it's both idealistic to bring people together, but it's also very pragmatic.
Gary Schneeberger:
And that speech that he gives to the sports committee, you may have noticed, well, if you've watched these episodes, folks, the first six, this is the seventh, if you've watched these episodes that we pull one clip from the movie in every episode and play it, and this is the first time, Warrick, that I was like, I was doing this between which clip did I want to pull, whether it was that one that you just talked about or the next one that comes up. So that's really-
Warwick Fairfax:
That's the problem with Mandela. He says so many profound things, and there's so many profound things. It's a tough one.
Gary Schneeberger:
Yeah. But next, Mandela meets with the captain of the Springboks. So, his vision to do all the things that we've been talking about, to try to bring some racial unity to South Africa, he meets with the captain of the Springboks, Francois Pienaar. It's during this meeting that he reveals his plan for using the sport of rugby as a unifying inspirational force. The role Francois and his teammates will play in making the president's vision a reality are conveyed in a conversation between the two, the President and Francois over tea in the president's offices. Let's take a look and a listen to the clip of that scene.
Nelson Mandela:
What is your philosophy on leadership? How do you inspire your team to do their best?
Francois Pienaar:
By example. I've always thought to lead by example, sir.
Nelson Mandela:
Well, that is right. That is exactly right. But how to get them to be better than they think they can be, that is very difficult I find. Inspiration, perhaps. How do we inspire ourselves to greatness when nothing less will do? How do we inspire everyone around us? I sometimes think it is by using the work of others. On Robben Island, when things got very bad, I found inspiration in a poem.
Francois Pienaar:
A poem?
Nelson Mandela:
A Victorian poem. Just words. But they helped me to stand when all I wanted to do was to lie down. But you didn't come all this way to hear an old man talk about things that make no sense.
Francois Pienaar:
No, no, please, Mr. President, it makes complete sense to me. On the day of a big match, say a test, in the bus on the way to the stadium, nobody talks.
Nelson Mandela:
Ah, yes, they're all preparing.
Francois Pienaar:
Right. But when I think we are ready, I have the bus driver put on a song, something I've chosen, one we all know, and we listen to the words together and it helps.
Nelson Mandela:
I remember when I was invited to the 1992 Olympics in Barcelona, everybody in the stadium greeted me with a song. At the time, the future, our future seemed very bleak. But to hear that song in the voices of people from all over our planet made me proud to be South African. It inspired me to come home and do better. It allowed me to expect more of myself.
Francois Pienaar:
May I ask, what was the song, sir?
Nelson Mandela:
Well, it was Nkosi Sikelel' iAfrika, a very inspiring song. We need inspiration, Francois, because in order to build our nation, we must all exceed our own expectations.
Gary Schneeberger:
So, Warwick, Mandela doesn't give a lot of specifics about what his vision, what his plan is yet, but it's clear that his intent on enlisting Francois and the Springboks in his strategy to bring unity to South Africa, isn't it?
Warwick Fairfax:
This is a wonderful scene in Mandela's presidential office when he summons Francois Pienaar, the captain of the South African rugby team, the Springboks, to meet him. Now, Francois doesn't really know what's going on. Why are is he being asked to meet with the president? It's like I'm the captain of the rugby team, but I don't quite get it. And Mandela has a vision of using to unite the nation. So what Mandela is doing is he's trying to inspire vision in his country. In this particular case, in Francois Pienaar, who's the captain of the Springboks, the South African rugby team of how this team, the Springboks, can somehow bring the country together and help inspire people to things they never thought was possible. It's a powerful dream that he's giving Francois Pienaar.
So Francois leaves the meeting with President Mandela, somewhat awestruck, dumbstruck about what happened, he's like what happened there? He's blown away, and his wife is outside in the car waiting for him, and she wonders, well, how'd it go? And Francois says, Mandela is not like anyone that he's ever met before. He says, "I think he wants us to win the World Cup." Now, Mandela never said that, but between the lines, Francois gets it. So this clip shows Mandela's vision to unite Black and White South Africans with rugby.
The World Cup is being hosted by South Africa a year later in 1995. And Mandela's vision to use rugby to unite the country is one that many would think makes no sense. Rugby was seen as a symbol of White South African oppression and was hated by Black South Africans who just really saw it as a symbol of apartheid. In fact, we see some scenes with the White and Black security officers talking about rugby, and it's almost as if the Black security officer purposely didn't want to know anything about the game of rugby. It was a hated sport that to know something about it is just wrong. There's a scene at a church where there's a Black woman and a White woman, and they're handing out basically care packages gifts to-
Gary Schneeberger:
Right, right, right, yeah.
Warwick Fairfax:
The Black kids in the local townships. And this naive and well-meaning White woman gives this Springboks green and gold jersey to a Black kid. Here's the Springboks jersey. She's thinking she's doing him a great favor and he says, "No, no, I can't take it." And he leaves and she doesn't get it. And the Black woman says, "You don't realize, if he wears that, he'll get beaten up by his friends. He'll be wearing a symbol of apartheid." And the White woman just does not get it. So using rugby to unite people. As we've said, there are many Blacks that Africans have said, "I will not follow the Springboks. I refuse to know anything about rugby. It's an evil game and it's perpetuated by evil people." It's probably their attitude. So this vision in a lot of ways, in one sense, it's a bold vision, but it makes not a whole lot of sense. Talk about a tough symbol. It's like you're going to use that symbol to bring people together? It makes no sense in one way of looking at it.
Gary Schneeberger:
And even if you look at it from outside the prism of South Africa, it's rugby. Think about there's tens of thousands, 60,000 fans in a stadium, and rugby fans tend to be a little rowdy. So, it isn't like it's the sport of reconciliation, generally speaking, and then it just doubles down in South Africa. In fact, one of the security officers, one of the White security officers in trying to explain to the Black security officer says something about rugby is a game of gentlemen played by hooligans. And the Black security officer goes, "Yeah, yeah, I've heard that joke before. Stop. I don't want to hear it anymore."
Warwick Fairfax:
Right.
Gary Schneeberger:
That's the sport that Mandela has put... If this was poker, he pushed all his chips into the table, right? Into the middle of the table, and it's both generally speaking, between countries, it's going to cause conflict. But in South Africa, oh my gosh, as you've explained, going to cause conflict. And yet, Mandela has heard that the World Cup finals will be broadcast to a live TV audience of more than a billion people worldwide. And the opportunity to show the whole world that the nation has moved beyond apartheid consumes him. The plan begins by having the Springboks hosting coaching clinics throughout South Africa. Those clinics will include one Black player, Chester Williams, and has the team visiting youth across the country. Warrick, what happens at these coaching camps, coaching clinics, that moves Mandela's vision forward? Because again, when you see it, when you hear it, you're thinking, how is that going to help? How indeed does it help move his vision forward?
Warwick Fairfax:
Mandela is indeed a great visionary. He sees things that most people cannot see, and his vision is all behind this. So what happens is the head of South African rugby tells the team that they'll be conducting coaching clinics in townships, but that's basically where poor Black people live in, ramshackle hovels, basically, it's tin sheds, it's incredibly poor places. So they're going to go visit the townships, and there's predominantly White South African rugby team, the Springboks. They initially pushed back. But they're told, this is a request from the very top. In other words, President Mandela. Now, Francois tells the team that they have become more than a rugby team, and they might as well get used to it. He says, "Times change and we need to change as well."
Francois understands Mandela's vision and is trying to implement it, and it's not easy. There's a lot of grumbling. So the team goes to these townships, and as they're driving through in the team bus, they're overwhelmed by the poverty they see. I'm sure many of them have not been to these townships, these predominantly White South African rugby players. So they get off the bus and the kids all cheer, in particular for Chester. And Chester Williams, he is the only Black player on the team. They're all shouting his name, Chester, Chester. They know who he is. It's like these other guys, no, we don't really care about you. We just want Chester.
But Chester provides a way in to these Black kids, and they're all having a lot of fun. And the White rugby players, they're actually enjoying themselves too. And they're teaching the fundamentals of rugby, how to pass, which in rugby, you've always got to pass to somebody that's either beside you or behind you. There's no forward passing. So they're showing them how to do the fundamental elements of rugby and scrums. And later on, this scene is on TV on the news, and Mandela sees on TV, the scene of South African rugby players playing with kids in the townships. And Mandela says that picture is worth any number of speeches. And he smiles. It's a powerful image. People are watching saying, "Whoa, the Springboks are going into the township and teaching poor Black kids how to play rugby." That is a scene that you wouldn't see before, but Mandela has a broader vision. It's a powerful scene.
Gary Schneeberger:
Yeah. So, because the Springboks are not one of the world's stronger teams, they focus, along with Mandela, on winning their first World Cup game against, sorry, Warwick. It's against Australia.
Warwick Fairfax:
Yeah. Oh, well.
Gary Schneeberger:
So they focus on winning that game because if they don't win that game, they'll go into the part of the tournament that they have to play stronger teams like Britain and like the incredibly powerful New Zealand All Blacks before the final. So the easier path to the final would be to beat Australia. So, Mandela helicopters in to visit the players before the game, and he greets every player. I'll let you tell folks, Warwick, how he greets every player, because it's a really powerful scene, isn't it?
Warwick Fairfax:
Again, Mandela sees things that most of us don't see. He realizes the powerful image of South Africa united behind the Springboks team, the national team. And [inaudible 00:41:33] he helicopters in to where they're practicing and it's before the first big match against Australia. And he has done his homework. He has a board in his presidential office. He's got the names and faces, and he memorizes every name and face of the players on the team. So, he's about to meet these folks, these players on this practice field. And Francois Pienaar I think, is about to introduce him because he figures you've never met these guys. You don't know who they're, and he basically says to Francois, "I got it." And he greets each player by name and says hello to them, and I'm sure they're blown away.
Francois didn't tell the president who we are, and he knows our names? It's a powerful symbol that he cares about them and he cares about the Springboks. It was a powerful message that was clearly received. And the Black security officers, they're looking on and they're amazed at what they're seeing. It's like he knows their names. How is that... If there's anybody in South Africa, you don't want to know the names of other than maybe some of the security officers, you don't know the names of the Springboks team. We don't know anything about Springboks.
And so, Mandela tells these players, "Your country supports you completely." Those are powerful words. Your country supports you completely. And we see Mandela talk privately to Francois, given the poem Invictus, which we'll talk more about in a moment. So it's a powerful symbol. And so, Mandela is going to great lengths to make sure that the predominantly White South African team, the Springboks, believe that he's completely with them. Given the history of the team, which is almost a completely White South African team. This is just remarkable that he would say, "Your country supports you completely." A Black president. It makes no sense in a lot of ways, but Mandela has a vision that's beyond what most of us can see.
Gary Schneeberger:
Yeah. And that vision's going to move a little bit farther down the line in what happens next. Because the Springboks win and it's after this initial victory that the team visits the prison where Mandela was held for 27 years. They're told it's been kept in the same condition as it was when he left it. Francois doesn't just look at it from a distance. Francois goes into the cell, closes the gate, and just walks around in there. And that, Warwick, is a moving scene because Francois is moved by what he sees there, isn't it?
Warwick Fairfax:
Absolutely. So, Francois, he is living out the vision that Mandela has. He's getting it. And so, every morning, we see that Francois is leading his team on a morning run through the streets of Cape Town where the World Cup is being held. And this particular day, this morning run, it ends at the docks and the players are wondering, well, why are we stopping here? Well, there's a boat. They get on the boat and they go on the boat to Robben Island, the prison where so many apartheid people were held, including Mandela. So clearly, this is all organized by Francois, and it's a powerful experience that will impact them all. So Francois asked the White prison guard, which cell was Mandela's? And the guard says it was cell 4664. And this guard tells Francois, this is because Mandela was the 4664th prisoner, interned there in 1964 when he was first imprisoned.
Now, it's a small cell, it's a very barren cell. It seems like there's only a mat on the floor. And as you mentioned, Francois closes the door and he looks out the window and there's this just landscape that was just rocks and dirt. And he imagines in his mind, Mandela out there in the rocks and with a pickax and just doing hard labor, which is what they would do to the prisoners there. And we hear in Francois mind, the words of that poem, Invictus, that Mandela gave him, that Mandela recited to himself often during his long years in prison. And Mandela said that he used this poem, Invictus, to keep his hope alive, to remain resilient in the face of oppression and to maintain courage in the face of fear. And it's worth reading this poem because it's the title of the movie Invictus, which in Latin means unconquered.
And that's a message I think many of us need to hear in terms of our soul. We want our souls to be unconquered and not be defeated by our worst days, and maybe a few of us will be oppressed the way Mandela was, but mistreated or our own mistakes. These are powerful words from this poem. So I'm going to read them. "Out the night that covers me, black as the pit from pole to pole. I thank whatever gods may be for my unconquerable soul. In the felt clutch of circumstance, I have not winced nor cried aloud. Under the bludgeonings of fate, my head is bloody, but unbowed. Beyond this place of wrath and tears, looms but the horror of the shade, and yet, the menace of the years finds and shall find me unafraid. It matters not how straight the gate, how charged with punishments to scroll. I am the master of my fate. I am the captain of my soul."
These are powerful words about really taking control of your life despite the injustice and indignity we might face. So Francois was already impressed with Mandela, but his admiration for Mandela went to another level when he visits his cell in Robben Island. He sees how he was treated and what he had to do with pickaxes with the rocks. And given what was done to Mandela, Francois is amazed at the magnanimity of Mandela, and now he had the forgiveness and compassion to want to try to the nation of South Africa? I think Francois thinks of Mandela at that moment thinking, this is such a great man. In one sense, it makes no sense, his compassion that he shows, but I admire him so much for doing what most people would find impossible, to show forgiveness and compassion to those who oppressed him. It's truly remarkable.
Gary Schneeberger:
When I hear you read that poem, Warwick, the last line of that poem, "I am the captain of my soul," makes me think about what you talk about a lot at Beyond the Crucible, the idea of soul work. The importance of doing soul work after a crucible. I don't know if there's anything you want to say about that. It's off the track of what we're talking about here, but that line does bring that to mind, that if you're the captain of your own soul, you're doing some soul work, I imagine.
Warwick Fairfax:
It's such a great point. We often say that the key to bouncing back from your worst day, is character, is soul work. And the greatest leaders are ones with the greatest character. We've talked in an earlier podcast about Abraham Lincoln, who was the American president during the American Civil War from 1861 to 1865. The way he won the Civil War, which was long years of suffering and enormous numbers of soldiers dying, was remarkable. But as great as that was, it was just his inherent humility and self-awareness of wanting to bring the nation together. And I think in a second inaugural, he talks about binding the wounds of the nation. Binding the wounds of the nation? The Confederate soldiers were one who stood for slavery. It's a similar story, in one sense, but he said, we have to become one nation. There are many that said one nation with these people?
But it was the greatness of his character. He saw a bigger picture. Mandela is the same way. He was personally oppressed in apartheid for 27 years, but yet, he saw that we need to be able to forgive to be able to move on and become one nation. Bitterness will only tear us apart. He had a broader vision that came from his, just the incredible nature of his character. That's where his strength came from, is his character. His speeches would be impossible without that. So you're very right, Gary. It was the soul work that helped Mandela be the great leader that he was.
Gary Schneeberger:
And it's the practice work that helps the Springboks be who they are because the Springboks continue to win their World Cup games in exciting and unexpected fashion, they are set now to play that dreaded team, New Zealand, a team that one character refers to as, "They seem unstoppable." That's how uphill battle this is going to be against New Zealand. Francois' wife at this juncture Warrick, noticed that he seems preoccupied and she asks him what's bothering him. This is a telling scene, isn't it, Warwick? Because it shows just how respected Mandela has become in the eyes of Francois, right?
Warwick Fairfax:
Absolutely. So yeah, as you say, here is Francois he's in his hotel room, before the big game, and it's with his wife. And his wife asks Francois if he's thinking about tomorrow, the big game? And Francois says, "No, tomorrow's taken care of one way or the other." In other words, what we'll be will be, we've done our best. We'll do our best. So I'm not worried about tomorrow. He says he was thinking about how Mandela spent 30 years in a tiny cell and came out ready to forgive the people who put him there. It's just hard for Francois to get his mind around how Mandela could do that. And it's clear that the experience of seeing Mandela's prison cell at Robben Island has deeply moved Francois.
Gary Schneeberger:
And as that game against New Zealand is about to begin, Mandela comes out wearing full Springbok gear. President Nelson Mandela looks at this rugby game like I look when I go to a Cubs game, he's wearing the jersey, he's wearing the hat, he's wearing everything. He's got the colors, he's all decked out in all of the finery here. The crowd cheers, raucously. No divisions along race are apparent, which was not true in some earlier parts of the movie. These thunderous cheers, Warwick, really show that Mandela's plan, his vision to help bring racial harmony to South Africa through rugby seems to be working. Don't you think?
Warwick Fairfax:
It really is. This is a powerful scene where Mandela arrives at the stadium and then he walks onto the field. It seems that all South Africans in the stands are united behind their team. Mandela greets all the players and tells the South African team members that your country is proud of you. Your country, your whole country is basically implicit in what he's saying, is proud of you, the Springboks team. That must have seen that amazing statement for the Black South African president to say to this predominantly White South African rugby team, the Springboks, and he wishes them good luck. There are 62,000 people in the stands and they're all cheering. And we see throughout the game and leading up to it that there are people in bars as well as Black townships all glued to the TV as they're about to watch the game. I have to believe this may be the first rugby game that Black South Africans have ever watched with the Springboks.
But it's a different era. Mandela is behind them, and it's just remarkable to see White and Black South Africans all cheering for the same team, the Springboks. And there is also a remarkable side scene, if you will. It's pretty powerful. You've got these two White policemen and they're standing outside their police car that's just near the stadium and listening to the game on the car radio. They're there for security. They can't go in. So the next best thing is to listen to it on the radio. Well, there's this young Black kid who's trying to listen on the car radio as well. Initially, these two White police officers are not sure what this Black kid is doing. Again, their training under apartheid is okay, what's this kid doing? Is he up to trouble? They would make assumptions.
But as the game goes on, they're actually all united huddled around that car radio listening to the game. There's a transformation in the countenance of this Black kid being a little fearful, but he wants to hear the game. And the White policeman wondering, what's this kid up to? It's a powerful scene how people of different backgrounds become united around a common cause.
Gary Schneeberger:
Yeah. They start out like this, right? They're really separated apart, and then every time it goes into the action in the game and then all of a sudden they're closer together, then they're closer together, then they're sitting together.
Warwick Fairfax:
Exactly.
Gary Schneeberger:
It just keeps happening. That breaking down of the divide continues to happen. And what's the thing that makes it happen? They're listening to rugby. So, that idea that Mandela has had that people think is a little crazy, continues to keep working. Warrick, talk a little bit about, and this is where I have to lean on you, because I wouldn't know rugby from a rug shop. I don't know anything about rugby. So, talk about how big the challenge is with the South African Springboks taking on the New Zealand All Blacks team. Just help our listeners and viewers understand the incredible odds against the Springboks winning this game.
Warwick Fairfax:
Exactly. So yeah, let me give folks a bit of an understanding of this game because it's important to understand, there's a lot of interesting themes in this movie, but one theme is how basically, the South African Springboks were not respected by their own TV commentators. It's like they're rubbish. There's a guy that plays, a South African rugby commentator and he uses very colorful language to describe how terrible they are. So yeah, stuff you wouldn't actually hear on ESPN. The language is that bad. They wouldn't allow it. And you've got some colorful folks on ESPN, but this is colorful at another level. And so, the New Zealand All Blacks in 1995, they're arguably one of the greatest international rugby teams of all time. They're that good. And they have probably the best rugby player on the planet at the time, and certainly one of the greatest in the game in Jonah Lomu.
Now, he is their left wing. He is fast, but he's built like a linebacker. So can you imagine trying to, in football, you're a quarterback trying to tackle some receiver that's as fast as the best receiver, but built like a linebacker? Lots of luck. You're in trouble. And so, Francois tells his team that they have to stop this guy. They can't stop this guy, they lose. It's that simple. He's that good. And he basically says, "I'll do whatever it takes to take this guy down. I'll break my arm, break my neck. Once I grab onto him, basically, I will not let that," in his words, "Let that frickin' guy go." Basically, you can imagine a much smaller Francois Pienaar wrapped around this guy probably taking him over the line to score a try, which is basically like a touchdown. But they basically have a strategy.
The first guy gets him, and then everybody else piles on, however many people it takes to stop him. Eventually three, four, five, 10, eventually, we'll stop him if we have enough players.
Gary Schneeberger:
They get there.
Warwick Fairfax:
Yeah, the first guy delays him, the other guys in that sense, it's the same in football. So this gives you an indication of how hard this guy is to stop. So really, this truly is a David and Goliath match in which the New Zealand All Blacks are Goliath. So the African Springboks, they're David. And yeah, the [inaudible 00:58:57] they favor the All Blacks over the Springboks two to one. So the [inaudible 00:59:02] say, this is not going to be close. They're just going to get annihilated, the Springboks. And to make it worse, how could it be worse? Well, it gets worse. The All Blacks have this powerful psychological advantage. This is actually worth looking up on YouTube. It's pretty amazing. Before every international rugby game, the All Blacks do this called the Haka.
This is a fearsome Maori war dance. Maori being the indigenous folks of New Zealand, and the opposing team is forced to stand in the line, watching them jump up and down. They poke their tongues out, they yell, it's all part of this Maori war dance. It is pretty scary stuff. And the South African Sports Minister says half the games are won before the first whistle because of the Haka. So this stuff really does work. It psychs you out. It's not easy to withstand that.
Gary Schneeberger:
How do you pronounce the last name of this guy Jonah on team?
Warwick Fairfax:
Lomu. Jonah Lomu.
Gary Schneeberger:
Lomu. Okay. Isn't he the one? I swear that as Mandela is shaking hands of the players on New Zealand as well, he sees this guy and he says, "You kind of scare me." I think that's the one he sees and says that to if I'm not mistaken.
Warwick Fairfax:
Oh, yeah. Absolutely. And he should. He's probably, I'm sure not a bad guy, but he is a powerfully built guy and very fast. And yeah, Mandela has reason to be afraid of this guy. Mandela has done his homework. He knows if this guy has a good day, then we'll have a bad day. Mandela knows exactly what's going on.
Gary Schneeberger:
Yeah. Well, let's talk about the day that everybody had. Tell us, Warrick, about what happens in this final game of the World Cup.
Warwick Fairfax:
In one sense, I think you could say this game is about defense. In the sense that there are no tries, which is the rugby equivalent of touchdowns. So, we have this whole rugby match in which people aren't scoring tries, touchdowns, and the only way they score is by penalty kicks and drop-kicks, and you get three points for each. So think of it just like a game in football decided by a whole bunch of penalty kicks. It'd be almost unheard of for that to happen. And so, the score reaches nine all at the end of full time.
So now, there's extra time. So that's sort of like overtime, if you will, in football. And each team scores a penalty kick. So now it's 12:12, finally before the end of the game, the Springboks score, a drop-kick, and it is 15:12, and South Africa are just hanging on for dear life. The ball is in a scrum, which is where you've got a whole bunch of heads wrapped together. And Francois Pienaar knows, okay, we just got to wait out the clock until time expires. So they're just hanging on the dear life. And time does expire, and somehow, miraculously, the Springboks beat the New Zealand, All Blacks and South Africa wins.
Gary Schneeberger:
And that makes the Springboks, World Champions. Mandela and Francois then meet on the field together to celebrate the victory and to celebrate their alliance that helped pave the way for this victory. What Francois says at that moment is a great example of the impact that Mandela has had on so many people in the nation of South Africa, isn't it?
Warwick Fairfax:
Absolutely. So here, we see again, this colorful South African TV commentator, and he is on the field as you are, interviewing the players after a big match. And so, he talks to Francois Pienaar, the captain of the Springboks, the South African rugby team, and the commentator says to Francois that the Springboks could not have done this, could not have won without the support of the 63,000 South African fans in the stands. Francois says, "We did not just have the support of 63,000. We had the support of 43 million South Africans," basically the whole population of South Africa. It was a telling comment. Basically, Francois says, the nation of South Africa supports our team. And these end scenes as the Springboks have won, are remarkable. We see the team raising Francois on their shoulders. We see Mandela waving to the crowds from the field. The whole stadium erupts, the Whites, or one of the White Security officers shakes the hand of a Black man, which we see from an earlier scene, I believe, is potentially a cabinet member.
And the White and Black security officers, the ones who have been pretty suspicious of each other, they're embracing. You even have the Black security officers happy the Springboks have won. How can this happen? It's just amazing. And so, Francois greets Mandela Mandela says to Francois Pienaar, "I want to thank you for what you've done for our country." And Francois says to President Mandela, "No, Mr. President, thank you for what you've done for our country." There is deep respect that both have for each other. Mandela gives the World Cup to Francois Pienaar who kisses it and holds it aloft, and then walks among his players with this gold trophy. We see Black and White hands touching the trophy. There are so many people in the streets that Mandela and the security officers, they're trapped in the car. Everybody, all of South Africa in the street celebrating, so they can't move. They're trapped in the motorcade. The Black security officer says, "It is beautiful. It is beautiful." He repeats that. The Black security officer saying, this is beautiful. The Springboks have won. Obviously more to context, which the nation is united behind the team.
And so, just before the movie ends, Mandela says to himself, quoting the final lines of the poem, Invictus, these words, "I thank whatever gods may be for my unconquerable soul. I'm the master of my fate, I'm the captain of my soul." And as the credits' role at very end of the movie, we see some Black kids playing rugby. Remember those beginning scenes? It's the White kids who play rugby, not the Black kids. Now, we're seeing Black kids play rugby. That would be unthinkable before Mandela. This end scene where these Black kids are playing rugby. It's a powerful scene that really just shows the vision that Mandela has of bringing a nation together.
Gary Schneeberger:
And as you were describing the final scenes, it occurred to me, folks, who are listening and watching, this may be the first podcast series you've ever listened to or watched, in which 25% of films that isn't about sports, that 25% of the films talked about to illustrate the point of the podcast, involve at the end, a player being carried off on the shoulders of his teammates, because that was in Rudy as well.
Warwick Fairfax:
Well said.
Gary Schneeberger:
So 25% of our eight episodes, two of our eight episodes, feature players being carried off the field by their triumphant teammates. We've covered a lot of ground here, Warwick. Let me ask you the final Beyond the Crucible focus question, and that's this. How does Invictus offer us hope and inspiration to move beyond our own crucibles? What would you say is the greatest bit of inspiration or insight from the movie that we can apply to our own lives?
Warwick Fairfax:
The theme of the movie, Invictus, is how Black and White South Africans can come together and support the South African rugby team, the Springboks in the World Cup triumph in 1995. This vision of Mandela's is to have all South Africans support the Springboks. And in one sense, it makes no sense. Black South Africans saw the Springboks as almost a symbol of apartheid. How can you ask Black people in South Africa to support the symbol of apartheid? The team of their jailers? The team of Nelson Mandela's jailers in Rob Island? It makes no sense.
Because Mandela gets it. He was in prison for 27 years, but that was before. He is now the new South African president. He is the president of all of South Africa. He's the first Black president of this country. And so, Mandela inspired the White captain of the Springboks, Francois Pienaar, as well as the whole country to see the World Cup as a symbol which could bring both Black and White South Africans together. It's easy to be cynical and be bitter after a crucible. Apartheid lasted for 46 years, from 1948 to 1994. That's a very long time. And yet, Mandela was willing to move on and forgive and to seek to bring former enemies together. Mandela himself, he was imprisoned for 27 years. It's almost inconceivable that Mandela would preach forgiveness and unity and compassion.
So many of us have not faced this level of crucible that Mandela and Black South Africans faced with apartheid. But it shows us that while we may not condone terrible things that were done to us, we need to find a way to forgive, find a way to move on, find a way to bring harmony and unity, if at all possible, to bring people together that may have been enemies before. We can't control other people, but what we can from our side is forgive and try to live in harmony and unity for those that might've been our enemies before. That's part of what coming back from your crucible means, is not being weighed down by the bitterness and the anger of the past and try to find a new vision, a new hope out of that dark path to the pit. And that's exactly what Mandela tried to do in his own life and with the country of South Africa.
Gary Schneeberger:
That, folks, you may have noticed, friends, the house lights have come on. Please clear the area around your seats. Throw away all of your garbage as you leave. And remember, we'll be back next week with the final, it's kind of sad. The final episode of our summer series, Big Screen, Big Crucibles, and we will discuss... And Scott, this is what I need you to do, pay attention to what Warwick was saying about the Haka that really big... Do something, bang a drum, give me a drum roll. Do something that's very celebratory because our movie next week is, here we go, Scott. Go. Our movie next week is The Monuments Men. So join us next week when we talk about that, folks, and we'll save a seat for you.
Welcome to a journey of transformation with the Beyond the Crucible Assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the Helper or the Individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially, the steps to get there. It's more than an assessment, it's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.
Big Screen, Big Crucibles VI: Erin Brockovich
Making a significant difference is the goal of anyone hoping to lead a life of significance. And it’s certainly the vision the title character of ERIN BOCKOVICH is committed to living out.
This week, in episode six of our summer series BIG SCREEN, BIG CRUCIBLES, we discuss how Erin overcomes being underestimated and seizes the opportunity her job at a law firm gives her to help residents of a small town fight back against an energy company whose shady business practices have caused many of them to get seriously ill.
Erin beats long odds thanks with her intelligence and passion to expose the company in court, winning a multimillion dollar verdict to help her clients cope with the crucibles the company caused them.
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life. Download yours here: FREE REFLECTION JOURNAL
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Transcript
Warwick Fairfax:
Erin on the other hand feels that for the first time in her life, she is part of something that's important. She has maybe the possibility of making a difference, maybe a significant difference, and at this point in the story in the life of the Jensen family, maybe to somehow make PG&E pay for what they may have done.
Gary Schneeberger:
Making a significant difference is the goal of anyone hoping to lead a life of significance, and it's certainly the vision the title character of Erin Brockovich is committed to living out. This week, in episode six of our summer series, Big Screen, Big Crucibles, we discuss how Erin overcomes being underestimated and seizes the opportunity her job at a law firm gives her to help residents of a small town fight back against an energy company whose shady business practices have caused many of them to get seriously ill. Erin beats long odds with her intelligence and passion to expose the company in court, winning a multi-million dollar verdict to help her clients cope with the crucibles the company caused them.
Well, welcome folks to this episode of Beyond the Crucible. You're in the midst of our summer series. We had so much fun last year in our summer series on classic films and the lessons they can teach us about surviving crucibles that we're doing it again this summer with a little bit of a twist. We're calling it Big Screen, Big Crucibles, and this is week six, week six of our series, and we're taking a look at films that feature a wide variety of crucibles and insightful lessons they can teach us about how not only to bounce back from those crucibles, but casting a vision to and charting a course for a life of significance. And our film this week is Erin Brockovich. It came out in 2000. And here's the synopsis, the log line, for the film: A single mom struggling to support her family gets a job at a law firm and discovers a hidden link between a company's toxic waste and a small town's illnesses leading her to fight for justice against a powerful corporation. Her determination to help the vulnerable along with her curiosity and self-belief make her someone to reckon with.
And as you will see as we go through this discussion, there are some crucibles that Erin Brockovich goes through. Warwick, I'll ask you again. Hopefully no one's getting sick of this, but this is the third time we've done films for our summer series, and just again, to level set everybody, why movies? What can they teach us that are valuable to what we talk about at Beyond the Crucible?
Warwick Fairfax:
Yeah, Gary, we both love movies and we've enjoyed talking about movies the last two or three years from Beyond the Crucible perspective. Movies typically portray a protagonist facing very significant challenges that they seek to overcome. And we've covered movies involving superheroes, sports heroes, and historical heroes. In fact, last year we looked at movies from the American Film Institute's Top 100 movies. So this year we thought we'd look at movies that were some of the best ones that showed people overcoming significant crucibles to lead a life of significance, a life on purpose dedicated to serving others.
Gary Schneeberger:
So as I said, our movie this week is Erin Brockovich. So let's start talking about that. The year is 1993. That's when the movie's set, 1993. We meet Erin, the title character, who lives in Southern California while she's in a job interview. She doesn't have all the requisite skills for the position, but she points out to being a mother of three and three young ones makes her an extremely fast worker, but it doesn't help her to land the position. As she's driving home... Crucible number two, I guess, because crucible number one, she didn't get the job. As she's driving home, crucible number two happens to her. She is hit in her car by another vehicle. She's not seriously injured, but hurt enough to seek out a lawyer to sue the driver of the other vehicle who turns out to be a doctor.
She hires Ed Masry who owns a small firm in town out and he makes big promises to her as some lawyers can do sometimes about winning the case and punishing the other driver, but he loses. Erin's angry expletive-laden testimony under cross-examination is why he loses and Masry tells her that's why indeed she lost the case. Warwick, it's a bit of an understatement to say that the Erin Brockovich we meet here is a bit rough around the edges when we first encounter her, right?
Warwick Fairfax:
Absolutely. Erin's had a tough life. She has three kids to raise, including a nine-month-old. She doesn't have a college degree and her ex-husband is not in the picture. Never turns up in the movie. There is understandably simmering anger and frustration at life, and so when Ed tries to defend her, her rage basically gets the better of her. One of the things they tell you on the witness stand is be calm, just answer the question, state the facts, and she just can't do that. She just goes off. And basically as we'll find in Ed Masry's perspective, the case was a winnable case, but they lost it because she couldn't control the temper. Now she may not see it that way, but passion is good, but sometimes Erin Brockovich's anger and rage, it can get the better of her and it can lead it to problem. So in this particular case, it did not help a cause.
Gary Schneeberger:
No, it did not, and it caused some more crucibles in her life. She's furious with Masry after the verdict. She's twice divorced, we find out, raising her kids on her own and she is $17,000 in debt. Folks, this is 1993. So that's a lot. I mean, it's a lot of money anyway to us now, but it's really a lot of money back in 1993. And she doesn't take it well when the lawyer refuses to take her phone calls. So Masry, she wants to talk to him again because she wasn't happy with that experience. She keeps calling the office and he's not taking her phone calls. So she applies for more jobs that she isn't qualified for and doesn't get them, and then finally she shows up at Ed Masry's law firm and she just starts working. That's the first bold move, Warwick, that we see from Erin here, isn't it? She's a woman with strong opinions and feelings who is not afraid to act on them. It's a bit of foreshadowing for what's to come in the story of Erin Brockovich, isn't it?
Warwick Fairfax:
Absolutely. Erin may be full of anger and frustration and maybe simmering or not so simmering rage, she does tend to wear her heart on her sleeve, but she also has guts and persistence. So Erin is desperate and just turns up at Masry's office figuring that he owes her. Now, while objectively it may be, quote, unquote, "Her" fault that they lost that case with the Jaguar running into her, she doesn't feel it. She doesn't feel that at all. She feels like, "Hey, I just got a bad lawyer and I should have won the case," and she basically thinks that, "He owes me." That's her attitude. And so she also doesn't like the fact that Masry didn't call her back. So she kind of storms into his office basically and says there are two things that annoy her, being ignored and being lied to, and she says that he said things would be fine, she trusted him, things are not fine. She says she needs a paycheck.
She says, "When you've spent six years raising babies, it is hard to convince someone to give you a job that pays," as she puts it, "Worth a damn." So she says she's smart and hardworking and she's not leaving there without a job. Now, all of the people in the office, mainly women, they could all hear her. It's just glass, I guess, petitions and Ed Masry's office, I mean, you can hear everything. And so they stare at each other, but as they stare at each other, there's some level of common sense that comes to Erin, and she's smart, and so she whispers to Ed so that other people can't hear, "Don't make me beg. If it doesn't work out, fire me." So she's giving him an off-ramp after all of the ranting and raving. It's a very funny scene.
Gary Schneeberger:
And I think that you just mentioned the kind of car that the doctor who hit her was driving, so you could say Jaguar the way that you do in your beautiful accent. I always just say Jaguar. So that was awesome. Thank you for that. Erin gets hired by Ed Masry, but he says no benefits is one of the things he tells her, and she does a little bit of everything when she starts, mostly clerical work. At the end of one of her first weeks, she asked Masry if she can get an advance on her pay. He says the office manager's off that day, but he then reaches in his pocket, gives her a couple hundred dollars bills, and she says, "Whoa. I don't want your money," and he says something kind of funny. He's like, "Who do you think pays your salary anyway? I mean, whether it comes out of my pocket or it comes through a check from the law firm, it's still my money."
But all of this work adds up to kind of a sad life really so far that Erin lives. She's struggling to get by, she has no real purpose beyond her kids, and that's an important purpose, but we'll discover that she longs for something bigger outside of herself and her immediate family that she can do and devote herself to. She seems to have no real joy at this juncture of the film. She's got passion and pluck, but nothing beyond her family to apply it to, as I said. There's no broader cause, to use a phrase we say often, that she is off-the-charts passionate about, is there?
Warwick Fairfax:
Yeah, it's so true. I mean, Erin is indeed leading a paycheck-to-paycheck life and her vision is limited to keeping a roof over their heads and keeping a family fed and all that, and that's an important mission, but yet there is this sense with all of Erin Brockovich's drive, passion, intelligence, she feels like she was born to do more and that she's never lived up to her potential. Now, she might feel like it's not her fault because she got married young, had kids, life isn't fair, and I think obviously she has a point, but there is this simmering frustration that maybe there's a broader mission that I could apply my life to.
I don't know if she thinks that way, but certainly at the moment, she's living paycheck-to-paycheck, she's trying to keep some place to live for her kids and have them be well-fed. But is there more to life than this? It just feels she can't get a decent job anywhere. She doesn't have a college degree. I mean, she's very frustrated. Where the movie, it's a very sad point for Erin Brockovich, somebody with so much talent and so much ability and drive that really doesn't seem to be using all of that as much as she could for some broader mission than just the important mission of caring for a kids. But it feels like Erin Brockovich was made to do a whole lot more than she's doing, I guess, would be the summary.
Gary Schneeberger:
Yeah, and there's one little bit too that's kind of sad that we didn't talk about as we were preparing for this, that it just popped in my head. There's a scene where she's at her desk eating alone and Ed Masry walks by and says, "What are you doing here?" And she says, "Well, all the girls went out to lunch," and he says, "Well, you're a girl, why didn't you go with them?" And she says, "Maybe I'm not the right kind." And one thing to know about Erin Brockovich folks is that she dresses somewhat flashily. She wears tight clothing and she makes no apologies for that, but it's something that causes people sometimes to suspect that she's not quite as talented as she is, and that's another part of the sadness a little bit of as she goes to work here, she's not taken seriously by the women she works with.
Warwick Fairfax:
Yeah, it's such a good point. In a sense, Erin is a loner. She doesn't fit in. It's not just like, oh, she doesn't fit in with corporate lawyers. I get it. She doesn't have a law degree, a college degree. But the women in Ed Masry's office, which is... It's not Downtown LA, it's somewhere in California in some small town, but it's not a particularly fancy office. So I doubt that all of the women in the office have college degrees and all that. So it's not like economically they're that different than her, to be honest, but yet she doesn't fit in with them. So it's almost like she doesn't fit in with anybody. I mean, her kids love her, but she's been divorced and doesn't even seem like there are other women friends that she hangs out. She is a loner. She's just isolated. And so when she says, "I guess I'm not the right kind," I wonder if she's thinking, "Is there any kind of person, man or woman, that wants to be around me?" That's almost the broader subtext to that comment that she makes.
Gary Schneeberger:
Yeah, but here's the good news, folks: The sadness of Erin's life begins to change in the next scene and continues throughout the film. What ends up happening is she first meets a new neighbor, a kindly biker named George. Now, she initially tries to deter him because she hasn't had, as we'll find out, the greatest luck with men. So she tries to deter him, but those efforts fail when she gets home late from work one night because she goes to where she has the kids at their babysitter and the kids aren't there, no one's there, and she gets kind of panicked as any parent would get, goes home to see if the kids are home somehow.
And she races home, and indeed, finds them in the backyard laughing and joking and playing games with George, eating burgers that he made for them. And she and George talk after the kids are in bed and we see Erin smile. This was very moving to me. It's the first time we see Erin... To your points about her lonely life. It's the first time we see her smile in the film. Talk about that scene with George, Warwick.
Warwick Fairfax:
Yeah, so true. Erin has a hard time trusting anyone, certainly any potential man in her life, and obviously as you said, she's not had good luck with men. And it's sort of interesting, when she first meets George, it's kind of interesting, it's late at night and he's revving his motorbike. He has a Harley Davidson, which he loves, and she goes out and says, "What is all this racket?" At this point, she hasn't really met him and some of the backstory, and she's kind of mad at him for waking the kids up, and he by way of apology, says, "Look, I'm so sorry. I didn't mean to do this. Can I have your number? I'll take you out to dinner just as an apology." And it's really a good indication of Erin's intelligence and very quick wit. She's very quick on her feet.
And so she says, "So you want my number? I'll give you 10 numbers." She says 10 is the number of months of a baby girl. Six is how old her other daughter is. Eight is the age of her son. Two is how many times she's been married and divorced. 16 is the number she has on a bank account. And then she gives George her phone number and then she says, "There is zero chance that you were going to call me. "I mean, after she gives all that rant and her life, and George, after she leaves says to himself under his breath, "You were dead wrong about that zero thing, baby," he says.
Gary Schneeberger:
Yeah, he doesn't like the last number. He doesn't like the zero.
Warwick Fairfax:
No, no, no. So we see two things. We see Erin's natural brilliance and quick wit, but we also see from George's perspective, challenge made, challenge accepted. So George is not the easiest guy to push away. This was intended to get rid of George. In this particular case, and it will happen very few times in this movie, Erin was not successful in what she was trying to accomplish. She ends up failing in this one endeavor, probably the only one in the whole movie.
Gary Schneeberger:
Yeah, for sure. And the big change in her life that comes up where she will find her greater, her grander passion and her purpose comes when Masry asks her... And it's almost he's sort of distractedly asks her to take a look at a real estate case. The Pacific Gas & Electric Company, PG&E is offering to purchase the home of a woman named Donna Jensen, a resident of the small town of Hinkley, California. And Erin has found the beginnings of her life of significance, she doesn't know it yet, as she takes that file. Warwick, what does Erin learn as she begins to look into what's inside that file and the people who are living the lives talked about in that file?
Warwick Fairfax:
She's intrigued because in this file there's a toxicology report. So normally you don't see a toxicology report in a real estate file, they're kind of separate matters. And so there are some abnormalities in this toxicology report. So again, you've got Erin Brockovich, which is no lawyer, but she's smart, it just doesn't quite seem to add up. So she goes to Ed Masry and asks, "Can I investigate this pro bono case? You told me it's a pro bono real estate case. I'd like to investigate it a bit further," and Masry says, "Sure," he's probably pretty distracted, "And off you go."
So then Erin goes to visit the family in the report and the family is the Jensen family. She talks to Donna Jensen, the mother, and Erin learns that PG&E wants to buy her house, but the weird thing is she's not trying to sell it. So utility companies don't just come up to you typically and say, "Hey, can I buy your house?" That's just not a normal thing. And then Donna has been sick, as has her husband, Pete. And Erin wonders why the medical reports are in the file. Well, Donna says, "Well, PG&E, they pay for the doctor's visits for the whole family." Again, your local utility company typically doesn't pay your medical bills. That's not normal. So Erin asks, "Why?" Well, Donna says, "Because of the chromium." And so then Erin sees this big PG&E plant across the way.
Gary Schneeberger:
And that really jumpstarts the legal sort of thriller... Not thriller. The legal drama, which also is laced with comedy plot of this film. And Erin, to your point earlier, Warwick, she's smart, she's savvy. When she hears that because of the chromium, she's like, "Huh, what is that?" And she doesn't let that just stick. And she then hearing that, that just kickstarts her into digging deeper, doesn't it?
Warwick Fairfax:
Absolutely. I mean, there's already a few breadcrumbs of data that she's learned, that somehow this utility company, PG&E, wants to buy the Jensen's house, which is just a small house in the desert somewhere in California, and they're sick and PG&E wants to pay their medical bills. I mean, this just... Figures the chromium. It seems very fishy. So Erin then goes to a college professor. He might indeed be like a doctor of medicine at a college that looks like it's in the Los Angeles area, and she asked this guy, this professor, about chromium, and the professor says, "There are different kinds of chromium. Some are more harmful than others. Now, the most harmful kind that can lead to heart failure, organ failure, one deterioration after another. It can cause kinds of cancer and it's so bad it can get into your DNA and it can be passed down to your kids."
So then the professor says that... Because she obviously explains, I'm sure, that it's connected with the PG&E plant out in Hinkley. The professor says that utility plants use pistons to compress the gas, which gets hot. All part of, I'm sure, generating electricity. And you run the water through them, through those pistons, to keep them cool and to prevent corrosion in the pistons, you put chromium in the water. So Erin asks this professor, "How do you find out what kind of chromium they use at the Hinkley PG&E plant?" So this professor says, "You've got to go to the county water board and look up their records because the county water board keeps records with everything related to water." So Erin goes, "Okay." And so then off she goes to the local water board, the Lahontan Regional Water Board, and she starts digging for water records. Now, Erin is smart, she's savvy, and there's this shy, awkward guy there who-
Gary Schneeberger:
Who is not smart and savvy.
Warwick Fairfax:
No, he is not. And he's a bit reluctant to have her pore over the records, but she uses her charms that he can't really say no to her, he doesn't really ever find a way to say no, and she's not somebody that takes no easily. So it's really an unfair contest, to be honest.
Gary Schneeberger:
Absolutely. Unfair fight.
Warwick Fairfax:
Erin's going to win that battle any day. She spends hours and hours, it gets late into the night, and not only is she looking at records, she copies a whole bunch of documents that refer to chromium. So Erin is taking the bull by the horns. She has spoken to the Jensen's, she has gone to this college professor, this doctor, at what looks like a prominent university in the Los Angeles area. She's looking at water records. I mean, she is on the case.
Gary Schneeberger:
And yet what happens next while she's doing all this stuff... And remember, as Warwick said earlier, she asked Ed Masry if it was okay if she investigated a little more of this file that he gave her, and she does that, but she gets back to the office after this week away doing an investigation, she gets back to the office and all of her stuff's packed up. She's been fired, she finds out. Because Ed just thought as well as the ladies in the office, just thought that she just stopped showing up, she quit working. It's implied by their reactions that it's sort of a judgment they make on who they think the kind of person she is based on the way she dresses and the way she talks and all that. So she's fired and the firing work hits her harder than just the loss of a job, doesn't it?
Warwick Fairfax:
It sure does. I mean, it says a lot what Ed Masry and the other women in the office assume. They just assume that Erin Brockovich is somebody that's made poor choices, she doesn't dress, she has this attitude that just snaps at everybody. They have zero respect for Erin. And so if she's away for a few days, they just assume she's goofing off and doing nothing. That's fully what they expect her to be and to do, and Ed Masry basically has the same assumption as everybody else in his office. Erin on the other hand feels that for the first time in her life, she is part of something that's important. She has maybe the possibility of making a difference, maybe a significant difference, and at this point in the story in the life of the Jensen family, maybe to somehow make PG&E pay for what they may have done to this family and she wants to get at the bottom of this for this family and to see if PG&E did something with the chromium in the water that might have caused that family's illnesses, and now she gets fired.
She feels it's so unfair, so unjust. Masry doesn't know what's been going on and assume she's not been doing much. She is just irate, and she doesn't even try and debate it about, "Why are you firing me?" It's like, well, of course they assume I'm doing nothing. They have no idea what I'm doing. What's the point? She just storms out of the office, furious and enraged. And so then Erin goes home and she finds George, the biker, he's there fixing the sink. I mean, George is a kind guy that's really trying to help out her family and she blows off some steam about getting fired with George, and then she just really starts talking a bit about her backstory. She says she just doesn't know what happened to her life. She was Miss Wichita, a beauty queen, and she still has her tiara in fact. And she thought that this tiara meant that she was going to do something important in her life, that she was meant to be someone.
And George, the kind person that he is, consoles her and says that she is someone to him. And so she asks him, is he going to be something that she has to survive? She's not somebody to open up her heart very easily. And she says she's not up to kind of giving her heart away and having it being trampled upon, basically. They both kiss and he hugs her, and then she reenacts her pageant speech in which she says... And people in pageants or other young people, you say all sorts of things, and this is somewhat normal I think for these sorts of things. People are young and have good hearts. And so she said in her pageant speech that she was going to devote her reign as beauty pageant winner to ending world hunger and creating a peaceful world.
And so she's obviously probably just thinking, "Well, yeah, look where I am now." She's probably almost mocking herself in some strange way, but George says that she is a very special lady, and it's sort of ironic that Erin can't seem to handle this level of tenderness and kindness from George. Tenderness and kindness is not something she is often experienced. These are just foreign concepts, foreign values to her. It's just not something that she has really experienced. It's very sad.
Gary Schneeberger:
Yeah, and the scene kicks off of him fixing the sink... The scene kicks off, there's like a rat or something that scurries by in the kitchen and she screams out, "What kind of mother lets her kids be involved in this?" I mean, she is experiencing a lot of self-loathing and I think where she's at when she talks about Miss Wichita and what she thought about her future was going to hold... I'm going to use a phrase we haven't used in a while, but we've talked before about, an Is This All There Is Moment, and I think Erin Brockovich as we've seen her so far, she's definitely deep into an Is This All There Is Moment, isn't she?
Warwick Fairfax:
It's such a good point. Is this still there? I mean, in this sort of rat-infested house out somewhere in the desert, I'm having trouble feeding my kids and housing them. I mean, it's a whole backstory in which she finds it almost impossible to find a decent babysitter and she's just had a poor run of luck there, and along comes George, but after being fired, it's like I guess she was almost thinking to herself, "Was the high watermark of my life being Miss Wichita? Is that it? It's not nothing, but it feels like everything is downhill." It's like, "Look at me." She is just angry at the world, probably angry at herself, just angry at everyone and everybody.
Gary Schneeberger:
Well, she's going to get a little less angry at Ed Masry because what happens next is that he visits her to tell her that she got a call at the office from the professor she talked to earlier about the chromium, and he said, the professor did, that the legal limit of bad chromium... Because there's several different types. The legal limit of the bad chromium, which is called hexavalent chromium, is 0.05 parts per million. The water in Hinkley, the small town that is having these health problems where there's PG&E plant, in Hinkley, the water has a 0.58 parts per million concentration, and Ed's wondering... Erin wonders when Ed tells her could the reason for the cancers and other illnesses among the residents be because of that?
Erin explains to Ed that in the real estate case he gave her, PG&E wants to buy the Jensen's house because they have been telling them they're using chromium-3, one of those chromiums that we talked about. But that's a version, that's a quote, unquote, "Safe" version that doesn't have the terrible side effects. She says to Ed she'll share all the documents she has, all the copies she made, to Warwick's point earlier, she'll share all that with him from her research for a 10% raise... Well, okay, first for her job back, then a 10% raise and benefits. And guess what? Ed Masry agrees because he can see that she's onto something. Warwick, a pretty emotional scene occurs when Erin goes back to visit the Jensen's and tells them what she's discovered. She's back at work, she's back on the job, she's back investigating, and she goes to visit the Jensen's. Describe that scene and why it's so powerful when she goes back to the Jensen's house.
Warwick Fairfax:
Goes back to the Jensen's and she speaks with Donna Jensen and she tells her that the chromium in the water is indeed poisonous. Donna cannot believe this. She says, "The guys from PG&E, they said that their water was okay." Erin says, "That the toxicologists and everything you have in terms of illnesses is on the list of problems that hexavalent chromium causes." Donna says that's not what their doctors, in other words, basically the PG&E paid for doctors said. And they, again, the PG&E doctors, said the chromium has nothing to do with their illnesses. Again, Erin reminds her, "But remember PG&E paid for that doctor."
At that moment, the light bulb goes on. Donna understands exactly what's happening now, and she races in a panic to tell her kids to get out of the above ground pool. She gets it. "My kids are swimming in chromium-filled water," and she gets it. It's like before she didn't know what's happening, "Why are we getting sick?" She trusted her doctors, most people obviously do, and she assumed that PG&E had the best motives, but now she realizes, "My family, we've got sick because of what PG&E is doing." It just hits it like a thunderbolt.
Gary Schneeberger:
Yeah, and we mentioned Hinkley is a small town. What happens in small towns? Everybody knows everybody else and they talk, and soon other residents seek out Erin to tell her stories of illnesses and their interactions with PG&E. Very sad moment. One woman says she had five miscarriages and she says, "I thought it was something I did, like smoking marijuana." It becomes clear though that what's happening to the whole town of Hinkley that it's affected by poisonous chromium. More families continue to come forward to talk about the health challenges that they face, and Erin dives deeper in to help them. And that causes some trouble, Warwick, doesn't it, with Erin's children?
Warwick Fairfax:
It indeed does. Erin is working very long days as she gathers evidence on what has happened with all his families at Hinkley. I mean, she's on a mission. She feels like this is a just cause, "I want to fight for these families in Hinkley," and she begins to meet many of them. They really see somebody like Erin as one of the first few people that've come across that really cares, is willing to fight for them, and that does something to you when you've got people that believe in you. So she's on a mission, but she travels and the days are very long. She goes to visit these families in Hinkley, but her kids don't understand. I mean, they're kids. How could they? And they're upset about how much she's working.
And there's a really touching scene when she asked the son... I think it's later at night and asks the son what's going on, how he's doing, and he says in a little kid kind of fashion, "I'm fine. Things are fine." It's just almost in a frustrated, defiant tone. It's kind like, "Leave me alone, mom, because I don't think you really care." It was almost a bit of that tone in his voice, which obviously for any mother is absolutely devastating when you feel like your kid feels like you don't care. I mean, that's a dagger to the heart of any parent, certainly any mother. So Erin feels torn. She feels completely committed to getting justice for the families in Hinkley, but now she feels like she is abandoning her kids and they don't get it. So it's just a terrible situation to be in.
Gary Schneeberger:
But in addition to her passion and pluck, I'll throw another P word in there. Erin Brockovich has perseverance, and she keeps moving forward to get to the bottom of this case to help the people of Hinkley. So she and Masry meet with several families and explain their legal strategy moving forward. They aren't going to sue PG&E, they're going to ask for more money for the houses the company wants to buy so that the residents can get money rather quickly with higher prices for their houses than being low-balled by PG&E. And then Erin gets a threatening phone call and she brushes it off. That's her personality, right? That's her... She's got a mission. She doesn't care about that, she brushes it off. Ed gives her a new vehicle and a cell phone. But she argues here with George, Warwick, who wants her to quit because of the threat. George doesn't understand, at least not yet, the importance of this cause that Erin is fighting for, does he?
Warwick Fairfax:
No, he really doesn't. Again, here's Erin. She and Ed Masry are fighting for these families, and in a Masry strategy, it's a tough sell to these families. Now, he knows that suing, Ed Masry is going to require massive sums of money that he doesn't have, because basically, he doesn't get paid unless they win. So he's out all these court costs. Basically, it's going to be a percentage-based case and it's a big risk for him. So going 15 years against some billion-dollar corporation and the chances of success aren't big, whereas just saying to PG&E, "Hey." It's not like a clear payoff, but by buying real estate, they're not admitting any fault or guilt, they're just buying real estate. So they can just say, "Hey, we're just trying to be good citizens and be nice," and it's an easy way out for PG&E, a way to give money without admitting any fault.
Gary Schneeberger:
And there's also, as Ed Masry says, at some point in the film, there's also a one-year statute of limitations, in other words... So if they sell the houses, they can't figure out... PG&E is banking on the fact that they're not going to figure out that their illnesses are caused by the chromium and then after a year they can't sue. So that's an important bit that we haven't talked about as we prep, but I think that's important to lay out there.
Warwick Fairfax:
Great point, Gary. PG&E is smart. They're very smart lawyers. So what they did is they tell them about the chromium in the water at town seminars and informational meetings, "Hey, there's chromium in the water, but it's fine." So they can't say, "Oh, we didn't know there was chromium in the water." Oh, they didn't know that. The one-year limitation is expired, the one-year statute of limitations. But obviously what they weren't told is that it was poisonous. Somehow I'm sure PG&E has some strategy that it's not poisonous, it's fine, and they'll probably have a bunch of paid experts and professors to say, "No, the chromium's good," and they'll find somebody to say that for a fee. That's what big corporations can do, at least the bad ones. So yeah, you're right. I mean, they're smart, they're covering their legal bases.
But the families want justice. So Erin is really 100% locked into this. She works late at night, and so she tells George about this phone call, "Look, I'm not going to quit because of some creepy phone call," and so George kind of snaps back, "Don't you think you're a little out of your league?" So this begins just a bit of a confrontation. So George is supportive to a point. George may like and value Erin in a sense and appreciate her, but he really does not at all understand or fully appreciate the importance of the mission that Erin is on, and why is it important in general and why in particular for her. Now, truth be told, I don't know how much detail that Erin has shared with George about what she's doing or why it's so important, because probably not on her relational radar screen. She's focused on the job, not explaining to everybody and her family what's going on and why it's important. It's just not really how Erin thinks.
She's just, I guess, thinks they should somehow understand. So I'm sure that Erin feels that George just doesn't get it, doesn't appreciate me, doesn't value me, and it really reduces a lot of tension because Erin's away a lot, and George has to pick up the slack with the kids, and she's not even her husband, not even some formal boyfriend. She's just the guy next door. So it's a pretty sad scene. He doesn't really get it, and she doesn't really appreciate the fact that she believes he doesn't fully value the importance of her mission.
Gary Schneeberger:
Right. The film then jumps ahead nine months, we see on the screen nine months later, Erin and Masry have clearly built relationships with more potential plaintiffs in the city of Hinkley. They host a community event, but Masry privately worries their case is missing something. He says this, "Nobody's going to get rich unless we can pin this on PG&E corporate." They go to court to get cleared to bring the case forward. The judge sides with Masry, but Erin faces another crucible, George leaves, telling her, "You've got to get another job or another guy." She doesn't want him to go, but explains this, she says this, "For the first time in my life, I've got people respecting me." For the first time in her life, Warwick, she's living a life of significance at a broader scale, isn't she?
Warwick Fairfax:
She really is. Erin is making a huge impact in the case. She actually at this point meets a guy that has worked at PG&E, at Hinkley, at the plant there and says the chromium got in ponds, which would then seep into the ground. So okay, another bit of information. And by now there are 411 plaintiffs who are willing to move forward. So Erin's making incredible headway, but yet at this point, George decides to leave. He says he's had it. He feels that Erin is never around and he is having to take care of the kids. In one of the most poignant and sad moments in the movie, George tells Erin that he has some earrings, and he said to himself that the next time she'd said something nice to him, she, Erin, he would basically surprise her with the earrings. Well, that was six months ago. What he's saying is, "Erin, you haven't said anything nice to me in six months. That's why you don't have the earrings. That's why I didn't give it to you."
And so basically, George does not feel appreciated or valued by Erin, and Erin says she's sorry, and as you said, George says to Erin, "You need to find a different job or a different guy." Basically, he's saying he does not like being treated the way he is and getting nothing in return, and Erin says she can't quit. For the first time in her life, people are respecting her. She says, "In Hinkley, everyone shuts up to see if I've something to say. I've never had that before, ever." She tells George, "Don't ask me to give this up. All I've ever done is bend my life around what other men need. Well, not now." She feels like she has this cause, people are respecting her and appreciating her.
So George says, "What more do I need to prove that I'm not them, like these other guys?" Like her two husbands that have abandoned her. He leaves but leaves behind the earrings. She asked him to stay and he says, "Well, what for? You've got a raise. You can afford daycare. You don't need me." It's just so sad because George feels unappreciated and not valued, that she really doesn't care about him, and those are the exact same things Erin feels from pretty much the rest of the world.
Gary Schneeberger:
Yeah. Well, Ed brings in a new partner who has experience, in his words, not mine, folks, toxic tort cases, and it's interesting, he tells Erin when he explains who the partner is, it's some guy that beat the tar out of him in the case earlier that he had talked to her about. So this is a lawyer who got the best of Ed in court. He's the best one who can do this in these toxic tort cases. PG&E wants to handle the case through what they call binding arbitration and Masry agrees it's a right strategy. The case will resolve more quickly, not in the 15 years it could take if a trial drags on, and PG&E, big corporation, their trial could drag on a long time.
The new partners take a leading role in getting the case prepped for arbitration. One of them, a woman, is dismissive of Erin, saying the files she created are missing valuable information, like phone numbers. Basic, valuable information. Erin says she has them in her head. That leads to a powerful scene that showcases Erin's confidence and conviction. She has found a vision about which she is off the charts passionate. Let's take a look and listen to that scene.
Audio:
Those are my files.
Yeah, we had them couriered over. And listen, good work. They're a great start. We're just going to have to spend a little time filling in the holes in your research.
Excuse me. Teresa, is it? There are no holes in my research.
No offense. There're just some things we need that you probably didn't know to ask.
Don't talk to me like I'm an idiot, okay? I may not have a law degree, but I've spent 18 months on this case and I know more about these plaintiffs than you ever will.
Erin, you don't even have phone numbers for some of them.
Whose number do you need?
Everyone's. This is a lawsuit. We need to be able to contact the plaintiffs.
I said, whose number do you need?
You don't know 600 plaintiff's numbers by heart. Annabelle Daniels.
Annabelle Daniels, 714-454-9346. 10 years old, 11 in May. Lived on the plume since birth. Wanted to be a synchronized swimmer, so she spent every minute she could in the PG&E pool. She had a tumor in her brain stem detected last November, an operation on Thanksgiving shrunk it with radiation after that. Her parents are Ted and Rita. Ted's got Crohn's disease. Rita has chronic headaches and nausea and underwent a hysterectomy last fall. Ted grew up in Hinkley. His brother Robbie and his wife May and their five children, Robbie Jr., Martha, Ed, Rose and Peter also lived on the plume. Their number is 454-9554. You want their diseases?
Okay, look, I think we got off on the wrong foot here.
That's all you got, lady.
Gary Schneeberger:
That, Warwick, is a completely different Erin Brockovich than we met at the movie's outset, isn't it? How and why has she changed?
Warwick Fairfax:
Yeah, it really is such a powerful scene. The reason the scene is so powerful is that Erin by now feels that she is capable, intelligent, driven, and has made a huge contribution to the case, and she knows they wouldn't in any way be where they were without her, and yet she feels disrespected by these big city corporate lawyers. She feels like they look at her, these two lawyers, and see her as some down and out woman without a college degree who does not know how to dress professionally, and again, probably feels like she has just very low-grade intelligence and really nothing to contribute. How could a woman like Erin Brockovich contribute anything to this case?
Gary Schneeberger:
Yeah, and one of the delightful parts for me in this clip is... Watch it again if you miss it the first time, folks, the way Masry kind of looks like, "Oh, geez." I mean, he's really impressed with her, but also a little like, "Oh, you're upset." It's great reaction shots from Ed Masry during that scene. So the residents of Hinkley aren't sure about this binding arbitration thing that Ed Masry's talking about versus a lawsuit which they understand. Masry and Erin call a meeting to explain the strategy to them. Quicker resolution, but to make it happen, they have to get 90% of their plaintiffs, more than 500 people, to agree. George comes back briefly, but there's no reconciliation. Then Ed and Erin go door to door to get the rest of the signatures they didn't get at the town hall meeting. There's a moving scene, Warwick, as the case moves toward resolution. Erin's son, Matthew, comes to see the importance of his mom's work, which before his mom's work was the thing that he resented because it took his mom away from him, now he sees the importance of it. What happens in that scene?
Warwick Fairfax:
The scene that you're mentioning, Gary, is you see that Erin's son is reading one of the documents about the case, and he sees that this document talks about a girl that is the same age as he is, and this clearly makes an impression because this girl is ill, and Erin's son is thinking, "Gosh, maybe that could be me." I mean, somehow it just touches a chord in his heart. And just as an indication that he's moved and is beginning to get that what his mom is involved in is important, George is taking the kids to breakfast, and so his son says that he'll bring her back some breakfast. In fact, he asked, "Do you want eggs?" And he wouldn't say that if there wasn't something shifting within him. And he didn't begin to realize that what my mom is doing is important and that's why she's away so much. I'm sure it meant a lot to Erin, my son finally gets it that what I'm doing is important. At least to get some of it. It definitely had a big impact with her.
Gary Schneeberger:
It's the coalescence of both of her lives of significance. The one that we've talked about all along, that she's had even from the outset is her family, her children who she takes care of, but now the children and this work on the lawsuit, they're dovetailing and one gets the other, which just has to bring her, as you said, great feelings of reward. There's one more major scene tied to the case. A man named Charles Embry approaches Erin in a bar, and it's interesting because at first it's like, ooh, is this ominous? Could this be the guy that called her and threatened her on the phone? Erin wonders about that. She wonders is he just some guy who's hitting on her? But that's not why he wants to talk to her. Neither one of those scenarios is why he wants to talk to her, right? There's another reason that Embry, Charles Embry, wants to speak to Erin Brockovich.
Warwick Fairfax:
Yeah, so here's Erin. She's running all over the town of Hinkley trying to sign people up for this lawsuit, and she's in the bar and there's a guy at the counter at the bar just looking at her and he says, "I've had my eye on you." I think earlier at the get together that they had to try and sign people up, I think this guy was there. And so Erin feels like, "Okay, this is kind of creepy," but the conversation that she has with this guy, Charles Embry, it is a game changer in the whole case because he tells her that his cousin passed away the day before, the day before they're speaking. His cousin used to clean the cooling towers at the PG&E plant at Hinkley, and he'd wear a mask and that would be soaked in red from all the nosebleeds. And he had all sorts of illnesses, which obviously Charles think has got to have something to do with being in those cleaning towers.
So this guy, Charles Embry, he then tells Erin that a supervisor told him to go to the warehouse and to destroy some documents. He said there were a few memos about the holding ponds and the water in them as well as readings from the test wells. Obviously at this point, Erin's antenna is probably going up, "This sounds interesting." So again, this guy, Charles was told to destroy the documents, but then he smiles and he says he wasn't a very good employee. Then they both smile. Erin is more than smart enough to understand what he's saying. He's basically saying he didn't destroy all those documents. So here we have Erin and Ed Masry at the back of these fancy corporate offices of this partner in the case, and Erin jokingly says they have forgotten this partner's birthday. And they show both of these lawyers that they have, all of the 634 plaintiffs signed up, every single one. The lawyers are amazed. This is no easy task.
So Erin then looks at Teresa. This is the woman in the clip that we played that she had a bit of a spat with, a bit of a run in. And she says to her, to Teresa, that she's got a present for her as well. And she shows Teresa a March 1966 internal memo that says PG&E headquarters knew that the water at Hinkley was poisonous, but that Hinkley station should not tell the local people about this. This is indeed the smoking gun that they have long been looking for to tie everything to PG&E corporate. Ed Masry from early on in the movie says, "Unless PG&E corporate knew about it, unless we have evidence that they knew about the poisonous chromium in the water at Hinkley, we've got nothing, nothing big." This is a smoking gun that they've long been looking for. This is a complete game changer in the whole case.
Gary Schneeberger:
Yeah, and just one interesting point about Charles Embry. The actor who plays Charles Embry, it was beautiful casting because that actor, you see him a lot and he's almost always a bad guy or a squirrely guy that you can't trust. So when you see him hanging around here and you're like, "Oh, he is a bad guy." So very good casting that he turns out to be the guy with the smoking gun that helps them win the case. And they do indeed, folks, win the case. The judge orders PG&E to pay a settlement of 333 million to be distributed among all the plaintiffs in the case. Erin takes George with her to give the good news to Donna Jensen. Warwick, it's a very moving scene, so talk a little bit about that scene with Donna Jensen and how Erin's life of significance is complete with this decision. Her Miss Wichita wishes that we talked about earlier, she was going to be somebody, they have come true, haven't they?
Warwick Fairfax:
Yeah, it truly is. This is a very moving scene. So here Erin takes George to give the good news to Donna Jensen. Erin is growing as a person. I think she realizes subconsciously that she could have been better and nicer to George, so she does something very smart. What is the best way for George to get it? To be part of this meeting. Seeing is believing. He'll hear with his own ears, he'll see with his own eyes. So she goes into the house, she finds Donna and tells that the good news that the judge came back with the number, but the whole group as well as for the Jensen's. So Erin tells Donna that the judge is going to make PG&E pay $330 million, a massive sum, and he's going to make them pay that, but the judge is also going to give the Jensen's specifically $5 million out of that large sum. Donna is absolutely stunned. She's flabbergasted. Erin says, "This is enough for what your girls need, and in fact, maybe even their kids, your girls' kids one day."
Donna gives Erin a huge hug. Donna weeps with joy saying, "Thank you so much." George smiles broadly. He finally gets... He gets what Erin is involved with, and Donna says to Erin, "I don't know what I would've done without you." Erin says, "It's a good day," and Donna laughs. So Erin's life is completely turned around. She always had passion, energy, intelligence, and perseverance, but she had nowhere to channel her energy and abilities. Finally, she has a cause that she believes in that could really help people. Erin Brockovich truly now has a massive life of significance. She's helping all of these families in Hinkley.
It's kind of interesting. It doesn't really say it in the movie, but after all of this resolved, this whole lawsuit, she actually moved to Hinkley pretty much right after the case is over. So that tells you that she feels one with these people, which is pretty amazing. Erin is respected and valued by Ed Masry, I think maybe grudgingly by those fancy lawyers, certainly by the families in Hinkley, and now by her family, her kids and George. She indeed is gone from trial to triumph. And there is this funny scene at the end of the movie where Ed Masry now has fancy offices in Los Angeles that's in some higher floor, and Ed is looking over Los Angeles Lawyer Magazine and he's on the front cover, and he has truly made it a lot different than his small, somewhat dilapidated office somewhere in the desert of California.
And he receives a certified letter with a check, and he walks over to Erin's new fancy office. She didn't really have a fancy office before. She just didn't have an office, like a cubicle somewhere. And so Ed Masry, a bit of a comedian himself, starts this comic discussion with Erin. He just sets her up brilliantly and she falls for hook, line, and sinker. So Ed says that he has her bonus check, but that the figure is not exactly what they discussed. He's deliberately trying to pull her chain. Erin, of course is thinking, "Here we go again. I'm never valued. I'm never appreciated," and so she gets angry and frustrated. It's just another example, right? People really don't value or appreciate me. Erin finally looks at the number on the check. It is a check for $2 million, a massive sum of money for anybody, a massive sum of money certainly for Erin Brockovich. And she is stunned.
Ed smiles as he leaves, and he says that the figure proposed was inappropriate. For about the first time in Erin's life, her mouth is open, but she is speechless. She does not know what to say. And so he asks her somewhat sarcastically if they teach beauty queens, as she once was, how to apologize. Then he says, "Because," quote, "You suck at it." Yanks that he cannot resist. The other interesting thing is often in these movies, as we saw last week with the Pursuit of Happiness, there are fascinating things in the end credits.
And so in the end credits, it says the settlement awarded to the plaintiffs in the case of Hinkley v. PG&E, was the largest direct action lawsuit in the United States history, certainly at the time that this movie was made. And of course, PG&E claimed they no longer have hexavalent chromium at any of their compressor plants and all their holding ponds are lined to prevent groundwater contamination, which we indeed hope is true. And there are a whole bunch of other cases pending, including another one against PG&E for their plant in Kettleman Hills, California. So this shows the size of the impact, at least at the time. This was the largest direct action lawsuit in the United States history. I mean, talk about a life of significance and a massive impact. I mean, it's incredible.
Gary Schneeberger:
Yeah. As we've wrapped up the discussion of the film, how does Erin Brockovich the movie offer hope and inspiration? Let's pull it back out now from a movie to the application to our listeners and viewers. How does it offer hope and inspiration to move beyond our own crucibles? What would you say is the greatest point about the movie?
Warwick Fairfax:
Many of us can feel underappreciated, undervalued, and not seen. That is certainly how Erin Brockovich felt. She was highly intelligent, driven, and passionate, but having kids at a young age, it felt like it derailed the possibility of fully utilizing a gift and abilities, that had to have gnawed away at Erin Brockovich's soul. But in this particular case that came up as she was trying to find any kind of job with Ed Masry, she seized the opportunity that this case against PG&E presented. She was so gifted, talented and driven that she forced away onto the case, and her sheer ability and results could not be ignored. For all of us who may feel that we may never use our talents and passion for a course beyond ourselves, a life of significance, Erin Brockovich shows that we can indeed achieve a life that is more than we ever possibly could imagine.
Gary Schneeberger:
Folks, the house lights are up. They're on. So please clean up around your seating area as you leave the theater, and don't miss next week's episode of our summer series, Big Screen, Big Crucibles. We will be discussing next week... Scott, get ready. Give me a drum roll. We will be discussing Invictus. So we will see you next week and save you a seat.
Audio:
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Big Screen, Big Crucibles V: The Pursuit of Happyness
We say often that to be truly happy, we must live a life of significance. That’s exactly the kind of life being sought by the lead character of THE PURSUIT OF HAPPYNESS, the fifth film in our summer series, BIG SCREEN, BIG CRUCIBLES.
Chris Gardner is a man who wants to build a better life for his young son but keeps getting knocked down by personal and professional crucibles. But none of the body blows life hits him with dissuades him from pursuing his longshot dream: becoming a stockbroker.
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life.
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Transcript
Warwick Fairfax:
So, the words that Chris paints on the wall, "Dear Chris, you suck", it accurately reflects how down, and low, and badly Chris feels. But as we'll see, despite that he is at one of several low points in his life, he never stays at this low point. He has remarkable perseverance, and he never gives up.
Gary Schneeberger:
That's Warwick talking about the central character in the film we discuss this week on episode five of our summer series, Big Screen, Big Crucibles. He's Chris Gardner, a man who wants to build a better life for his young son, but keeps getting knocked down by personal and professional crucibles. But none of the body blows life hits him with dissuades him from pursuing his long shot dream: becoming a stockbroker.
Welcome, everyone, to the latest episode of our summer series, which we have called Big Screen, Big Crucibles. Why are we talking about films again? You may remember this is the third time in the summertime we've talked about movies. It's because there are lessons buried within these movies, not even buried, at the surface of these movies, that show us how to work through crucibles, how to overcome crucibles, and in between those two, how to have hope in the midst of crucibles. So, for eight weeks this summer, and right now this is week five, crazy to believe we're at week five already, isn't it, Warwick? It's wow.
Warwick Fairfax:
Absolutely.
Gary Schneeberger:
But we're at week five of eight. And we're looking at movies that feature a wide variety of crucibles and insightful lessons that teach us about how not only to bounce back from those crucibles, but on casting a vision and charting a course for a life of significance. And our film this week in Big Screen, Big Crucibles is The Pursuit of Happyness. The movie came out in 2006. And here's a very brief synopsis. It's what they call in Hollywood, folks, I worked in Hollywood for a few years in publicity, and this is what they call a logline. It's really the shortest description of what a movie is. And here's what it is for The Pursuit of Happyness. The journey of a common man from rising above poverty and personal problems to becoming a respected name on Wall Street.
So, that's the ground we're going to cover. And the fact that it's so succinct is really great, because as we talk this through, you'll see that there's... The life of the central character who pursues happiness in this movie is not succinct. That's a pretty fair assessment to make. So, Warwick, I'll ask you what I always ask you when we do these film series. And I ask you this for a reason, because I want people to know we're not just... Yes, it's a summer series, yes, summer is a fun time, but we're not just doing this to have fun. There's a purpose behind why we're going back into the cinemas to talk about movies this year during the summer. Talk a little bit about why we are doing this series and why we return to cinema quite often.
Warwick Fairfax:
We both love movies and have really enjoyed the movies we've done from a Beyond the Crucible perspective. Typically, movies portray a protagonist that faces significant crucibles they seek to overcome. And in the past few years we've done movies about superheroes, sports heroes, historical figures, and last year we actually did a fun series looking at the American Film Institute's top 100 movies. That was a lot of fun. But this year we thought we'd look at movies that we thought were some of the best ones involving people overcoming significant crucibles to lead a life of significance, which we define as a life on purpose dedicated to serving others.
Gary Schneeberger:
That sums it up very well, folks. So, let's get into our discussion of The Pursuit of Happyness. It begins in the year 1981. The opening scene introduces us to a man named Chris Gardner, who's the main character. We learn what he does for a living, and how much he loves and wants the best for his son. In just a few beats in this first scene, it's very, very, very well done, we understand a lot about Chris Gardner and his love of family in that first scene. We also know though, from that first scene, that his life has its challenges. So, this scene gives us a pretty good snapshot of Chris and his love for and protection of his son, Christopher. It also hints at the crucibles that will challenge him as the movie goes on. What's important to note about this first scene of this film?
Warwick Fairfax:
Chris's life is indeed challenging. We see him drop his son off at daycare, and early on he really makes a statement that he's committed to having a close relationship with his son. He did not know his father growing up, and in fact only met him when Chris was 28 years old, so it's really one of the driving forces of his life, to have a close relationship with his son, unlike what Chris had with his father. So, Chris's job is to sell a medical device, and it's a portable bone density scanner.
Gary Schneeberger:
That sounds like fascinating work.
Warwick Fairfax:
Yeah. And it's a tough sell. He goes to doctors and hospitals and they tell him that this machine is expensive and unnecessary. It has a slightly denser picture than an x-ray for twice the money. So, okay, not much difference in imagery, but twice as expensive.
Gary Schneeberger:
Yeah, tough sell, as you said.
Warwick Fairfax:
And he has to sell this thing.
Gary Schneeberger:
Tough sell.
Warwick Fairfax:
Oh my gosh, tough sell. Now, he needs to sell two scanners a month for rent and daycare. So, that's pretty simple math. Two scanners a month is what he needs to sell to be able to live, survive. Now, Chris's wife, Linda, she works as a hotel maid, and she also has a challenging life. Now, to make things worse, and things do tend to get worse in this movie before they get better, to make it worse, Chris finds that his car has this yellow boot on it, the kind of thing that parking police put on your car when you're parking in the wrong spot. And unfortunately for Chris to park near hospitals, which he has to for his job, he tends to have a hard time finding parking, there's not really adequate street parking, so this is a common occurrence of racking up parking tickets. So in fact, just to make things worse, not only is there a boot on there, it turns out they tow his car. This is sort of a day in the life of Chris Gardner. If things could possibly go wrong, they do tend to.
Gary Schneeberger:
Yeah, and one of the things I love about this first scene too is it really does show his love for his son, Christopher. First of all, we've got him... He's dropping off Christopher at daycare. And there's a little exchange you may have noticed, folks, if you saw the show notes for the film, The Pursuit of Happyness, "Happyness" is spelled H-A-P-P-Y-N-E-S-S. It's not because I can't spell, it's because that's the way it's spelled on some graffiti outside the daycare that Chris takes Christopher to, and he tells, every time he drops Christopher off, he mentions to the woman who runs the daycare, "Hey, fix this." And the reason why he does that, he's not trying to poke at her for it's spelled wrong on her building, he wants to make sure his son learns in daycare. He wants to make sure his son doesn't get wrong education there. So, he's really defending his son, Christopher, when he says, "Hey, let's spell happiness the way happiness should be spelled."
So, the next day, the very next day, Chris meets a businessman outside a corporate office building looking to sell a scanner, right? That's what Chris does, as we said, he sells these scanners. The man pulls up in a red Ferrari convertible. And that, for a guy whose car just got towed away and had a boot put on it and doesn't have a lot of money, as we'll come to find out, that's pretty exciting for Chris Gardner to see. And he asks him two questions, the man who's driving the Ferrari, asks him, "What do you do? And how do you do it?" And he does it with that just sort of the way I said it. He's happy. He's like, "Wow, that's amazing. Tell me more." That's the way he asked the question of this man. And the answer the man gives him, Warwick, will change the trajectory of Chris Gardner's life, won't it?
Warwick Fairfax:
It really will. Chris Gardner is an interesting person. He's always one to be direct, take advantage of an opportunity, and these are two penetratingly good questions he says to this business guy. He wants to know what is the secret of his success, if you will. And the man says that he's a stockbroker. The man says, in a sense, it's that simple. Be good with numbers and good with people. So, the guy walks away, and Chris looks at the building, and there are all these business executives coming and going into the building, and he says, and I quote, "They all look so damn happy." It's like there's a smile on their face, they're successful, they're happy. And he asks himself, "Well, why couldn't I look like that?" In other words, "Why couldn't I be happy?"
Clearly, Chris doesn't have conditions in his life with his job trying to sell these scanners that nobody really wants. He is working hard, his wife's working hard. Life is very tough. He doesn't have a, quote, unquote, "happy" life, at least it wouldn't seem that way. And he's thinking to himself, "Couldn't there be more?" So, the trajectory of his life changes. He begins to think maybe life could be different, maybe life could be happier. And so he decides that he's going to stop by a brokerage firm after work. And he says, as a kid, he was good at math. So, okay, at least that's one of those two. And as we'll see, Chris is very good with people. So, I think he probably understands intuitively, "I'm good at numbers and I think I'm pretty good with people, so why not me?" So, the trajectory of his life changes with this interaction with this business guy coming out of this red Ferrari convertible. It's sort of an amazing scene.
Gary Schneeberger:
Yeah. And the other thing that was interesting about it that this man told him, which I think helped Chris pursue being a stockbroker, is he asked, one of the first things Chris asks him is, "I suppose you got to have a college degree, right?" And the guy says, "No, not necessarily." And then he says what you said, "You got to be good with people and you got to be good with numbers. You got to be good at math and you have to be good with people." And that really helps Chris go, "Okay, maybe it's not completely outside my reach." Because he does not have a college degree. Chris does not have a college degree.
So, all of that stuff is kind of boiling up, is roiling up inside of him when he goes home that night. And he tells Linda, his wife, about the encounter with the gentleman with the Ferrari, and about his hopes, these hopes that were just born in him, just birthed in him to be a stockbroker. But Linda does not take it well. This is a major crucible for Chris, isn't it, Warwick? He seems not to have, sadly, a fellow traveler in his wife. And that is a very heavy burden to carry, isn't it?
Warwick Fairfax:
It's so true. Life can be very challenging, and certainly for Chris Gardner, it is very challenging trying to make ends meet, trying to sell these scanners, as we've discussed, that nobody wants. And rather than coming home to a wife that says, "I believe in you. I've got your back. We'll make it through." Sadly, he has the opposite. And Chris's wife, when he talks about being a stockbroker, and she mocks him. "Well, why not be an astronaut?" Basically, she doesn't offer him encouragement, she just offers him ridicule, as if, "Here we go again." She was probably thinking, and maybe he said in the past, "You try to sell these scanners that are impossible to sell. Oh, and now you want to be a stockbroker." It's like, "How could we make it any worse? Oh, sure, Chris Gardner can." That's sort of the subtext of that sort of ridicule.
So, his wife Linda's advice is pretty simple. "Just do your sales calls." She says, "We're two months behind in rent, and next week we'll be three months behind." She says she's been pulling double shifts for four months. Basically it's just, "Sell what's remaining in your contract with these medical devices, get out of that business, sell all the medical devices." And basically she's probably thinking, "For once in your life, just do something smart rather than this stupid contract you got yourself into, selling these medical devices that nobody wants." So, it sure doesn't seem like she has a whole lot of respect for her husband. And anytime he brings up some new ideas like, "Oh, here we go again." You can almost see the virtual eye rolls. "What mess is he going to get our family in next?" So, it seems like Chris has the very opposite of a fellow traveler. Somebody that seems to just keep pulling him down, does not at all believe in him.
Gary Schneeberger:
Yeah. And Chris learns, even as he fights that mocking by his wife, he learns about an intern program that he's been told about, at Dean Witter Reynolds, a big brokerage firm, but it can only take 20 people, he finds out, for six months. And then here's the kicker. At the end of those six months, only one person out of the 20 who were selected, and there's a lot more than 20 who apply, only one person is going to get a job as a stockbroker. So, the odds are definitely long.
But so Chris, being good with people, to make a good impression, he decides to deliver his resume for this internship in person. The executive he needs to meet is Jay Twistle, and Twistle is in a hurry when Chris comes into Dean Witter Reynolds to meet him. And so he kind of brushes Chris off. Nicely, kindly. He's good with people too, right? But he sort of brushes him off, which is hardly an auspicious beginning for this dream that is germinating inside Chris. We also learn at this time that the bone density machines that Chris is selling, or trying to sell, actually cost him his family's whole savings to buy. He had to sign a contract to have exclusive rights to sell those in the San Francisco Bay area where they live. And increasingly, while this is all going on, Linda is drifting away more and more. Linda, his wife, is drifting away more and more. But good fortune, folks, is about to strike, as it does throughout this movie. There's enough good fortune that happens that can help as he's riding through the crucibles.
Chris shows up again at Dean Witter to charm Twistle, and talks his way into sharing a cab with the executive. And you may remember, if you're of the same vintage that Warwick and I are, of the Rubik's Cube, which was a big fad in 1981, and inside the cab there is Twistle, playing around with it, trying to do it, trying to make it work. And what that creates, a great opportunity for Chris to move forward in his dream to be a stockbroker. What happens in that cab ride, Warwick, that makes that a reality?
Warwick Fairfax:
So, Chris is one enterprising guy. He is always creative, always one to find a way to leverage an opportunity. So, he keeps trying to talk to Twistle, and Twistle keeps brushing him off. And Twistle's about to get in a cab, and Chris says, "Oh yeah, we're going to the same place." Well, they're not really, he just wants any excuse to get in the cab with Twistle and just try to find a few minutes with the guy. And so he sees Twistle is fiddling with this Rubik's Cube, which as you mentioned, Gary, is all the craze in the early '80s, and everybody has one, and they're trying to figure it out. I think we both probably had one back in the day and-
Gary Schneeberger:
Yeah. I couldn't do it at all.
Warwick Fairfax:
No. Well, we've seen earlier that Chris is watching TV, and it says that a Rubik's Cube is so tough to solve that it took a math professor 30 minutes to solve it. In other words, you've basically got to be a genius to solve it. So, Chris knows, as he's in this cab, that he is very good at math, and he believes that he has a shot to solve the Rubik's Cube. So, he's thinking to himself, "If I can find a way to solve this, I'm going to really impress this Jay Twistle guy." So, he's thinking, "This could be my shot." And so he tells Twistle that he can solve it. And Twistle looks at him just disbelievingly and says, "Nobody can solve that thing. There's no way." And Chris senses the challenge and the opportunity to impress this guy, Twistle.
So, here they are, riding in this cab, and Chris feverishly tries to solve the Rubik's Cube. I mean he is spinning the different faces of this Rubik's Cube around and trying to make everything all line up. And it's not easy, he's madly working at it. And what's interesting is Twistle sees that Chris is getting very close to solving it, a lot closer than Twistle ever got. Now, eventually, Chris does solve it. It takes a little bit to do and it's a short cab ride, so they're actually waiting outside wherever Twistle was going to go. I think probably his house. So, Twistle is so fascinated, it's like, "Okay, I may be where I'm wanting to go, but I'm going to stay here until I see what happens." So, Twistle gets out of the cab and Chris says, "Yeah, I'm just around the corner, and you've got another couple of blocks to go."
While this is happening, we look at the meter on the cab, and by now it's like $18. For Chris, that's like thousands and thousands of dollars it might be to somebody else. It's like everything. And so he's panicking, because he knows he doesn't have it. So, when the cab pulls up to a stoplight, Chris just darts out of the cab and just starts running away. And the cab driver is irate, and the cab driver gets out of his cab, and starts running all the way across town, across San Francisco, after Chris. Chris manages to escape to the subway. But of course Chris always has a scanner in his hand. He ends up losing one of his scanners. He can't get it through the subway doors. It's closing and he loses one of these scanners. That's basically how he pays for food and rent. So, it's just sort of an amazing scene how Chris uses this fad of the Rubik's Cube to really impress Twistle, which he does.
Gary Schneeberger:
Yeah. Twistle does not forget it. Put a pin in that, folks. You'll find out that he does indeed not forget it. The interesting thing too about losing the bone density scanner is there's a bit of a running thing throughout the film where Chris will either lose or have it stolen by somebody as he's carrying it from place to place and it does come back. Keep that in mind, folks. One of those that gets taken from him does indeed play a pretty significant role later in the film. So, just know that Chris, in addition to having a hard time selling these bone density scanners, has a hard time hanging onto them sometimes, and he just lost one out of the subway.
And crucibles, unfortunately for Chris, keep coming to him. Linda, his wife, who had to miss her shift because she needed to pick up their son, Christopher, from daycare as Chris was out, he got home late, she announces when he gets home that she's leaving him, and she wants to take Christopher with her, her son, their son, Christopher, with her. The situation that Chris finds himself in at that point, about to be abandoned by his wife, perhaps losing his son, living not from paycheck to paycheck, but from sold scanner to sold scanner, always behind on rent, comes close to breaking his spirit. All these things he's going through comes close to breaking his spirit. He looks at one of the nickels at this time that he uses to make his phone call home, and Thomas Jefferson's face on that nickel leads him to a pretty stark revelation. Warwick, what does Chris muse about when he thinks of Jefferson, and how does it speak to the situation he finds himself in, the life he is living?
Warwick Fairfax:
Yeah, this is a fascinating scene in the movie. Chris thinks about Thomas Jefferson and the Declaration of Independence. In particular, he ponders these words, our "right to life, liberty, and the pursuit of happiness." He wonders how Jefferson knew to put the words "pursuit" together with "happiness" and he ponders to himself, "Can you have happiness no matter what? Or only pursue it? Is happiness achievable, or is all you can hope for is to pursue happiness?" It's a pretty deep philosophical thought and question for Chris to be pondering, and it's a fascinating question.
So, it would seem like Chris certainly doesn't have what would seem to be a happy life. It is a struggling, challenging life. And as you've said, he finds it very difficult to sell the medical device scanners. His wife is leaving him. He's tried to pursue being a stockbroker, which is certainly no sure thing. And it's understandable that Chris might feel, "Well, happiness is impossible." But yet he still wants to try to pursue it. He still wants to try to find happiness. He's thinking of that stockbroker and those other executives outside that office building who seem to have this air of happiness, they had this smile on their faces.
So, part of him thinks, "Look, happiness is impossible to find." But yet there's another part of him that thinks, "But maybe, just maybe, if I pursue it hard enough, maybe it's possible." So, he's not quite ruled out the possibility that the pursuit of happiness is meaningless and pointless. Certainly he wants to go for it, he wants to pursue happiness.
Gary Schneeberger:
Yeah. And the good news is that Chris gets some good news right after this. Thistle calls to say he has been invited to interview for the intern program. He also talks with Linda, and says he is not letting their son leave and go live with her when she goes. But then the crucibles start coming again. First from the landlord, who tells Chris he has to be out by the next morning for non-payment of rent. Chris talks his way into another week by offering to paint the place for the next tenant. Again, good with people. And while he's painting, Chris has written on the wall in white paint. "Dear Chris, you suck." That's a devastating scene, isn't it, Warwick? The mounting challenges are beginning to erode away Chris's perseverance, aren't they?
Warwick Fairfax:
They are indeed. The challenges for Chris, they're mounting up. He's struggling to sell these overpriced medical devices. His wife is leaving him. We've learned earlier that he's behind in paying taxes to the IRS, and he has to pay $150 a month in daycare, where it turns out what do they do with the kids? They watch TV. And in one funny scene, he asked the woman that's running the daycare, "Well, my son tells me he's watching TV all day." And she says, "Well, but it's educational." "The Love Boat?" Which was a series back in the '80s. "Well, it teaches him about the Navy." I mean, come on, really? It's a cruise ship. I mean, she's creative, I've got to say, in trying to justify how watching TV-
Gary Schneeberger:
For sure.
Warwick Fairfax:
... gives them an education. So, he's paying $150 a month so his kid can watch TV. I mean, it's got to be galling, but he's got to put his kid somewhere in daycare. So, he's desperate. And so now, as we've found out, he's about to be thrown out of his apartment. And so the words that Chris paints on the wall, "Dear Chris, you suck", it accurately reflects how down, and low, and badly Chris feels. But as we'll see, despite that he is at one of several low points in his life, he never stays at this low point. He has remarkable perseverance, and he never gives up.
And as we'll see, I think the key to his perseverance is the love he has for his son. He wants his son to have a better life than he, Chris, did. Chris had no relationship with his dad, and Chris wants his son to have a good relationship with his dad, and a better father and a better life. So, this whole pursuit of happiness, which the movie is about, the key to that whole pursuit is he wants his son to have a better life, and that just drives his perseverance and his endurance.
Gary Schneeberger:
And it helps him, right? It helps him to overcome that negative self-talk, because life is not going smoothly for him. He has crucibles, and we all know what that's like. When you go through crucibles, you can have negative self-talk. But he's got something else to focus on, some beacon of hope in his son, and that drives him forward.
Things get tougher though for Chris immediately after what we've just been talking about. Two police officers show up at the door to arrest him for unpaid parking tickets. Still in his paint-splattered work clothes, Chris is arrested. He's able to pay the fine, just barely, but he has to write a check to do so. The police won't release him until the check clears, and that won't be until the next morning, that they say 9:30 A.M. The problem? His internship interview at Dean Witter is at 10:15 A.M. So, there's a 45-minute difference between those two, if I'm doing the math right, when he gets out of jail, when his check clears, and it will, because he knows it will, and then when he has to be at Dean Witter and interview for this job that could change his life. Warwick, describe what happens next, and how Chris is still able to make a winning impression on the partners, despite the condition he shows up to the office in.
Warwick Fairfax:
At the brink of life turning around, with his job interview to be in this internship, the crucibles keep coming. I mean, the hits keep coming, so to speak. It's unbelievable. So, here he is in jail overnight for unpaid parking tickets. And if that wasn't enough, they don't release him at 9:30, they release him at 9:45. It was always going to be tough, but they just made it tougher to get to his 10:15 interview. So, here he is, running through the streets, he's in his scruffy clothes, he has paint all over him, is absolutely not business attire. He looks an absolute mess. But what choice does he have? It's a 10:15 interview.
So, he goes to this interview, paint all over him, and he's seated around this long table with a group of men, a group of business executives from the brokerage firm around the other side of the table, and they look aghast at his appearance. This is the early '80s, there's no business casual. At this time in history, you go to work at a brokerage firm, you're all wearing business attire. The men are all wearing coats and ties and suits, and that's the norm. And they just look at him as if, "Who is this guy?" And so they don't get why he would turn up for an interview dressed like that. So, Chris, impressively, he's straight up with them. He doesn't hide the issues. He said he was arrested for failing to pay parking tickets.
And Twistle, who has really vouched for him, I'm sure feels embarrassed and wants to try to help Chris. And he tells the other guys there that Chris is a determined guy, he's been waiting outside the building with this 40 pound gizmo, the medical device, for a month. And Twistle says, "Chris is smart and is always dressed well." So, Chris says, because he's trying to impress these guys, "If you ask me a question and I don't know it, I'll tell you I don't know it, but then I'll go find the answer." Which is a very smart reply, rather than just trying to fudge it. So, that's a good start.
But then the head guy that seems like the senior partner of this firm, Dean Witter, he, in a nice way, but directly asked Chris what would he say if he was him and hired a guy without a shirt on? It's like, "If you were me, would you hire you, the way you look? You got paint all over yourself." And Chris, who's very quick-witted, has this brilliant comeback. He says, "Well, here's what I'd say to the guy, if he was like me. I'd say, 'Man, you must have some pretty nice pants. You must have some really nice pants.'" I mean, they all laugh. I mean, how could you think of that kind of line? And they all laugh, and just like, wow. I mean, they were impressed. The guy has a pretty good comeback.
And so afterwards we see Twistle come to Chris and says, "Look, I don't know how you did it, but you pulled it off. You're one of the 20 interns." I mean, how you could turn up like that, looking disheveled, paint everywhere, somehow convince these people to give you a shot? I mean, that is salesmanship at the most remarkable level. It's truly impressive.
Gary Schneeberger:
Yeah, and it goes with what the guy who owned the Ferrari said, right? You got to be good with people. And that's clearly, to take all those executives and say something that makes them all laugh, despite the absurdity of the situation, really shows that Chris Gardner is good with people.
But some news then comes: he's got the internship, but then he learns, which he didn't know before, that the internship comes with no salary. He's not going to get paid for doing... It's an unpaid internship. And if he's not the one who's chosen out of those 20 after six months, oh, not only did he not get the job, but he can't apply for another job at another brokerage firm. There are restrictions on that, too. So, "Hey, I got this opportunity, I was chosen. Oh boy, there's some conditions around here that may not help me make my vision a reality," as we like to say at Beyond the Crucible. Because he's the sole breadwinner in the family, it's really hard for him now to think about this. Linda's moved to New York, so it puts him in a position of not being able to say yes right away. But he ultimately gets there. He ultimately does. He ultimately weighs everything that's going on and says he's going to bet on himself and he's going to accept. And he begins to pursue what he believes will lead him to, as Jefferson said, happiness.
And one of the first things he does in pursuit of that happiness is to tell his son, Christopher, to do the same. The boy has recently gotten a basketball as a birthday gift, and he and Dad go shooting, right? They just start shooting buckets together at a playground somewhere. And then a meaningful moment happens between father and son that really spotlights the theme of The Pursuit of Happyness. Let's take a look and a listen to that moment.
Christopher:
I'm going pro!
Chris Gardner:
Oh, okay. Yeah, I don't know. You'll probably be about as good as I was. That's kind of the way it works, you know? And I was below average. Whoa. So, you'll probably ultimately rank somewhere around there. So, really, you'll excel at a lot of things, just not this. I don't want you out here shooting this ball around all day and night. All right?
Christopher:
All right.
Chris Gardner:
Okay? All right, come here.
Hey. Don't ever let somebody tell you you can't do something. Not even me. All right?
Christopher:
All right.
Chris Gardner:
You got a dream? You got to protect it. People can't do something themselves, they want to tell you you can't do it. If you want something, go get it. Period.
Gary Schneeberger:
Warwick, why is that scene so critical to understanding what The Pursuit of Happyness is about, both The Pursuit of Happyness, the movie, and the pursuit of happiness in our own lives?
Warwick Fairfax:
There are two parts to this scene. The first part, Chris is just not doing well. Life is tough, you know? He's got this internship, who knows if it'll work out. He is almost broke, his wife has left him. Life is tough. And so he tries to give his son some tough love. He tells his son that, "Like me, you'll probably not be good at basketball." He does not want his son to spend all his time dreaming about playing basketball, being on the NBA or whatever. He's like, "Look, it's not going to happen, kid." He just wants to give him some tough love.
So, then he sees his son looking sad, and a switch kind of flips. And Chris has this change of heart. As we see in that clip, the words he says are so powerful. He says, "Don't ever let someone tell you that you can't do something. Not even me." And his son goes, "All right." And Chris keeps going. He says, "You have a dream, you've got to protect it. If people can't do something themselves, they want to tell you you can't do it. If you want something, go get it. Period." So, while at first he doesn't give his son a very helpful message and he wavers a bit, he quickly changes his tone. He wants his son to know that you should pursue your dreams, and don't let anybody pull you down.
And obviously we've already seen his wife, Linda, really does, whether she wants to or not, does pull him down. She's just saying, "It'll never happen, stockbroker thing, yeah, it's like being an astronaut. Come on." And he's saying to his son, "Don't let anybody pull you down." And he wants to model this way of thinking. And as we'll find, pursuing happiness, pursuing your dreams, if he wants his son to live that life, he has got to show him what it looks like. So, the switch flips pretty quickly, and it's such a powerful scene when he basically tells his son, "Don't give up on your dreams, and don't let anybody tell you that you got to stop and give up. Don't listen to them. Keep going for your dreams. Keep at it." It's a powerful scene.
Gary Schneeberger:
Yeah. One of the most moving things in that scene to me, Warwick, was after Chris first says, "You're probably not going to be very good. I wasn't very good." His son, Christopher, kind of takes the basketball, walks away, and puts it in a bag, he puts the basketball in a bag, like a grocery bag, like, "Okay, I'll put it away. I'm not going to be with it." And I think that's what leads Chris to say, "Okay, whoa, I just trampled on my son's dream, and I want to reawaken that dream within him." And that's why it's such a moving, moving scene.
After this, Chris does indeed start his internship. The dream he is protecting, to become a stockbroker, he discovers quickly that while his colleagues can devote nine hours a day to calling prospective clients, he has to do it in six to be able to pick Chris up from daycare. He also learns interesting tricks, like not hanging up the phone, putting the phone on the... This is the old days, folks, when we had big blocky phones and you hung them up. He doesn't do that, he just hits the switchhook, hangs it up, and makes another call, and he says it saves him a few minutes every day that allows him to make more phone calls. He also learns-
Warwick Fairfax:
In fact, just as you're saying that he's so time efficient, he says, "Okay, if I don't drink water, then I won't have to go to the bathroom as much." I mean, "I'm going to save a few minutes on the switchhook and save a few minutes not going to the bathroom." And talk about time management. Crazy stuff.
Gary Schneeberger:
Yeah, he's saving seconds, but, right? You save seconds, you string those together over the course of these six months, and you never know where they're going to lead. And you never know who is going to be that call that you make that's going to seal a deal and that's going to help you become the one who stands out from the 20.
But there are other challenges for Chris as he's going through this, right? The office manager, a man named Alan Frakesh, he's a nice enough guy, he's pretty jovial, he treats him pretty well, but he keeps tasking Chris with these kind of gopher tasks like fetching coffee and donuts. He'll be walking through the office and he's like, "Hey Chris, go get me some coffee and go do this." And that pulls Chris away from being able to sit at his desk, make the calls he needs to make in order to make this internship successful for himself.
Then one day, Chris calls a man named Walter Ribbon, who's a top level pension fund manager, who invites Chris, right on the phone, I mean, here's how successful that call is, he says, "Hey, come on over in 20 minutes." And Chris is like, "Oh, okay." So, he starts to run out the door so he can go get to meet this Walter Ribbon guy. And guess what? On his way out the door, he's stopped by Frakesh, the office manager, who asks him to move his car, move Frakesh's car. "Hey Chris, can you move my car?" So, Chris is like, "Right." And he's trying to parse what's the right thing to do? "Should I go get a client or do I please the office manager who's got some say in whether I do well in the internship?" He ends up moving Frakesh's car.
Warwick Fairfax:
It's almost like the hits keep coming, because of course, this is Chris Gardner, life can't be smooth. This Frakesh guy says, "Yeah, and this car is almost impossible to open." This is back before you had remote control things. He had to put the key in the door to open it, and you sort of got to jimmy it a bit, lift it up, lift it sideways. It takes him forever just to open the car door. He's probably thinking, "The police might look at me and think I'm trying to break in or something." So, he's got to be nervous, it's like... So, moving the car is one thing, but he can't even get into the car. It's just ridiculous.
Gary Schneeberger:
Yeah. And the other part that's ridiculous and sad for Chris is that all of this extracurricular activity that Frakesh makes him do causes him to miss his meeting with Ribbon. But Chris doesn't give up, right? This is a theme throughout this movie, that Chris Gardner does not give up, and it's good advice for all of us to take when it comes to pursuing our own lives of significance, our own visions; don't give up. He finds another way. He thinks of another way to connect with Ribbon. He goes to visit him at his house over the weekend. He wants to apologize to him face to face about missing the appointment.
And Ribbon's very, very kind to him. He mentions he's taking his 12-year-old son to the San Francisco 49ers football game. Then he asks Chris if he wants to go and bring Christopher, his son, along to the game as well. And they have this nice luxury box that you can sit in for the 49ers game. So, of course Chris says, "Yeah, of course we'll go." Christopher is very happy about going, and they all head off to go see the 49ers. But Warwick, Chris does this, and in doing so, yes, he's pleasing his son, but he's also taking an opportunity at the game when he sits with Ribbon and his friends. How does he do that and how does that pay off?
Warwick Fairfax:
Chris is somebody that thinks very quickly on his feet. I mean, he kind of felt badly that he missed that appointment, and he wants to kind of keep the relationship going by going to Ribbon's house, which is one gutsy, bold thing to do, and obviously Ribbon lives in a very nice house, good part of San Francisco, just to apologize for missing the appointment. And clearly Chris was thinking, "Okay, well, hopefully I'll be able to set up an appointment maybe this coming week, and I'll have another shot," because being nice and apologized. But then sometimes in life when things aren't going your way, people offer acts of kindness, drops of grace.
And there's something about this Walter Ribbon guy, I think there's a kind spirit behind him. The fact that he would offer to meet with him for a few minutes is amazing. And he sees Chris with his son, and Ribbon has a twelve-year-old son, and says, "Well, we're going to the game, and why don't you come with us? And in fact, why don't you just come to our box?" He doesn't have to do this. He doesn't have to do this. He doesn't know Chris at all.
And so once Chris is there, and is in the box suite, and here are a whole bunch of Walter Ribbon's friends and colleagues, Chris is smart, and it's like, "Okay, there's an opportunity here." And he just goes around handing out business cards and making connections, glad-handing people. And we'll find later, this is another turning point in his life. He goes to the game, I don't think he's thinking, "Gosh, this will be great for networking." He's just thinking, "Boy, I've never been to the box suite at the San Francisco 49ers. What a tremendous opportunity for my son." So, he's not thinking beyond, "This will be great." But once they're there and he sees all of Walter Ribbon's buddies and colleagues, he's thinking, "Wait, hang on. There's an opportunity." It just takes him a couple milliseconds, and he's always one to take advantage of an opportunity, even an unexpected one. So, it's a great lesson for all of us, and it's just another remarkable part of Chris's character, always willing to see an opportunity and seize that opportunity.
Gary Schneeberger:
Yeah. Even in the face of, because it's going to happen again, I'm going to say again what I've said before, and I'm going to say it again after I say this a few scenes down the road, and Chris's crucibles turn darker, even darker. The IRS garnishes his wages, his bank account, for $600 in back taxes, leaving him with only $21.33 in the bank and to his name. Father and son are evicted from the motel they've been living in since they lost the apartment. Chris and Christopher wind up homeless. This is a tough part of the film to watch. The things they are forced to do to find shelter for the night are very harrowing. Talk about that work, and what it reveals about the ups and downs of crucible experiences. The emotions the Gardners go through are not uncommon for those who face trials, are they?
Warwick Fairfax:
Yeah, this really is one of the lowest points, this period of the movie, in Chris Gardner's life. I mean, here he is, he has the beginnings of hope with his internship at Dean Witter. After four months, Chris has actually sold all his scanners, and feel like he's beginning to make it. And just when you think, "Okay, there's a bright future maybe about to appear," along comes the IRS and takes virtually everything he has in his bank account. He is basically broke and he gets thrown out of the motel. I mean, it wouldn't be surprising if he started yelling and saying, "Are you kidding me? God, whoever's up there, what the heck is going on?" It wouldn't be at all surprising.
And so on the doorstep of that motel, all of his clothes and belongings are outside. The owner of the motel, the manager, has changed the locks. He can't get back in. And he gets in an argument with his son and kind of yells at him because his son, he's a kid, he's like five years old. I mean, he's young. He doesn't get what's happening. And it's like, "I don't want to leave the hotel room. I don't want to go. Let's go in, let me in." And his dad can't exactly explain to a five-year-old what's happening with the IRS, and garnishing pay, and being thrown out, and landlord and motel owner and manager. And it's like, "We can't go back." And it sort of makes him yell. And so he takes his son and they leave. And this is such a sad scene, when it almost feels like they're riding a subway for hours. They fall asleep, and eventually you see them in an empty subway late at night, and sleeping in a toilet, is where they end up.
But right before they get there, when they're just sitting in a subway platform, Chris, ever creative, finds a way to take advantage of an opportunity, which is a huge theme of this movie, he's always willing to take advantage of an opportunity, to just lift the spirits of his young son. So, his son says that... Part of the scenes of this movie is that this mentally challenged guy, who believes that Chris's medical device is a time machine, so he wants to grab it because he wants a time machine. And so his son says that, that there was this guy that tried to take your device, Dad. He thinks it's a time machine. And so then Chris says to his son, "You know what? What that man said was correct. This is a time machine." He's a five-year-old, so he has a vivid imagination. So, Chris asks his son where he wants to go, and tells his son, "Okay, let's close our eyes and just push the button on the device."
And so they open their eyes and Chris says, "Look, we're in the land of dinosaurs. They're all around us. Tyrannosaurus Rex." He starts listing some dinosaurs. And he says, "We're cavemen, and as cavemen, we've got to find somewhere safe. There's a lot of scary animals out there, dinosaurs and all, and so let's hide in a cave." And so he manages, through imagination, it almost makes sleeping in the toilet that night a little bit more bearable, because in his son's imagination, well, this is kind of the cave, right? They're hiding out from the dinosaurs. And so it's incredible, and it's somewhat effective, he helps lift his son's spirits. So, there they are, huddled on the floor of this toilet in the subway. Chris locks the door so they won't be disturbed, and his son falls asleep. Now, once his son falls asleep, all the emotions begin to come out. And you see that he put on a brave front, but now that his son is asleep, he's crying. It's just a miserable situation that they're in, having to resort to sleep at the toilet of a subway. It is just dire.
And so when we face crucibles, such as what Chris is facing, and he gets thrown out of his apartment, then motel, the IRS takes virtually all his money, it's understandable if we're angry and distraught. But the question is, are we going to stay in that place of anger and frustration and humiliation, which I'm sure Chris felt, or are we going to try to find a way to move beyond our darkest day crucible? Chris Gardner shows us that no matter how bad things get, there is a way to move forward with perseverance, and even optimism. Chris rarely wallows for very long at all in depression, in anger, bitterness. He always finds a way to say, "Okay, this sucks, this is awful, but let's find a way to move forward. Let's find a way beyond this dark time." And he is brave and tough in particular for his son. He wants to show strength to his son that, "No matter what, there's a way out of this. Let's move on." It's really an incredible lesson that we can all learn from Chris Gardner.
Gary Schneeberger:
Yeah, the thing I think about, just watch, I mean, I've said it now, what, five times, and then things get darker, and things get darker, and more crucibles come. The thing that it makes me think about is, and I know you like to play tennis, right?
Warwick Fairfax:
Correct.
Gary Schneeberger:
Those machines that shoot tennis balls at you to practice your stroke, right? That's what it feels like is happening to Chris and Christopher in this movie, that there's a tennis ball machine that's just shooting neon yellow crucibles at them over and over and over again.
Warwick Fairfax:
Oh, absolutely. It's a great image. And in fact, as time goes by, the size of those tennis balls increase, and the speed with which the machine throws it at them increases. It's just like it gets worse and quicker, and it's just somehow, it doesn't get him down for long. It's just, yeah, it just feels like... We did a Christmas movie a while back, It's a Wonderful Life, and we've said this before, but it sure seems like, for Chris Gardner, It's a Crucible Life. I mean, unbelievable.
Gary Schneeberger:
Yeah. And yet, as you pointed out, he doesn't have a crucible attitude throughout so much of it. And he works hard, Warwick, over the next several scenes, now that they're homeless, trying to secure overnight accommodations in shelters in San Francisco. Again, these scenes, very heart-rending, also very moving. Talk a little bit about what we see there.
Warwick Fairfax:
So yeah, life continues to be dire. Chris has to finish work early to get in line at the shelter by 5:00 PM, which, as we've mentioned, really cuts down the time you can to basically, in those days, you either used a phone book or these call sheets to call people, and he just doesn't have as much time as his, frankly, competitors, the other 19 people out the 20 that all want the job at Dean Witter. And so part of the reason is you've got to get in line by 5:00 because the lines going to these shelters, they are very long. In one-
Gary Schneeberger:
In both directions, right?
Warwick Fairfax:
Oh yeah, absolutely. In one, he's almost about to make it, but somebody pushes in, and he has to almost fight the guy to get in, because he says, "Hey, I was here first." And so while his son is sleeping, Chris tries to fix this broken scanner. I think earlier, this mentally challenged person who stole his scanner somehow damages the scanner, this medical device. So, he's up at night trying to fix it, because he's thinking, "If I can fix this, this is money that I need." And so eventually, it takes him a couple nights, he manages to get a part for this broken scanner, this broken device, and is able to fix it.
And so then he repairs it and is able to sell it to this pretty kind doctor, and he sells it for $250. As he puts it, another four weeks of oxygen. "Four more weeks of oxygen." We see times in this life, whether it's Walter Ribbon or Jay Twistle or this doctor that seems to want to go out of his way to help, and said basically, if the machine turns on, the doctor's going to buy. Even though I'm sure the doctor's fully aware that this thing is overpriced and doesn't do a whole lot, but at least he can justify, "Okay, I bought a valid device that does something." It's just got to turn on. So, the doctor's looking for a way to help if he possibly can and do it justifiably. But yeah, life is tough for Chris and he never gives up.
Gary Schneeberger:
I'm going to step out of the role I've been playing, which is the most disliked man on this podcast, because I keep saying, "Then another crucible hits him, [inaudible 00:56:28] crucible hits." Because we're turning the corner right here, folks, and here it is. Chris concludes his last day of the internship, and he is summoned into a meeting with the partners. Warwick, I'm going to let you have all the great details about what happens once he gets in there, but the internship's over, this is the moment of decision, he goes into meet the partners. What happens?
Warwick Fairfax:
Yeah, it's truly a remarkable scene. So, here's Chris. It's the end of his internship. He's again in that same room, the big table with the senior partner, Jay Twistle's there and the other executives. And Chris is wearing a nice shirt and he sort of quips that he thought it'd be appropriate to dress for the occasion. In other words, maybe would be nice to wear a nice shirt rather than disheveled painting clothes with paint all over him. It's sort of a nice quip.
And the senior partner thanks him and he says to Chris, "Well, you should wear this shirt on the following day." And he lets Chris know that he has won the coveted position, the one of 20 that's going to get a job at Dean Witter. And this is just remarkable. Chris is, I don't know if he's in shock, but he fights back tears. He shakes hands with all the partners and all the executives there, and they're all smiling at him. They shake his hand, it's like they're happy for him. The senior partner's happy for him, Jay Twistle, the other executive there, all of them. They want him to succeed. He has won them over. They admire him.
And we see that Chris rushes off to get his son, Christopher, at daycare. He embraces him. And as you pointed out, Gary, at the end of the movie, they're walking down the streets of San Francisco, and they're joking with each other. And I didn't realize this until you pointed out that they had passed by the real Chris Gardner in a business suit. This is a true story, this movie. So, that was a nice touch that I didn't realize. But yeah, it's a great scene. And what it shows is the scene where Chris is around the table from the other executives, who give him his shot, that hard work, diligence, and perseverance, they pay off.
What's interesting is just before the scene where Chris realized he's sort of won the competition, he's got a job, is that Jay Twistle comes to him and said he's heard that Chris has signed 31 accounts from executives at Pacific Bell. Well, it turns out that Walter Ribbon manages the Pacific Bell pension funds at Pacific Bell. At the time it's part of the AT&T Bell telephone network. Pacific Bell is the major telephone company in that part of the country, San Francisco, the Northwest. And so all of these people that he was glad-handing at the 49ers game, these other executives, most of them all worked at Pacific Bell with Walter Ribbon. And so that's how he made all these connections and how he was able to sign up 31 accounts, all through that circumstances being at the game. And even after that, you have people coming up on the street to him who met him at the game. They're actually giving Chris their business cards. How many people come up to a salesman and say, "Here's my card. Please call me"?
Gary Schneeberger:
"Call me."
Warwick Fairfax:
"Bother me. Annoy me." He has made a significant impression on these folks.
Gary Schneeberger:
So, there's a postscript to this work. Just before, as the credits roll, there's a postscript where we learn how the real Chris Gardner, who, as you mentioned, we saw walking by in that final scene, how his dream turned out. It's not just remarkable for Chris, but encouraging to anyone who has been through a crucible, that their worst day, their worst days, in Chris Gardner's case, do not have to define them. Talk about that a little bit as we wrap.
Warwick Fairfax:
That end scene with the credits is remarkable. I mean, it was incredibly remarkable that Chris gets a full-time job, one of 20, after six months, no college education. If that wasn't remarkable enough, it gets even more remarkable. These end credits say that after beginning his career at Dean Witter, Chris went on to found Gardner Rich in 1987, his own firm. That's pretty remarkable. From '81 to '87, he's so successful that he can found his own firm. That doesn't happen often. That's just remarkable. And then it says in 2006, Chris sold a minority stake in his brokerage firm, the one he founded, in a multi-million dollar deal. He isn't just somewhat successful, he is off the charts, "Can you believe it? Is this really true?" Successful. If you said at the beginning of the movie that Chris Gardner is going to end up being a multi-millionaire, let's say, given what's happening in his life and the disadvantages he's had growing up, it would be impossible. If not impossible, it would be one in a billion, one in a trillion. It cannot, will not happen. That's just dream land. No way it'll happen.
So, I think what this indicates is yes, the trajectory of Chris's life is remarkable. He grew up without a dad, his wife left him, at one point he's homeless, he was broke with the IRS garnishing his wages and pretty much taking everything he had. He had every reason to be angry at the world and give up. But that's not Chris Gardner. He never gave up, he found a way to move forward. He pursued getting a career at Dean Witter even without a college degree. Few people thought he had any chance to pursue this career, let alone become extremely successful. It would sure seem that Chris was indeed successful in his pursuit of happiness. It seemed like it was mission possible.
So, I think what Chris Gardner's life shows is that even when we're in our darkest day, the bottom of our crucible, there is hope. There is always hope. Never give up, never give in. We have to believe in our dreams, pursue them with perseverance, even if nobody believes in us or our dreams. We often say that to get out of the pit, out of your darkest day, it's critical to have a team of fellow travelers, people who believe in you. It couldn't get much worse for Chris Gardner. He had no team of fellow travelers, nobody believed in him. All of the strength and courage he had to summon, that was all within him. That was all him. I mean, there was nobody else helping him. It just is remarkable, his perseverance and his ability to get beyond his darkest day, the bottom of his crucible. It just shows you the power of perseverance, the power of hope, the power of having a dream.
Gary Schneeberger:
Yeah. Folks, you may have noticed the house lights are on. The film has ended. Please clean up around your seat, and take your things that you have to dispose of with you as you go. And join us next week, because next week we are going to go to part six of our summer movie series, Big Screen, Big Crucibles. And the film that we're going to cover is, Scott, give me that drum roll. We're going to cover Erin Brockovich, which is another, like seven of the eight movies that we're covering this summer, another story, a film based on a true story. So, until the next time we are together, remember, come see us and we'll save you a seat.
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Big Screen, Big Crucibles IV: Les Miserables
You’ve heard us talk a lot over the years at Beyond the Crucible about the power of forgiveness — and that’s one of the core themes of our discussion this week of LES MISERABLES, the fourth film in our summer series BIG SCREEN, BIG CRUCIBLES.
Everyone in the movie experiences a crucible, but those who receive and then extend mercy and forgiveness to others are the ones who find lives of significance. Those too rigid to see the best in others, or in themselves — like the prison guard and policeman Javert — wind up — as one of the American translations of the film’s title puts it — The Miserable Ones.
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life.
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Transcript
Warwick Fairfax:
That gift would lead Valjean to being a man of grace and mercy. Grace and mercy was shown to him, and he indeed showed that to others. He looks after Fantine's daughter, Cosette, after Fantine dies; he shows mercy and forgiveness to Javert, a man who would never show any mercy and forgiveness to Valjean or anybody.
Gary Schneeberger:
You've heard us talk a lot over the years of Beyond the Crucible about the power of forgiveness, and that's one of the core themes of our discussion this week of Les Miserables: the fourth film in our summer series, Big Screen, Big Crucibles. Everyone in the movie experiences a crucible, but those who receive and then extend mercy and forgiveness to others are the ones who find lives of significance.
Those too rigid to see the best in others or in themselves, like the Prison Guard and policeman, Javert, wind up as one of the American translations, of the film's title puts it, The Miserable Ones. Welcome, friends, to another episode of Beyond the Crucible. You are in the midst of our, we are in the midst of our special summer series, Big Screen, big Crucibles, where we examine films and the crucible experiences in films that characters go through to help you navigate your own crucibles.
We're doing this again. You may remember, if you think back, this is the third time that we've done a summer series on movies, and so for eight weeks this summer, we're going to do it again. This is week four, so we're halfway through with this episode. We're taking a look at films with a wide variety of crucibles: insightful lessons they can teach us about how not only to bounce back from those crucibles, but on casting a vision for charting a course to move beyond those crucibles.
Our film this week is, and I ask you forgive, I beg your forgiveness before I say it, because Warwick has a very cool accent, I have a Midwestern accent, so when I say our movie, it's not going to sound nearly as cool coming out of our mouth. Stay tuned, Warwick will make it sound great, but our film this week, in all seriousness, is Les Miserables. The movie came out in 2012, and here's the synopsis of the film.
In 19th century France, Jean Valjean, who, for decades, has been hunted by the ruthless policeman, Javert, after breaking parole, agrees to care for a traumatized factory worker's daughter. The decision changes their lives forever. That sounds pretty interesting, doesn't it? It is. Stay tuned. Warwick, first question, as always on the summer series to you is, as I said, this is the third time we're back at the theater.
We're looking at movies again, why? What is it about film that is so revelatory about our crucible experiences and what are you hoping that listeners and viewers get from this series in our discussion here?
Warwick Fairfax:
Yeah, Gary. We both love movies, and we've enjoyed looking at movies from a Beyond the Crucible perspective. Movies typically portray a protagonist who is facing significant challenges which they seek to overcome. We've covered movie heroes, action heroes, sports heroes, and we've also looked at last summer, at the American Film Institute's top 100 movies.
This year, we thought we'd look at movies that were some of the best ones that showed people overcoming often unimaginable crucibles, obstacles you would think that there's no way back from. Not only did they get beyond their crucible, they also led a life of significance, a life on purpose dedicated to serving others. The movies we're going to be doing this summer and looking at are truly great movies with incredible lessons for us all.
Gary Schneeberger:
Folks, before we get started, it's important for you to know a couple of things before we dive into the discussion. First, interestingly, this is the only movie we're discussing in our series of eight that is not based on a true story. It's based on a successful stage musical that was itself based on the 1862 French novel, Les Miserables, by Victor Hugo. Now, having said that, it depicts real life events, like the French Revolution, but the individuals who are in the film, they are fictional.
It's just kind of interesting, that out of eight movies, without even knowing it, we picked seven based on a true story. This one is based on true events in history, but it is fictional. That's interesting. It's also good to note, for those listening in watching who don't speak French, like me, that over the years, the title for American audiences has been tweaked a bit.
Les Miserables has been presented to American audiences sometimes as the Miserables, sometimes as the wretched, sometimes as The Miserable Ones, The Poor Ones, The Wretched Poor, the Victims, and The Dispossessed. That can sound depressing. Let me tell you, please, in all seriousness, let me tell you this, as this discussion goes on, as you hear more about the movie, as you watch the movie, if this encourages you to watch the movie, it ends on a very high note, and there are true moments of joy and elation in this film.
That's my disclaimer. We get our first glimpse work of the misery and wretchedness, the crucibles, in our terms, of the central character in the opening scene. It's 1815, the onscreen graphic tells us, 26 years after the French Revolution. We see scores, maybe hundreds of emaciated men, doing hard labor in a downpour. The one the camera focuses on most intently is the chief protagonist of the film, who we will come to know as Jean Valjean. He's spent 19 years in prison, five for stealing a loaf of bread to feed his sister's sick child, and 14 for trying to escape.
Through song, important to note, all but a few lines of the entire narrative are sung, not spoken, makes it a very interesting movie, we see him taunted by a prison guard named Javert. Warwick, this scene, this first scene lays out the devastation of the crucible that Jean Valjean has been through, and he will continue to go through if Javert has his way. We talk a lot at Beyond the Crucible about the power of hope and forgiveness, but that's not what we see when we meet these two central characters, is it?
Warwick Fairfax:
This is certainly a low point in Jean Valjean's life. He has been in prison for 19 years, and for what? Stealing a loaf of bread to help his sister's sick child who was close to death? That sure seems like maybe you deserve some punishment, maybe some rap on the knuckles, but 19 years? I guess it was five years, and then plus another 14 for trying to escape. It's just...
Gary Schneeberger:
The punishment does not fit the crime here, for sure.
Warwick Fairfax:
Oh, absolutely. We see these lines of men with these long ropes, try to pull this massive ship into dock. It just seems almost impossible. We learn in this early scene, that he gets paroled, Valjean gets paroled by Javert, who will be his nemesis. In theory, that means he's free, but not really. Yes, he's free, but the papers that he carries with him, they basically say that he is a dangerous man, and he'll have to report regularly or he'll be arrested immediately.
Javert says that these papers are a badge of shame that he will wear until he dies. Doesn't really feel like freedom. Freedom kind of, but maybe it feels like purgatory, but doesn't really feel like he's fully escaped. As I said, this is really a badge of shame that he'll wear the rest of his life. It seems that in these early scenes, we get a bit of a picture of Javert, and it sure would seem like Javert does not believe in forgiveness or in redemption.
Javert's attitude throughout the movie is once a criminal, always a criminal. Redemption is not possible. You've committed a crime, and that'll follow you the rest of your life. That's the code that Javert goes by.
Gary Schneeberger:
Yeah. His efforts to break Jean Valjean's spirit extend the fact that he doesn't call him Jean Valjean. He calls him by his number, 24601, throughout the movie, as you'll hear, these two, their paths crossed throughout the movie, but he always refers to them as 24601. You're just truly just a number. It also struck me, Warwick, that Javert thinks crucibles are a life sentence.
Imagine how for us, how tragic that would be, if all the guests we had on thought that way. If you thought that way after your crucible, if I thought that way after mine. It's definitely not the truth that crucibles are a life sentence, right?
Warwick Fairfax:
Yeah, it's so true, Gary. If we were talking to Javert, he would say, "Your worst day does define you. Your worst day will be with you for the rest of your life. Certainly, if you've committed a crime and made a mistake, there is no redemption. It will haunt you the rest of your life. You make this kind of a criminal mistake, you're no longer human, you're just a number. You're subhuman, you're not worthy of redemption."
"You should be in prison, or hide away somewhere where decent people of society don't see you. You've made a mistake, and you'll forever pay for that mistake. Redemption doesn't exist. You are definitely defined by your worst day. It's sort of etched on your soul. There is no hope, there is no forgiveness, there's no grace, no mercy, no redemption." That is Javert's code.
Gary Schneeberger:
In his own way as he gets his freedom, Valjean sort of feels the same way initially, not about himself per se, but he definitely is full of hate and anger. He's carrying his crucible with him outside of the crucible experience of being in prison. He muses about what will life have for me, and what will this new life have for me?
It seems like Valjean has trouble with forgiveness himself at this juncture, and he finds out very quickly, so do all the people he seeks a second chance from, doesn't he?
Warwick Fairfax:
Yeah. At this point, Valjean is on parole. Yes, he has to check in regularly with his, I guess, parole officer, but it seems like he has freedom. These papers that say that he's a dangerous criminal, the badge of shame, wherever he goes, whether it's to try to get a job, or to find a room to rent, a place to sleep, nobody will let him in. He can't get work. He has no roof over his head. It really is, these papers really are a badge of shame.
He truly is a miserable, wretched person at this point, and he is no reason for hope that life will get any better, and no reason not to be angry and bitter. It's very clear that he sings, as you mentioned, that's the way the characters speak in this movie, he says that he'll never forget the years he has lost, and he will not forgive them for what they have done.
He, at this point is, "I will not forgive. I will not forget, I'm angry and bitter. What happened to me was absolutely unfair and wrong, and I'm never going to get over it." That's his attitude at this point of the movie.
Gary Schneeberger:
Then something truly miraculous happens to him. He visits, he drops by one of the people he stops by to see, looking for shelter, is the Bishop of Dean. This is the kind of man Warwick, whose radical grace changes the trajectory, of Jean Valjean's life, isn't it?
Warwick Fairfax:
Gary, this is profoundly true. The bishop asked Valjean to come into the church and give him a bed, and some food, and wine. Here is the beginnings of drops of grace. The first person that Valjean comes across, he says, "Come in, come into the church. I'll give you something to eat, a place to sleep." He tells Valjean this bishop does, "to rest from pain and wrong." The bishop is so kind to him.
Valjean is so full of anger and bitterness that it seems like at this point, it's impossible for him to receive any grace and kindness from the bishop. So much so, that what is Valjean's response to this kindness and grace that he's getting? He ends up stealing the silver from the church. Well, he gets caught, and he is brought back to the bishop and Valjean says, "Well, yeah, the bishop gave me the silver." I guess he's got to try something.
What's amazing is the bishop says, "That's true," which it wasn't, but obviously, he says that's true. The bishop says, "In fact, Valjean left the best of the silver behind." Not only does he forgive him for stealing the silver that he has, he gives him more silver, the stuff that he hasn't stolen yet. The bishop says there is a higher plan, and that Valjean must use this silver to become an honest man.
I don't know, the Bishop may see something in Jean Valjean. Maybe he sees some goodness that can be redeemed. I don't know what possesses the bishop to do what is, even for a minister, is just almost unthinkable, to not only no consequences. He could have said, "Okay, Greg, give me back the silver and be gone." He doesn't do that. That would be grace enough. Grace upon grace is you can have the silver. Use it to get yourself lots of money. That's more than grace. That's just astounding.
Valjean is overwhelmed by the bishop's kindness and grace. He says that God has raised him out of darkness. The minister has saved his soul for God. He says he's done with being a thief. He asks if there is another way then hate. He wonders why he allowed the bishop to touch his soul. What this bishop did for him, it absolutely touched and transformed his soul. He says one word from the bishop, and he would be back in prison. He wonders if there's another way to go.
In essence, he says that his past is nothing now, and another story must begin. Valjean has said, in essence, I'm going to turn the page. I'm going to become a different man. This whole episode, where the bishop shows the profound transformation that radical grace and kindness can have, this one episode, it is the turning point in Jean Valjean's life, and it transforms him from somebody full of hate and bitterness, to a person that can be redeemed, and be full of love and grace and mercy.
This one act of radical grace is, it's unbelievable in the act, but it's unbelievable, the transformation that it has for Jean Valjean.
Gary Schneeberger:
After this moment, this very meaningful and moving moment, Les Miserables then jumps eight years to 1823. Valjean has made good on his promise to serve God by helping others. He's a respected factory owner and mayor of Montroy. He is startled, though, when Javert arrives as his new chief of police. Very ironic, right? Now, Javert works for Valjean. That's an interesting deal right there.
Witnessing Valjean rescue a worker trapped under a cart makes Javert suspect Valjean's true identity, but he's not sure yet. Meanwhile, one of Valjean's workers, Fantine, is fired by the foreman of his factory when she is revealed to have an illegitimate daughter, Cosette. She has been mocked and chided by her female coworkers, Fantine has. She's been sexually harassed by the foreman. She is reduced on the streets to selling her teeth, selling her hair, and selling herself.
It's at this point that she sings the most famous song in the soundtrack of Les Miserables, I Dreamed A Dream. Let's take a look and listen to that song right now.
Fantine:
There was a time when men were kind,
And their voices were soft,
And their words inviting.
There was a time when love was blind,
And the world was a song,
And the song was exciting.
There was a time when it all went wrong...
I dreamed a dream in time gone by,
When hope was high, and life worth living.
I dreamed that love would never die,
I dreamed that God would be forgiving.
Then I was young and unafraid,
And dreams were made, and used, and wasted.
There was no ransom to be paid,
No song unsung, no wine untasted.
But the tigers come at night, with their voices soft as thunder, as they tear your home apart, as they turn you dream to shame.
[inaudible 00:20:53] by my side. He filled my days with endless wonder. He took my childhood and destroyed.
He was gone when autumn came.
Still, I dream, he'll come to me, that we live the years together. There are dreams that cannot be, and there are storms we cannot weather.
I had a dream. My life would be so different from all this hell I'm living, so different from what it seemed.
Oh, life has killed the dream.
I dream.
Gary Schneeberger:
Warwick, I worked on publicity for this film when I was living in Hollywood and doing PR in the film industry, so I know the movie well. When I saw and heard Anne Hathaway in this scene, just as an example, it was during a screening, was somewhere, and I said to a studio executive, "Bad news for anybody else up for a best supporting actress Oscar this year," because she was just so good in that scene. It just grabbed people so, so much.
Watching the film for the first time from a Beyond the Crucible context in particular has brought it to me in a fresh light, even though I've known that song in this movie for years. It's really a song about the bottom of the pit, as we talk about, which is caused by the pain of crucibles. We say it all the time. You've reached the bottom of the pit. This is where Fantine's at singing this song, isn't it?
Warwick Fairfax:
Absolutely. Fantine is at the lowest ebb of her life. Fantine's song is so incredibly sad. She had dreams of a happier life, and they've been destroyed. That life that she lives now is so different than what she had hoped for. She believed she is literally living in hell. To have dreams that have been destroyed and be in a place of shame, and agony, and pain is about as deep a pit as a person could be in.
Not only is she in agony, but as bad as agony is, just to be at a point of shame where she's shunned by everybody, and she's forced to be reduced to a prostitute, she has no respect for herself. She's in agony. She literally feels like she is in a living hell. It's just an incredibly sad scene, and just a haunting song that she sings. It's just devastatingly sad, that Fantine finds herself.
Gary Schneeberger:
Yeah, the last line, right? "Life has killed the dream I dreamed," right? That is truly the bottom of the pit. Unfortunately for her, the bottom of the pit is going to get a little bit deeper, because Javert arrests her when she attacks an abusive customer. Valjean recognizes her and takes her to the hospital, much to Javert's suspicion and anger.
Learning that a man has been wrongly identified as him, Valjean reveals his identity to the court, and this is a decision he wrestles with quite a bit to admit who he is will save the other man, but will put him back on the run, at least in prison under Javert or people like him at worst. Valjean ultimately turns himself in. It's the high character move for him to do. The one that doesn't just focus on helping himself, why is such honesty? Honesty that might cause us pain, so critical to Valjean, continuing to live his life of significance?
Warwick Fairfax:
Valjean is first torn. Part of him is relieved that they have caught someone they think is him, because then finally, Javert might stop looking for him. As he sings, because as we know, everything is right with his song, he sings this. If he says something in court, he'll be condemned. If he does not speak up, he'll be, in his words, damned, so condemned versus damned. That's a pretty tough choice.
Gary Schneeberger:
Yeah. That is not a good decision to have to make.
Warwick Fairfax:
He wonders if he can condemn this innocent man and he sings, "Who am I? My soul belongs to God. Who am I? I'm Jean Valjean. Now, I wonder the man who was before he found that bishop, so full of anger and bitterness, I wonder if that man has said, 'Look, life is not fair?' I feel sorry for this guy, but I deserve to break. God or the universe who is up there, I deserve to be free, and this is a gift from God. Look, I can't help the whole world. He'll have to figure it out himself."
We don't know, but this Jean Valjean, the after that bishop showed him so much kindness and grace. He is a different man. By saying, "My soul belongs to God," it's very clear that he will do the right thing. This man is innocent. I am Valjean. The lesson here is that when you're beginning to turn to a different path, lying can erode your soul. Honesty is the path of new life and freedom. If he had started lying, he may have been free in the physical world, but in his soul, the change would've started coming back on him.
His conscience would've bothered him. He would've been in prison if he'd done the wrong thing and hadn't told the truth. It really shows that he is on a different path, and it's really something that we should all listen to and take a lesson from, that doing the wrong thing: lying, cheating, stealing, betraying, it puts your own heart and soul in prison. It's not the way out. Never is.
Gary Schneeberger:
No. Ironically, though ,the court doesn't believe him when he says that he's a Jean Valjean. The court doesn't believe him. Regardless, he's spoken the truth and it's a sign that his character has indeed changed, as you said. He must then head out on the run again, but only after doing two things. The first is he returns to the dying Fantine, promising to care for her daughter, Cosette. Talk about that scene, because it's a very touching, very sad, but very touching one as well.
Warwick Fairfax:
It surely is. Valjean consoles the dying Fantine. She sings, the light is fading, and Valjean says that she should be at peace, peace evermore. He'll protect her daughter Cosette. He tells her that her daughter will want for nothing. Fantine says, "He came from God in heaven." Valjean actually feels guilty for the situation Fantine finds itself in, because as we've mentioned, he was the owner of the factory where Fantine worked in. He feels responsible in some way for Fantine being fired by the foreman that was sexually harassing her.
I don't know that he was fully aware of what going on, but regardless, it was his factory and his mind, this new mind, this new heart, is that it's his responsibility. In a sense, by taking care of Cosette, he feels he's trying to right a wrong that he feels responsible for, for allowing what happened to Fantine to happen. This is really another indication of a remarkable change that is happening in the character and soul of Jean Valjean.
Gary Schneeberger:
Right. One of the things that we talk about a lot here at Beyond the Curseable is the idea of doing soul work. We saw it earlier in the film, when he was singing, "What should I do? What do I do? Who am I? Who am I?" It's safe to say that Jean Valjean did some soul work in this film, didn't he?
Warwick Fairfax:
Absolutely. That's a great point, Gary. He is taking positions that many people wouldn't. They might feel sorry for Fantine, but it's like, "Look, I can't be everywhere at all times. I'm not responsible for what the foreman did. Okay, maybe I'll fire him, discipline him, do something, but Fantine made her choices, and life's tough, and it's not my responsibility to sort out everybody's life. There's a lot of poor wretched souls in this world, and why am I responsible for fixing everybody's life?" That's what the old Valjean would've said.
The new one says, "No, it's my responsibility, and I'm going to take, not just help out Cosette, but take care of her for his whole life, and that she should want for nothing." He could have put her up in an orphanage somewhere, or maybe even a nice one, paid some money. Maybe she should have some decent living. She might be poor, but at least somewhat well-treated somewhere, maybe. Although orphanages back then are reminded of the movie Oliver, they were not too good back in the 19th century.
I don't know if there were any good orphanages back then, but regardless, he could have done something but not what he did, which is basically take Cosette in as his own daughter, if you will, so that she would want for nothing. That's remarkable grace. It's almost like he's learned this remarkable grace from the bishop. That's not normal grace. That's not normal philanthropy. It's just remarkable.
Gary Schneeberger:
No, he's definitely a man who, in our modern vernacular, is not afraid of getting his hands dirty when it comes to helping others, living that life of significance, a life on purpose dedicated to serving others. He's truly walking that out in all that he does. His crucible remains from Javert, because he and Javert have a confrontation. The inspector tells him this, "Men like you can never change." There he is. He's changed. We've seen him change. He knows he's changed, and yet here's his voice, whispering in his ear, not whispering, but sort of barking at his, barking in his face.
"Men like you can never change." We learned a little bit though in this scene, Warwick, about Javert's own crucible life, and how it informs the harshness he carries, don't we? We see, I don't know if it causes us to feel sympathy for him or not, but we understand a little bit of where his harshness comes from, right?
Warwick Fairfax:
Yeah, indeed. Valjean at this point is committed to fulfilling his promise to the dying Fantine to look after her daughter, Cosette. Then when he sees Javert and Javert confronts him, he tells Javert that this dead woman, Fantine, left a child, and he needs three days to make arrangements for the child. He's not saying "I'm going to run away forever, I just need some time to get things sorted out."
Javert says, "A man like you will never change." Javert will not listen and seems to have no compassion whatsoever. Javert says that he, Javert, was born in prison and is from the gutter, but he has learned very different lessons, and the lessons he is learned is basically one of a life of harshness with no possibility of grace and redemption.
For Javert, there are only laws in order that must be kept, no redemption, no grace, only laws and regulations, no way back, no redemption, almost like eternal damnation. That is the lessons that Javert seemed to learn from his very harsh upbringing.
Gary Schneeberger:
Valjean then visits the dishonest innkeepers, and Warwick, I apologize in advance as someone who speaks French, I'm going to get this wrong, but I'm going to try, the [foreign language 00:34:32]? Close?
Warwick Fairfax:
I think that's very good.
Gary Schneeberger:
All right. The dishonest innkeepers, we'll just call him the dishonest innkeepers from this point on, whose bit of the plot is mostly comic relief, and takes Cosette to protect her as his own. Warwick, he realizes, Valjean does, that love, the kind he feels from Cosette, has given him his true life's purpose. We talk about that a lot here at Beyond the Crucible. That's a moving realization, isn't it?
Warwick Fairfax:
Absolutely. When Valjean first sees Cosette, he says he made a promise to Fantine, her mother. He says he was blind to someone in need, Fantine. In other words, he didn't realize what was going on in the factory. He feels responsible, but he says to Cosette that her suffering is over. Later, he sings that he's not alone now, and that something has begun. He sings, the world seems a different place full of grace and full of light. So much hope is held inside. "How was I to know that happiness can come so fast," he says, "Never more alone or apart."
Cosette has won his heart and brought the gift of life to him. He says, "I suddenly see what I could not see." This is part of the redemptive arc of Valjean's life. His life has purpose and meaning now. He wants to, in some ways, redeem Fantine's tragic life by caring for his daughter. Before, he had no purpose, no life. Now, he has purpose, life, and hope by redeeming Fantine's legacy, and by giving her daughter, Cosette, a life she could not have had otherwise, a life of hope and promise.
Valjean has, as part of his redemptive arc, he has purpose, and life, and hope. Joy is beginning to come into his life. There was no joy in that opening scene in the movie, where he and the other men were pulling that long rope lines of pulling that heavy ship into the dark. There was no hope. There was only anger, bitterness. Now, we see hope and love and joy. It is truly remarkable what we see in Jean Valjean.
Gary Schneeberger:
Yeah, that he leans into his character. We have another series going on on the actionable truths of the brand, and character is one of them. The character, he acts on that. He acts on that. He acts on that. Then here comes the joy. That's vintage Beyond the Crucible. Character, if you lean into your character, you can pursue that joyous life of significance. This movie could have been written by us, maybe.
Warwick Fairfax:
Very well said.
Gary Schneeberger:
Valjean and Cosette find safe in a convent, and avoid Javert who's still chasing them. The convent's groundskeeper is the man, if you remember, that Valjean saved from the wood that had fallen on him earlier. Javert vows to keep his pursuit of Valjean. He sings, "Those who falter and those who fall must pay the price." That's Javert's worldview.
That's a hard world, isn't it, Warwick, for anyone who's been through a crucible to live in? Javert represents everything that's hard about turning trial into triumph, doesn't he?
Warwick Fairfax:
Yeah, as Valjean flees with Cosette, Javert is in pursuit. We learned something about Javert's theology and belief system. He sings about a fugitive, fallen from God and fallen from grace. It's as if when you've fallen from God and fallen from grace, in Javert's mind, there is no way back. Grace is lost forever. Javert will never yield until they come face to face.
He sings, "Mine is the way of the Lord. Those who follow the path of righteousness." He talks about it as if when people fall as Lucifer fell, they will get the flame and the sword. He says, "Those who fall must pay the price." He sings, "Lord, let me find him safely behind bars. I will never rest until then. This I swear by the stars," meaning he has his own theology and belief system all worked out.
He definitely has a belief in God and the Lord, but a very different belief system than Valjean, or certainly the bishop. Javert has this harsh theology, one of judgment and rules, where there is no grace, none whatsoever. He is committed to his path and his way of looking at the world and God, and he will never relent. It is hard to move beyond your crucible when you're being pursued by men like Javert, who believes there is no possibility of redemption or mercy.
As we said before, Javert's belief system is you were defined by your worst day, certainly, when you committed a crime. There is no way back. There is no life of significance. You're not even human. Subhuman people that are criminals, there's no redemption, there's no life or significance. There's only eternity of pain and suffering. That's what you deserve when you've committed a crime. When you're at the bottom of the pit, the pit is never ending, and there's no way out.
There's no light at the end of the tunnel, only eternal darkness, and that is as it should be. That's what you deserve. That is the belief system, this horrific and horrendous belief system that Javert has.
Gary Schneeberger:
To flip it on its edge, our series on the actionable truths, right? All that Javert is about is actionable falsehoods. He's acting on these falsehoods, that there's no grace, there's no redemption. You can't get better. If you've done this, once a thief, always a thief. He's constantly acting on those things. He's not just saying them, he's acting on them. That really makes life challenging, to say the least, for Jean Valjean. Well, as Les Miserables want to do what [inaudible 00:41:27] jumps ahead again after this.
The movie jumps ahead nine years in the next point, and Valjean has become a philanthropist to the poor in Paris. A new French Revolution is brewing. General Lamarque, the only government official sympathetic to the poor, dies. The revolutionist group, friends of the ABC, plot against the monarchy. Marius Pontmercy, how's that? Was that good? Pontmercy?
Warwick Fairfax:
That was really good.
Gary Schneeberger:
Oh, thank you. All right, I'm going to live on that for another two weeks, folks. Marius, we're going to call him from now on. Marius, a member of the Friends falls in love with Cosette at first sight, and asks his best friend, Eponine, the wicked innkeeper's daughter, to find her. He and Cosette meet and confess their love.
Eponine, herself in love with Marius, is heartbroken. In a movie full of crucibles, Warwick, this is a more minor crucible that we don't see a lot of, but this is definitely a crucible for this young woman who's known many of them, isn't it?
Warwick Fairfax:
Yeah, so absolutely. We see Marius, who is a student revolutionary, but he's from a wealthy background as we see in one scene, where his grandfather tries to stop him from getting involved in the revolution. Marius sees Cosette, and he's instantly drawn to her, as she is to him. It is almost cruel when Marius, not quite understanding what's going on, he asked Eponine to find Cosette. Eponine tells Marius that she knows Cosette, they grew up together.
What's so sad is while Marius just considers Eponine a friend, Eponine dearly loves Marius. She considers herself his girlfriend, even though he doesn't quite see it the same way. When Eponine agrees to find Cosette, it is an act of both great tragedy and incredible love for Marius. She realizes that Marius is just besotted with Cosette, and she can see there's just this deep feelings, attraction to Cosette.
The last thing that she wants to do, humanly speaking, is to satisfy that desire, because if he is with Cosette, he won't be with her, which is the last thing she wants. She loves Marius so much. She's willing to do something for him that will cause her immense pain. That is an act of supreme love that's hard to describe. When Eponine hears Marius talk of his feelings toward Cosette, it is like a dagger in her heart. Yet she moves ahead to try to find a way to unite Marius with Cosette. It is remarkable act of love and selflessness.
Gary Schneeberger:
Fearing that Javert is near Valjean plans to flee to England with Cosette, Cosette, wanting to be near Marius, though, is hesitant about the idea, but when Valjean ignores her pleas, she leaves Marius a letter, which Eponine hides from him. During Lamarque's funeral procession, the revolt begins, and barricades her built across Paris.
Javert poses as an ally, that's the kind of character that Javert has, he poses as an ally to spy on the rebels, but the street urchin, Gavroche, exposes him as a policeman. The revolutionaries hold him hostage. Valjean, who's joined the resistance to keep Marius in sight, because of Marius's love for Cosette, asks to be given Javert.
Warrick, this is a, for me, the second most moving scene in the film. Valjean has his tormentor captive. The resistance is urging him to kill the man who betrayed them. That's not who Jean Valjean is, is it? What does he do with Javert in this situation?
Warwick Fairfax:
You're right, Gary. This is one of the most remarkable scenes in the movie. Here, Valjean asks the rebels, "Hey, I'll deal with Javert." He takes him away and he draws a knife. At this point, Javert is thinking, life is over. Valjean's going to kill me. What does Valjean do? He uses the knife to cut Javert's binding, and tells him to flee, and he doesn't want revenge. This blows Javert's mind. He does not understand. This is not in Javert's belief system.
Javert says to Valjean, "Once a thief, forever a thief." He says that if Valjean lets him go, he will have to answer to Javert. Valjean says, "Javert has always been wrong." He says, "He, Valjean, is no worth on any man," and that Javert is free. There are no bargains. He does not blame Javert. Javert has done his duty, nothing more. That's what Valjean says. Valjean even tells Javert his address. That's incredible.
Gary Schneeberger:
Right, so he can go find him later if he wants to.
Warwick Fairfax:
Yeah. He doubts that they paths will ever cross again, and he fires a shot to pretend to have killed Javert, and Javert flees. Valjean shows grace and mercy to Javert, which Javert would never have shown to Valjean. When Valjean frees Javert, it's like, "This makes no sense. He should not be doing this to me." As we'll find, it's sort of gnaws away his soul.
He cannot understand what Valjean has done to him or done for him. Yeah, I actually said, it's funny I said that. He did it for him, but as he will find out, he ended up doing it to him. We'll put a little teaser for what we'll talk about in a moment.
Gary Schneeberger:
That very well done, Warwick. You're very good at dropping those little breadcrumbs along the path. Stay tuned, folks, because there is some good stuff, even strong stuff coming later on. In the battle that follows, the outgunned evolutionaries are besieged. Many die. Marius is wounded. Even Javert is touched, this one hits me. Even Javert is touched by the carnage he witnesses, pinning his medal on the young boy Gavroche, who was killed.
Valjean carries Marius away to save his life, and Javert sees him and threatens to shoot him if he takes one more step, but he doesn't shoot him when Valjean doesn't listen to him, and does take one more step to get Marius out of there. What Valjean has done for him, what he has not done to him, shatters Javert, doesn't it? He has no room in his worldview for an act of mercy on that scale.
I think this makes him, Fantine's story very sad, very devastating, but these are things that happen sort of to her. I think this makes Javert perhaps the most miserable of The Miserables, as is translated in the US, because this is all coming from within. Is that a fair assessment?
Warwick Fairfax:
Yeah, it's a great point, Gary. Here, we have Javert holding a pistol at Valjean as he's carrying Marius. Marius was wounded. They were crawling through the sewers to try to escape. At first, Javert tells them, "One more step and you die," but then Javert drops his pistol, and he speaks of almost a spell that Valjean has put on him. Javert can't stand that Valjean could have killed him, and yet he gave him back his life.
Javert is in the debt of a thief. He cannot stand being in the debt of a thief, of a criminal. It just eats away at his soul. Javert says, "There is nothing that we share. It is either Valjean or Javert." Javert is standing on the edge of the bridge, high over the waters. It's a long, long way down. He wonders if sins can be forgiven, and whether crimes can be reprieved.
There is a glimmer of trembling at perhaps a slight breaking in Javert's heart of stone. His belief system is beginning to slightly crumble, and Javert says, "Does Valjean know that granting me my life today, this man Valjean, has killed me?" He stares into the void and says, "I'll escape from the world of Jean Valjean. There is nowhere I can go. There is no way to go on." Then Javert leaps to his death. Javert is indeed a miserable and a wretched person.
His was a belief system of rules, regulations, and harshness, with no possibility of grace and redemption. Valjean's supreme act of grace and mercy, by sparing Javert's life completely, undoes Javert. Because of Javert's belief system, somehow, Javert seems to allow the grace and forgiveness from Valjean to kill him. When I said before, the grace of mercy that was done to him rather than for him, it's actually true, because Javert cannot process grace, and forgiveness, and redemption.
Gary Schneeberger:
Yeah. Now, the stage is set for Cosette and Marius to get married. Though he's happy for Cosette, Valjean flees before the wedding, he tells Marius about his past, his crimes and his prison term, and he worries that Cosette will face repercussions for his sins, even though earlier, she asked him to tell her about his past, which he did not do. He takes refuge again at the convent.
When Marius learns, it was Valjean who saved him when he'd been shot, something Valjean in his humility never told him, Marius tells Cosette her father is a saint for his actions. The newly married couple track him down to the convent. Talk about that final scene between Valjean and Marius and Cosette work, and why it's so meaningful in the context of what we've seen in Les Miserables.
Warwick Fairfax:
This is such a beautiful scene. It's really a scene of redemption, of love and grace. We see Valjean dying, and as he's dying, he sees an image of Fantine singing to him. She sings to him, "You raise my child with love, you will be with God." Valjean says that Cosette is the best part of his life. Marius says that Valjean saved him, and says to Cosette, as you pointed out, that her father is a saint.
With Cosette with him, Valjean says that he can die in peace, because his life is now blessed. For Valjean to say that his life is blessed, I think probably at the beginning of the movie, he would've said his life is cursed.
Gary Schneeberger:
Right.
Warwick Fairfax:
It is a remarkable transformation in attitude. Valjean writes his last confession of his story of someone who turned from hating and learning to love when Cosette was in his care. Valjean gives this letter of confession, which basically describes everything that happened to him, and everything that he did, and the whole arc of his life, he gives this letter to Cosette to open after he died. At this point, Cosette really doesn't know who her adopted father truly was and what he'd been through.
Fantine, or at least her image, then sings to Valjean, "Come with me, where the chains will never bind you Lord in heaven, look down on him, Valjean, in mercy." Valjean's last words are, "Forgive me all my trespasses and take me to your glory," and then he dies. It is truly remarkable. The arc of Jean Valjean's life has completely changed. Previously, he was a man that was angry and bitter, who'd been imprisoned for so many years for doing so little, stealing a loaf of bread for his sister's sick child.
Now, he's become a man full of mercy and grace, who spent his life caring for Cosette, and in some sense, redeeming the life and legacy of Fantine. Valjean showed great mercy and forgiveness to his nemesis, Javert. Valjean's life was truly a life that became one of love, grace, and redemption. At the beginning of the movie, to think that his life could be a life of love, grace, and redemption, it would be inconceivable. His life is completely turned around.
He dies a man feeling blessed, who felt like he did some good in the world, who, he had some redemptive influence. Jean Valjean dies as a man completely at peace. It's just remarkable.
Gary Schneeberger:
There's one thing, as I hear you talk about it, that makes me, I think there's one big mistake that Valjean makes. We talk about it at Beyond the Crucible, your worst day doesn't define you. He believes, by withholding his last confession, by worrying of how Cosette will react to it, he believes right up until he passes away that what he's done before, his sins that he's so moved past and lived a life of significance, are going to cause problems, are going to haunt going forward.
Talk a little bit about just, we haven't talked about this before, but not on this show, we've talked about it many times on other shows, why it's so important to, when we've repented of our sins as they've caused our crucibles, and we've moved beyond them, and we've left them behind us, we shouldn't live in that space, that we should not let our worst day define us.
Warwick Fairfax:
It's an interesting point, Gary. He is really living a life of grace, and mercy, and forgiving others, but it's unclear how much he feels he is worthy of grace and forgiveness. He wants Cosette to know his story, but he's unwilling to tell Cosette the full story while he's alive. Maybe he thinks she would be shocked and would turn away from him, would be repulsed by what he's gone through, and being imprisoned and all.
He doesn't want her to think less of him. Maybe because he finds it challenging, perhaps, to forgive himself, he worries that Cosette may not forgive him, but yet, there must be a part of him that believes she will and she could. Otherwise, he never would've given that letter to Cosette to say, "Here's my confession, here's what happened." I guess maybe it's 50/50, maybe it's like, he's hoping that she'll forgive him, but just in case, he doesn't want to really see her face while he's alive.
Yeah, he's not fully there, believing. He's not fully forgiving himself what he's been through and his mistakes.
Gary Schneeberger:
Yeah, interesting. Again, watching this movie through the lens of Beyond the Crucible was just fascinating and really illuminating to me. We've arrived at the end of the movie. Valjean has shown after death, he has shown after death, singing a song with all the revolutionaries who were killed, as well as Fantine. There's a beautiful scene at the end, where they all kind of, their spirits really sing together, a song of triumph.
That leaves me to ask you one last question, Warwick, and we've talked about a lot of stuff here. This is a dense movie, and I don't mean dumb. This is a packed movie. This is a movie that's packed with lots of both high joy and very low, low, low devastation. Let me ask you this. How does Les Miserables offer hope and inspiration to move beyond our own crucibles? What would you say is the greatest point about the movie?
Warwick Fairfax:
Les Miserables is a story of grace, mercy, forgiveness, and redemption. Jean Valjean starts off as a man in prison for years, for a crime that was so small, stealing a loaf of bread for his sister's sick child. He starts off being so angry and bitter for what he sees as an injustice. In one sense, he could say he has every right to feel angry and bitter. He was just so mistreated. He faces a man in Javert who is, in a sense, who is all about rules and harshness, where mercy and redemption are impossible.
Through an act of supreme mercy and forgiveness by the Bishop of Dean, Valjean's life is fundamentally changed. The Bishop could have turned him in for stealing silver. He could have said, "Okay, I'm not going to turn him in, but be gone, and enough with you." Instead, he gave him all of the silver and then some, and it was such a gift, so that he really had this vision, this bishop, of Valjean becoming an honest man. That gift would lead Valjean to being a man of grace and mercy.
Grace and mercy was shown to him, and he indeed showed that to others. He looks after Fantine's daughter, Cosette, after Fantine dies. He shows mercy and forgiveness to Javert, a man who would never show any mercy and forgiveness to Valjean or anybody. Valjean's life has truly been redeemed. He has gone from living a life of anger and bitterness, to a life of significance, a life on purpose dedicated to serving others. This movie shows that we can indeed have a second chance.
It shows us that the way of anger and bitterness leads to destruction. It leads to misery. A life with rules and regulations without grace and mercy cannot stand, as is shown by the life of Javert. Eventually, his life comes falling down like a house of cards. His belief system, it cannot stand. No matter how crucibles and what we have done, what has been done to us, this movie shows, there is always the possibility of hope and redemption.
Gary Schneeberger:
With that, folks, you may have noticed the house lights have gone on. It's time to gather your popcorn buckets, and your empty soda containers, and throw them out as you leave. We are done for another week of our summer series, Big Screen, Big Crucibles, and next week, we will be back with another one. Scott, wake up. If we put you to sleep, wake up in there, Scott, because next week, will be talking about, and I need a drum roll right now.
Excellent. Next week, Warwick and I will be discussing the pursuit of happiness. Until then, folks, please know we understand how tough your crucibles are. We also understand that they can be overcome. They don't define you for the rest of your days. Until we get together to talk about our next film in this series, remember, we'll save you a seat.
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It's more than an assessment, it's a roadmap to a life of significance. Ready? Visit BeyondtheCrucible.com. Take the free assessment, and start charting your course to a life of significance today.
Big Screen, Big Crucibles III: Rudy
This week, in episode three of our summer series BIG SCREEN, BIG CRUCIBLES, we take a look at Rudy, the inspirational story of one young man’s refusal to give up on his dream of playing football for the University of Notre Dame.
With grit greater than gridiron skill, despite being underestimated since childhood, Rudy Ruettiger learns and applies the truth his best friend told him: “Having dreams is what makes life tolerable.”
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life.
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Transcript
Warwick Fairfax:
His dad said this, "Chasing a stupid dream... ", like Rudy's grandfather, "... causes heartache for you and everyone around you." He says, "Notre Dame is for rich kids, smart kids, great athletes. It's not for us."
Gary Schneeberger:
It's not for us. That can be a dream killer to hear, and the central character in Rudy hears it a lot. But this week in episode three of our summer series, Big Screen, Big Crucibles, we take a look at how the Rudy of the title refused to give up on his dream of playing football for the University of Notre Dame. With grit greater than Gridiron skill, he learns and applies this truth. His best friend told him, "Having dreams is what makes life tolerable."
We are back folks with another episode of our summer series, and let me set the stage for it for you again, it's always fun to set the stage actually, Warwick, because we had so much fun last year and a couple of years ago before that with our summer series on classic movies last year and on superhero movies and other heroic movies a few years back before that. And we talked really about the lessons they can teach us about overcoming our own crucibles. So we're doing it again this summer and this summer what we're focusing on and what we're calling it is Big Screen, Big Crucibles. So I would add big fun and big learning. There you go. All that stuff.
Warwick Fairfax:
Well said.
Gary Schneeberger:
Everything's big. Everything's big this time around. And that's true. For eight weeks this summer, we're taking a look at films that feature a wide variety of crucibles. Insightful lessons, they teach us about how not only to bounce back from those crucibles, but I'm casting a vision for charting a course to a life of significance. And our film this week is Rudy. It came out in 1993 and here's the synopsis. But before I read the synopsis, I want to tell you this particular synopsis, the ones I'm reading in every episode of this series this summer, is what in Hollywood, here's a little Hollywood term you can take with you. It's called a logline. It's a short, concise summary of a film that's usually created even before the film is finished.
So here's the logline, here's the summary for Rudy. "Rudy has always been told that he was too small to play college football, but he is determined to overcome the odds and to fulfill his dream of playing for Notre Dame." Sounds pretty exciting. It is very exciting actually. And, Warwick again, I'm going to ask you because it is exciting, before we dive into the crucibles that Rudy faces and how he overcomes them and what his actions can teach us about how to overcome our own crucibles, let me ask you again, why movies? This is, as I said, the third time that we've gone into the cinema, that we've gone into the theater for our summer series. What are you hoping our listeners and viewers will get from our conversations?
Warwick Fairfax:
So we both love movies and have enjoyed watching them, but we like to watch movies from a Beyond-the-Crucible perspective. So typically movies portray a protagonist who is facing significant challenges that they seek to overcome. And in the past we've covered movies, superheroes, sports heroes, historical heroes, and last year we actually covered movies from American Film Institute's top 100 movies. So this year we thought we'd look at movies that we thought were some of the best ones that really deal with people overcoming significant crucibles, and they found a way to bounce back to life of significance, a life on purpose dedicated to serving others. Each of these movies display a figure that is truly inspirational and have had a significant effect on other people. So these are great movies with great stories and great lessons.
Gary Schneeberger:
Yeah, and one of the other things I noticed about these movies finally after watching the third one, this is the third in the series as I said Rudy, is I noticed that the first three movies that we've talked about, Unbroken, Hidden Figures, and now Rudy, the first thing you see on the screen when the movie starts is either this film is based on a true story that's for Rudy and that's for Hidden Figures. Or in the case of Unbroken, it actually says this film is a true story. And it just struck me, Warwick, that of the eight movies we're covering and I went through, and seven of them are actually based on true stories. Do you think that says anything compelling about the inspiration to be found in bouncing back from crucibles that these seven of eight that we're talking about are based on true stories?
Warwick Fairfax:
If you look at the movies that we've done so far, if these are fictional stories, it will be hard to believe that it will be possible. So how could Louis Zamperini in Unbroken overcome torture in a Japanese prison of war camp and remain unbroken, so to speak? I mean, it's remarkable. Or how could three African-American women in the 1960s who had to overcome significant racial and gender discrimination, how could they possibly become valued members of the NASA space program? You'd say, "It's the 1960s, I'm not seeing it. I don't think that's really possible. I think it's just, it couldn't happen." But as we'll see with Rudy, Rudy's story would be just as hard to believe if it was fictional. How in the world could Rudy achieve what he achieved? Most people would, "It's a nice story, but in the real world it doesn't happen."
And so that's why truth is stranger than fiction. We can learn a lot because these stories are true. The heroes and these stories did achieve what they achieved and we can learn a lot. Sometimes we think, "I can never achieve that. I can never bounce back from my worst day. It's not possible." Well, maybe it is possible. Maybe you can bounce back because the folks we've covered so far and will cover, they all found a way to get beyond their darkest moments and not let them have those moments to find their worst day. So we can take a lot of inspirational and a lot of learning from these stories.
Gary Schneeberger:
And since Rudy is about in large part football, let's kick off and let's get going. Our first glimpses of the crucibles into the life of the title character. And his name's not Rudy, his first name's not Rudy, his first name's Daniel and his last name is Ruettiger. So he's called Rudy Ruettiger and we get our first glimpses of the crucibles he's facing in the opening scene of the film. He lives in Joliet, Illinois in the neighborhood that the establishing shots in the movie indicate is pretty, pretty clearly working class. And we see Rudy is barely in double digits and he and his brothers in neighborhood pals are playing football. And Rudy is frustrated because he says he is, this is a great quote. "I'm sick of playing all-time center." They only let him play center. He hikes the ball. That's all they allow him to do when he plays football.
"I'm sick of playing all-time center." He wants to carry the ball, he wants to catch the ball, he wants to tackle people who have the ball. He wants to really be involved in the game. But his brother, Frank tells him, "You can't play anything else. You are too small." So the first question to you, Warwick, is this scene is full of foreshadowing, isn't it? This is the first time, but not the last time by a long shot that Rudy is told he can't be a football player because of his stature, his physical stature. But he refuses to accept that even when he's a boy, doesn't he?
Warwick Fairfax:
Absolutely. We see each from the very beginning of the movie when Rudy is still a kid, he is playing football in the neighborhood with his brothers and friends and is constantly underestimated. It's almost like they reluctantly kind of let him play and he seems to be small and not athletic. And then as they leave the game, they kind of mock him, call him a spaz. You just basically, "You can't cut it, you're too small, not athletic." And that's just his life, continually being put down and underestimated. So after the game goes home to be with his mom and dad and brothers, and there's a conversation between Rudy's dad and one of his older brothers and his older brother is about to go to work in the steel mill where his dad works. And basically his dad says, "Look, working in the steel mill, it's a safe job. You get union protection."
Safe as in not exactly the work itself isn't safe, but you'll keep your job because it's union protection. And Rudy says that after high school, he's going to play football at Notre Dame. Now remember, we just saw him being too small, unathletic. Talk about the least likely to succeed, the least likely to play football. It's just like it's a preposterous, ridiculous statement. He is a kid after all, but still. So his older brother and everybody else, they just laugh. "Here goes Rudy again." And interestingly enough, they're watching Notre Dame play football on TV, which we'll find out is this beloved team of the family and certainly his dad. I think somebody says, "Hey, can we watch one of the other games?" And I think his dad says, "In this house, we only watch Notre Dame football, nothing else. You want to watch another game." It's basically, "Go somewhere else. Here, it's Notre Dame football. That's it."
Gary Schneeberger:
Yep, that's it. And the film then jumps forward a few years to Rudy in high school and he's playing for his high school's football team and he's been on the team all through the school, right? But the coach is telling the players that all, but a handful of them will not go on to continue playing football in college. Just a couple of players have a shot at playing college football. The rest of them don't. And Rudy falls into the rest of them. The coach tells them, "This is the last time you will ever put on a football uniform." Once again, Rudy and the other kids on the team who aren't quite good enough are being underestimated. And Rudy is understandably dejected by hearing this and he gets even more so. And one of the teachers further dissuades him from thinking he can be a student, even a student, not just a football player, but even a student at Notre Dame. So Warwick, what this teacher says to Rudy are the kind of words that can really crush dreams, aren't they?
Warwick Fairfax:
Absolutely. So here's Rudy. He is at Joliet Catholic High School and he practices harder football even though he is undersized, if you will, and not athletic. He really doesn't pay much attention in class. His grades aren't good. He's daydreaming and he hears that one day there's going to be a bus from the school to take students who are hoping to go to Notre Dame to Notre Dame. And there's a priest who's leading the whole bus tour and the kids get on the bus one at a time, and there's Rudy, he's about to get on the bus and the priest basically is in effect saying, "What are you doing here?" And he says, well, he knows, the priest knows that Rudy doesn't have the grades to get into Notre Dame. And in effect, he says that Rudy should accept the position the good Lord is placed on him. He says, "Not everyone is meant to go to college and this bus is for students who are serious about going to college." So it's almost like, "People like you, Rudy, don't go to college."
In the sense the message was in not so many words, "Rudy, you're a working class kid, you should understand your place. You don't have the grades. Go work in a steel mill like your dad and your older brothers." He doesn't say all that. But that is the subtext that Rudy is sure hearing from the priest. And the message is really from the priest is that you don't have the capacity or grace to do much anything beyond that. You should accept your place in life as if somehow this place in life for you working class kid with poor grades was somehow God ordained. I mean, it's the very opposite of a fellow traveler. It is just a soul-crushing discussion speech, if you will, that this priest gives Rudy. It's devastating. I don't know that the priest meant to be mean. Maybe in his own strange way, he thought he was trying to be kind by just telling him the truth, but it was just soul-crushing hearing, "This is not meant for people like you except your place in life." That's just absolutely soul-crushing for Rudy.
Gary Schneeberger:
And there are a few other people in the movie as the movie plays out who do the sort of same thing to Rudy. They tell him sort of the same kinds of things. And there is behind that this idea that they're saving him from something I think, or that they're keeping him from being disappointed. But what their words end up doing is disappointing him. In fact, after that teacher says what he says to him, Rudy does seem to allow his dreams to be crushed, to abandon his vision. He takes a job at the steel mill where his dad is the boss and working there is his best friend Pete.
Now Pete is the first bright light we see in Rudy's life. Pete is the only fellow traveler that Rudy has in his life at this point. So let me ask you this, Warwick. There's an important exchange between Rudy and Pete over lunch in which Pete encourages Rudy to keep pursuing his dream, unlike what everybody else is telling him, Pete says, "Keep going after it." What does he say that's so important that all of us can keep in mind as we're encouraging others to not abandon their dreams and their vision and their goals for a life of significance?
Warwick Fairfax:
So at this point in Rudy's life, he doesn't have too many supporters, too many fellow travelers. In fact, I think Pete's about the only one again at this point in his life. And Rudy is in desperate need of people, anybody that will believe in him. Everybody seems to think that Rudy and his dreams are impossible. It's as if the whole world is saying, "Rudy, give it up. Give it up, buddy. Quit. Save yourself some pain. Just stop hitting your head against the wall. You'll just get hurt. You just stop it. Go be in the mill, be in the steel mill just like your dad and older brothers. Just give it up." But Pete's different on Rudy's 22nd birthday. They're in the break room at the steel mill where Pete works and obviously Rudy works and Pete gives Rudy a Notre Dame jacket. It's the best gift you could possibly give. Rudy, who's just a massive Notre Dame fan, wants to play football for Notre Dame. And Rudy is moved and loves it.
And Pete says Rudy was born to wear that jacket. And Rudy says that Pete is the only one that takes him seriously. And Pete says this about Pete's dad who said, "Having dreams is what makes life tolerable." Basically, there's beauty in having dreams. He encourages Rudy to have dreams for everybody else is just wants to kill the dreams and stamp them out. So when everybody's counting you out and doesn't believe in your dreams or capability, maybe you don't really believe in your own dreams or capability, it's tough to find the strength to get beyond others' limiting expectations, not to mention your own, but having a friend that believes in us and believes in what we can accomplish is like an oasis in the desert. It helps us keep going and take one more step.
And as we've often said at Beyond the Crucible, the power to get beyond your worst day to get out of the pit, it often begins with just one step forward. While having somebody like a Pete in your life can help you get the strength to say, "Okay, what's one next step I can take towards what everybody's saying is an absolutely impossible senseless vision that cannot happen?" So Pete does Rudy a great service and just is a splendid model of a fellow traveler.
Gary Schneeberger:
And there's even the scene, and we haven't talked about it in advance here, it just popped in my head. Before when Rudy's still a boy and so is Pete. Rudy has this thing that he does where he sort of changes his voice into an accent and he gives a speech like Knute Rockne, the coach of Notre Dame, the famous coach from the film, Knute Rockne, All-American from 1940, and he's given the speech, "And we're going to go inside, we're going to go outside, we're going to do this and we're going to do that." And everybody else sort of tolerates it when Rudy breaks into it. But there's a scene in Rudy's bedroom where he starts reciting that speech from memory and the camera goes tight on Pete, who's looking at him with amazement, who's looking at him with wonder, who's looking at him with respect. I mean, he's impressed that his buddy has memorized this inspirational speech. And I think that just is where the fertile ground from which their friendship and their fellow traveler-ness for each other is built. Right?
Warwick Fairfax:
Absolutely. Well said. I mean, Pete is such a good and loyal friend throughout their life at this point. He is just been so encouraging and really the only one that we see at this point. Everybody else is killing his dreams, trying to help him in some ways not be disappointed. But Pete's the only one that seems to encourage and just seems to see something within Rudy that's admirable.
Gary Schneeberger:
Yeah, and that's what happens next in the film so heartbreaking. After this positive moment where Rudy begins to believe again to dream again, tragedy strikes, Pete is killed in an accident at the mill. Devastated, Rudy decides to leave Joliet and go to South Bend, Indiana, home to Notre Dame to get into school there and yes, to get onto the football team. So tragedy strikes and Rudy is so moved by it, so devastated by it that he decides, "No, I'm not going to listen to all these people. I'm going to go for my dream." Warwick, his dad tries to talk him out of it again, but Rudy's mind is made up. He's got his vision and he's going to pursue it. What's his attitude at this turning point in the film? What does he do to begin turning that vision that he's off the charts passionate about into reality?
Warwick Fairfax:
Rudy has this attitude, he's just very resolute and he keeps getting kind of push back. The first pushback we see is even as he's leaving the funeral, Rudy's girlfriend Sherry is trying to console him, and Rudy says he's going to go to South Bend, which is where Notre Dame is. And he says that if he doesn't go now, he will never be any good for her or anybody. Now it's clear at this point in the movie, Sherry sees herself as his future wife. They're looking at a house that they might buy. They might put a down payment. She's got it mapped out. She respects and likes Rudy. And when Rudy says that he's going to go to South Bend and try to go to Notre Dame, Sherry says, "If you have to go, you'll go alone." And he says he knows and is sorry. Basically what that scene shows is their relationship is coming to an end.
She has this vision of him, much like his dad and older brothers do, of working in the mill, getting a good union paying job and staying in the station of life that he was born into. She doesn't get it. She's not trying to be mean, but his dad doesn't get it. His girlfriend Sherry doesn't get it. The next scene is where we see Rudy about to take a bus to take him to South Bend and his dad turns up, Rudy's surprised. And his dad in his own way is trying to help Rudy. It doesn't come across that way to Rudy, but I think that's his motive. So his dad starts telling the story of Rudy's grandfather and he says that Rudy's grandfather saved all his life to bring his family to this country and that his grandfather had a good job in the stockyard in Chicago and a nice house. Well, someone gave him this idea that he should buy land and get dairy cows.
Well, Rudy's grandfather seems to think this is a good idea and he buys the land with the dairy cows. Well, the cows all died. It's the great depression. His grandfather couldn't sell the land or find any work, so his grandfather takes off and never came back. So Rudy's dad and uncles, they had to live with friends and relatives. His dad said this, "Chasing a stupid dream... ", like Rudy's grandfather, "... causes heartache for you and everyone around you." He says, "Notre Dame is for rich kids, smart kids, great athletes. It's not for us." The message that Rudy's, basically the message that Rudy's father is telling Rudy is, "Look, people like us don't belong at Notre Dame. We're working class. That's who we are. We work in steel mills. That's what you should do."
And I think in his heart, his Rudy's dad is trying to help him, but it certainly doesn't come across that way. So while Rudy's dad may mean well, this is a soul-crushing story to share with Rudy at this point in his life. Basically if this was a parable, the moral of the parable is you try to strike out on your own and achieve your dreams, it'd cause devastation for yourself and all those who love you, including your family. So the moral of the story is be smart, go to the steel mill. Don't go to Notre Dame and hurt yourself and everybody around you. That's the moral of the story. And so despite this, Rudy is saddened by this story, but just like in his interaction with his girlfriend Sherry, Rudy is resolute. He gets on that bus and he is not giving up on his dream despite this just heartbreaking story that Rudy's dad shares.
Gary Schneeberger:
And even at this juncture of the film, still pretty early in the film, Rudy hasn't begun his journey really walking it out. We say a lot at Beyond the Crucible that we should not let our worst day define us. And it seems like Rudy's dad, what it all sort of rolls up into is Rudy's dad has let his worst moments define him. I don't think he wanted to have that. I have no idea. But he's done that and Rudy's not allowing that to happen. Is that a fair assessment between the two of them, dad and son, that dad has let the worst that has happened to him define him and Rudy is struggling, but he's not going to let that define him?
Warwick Fairfax:
It's a very good point, Gary. Really, Rudy's dad learns the wrong lesson from his father. Basically, the lesson wasn't, don't go for your dreams. It may be pick a good vision, pick a smart play. If you're working in the stockyards, what does he know about land and dairy cows? And it's the Depression, that probably wasn't the smartest idea in the world. So yes, could be-
Gary Schneeberger:
It wasn't a baby step, it wasn't a small step as we say, right?
Warwick Fairfax:
No, pick your dreams carefully. As you could argue, maybe Rudy didn't, but my gosh, he's putting not just his life on the line of his whole family. I mean he is at a different time of life. It's a different situation. So the moral of the story is that never go for your dreams. Maybe it's sometimes they don't work out. Maybe it's when they don't work out, you don't leave your family. You don't do that. So basically Rudy's dad learns the wrong lessons and says, "Okay, my lot on life is to work in the steel mill and to do anything else other than that is folly." He learns the wrong lessons and he doesn't learn the lessons of his crucible and his dad's crucible.
Gary Schneeberger:
And there's another scene, very small scene where he's even afraid to kind of, Rudy encourages him to actually go to a game because he's such a Notre Dame fan to go to a game and his dad actually says this, "The view from my television set and my couch is perfect for me." There's a lot of fear there with his dad and he's passing that fear along to Rudy, but Rudy's not letting that keep him down. As you said, he goes to South Bend and when he gets to South Bend with all of his savings that he's had, he's saved up for all these years. He has in his pocket. He takes in pretty rapid succession, three small steps as we call them here to get moving to his dream of playing for Notre Dame. He shows up first at the campus in the middle of the night.
There's nobody there, but the night Watchman, the guard outside the gate, he talks to the guard. He says he wants to talk to someone about enrolling in classes there. The guard doesn't really know what to do. It's a Catholic institution. So he directs him to a priest who after hearing Rudy's story of not having great grades agrees to help him get into Holy Cross, a South Bend Junior College, at least for a semester. Where he promises to work hard to get his grades up so he can eventually get to Notre Dame. In that character that priest, Warwick, Father Cavanaugh, Rudy finds his first fellow traveler in South Bend. Doesn't he?
Warwick Fairfax:
He does. Father Cavanaugh, he gives Rudy a lifeline, he gives him a ray of hope. He doesn't sugarcoat it, he doesn't make it easy. He doesn't say, "Oh kid, it'll all happen." He really tells him the truth. He gives him hope, but a realistic truth. And he says, "Okay, there's not a guarantee." But now Rudy has a potential path and equally importantly, what Father Cavanaugh has done is given him hope. There is a next step. Go to Holy Cross Junior College and study hard and maybe, just maybe I can get Notre Dame. What Father Cavanaugh does is he gives him a lifeline and he tells him this is the next step towards maybe achieving your dream. It's incredible that Father Cavanaugh, who doesn't know Rudy from Adam would do that while it's still dark. I mean, its amazing that he would do that. He shows such compassion. It's truly remarkable.
Gary Schneeberger:
And it's also interesting that of all the advice Rudy's gotten in the film so far, everybody who's given him advice like his dad, like the teacher on the bus, has come from a place of what they think is truth, right? But their truth always knocks Rudy back off of his dream. And this truth, to your point, gives him the hope. It doesn't make an easy path to his dream, right? But it does give him hope that his dream's achievable. That's really critical for anybody going through a crucible, isn't it? Speak truth, but speak it with hope on the end of it so that people continue to move forward.
Warwick Fairfax:
It's such a good point, Gary. I think what so many of the people in the movie have been sharing, especially Rudy's dad, maybe his girlfriend, Sherry, maybe his older brothers especially probably Frank, the message is really the truth that they're sharing from their perspective is dreams are impossible. Give it up, don't pursue their dreams. I would say from my perspective and our perspective of Beyond the Crucible, that is not truth. That is falsehood. That is wrong, to say that dreams by definition are impossible. It doesn't mean dreams are easy, but to say that by definition dreams are impossible and accept you a lot in life, that is not truth. That is untruth. It's very hurtful, but it's certainly not truth.
Gary Schneeberger:
For sure. The next small step that Rudy takes is to strike up a friendship with Dennis McGowan. Okay, Dennis McGowan is a teacher's aide at Holy Cross, his nickname, I don't understand why the film doesn't really tell us why, I don't think. His nickname is D-Bob, that's his friend, D-Bob. He's a shy student who's no good at all with girls, and he offers to tutor Rudy if Rudy agrees to tutor him in how to speak to girls, how to meet girls, that kind of stuff. Nothing untoward here. He's a shy young man that doesn't know how to talk to girls. So he wants Rudy to help him do that. The arrangement becomes a real friendship though, that helps both of them on their journeys, their separate journeys to what their visions are. So how is Rudy's friendship work with D-Bob instrumental to him overcoming the obstacles he faces trying to do well enough at Holy Cross to get a shot at going to Notre Dame.
Warwick Fairfax:
So as you say, Rudy meets D-Bob at Holy Cross, but Rudy is a very different person here in junior college than he was in high school. Rudy is studying like crazy. He's desperate to get good grades. He makes copious notes. People are saying, "Hey, this is all in the handouts, the notes. Why are you writing so many notes?" Well, Rudy is a man on a mission. He wants to get into Notre Dame and play football for Notre Dame. Well, the first step is you've got to get into Notre Dame to be able to play football. So he is really studying. And so yeah, then make this deal. And Rudy is willing to help this young guy. And Rudy, maybe he sees something in him, he respects him, but the deal is not an easy deal because D-Bob says, "Okay, I need you to help me to be able to talk to girls." Because He is tongue-tied.
Rudy is saying, in effect, "What do I know? I mean, I'm not the greatest expert in this." But Rudy is saying, "Okay, hang on, I can do this." It's like if he's thinking, "I can play football at Notre Dame", he's probably thinking, "I can find a way to teach this guy about something I don't know a whole lot about myself, but if that's what it's going to take, I'll figure it out." Certainly Rudy is not nearly as tongue-tied as D-Bob is. And so there are funny scenes in which Rudy will say to some girl in college, "Hey, D-Bob would like to talk to you. So tell this girl about yourself." And he just says nothing. He's like a sphinx.
Gary Schneeberger:
Frozen. Frozen.
Warwick Fairfax:
And so then basically almost like ventriloquist Rudy has to try and speak for him, put words in his mouth. I mean, D-Bob is just hopeless. I mean, he just cannot get a word out at all. But Rudy valiantly tries. And so in return, D-Bob does indeed coach him and helps him with his grades and importantly helps him get diagnosed. And Rudy finds out that he has dyslexia. So that's helpful. Certainly back then, I'm sure it wasn't that common to know that you had dyslexia. And so by being diagnosed, they can give you tools to help you manage that. So over time we find that D-Bob becomes another fellow traveler that comes to believe in Rudy and his dream and becomes a huge supporter and believe in Rudy. Rudy is somebody that with the right kind of people, he inspires belief in him and his dream, especially him and his character and his persistence. So he gathers fellow travelers as the movie and his life goes on.
Gary Schneeberger:
And he's not done yet because the third one to come along, he meets Fortune, a man named Fortune, who's the head groundskeeper at Notre Dame football stadium. The older man is wary of him at first. "Why is this kid hanging around?" But he eventually agrees to let him help with the upkeep of the field. And here's an interesting fact about the field that they show on the screen, Warwick, is that's the first time that the University of Notre Dame, that's actually this football stadium at the University of Notre Dame, and it's the first time since Knute Rockne All-American in 1940, that the university led a movie film there. Much like Father Cavanaugh didn't really have any reason to believe Rudy or trust Rudy or want to help Rudy. These guys didn't, at the university, the powers to be at the university didn't have any reason to necessarily believe Rudy was going to turn out to be the movie it did. And sure enough, it did and it worked out well for the university and for the filmmakers. So Warwick, what does Rudy gain in his relationship with Fortune?
Warwick Fairfax:
Fortune is another person that over time sees something special in Rudy. I mean, Rudy is basically saying to Fortune, "Look, I want to play for Notre Dame." And obviously you look at this young guy and he's small in stature, not athletic, not too much weight on him. You look at him and says, "Yeah, no, this is not happening." I mean, it's just a ridiculous notion. Rudy says he's willing to work for free, he just wants to be around the stadium, just get a little bit closer. And so Fortune, I think, is moved by him and impressed. So he actually pays him minimum wage. He pays him more than what Rudy was asking for, which is, "pay me nothing." And it's clear that Rudy has nowhere to stay. Rudy unlocks a window so we can sneak in at night and have somewhere to sleep. And Fortune sees this, sees him unlocking the window. And so what Fortune does is he leaves a key in a blanket on a cot for Rudy to find.
Now when Rudy says, "Hey, Fortune, thanks so much." Fortune denies it. "I don't know what you're talking about." Now, maybe it's like, "I don't want to admit that I'm doing something that probably breaks university rules and guidelines and hey, it wasn't me. I don't know what you're talking about." So he kind of secretly does it. So yeah, as we'll see, over time, Rudy gains a great fellow traveler and a great supporter in Fortune who comes to believe in Rudy and his dream, which is remarkable because in these opening scenes with Fortune, you'd say Fortune is a realist. He doesn't believe that this young guy is going to make the football team. I'm not even sure whether he believes he's going to be able to get into Notre Dame. But over time, Rudy, through his persistence and attitude, he makes Fortune a believer.
Gary Schneeberger:
And he also makes Father Cavanaugh a believer in the sense that he gets the second semester at Holy Cross, he gets even more time at Holy Cross. In fact, while he's at Holy Cross, his grades are up enough that he applies to Notre Dame three times over his two years at Holy Cross, and all three times he's rejected. After the final rejection, he has a meaningful conversation with Father Cavanaugh. Again, this is where we see Rudy's spirits drop again. They don't drop often, but every now and then they do and they drop after his third rejection from Notre Dame. Talk about that interaction he has with Father Cavanaugh.
Warwick Fairfax:
So you're right, this is a low ebb for Rudy. It's a third rejection. He feels like time is running out. So he happens to be in chapel and along comes Father Cavanaugh, he sees him and he comes over and speaks to Rudy. He could have just blown right past saying, "Yep, there's Rudy. He's looking a bit dejected, he's praying. I tried to help the kid, but look, I'm busy. Got other stuff to do", but he doesn't. He goes up to Rudy and talks to him, and Rudy says that if he doesn't get into Notre Dame in the next semester, it's over. It's done. His time will have run out. And so Father Cavanaugh clearly admires Rudy for chasing down his dream. And Rudy says, if he doesn't get in, it doesn't mean anything, it's all meaningless. Well, father Cavanaugh speaks truth again, and he pushes back a bit and says he thinks Rudy will discover that it will. In other words, even if he doesn't get in, there's still meaning in the journey in effect.
And so Rudy says, "Well, maybe I haven't prayed enough." And Father Cavanaugh says, "Well, that's not the problem. Praying we do in our time, the answers come in God's time." Very profound. Those of us who pray will often be thinking, "Gosh, now will be a good time." And God maybe, "Well, not yet." "Seriously? Not yet." But that's often the answer we get in effect. So Rudy asks if he's done everything he can and if Father Cavanaugh can help him. Well, father Cavanaugh has done what he can. Father Cavanaugh can't magically ensure that Rudy is going to be admitted to Notre Dame and play football. So again, what Father Cavanaugh does is tell him the truth. Father Cavanaugh says that there are two incontrovertible facts. "There is a God, and I'm not him." It's so well said. So having fellow travelers means having people who won't just encourage us, but they tell us the truth, not the truth. Like, "Oh, dreams aren't possible." That's not truth. That's falsehood from our perspective, but not sugarcoating how easy it's going to be or that there won't be roadblocks.
Gary Schneeberger:
Right? Well, guess what? Father Cavanaugh's words, "We pray on our time. The answers come in God's time." God's time comes in the next beat of the film, the fourth application that Rudy sends to Notre Dame is successful. He goes home to show his family his acceptance letter and his dad shares the news. It's a very sweet moment. His dad grabs the microphone and the steel mill and shares the news over the microphone that his son's going to Notre Dame. And now a Notre Dame student, Rudy can try out for the team as a walk-on because Notre Dame's coach Ara Parseghian does indeed allow, only coach in the history of the university who allows walk-ons to come in and try to make the team. So Rudy's got his immediate path set before him. He shows up to try out with several other hopefuls.
An assistant coach whose last name is Warren, that's all we know about him. Warren warns the walk-ons that 35 scholarship players will not even make the dress list, guys who get to put on uniforms, of players who take the field during games. But Rudy is undeterred even after it's explained to the hopefuls that if they make the team, they only make the practice team. They're to be tackled and blocked by actual players on the team. He's not dissuaded, he doesn't care. He keeps pushing forward. Rudy is selected to be on the practice squad. Warwick, it's a thankless role being on the practice squad but Rudy attacks it with passion. You might even say passion that is off the charts. What do we learn about Rudy during this time on the practice squad and in the scenes that depict his time on the practice squad?
Warwick Fairfax:
So here we are now, Rudy's football practice at Notre Dame and the coaches there, they are not sugarcoating what's going on. They are speaking truth. It's like truth as brutal as you can possibly share-
Gary Schneeberger:
With a capital T for sure.
Warwick Fairfax:
Oh my gosh. They say, "Okay, there's like 95 players here. Only 60 players can dress for home games, which means that 35 scholarship players, 35 scholarship players will watch from the stands." Now of the walk-ons, those who don't have scholarships, "there are like 15 dreamers here", they say, "maybe we'll keep one or two." And he says, "Over these next five days, we'll beat you up pretty badly. We'll just knock everything out of you. We'll be running opposition plays week in, week out, and your greatest value is that we are here if you get hurt." So this is all said to the walk-ons. I'm not exactly inspiring confidence in Rudy. It's like, "We're going to beat everything out of you and your chances of making it on the team are like, I don't know, about as high as climbing Mount Everest or something without any oxygen tanks."
Gary Schneeberger:
It's not the kind of speech that young Rudy would've been saying to his friends like he was saying the Knute Rockne speech, for sure.
Warwick Fairfax:
No, it is not that. So this is both intimidating and not really very helpful. But despite this, Rudy gives it his all. One assistant coach says to the other assistant coach, "We need to ditch Rudy. I mean, look, he's small, not athletic." But the other one says, "Rudy is giving more effort than anyone else on the team." There are some very talented athletes, big guys, but it's just amazing. And one of the assistant coaches says that Rudy's made the team. It doesn't mean he's going to dress and play, but at least he's on the practice squad. At least he gets to turn up for practices rather than just go home.
So it's not like he's achieved his dream, but it's a key step. He's not only has he got into Notre Dame, he is made the practice squad of the Notre Dame football team. By every area of logic, okay, maybe he deserves to get to Notre Dame because he studied so hard, but there's no way this kid deserves to be on the practice squad, at least in terms of his physicality, size. But one of the assistant coaches, he sees something in him and he wants to give him a shot. So a lot of coaches would not do that. I wouldn't say it makes that much sense, but there's one coach, he sees something special in Rudy and Rudy's amazed. He hugs the coach, he says, "Thank you." Rudy can't believe it, that he's been given a shot.
Gary Schneeberger:
And we get to see something special in Rudy as we watch the scenes of him on the practice squad, right? He is getting pummeled play after play after play. There's one big offensive lineman, nearly, and I'm not making this up nearly twice the size of Rudy, who just keeps plowing him into the ground because he's playing defense. And at one point the guy misses his block on purpose because he just doesn't want to hurt Rudy. He's worried he's going to really hurt him badly.
And after the play, he tells Rudy to cool it or he's going to end up getting himself killed. And Rudy gets mad at that and Rudy says, "If I cool it, I won't be helping you guys win." That's what the coaches get the chance to see now is the heart and the passion that comes even with limited physical ability. And there's another confrontation between Rudy and his starting halfback on the team. And that player, the starting halfback is like, "Whoa, slow down kid. You're playing like it's the championship. And this is just practice." He like, he doesn't want anybody to get hurt and he wants everybody to sort of take it at half speed. So Coach Parseghian actually chastises the halfback, demotes him and tells Rudy, "I wish I could put your heart into some of my players' bodies." That's what's happening. Rudy's heart is showing through. So Parseghian does agree to let Rudy dress for a real game after seeing that heart at play. Rudy wants to do it. Rudy says, "For everybody who told me playing Notre Dame football would be impossible." Talk about this interaction work between Rudy and Coach Parseghian.
Warwick Fairfax:
So Rudy shows a lot of courage. The only reason that Rudy is allowed to go to the next step, okay, he's on the practice squad. The next step is dressing for the team for a game is because he goes to the head coach Parseghian and ask if he can be on the team. Rudy is honest, he's does not sugarcoat his request. He says that God made certain people to be football players and he, Rudy is not one of them. As you said, the head coach says that he wishes God put Rudy's heart in some of his players bodies. Rudy says that he would love to give his father a gift if he can play in one game. This would also be for everyone who said that being a Notre Dame football player is impossible, for my brothers, the kids at my high school and the guys I work with at the steel mill.
And the coach says, okay, which is incredible and that Rudy deserves it and he'll dress for one game. Now, this is amazing that Coach Parseghian would actually give Rudy a shot by all rights, logically, he doesn't deserve a shot. There's only a limited amount of people that can dress. You got to win every game. It doesn't make a whole lot of sense logically for the team, but yet the head coach doesn't do what's logical. He does what he thinks is right. He listens to his heart. And so the important lesson here is Rudy is not passive. He doesn't just sit back and says, "Okay, I'm going to wait for my dream to come true. And if it doesn't, oh well." He's not passive. He actively fights for it. He actively goes to see the head coach, Coach Parseghian and says, "Coach, just let me play one game."
And he makes it clear that no, he doesn't have the athletic ability of other plays. He is not the same size, "But let me play one game for my dad, for my family, for my brothers, for the guys at the steel mill." And it's just amazing. If Rudy hadn't spoken to Coach Parseghian, he would not have had any hope of playing in a game and he would not have played in a game. It was only his courage of doing what most people would say, "Give it up kid. There's no way the head coach is going to give you a shot. It won't work. You've got zero chance of succeeding." But Rudy is thinking to himself, "Maybe it's a hopeless cause, but I'm going to give it my all. I'm going to go to the coach and see what he says." There's a huge lesson for all of us in how Rudy showed up that day and the fact that he even went to the head coach.
Gary Schneeberger:
Right? And because this podcast is called Beyond the Crucible, guess what, we're not done with crucibles yet for Rudy. Rudy Ruettiger has at least one more crucible in him, or the world has at least one more crucible for him because Parseghian, the coach resigns before the end of the year. The guy who said, "You're going to get into the game", resigns. The new coach is Dan Devine, who came from the NFL, who comes from the NFL, he's actually the coach of the Green Bay Packers. And he doesn't seem to see the same heart in Rudy that Coach Parseghian saw. So each week, Rudy checks the locker room list of players who are dressing to play in the game on Saturday, and he's turned down every single week he goes and looks, right up until the end of the season. Rudy's a senior and this is his final year. So as his name's being crossed off, he sees his dream slipping away.
What happens next to Rudy is something that can happen to any of us really, when we keep encountering disappointment and pursuit of our vision, he gives up, he quits the team, he walks away. Why is that the wrong choice? Not just for Rudy, but for any of us who face disappointment in the face of a crucible?
Warwick Fairfax:
It's at this point, the two fellow travelers really encourage him. Now, there's one person we haven't covered so far. He doesn't have a prominent role in the movie, but one of the other players that are on the squad, if you will, he's a legacy player, which means that his family had gone to Notre Dame. And in the US if you have family that go to a college and let's say they donate, that probably helps. It helps you get in as core being a legacy. And he's clearly from a wealthy family and he really doesn't have a very good attitude. He really didn't want to go to Notre Dame, but his dad makes it clear, "If you don't go there, I'm not paying for college." He would've had a better shot playing for a lesser college in terms of football prowess than Notre Dame. So it was like he feels like forced to go there and he just has a bad attitude.
But this guy, Jim, he says to Rudy, he doesn't want Rudy to quit. In fact, he's angry at him for quitting because he said one of the reasons that Jim didn't quit is because of Rudy. So here's Rudy that inspires his kid from the other side of the tracks. In other words, the wealthy side, they have very little in common, but Jim just admires Rudy's attitude. And so Rudy is having a big impact on lots of people. And one of these people is Jim. So Rudy then talks to Fortune, the groundskeeper at Notre Dame Stadium, and he says that he wanted to dress and run out of the tunnel onto the field for his dad. And Fortune says, "There are more important things than dressing for the team."
And Fortune speaks really hard truth to Rudy. He says, "You're five foot nothing, a hundred pounds nothing. You have barely a speck of athletic ability. And you hung in there with the best college football players in the land for two years, and you're going to walk out of here with a degree from the University of Notre Dame. In this life, you don't have to prove nothing to nobody but yourself. And after what you've gone through, if you haven't done that by now, it ain't never going to happen. Now go on back." So basically Fortune is encouraging him to say, "Look, you've made it to the University of Notre Dame." That is something after all." Given Rudy's working class background, which I'm sure Fortune is familiar with by now, this is not normal to go to college. It's like I'm unprecedented. "So be thankful for what you've achieved. Don't you realize you've proved a lot to yourself about what you can achieve? I mean, surely you've learned something by now?"
But then Fortune has this really heartbreaking story about his own life, about Fortune's life. And he said that he, Fortune, rode the bench for two years, in other words, didn't play. And he thought that he was not being played because of the color of his skin, Fortune being African American. Now, we don't know if that's true or not, but what Fortune says is that he quit. "And not a week goes by that I don't regret it." So Fortune quits. So rather than keeping trying and seeing if they would pick him, because Fortune is a big guy, clearly is a big athletic guy, you would've thought Fortune should have had a good shot of making the team. But rather than seeing what would happen, he quit until he took the decision out of the coach's hands.
Fortune says, Rudy will regret it if Rudy doesn't go to practice and try. So Rudy hears Fortune and he goes to practice. So the clear role of the story is even we feel like life is unfair and we have no shot. Our name is not on the list. We need to give it out all to the very end. Even if we don't make the team, even if we don't, in this case dress and run for the tunnel and play in a play in the game, we need to give our all to the end. A, we don't know what's going to happen. And B, the point is not so much whether we on the team, but to give it our all right to the very end. That's really the lesson that Fortune is trying to teach Rudy.
Gary Schneeberger:
And Rudy listens. Rudy listens to everybody who says, "Go back." He does indeed go back to practice. And when he comes back, the entire field of players applauds him as he runs back onto the field to go be part of the practice squad again. And then follows after that, one of the most moving scenes in the entire movie, which is full of a lot of moving scenes. Let's watch that right now.
Dan Devine:
Yeah. Oh, hi Roland. Come in.
Roland:
I want Rudy to dress in my place, Coach. He deserves it.
Dan Devine:
Don't be ridiculous. Georgia Tech is one of the top offensive teams in the country. You're an All-American and our captain act like it.
Roland:
I believe I am.
Speaker 5:
Me too, coach. I want Rudy to dress in my place.
Speaker 6:
Coach, this is for Rudy.
Speaker 7:
For Rudy, Coach.
Gary Schneeberger:
Warwick, why is that scene so powerful in the story of Rudy, all he's been through to get where he is at and where he finds himself at that moment, what's the power of that scene?
Warwick Fairfax:
This is a profound scene because it shows in a sense that the whole Notre Dame football team, they're Rudy's team of fellow travelers, they're willing to put their whole careers on the line so Rudy gets a shot at playing one game for Notre Dame. It is a remarkable scene that I think the head coach has never seen before in his whole career and probably never will again. He just cannot believe what he's seeing with his eyes. He's just dumbstruck.
Gary Schneeberger:
And cue the euphoria because Rudy does get to play in the Fighting Irish's final game. And he doesn't just get to suit up, he gets to take the field and he actually gets to make a play. His dream is fully realized. He has moved from, in our words, trial to triumph. Warwick, these final scenes that I'm talking about from this game show, not just Rudy on the field, but his fellow travelers and his family in the stands and on the field, his fellow travelers from the team. His dream is fully realized. What happens when all he's ever wanted finally miraculously happens? How does that play out?
Warwick Fairfax:
So when Rudy hears that he's actually going to dress for this final game, he calls home. His brother, Frank picks up the phone, which is probably the last person he wants to really pass this message. The person who believes in him less than anyone on the planet, basically, unfortunately. He says, "Frank, please tell dad I'm going to dress for the game." Because he's said to his dad, "Look, if I dress for the game, I want you there. I want you there at the stadium." A place that his dad has never been, his dad has never been to his beloved Notre Dame football stadium. And so the message does indeed get passed on. So we see Rudy's dad, his mom, his brothers, they're all there.
And there's a scene where Rudy is standing inside the stadium and he looks around at the stadium, the field on the players, and Rudy's dad says, "This is the most beautiful site these eyes have ever seen." This is a team he's only ever watched on TV, at least when we're seeing them grow up. When we're seeing Rudy grow up in the sixties, they're watching it on a black and white TV. So probably for the majority of Rudy's dad's life, he watched the team on a small black and white TV. He's getting to see his beloved Notre Dame football team. This is a remarkable honor.
The captain then asked Rudy to lead the team out on the field. The smallest guy, the least athletic on the team is running the team out. That says everything. That Rudy is the heart and soul of this team. And it's a wonderful scene when Fortune and Rudy's family see this, they see Rudy at the head of the team coming out. And it's not lost on them what this means, this is not done on accident. I mean, this is incredible.
So it's almost the end of the game. And Rudy has not been in any of the plays. Rudy is desperate to have one play where he is in the game. And the assistant coach and the captain of the team keep asking the head coach if Rudy can play. And the head coach says, "No. Okay, he's dressing for the team, but come on, they're up against Georgia Tech. It's a tough team. Every play counts." There's no way the head coach is going to allow him on. And so then the whole team, the assistant coach, and then everyone in the stands shouts, Rudy's name, "Rudy, Rudy, Rudy." It's just incredible. And so then what happens is another incredible moment, the offense takes matters into their own hands. They completely ignore the play the coach wants them to play, which in football, you don't ignore instructions from the head coach.
Gary Schneeberger:
And his instructions are like, you see in football all the time, folks, "Take a knee, the game's won." They're leading by enough points that, "Take the knee, the game's over, let's go celebrate." But to your point, they don't do that. The team decides not to do that.
Warwick Fairfax:
So the offense knows that they have to score so that Rudy on defense can come in the game. Unless the defense are playing, Rudy doesn't play.
Gary Schneeberger:
Right.
Warwick Fairfax:
So they make one play is an incredible play. It's a passing play, and they score a touchdown. The head coach with the game won is thinking, "What the heck is going on? I asked them to take a knee, they're running a play. I mean, that's ridiculous." Bad things can, when you do things like that, maybe they could intercept the ball. You don't do stuff like that. As I mentioned, they do score, and at this point, the head coach finally reluctantly lets Rudy play. I mean, it's not been easy, but in this game even. And so, because this is an incredible story on this final play, Rudy actually sacks the Georgia Tech quarterback, the head coach can't believe it, Rudy, this small guy, this unathletic guy. Somehow he finds a way to sack the quarterback. He just shakes his head. He cannot believe it. The team raises Rudy on their shoulders.
Rudy's family and Fortune are overjoyed. Even Rudy's brother, Frank smiles and shows respect. It takes a lot to get Frank to smile and show respect, but somehow it's had an impact in Frank's life. The end credits tell us that since 1975, at least until this movie was made in 1993, no other Notre Dame play has ever been carried off the field. So here we see Rudy's taken off the field. He's on their shoulders. Rudy graduates from Notre Dame in 1976, and he sets an example for the rest of his family because five of Rudy's younger brothers go on to college. I can't imagine that would've happened without Rudy's example,
Gary Schneeberger:
And that is, we talk a lot about a life of significance. Rudy's life of significance set the vision for his brothers to all go to college, to all. I mean, that is a life of significance, for sure, isn't it?
Warwick Fairfax:
Surely is. I mean, Rudy's had a big impact on a lot of people. His had an impact on his dad that his dad can't believe that. Not only did Rudy get into Notre Dame, he actually played on his beloved football team, his dad's beloved football team, Notre Dame. He's earned the respect of his brothers, including his brother Frank, who I guess because he is not pursued his own dreams, just really has given no support or encouragement to Rudy. Rudy has inspired all the players on his football team who've let him go on first onto the field, who've carried him off on their shoulders. He's inspired and moved Fortune and Jim, the legacy player on the team, D-Bob who was with him in junior college. He is inspired so many with his courage, his fortitude, folks like Father Cavanaugh.
He's inspired a lot of people with his grit and his determination to pursue a dream that would seem to be an absolutely impossible dream. His life of significance, has just been huge with everybody that's known him or come in contact with him. There are a few people like Rudy. His story is just, is miraculous.
Gary Schneeberger:
A couple bits of trivia before I ask you the last question, Warwick. One is, you mentioned the scene at the end when they carry him off the field. And they say, interestingly, as you mentioned in the end credits, he was the last player to be carried off the field in 1975 until the movie was made in 1993. As it turns out, another player was carried off the field in 1995. But here's what the movie didn't tell you in the end of that scene. He was the first player in Notre Dame history to be carried off the field. Even Knute Rockne himself, the All-American, the big star of Notre Dame, he wasn't carried off the field by his teammates. So that's interesting to me.
And the other thing that's interesting is that we started out folks talking about how this is based on a true story that Rudy Ruettiger really lived, really played. Well, if you do a search for the NCAA football records of Rudy Ruettiger, there's one line. All it lists is what Warwick talked about. He sacked a player. He has one sack. That's it. That's the only line in Rudy Ruettiger's college football career. But it's in the record books. Not only was he on the field, he was in the record books. He is in the record books to this day. So last question, Warwick, let me ask you this. We've talked about a lot. How does this underdog story about Rudy offer hope and inspiration to move beyond our own crucibles, especially in the face of challenging circumstances and our being underestimated by others?
Warwick Fairfax:
What's so moving about Rudy, it's not so much that Rudy went to Notre Dame or even that he played for their football team. It is more the level of effort that Rudy showed in trying to accomplish his dream. There were many who doubted that his dream would be possible to get into Notre Dame and certainly play for the football team. This kid is undersized, not many pounds on him. Not much athletic ability. I mean, getting Notre Dame would be almost impossible. Playing on the football team clearly would be impossible. So when many of that doubted him, many actively discouraged him, including his dad and his brother, Frank. I mean, there were just a whole bunch of people that just, "Give it up." As I mentioned, his dad and brothers, they weren't supportive at all. They just felt like Rudy's from a working class family, "People like us, that we work in the mill, we work in steel mills, just don't cling to dreams that it's just not for people like us. It'll never happen." But Rudy would not give up.
He was helped greatly by a series of supportive fellow travelers. He started with his best friend Pete, who tragically died in an accident in the steel mill. With D-Bob at Junior College. Father Cavanaugh and Fortune. They provided him vital encouragement to keep going, but both Father Cavanaugh and Fortune, in effect, they tried to help Rudy see that the effort that Rudy was displaying in pursuing his dreams was as important as achieving the dream. Now, it, Rudy did achieve his dream, but from their perspective, whether he achieved his dream or not, the sheer fact of his determination to pursue his dream, that was success in of itself. And that's something that we should all learn from. So the beauty of Rudy's story is in pursuing your dream. Now, whether you achieve it or not, because we're not all going to have the ending that Rudy achieved, but it's about not listening to the naysayers, getting encouragement from your fellow travelers. And really in the effort and the striving for our dreams, that's where we find joy, fulfillment, and satisfaction. It's not just achieving a goal, it's just the joy of the pursuit.
Gary Schneeberger:
Folks, the lights are on in the theater. Gather up your empty popcorn and soda boxes and glasses, toss them away on your way out. We will be back again next week with the fourth film in our summer series, Big Screen, Big Crucibles, and that is a big movie, Les Miserables, we are going to be talking about. So we'll see you next week and save you a seat. Welcome to a journey of transformation with Beyond the Crucible assessment, unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the Helper or the Individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially the steps to get there. It's more than an assessment, it's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com, take the free assessment and start charting your course to a life of significance today.
Big Screen, Big Crucibles II: Hidden Figures
The three African-American women at the center of HIDDEN FIGURES, the second film in our summer series BIG SCREEN, BIG CRUCIBLES, face marginalization and discrimination for their gender and their race in 1961. But they summon grit, fortitude and brilliance that prove critical to the U.S winning the Space Race against the Russians.
They would all become NASA legends … and are inspirational examples we all can follow to move beyond our own crucibles.
Dive deeper into your personal narratives with our BIG SCREEN, BIG CRUCIBLES guided journal, meticulously crafted to enhance your experience with our podcast series exploring cinema’s most transformative crucible stories. This journal serves as a dedicated space for introspection, inviting you to connect the profound journeys of on-screen characters with the pivotal moments that have shaped your own life.
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Transcript
Warwick Fairfax:
We find that all three women, they're fighting the system and they're finding ways to succeed against this ramped discrimination. And they're beginning to find ways through a round over their crucibles to have their visions become reality. Each in different ways, but it's just amazing how none of these three women are going to give up.
Gary Schneeberger:
The Three Women Warwick is describing are the characters at the center of Hidden Figures, the second film in our summer series, Big Screen, Big Crucibles. As we discuss their grit, fortitude, and brilliance are critical to the U.S. winning the space race against the Russians in the early 1960s. They would all become NASA legends and our inspirational examples we all can follow to move beyond our own crucibles. Welcome friends. We are back to our summer series. We had so much fun, as we said last week, last year with our summer series on classic films and the lessons they can teach us about overcoming crucibles that we're doing it again this summer. And this year we are calling it Big Screen, Big Crucibles. For eight weeks this summer, this is our second one, we'll be taking a look at films that feature a wide variety of crucibles. Insightful lessons they teach us about how not only to bounce back from those crucibles, but casting a vision for and charting a course for a life of significance.
And our film this week is... I'm not going to go with that. We don't need it. We're just going to say it straight up. Our film this week is Hidden Figures. Scott, we'll save the drum roll for what our next movie's going to be at the end. Our film this week is Hidden Figures, and that film came out in 2016. And here's its official synopsis, "In the heart of the space race, three brilliant African-American women at NASA, working as 'human computers' become the unsung heroes behind the launch of John Glenn into orbit, defying racial and gender barriers while proving their genius." Warwick, obviously, this is a movie we both like very much. We talked about it quite a bit as we prepared for this.
Before we dive into the crucibles that these ladies who make up the three main cast members of this film, the crucibles they face, and how they overcame them, and what their actions can teach us about how we can overcome our own crucibles, this is the third time we've done this thing, films, and what they can teach us about overcoming crucibles. What are you hoping our listeners and viewers get out of these discussions this time around in our series this year?
Warwick Fairfax:
Gary, we both love movies and we love superhero movies, sports movies, which you've done a series on. Last year was a really fun series, the American Film Institute's Top 100 movies. And I think the reason that I liked them, I believe, we liked them, is that, these great movies, they portray a protagonist that's typically facing significant challenges that they seek to overcome. And that's really what we do here at Beyond The Crucible. We talk to guests who had to overcome significant challenges, and bounce back, and lead a life of significance. So this year, we thought we'd look at some of the best movies that we could think of that show people overcoming really significant crucibles to lead a life of significance, a life on purpose dedicated to serving others, and all these movies which we really are enjoying discussing, they all do that. They all feature protagonists who have to face long odds to overcome significant barriers, significant crucibles to move forward to indeed achieve a life of significance.
Gary Schneeberger:
And I like it for one additional reason, because it's the one time of year really when your Australian way of articulating things comes out and you say, "Protagonist." Which I just love, as opposed to the American, "Protagonist." Right? Yeah, it sounds very poetic.
Warwick Fairfax:
I didn't even know. So there you go.
Gary Schneeberger:
Yeah. Honestly, I mean, I like it, because it just makes it sound so much better than when I say, "Protagonist." So, yes. So let's start talking about those protagonists, folks. The first crucible all three ladies in this movie face, as the film kicks off, the women that we're going to be talking about are Katherine Goble, who will later be Katherine Johnson, more on that later, Dorothy Vaughan, and Mary Jackson. They live in Hampton, Virginia and work in nearby Langley at NASA. They are part of the computing team. When you hear that, don't think machines think computations in your brain. Really smart people, because this is 1961. And those machines aren't widely available for folks, not even at NASA. So the computing team are people who compute things in their minds. So keep that in your mind. And these women who are doing the computing, truly, they fuel our race to get into space. It's not that big of a stretch to say as much as the fuel that fuels the rockets that get us to space. So very, very important what they do, and it'll come through as we discuss this film.
One of the first scenes, Warwick, in the film introduces a concept that will help the ladies handle the crucibles they face. We call it having a team of fellow travelers. What is that scene that really stood out to you in the film and how does it show the importance of having people around you who believe in you when others might not? Because there's a lot of others might not in Hidden Figures for the ladies at the center of the story.
Warwick Fairfax:
So in this opening scene, her parents are talking to her teachers and it would appear it could be an African-American school, because all the teachers we see are African-American. And these teachers, they say that Katherine's mind is exceptional and that she has to go to another school. One teacher says to Katherine's parents, "You have to see what she becomes." And the teachers really believe in Katherine. They gather together some money to send Katherine onto the next school, the school that has maybe better teaching, more opportunities to truly help Katherine be the best she can be with incredible talent, because it's very clear that Katherine's parents and her teachers realize that Katherine has an exceptional mathematical mind. It's not overstating to say that her mind is a genius level.
Gary Schneeberger:
Right.
Warwick Fairfax:
And they realize this. And obviously, for a young African-American child, that's not going to be easy to really fully utilize her genius and her brilliance, but they want to do everything they can to help her reach her full potential. And so, this early scene really shows it's so important and helpful to have people who believe in us, perhaps they see qualities in us that we don't see, and maybe they see something exceptional in us, which we might find about what could be exceptional in us. But, I think we all have something that's at least special. Not all of us are at the genius level that Katherine Goble is, but having somebody that sees-
Gary Schneeberger:
Especially not in math. Especially not in math.
Warwick Fairfax:
... I hear you there. So having people that sees something special in us and are really willing to get a bat for us and help us is just so helpful.
Gary Schneeberger:
And in the context of this film, and I think in the context of experiences with crucibles, it's helpful, because there are many people that Katherine and the other ladies in this movie will meet throughout this film who don't believe in her, who don't have a great opinion of her, who think that she's not going to be able to rise up. There's prejudice involved, because this is 1960s, and they are African-American women. So having fellow travelers, yes, it's people who encourage us, but that encouragement can stick with us and we can draw on that as we run into a lack of encouragement as we go forward, can't we?
Warwick Fairfax:
Yeah, it's so true. Having a team of fellow travelers, a team of cheerleaders that are in our corner, because you're very right, Gary, there are many people that want to pull us down. Maybe they're just jealous of our skills, or who we are, or maybe they feel threatened by us. And so, there are many that may say as many people that will pull us down. So it's really critically important to have fellow travelers, cheerleaders who believe in us, especially in those times when we doubt ourselves or other people are trying to pull us down.
Gary Schneeberger:
Speaking of crucibles, our first hint at the crucibles of Katherine, Mary, and Dorothy will face is when their car breaks down on their way to work. A police officer stops by when he sees they've stalled, but he's not really there to help them in the beginning. Talk about that scene a little bit. How does this early scene set the stage, the parameters, if you will, of what these ladies will face throughout this film?
Warwick Fairfax:
So here we have really the first scene where these three women are adults. And, as you mentioned, it's 1961, it's Virginia. Virginia is obviously in the south. And, yes, John F. Kennedy is president, and things are beginning to change, but this is very early days in the Civil Rights Movement. And it sure doesn't seem like it's reached Virginia at this point. So you have their car broken down and here comes this white police officer wondering what's happening. And so, they're obviously nervous. Three black women, broken down car, white police officer. And so, they just try to calmly explain to the officer that they all work at NASA in Langley, Virginia. And then, they very intelligently engage in a discussion about the space race. You've got the Russians that have made some progress, or making progress, and it almost feels like at this point they may be a step ahead of the U.S. And, they all agree on the importance of helping the U.S. astronauts, like John Glenn, get into space.
And so, by talking about the space race, and really helping the U.S., and the space race against the Russians, and John Glenn, they find a point of agreement, a point of commonality, a point of something they both believe in. And so, this is a great example, is when faced with potential confrontation, when you feel there may be a difference between you and some other people, maybe there's difference of opinion, or in this case, you've got racial and gender challenges, potentially discrimination here with this white officer, finding common ground and what you can agree on is very helpful. In fact, the white police officer says, "Can I escort you to work? I don't want you to be late." And he has his siren on. I mean, that's next level being helpful. Not too many police officers stop us and say, "Can I help you and put the sirens on to clear traffic?" That's not normal. So they really handled that situation, which could have been a very problematic situation very well. It was a really great example of how to deal with challenges.
Gary Schneeberger:
And it was interesting, that scene starts out, when he pulls them over and he walks out of the car, you see him from behind as he's walking toward the car and he's got his nightstick out of his pocket, right? Out of his thing. I mean, he's ready for... Right? There's African-Americans there. And he is as a white officer in Virginia thinking that he may run into some trouble. And, just how quickly that turns when he talks to them and they talk about what they do. And you're right, he turns the sirens on, and the lights on, and two of them at least are a little like, "Oh, that's strange. I don't know. I don't want to get too..." And one of them is like, "Yeah, this is the way it should be."
So we'll learn all more about the personalities of these ladies and why they have that reaction. But it's a great scene to both introduce us to the themes of the film in terms of the racism that's there, even subtly so in many cases. But also, the personalities of these exceptional women. So the ladies finally do make it to the office, thanks to the police escort. And when they get there, we see that they work at a segregated NASA literally toiling in a separate building from the main crew working on getting the space program off the ground. They're having an impact, but they're not allowed to fulfill their full potential. That's because the government thinks that it's all women and African-Americans can handle is what they're being asked to do. There's sexism and racism at work here we see pretty quickly. In these early scenes, Warwick, what stands out for you once we get them into NASA and we see the machinations of what's going on there.
Warwick Fairfax:
Yeah, for these African-American women, they have two challenges against them, they're African-American and they're women. Two strikes against them in this time where certainly it would be assumed in the early-60s, women should be secretaries, but not much else, irrespective of race. That alone would be a challenge. But, it's the fact that African-American and women. So these two factors would definitely limit them in 1961, Virginia. And we see Dorothy, who is the de facto supervisor of a group of African-American women at NASA. She talks to a boss, Leah Mitchell, about formally getting the title of supervisor, which we would assume gets increased pay. And, basically, her boss says, "Not at this time." So she has the role, we would assume, without the pay, right?
Gary Schneeberger:
All the responsibility, none of the extra money.
Warwick Fairfax:
And Dorothy is a smart person. She realized what's going on. And she wants the formal title, because A, it's right. And B, one would assume that the pay goes with it. And then, one of the other women, Mary, she talks to her boss, Carl Zalinski, who is a Polish Jew, who is one of the engineers working on the rockets. And, interestingly enough, Carl encourages Mary to apply to be an engineer. And Mary pushes back and says, "Look, that's impossible for people like me, with my race to get a job as an engineer, that's never going to happen." And Carl pushes back and says, "We're living the impossible. This is the space age." And, Carl identifies, to a degree, with Mary saying that he's lost family members in the Holocaust and World War II. And, his family obviously knows something about persecution, to say the least.
And, in some ways, I don't know if it's a kindred spirit, but Carl just really advocates for Mary. And, over time, Mary would actually listen to that encouragement. "We're living the impossible." And so, we see that for these African-American women in 1961, Virginia, capability and intelligence are not enough. In an ideal world, in a fair world, in a just world, capability, and intelligence, and a work ethic is all that's required, but not here. It's just not enough, not for these three women.
Gary Schneeberger:
And, it's interesting, we've all heard about the glass ceiling, right? Certain groups can't get up there because there's a glass ceiling. Really, for women and African-American women in particular at NASA, it seems like that's made of bulletproof glass, just these early scenes make it very clear that their upward mobility is not going to be easy, it's probably just not going to happen. That's the odds they're facing at the beginning.
Warwick Fairfax:
Right. Right. You're right. Very well said. Not so much that it's challenging, it's impossible. "It's not your place." Say the people above her, "For you, an African-American woman to rise above your station of being basically a secretary of some very low level administrative work. It's unthinkable and it's not possible. And it's not challenging. It won't happen." That's the attitude of the people above them. So yes, it's a very difficult situation, to say the least.
Gary Schneeberger:
Yeah, when I was watching these scenes, in my mind, I couldn't help but paraphrase Dr. Martin Luther King, that what they're facing is they're not being judged by, I'll say, the content of their intelligence, right? King said, "Content of their character." They're not being judged by the content of their intelligence, they're being judged by the color of their skin. And, that will continue to plague them for a while. But, stay tuned, folks, because this is a movie with a happy ending. I'll give you that. Things begin to change when Katherine, the most mathematically gifted of the trio is assigned to the space task group, charged with literally getting the U.S. space program off the ground to catch up with the Russians who have a head start. At this time in the Cold War, space is considered a critical arena for the U.S. to master to continue being the world's greatest superpower.
So when Katherine arrives at the office for the space task force, one of the men there though, thinking that she's a new janitor, hands her a garbage can that hasn't been empty from the night before. Again, what they're up against. But we also meet her boss, Al Harrison, who tells her he's been through a dozen computers, again, human computers in 11 months, and he's been unable to find a good one. And he's hoping she'll be that good one. This pretty strongly sets up this idea that Katherine's going to have to face a lot of trial before she can get to triumph. Every bit of work she does and how she does it will be severely scrutinized. Why is this such a difficult crucible to encounter? Because it's hard to encounter, but it's also hard to endure. Why is that?
Warwick Fairfax:
So these early scenes with Katherine is very instructive. Remember, just the rampant gender and race discrimination. Here she is, Katherine, an African-American woman coming into a room of pretty much all white men who were doing the work. And, as she comes into this circular room, all eyes are on her as if, "What is she doing here?" She's out of place. They're just staring and they're dumbfounded. They just can't get what she's doing there. Al Harrison as we'll discover is a very tough taskmaster. He has a job to do. He wants to get astronauts like John Glenn into space. He sets high standards for everyone, and he will do whatever it takes to accomplish his goal. That is the overriding part of his personality, which as we'll see, there can be challenges with that. But there are also opportunities. In his first interaction with Katherine, in part, because Katherine is so quiet, Al Harrison asks Katherine, "Can you do math and can you speak?" And, she says yes to both.
And so then, Harrison gives us a mathematical test, like a bunch of pages with computation on it, and in a flash, she explains what it is, what math it is, and it's very clear she knows a lot about math. So it doesn't take Harrison long to realize, "Okay, got it. She is really intelligent." That's pretty much all he needs to know. I mean, he's a pretty much of a one track mind, "Can you do the job? Are you smart? Can you help me get people in space?" That's pretty much how you would sum Al Harrison.
So there's a potential with Harrison. But a lot of the others, like Paul Stafford, who was the lead engineer, who in some sense, unfortunately, Katherine will have a lot to do with, all of them give icy stares to Katherine. And, somebody has put another coffee maker out there on the coffee table on the side of the room with the word colors printed on the label. This is a coffee maker for white people. And then, one for African-Americans, for colors as they called them back then. So Stafford seems to feel threatened by Katherine and is dismissive of her work. So Harrison has told Katherine to check Stafford's work. Can you imagine? I can't think of too many things more threatening to some white engineer to have some black woman come in and be told, "Check this guy's work because maybe he's made mistakes." That will feel, in the culture, very demeaning to Stafford.
Gary Schneeberger:
And he does it in front of the whole team.
Warwick Fairfax:
Oh, yeah. Absolutely. Again, Harrison's got a job to do. He doesn't care what people are thinking. And, Harrison, when he can see people are pushing back, he says, "America's greatest minds will not have a problem getting their work checked." So he tried to put people in their place. And Stafford, of course, tries to make things as impossible as he can. So he gets these sheets of paper and he starts redacting most of what's on there. In other words, he gets some black highlight, or magic marker, or whatever and just blacks out pretty much everything he can. He says it's classified and she doesn't have clearance. Well, how in the world is Katherine going to check his computations when she can't see three quarters of them?
Now, Katherine being a smart person, holds up those sheets of paper to the light and you can actually see the computations through the blacked out. So later on, there's a funny scene where Harrison and Stafford are like, "You can't get how she can figure this out." He said, "I hold it up to the light and I can see it." And they hold it up to the light. "Well, I guess she can too." So she outsmarts them pretty early on.
Gary Schneeberger:
And then, at the time, one of them says, "How do we fix that?" And, Harrison says, "Get darker ink."
Warwick Fairfax:
Oh, really?
Gary Schneeberger:
Yeah. Which was just extraordinarily funny.
Warwick Fairfax:
Yeah, I think he was probably being sarcastic as I don't think he could care less. But there's another interesting aspect to this, is that in the building where Katherine now works, there is no "colored restroom." She has to go all the way over the other side of campus. I mean, it's a long way where she used to work to go to an African-American restroom, a colored bathroom as they called it. And so, she's running through rain or whatever it is, and even when she's in the bathroom, she's taking these sheets of paper, these computations with her and looking at them.
And so, people like Harrison are wondering, "What the heck is with Katherine? She takes these long breaks. Where is she? I mean, we need everybody. It's all hands on deck. We're trying to get John Glenn into space. What's the deal here?" So Harrison is wondering what's happening. And there's a scene where Katherine is staying late, because she's a very dedicated team member. And the only one there is Harrison. He has this almost or this glassed paneled room that's set above the main circular office. So he can look down everybody from his office.
And, Katherine is talking with Harrison. And Harrison says that he's asking his team to look beyond the numbers, to look around them. He says, "We need to find answers to questions we don't have with math that doesn't exist." I mean, that's as hard... Yeah. So if ever you would need a genius to figure out new math, math that people haven't used maybe for centuries, you need, at the very least, a genius because it's so complicated. We see two themes that work. We see definitely discrimination, where the team, Paul Stafford, and the other folks there really don't want to give Katherine the time of day, because she's an African-American woman, and Paul Stafford just can't stand the fact you've got an African-American woman checking his work. He feels like it's so beneath him.
But on the other hand, you've got Harrison who has a clear job, he wants to get astronauts in space. And he is tough on everyone, regardless of race or gender. He's tough on everyone. And wants to make sure that work gets done. So in that sense, there is hope for Katherine, because she realizes Al Harrison is a simple person in one sense. He wants to get astronauts in space. And anybody that can help him, he will give them a shot. It's not like you have Al Harrison as some necessarily civil rights crusader.
Gary Schneeberger:
Correct.
Warwick Fairfax:
That's not really what animates him. What animates him is getting the job done. So, "If you can help me get the job done, I don't care what background you are, your age, ethnicity, just help me get the job done." It's that simple with him. And so, Katherine being a very smart person, she realizes there is room for hope. If she can justify and prove to him, "I have the solution to help get John Glenn and the other astronauts in space." I think she begins to realize Harrison might listen.
Gary Schneeberger:
Yeah, I mean, I think what she sees in Harrison and I think what audiences see in Harrison is a fairness, right? There's a fairness about him. One of the secretary in the office speaking to an earlier comment you made about women in the workplace in 1961 were usually secretaries. There's a woman there who's a secretary, and one of the things she tells Katherine about Harrison is, "He's not going to warm up to you." And it's not even so much that he warms up to her, it's that he's a fair man. He wants to see fairness carried out. And I think that ends up helping both her and helping his pursuit of getting the job done, to your point.
As all this is happening, Warwick, the ladies become their own fellow travelers as they navigate their desire to do a good job and to do a job they're truly qualified for with the racial realities of early 1960s and the still segregated state of Virginia. There are a couple of scenes in this part of the film, Warwick, where we see the women at home, and when they all cut loose, and enjoyed an evening together as friends, not as NASA employees with challenges. Why is that such an important scene in the film and why is taking time to enjoy the company of fellow travelers and the camaraderie of fellow travelers so important to any of us who find ourselves in any crucible at any time?
Warwick Fairfax:
It's such a good question. Picture Katherine. Here she is. She's in this new work environment with a space task force. Most of the people there just do not want her there. Paul Stafford, the lead engineer, it drives him crazy to have an African-American woman check his work. She has to run way all over the other side of the campus to go to the bathroom through rain. Her day-to-day life at work is tough. It's challenging. She has to go through the indignity of getting coffee out of the so-called colored coffee maker. Her days are not easy. So she comes home and we see Katherine with her mom and her three daughters, her husband has died, and we see this really strong bond. Her kids and her mother, they love her, they admire her. They realize how exceptional it is to have an African-American woman working at NASA. It may be tough, but what she's doing already from their perspective is just amazing. They're incredibly proud of her and what she's achieved.
There's another scene around this time where one of the other women, Mary, she's talking to her husband and he has more of a confrontational civil rights approach to combat discrimination. And Mary understands his approach, and says, basically her approach is a bit different. It's not so much she's saying, "He shouldn't be doing what he's doing." But in her case, at NASA, she is trying to find a way to get ahead and she's thinking about applying for a job as an engineer. Remember, she was encouraged by her supervisor, Carl Zalinski, Polish Jew, who lost family members in the Holocaust. So she has a different approach. She wants to get ahead, but she wants to try and figure out a way to work around the system to become an engineer.
So at a party, we see these three women, they're enjoying themselves, they're dancing, there's great music. And, we see that Katherine sees Jim Johnson, who's an African-American military officer. Now earlier on, we see that they met at a church picnic, where Jim Johnson seemed surprised that a woman would be working at NASA. And, his surprise Katherine doesn't like. Katherine almost takes it as being dismissive. So later on at this party, Jim apologizes to Katherine and she doesn't let him off the hook quickly. It takes a few beats.
Gary Schneeberger:
Of course not.
Warwick Fairfax:
And, he apologizes to her for underestimating her. So really, what we see here is life is tough for these African-American women, but they get support from their families, their kids, in the case of Katherine, from her mom. And, what it shows is that through trials, it's critical to have people that love and support us, what we call, fellow travelers. Life is not easy and life is excruciatingly tough for these three women. And so, having fellow travelers is so helpful.
In that earlier scene at the picnic, right before we see this African-American pastor, he exhorts and encourages them from the pulpit. And he invokes Martin Luther King and he says, "God's faith has no limits." So here's Katherine and these other African-American women, they're getting encouragement from their loved ones, from their family, their kids, from their pastor, and all of this is so critical to help them combat what they have to live with day-to-day, which is rampant racism and just discrimination because they're women.
Gary Schneeberger:
And, if that name sounded familiar, Jim Johnson, remember we said, Katherine Goble Johnson in the beginning, I said that. We tell more about it. Well, they begin to get serious at this time. And if her last name becomes Johnson, you can see how serious that they get. But we're still not there yet. But, that is a little plant up ahead for you to follow. This is the moment in the film, folks, when the crucibles that women face begin to be displaced by their bounce back from those crucibles. Katherine earns more and more trust from Harrison for being the most accurate computer on his team and gets more and more opportunities to figure trajectories for upcoming flights as the Mercury 7 astronauts come to Langley. Mary makes the decision to apply to become an engineer and refuses to let new requirements for her application stall her dream.
Meanwhile, Dorothy begins to study the computer language Fortran, while NASA has just gotten huge IBM mainframes to do more quickly the calculations that will fuel space flights, all three ladies are seizing control of their careers, their futures, their lives of significance that they want to live. So this is a very pivotal part of the movie where things begin to turn away from being held down to being lifted up and they're lifting themselves up. Warwick, talk a bit about the story of how these women are bouncing back from their crucibles as this part of the movie kicks off.
Warwick Fairfax:
We see evidence of all three women fighting for their rights and finding a way to move forward in their careers despite just the incredible and rampant discrimination that they face. So one of the pivotal scenes of the movie is where Harrison is asking Katherine basically, "Where the heck do you go? I mean, you go for such long periods of time. It's all hands on deck. We are trying to get John Glenn in space. And, the whole Mercury Space Program. And, where do you go? Again, his motivation is pretty simple, "I want to get these folks in space. Everybody needs to be full on and with the program." And so, at that point, Katherine just explodes in frustration. She says she has to run half a mile to the other side of the campus to go to the bathroom. And Harrison, frankly, he just doesn't get it, because he's just focused on getting people in space. He's not really aware of other things. He's just not focusing on it.
And Harrison asked, "Well, why?" And Katherine says, "Because there's no colored bathroom in their building." She says, "Someone labeled a coffee maker as colored in that very room where they're having this conversation in that office." And, Harrison is just dumbstruck about this. He seems oblivious. He's like "What? There's a colored coffee maker and you've got to run all the way over to the other side of campus just to get to the bathroom?" And, Harrison is one of these people where he will not let anything get in his way. We can consider or muse about it saying, is it because he has innate sense of fairness? Maybe. Or maybe, it's also like, "I've got to get a job done. And, this stupid stuff is getting in my way. So I need to remove the obstacles that might make it tough to get John Glenn in space."
I mean, again, relatively straightforward mindset. But, whatever his motivation, he takes action. He takes the colored sign off the coffee maker. He then goes all the way to the other side of the campus and he gets a sledgehammer and he starts banging away at that colored sign on the restroom. I mean, this thing is not coming down easily. It's bolted on. It's a metal sign. And he's hammering away at it. He gets a crowbar. I mean, he's not giving up until that sign is removed. Well, in this other building, you have all of the African-American women, they're standing probably dumbstruck themselves, watching this guy who's the senior guy on the campus, who basically runs the show at Langley it seems, with the sledgehammer and the crowbar, and he's yanking it off. And then, he says, "There are no more colored restrooms. There are no more white restrooms." He says, "You can go wherever you damn well please." And he says, "Here at NASA, we all pee the same color."
It's a dramatic scene. It's very blunt to the point. But Harrison, whatever his motives are, he is fighting for Katherine and for African-American women. It's just amazing. Now, with Mary, she wants to become an engineer. She has been encouraged by Carl Zelinsky. She needs to take extra coursework that is not offered to African-Americans. So you've got white schools and schools for African-Americans. To take the courses she needs that is required to become an engineer, it's only offered a school she can't go to. So she's not going to let that stop her. She wants to become an engineer at NASA. So she is brought before a judge, and she makes this impassioned speech that she wants to be the first African-American woman engineer at NASA. Now, Mary is not a trained lawyer, but you would think that she's Clarence Darrow, one of the best lawyers that ever existed.
Gary Schneeberger:
Indeed.
Warwick Fairfax:
She does her homework. She says to this white judge, "You were the first in your family to do a whole bunch of things." And he says, "You've done your homework." "So you know what it is to be the first. I want to be the first African-American woman engineer at NASA. And, I can't, because there aren't courses that I'm allowed to take." So the judge considers this. And he allows her to take night classes. So maybe not during the day, but at least somewhere. So Mary is overjoyed. And her husband, the one who's more of the civil rights activist that wants to take a more violent approach, he is deeply moved and deeply respects what Mary was able to accomplish. He is amazed.
And we see a later scene where she walks into her classroom at night and the other all male white classmates, and the professor is, again, dumbstruck. It's like, "What is she doing here?" But she has a piece of paper that says she's meant to be there. And, off she goes. So Dorothy, she sees this huge new IBM computer. And, she realizes that this computer has the potential to take her job and all the other African-American women that report to it. And, she tells her team, I mean, she has a very smart person, very direct, "We need to understand how to work with computers." Because she knows this computer could take away their jobs. And we see early scenes where these IBM techs can't figure out how to work their own computer. They can't get it to work. And they have to be the experts from IBM. And, Dorothy sneaks in there and she starts tinkering with it. And, the IBM techs begin to realize that she can get this thing to work where they can't.
Now, they're under a lot of pressure. Again, Harrison is on their backs saying, "You sold us this big IBM mainframe. We need this to do very tough computations. Get this thing working." He's not going to be patient at all with anybody. So we find that all three women, they're fighting the system and they're finding ways to succeed against this ramped discrimination. And they're beginning to find ways through, around, over their crucibles to have their visions become reality. Each in different ways, but it's just amazing how none of these three women are going to give up. They're going to find ways to become the people that they feel they were led to become and fulfill their purpose.
Gary Schneeberger:
Yeah. It's that these moments when we're talking about these things in a series on film that are really important, I think, to be on the crucible, and that is when we can step off the screen for a second and apply it to the folks who are listening and watching. And, I'm going to ask you this, why are moments like this, moments where we choose to find a way around obstacles like the ladies have done to achieve a vision that will help us bounce forward to a life of significance that fits our skills and values so critical to all of us, to any of us who find ourselves in crucibles? We do these movie series because they teach us things about how to manage our own crucible experiences. And what you've just described, moving around obstacles is critical to doing that, right?
Warwick Fairfax:
Yeah, well said. We all face challenges. Obviously, not all of us are African-American women. And, we don't live in the 1960s anymore, although there's still obviously racism and gender discrimination. The level they were at was certainly very high in the 1960s. So they obviously believed that gender and racial discrimination was wrong. But, what were they going to do about it? Well, they found ways to move forward with their lives and careers in their own unique ways.
So I think what this tells us is when we feel that we've been treated unfairly, that we can't achieve our dreams, maybe we didn't go to college, maybe it seems like we have a bad boss, or a company just won't give us a shot, they won't really give us a chance. We can yell and scream and say, "This is unfair." If Ernie had gone to college, or if Ernie had had an upbringing that had more advantages, or wasn't abused as a kid, or whatever background you've had that may have really make you feel that the world is stacked against you, you can yell and scream and say it's unfair and it may well have been incredibly unfair, where you can yell and scream about it. Or you can say, "Well, what am I going to do about it? How do I find a way around these obstacles? How do I find a way to achieve my dreams? Who can help me? How do I get around these barriers?"
I think what this movie tells us is, you can't get much bigger barriers in early-60s racial and gender discrimination that these women face. That's about as big a barrier as any human's going to face. But yet, they found a way.
Gary Schneeberger:
So a critical turning point in the film is a critical turning point in the space race. The Soviets have sent the cosmonaut, Yuri Grigarin, into space. The U.S. wants to send John Glenn, not just into space, but to orbit the earth to achieve supremacy in the space race. There's one problem though. The computers, again human computers, know how to get Glenn's rocket up, but they haven't quite figured out how to get it back down. That's when Katherine in a meeting with all the top brass that she's had to fight to get into is asked by Harrison to work out the coordinates right there in real-time in front of everybody, including John Glenn. Here's that very intense and inspirational scene from Hidden Figures.
Speaker 1:
So we have the vehicle's speed, the launch window, and for argument's sake, the landing zone is The Bahamas. Should be enough to figure the go/no-go?
Speaker 2:
Yeah, in theory, sir.
Speaker 1:
We need to be past theory at this point.
Speaker 3:
We'll be able to calculate a go/no-go with that information.
Speaker 1:
When exactly is that going to happen?
Speaker 3:
Katherine? Have a go at it.
Speaker 4:
The goal point for re-entry is 2,990 miles from where we want Colonel Glenn to land. If we assume that's The Bahamas, 544 miles per hour of 46.56 degrees, 2,900 landing miles. Okay. So that puts your landing zone at 5.0667 degrees north, 77.3333 degrees west, which is here. Give or take 20 square miles.
Speaker 1:
I like your numbers.
Gary Schneeberger:
So Warwick, what's the context behind that clip? Some things were happening that got us into that room. What's the context behind that clip and why is it so important to this story told by this movie?
Warwick Fairfax:
Yeah, so this is a very intense scene. And, before the clip starts, Katherine was not going to be allowed in this meeting with the Pentagon brass. Paul Stafford certainly didn't think she should be there, an African-American woman. She wasn't qualified. Maybe she thought she didn't have the security clearance. And, Katherine pushed back in front of Harrison saying that she needed to be in that room, because what kept happening is changes kept happening in real-time. And by the time she finished her computations, Harrison would say, "I'm sorry, no offense to you. But, this is old data. Therefore, the work you've done is irrelevant." And, that's frustrating. Well, she needed to be in the room, so that in real-time she could make recommendations for calculations that basically all this is about getting John Glenn safely back from orbit, back to earth through Earth's atmosphere. I mean, very challenging computations.
So Harrison being a practical guy, he wants to get the mission done, he wants to get Glenn up in space and then home. It's like, "Okay, fine." And so, Harrison brings Katherine in the room. And as you see in that clip, look at the faces of those men. They're like, "Who is this African-American woman? What is she doing there?" Now, earlier on, Harrison says, "Okay, you can come in the room, but don't say anything." He says, "Don't say anything." As we see in that clip, Harrison gives the chalk to Katherine and she starts coming up with all these calculations, and just look at the faces on those men. They're just dumbstruck. Clearly, she's a genius. She figures it all out. As you know, I think, from this clip, the wrong calculation means that the capsule would burn up, or it would bounce off Earth's atmosphere, both are problematic obviously. So it's really difficult to get the right trajectory.
And so, not only does she figure that out, she figures out the landing point within 20 square miles. I mean, that is just stunning. That is genius level. She does it in minutes. So I think what this scene shows is that an African-American woman can be smarter than anyone on the planet. This demonstrated to that whole room, her brilliance, and that brilliance was undeniable. Math doesn't lie. You can't fake it or fudge it. They're all smart enough to realize she knows her stuff and she can figure things out that nobody we know can figure out. And it has to be figured out for John Glenn to be able to come back to us safely. It's a remarkable scene.
Gary Schneeberger:
Yeah, for sure. Meanwhile, as this is going on, things are looking up also for Dorothy and Mary. Mary, as we've mentioned, wins her legal challenge and can attend a white school to earn the extra credit she needs to be considered for the engineer's job. And Dorothy is told by the same supervisor that didn't want to let her become a supervisor, that she has been reassigned to work in the IBM section of NASA and she can bring along all of her fellow computers, all the women that she works with, with her. Later on, she is promoted indeed to being supervisor of that entire group.
Warwick, there's an interesting scene where there's a question about whether the calculations are right for John Glenn to come out of orbit and back to earth. Everybody's unsure, are they right, are they wrong? Glenn has a point of view though, about how this should be resolved. Talk about this scene a little bit, because it may be surprising to people who... If you just think of it on its face, "Hey, there's this computer, this big IBM thing. And then, there's a bunch of people who figure stuff out with their brains." John Glenn has a point of view. What's John Glenn's point of view? What's that scene like?
Warwick Fairfax:
So clearly, Katherine has won the respect of the people in that room. So by this time, Katherine is certainly respected by Al Harrison. And John Glenn, who's being a part of some of these meetings clearly respects her expertise. So really early on in the movie, when John Glenn first comes on the picture, you can see him greeting a whole bunch of people. And he goes down the line shaking hands, including these three African-American women. John Glenn is somebody that treats everybody the same. So he certainly doesn't appear to be prejudiced at all. He just goes out of his way to be nice to them, before he even knows who they were and what they did. So there's a question about the right trajectory to bring Glenn home. Again, the wrong trajectory, you bounce off the Earth's atmosphere, or the capsule burns up. And the IBM calculations seem to vary from day-to-day. So that makes everybody nervous, especially John Glenn who's in space and his life is on the line. He is especially nervous.
And so, Glenn says to Harrison, he wants Katherine to check the numbers. He trusts Katherine. And Glenn tells Harrison in a blunt way, and that's Harrison's language. He wants to be able to look in the eyes of the person who's done the calculations, not some computer, so to speak. And so, really, this scene is a pivotal, because what it says about John Glenn is he is willing to trust Katherine with his life, that's what at stake here, wrong calculation, and he dies. So that is the ultimate compliment, "I respect you so much, I'm willing to put my life in your hands." It's really remarkable.
Gary Schneeberger:
Katherine's calculations proved perfect in getting John Glenn back home, even after a scare in space where the module's heat shield almost fails, threatening to burn him up on reentry to the Earth's atmosphere. The film ends with the United States leading the space race, just a few years away from putting a man on the moon, one of the most miraculous achievements, not just in American history, but in all of human history. And Katherine, Mary, and Dorothy play key parts in making all of this happen. They become NASA legends, celebrated figures, not hidden figures.
As we begin to wrap up here, talk a little bit about, yeah, they're legends. How are they legends? We learned a little bit about how they became legendary at the end of the movie when it closes. And, how does their journey give us hope and inspiration to move beyond our own crucibles, especially in the face of challenging circumstances?
Warwick Fairfax:
Yeah, we see in the closing credits that Mary goes on to become NASA's first female black engineer. And in 1979, she becomes Langley's women's program manager, where she fought to advance women of all colors. We see Dorothy becomes NASA's first black supervisor. And in computing with Fortran, the computer language on IBM, she was considered one of the most brilliant minds at NASA. We see actually a neat scene right I think before the credits roll where you can actually see Katherine and Paul Stafford working together.
Gary Schneeberger:
Right.
Warwick Fairfax:
Paul Stafford actually brings her some coffee.
Gary Schneeberger:
Yes, yes.
Warwick Fairfax:
Now, that's about as high praise as you're ever going to get from Paul Stafford, who's really felt very threatened. So finally, clearly, he respects her. Winning over Paul Stafford almost feel like [inaudible 00:54:28]. So Katherine went on to perform calculations for Apollo 11, which was the mission to the moon and the space shuttle after that. In fact, in 2016, NASA dedicated the Katherine Johnson Computational Building in her honor. Remember, as Gary mentioned, Katherine Goble becomes Katherine Johnson after she marries Jim Johnson. And at age 97, Katherine Johnson was awarded the Presidential Medal of Freedom and celebrated her 56th anniversary with Jim Johnson. My understanding is the Presidential Medal of Freedom is the highest of it in honor that a U.S. person can get. So it's truly remarkable the journey of these three women and the successful careers they had.
And so, looking more broadly, we can learn a lot from these three African-American women who faced both racial and gender discrimination. The fact that they've become leading figures in NASA's history is absolutely remarkable. How they would achieve that in their careers at the time in the early-60s is really unthinkable. But they found a way. And it's a testament to their resilience and their belief in their skills and abilities. All three would make significant contributions to NASA. And this at a time in the early-60s for African-American women would be thought of as absolutely impossible.
And I'm reminded of what that lead engineer, Carl Zelinsky, said to Mary when she was thinking of applying to be an engineer. He said about living in a space age, and he applied it to her situation, "We are living the impossible." That's what these three African-American women did. They lived the impossible. It's easy to look back and say, "Well, that's great." But it's hard to underestimate how difficult it was and how rapid the gender and racial discrimination was in the early-60s. These three African-American women, they did not let obstacles or challenges get in their way. They found a way to achieve their dream despite these obstacles. So when we're faced with overwhelming challenges and obstacles, let us remember the courage and the perseverance these three women had. They never gave up. Their example can be an inspiration to us all.
Gary Schneeberger:
With that, let's turn on the lights, the movie's over. It's time for us to pick up our popcorn boxes and head out. Truly, that was an excellent discussion, again, of an excellent movie. But also, excellent points that we can all grasp onto as we go through our crucible experiences. And that folks is why we do this summer series on movies. We've done three of them in the last few years.
So next week, we will take a look at another movie with some crucible stories in it, some big crucibles in it, and that... Scott, are you there? Are you in the control booth? If you're ready, give me a drum roll before I can tell everybody what it is we're going to be talking about next week, what movie we're going to explore. Here it is. Give me the drum roll. Thank you very much. That movie is Rudy. An excellent movie, very inspirational. We'll be talking about that next week. But until we get around until next week, remember, we know your crucibles experiences are hard. They can take the wind out of your sails. But here's the good news. Like the Ladies in Hidden Figures learned, when you learn the lessons of your crucibles, when you have the resilience to move through the challenges of your crucibles, and apply those lessons, you can end up charting a course with to the greatest place you could ever want to get to, and that is to a life of significance.
Welcome to a journey of transformation with Beyond the Crucible assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the helper or the individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially, the steps to get there. It's more than an assessment. It's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.