Left Menu
Life News
Are we using our memory for the glory of God? by Timothy Raymond
Can we in good conscience vote for Labor? by Andrew Lansdown and Dwight A. Randall
National MP slams perversity of Safe Schools program
Adult children of gay parents testify against same-sex marriage by Kirsten Andersen
Domestic Violence: Women can be as abusive as men by Dr Augusto Zimmerman
With the Lord: Wilma Drew
18th Annual Walk and Rally for Life
Former senator speaks up for the unborn by Joe Bullock
Qurans deadly role in inspiring Belgian slaughter by Nabeel Qureshi
Germany:Christian refugees persecuted by Muslims by Soeren Kern
Web Design and Development - abcplus Publishing Australia
Pamphlets
by Andrew Lansdown
One for All
A Son to the war
Becoming a Christian
Train home
Sons Laid Down Their Lives
An Accurate Diagnosis
Starting again
Following hard after God
Starving our children
The first duty of fatherhood
The origin of fatherhood
An Easter Song
A Christmas carol
For This Purpose
In royal David's city
God's Placard
Believing the Bible: the issue of inerrancy
Marriage according to scripture
A biblical perspective on prostitution
Prostitution and social justice
Abortion: A biblical perspective
If people were dogs & other false arguments for euthanasia
How porn harms us
How Green is God?
Evolution?
Christians and Politics
When Christians Take Their Lives
The High Kings Watchmen

Narcissism as virture

 

Narcissism as virtue

by Charles Colson

Moviegoers are flocking to see their favourite stars from Titanic, Kate Winslet and Leonardo DiCaprio, reunited on the silver screen. But what the Oscar-nominated film Revolutionary Road serves up—and certainly what the critics are eating up—is rank, vile narcissism at its epic worst.

The central stars, Frank and April Wheeler, are steeped in pride to an almost unbelievable degree. This suburban couple from 1955 have it firmly in their heads that they’re “special” and “different.” Because they have dreams of doing something really “wonderful,” they reason that they’re better than all those drones around them who are satisfied with their quiet lives.

Obviously, all that ego doesn’t bode well for a marriage. But when they’re not screaming curses at each other, Frank and April bond by mocking friends and co-workers. In fact, these two talk like graduates of some preschool self-esteem course. Their dream is to leave all the so-called “morons” behind and move to Paris—as it apparently has never occurred to them that human nature is human nature anywhere you go.

When the dream falls apart, due to Frank’s promotion and April’s surprise pregnancy, April falls apart with it. Feeling “stifled” by her home and family, she gives herself an abortion, leading to her own death.

Nearly the only decent people in the film are an older couple with a mentally ill son who hurls insults at them. But this son is portrayed as a brave teller of uncomfortable truths. And the film’s very last moment shows even this couple subtly but unmistakably divided, as the husband turns off his hearing aid to silence his wife’s chatter.

(It’s a frequent occurrence in this film for people to try to make each other stop talking—not surprising for a film soaked in narcissism. When you’re that wrapped up in your own ego, the only person you want to hear is yourself.)

A worthwhile film could be made by dissecting the behaviour of people like Frank and April and showing how loathsome their sense of entitlement really is. In fact, according to several readers of the original novel Revolutionary Road, that’s just what the novel’s author tried to do.

Well, leave it to Hollywood to try to show that those who rebel against “stifling” family life really are the heroes they make themselves out to be.

Thus, Frank’s gradual realization that he really is content with his job and wants that promotion is supposed to be the ultimate sellout. And April’s act of revenge against her unborn child—and by extension, against her whole family—becomes an heroic gesture, rather than an act of selfishness and spite.

The film’s website trumpets that Revolutionary Road “is an incisive portrait of an American marriage.” Please.

Don’t be taken in by the critical acclaim. Revolutionary Road is merely an incisive portrait of pathological egotism.

The proverb is right: Pride goeth before the fall. But the fall is a bad thing. Only Hollywood could make martyrs out of characters who sacrifice all for their pride—whose vision of happiness is perfect autonomy, and in the end, death itself.


From BreakPoint, 19 February 2009 - http://www.breakpoint.org/listingarticle.asp?ID=11153. Copyright 2009 Prison Fellowship, PO Box 17500, Washington, DC, 20041-0500, USA. Web site - www.breakpoint.org.
Web Design and Development - abcplus Publishing Australia
Web Design and Development - abcplus Publishing Australia
LIFE NEWS ARCHIVES
2015 Vol 3 Jul - Sep
2015 Vol 2 Apr - Jun
2015 Vol 1 Jan - Mar
2014 Vol 5 Nov - Dec
2014 Vol 4 Sep - Oct
2014 Vol 3 Jun - Aug
2014 Vol 2 Apr - May
2014 Vol 1 Feb - Mar
2013 Vol 5 Dec - Jan
2013 Vol 4 Sep - Nov
2013 Vol 3 Jun - Aug
2013 Vol 2 Apr - May
2013 Vol 1 Jan - Mar
2012 Vol 5 Oct - Dec
2012 Vol 4 Aug - Sep
2012 Vol 3 May - Jul
2012 Vol 2 Mar - Apr
2012 Vol 1 Jan - Feb
2011 Vol 3 Jun - Aug
2011 Vol 2 Apr - May
2011 Vol 1 Jan - Mar
2010 Vol 5 Nov - Dec
2010 Vol 4 Sep - Oct
2010 Vol 3 Jun - Aug
2010 Vol 2 Sep - Oct
2010 Vol 2 Apr - May
2010 Vol 1 Jan - Mar
2009 Vol 4 Aug - Sep
2009 Vol 3 Jun - Jul
2009 Vol 2 Apr - May
2009 Vol 1 Feb - Mar
2008 Vol 5 Oct - Dec
2008 Vol 4 Aug - Sep
2008 Vol 3 Jun - July
2008 Vol 2 Apr - May
2008 Vol 1 Feb - Mar
2007 Vol 5 Nov - Jan
2007 Vol 4 Aug - Oct
2007 Vol 3 Jun - Jul
2007 Vol 2 Apr - May
2007 Vol 1 Feb - Mar
2006 Vol 5 Oct - Nov
2006 Vol 4 Aug - Sep
2006 Vol 3 Jun - Jul
2006 Vol 2 Apr - May
2006 Vol 1 Feb - Mar
2005 Vol 6 Dec - Jan
2005 Vol 5 Oct - Nov
2005 Vol 4 Aug - Sep
2005 Vol 3 Jun - Jul
2005 Vol 2 Apr - May
2005 Vol 1 Feb - Mar