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Evansville, Indiana
November 27, 1987     The Message
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November 27, 1987
 

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0 The Message -- for Catholics of Southwestern Indiana Entertainment III i On the Record By CHARLI]g MARTIN NC News Servioe Columnist Life not meant to be lived as November 27, 1987 It's a Sin When I look back upon my life/It's always with a sense of shame/I've always been the one to blame. REFRAIN: For everything I long to do No matter when or where or who Has one thing in common too It's a It's a It's a It's a sin It's a sin Everything I've ever done Everything I ever do Every place I've ever been Everywhere I'm going to It's a sin It's a sin At school they taught me how to be/So pure in thought and word and deed/They didn't quite succeed. REPEAT REFRAIN Father forgive me/I tried not to do it/Turned over a new leaf/Then tore right through it/Whatever you taught me/I didn't believe it/Father you fought me/'Cause I didn't care/And I still don't understand. So I look back upon my life/Forever with a sense of shame/I've always been the one to blame. Recorded bythe Pet Shop Boys People who do so are forgetting the power of God's Writtn by Tonnant, L owe : forgiveness. Copyright {c) 1087 by lO Music Ltd. and Cage Music. Published in United States and Canada by Virgin Music Inc. The Pet Shop Boys' "It's a Sin" has been No. 1 in eight different European countries. Now this hit is climbing the U.S. pop charts. The song describes a person feeling like a failure and full of shame. In his judgment, little that he has done in life has been morally right. His statements also seem to reflect a sense of hurt and anger. He rebels against a standard that would label everything a "sin." It is difficult to tell from the song whether the individual is ex- pressing true remorse or frustration and sarcasm focused against those who judge so harshly. Whatever the point of the song, each of us lives with the consequences of our actions. We need to think about how we are living. There are guides that can help us discover how we are doing. The feeling of guilt, for exam- ple, can be an indication that an action conflicts with our value system. However, we are not meant to live with the sense of guilt and shame expressed in the song. Some people feel great hurt and shame over past mistakes, carrying these feelings inside like a weight slung over their shoulders. Living like this robs people of the joy that life holds. Moreover, it uses up a great deal of energy that could be used for more constructive purposes. In our church, we are privileged to have the sacrament of penance. God's forgiveness is free to all who seek it. , This sacrament also gives us a way to talk to another human being about what we have ex- perienced. In times of deep hurt, most of us need the healing touch and words of someone who manifests God's power of forgiveness. Life is not meant to be lived as described in the song. Most of life is not sin, but grace, that is, the opportunity to bring out the best in ourselves and to appreciate who we are. If you are burdened by a sense of shame and guilt, God invites you to live much differently. Ac- cept his healing and forgiveness and go on to live in a freer, more satisfying way. Your comments are welcome always. Please address them to: Charlie Martin, I218 S. Rother- wood Ave., Evansville, Ind. 47714. Copyright (c] 1987 by NC News Service i i i ii i "Cry Freedom' is story of S. African black leader Biko " By HENRY HERX USCC Dept. of Communication NEW YORK (NC} -- "Cry Freedom" (Universal) is about Steve Biko, a black leader ' whose brutal death while in South African police custody helped rouse the conscience of the world to protest the govern- ment's policy of apartheid and its repressive systematic racism. Bike's story is told by Donald Woods, a white newspaper editor who escaped from South Africa with evidence showing the government's explanation that Biko died from a hunger strike was a lie. The result was an official inquest which revealed that Biko had died of cerebral injuries inflicted by repeated beatings but which af- fixed no blame to anyone for what amounted to murder. The movie intends to demonstrate the enormity of the means used by a minority government to oppress 90 per- cent of South Africa's popula- tion. It begins with the 1975 ar- my attack and subsequent bulldozing of a large squatters town known as the Crossroads. It ends with the 1974 police massacre of 700 students in Soweto. Both are done with documentary-like intensity and are emotionally wrenching. The main course of the story, however, is devoted to showing how a white South African came to understand that such abuses could not be ended simply by reforming the system which needs change. The movie's point of view, then, is that of a journalist reporting what he has seen and learned. In doing so, the h,r- rative becomes more the story of the radicalization of a white liberal than that of a pragmatic black leader trying to create dignity and unity among his subjected people. There is no question that Woods' story is an interesting, indeed, courageous one, filled with perilous tension as he is targeted by the regime. The growing pressures on him end only with his escape, disguised as a Catholic priest, and com- municated with classic clif- fhanger suspense. His plight evokes extra sympathy because his wife and five children are bound up within it. As played by Kevin Kline, Woods is entirely convincing as an editor who is given to balan- cing his criticism of Pretoria's white racism with that of what he perceives as Biko's black racism. Challenged to find out what Biko really stands for, Woods meets him and is even- tually won over by his efforts toward cooperation rather than confrontation with whites. Denzel Washington is so good in the Biko role that one wishes the movie had concen- trated on him rather than Woods, who serves as his inter- preter to the world. Biko, an or- phan educated in a Catholic mission school, is intelligent and articulate -- a charismatic figure that the movie only par- tially develops, leaving one desirous of knowing more about him and his political philosophy. Unlike his flawless narrative in the historical account of Gan- dhi, director Richard Atten- borough has sacrificed the logic of sequential development for flashbacks as needed to il- lustrate Woods' gradual change from objective observer to com- mitted activist. In the movie "Cry Freedom," Donald Woods (Kevin Kline) is among the few whites present at Stephen Biko's funeral. --Copyright (c) 1987 Universal City Studios Inc. All rights reserved. ADMITTEDLY it is not easy dealing with a current con- troversial issue facing the world community. Where Atten- borough has succeeded well is in evoking winning perfor- mances from leads and suppor- ting players, convincing dramatic re-creations of events and the climate of fear by which the Pretoria regime rules. Much of Attenborough's treatment is dramatically right. For instance, by choosing not to show the police beatings of Biko (he is only shown being brought into the interrogation ceils), the details are left to the imagination. The result of the brutality is much more telling. A police doctor informs the guards that their prisoner needs immediate hospital attention and they cruelly transport him 200 miles to a police clinic in a bouncing van. Because the movie's con- siderable violence, physical and psychological, is well in- tegrated within the context of a theme of social injustice, the U.S. Catholic Conference classification is A-II -- adults and adolescents. l! I I I I I | "eoO (t . 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