The Idea of an Essay, Volume 3

Analysis & Response 87 exploration of grief, love, and forgiveness. He explains “ Letters to Father Jacob is a parable of grace—grace that is unstoppable, finding its way in through the cracks, whispering and guiding, and finally, smashing down walls of hurt and shame.” Douglas does not see Letters to Father Jacob as a feel good movie; he recognizes the emotional war between guilt and forgiveness raging inside of Leila and Father Jacob. He empathizes with Leila’s “hard-nosed” attitude and Jacob’s blindness by trying to understand their feelings of shame, want of acceptance, and need for love. Douglas investigates both the characters with depth. He analyzes Leila’s obstinacy and Jacob’s delicacy with objectivity as he considers the perspectives of Leila, Jacob, and the viewer. Douglas’ greater empathy for Letters to Father Jacob outdoes Catsoulis in perceiving the plot’s and character’s depth. Douglas investigates Leila’s transformation from resentment to acceptance, seeing what Härö intended to communicate about the power of forgiveness; Catsoulis seems to care only about entertainment value. Catsoulis ends her review saying, “ Anyone looking to kill 74 minutes between the early-bird special and bingo could do a great deal worse.” Catsoulis implies that Letters to Father Jacob is average at best and is meant for the sentimental and elderly. Her review barely dips into the sea of meaning Douglas finds in the movie. Douglas is open-minded to the movie message saying, “The film is rich in themes of forgiveness, of sharing burdens, and of letting go of ravenous guilt.” By analyzing the plot and characters, Douglas has a meaningful thoughts to share on the themes of overcoming guilt and accepting forgiveness. He also takes what Härö has to say about themes of faith of faith and forgiveness into account. Härö says he “hoped to make a film that would portray faith in a warm and genuine manner. I wanted to tell about us, the average people, in need of mercy and forgiveness for our daily shortcomings.” Douglas’ open-minded examination of the art of film leads to him articulating meaningful thoughts on Leila’s transition from resentment to forgiveness and Härö’s intentions for Letters to Father Jacob. Despite their initial concurrence on Letters to Father Jacob ’s aesthetic cinematography and acting, Catsoulis and Douglas do not