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WHAT CAN ONE PERSON DO?


 

The question returns like an old echo in the walkways of the human soul: What can one person do? Not shouted in defiance, but whispered in weariness. I have heard it too often—posed by good men and women who find themselves overwhelmed by the world’s harshness, dismayed by its injustices, and perhaps most hauntingly, paralysed by the fear that they are too small to make any dent in its great, groaning machinery.

 

There is a peculiar despair that afflicts the modern man—what psychologists might call learned helplessness, but what I believe is more accurately a poverty of imagination. The world has taught us, relentlessly, that only the grand matters—the institution, the influencer, the revolution. And yet, history teaches the opposite: that evil creeps not by armies alone but by the silence of the good; that hope is often kindled not by thunder, but by a candle lit in an unseen room.

 

It was on such a reflection that I wandered one warm afternoon with my youngest cousin through the polished marble halls of a luxury mall. As the harsh sun gave way to a gentler dusk, the air of London turned cool and almost forgiving. We stopped to purchase shoes at Salvatore Ferragamo and were soon swept into coffee and conversation with two of his classmates.

 

The boys—young, intelligent, talkative—rambled through a litany of modern passions: cars, algorithms, championships, and boasts. My cousin was largely silent. But I have come to understand that silence is not always the absence of thought; more often, it is the presence of discernment. He, unlike many, did not need to prove his presence by volume.

 

My cousin is a paradox of the sort that modern psychology rarely accounts for: a soul both rooted and free. He is possessed of a strong body, sharpened by athletics and discipline, and yet governed by a tender spirit—one capable of laughter, of kindness, and of clarity. He will enter a rugby field with bruising force, and emerge bloodied but calm, speaking to me not of pain, but of joy. And even when I—driven by the anxious love of an older brother—scolded him for such recklessness, he placed his hand on my shoulder and said gently, “I understand, big bro. But the game is such, and I’ll be careful next time.”

 

Now, it may seem a small thing, this restraint, but it reveals something of greater import. In a world intoxicated with self-expression, he possesses self-possession. He does not argue when he can persuade with peace. He does not boast, for he knows who he is.

 

And on that same afternoon, I watched him do something simple, yet infinitely telling. Two elderly women were struggling up the ramp toward the café. He rose instantly, moved his chair aside, and gestured for them to take our table. They declined with warmth, but the gesture lingered. His friends, however, scoffed.

 

“Only pansies behave courteously,” said one.

 

I saw my cousin smile—not in scorn, but with the gentleness of one who sees through the smoke of bravado. “What if she were your grandmother?” he asked.

 

“She wasn’t,” they retorted.

 

No argument followed. Only a silence, which he accepted without resentment. Later, he confided in me, “I don’t mind the jokes, big bro. It’s the fear behind them that saddens me. They are afraid of seeming weak. But they don’t see that goodness is not weakness—it’s strength disciplined by love.”

 

And there it was—the answer. The very answer I had been seeking, not for my diary or my article, but for myself. We often look for wisdom among grey beards and gilded titles, but sometimes, it comes from the mouth of one ten years your junior, holding a glass of orange juice with the serenity of a monk.

 

He spoke further. “I think,” he said, “if I were a doctor during a plague, I would feel heartbroken that I couldn’t save them all. But I would still do what I could for the few I could reach. That’s enough, isn’t it?”

 

It is. And this, I think, is where we most deeply err—not in our lack of action, but in our false belief that only large actions matter. Yet our Lord Himself, in that oft-forgotten parable, did not commend the man who ruled nations, but the one who offered a cup of cold water in His name. There is no scale of value in the moral life—only faithfulness.

 

Philosophy has long debated the concept of agency—how much we are truly able to will and act upon the world. Modern determinists would say we are but the sum of cause and effect. But I have never yet seen a deterministic explanation that could account for love, or for courage. When my cousin offered his chair, he defied the world’s economics. He gained nothing. He acted not from strategy, but from character.

 

And herein lies the great mystery: character is not formed in public, but in secret. It is not taught by lectures, but by example. And though it may go unnoticed, it is never insignificant. One person of integrity, acting with quiet courage, is a lighthouse to many in stormy waters.

 

As we walked to the car that evening, I wrapped my arm around him, not merely as a brother, but as a fellow pilgrim. I saw in him the union we all desire—to be modern, yes, but not rootless; to be bold, but not callous; to be joyful, and yet grounded in something ancient and good.

 

Many who read this may prefer tales of celebrity, actors or athletes adorned with fame. But I, for one, find more hope in the untelevised gestures of ordinary people whose goodness is not performed, but lived. My cousin is no saviour. He knows, with the humility of true strength, that he cannot redeem the world. But he speaks when he must. He listens when he ought. And he acts when others pause in indifference.

 

This is what one person can do. They can be a moral compass in a drifting age. They can remind us that though we cannot do everything, we must not, therefore, do nothing. In a world growing ever louder, they can keep a quiet fire burning.

 

And for those still waiting for the right time, the perfect audience, the grand platform—perhaps you need none of these. Perhaps all that is required is to speak, when truth calls; to act, when kindness urges; to live, in such a way that someone else watching might dare to do the same.

 

For though we are small, our choices are not.

 

And the world, in the end, is changed not by the great events, but by the great souls who live quietly among us, choosing the good because it is good—even when no one is watching. For it is always the smallest lights that pierce the darkest nights.

 

 

Picture: Portrait of Two Friends by Italian artist Pontormo, c. 1522

 

 



Love Me - 2012



Love Me could very well be mistaken for something like the umpteen teenage movies to hit the screens, except that this one is nothing like any of those for the sole reason that it doesn’t try too hard to make the characters lovable like most such movies with similar subjects try to enforce upon the audience. Here, the characters play out the feelings that any adolescent might be going through while progressing through that discerning and trying phase of their lives, add to that the plotline of three months having passed since the disappearance of Melissa Kennedy in the town of Ridgedale where the suave, silent and sweet Lucas Green (Jamie Johnston) is the lead suspect in her vanishing. Whilst we are being familiarised with the soft and dashing Lucas, enters the strong and nearly mannish Sylvia Potter (Lindsey Shaw) who, if not anything, harbours unrealistic notions of falling in love with an ‘ideal man’ even as she brushes away the overtures of her childhood friend Harry Townsend (Jean-Luc Bilodeau) who keeps renewing his love for her with regularity. Sylvia stumbles over Lucas’s stretched-out feet at Hampton Prep and feels this instant connection with him. Despite her initial animosity for the guy and warning by her close friends, in particular Dayln (Kaitlyn Leeb) she falls hopelessly in love with him until the mystery surrounding Melissa who was Lucas’s girlfriend when she went missing threatens the entire fabric and tests the waters with these school kids.  



As it trudges along, the lesson that this movie teaches us is about how many times have we not had people who are genuine get mistaken for being ‘arseholes’ when the real arseholes are the ones who go about injuring us invisibly and yet we aren’t smart enough to detect who they are amidst us until it is a bit too late.



Psychology brings to light that when someone intends to lie, consciously or unconsciously, the worded expressions they instinctively take refuge in are ‘trust me’ or ‘frankly’ or ‘believe me’ but when Lucas utters those words ‘trust me’ you are instantly overcome by the emotion that you can blindly trust him since those are not words stemming from the hidden untruths one is trying to cloak, but expressions that are most humbly originating from his soul. What’s more, his dialogues are nearly always supported by the blatant truth: it is as if what’s in his heart is on his lips without any hesitation, and isn’t that how we are all supposed to live – believing in ourselves when we know that we are right, even if the world were to think contrary of it?



People say that pain evokes in us the words that touch hearts, and it is also a presumed norm that the mega rich do not have a heart. What people don’t know is that feelings have nothing to do with ones financial touchstones and Lucas’s character is so well essayed in conjunction to that misconception. I was delighted to watch Jamie: the perfect choice for the role. He doesn’t fail to impress you with the genuine hues he lends to the character. Those hues come from his own experiences owing to the fact that he is quite the rock to those who require his attention in order to make their lives better. I say so because Jamie is someone who besides being an actor, has a natural flair to spread love via his work and is quite the man with a golden heart. He plays in a band, and has helped raise money for a school in Kenya, and it would not surprise me that while we are reading this, he might be planning or even doing something in his own capacity to better this world.


If you have observed closely, what Lucas does at every instant on the screen is confess nothing but the facts to Sylvia, and I didn’t quite appreciate how she distrusts him. In one frame of mind, she gives Harry a piece of her mind about how they could try and understand him rather than judge or talk about him, and in another, she falls a victim of hearsay. Agreed the young are unsure and confused, but the golden rule regardless of age is that you ‘never give up’ on the ones you think you know. True love knows to discern between the real and the fake, and instead of standing by him in a moment of her uncertainty, she fails him rather miserably.



Loneliness makes people do many things. While some take the crutch of addiction to beat their desolation, some become the crutch of others to make sure they never let another feel what they are missing. What I adored is how the character of Lucas has been made to be like the ocean, forgiving and yet festive. Forbearing yet frightened. I appreciated the manner in which he follows his heart (in attaining the peace of mind) by doing what he likes even if it is as simple as writing reviews of the music he loves. That apart, there were some beautiful refinements to this film, for instance when Sylvia asks Lucas what his dad does while she’s exploring about his bedroom, he replies with immense modesty, “He travels a lot.” That is a marvellously delicate method of handling an instance that one normally would use to brag or boast being in the position that he is in the film. It only shows us the maturity of the character regardless of what people surmise of him. It takes wisdom to be able to find peace in oneself, to be able to seek solace in loneliness, and what a brilliant man this Lucas is really. Some have argued with me that his character is a bit too forgiving, but aren’t there many amidst us who are like that: who harbour feelings much deeper, while the majority thinks them to be shallow. The other subtlety I treasured, and many of the teens ought to take heed, is how Lucas doesn’t pursue Sylvia until he has made certain that she and her friend Danny do not share any romantic interest. This might sound a bit trivial to the age that thinks they know everything, but that is a great on-screen display of manners and I only wish the youth, specifically men, could nurture such an attribute in case their innate nature hasn’t genetically yielded them this very quality.

The three glaring flaws I found in this film are:

1 – How Lucas tends to always show up at Sylvia’s classroom. Obviously he had classes of his own to attend.

2 – How the super attentive comic book killer friend Harry cannot hear the car approaching the driveway of the cabin when he is forcibly making Lucas write his suicide note. For a moment one could give him the benefit of doubt that he was a bit too self-absorbed to notice what was happening around him, and yet that explanation holds no good really.

3 – Coming to the largest cavern: the female lead’s character could have been essayed better. It seemed as if writer Kat Chandler was in a bit of a hurry given that her characterisation lacked any range and depth.

When someone turns to you in life and expresses, “You know me better than anyone!” and pleads, “Please, please I am losing it, everything seems to messed up. I don’t have anyone.” you NEVER leave them and walk away by uttering coldly, “I can’t be a part of this.” When somebody reaches out to you earnestly and you fail them, you certainly don’t deserve a second chance, but Lucas being Lucas, forgives even that flaw in the character of the woman he loves, although in reality only a handful are like him, and beware people that not all Sylvia’s would be lucky to get a chance to make up for their stupidity.



The supporting cast was satisfactory in their own unique fashion that added the much warranted flavour to the tale. I only wish that specialists had handled the cinematography and the soundtrack in order to lent it the much necessitated charm and enchantment.



To sum up, the kernel of life is such that each of us gets someone who cares for us in some form or the other, and in an instance of that not happening, we find solace in ourselves by giving to others what we have missed in our lives just like Lucas does. A bow to you, Jamie, to having added verve to such an unpretentious and yet profoundly balanced character because what you have done really is service to mankind since those who follow you ardently will try to mimic your good nature and even if it were to change the outlook of a single person, on screen, or otherwise, I think you would consider it a job well done!