As a film, The Joker is exceptionally good at portraying this sin-ravaged world — a bleak, decadent civilization where the bonds of mutual care have come entirely undone.
To be sure, Springsteenism is an ambiguous religiosity. Springsteen, as Roops pronounces, “knows everything you’ve ever felt … and he can describe it better for you.” His music allows one to see the depth and profundity in ordinary life — to see even father-son conflict as “something as old as time,” as Manzoor says, and to respond with empathy. Springsteen himself is a role model of uncommon decency.
These are gut-wrenchingly difficult communities to consider. And yet their characters, or at least their real-world counterparts, are my neighbors, whom I am called to love and to serve. St. Dominic would have me ask, “What about them is good, true and beautiful?”
The fragmented nature of Knight of Cups is itself a reflection of the protagonist’s fragmented life.
Man does not live on Dostoevsky, or even the Criterion Collection, alone.