{"id":3907,"date":"2024-05-28T10:00:11","date_gmt":"2024-05-28T09:00:11","guid":{"rendered":"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3907"},"modified":"2024-05-17T09:40:41","modified_gmt":"2024-05-17T08:40:41","slug":"pennies-from-heaven-resilience-in-the-time-of-covid","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/medical-humanities\/2024\/05\/28\/pennies-from-heaven-resilience-in-the-time-of-covid\/","title":{"rendered":"\u201cPennies from Heaven\u201d: Resilience in the Time of Covid"},"content":{"rendered":"

\u2018Back Home\u2019 (Sara Shazli, Egypt, 2021)
\n<\/strong>Film Review by Professor Robert Abrams, Emeritus Professor, Weill Cornell Medicine, New York <\/strong><\/p>\n

\"Abrams,
Father and daughter enjoying a moment by the sea.<\/figcaption><\/figure>\n

 <\/p>\n

As with all good art, the film Back Home<\/em> can offer rewards from more than one perspective, but to this viewer the film is chiefly the portrait of a resilient older man who employs self-deprecating humor as a defense against adversities beyond his control. The main character (the director\u2019s father, Nabil Shazli) is fortified not only by his gently mocking humor, but also by the intergenerational support he gives and receives from his family, and the privileges associated with wealth and abundance. These factors, individually and together, prove to be effective remedies against the exigencies of aging and the threats to health brought on by the looming Covid pandemic. \u00a0In this exceptional context, Back Home <\/em>delivers sobering life lessons with a deadpan touch.<\/p>\n

The story, a documentary, begins as a twenty-something year-old woman (the film\u2019s director, Sara Shazli) flies \u201cback home\u201d after years of living abroad.\u00a0 She is returning to Cairo to be with her family as the Coronavirus pandemic is becoming increasingly dire in 2020.<\/p>\n

In the first scene upon her arrival, she and her father, a man in his 70s, are discussing how to divide up a bottle of beer, a strange gluten-free quinoa brew from Peru that the daughter has brought home from her travels. Her father, laughing, pronounces it \u201cgood for my cancer.\u201d \u00a0They agree that, as a better fit with the times, the brand of the beer ought to have been \u201cCorona.\u201d The background music in this scene is \u201cPennies from Heaven,\u201d sung by an unidentified baritone who sounds like Louis Armstrong.\u00a0 In this place and at this time, the lyrics of the song imply that the seeming misfortune of rain will bring unexpected rewards, if only one is able to recognize them.<\/p>\n

The majority of the film takes place in the family\u2019s apartment high atop Cairo, a spacious dwelling with big windows overlooking the pandemic-muted activity of the city.\u00a0 There, the father carries on a continuous conversation, mostly with his daughter, and sometimes with himself alone.\u00a0 His tech-obsessed DJ son says little but contributes danceable music.<\/p>\n

The banter led by the father is filled with what might appear to be inconsequential details\u2014what to eat, when to eat it, and how to prepare it (\u201cthe garlic always goes in last\u201d).\u00a0 Should he have a nap in the afternoon and then a light supper before bed, or not?<\/p>\n

But he knows how trivial this must sound to others, including to the omnipresent camera, and soon their unnatural confinement becomes a family joke.\u00a0 So, he continues, now facetiously: Should he go to the bathroom from the living room, or start in the living room and then proceed to the bathroom?\u00a0 Everything\u2019s a \u201cmaybe.\u201d<\/p>\n

The topics of discussion between father and daughter also include her future.\u00a0 What will their relationship be like after she marries?\u00a0 They will naturally have less time together, but the father reassures her that a week now and then would suffice, adding drolly that she will surely want to get away from her husband from time to time; and by the way, he would greatly enjoy babysitting.<\/p>\n

Eventually the inability to breathe \u201coutdoor air\u201d begins to grate on him.\u00a0 He announces, to the alarm of his daughter, that he intends to go outside, promising to seek out only sparsely visited areas near the water\u2019s edge.\u00a0 His daughter insists that he absolutely cannot do so because of his age and vulnerable state of health; and in a near-panic she telephones her mother, beseeching her to call him and forbid him to leave the house (\u201cHe\u2019s making plans!\u201d).\u00a0 But to all this her father responds with unworried resignation, insisting that he\u2019s had a good life, and if he dies now, it would hardly be tragic.\u00a0 One senses, though, that he is in fact deriving satisfaction from the expressions of concern he has elicited from his wife and daughter.<\/p>\n

The camera also follows the father as he tours a cemetery, casually considering the location to be chosen for a family crypt. It is never confirmed that he has cancer, or if he has contracted the virus, but the prospect of death has no sting for him as long as the family will ultimately be together.<\/p>\n

In the end the father offers an extended prayer in which he first thanks God for his successes in business. \u00a0His relative wealth has clearly contributed to the family\u2019s well-being throughout the crisis, and in that sense \u201cpennies from heaven\u201d may not be entirely metaphoric. He then gives thanks for his lifelong sexual prowess, emphasizing his personal resilience in a characteristically wry manner.\u00a0 Remarkably, the blessing also includes an expression of gratitude for his freedom from envy.\u00a0 This man\u2019s absence of envy is an addition to the prayer that at first seems puzzling, but after a moment\u2019s thought goes far toward explaining his ability to sustain loving relationships, support emotional balance, and extract pleasure from everyday life, outcomes to be desired in a global existential crisis, or under any circumstances at all.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018Back Home\u2019 (Sara Shazli, Egypt, 2021) Film Review by Professor Robert Abrams, Emeritus Professor, Weill Cornell Medicine, New York   As with all good art, the film Back Home can offer rewards from more than one perspective, but to this viewer the film is chiefly the portrait of a resilient older man who employs self-deprecating […]<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":345,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[206],"tags":[15099],"class_list":["post-3907","post","type-post","status-publish","format-standard","hentry","category-film","tag-film-review"],"yoast_head":"\n\u201cPennies from Heaven\u201d: Resilience in the Time of Covid - Medical Humanities<\/title>\n<meta name=\"description\" content=\"Professor Abram Roberts reviews Sara Shazli's Back Home in today's film review.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/blogs.bmj.com\/medical-humanities\/?p=3907\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cPennies from Heaven\u201d: Resilience in the Time of Covid - 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