{"id":164192,"date":"2023-05-05T10:55:39","date_gmt":"2023-05-05T14:55:39","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=164192"},"modified":"2023-05-05T11:34:43","modified_gmt":"2023-05-05T15:34:43","slug":"movie-math","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/05\/05\/movie-math\/","title":{"rendered":"Movie Math"},"content":{"rendered":"
\"\"<\/a>

Sauvagette, CC BY-SA 4.0<\/a>, via Wikimedia Commons<\/a>.<\/p><\/div>\n

I love movie math. I love microrationalizing macroabsurdities, laser-focusing on hyperspecific justifications. <\/span>13 Going on 30 <\/span><\/i>is a perfect proof. Once upon a time, it\u2019s Jennifer Garner\u2019s (Jenna\u2019s) thirteenth birthday. She wishes she were thirty, she claims to her mom, having read a <\/span>Poise<\/span><\/i> magazine article touting the thirties as the prime of one\u2019s life. \u201cYou\u2019ll be thirty soon enough,\u201d says her mother\u2014and indeed, if Mom had known the film\u2019s title, she might have clocked just how prescient she was. Jenna\u2019s invited the popular clique, the Six Chicks, over for her birthday, despite the truth bomb from the boy next door, Matty, that \u201cthere can\u2019t be a seventh sixth chick. It\u2019s mathematically impossible.\u201d The Chicks trick Jenna into \u201cseven minutes in heaven,\u201d that is, waiting blindfolded in a closet for a kiss (that never comes). When she realizes she\u2019s been duped, she desperately chants the mantra she learned from <\/span>Poise<\/span><\/i>: \u201cThirty, flirty, and thriving.\u201d By law of rhyme and the rule of threes, exactly thirteen minutes in, counting the opening credits, Jenna falls out of bed in her sprawling Fifth Avenue apartment. \u00a0<\/span><\/p>\n

At thirteen, Jenna\u2019s too early for everything: a retainer around her top teeth, tissue paper stuffed down her shirt to make breasts. At thirty, she\u2019s already running late. Jenna tumbles into a waiting car; ten minutes later, she\u2019s in a meeting for the editorial job she didn\u2019t know she had thirty seconds earlier. The boss, with chin hair plucked into a devil goatee, pins up fourteen nearly identical magazine covers: <\/span>Poise<\/span><\/i> and its rival <\/span>Sparkle <\/span><\/i>are <\/span>side by side. June\u2019s <\/span>Poise<\/span><\/i> features Jennifer Lopez\u2019s ten secrets; <\/span>Sparkle<\/span><\/i>\u2019s got her eleventh.\u00a0<\/span><\/p>\n

Math goes on. Manhattan-Matty and Jenna reunite, only for Jenna to discover that she\u2019s been shitty to Matty in the seventeen-year blackout interim. There\u2019s impossible real estate math: they live blocks away from each other, he in the Village with a sunken living room and a backyard, she near Union Square with a walk-in shoe closet. Even for 2004, the salaries don\u2019t add up to a down payment on a fourth of one of them.<\/span><\/p>\n

Time, like movie math, is bouncy: business day, lunar month, fiscal year. (I recently got into an argument about the existence of a \u201cbusiness week.\u201d I argued pro: fourteen business days equals two business weeks.) I first watched <\/span>13 Going on 30 <\/span><\/i>on a plane, flying backward in time. Now, I\u2019m thirty-four going on seventeen. For the past five years, I\u2019ve been teaching at the university where I did my undergraduate degree, but this is my last month there for the foreseeable future. It\u2019s spring, so campus is getting ready for reunions. It\u2019s a reunion off-cycle year for me\u2014year thirteen\u2014but Princeton\u2019s reunions are famously a cosmic wormhole; even those of us who don\u2019t believe in anything go into a New Jersey fugue state for a weekend that\u2019s actually three days but one night. But in movie math, this all totally tracks: micro-obsessing over minutes lets you leap out of the frog-march of linear progression.\u00a0<\/span><\/p>\n

\u2014Adrienne Raphel<\/b><\/p>\n

First Reformed<\/span><\/i>, Paul Schrader\u2019s portrait of a small-town pastor suffering a crisis of faith, is also a story about equations, summations, and calculations of all kinds. I saw Schrader present the film recently at Metrograph, where I also started Archway Editions\u2019s recent <\/span>print publication of the screenplay<\/span><\/a>, plus a reissue of <\/span>The Transcendental Style in Film<\/span><\/i><\/a>, <\/span><\/i>Schrader\u2019s seminal 1972 work of film criticism. The two books, taken together, are a kind of blueprint or formula for the movie itself\u2014or maybe more like print transubstantiations of it. <\/span>First Reformed<\/span><\/i>, <\/span>appropriately,<\/span> is a movie structured around the Book. But it is also about math: \u201cI will keep this diary for one year, twelve months, and at the end of that time it will be destroyed,\u201d Reverend Toller says in the voice-over that opens the film. The plot proceeds by a string of numbers. 250: years that the eponymous Dutch church has been in operation; 2050: the year that we will no longer recognize the Earth as our own; 2,500: grams of Semtex wired to an ecoterrorist\u2019s suicide vest (\u201cHamas-style,\u201d according to the screenplay); $<\/span>85,000: the charitable contribution made by BALQ Industries, a paper manufacturer, to First Reformed\u2019s semiquincentennial Reconsecration celebrations; 22,978,929: the quantity of greenhouse gas emissions that make BALQ a Top 100 Polluter.<\/p>\n

Schrader\u2019s claustrophobic, calendrical pacing heightens the sense that our 113 minutes of runtime are a kind of countdown to the capital-E End. His characters suffer from a similar fate: Michael, one of Toller\u2019s flock, is thirty; his wife, Mary, is in her second trimester. By his calculations, at age thirty-five, their daughter will be alive in a world that is \u201cunlivable.\u201d How, Michael asks his pastor, can one sanction such a pregnancy? Toller\u2019s own son is already dead; following a \u201cpatriotic family tradition,\u201d after Bush\u2019s war on terror, and at his father\u2019s urging, he\u2019d enlisted in Iraq. \u201cThere was no moral justification for this conflict,\u201d a repentant Toller says of that war. \u201cMichael, whatever despair you feel at bringing a child into the world cannot equal the despair of taking one out of it.\u201d Toller himself, alcoholic and periodically puking blood between diary entries, spends the movie avoiding the doctor\u2019s appointment that might put an end date on his own life.<\/span><\/p>\n

The movie is a study in a series of symmetries. Everything important arrives as symbolically doubled, first within the world of the film, then again, invisibly, in the much older story that haunts both Toller\u2019s consciousness and Schrader\u2019s script: if characters are often foils for each other, they are also incarnations of Biblical ones. If the pink Pepto-Bismol that Toller pours into his whiskey recalls an oil spill, it is also the blood of Christ. The brilliance of <\/span>First Reformed <\/span><\/i>is in the speed and grace with which these equivalences are formulated and then, just as quickly, dissolved. A (Christian) life, the film concludes, is not mathematical. Life cannot be counted, proven, or justified. People like to say that Jesus died when he was thirty-three; actually, according to historians, we don\u2019t know for sure\u2014he could have been thirty. Or thirty-six. And the Bible doesn\u2019t give a number at all.\u00a0<\/span><\/p>\n

\u2014Olivia Kan-Sperling, assistant editor<\/b><\/p>\n","protected":false},"excerpt":{"rendered":"

Adrienne Raphel on 13 Going on 30 and Olivia Kan-Sperling on First Reformed.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[67827,9741,883,68661],"class_list":["post-164192","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-featured","tag-paul-schrader","tag-staff-picks","tag-transcendental-style"],"acf":[],"yoast_head":"\nMovie Math by The Paris Review<\/title>\n<meta name=\"description\" content=\"May 5, 2023 \u2013 Adrienne Raphel on 13 Going on 30 and Olivia Kan-Sperling on First Reformed.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2023\/05\/05\/movie-math\/\" \/>\n<meta property=\"og:locale\" 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