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    Just grainy film clips & that wonder music

    Losing sight of John Lennon, the man: Reflections on his 70th birthday

    Jim Beviglia
    Oct 9, 2010 | 1:57 pm
    • John Lennon has been dead for 30 years and the memory of the man (butthankfully, not the music) is being lost.
    • We know how the other Beatles like Paul McCartney turned out. The wonder willalways be around John.
    • My older brother bought The Beatles Greatest Hits 1962-1966 the day after JohnLennon was killed.

    I didn’t become aware of John Lennon until after he died. You see, I was just an 8-year-old kid in 1980, and The Beatles were just a vague presence flittering across my Dad’s AM radio in the car.

    The day after Lennon was killed, my older brother bought The Beatles Greatest Hits 1962-1966. By the next morning, I had memorized the lyrics to every song on the record, and my love for John’s music was born.

    It’s important to note that I only know of Lennon in retrospect, because that’s probably the case for most of the people within my generation. I can’t ever know what Lennon was like within the context of his times, and that always presents a barrier for truly understanding what he was all about.

    That’s not the case for the other three Beatles, because I have watched them closely ever since that day when I played that record over and over. I could form my own opinion of what made them tick, even as that view was ultimately filtered by whatever media was presenting them to me. There’s Paul, eager-to-please and perpetually chugging ahead in the face of tragedy and turmoil, even as his nostalgia for the past and his faith in rock ‘n’ roll never wavers; Ringo, the quick wit and amiability belying the soulful sadness for lost friends and his interrupted band that’s undeniable even behind the sunglasses; and George, wary and bruised by fame, yet clear-eyed about his legacy and, ultimately, the picture of dignity in his final moments.

    John Lennon, as a person, will always be to me just grainy film clips and fuzzy sound bites and other people’s words. I’ve read more than a few biographies on John and the band, and I can draw as many conclusions as I want from those, but it’s ultimately like the telephone game you play as a kid. It’s impossible to fully trust even the worthiest of sources more than genuine experience.

    Although John’s 70th birthday is upon us, rife as it is with celebrations and reissues of his music, it’s the fact that 30 years have passed since his death that looms large over how he is viewed today. It becomes increasingly more difficult to separate the man from his achievements as time churns forward. Most of those who know are facing their own twilights, while we, the ones now in charge of teaching his legacy to an even younger generation (as I try to teach it to my own daughter) are largely ignorant of the full truth.

    Luckily, John Lennon left us with the consolation of his music, which allows us to fill in the gaps as we see fit. Lennon wasn’t the most artful or elegant songwriter, but he was, without a doubt, the most resonant.

    Even though what he wrote was intensely personal and, especially in his solo years, extremely autobiographical, his words reside in the deepest hearts of multitudes of people. His messages were fearless in their directness and simplicity, unfettered by any agenda or concerns of how they might be perceived by the cynical. As trite as it may sound, he really was trying to make the world a better place with the tools he had at his disposal, and his battles with his own frailties as he made that attempt kept him always at the level of his fans.

    People are fond of guessing about how his life might have progressed had tragedy not intervened, what kind of music he might have made, etc. But, as John himself was fond of bluntly reminding the Beatlemaniacs who couldn’t let go, we do have all the old records. And those records are not only brilliant, but they are also infinitely malleable, capable of filling in the gaps of our own lives.

    For example, when my Dad died suddenly in 1982, “Watching The Wheels”, Lennon’s ode to his hard-earned domestic bliss that was, of course, interrupted by his own death, held an almost unbearable poignancy for me. As I struggled through my teenage years with the loneliness of feeling that no one else really understood me, I clung hard to the lines “No one I think is in my tree/I mean it must be high or low”.

    When I unexpectedly became a father to an amazing little girl seven years ago, “Life is what happens to you/While your busy making other plans” hit home with an almost comical accuracy.

    A few years later, I stumbled upon the girl who provided the romantic happy ending that I never thought was in the cards, and “In my life, I’ll love you more” suddenly made perfect sense. And now, surrounded by more love that I could ever have fathomed, my lifelong faith in “All You Need Is Love” has been rewarded.

    I think it’s safe to say that most John Lennon fans have this kind of circumstance-specific attachment to his songs. Even though he is not around to bemuse, bewilder, challenge, and, yes, maybe even frustrate us with his deeds and words in the current time, even though he cannot add anything more to his musical legacy, we shouldn’t really feel robbed in any way.

    His music, with all the guidance, solace, inspiration, and joy it provides, is always right there for us to access as we go riding on the merry-go-rounds of our own lives. We can’t bring him back, so it’s all we’ve got.

    It’s enough.

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    Movie Review

    Reminders of Him taps into grief, grace, and the power of moving on

    Alex Bentley
    Mar 13, 2026 | 10:30 am
    Maika Monroe and Tyriq Withers in Reminders of HIm
    Photo by Michelle Faye / Universal Pictures
    Maika Monroe and Tyriq Withers in Reminders of HIm.

    Texas author Colleen Hoover has gone from being a popular writer to a full-on celebrity in the 2020s. The new film Reminders of Him marks the third adaptation of her books in just 19 months (a fourth, Verity, is scheduled for release in October 2026). All of her books that have been adapted so far — most notably It Ends With Us — are female-led stories that feature elements of romance and trauma, catnip for studios looking to appeal to the underserved demographic of women.

    Leading the way in this film is Kenna Rowan (Maika Monroe), who returns to her hometown of Laramie, Wyoming after spending years in prison for killing her boyfriend, Scotty (Rudy Pankow), in a car accident. That relationship resulted in a daughter, Diem (Zoe Kosovic), whom Kenna gave birth to while imprisoned and is now being raised by her grandparents, Patrick (Bradley Whitford) and Grace (Lauren Graham).

    Yearning to be a part of Diem’s life, Kenna tries to reconnect with Patrick and Grace, only to be rebuffed by Scotty’s best friend, Ledger (Tyriq Withers), a former NFL player who now owns a local bar. In running interference, Ledger starts to become closer to Kenna, discovering that her tragic mistake shouldn’t be the only thing that defines her.

    Directed by Vanessa Caswill and written by Lauren Levine, the film features mostly surface level examinations of its themes and average performances, yet it winds up being effective thanks to a willingness not to rush through its storytelling beats. The filmmakers take the slow and steady approach toward the coupling of Kenna and Ledger, setting up their bond through a series of heart-to-heart conversations that makes any romance feel earned.

    The majority of the focus is on Kenna reclaiming her place in the world, and on Ledger coming to terms with the fact that the person who killed his best friend is not inherently a bad person. The film definitely could have gone deeper in its explorations of grief and anger, but the sheer amount of time it takes in addressing the characters’ doubts and fears turns out to be sufficient for a film that’s not aiming to be considered a dramatic masterpiece.

    It also helps that Caswill and Levine do a solid job of establishing the variety of characters that inhabit the film. Kenna and Ledger don’t always feel like fully-formed people, but they become so through their interactions with each other and the other townspeople. Lady Diana (Monika Myers), a girl with Down syndrome who lives in Kenna’s apartment complex, and Roman (Nicholas Duvernay), Ledger’s co-worker at his bar, help to broaden the appeal of the two leads.

    Monroe has, to this point, been best known for starring roles in horror films like It Follows and Longlegs. While she does somewhat well in this role, her delivery is often more flat than you’d expect for a character going through what she does. Withers thankfully doesn’t remind viewers of his recent bomb Him, demonstrating a crossover appeal that should serve him well in the future. Whitford and Graham don’t get to do much, but their combined experience gives their roles exactly what is needed.

    It may sound like damning with faint praise, but Reminders of Him is a competently made film that knows how to serve its core audience without insulting anyone who may not automatically be all-in for such a story. The filmmakers don’t try to force any of the key moments down the audience’s throat, and that stands out in a genre that’s not always known for its subtlety.

    ---

    Reminders of Him opens in theaters on March 13.

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