To my American readers or those with American friends or family, I wish you all an (early) Happy Thanksgiving on Thursday and a Native American Heritage Day on Friday. It is also Native American Heritage Month here in the U.S. For my post this holiday week, I’m analyzing a film that focuses on, like the name reveals, the soul: Disney/Pixar’s 2020 film, Soul. This animated movie features a diverse voice cast, including Jamie Foxx as Joe Gardner, Tina Fey as 22, Rachel House as Terry, Questlove as Curley, and Angela Bassett as Dorothea Williams. The film earned two Oscars, for Original Score (featuring the musical genius of Jon Batiste) and Best Animated Feature Film. This movie does not technically feature a librarian, landing it in the Class V category, but it includes a library scene as well as a different kind of archives.
Co-written and co-directed by Pete Docter (who also directed 2001’s Monsters, Inc., 2009’s Up, and 2015’s Inside Out), Soul‘s themes explore determinism, often contrasted with “free will,” and what helps shape individual personalities and characteristics. The plot focuses on Joe Gardner, a Black jazz musician and teacher who dies before his “big break” playing with jazz legend Dorothea Williams; in an effort to return to his body in time to realize his jazz-playing dreams, he mentors 22, a soul who resists every opportunity to develop a “spark” and complete the process of being born. There’s more to it than that, and here’s a trailer to provide more context:
At 27 minutes into the movie, Joe takes 22 to the Hall of Everything, in an effort to inspire 22’s “spark.” They walk into a library space — which is totally empty, by the way (sigh) — filled with the outlines of bookcases, a dropped ceiling with fluorescent lights, rolling carts, and a desk with a computer and a hanging sign labeled “Information.” My favorite detail? That the rolling carts have items in them waiting to be shelved. But with no librarian there… who’s going to shelve them?! 😉
Joe: How about a librarian? They’re cool.
22: Yes, amazing. Who wouldn’t like working at a thankless job you’re always in danger of losing due to budget cuts? Though I do like the idea of randomly shushing people.
Joe: Oh, obviously, this —
22: Shhhhhh! Oh yeah, that’s good.
This scene lasts about 10 seconds total. And what an emotional ride those 10 seconds were for me!
Although there is no actual librarian in Soul, we do get to see the archives… of souls! Terry, who is very clearly referred to in the film as the accountant, is trying to figure out why the count of souls is off.
At 18 minutes into the movie, Terry zips off to the archives of souls — which is shown as a vast universe of file cabinet drawers — and starts at the A’s to doublecheck each file and soul, in order to find the one soul unaccounted for.
The archives in Soul reminded me of the archives in Blade Runner 2049 (2017), which I analyzed in this 2018 post. The color palettes are very different, as are the angles, but the vastness of the archival spaces feel similar in scale to me. Below is a side-by-side comparison:
We check in with Terry the accountant a couple more times throughout the movie:
43:32 minutes: Terry has made it to the G’s in the archives. “You’re out there somewhere, little soul, and I’m gonna find you.”
49:49 minutes: Terry holds up Joe Gardner’s file and exclaims, “Found him! See that, everybody! Who figured out why the count’s off?!“
And speaking of souls and how we form our personalities… I don’t think it would come as a surprise to anyone that I do actually picture a card catalog drawer when I think of my own brain. When I have to access a memory or piece of knowledge, I mentally picture flipping through the card catalog of my brain, much like Terry flipping through the archives of souls. And… now we’ve come full circle. 😉
Have you watched Soul? What were your thoughts of the devastating way that 22 summed up the librarian profession? Please leave a comment and share!
This is another post in my “first impressions” series, which focus on current films that I have watched in theaters that include reel librarians and/or scenes in a library or archives. It’s been more than two years since I’ve written a “first impressions” post — the most recent one before this was in June 2019, for ‘John Wick: Chapter 3 – Parabellum’ (2019) and its memorable fight scene in the NYPL‘ — because of, you know, the ongoing COVID pandemic. (Please get vaccinated if you can!) I am still not comfortable going inside a movie theater for 2+ hours to watch a movie with other people, but luckily, we have a drive-in theater nearby, the Rodeo Drive-in. I was sooooo happy they were showing Shang-Chi and the Legend of the Ten Rings (2021) on opening weekend, because (a) I really wanted to see the movie sooner rather than later, (b) I want to support a Marvel movie with a primarily Asian cast, hopefully the first of many, (c) I knew that one of my fave reel librarian characters, Wong, would be making a cameo, which I wrote about earlier this summer here, and therefore, (d) I wanted to write up a “first impressions” post for you all.
Please note: My “first impressions” posts are necessarily less detailed, as I don’t have the luxury of pausing the movie, taking notes, and rewatching scenes. I do, however, take notes as soon as I can after watching the film.
This also marks the fifth (!) time I’ve analyzed a reel librarian, library, or archives scene in a Marvel movie, three of which were “first impressions” posts. These past posts include:
I’m sooooo happy that Shang-Chi and the Legend of the Ten Rings is a certified hit already after smashing Labor Day box office records — and during an ongoing pandemic! It deserves all its accolades and then some. Everything worked in this movie, as it had great balance with drama, action, humor, casting, direction, and special effects. Tony Leung’s performance was particularly epic and grounded this larger-than-life movie in real-world heartbreak.
This tweet really sums up my feelings about the movie, including the final bullet point:
As a White person, I know that I cannot fully comprehend what this movie — and its vision and execution of Asian excellence on and behind the screen — must mean for Asian viewers all over the world. But I do know how much representation and visibility matter, and I know this movie matters. As Vox reporter Alex Abad-Santos stated in a review about the movie, “It’s fantastic at touching upon the Asian American experience, and it’s so buoyant in how it celebrates Asian American culture. I, like [lead star Simu] Liu, would love if we could change the world and smash ceilings and persevere against the nasty stuff — racism, prejudice, hopelessness — that keeps us pinned down. If only it were as simple as buying a movie ticket.”
My husband woke me up on Saturday morning with the news that Wong was trending on Twitter… because reel librarian Wong made not one, not two, but THREE cameos – !!! – in Shang-Chi and the Legend of the Ten Rings. (Plus, we already know that Wong makes a cameo in the upcoming Spider-Man: No Way Home, and of course, he will return in Doctor Strange in the Multiverse of Madness.) It is quickly becoming the Wong Multiverse, and I’m not the only one who is excited about that!
Also, this realization warmed my librarian heart: ❤
Okay, so let’s get into each Wong cameo. And I cannot fully discuss Wong’s cameos without getting into major spoilers, so you are heretofore warned. If you haven’t already seen this movie, then go and watch it!
*MAJOR SPOILERS ALERT*
*MAJOR SPOILERS ALERT*
*MAJOR SPOILERS ALERT*
We good? Let’s go! And by the way, all the movie quotes below are to the best of my recollection. If I need to correct anything, please leave a comment and let me know.
Wong cameo #1
Wong’s first cameo comes in at about 30 minutes into the film, when Shang-Chi and Katy travel to an underground fight ring in Macau, which they later learn is run by Shang-Chi’s sister, Xialing (played by Meng’ er Zhang), who is a total badass. They’re led through the club by Jon Jon (played by Ronny Chieng), who takes them to the main cage fight, where Wong is battling Abomination. Abomination lands a punch on Wong, who shouts, “That hurt! Want me to show you how it feels?” Wong then manifests a couple of sling ring circles so that the Abomination punches himself out!
My favorite part of this scene? The reaction to Wong winning! The crowd erupts and chants Wong’s name. And Jon Jon shouts out the best line in the movie:
Wong! I always bet on Asian.
My second favorite part of this scene? That Wong thinks his way to a victory in the cage fight. Reel librarian role model. 😀
After the fight, we see Wong offering the Abomination some cream to help him heal. Wong then says something like, “Maybe you’ll start controlling your punches, like we talked about?” before they step through another sling ring circle.
My husband and I had slightly different takes on this scene. To me, it seemed like Wong was more like a mentor and helping to train Abomination (perhaps helping him to re-enter the MCU, as Abomination is most likely set to return in the upcoming She-Hulk TV series?). My husband focused more on the fact that the fight was staged, and wondering why trustworthy Wong was willing to participate in a rigged fight. Perhaps this is a Wong from another multiverse? Director Destin Daniel Cretton revealed in this interview that they had gone through many scenarios and pairings for this cameo, and that “we landed on a pairing [of Abomination and Wong] that felt really great, but it was also a pairing that made sense to what’s happening in the MCU around the time of our movie.”
This Screen Crush video also goes into some of the possibilities behind this cameo:
Wong cameo #2
At the very end of the movie, Shang-Chi and Katy are sharing their adventures with a couple of their friends at a bar, and they see a sling ring circle appear behind their friends. Wong emerges, and we can see rows of books behind him. He’s back in a library!
And we are are ALL Shang-Chi in this exchange:
Wong [calling out]: Shang-Chi?
Shang-Chi: [raises his hand]
Wong: Shang-Chi? I’m Wong.
Shang-Chi: Yes, I know. I’m a big fan.
Wong then asks Shang-Chi if he has the ten rings, and that they have work to do. He also invites Katy along. And then we are blessed with another meme-worthy bit from actor Benedict Wong as he downs the friend’s drink and pulls this face:
Comic gold! Benedict Wong really has perfected the balance of the serious and humorous facets of Wong’s character.
In a red-carpet interview at one of the movie’s world premieres, Benedict Wong shared that he thinks Wong will be getting out of the library more in upcoming films. You can see the exchange at 1:18 minutes into the video below:
But my favorite part of these this second cameo — plus the final cameo, which we’ll get to next! — is that Wong is back IN the library! It’s unclear whether he’s in a library at the New York sanctum or back in the main library at Kamar-Taj. My bet is on Kamar-Taj, based on the conversation in Wong’s third and final cameo.
Wong’s cameo #3
As the film finished, my husband remarked that this movie had focused on the legend of the ten rings — specifically, the legends stemming from Wenwu’s thousand-plus reign with the rings — but not the origin of the rings.
Enter Wong’s final cameo that slides in during the credits, in which Wong has clearly been wondering the same thing. Katy and Shang-Chi have joined Wong in the library — again, my bet is that he’s back in the Kamar-Taj library, where Wong is the master librarian — where Captain Marvel and Bruce Banner (just Banner as himself, not as Professor Hulk) have also joined in via hologram Zoom.
This line about the ten rings from Wong made the librarian side of me squeal in delight:
They don’t match any artifact from our codex.
Wong has been researching the ten rings! As Wong is the expert on the Infinity Stones, as demonstrated in a brief but pivotal scene in Avengers: Infinity War, it makes sense that he would be researching the ten rings, as well. And just the fact that the word “codex” is mentioned in a Marvel movie… yes, I am geeking out over that! (In historical contexts, a “codex” refers to a bound collection of handwritten sheets of paper, essentially an ancient manuscript and precursor to modern books. In more modern library science contexts, a “codex” is also used to mean an official list of names, ingredients, definitions, or artifacts, etc., kind of similar to an index. But a codex is complete unto itself, while an index usually accompanies a resource.) Wong could be using either one — or both! — meanings of the word “codex” in this scene.
Also, I loved that Wong is in top reel librarian mode in this scene. He’s doing what librarians do best: knowing who to ask for help! There’s a saying in the library world, that we librarians do not need to know everything ourselves, we just need to be able to find out who does. 😉 So that’s what Wong is demonstrating, that he is researching the ten rings, but he is also reaching out to others for help, such as Captain Marvel (for her expertise and experience in intergalatic technology) and Bruce Banner (for his scientific knowledge).
Wong also says to Shang-Chi that “every time you used the rings, we could feel it in Kamar-Taj.” This line is VERY revealing. For example, it reveals that:
the sorcerers could NOT feel the rings for the thousand-plus years that Wenwu controlled the rings, meaning that Wenwu was also accessing only a portion of the rings’ power
that Shang-Chi wields the true, full power of the rings, confirming what we saw visually when the rings’ aura turned from blue to a golden hue in Shang-Chi’s hands during the fight with his father
probably other beings or dimensions felt the rings, too, when Shang-Chi used them (ruh roh)
this is NOT the last we shall see of the rings or or Shang-Chi… perhaps we’ll even get a Shang-Chi and the Origin of the Ten Rings movie??
And finally, more comic gold, as Wong then joins Shang-Chi and Katy in singing karaoke! EPIC. 😀 😀 😀
You can see more of this mid-credits scene and theories in this Screen Crush video:
Final thoughts and musings
I was surprised — pleasantly so! — that Wong was as impactful a character in this movie as he was, and also what a vital character he is proving to be in the MCU, and potentially in the multiverse. Wong helps set up the continuation of Shang-Chi as a character (and the ten rings as important artifacts), so he is a crucial part of this movie. Wong’s not just a cameo.
Wong had to have been aware that Shang-Chi’s sister, Xialing, was the one running the cage fight club. But he didn’t know who her brother, Shang-Chi, was? There’s something fishy about that, especially as you would think Wong would be sure to research who owned the club, plus their family connections. Hmmm….
Wong is very well-connected and knows EVERYBODY, based off his holographic Zoom session with Captain Marvel and Bruce Banner. In my experience, this is also pretty true-to-life to librarians, at least for academic librarians. On a college or university campus, librarians tend to work with a wide range of faculty, students, and staff across various departments and program areas, so we tend to have a lot of connections and personal relationships across campus. It makes sense to me that Wong would also have a lot of connections across the MCU.
Wong is well-known AND well-loved, judging by the crowd chanting his name after his cage fight with Abomination (and the fact that Wong was trending on Twitter the day after the movie’s premiere!)
In my post exploring perspectives about Wong’s reel librarian character, I noted the criticism about how Wong’s character lacks agency or a central, in-depth narrative. In that post, I wondered “Will Wong have more of an independent identity and narrative” in upcoming films? And this film seems to be answering that question with a resounding YES! 😀
And whatever Dr. Strange is up to, Wong is the glue, and the one doing the work out there. Wong is not just Dr. Strange’s sidekick; rather, he is his colleague and demands recognition and respect on his own terms. (Also see my post about Avengers: Endgame and how Wong is the one who actually assembled the Avengers.)
Wong serves as both an Information Provider and Comic Relief character types in his cameos in this movie.
Continuing the conversation
So those are my thoughts and first impressions after watching — and cheeringfor ! — Shang-Chi and the Legend of the Ten Rings. What are your thoughts? Did you like the movie? What do you think Wong’s up to with Abomination? Please leave a comment and share!
Also, can’t get enough of Wong? Here are additional posts I’ve written about reel librarian Wong:
Let them all talk, indeed.. about this awesome cruise ship library!
I watched the movie Let Them All Talk (2020) this past December, when it was released on the streaming platform HBO Max. Directed by Steven Soderbergh, the film stars Meryl Streep as celebrated writer Alice Hughes; Dianne Wiest and Candice Bergen as Alice’s university friends Susan and Roberta; Lucas Hedges as Alice’s nephew Tyler, and Gemma Chan as Alice’s new literary agent Karen. The bulk of the movie happens on a cruise ship — shot on location on the Queen Mary 2 — and there are more shenanigans to the plot than I have head space to tackle here, so here is a trailer that sums up the plot:
I know that Soderbergh likes to experiment with moviemaking techniques, but I didn’t realize until after I watched the film that the dialog was mostly improvised by the actors, which explains a LOT about the film’s odd pacing and how circular and repetitive the dialog felt. (Out of this celebrated cast, I think Gemma Chan and Dianne Wiest best handled that improvisational style.)
I also didn’t expect there to be a library scene in the movie! And OF COURSE when a library appears in a movie, I have to pause so I can take notes in the moment. Libraries and librarians really do pop up in all sorts of movies at the most unexpected moments.
Library scene #1: Introduction to the cruise ship library
At 34 minutes into this movie, Alice visits the cruise ship’s library. I chuckled that she went to check out which of her books were in the library’s collection. That is such a writer thing to do! (I should know. I’m married to one.) She also checks out what books the library has of another writer on the same voyage, Kelvin Kranz, who writes popular thrillers. And there is an entire row of Kranz’s books, which irks Alice, who is a writer who writes “serious” fiction — and who takes herself very seriously, indeed.
But of course, I was most interested in this AMAZING library, with its glossy wood bookshelves and inset lighting. It’s so sparkly, and it displays the books like jewels.
As you can see in the screenshots below, when Alice walks into the library, you can see a younger White woman, with dark hair pulled back and dressed in a uniform, standing behind a counter and handing books to another woman, a guest in a floral dress. And as the camera pans down the row of books as Alice looks for her own books, you can spy call number ranges (or thematic/genre indicators?) at the end caps of the rows.
And as Anna walks around another row of books, we see another cruise ship library worker, this time a younger Asian woman, again wearing a cruise ship uniform. She is wearing glasses and appears to be shelving books. Also, in the background along the wall, you can just spy a small gold sign that reads “Library.” (And you know I zoomed in on that sign to double-check, right? OF COURSE I did. 😉 )
This scene lasts only a couple of minutes. I reviewed the cast list, and there are no credits for these cruise ship library workers. We know that the movie was filmed on the Queen Mary 2 cruise ship, so were these two women — the White woman at the counter and the Asian woman shelving books — actual workers in this cruise ship library? At this point, my thoughts are leaning toward YES. (We will return to this question.)
Library scene #2: More views of the cruise ship library
At 51 minutes in, we revisit the cruise ship library, this time with literary agent Karen, who also tracks Alice Hughes’s books in the library collection! She takes down a copy of Hughes’s most famous book, You Always/You Never (which Karen wants Alice to write a sequel to), and she sits down in a comfy reading chair to (re)read it. Along the way, we get treated to more views of the library’s amenities, including the comfy seating area and several desks and tables with library computers or OPACs on them.
While Karen dives into the book, the writer Kelvin Kranz finds her, and it turns out Kelvin and Karen know each other quite well! The plot thickens… and I won’t spoil any more of the movie for you all. 😉
Library scene #3: Alice Hughes’s private library
The final library scene is right at the end of the film, practically the final shot. Alice’s nephew Tyler returns to his aunt’s home in New York, and we get a glimpse into her magical, old-fashioned library, with its mezzanine, fireplace, and rows and rows of books.
So we get TWO beautiful, gleaming, light-filled library spaces in this film — so delightfully unexpected!
Will the real cruise ship library please stand up?
So let’s return to that research quest to find out if we are seeing the actual workers in this cruise ship library.
The first step for me was to verify that the library we see onscreen was actually the library from the Queen Mary 2 cruise ship. So I searched online for any photos, and voilà, it is indeed the same library, as evidenced by this extensive slideshow of the Queen Mary 2’s library on this Cruise Critic site. Also, on slide 19 in this photo slideshow, you can see a chart of the color-coded call number system they use. (And props to the propmaster, if you scroll up to the close-ups of the book props for Alice Hughes and Kelvin Kranz, it looks like they used the same, or similar, color-coded call number stickers!! Such good attention to detail warms this librarian’s heart! ❤ )
“The library is physically connected to the ship’s bookshop. The librarian is stationed at a service point that serves both the library and the bookshop. There is usually at least one other individual who works at this service point; that person handles most of the bookshop sales but also helps with library duties.”
Y’all, I squealed with glee when I realized we actually see this description of the library staffing model in the film! The woman at the counter is most likely the main librarian described “at a service point that serves both the library and the bookshop,” which would also explain why that counter looked particularly busy. And the woman shelving books is likely the library assistant worker who “helps with library duties.” (But the two positions could be reversed.) There is no doubt in my mind now that we are seeing real-life cruise ship librarians in this movie!
Because the reel — and real-life! — librarians are seen onscreen for mere seconds and are there to help reinforce the library setting, they fulfill the role of Information Providers. Ultimately, the movie falls into the Class IV category, films with reel librarian cameos.
I also really enjoyed reading this article, “Which Cruise Ship Library is Right for You?,” published in The Washington Post in 2016, which was full of interesting tidbits. The Queen Mary 2 was ultimately rated the best ship library for traditionalists, as it has has the largest library at sea, with about 10,000 volumes! And I wholeheartedly agree with this summation:
“Staffed by full-time librarians, the collection holds a wide variety of materials, including bestsellers, classics and travel guides. Lush carpeting, leather sofas and armchairs, rich wood-and-glass shelves and semi-private Internet stations would be the envy of any public library.”
We got to see everything described in that article — the librarians, the collection with bestsellers and classics, the carpeting, the leather armchairs, the gleaming book shelves, AND the Internet stations — in the movie. Let Them All Talk, indeed.. about this awesome cruise ship library!
Have you watched this movie? Have you ever been on a cruise ship that had an awesome library? Please share your thoughts and comments on this post. 🙂
Additional cruise ship librarian & library posts
Can’t get enough of ship librarians and libraries? Check out these additional posts!
In this 2011 post, ‘Bon voyage’ to the ship’s librarian, I delve into Bon Voyage! (1962), a Disney comedy about an American family on a “dream” vacation to Europe. In one scene, the father (Fred MacMurray) goes to the ship’s library and is greeted enthusiastically by the Ship’s Librarian, played by James Millhollin.
In this 2014 post, A ‘Libeled Lady’ and a library, I set sail on an ocean liner with William Powell in the 1936 film Libeled Lady. Although we never see a librarian on board in the film, Powell rings the ship’s steward for books on angling.
In the 2018 round-up about Private eyes in reel librarian films, I highlight the 1934 film, The Captain Hates the Sea, in which an alcoholic newspaperman boards a ship, hoping for a restful cruise and the chance to quit drinking and begin writing a book. Also on board is a private detective hoping to nab a criminal with a fortune in stolen bonds — and a librarian on vacation! However, this reel librarian may be using this occupation as a cover for illicit activities…
In this 2019 post about the 1960s Miss Marple movies, featuring her trusty sidekick and village librarian, Mr. Stringer, we get to see Miss Marple (played by Margaret Rutherford) visit the ship’s library in Murder Ahoy! (1964). In the ship’s library, Miss Marple finds a copy of a book that serves as a vital clue that proves Miss Marple’s theory about a murder — and she later uses this same book to catch the killer in the final act!
Burbank, Richard D. “The ‘Queen Mary 2’ Library.” Libraries & Culture, vol. 40, no. 4, 2005, pp. 547–561. JSTOR. Accessed 24 Apr. 2021.
Let Them All Talk. Dir. Steven Soderbergh. Perf. Meryl Streep, Gemma Chan, Dianne Wiest, Candice Bergen, Lucas Hedges. HBO Films, 2020.
The 2013 movie Beautiful Creatures — not to be confused with the 2000 British film of the same title, which starred Rachel Weisz — is an adaptation of the 2009 YA novel written by authors Kami Garcia and Margaret Stohl. Richard LaGravenese, an American of Italian descent, both adapted the novel for the screen and directed the film. I first checked a DVD of this movie out from my library a few years ago, but the DVD was so scratched that I couldn’t finish the film or follow the plot very well, since the DVD kept getting stuck or skipping past entire scenes. I had a vague idea that Viola Davis played a librarian, but I couldn’t determine the extent of her role. Therefore, when I saw this movie come up in my local public library’s Hoopla streaming service recently, I pounced on the chance to rewatch it.
Here’s the description from Hoopla:
“Based on the New York Times best-selling young adult novel, this hauntingly intense coming-of-age story about two teenage star-crossed lovers in a small South Carolina town who uncover dark secrets about their families, their history and their town has been adapted by Oscar-nominated filmmaker Richard LaGravenese (The Fisher King).”
And here’s the trailer:
My initial thoughts after finally being able to watch the movie all the way through? It is a frustratingly disappointing film, especially as you can see the level of talent involved and how it could have been so much better than the film ended up being. It really seems to be trying SO hard — too hard — to be an epic love story and build a foundation for the rest of the Caster Chronicles series. For me, the two leads — Alden Ehrenreich as Ethan Wate and Alice Englert as Lena Duchannes — were just not compelling enough to carry the film, which was promoted as a “supernatural love story.” Ehrenreich seemed to be over-acting, while Englert seemed to be going for mysterious but landed on sullen. Also, having grown up in the American South myself (in the eastern side of Texas, which has a different kind of accent from other parts of Texas, let alone other parts of the South!), it grates on my nerves when each actor speaks with a different kind of Southern accent.
Viola Davis, who gets 4th billing in the cast list, does indeed play a librarian — and a reel librarian of color, as Davis is a Black American actress — and her role as Amma is VERY significant to this movie’s plot. Viola Davis always elevates each and every movie she chooses to invest her time and energy in, and in my opinion, she is far and away the best thing in this movie. Essentially, she is the only reason I would recommend watching Beautiful Creatures (2013), so I’m going to focus on her role in this post. Yes, I am biased in my love of Viola Davis, as well as in my love for librarians. #NoRegrets
There is no possible way I can adequately explain all the details and different relationships and characters relating to this book and the series. To get the gist and familiarize yourself with the main characters, I recommend visiting the write-ups on Wikipedia about the book and the movie version. And to delve into Amma’s reel librarian role, which is integrated throughout the entire film from beginning to end, I have to reveal major plot secrets.
You have been alerted to major spoilers. Let’s continue, shall we? 😉
A reel librarian’s role change
I have not read the original source novel, so I was unfamiliar with the world and characters of this series. In my prior post, I mentioned that Viola Davis’s role as Amma had been changed from a maid to a librarian, but it’s more complicated than that! It’s actually a merging of two different characters from the book:
Amarie “Amma” Treadeau: A grandmotherly figure to Ethan, as she was Ethan’s nanny and the family’s cook and maid, as well as a Seer who can communicate with her ancestors
Marian Ashcroft: The public librarian librarian (and librarian of the secret Caster libraries), as well as the best friend of Ethan’s late mother
The cinematic history of Black actors playing maids and other domestic servants is really complicated and sensitive, because it connects to and reflects the very real history of slavery in the U.S. and the painfully enduring effects of systemic racism. This is a subject for a book (e.g. A Long, Long Way: Hollywood’s Unfinished Journey from Racism to Reconciliation by Greg Garrett, 2020), but below are quotes from two Oscar-winning Black actresses that demonstrate the differences (and progression?) of perspectives on this issue this past century.
Hattie McDaniel, who became the first African American to win an Oscar in 1939 when she won Best Supporting Actress for her role as “Mammy” in Gone with the Wind, faced criticism from the Black community, including the NAACP, for playing servant roles. McDaniel reportedly responded, “Why should I complain about making $700 a week playing a maid? If I didn’t, I’d be making $7 a week being one” (as qtd. in Garrett, p. 53).
Viola Davis won the Best Supporting Actress Oscar in 2016 for her role as Rose Lee Maxson in Fences. After starring in 2011’s The Help in the Oscar-nominated role of Aibileen Clark, Viola Davis had “no intention of playing a domestic worker ever again” (Johnson). In a 2013 interview, Davis said she “was glad that the maid aspect of Amma was dropped from the film adaption.” Davis went on to say, “This is a total re-imagining of the character, and I like it. I’m going to be confident and bold and say I like it because […] this is 2013, and I think that when black people are woven into the lives of characters in 2013, then I think they play other roles than maids. I think that that needs to be explored” (Ford).
Atypical reel librarian
When I initially watch a film to analyze it for its portrayal of librarian(s), I always begin by jotting down notes as scenes unfold in chronological order (with a lot of pausing to get quotes correctly written down). That way, I get a sense of how important the librarian role is to the film as the plot progresses. And I often continue this basic structure in my analysis posts, where I detail each major scene with a librarian or library setting, and then sum up the purpose of the reel librarian role at the end. But that structure did not seem to make sense when I thought about how to put together this post. First of all, Amma is onscreen throughout the film in dozens of scenes. But most significantly, Viola Davis’s portrayal of Amma transcends easy characterization, as she is so multi-layered. As written, it makes sense that Amma is a more complicated character, as two characters in the book were merged together in this cinematic role. But Davis infuses Amma with much more depth; she has shared in several interviews that she did a lot of research about Black history and narratives for this role, and “Even if you didn’t see so much of it, it informed me, in a way” (Radish).
I argue that Amma’s role in this film is much more than that of an Information Provider character type. We are treated to so many sides to Amma’s character in this film that I believe this role falls into the Atypical character category, a(n imperfect) classification I use to denote portrayals that do not conform to type, i.e. characters with enough screen time to allow viewers to witness more fully rounded characterizations and glimpses of their personal life. Therefore, in this post, I will delve into Amma’s character and purpose through the different sides of her personality that we get to witness in this film.
Amma’s nurturing side
The first facet of Amma’s personality we see is her nurturing, maternal figure side. This makes sense, as it seems that Amma’s primary role in the source novel is to be a surrogate mother to Ethan, whose biological mother has passed away. In the film, she also shares that she promised Ethan’s mother that she would take care of him, and more importantly, that she wants to.
At 4 minutes into the film, we get our first visual introduction to Amma, as she walks into Ethan’s house and refills the refrigerator with groceries. She asks him, “Is that what we’re wearing our first day of school?” while bending down to kiss Ethan on the top of his head. She asks after his father; we never actually see Ethan’s father, who seems to have retreated from the world after his wife’s death. (Is this an early signifier of White privilege, that a White man is able to hide from the world and his responsibilities and trust that his wife’s friend, a Black woman, will take care of running his household and raising his son? Discuss.)
We also see how maternal Amma is to Lena. At 90 minutes into the film, Lena learns the disturbing truth of how to break the curse that’s been placed on her family for generations, and Amma pulls Lena in for a comforting embrace.
Amma: Lena, talk to me.
Lena: There’s only one way to break the curse. Genevieve [an ancestor] used the forbidden spell. To give life to the one she loved. To break the curse, the one that I love has to die.
Amma: Oh, God. What are you gonna do?
Lena [reflecting words Amma had said to her earlier]: I won’t hurt Ethan. Never. They’re only our words, Amma. They can’t explain everything. There are all kinds of ways someone you love can die.
In the next scene, we see the effects of Lena erasing Ethan’s memories of her and their love. Ethan wakes up to Amma, once again, refilling their refrigerator with groceries. As they talk, Amma realizes what Lena has done and that Ethan no longer remembers his relationship with Lena. This minute-long scene is a showcase for Davis’s acting skills. Her face freezes and then drops ever-so-slightly as we feel the devastation of her sadness, as well as Amma’s struggle to maintain her composure for Ethan’s sake. And in the next scene, Amma takes Ethan to church, again trying to comfort his soul — as well as her own.
At the very end of the film, Amma nurtures both Ethan and Lena. At 1 hour and 53 minutes into the film, Ethan is on his way out of town to tour colleges, but he stops off at the library to say good-bye to Amma, who is sitting at her desk behind the Circulation counter.
Amma: You all set?
Ethan: Yep. We should be in New York by Thursday, if we make good time. We’re gonna go stay with Link’s cousin in Brooklyn.
Amma: Come here. [They hug.]
Ethan: I’ll call you as soon as I get in.
Amma: You call whenever you can.
On his way out of the library, Ethan sees Lena, who is seated at a table with a stack of books, and strikes up a conversation about the poet Charles Bukowski that mirrors another conversation they had at the beginning of the movie — only it’s obvious that Ethan still doesn’t remember their past relationship. After Ethan leaves, Amma comes over and places a consoling hand on Lena’s shoulder. She then walks over to the front door and turns over the Closed sign, to provide them some privacy.
Amma’s protective/secretive side
Amma also is privy to secrets about the past, and she tries to protect and shield Ethan from knowledge that she feels could harm him.
For example, at 30 minutes into the film, Ethan wakes from another nightmare/vision, and he goes downstairs to their living room. There, he sees Amma sifting through a bookcase along one wall.
Amma notices a locket in his hand — which he found with Lena — and her face hardens.
Amma: Where’d you get that?
Ethan: I don’ t know.
Amma: Don’t lie to me.
Ethan: What’s wrong?
Amma: You listen to me. You go and bury that in Greenbrier and forget you ever found it.
Ethan: I never said I was in Greenbrier, Amma.
This scene ends with no resolution, but we learn that Amma knows more than she’s telling!
At 71 minutes into the film, we return to that same living room, this time after Ethan and Lena have gone out on a movie date and experience a disturbing vision from the past that plays out on the movie screen.
Back at Ethan’s home, Macon, Lena’s uncle, and Amma explain the backstory about the family curse and that Lena’s mother, Sarafine, is not dead but instead practices dark magic as a Dark Caster. Lena gets angry at Macon for telling her that her mother, Sarafine, had been dead. Amma interjects, both figuratively and physically.
Amma [to Lena]: Lena! Our words, our language, cannot explain all that there is. There are other ways someone can die to us.
Amma [to Ethan]: Sarafine’s using you. Macon’s right.
When Macon then gets mad at Ethan, Amma stands between them, in order to literally protect Ethan.
Amma’s no-nonsense side
I love that Amma also gets to show her no-nonsense side! She may be nurturing and protective, but she is no pushover. She does not suffer fools. In her calm, self-assured, no-nonsense way, she demands personal respect. Every time she calls out others on their disrespect, they immediately back down and apologize.
One example comes at 30 minutes into the film, at the beginning of that scene I first described above when Ethan wakes up and finds Amma shuffling their shelves of books.
Ethan: Oh Amma, what are you doing?
Amma: I’m looking for some books your mother had. I have to return them to the library.
Ethan then shouts at her, asking how he got back home. Amma blinks, and then calls him out.
Amma: Why are you shouting?
Ethan: I’m sorry. I’m sorry.
In an extended scene that begins 40 minutes into the film, we see Amma in her role as Seer. Macon joins her in her ritual to call upon her ancestors.
Amma: Macon, no danger better come to that boy [Ethan] because of your kind.
Macon: Yeah well, then you keep him on a leash!
Amma: What happened at Greenbrier?
Macon: I don’t know. Lena was hysterical. Boy was unconscious. I brought him home, called you. You’re the seer. You tell ME what happened!
Amma: This is the sacred place of my ancestors, you hear? You want some answers, you show me some respect.
Macon: Yes. I apologize.
At 77 minutes into the film, Ethan and Amma are back in the Caster Library (a secret underground library), while Lena reads a secret book of spells. Seemingly bored, Ethan touches a book, which shocks him with electricity. Without skipping a beat or even looking up, Amma calls him out.
Amma: What part of ‘you cannot touch it if you are not a caster’ don’t you understand?
Like I said, Amma does not suffer fools. #TeamLibrarian
Amma’s spiritual side
We witness Amma’s spiritual side through her role as Seer and her ability to communicate with her ancestors. From what I’ve read — again, I am not familiar myself with the book series — she can perform “Gullah magic,” and Gullah is the language of her ancestors. In an extended scene that begins 40 minutes into the film, we see Amma preparing for the ritual, spreading out a blanket and taking things out of her large bag. Macon joins her, and we learn that Sarafine, Lena’s mother, is still around and causing trouble, and that Macon is trying to protect Lena.
First, we learn that Amma is receptive to dark Caster magic.
Amma: I felt something tonight. I’ve been feeling something every night since you brought that girl [Lena] here. […] So you bring darkness to this town. I can feel it like a hand twisting my insides.
Then we witness Amma’s ritual. She begins the ritual with offering of food to her ancestors.
Amma: Brought your favorites, Uncle Abner. Shrimp and grits. Fried oysters. And a coconut pie.
Macon: No wonder he’s no longer with us.
Amma: Pay no attention to him, Uncle.
Then, she takes off her outer layers of clothing, down to her tank top. It’s an intimate moment made even more intimate by seeing the scarred markings on her shoulders and back. (Does anyone recognize the style of markings? If so, please leave a comment and share!)
Amma: Uncle Abner, we are in need of your intercession. Along with Aunt Ida and Auntie May, I humbly call upon your spirits.
Macon: What are they saying?
Amma: Nothing yet.
Macon: Tell them they have to help us stop Sarafine.
Amma: Some things cannot be stopped.
During this scene, she also admonishes Macon and alludes to how he — the leader of Caster families who were former slave owners — has a fraught history with her ancestors, who were former slaves.
Amma: You know, it wouldn’t break your face to ask for some help instead of expecting it, like your family’s been doing with mine for too many years. Now, don’t you roll your eyes at me.
Amma calls to “Uncle Abner” in this scene, but I wondered how many generations of her ancestors she was calling to. I wasn’t the only one who wondered this! Here is an excerpt about this scene from a 2013 interview with BlackTree TV and reporter Jamaal Finkley.
Jamaal Finkley: One of the lines I found interesting is when you were in this scene with Jeremy Irons, and you’re talking about your ancestors. Do you think as a community, as a film community, that we do enough to celebrate our ancestors? I’m not sure if you was referring to the Gullah people or just slaves in general and that aspect, but in that scene, do you think that we could do more as an entertainment community to celebrate those people that are our ancestors?
Viola Davis: As Black people? […] Absolutely. When I did this role, one of the things I really researched was the past. Who we [Black people] were in the Civil War, who we were before we even came into America, and I went back to the Yoruba tribe. Actually read a memoir from a man who was born and raised on the plantation I was born on, Singleton Plantation in St. Matthews, South Carolina, and I think those stories are so interesting, they’re so complicated. The human beings, the people that we were in the past, the people that we are now, is interesting.
You can view the rest of this interview with BlackTree TV below.
The spiritual side of Amma feels intrinsic to her character, and it is clear that Viola Davis took great care to root that spiritual side of her character in the traditions and stories of African and Black American culture.
Amma’s professional side
The final side we get to see of Amma is her professional side as a librarian. Although we learned early on that Amma is a librarian — Ethan reveals this 26 minutes into the film, when he shares that “maybe I’ll take over the library from Amma” — we do not actually SEE Amma in a library until the 80-minute marker, over halfway through the 124-minute movie. I kind of like that we get to see other facets of Amma’s character before we see her in her professional library setting. And we soon get double the library scenes!
After Sarafine reveals herself to Ethan — one minor spoiler I will not completely reveal — Ethan takes Lena to the Gatlin Public Library. Through the front windows, we can spy Amma under a “Circulation Desk” sign. Amma comes to the front door, where we can also see the library’s open hours.
Ethan: Amma, we need your help.
Amma: Why come to me?
Lena: The way you talked about the locket, about the curse. Excuse me, Miss Amma, but I think you know more than you’re saying.
Ethan: Please, Amma.
Amma: This isn’t the place you’re gonna find anything you need. Meet me in the back.
They go down to the basement, where she opens a steel door. She opens a panel, which reveals an intricate lock, and she has a key. She then shares with them the secret Caster library and its history.
Ethan: This must run under the whole town.
Amma: The whole country. Gatlin is like the capital of Caster America. It used to be under Washington, D.C., until Nancy Reagan made them move. She was the only mortal they were ever scared of.
They go down a flight of stairs to a large room with books along the back wall and tables. Amma then reveals her role as Keeper of the Caster Library.
Ethan: Amma, why didn’t you tell us about this?
Amma: A Keeper has to be asked.
Lena: A Keeper, as in you’re a …
Amma: The Caster Library has been the responsibility of seers like me for generations. [She glides her hand along a book podium.] Something I had no choice about either, by the way. And these books hold the histories of the casters from around the world, the laws that keep balance between light and dark.
Ethan reaches out to touch a book. Amma educates him about manners (“Hey! Get away from that!“), and continues to educate us all about forbidden spells.
Amma: Macon comes here every day and reads every book he can for the forbidden spell.
Lena: He found nothing?
Amma: But you can do it. God gives us what we can handle, even if we don’t believe it ourselves. Close your eyes. See with your mind what you’re looking for, as if you’ve already found it.
Another door opens and reveals a room containing a locked book on a pedestal. Once again, Viola Davis’s acting skills are on display, as she reveals a tiny, satisfied smile, as if to show to the viewer that Lena has passed a secret test.
Amma: I knew it. Book of Moons. It’s the most powerful book of the Otherworld. It’s as alive as you or me. Strongest of every spell, good and bad.
Lena: Did Macon look through it?
Amma: No, he couldn’t. The book chooses who reads it. Its law is “like attracts like.” […] It won’t reveal itself so easy. A curse this dark takes its time showing itself. The dark will test you.
Amma leads Ethan away, and Lena stays with the book, which slowly reveals itself to her. Time for a research and reading montage!
It’s a treat that we get to see Amma be a professional in not one, but TWO, libraries. We see her professional work space in the public library, and we get to see her work with scrolls and old tomes in the Caster library. In the scene where she chides Ethan for touching a book even though he’s not a caster, she continues to impart wisdom as Ethan asks her questions.
Ethan: Were there casters in the Civil War?
Amma: Casters have been fighting alongside mortals for centuries, every war, every side. Just ‘cause they’re supernatural don’t make them any smarter.
Ethan: You know, what I can’t figure, is you go to church every Sunday? How do you believe in all this and still believe in God?
Amma: God created all things, didn’t he? It’s only men that go and decide which ones are mistakes.
It’s clear Amma takes pride in her role as Keeper. I just can’t help thinking how difficult it must be for her to compartmentalize her dual roles as librarian. One of those roles is very public, while she has to keep secret her other role as the Keeper of the Caster library.
And that title, “Keeper” is revealing, isn’t it? It reinforces the (stereotypical) role of librarians as literal gatekeepers, shielding resources and knowledge from anyone until they are deemed worthy. And although Amma is proud of her role as Keeper, it is also clear that she works within a system that she is unable to change. (Is this yet another glimpse into her identity as a Black woman working within an oppressive and rigid system? Discuss.)
Amma’s style roots
I’ve been sharing screenshots of Amma throughout this post, and hopefully, you’ve been enjoying her AMAZING style. I love that her hairstyle, clothing, and jewelry all reflect her Black and African identity and culture. Amma comes across as very rooted in her personal identity, and that her culture — and her personal expression of that culture — help ground her. She experiments with patterns and colors, and her jewelry is always front-and-center. Amma is no wallflower reel librarian. As a Black woman in a South Carolina town that seems mostly full of White people (except at church), there’s no way she could visually blend in, even if she wanted to. And it’s clear she doesn’t want to blend in; rather, she seems to radiate joy and self-confidence in her personal appearance. I found myself looking for Amma in every scene, eagerly anticipating what amazing jewelry or pattern-mixing combination she would wear next. I will definitely have to update my “stylish reel librarians” posts, as Amma needs to be at the top of the list!
I also looked for interviews and info about the costume design choices. In this EW.com article, I learned that costume designer Jeffrey Kurland, who is Jewish, designed all the costumes and jewelry in the film. Here’s what he shared about designing Amma’s memorable style:
“Amma is a very spiritual person, so we decided that her African roots are seen in her spiritual longings and reflected in her wardrobe. There’s a good deal of color and the jewelry that she wears is very heavy and iconic,” says Kurland, who notes that most of the jewelry worn by Davis’ character jewelry is from a collection of pieces that he created. “The other pieces are from places like Morocco, Africa and Tibet. There’s a certain spirituality that I wanted to infuse into her look while also showing that she’s a woman of style.”
However, the movie’s lighting was so dim most of the time that I couldn’t properly see what Amma was wearing! I found the lighting too dark overall — I guess they were going for moody? — and I’ve read before about how many cinematographers do not get properly trained on the best ways to light Black skin. I don’t know if that’s the case here — the film’s cinematographer, Philippe Rousselot, is an award-winning French cinematographer who has worked with many directors, including with Denzel Washington when he directed Antwone Fisher (2002) and The Great Debaters (2007) — but I thought that the lighting choices in Beautiful Creatures did not serve to highlight Viola Davis and her inner (and outer) luminosity.
To sum up, although I did not particularly like the film overall, I very much enjoyed Viola Davis’s multi-faceted and fascinating portrayal as Amma, a complex reel librarian role with powers of her own. There’s so much to unpack in this role and in Davis’s performance that I’m sure I have only scratched the surface. Have you also seen Beautiful Creatures(2013)? What did you think of the dual-librarian role of Amma? Have you read the original source novel or series? Please leave a comment and share!
Beautiful Creatures. Dir. Richard LaGravenese. Perf. Alden Ehrenreich, Alice Englert, Jeremy Irons, Viola Davis, Emma Thompson. Summit, 2013. Based on the 2009 novel by Kami Garcia and Margaret Stohl.
“Books are my life now. Don’t you dare laugh. In two years I put together one of the best special collection departments in the country.”
Since baseball — and all other sports — have been cancelled or delayed due to the global coronavirus pandemic, how about reliving all the spring training, Opening Day, and pennant-chasing fun in the 1989 film Major League? This classic comedy also happens to boast a memorable reel librarian character, Lynn (Rene Russo).
I (re)watched this movie from my personal copy of the “Wild Thing Edition” DVD — boasting astroturf, as seen in the image gallery below! — but you can also catch this movie on Amazon Prime. (It is sometimes available on Prime for free, but it’s also always available for a low-cost rental fee.)
Note: All the image galleries below display the images in circles. Just click on any image to view it larger in a new tab/window. (Did I display them in circles so that they would evoke baseballs? OF COURSE. 😉 )
If it’s been awhile since you’ve seen Major League, here’s the basic plot: The new owner of the Cleveland Indians purposefully puts together a team of bad players in order to sell the franchise and move to Florida. When the players find out, they start winning to spite her. Tom Berenger stars as Jake Taylor, the catcher, who also tries to woo back his ex-wife, Lynn (Rene Russo). The film also co-stars Charlie Sheen as “Wild Thing” pitcher Ricky Vaughn, Corbin Bernsen as Roger Dorn, and Wesley Snipes as Willie Mays Hayes. Bob Uecker steals all the bases — and the movie! — as radio commentator Harry Doyle.
So what does a movie about major league baseball have to do reel librarians? Let’s play ball and see, shall we?! 😉
First base: Off and running with a reel librarian reunion
Twenty-eight minutes into the film, Jake Taylor has made it to the final team with teammates Willie and Wild Thing, and they are celebrating at a fancy restaurant. He spies his ex-wife, Lynn, at the same restaurant with another man. She’s all dressed up and sexy, in an off-the-shoulder black dress and ’80s-tastic hair bow.
He calls her on the restaurant’s concierage phone, and here’s an excerpt from their “Meet Cute” phone conversation:
Jake: Hello, Lynn. It’s Jake.
Lynn: Jake? Jake Taylor? How’d you know I was here?
Jake: Just a hunch. I took you there when you got your master’s degree, remember? I figured you’re wearing that black dress with the red sash.
Lynn: How’d you know that? I didn’t even have this dress when — [she spies him across the room on another phone]
Jake: You’re still a stunner.
We don’t actually learn yet that she’s a librarian, but here’s what we do learn about Lynn, evident even from this short exchange:
She has a master’s degree
She is intelligent
She has a modern fashion sense (remember, it’s the ’80s!)
She exhibits a more traditional sense of femininity (long hair, off-the-shoulder and body-skimming dress, makeup)
She still has mad chemistry with her ex-husband
Lynn also says to Jake that her “life is different from when you knew me” and finally gives a phone number to Jake in order to end the conversation. This introductory scene lasts a total of 3 minutes.
Second base: A curveball and visit to a special collections library
At 39 minutes into the film, Jake calls Lynn’s number… which goes to a sheet metal company! Curveball alert — she gave him a fake number!
But that doesn’t deter Jake, because we next see him arriving at the library Lynn works at. He walks up to a counter, where Lynn is leaning and talking to another librarian, a snow-haired older white woman. We also get a glimpse of an older black man behind the desk, who looks to be filing. Later, at another counter in the library, we also encounter three more library staff workers: An older white man, an older white woman in a pussy bow blouse, and a younger white man with suspenders and glasses. None of these additional reel librarian workers get credits in the cast list. Also, please note that this library scene is the only time we see Lynn wearing glasses.
They then embark on a long-and-winding conversation, as they also weave in and about different parts of the library on their way to her office. I will not record every part of their conversation, but I will highlight excerpts with major bits of information we learn about Lynn, her work, and their relationship.
Lynn’s past and present:
In this exchange, we learn about Lynn’s past as a world-class athlete, and how successful she is in her chosen career as a special collections librarian.
Lynn: [W]e don’t have anything in common. Sometimes I wonder if we ever did.
Jake: What are you talking about? We were both athletes, world-class, hot for each other. What more could we have in common?
Lynn: I stopped being an athlete three years ago, Jake. Books are my life now. Don’t you dare laugh. In two years I put together one of the best special collection departments in the country.
Lynn’s reading recommendations:
Note: This scrap of conversation will prove important in later scenes!
Jake: What is this? You’re still sore I never read Moby Dick?
Lynn: You never read anything I asked you to.
Jake: All right, I’ll check it out now. Is this the Whales section?
Lynn stands up for herself:
In this exchange, we learn more about their past relationship, and the kind of behavior that Lynn is not going to tolerate anymore from Jake.
Lynn: I haven’t seen you in three years. You never even wrote me a letter.
Jake: I’m sorry about that. I wasn’t exactly proud of my situation. Come on now, you never thought about me at all while I was gone?
Lynn: Yeah, Jake, not so loud.
Jake: What about the three nights we spent on the beach in Veracruz? You ever have nights like that with Mr. Briefcase?
Lynn: What about the night you had in Detroit with Miss Fuel Injection?
Jake: Well, what was I supposed to do? She bet me 50 bucks she had a better body than you, and I had to defend your honor.
Lynn: Oh, what a bunch of bullshit. I have a much better body than she does!
Jake: She’s right.
This last outburst — when Lynn reaches her limit and yells at Jake in the library — causes a strong reaction from patrons in the library. Amusing that a librarian would have a good body, or rather, be proud of her own body…? Hmmm… 😦
Embarrassed, Lynn smiles ruefully and crosses her chest with the stack of folders in her hands. Lynn then ends the conversation, firmly closing the door to her office. Unwittingly, she also sets up a personal challenge for Jake, to finally stop being “the little boy who wouldn’t grow up.”
This library scene — the only scene actually set in an actual library — lasts 3 minutes. We get lots of info, and we follow Lynn on a whirlwind tour of the library, which seems to boast Gothic architectural details. Every space looks to be filled with patrons! And bonus, when Lynn passes through an open doorway (in the third screenshot below), we get a quick glimpse of a sign that reads “Special Collections.” Love that they included that detail!
Lynn’s lasting influence:
Remember when I mentioned how Lynn’s reading recommendations — as well as her parting shot at Jake to grow up — would be important? We get our first payoff a few minutes after this library scene, when Jake is reading the “Classic Comics” version of Moby Dick. He also turns down the opportunity to go to a club because “I got some reading to do.”
Continuing in this aside, a little over an hour into the film, Jake has gotten the entire team interested in reading the Classic Comics series! They highlight the graphic novel versions of Crime and Punishment, Song of Hiawatha, and The Deerslayer. Bless. ❤
Third base: A reel librarian at play
Desperate to reconnect with Lynn, Jake follows her home one night from the library. While I do NOT condone this kind of stalking behavior, we do get treated to a glimpse of Lynn’s specialty license plate, which reads… wait for it…
Isn’t that the best?!!!
However, when Jake finally musters up the courage to talk to Lynn on what he assumes is her home turf, he finds out… she’s at her fiance’s apartment, and they’re in the middle of a dinner party.
Jake then makes small talk with the guests, and we get to find out more about their backstory and relationship, including that:
Jake “wanted to discuss a couple of books with Lynn.”
Lynn reveals that Jake “was one of the best in baseball before he had problems with his knees.”
Jake wants to eventually move to Hawaii and “have a couple of kids who grow up to be Olympic champions,” particularly in “swimming, the 200-meter individual medley.”
Lynn was an “alternate on the ’80 Olympic team” in the 200-meter individual medley.
This informative scene lasts 6 minutes.
Going beyond third base with a reel librarian
By this time, we’re rooting for Jake and Lynn to get back together… and the movie does not disappoint! At 1 hour into the film, Jake spies Lynn at a baseball game… and you probably guessed it… follows her back home. Again, I do NOT support this kind of stalking behavior, but we do get to see this reel librarian’s apartment! Admittedly, it’s in a state of packing, as Lynn reveals she’s getting married soon. They have an in-depth conversation, going back over old wounds and feelings — including more instances of Jake’s cheating.
Although they have hurt each other in the past, their chemistry is undeniable, and they find themselves back in each other’s arms. (I laughed out loud when Lynn admits “We were always good at this,” as they head off to her bedroom. A reel librarian who enjoys sex… AMAZING!)
I also enjoyed that Lynn’s preferred foreplay involves BOOKS. Behold:
Jake: I guess this is our last hurrah, then.
Lynn: Yeah, I guess so. Hey, did you ever read Moby Dick?
Jake: Cover to cover, babe. When’s the wedding?
Lynn: You know, you could have read Plot Outlines of 101 Great Novels.
Lynn: At any library. [They kiss.] Who saved Ishmael at the end?
Jake: Huh? Uh, nobody… It was Queequoc’s, Queequeg’s coffin.
We also get to see Lynn’s bedroom set (flowery, pastel, and wicker), as Jake wakes up the next morning alone in her bed. This sexy scene lasts a total of 5 minutes.
Librarian’s note: Y’all knew that I was going to look up the very specific book title she mentioned in this scene, Plot Outlines of 101 Great Novels, right?! This is the work she says would be available in any library, except… there is no work with that exact title in WorldCat (an online card catalog of library collections around the world). There are some reference works with similar titles, including Plot Outlines of 100 Famous Novels, published by Barnes & Noble. My guess, however, is that the writers were thinking of a reference series like Masterplots, published by Salem Press for over 60 years, which IS a very well-known reference book series that summarizes the plots of significant works of literature and films. You’re welcome for this aside. 😉
Home run with a reel librarian
As the Cleveland Indians chase a pennant, we finish the film with a nail-biting game against their longtime nemesis, the New York Yankees. After an amazing game — no matter how many times I watch this film, I’m still at the edge of my seat rooting for the ragtag Cleveland team to win! — Jake spies Lynn in the stands.
She raises up her left hand, to show that she wears no wedding ring. They kiss, and Jake carries her to the field to celebrate with the rest of his teammates. I love that a reel librarian is featured in the final shot of this classic baseball comedy! Home run for the Cleveland Indians AND the reel librarian!
An unconventional reel librarian portrayal
Lynn in Major League (1989) is the only example I’ve been able to find so far of a reel librarian who is also an athlete. Although winding up with 6th billing, she makes a big impact on the overall motivations and (off-field) actions of the characters. Essentially, Rene Russo plays the main romantic lead in the film, and, like I mentioned above, Lynn also gets to be in the film’s final shot, as Jake includes her in the team’s celebration on the field.
Therefore, I have classified Lynn Wells in the Class II category of reel librarian films, in which the protagonist or other major characters are librarians, but the librarian’s occupation does not directly affect the plot.
Lynn Wells is also an atypical portrayal of a librarian and doesn’t fall easily into established character types. Hallmarks of atypical portrayals include:
portrayals go beyond stereotypical constraints
satisfied in their chosen profession
modern clothing and fashion sense
well-rounded characters with scenes and backstory that reveal their homes, personal spaces, and personal history
We get to witness all those points in Rene Russo’s turn as special collections librarian Lynn Wells, and I have always personally enjoyed this reel librarian character and portrayal. She’s smart, sassy, and proud of both her past life as an athlete as well as her current life as a professional librarian. A winning combo!
Can’t get enough of this memorable reel librarian? Although this is the first in-depth analysis post for Major League (1989), I have spotlighted this film in prior posts, including: