“Those committed to the poor must share the same fate as the poor.” (Oscar Romero)

“A church that suffers no persecution but enjoys the privileges and support of the things of the earth - beware! - is not the true church of Jesus Christ. A preaching that does not point out sin is not the preaching of the gospel. A preaching that makes sinners feel good, so that they are secured in their sinful state, betrays the gospel's call.” (Oscar Romero)

The film Romero (1989) is based on the life story of Oscar Romero was a priest and bishop in El Salvador. His love for his people who were suffering violence and oppression led him to take their side and to denounce their oppressors. He was killed whilst saying Mass. The film is directed by John Duigan and starred Raúl Juliá and produced by Paulist Productions. Timed for release ten years after Romero's death, it was the first Hollywood feature film ever to be financed by the Roman Catholic Church. The film received respectful, if less than enthusiastic, reviews.  

Oscar Arnulfo Romero y Galdámez was born in Ciudad Barrios, El Salvador, on August 15, 1917. His father, the town postmaster and telegraph operator, apprenticed him to a carpenter when he was 13, but the younger Romero felt a vocation for the Roman Catholic priesthood and left home the following year to enter the seminary. He studied in El Salvador and in Rome and was ordained in 1942.

Romero spent the first two and half decades of his ministerial career as a parish priest and diocesan secretary in San Miguel. In 1970 he became auxiliary bishop of San Salvador and served in that position until 1974 when the Vatican named him to the see of Santiago de María, a poor, rural diocese which included his boyhood hometown. In 1977 he returned to the capital to succeed San Salvador's aged metropolitan archbishop, Luis Chávez y González, who had retired after nearly 40 years in office.

Romero's rise to prominence in the Catholic hierarchy coincided with a period of dramatic change in the Church in Latin America. The region's bishops, meeting at Medellín, Colombia, in 1967 to discuss local implementation of the recommendations of the Second Vatican Council (1962-1965), had resolved to abandon the hierarchy's traditional role as defender of the status quo and to side, instead, with the continent's poor in their struggle for social justice. This radical departure divided both the faithful and the clergy. Conservative laymen complained of "Communist" priests, while many clerics refused to accept the new role the Church was creating for itself in Latin American society.

In El Salvador, an extremely conservative society where the privileged few enjoyed great wealth at the expense of the impoverished majority, younger priests, among them many foreigners, grasped the new ideas enthusiastically, but the only prelate who encouraged them was Archbishop Chávez y González. During this period Oscar Romero's reputation was as a conservative, and on more than one occasion he showed himself skeptical of both the Vatican II reforms and the Medellín pronouncements. For this reason his appointment as archbishop in 1977 was not popular with the politically active clergy, to whom it appeared to signal the Vatican's desire to restrain them. To their surprise, Romero emerged almost immediately as an outspoken opponent of injustice and defender of the poor.

By Romero's own account, he owed his change of attitude to his brief tenure as bishop of Santiago de María, where he witnessed firsthand the suffering of El Salvador's landless poor. Increasing government violence against politically active priests and laypersons undermined his trust in the good will of the authorities and led him to fear that the Church and religion themselves were under attack. The assassination on March 12, 1977, of his longtime friend Jesuit Father Rutilio Grande brought a stinging denunciation from Romero, who suspended masses in the nation's churches the following Sunday and demanded the punishment of the responsible parties.

As Romero spoke out more and more frequently over the coming months, he gathered a large popular following who crowded into the cathedral to hear him preach or listened to his sermons over YSAX, the archdiocesan radio station. In his youth Romero had been a pioneer of broadcast evangelism in El Salvador, and he now turned the medium to great effect as he denounced both the violence of El Salvador's developing civil war and the deeply-rooted patterns of abuse and injustice which bred it. In a country whose rulers regarded dissent as subversion, Romero used the moral authority of his position as archbishop to speak out on behalf of those who could not do so for themselves. He soon came to be known as the "Voice of the Voiceless."

When a coup d'état overthrew the Salvadoran government on October 15, 1979, Romero expressed cautious support for the reformist junta which replaced it. He soon became disenchanted, however, as the persecution of the poor and the Church did not cease. In February 1980 he addressed an open letter to U.S. President Jimmy Carter in which he called upon the United States to discontinue military aid to the regime. "We are fed up with weapons and bullets," he pleaded.

Romero's campaign for human rights in El Salvador won him many national and international admirers as well as a Nobel Peace Prize nomination. It also won him enemies, however. On March 24, 1980, a group of unidentified gunmen entered a small chapel in San Salvador while Romero was celebrating mass and shot him to death. The archbishop had foreseen the danger of assassination and had spoken of it often, declaring his willingness to accept martyrdom if his blood might contribute to the solution of the nation's problems. "As a Christian," he remarked on one such occasion, "I do not believe in death without resurrection. If they kill me, I shall arise in the Salvadoran people."

(From Gale Encyclopedia of Biography)

"I'm deeply impressed by that moment when Christ stands alone before the world figured in Pilate. The truth is left alone, his own followers have been afraid. Truth is fearfully daring, and only heroes can follow the truth. So much so that Peter, who has said he will die if need be, flees like a coward and Christ stands alone…Let's not be afraid to be left alone if it's for the sake of the truth. Let's be afraid to be demagogs, coveting the people's sham flattery. If we don't tell them the truth, we commit the worst sin: betraying the truth and betraying the people. Christ would rather be left alone, but able to say before the world figured in Pilate: Everyone who hears my voice belongs to the truth.” (Romero)

The Way home

The Way Home (2002 Korean film)

Everything my grandma does

is something special made with love.

She takes time to add the extra touch

that says, "I love you very much."



She fixes hurts with a kiss and smile

and tells good stories grandma-style.

It's warm and cozy on her lap

for secret telling or a nap.



And when I say my prayers at night

I ask God to bless and hold her tight.

Cause when it comes to giving hugs

my grandma's arms are filled with love! (Author Unknown)

The story begins on a fine summers morning, when Sang-woo (Yu Seung-ho) the seven- year-old boy and his mother board a bus to the country. It is soon clear that the unsophisticated rural passengers annoy the urban boy. His mother is taking him to live with his 78-year-old mute, but not deaf, grandmother (Kim Eul-boon) while she looks for a new job after a business venture failed in Seoul. Eventually they reach their destination, a dusty bus stop in the Korean countryside near an unsophisticated village.

By now Sang-woo, who has arrived with junk food and toys, has no intention of respecting his mute grandmother especially as her house has neither electricity nor running water. His mother apologises for leaving the boy, telling her own mother it will not be for too long before leaving on the next bus. Alone Sang-woo ignores his grandmother, not even wanting to look at her and even calling her a byungshin (retard). Next morning, his grandmother starts another day. She goes down the hill to get clean water and washes her clothes at the river. She also tends the melons that she will sell at the market.

One of the Grandmother's neighbours is a hard-working country boy who attempts to become friends with Sang-woo, who declines until the end when he apologizes for making fun of him. The other is a young girl who Sang-Woo falls in love with, but she is more interested in the country boy.

The grandmother, who also cares for her old friends very much, lives a simple and humble life. Eventually, from constant play, Sang-woo's Game Boy runs-out of batteries so he asks his grandmother for money for new ones. But she is poor and has none. Selfishly he teases her, and in an intolerant manner throws away her shoes, breaks her (empty) chamber pot, and draws graffiti on her house walls.

When this fails to get money from his grandmother, Sang-woo steals her ornamental hairpin to trade for batteries. He then goes off to find the shops. When he finally finds the right place he attempts to trade the silver hairpin but instead of getting batteries the shop keeper, who happens to be his grandmother's friend, hits him on the head and sends him home.

One day Sang-woo demands Kentucky Fried Chicken. But as the grandmother only understand "chicken", she takes some of her melons and trudges off to the market to buy a chicken. Bringing back a live one in the rain, she prepares a home-made boiled chicken instead of fried chicken. When Sang-woo wakes up he sees the boiled chicken he gets angry, throwing the food away. Later in the night he finishes the food because he is hungry. The next morning, his grandmother becomes ill and Sang-woo cares for her by wrapping her in additional blankets and serving the remaining chicken.

Sang-woo remains angry and confused by the unfamiliar environment and repeatedly rejects her attempts to please him. But her unconditional love slowly touches his heart. One day, Sang-woo gets up early and goes with his grandmother to the market where he sees how hard his grandmother persuades passers-by to buy her vegetables. After a long day at the market she takes Sang-woo to a shop and buys him noodles and new shoes. When they are about to board the bus home, Sang-woo asks his grandma to buy him a Choco Pie.

The grandmother goes to a shop that is run by an elderly friend. The shopkeeper, who now has a bad knee, gives her five or six pies but refuses to take any money, so the grandmother gives the shopkeeper a melon. But when the grandmother returns to the bus with the sweets, Sang-Woo says he wants to ride alone as the girl he likes is also on board. The grandmother tries to get Sang-Woo to take the rest of the produce with him but he refuses. The bus then leaves. Sang-Woo then has to wait for his grandmother to return wondering why it is taking her so long. He then realises that his grandmother has walked back from town carrying all her produce.

Eventually Sang-woo grows to love his grandmother, but because she is unable to read or write he makes some simple greeting cards, so she has some letters from him. Finally Sang-woo's mother returns and he goes back to Seoul. His depth of feeling for his grandmother are revealed when the bus leaves and he leaps to the back window to wave his tearful farewells. The film closes with the grandmother continuing to live alone in the thatched-roof house but with the letters of love from her grandson. Before the end credits, there is a note of dedication to all grandmothers around the world.  

(Review from Wikipedia)

“The history of our grandparents is remembered not with rose petals but in the laughter and tears of their children and their children's children.  It is into us that the lives of grandparents have gone.  It is in us that their history becomes a future.” (Charles and Ann Morse)