Showing posts with label fascism. Show all posts
Showing posts with label fascism. Show all posts

8/24/2012

The Spirit of the Beehive ( El Espíritu de la colmena ) Review

The Spirit of the Beehive ( El Espíritu de la colmena )
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This film is based on some interesting phenomenon that occurred during a specific historical time in Spain, just prior to World War II. The beginning scene is idyllic and peaceful, where Fernando is tending beehives. The fact that there is no musical accompaniment, just the sounds of nature and life makes the film more unique, a tad eerie and very remarkable, creating emotional expectations and a depth that is subtle but very intense. The best acting is by Ana, a young girl about 6 years of age. She is perfectly cast in her role. Her innocence and charm are real and natural. Everyone who views her will return to aspects of their own childhood on certain levels. The innocent times when, no matter what happened, life was good, the world was new, exciting and filled with first discoveries. In this film ... one comes to expect ... a certain awakening or shocking event ... something surprising with a huge emotional impact ... coming out of the clear blue.
The family lives in a two story stone villa that looks almost like a mansion except for the stones which look hewn from the local soil, despite the large iron gate, there is an earthiness to the building. It has an overly large foyer ... The second level is where the family lives. Ana and her sister, Isabel who is about 10 or 11 years old share a bedroom which has single twin beds in a lovely room furnished with antiques. Fernando has a study, there is no electricity, he uses oil lamps and candles. He has marvelous big wooden bookcases and a huge desk where he writes poetic lyrical verse about his beehives which he lovingly tends. The beehive may be the metaphor for their lives in a subtle sort of way.
The camera slowly rolls over stone buildings and dirt roads in the nearby village where one building is used as a movie theater. There is excitement in the air when an old truck pulls up which delivers this weeks film. Inside, adults set up wooden chairs, outside the children excitedly ask the driver whether the film is good. He reassures them, it is the best. The camera is used effectively to film the faces of many villagers of different ages ... people who work hard, they are simple but dignified, ready to view the film of the week, one of the few sources of entertainment in the town. As the film starts, there is an introduction by an announcer who advocates the miraculous discoveries of science and compares that with the creation of life by God. Yet in this film, a scientist did just that, brought to life a man-like creature he had made. Ana is fascinated by the monster, who is given a flower by a littl girl in the film but we learn later, the monster named Frankenstein killed the girl. Ana puzzles over why he did this as clearly the little girl liked him as she handed him the freshly picked flowers in her hand.
At bed time Ana can not get the film out of her mind and discusses Frankenstein and his behavior with Isabel. Isabel fabricates a story that satisfies Ana by stating Frankenstein is a spirit who can take on a body if human beings pray and sincerely believe in him, somehow twisting their religious beliefs to make this seem plausbible. Only those who truly have faith can do this. From this point forward, Ana wants to conjure up a spirit with a body and Isabel takes her to an abandoned old stone building far out in the fields, telling her a spirit lives there who might appear in bodily form if Ana believes strongly enough in him. Ana is shown to visit this farmhouse often ... alone ... looking down the well and walking around the building ... Until one day, she does find a man inside the building - fulfilling Isabel's story ... What happens afterwards,for good or bad needs to be viewed to be appreciated. The artistry and beauty of the film are beyond word descriptions at this point.
On some levels the family seems disconnected, the children do not often interact with the parents, surprisingly not even with the mother which seems unnatural. There are scenes where the family is eating and amazingly everyone at the table is silent, except for the sounds of eating. The sisters giggle and communicate with smiles and body language as children often do. Isabel pulls a trick on Ana pertaining to Frankenstein. It is heart-stopping and gut-wrenching but just what children often do. Amazing but the parents are nowhere nearby when this occurs.
Sadly, at times the creative subtle artistic approach obscures the intentions of the director; they are totally lost on the viewer ... Fernando, the father takes the girls on an outing to pick mushroom, he points out which are edible and which ones are poisonous. Toward the end, the whole town gets involved in the actions related to something that happens to Ana ... I will leave the reader to ponder what that might be hopefully there is enough information in this review to entice the reader to want to view this film. This is a highly recommended film, somewhat more complicated than it should be however appreciation for its beauty grows on the viewer long after it is viewed.
Erika Borsos (erikab93)

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2/10/2012

Salo: The Criterion Collection (1975) Review

Salo: The Criterion Collection (1975)
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"Salo" is most certainly one of the most controversial films of all time. With an eye sensitive to horrific imagery, it is easy to fall into a trap and see the imagery for only what it is, as opposed to what it represents. For, the power of "Salo" is to be seen in the relentless metaphor that it contains. Once one knows a couple of basic hints it becomes far easier to peel off the layers of disgust to reveal the true essence of this powerful film.
The basic characters fall into several archetypes:
1) The 4 Men: represent the fascist rule that dominated Italy during the Nazi rule. Given more power than they should have, they are content to savage the people they rule over with no respect for the humanity that they have been given control over.
2) The teens: the victims of this fascist control (the Jews of the Holocaust, the Italian people, etc.) who quickly lose all their dignity and rights under such savage treatment. Escape appears to be only a couple of steps away and seems quite easy; yet, for these individuals, it is impossible.
3) The madams: The politicians that (although not participating directly in most of the exploitation of the populace) provide the direction and desire to commit such crimes to humanity. Easily recognizable, they are just a step below the 4 men in the line of power.
4) The soldiers: the populace of Germany/Italy who allowed these atrocities to go on. Witnessing the entire situation as it escalates (much like it did in Nazi Germany), these people fall under the Nazi spell. For them, it is impossible to sympathize with individuals that have been so debased, so no guilt is felt on their part for the crimes they are involved in.
5) The piano player: the populace of Germany/Italy who allow the atrocities to go on, but eventually become aware of the horrors that they have helped cause. Inevitably, rather than direct their guilt externally to change the system, these individuals internalize it upon themselves.
6) The viewer: as an individual watching this movie, the viewer is being asked by Pasolini what side they are going to fall one: the soldier or the piano player? Are we to feel sympathy for these violated teens or are we to look at their plight with the same detached lack of interest as the soldiers?
Thus, Pasolini has created a large allegory that can be seen in today's light, as well as those of WW II. Essentially, these archetypes are applicable to most any situation in the world where individuals are being exploited...and this is Pasolini's message. As individuals outside the loop (viewers) we possess the ability to evaluate the scene and react in a way that can alleviate or enhance the scenario, it is up to us to decide.
A word about the imagery: This too is an essential aspect of "Salo;" for, in its relentless onslaught, Pasolini is trying to tell us something. Once upon a time imagery like that of the Holocaust in WWII was capable of shocking the populace of the world (as it was REAL); however, much of humanity has become desensitized to this. Pasolini is trying to offend us with the imagery of this movie in order to parallel how we SHOULD be offended by the imagery of the Holocaust. He is showing us these atrocities without "Hollywoodizing" them (try "Schindler's List" for that)...these are images we cannot deny and they are based on reality. Humanity is capable of tremendous horror and through the imagery of "Salo," Pasolini is forcing us to acknowledge a side of our species that we have lost sight of over time.
In this fashion, "Salo" is an exploration on the psychology of mass fascism. Not only are the soldiers placed under the spell due to the debasement of the people that are being exploited, but the exploited individuals are turned against themselves to continue to live (one particular scene is "Salo" articulates this perfectly). Promises of "freedom" that are never delivered also helps to keep these individuals in line. This mass psychology is evident throughout "Salo;" for, there are ample chances to attempt escape, but all are kept in line with minimal effort.
Finally, a quick word about the ending (I will keep this vague so as not to spoil it for those that have not seen it): Pasolini is telling us that, in the end, we have become so desensitized to the horrors that surround us that we are all inevitably the soldier archetype. No longer able to see the suffering that surrounds us, we are dancing right along with the 4 Men...although perhaps not directly involved, we see all that is going on and help allow it to happen through our lack of action. Pasolini is describing humanity's fate here and forcing us to confront it so that, perhaps, something can be done to change it.
This movie is one that is NOT recommended to potential viewers unless they see this movie for the imagery it represents. Contrary to what many will tell you, this movie is NOT a dark comedy and is, indeed, as dark and relentless as they come. Again, the imagery is RELENTLESS...be prepared if you decide to see this; after all, the imagery is only a fraction as disturbing as what it represents.
Hope that helps...

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