A short post for a short fable.

Animal Farm (1954)

A contrast to the last post; this is an lament to Marxism and Communism. Its childish simplicity of a cartoon fable makes all communist philosophers look phony if the essential ideas can be understood by children. Yet Karl Marx speaks to all, like Major - the pig - who is an anthropomorphism for Lenin and Marx.

Is this the truth in our society?

Existance

2001: (A Space Odyssey) (1968)

This film is stunningly cool. The usual superlatives of groudbreaking, awesome, breathtaking which realistically are too simplistic to describe this film. In fact, by labeling this as just a film - it really confines the depth and scale at which Stanley Kubrik is exemplifying on screen. This is Kubrik's operatic proclamation on our (humans') concept of our dawn of existence, concluding with almost the demise of all life itself, only then to embark on a new circle of life - alluded to at the end of the film. 

This is a biblical epic, but not on Hollywood's terms. There are no allusions to Jesus similar to Ben-Hur or monumental miracles performed only by God. Rather, it is biblical due to the film acting as a religious text for the religion of Agnosticism. It is neutral in its questioning atmosphere and tranquil facade that prevails in Space. There is an open sparsity which is related to the viewers with the vast barren landscapes and the wide angle shots used frequently. The film does not eagerly provoke which is successful in allowing the viewers to interpret it freely. The meaning behind the infamous black rectangle is unexplained and therefore after any viewing your mind reels with abstract concepts. 2001's serenity only increases the tension as a disastrous problem is surely oncoming...

I watched this film for a second time whilst multi-tasking and therefore I could only really listen. However this experience was just as magical as watching because the sounds that are essential for creating an atmosphere were amplified, especially the rhythmic breathing. In most films you almost forget actors breath as it is rarely heard. Furthermore the soundtrack of Johann Strauss' Blue Danube and most interesting choice of all: Also Sprach Zarathustra. This was a piece inspired by an epic poem and the philosophical writings of Friedrich Nietzsche. Immediately a transcendence mystifies this film - questions only too deep for a 15 year old to be answering ;). 

Hal (9000). The Heuristically programed Algorithmic computer who is the central nervous system of the shuttle and the expedition. The word algorithm sets me on edge at once and start becoming uneasy about our future. Artificial intelligence is starting to creep in, and discreetly altering the way we live our lives. We are powerless to stop this. It seems as if we are living in the aged, foretold in 2001 yet we are obviously a little late. This is merely the beginning. However, to fear is not correct, for Hal is not scary, he is not your average evil antagonist. Artificial Intelligence 'mimics' human emotion and therefore Kubrik brings us to empathize with a computer - this is the scariest prospect. Hal is paranoid, scared, hiding behind the pretense of perfection, which is something us humans are culprits of too. 

'open the pod bay doors Hal'

... is one of the most haunting lines in cinema I have ever heard. 
 
 2001's design is flawless. The futuristic concepts are scarily realistic. Was Steve Jobs inspired by the film for his version of the tablet? How Kubrik has constructed the film is beyond me. I would advise you go read a film journal or the Guardian if you want to find out.  

The design for the space ships are similar to Star Wars however one must remember that Star Wars was 9 years later. Star Trek had no way near the complexity, scale and funding that 2001 must of had yet again, but the Enterprise does have a comparable design. The interior design of the landing bays seem sterile and 'electrically' incandescent but beautifully modern and not at all dated. The minimalistic white makes the decks glow. Despite this I do love some of the 60s dress styles that themselves were inspired by the futuristic space age look. Furthermore, the red Djinn chairs epitomise modernism. Even their namesake can be interpreted '
Islamic spirit capable of changing shape' to tie in with the film's spirituality.

This is the definitive Science Fiction film. It confuses, delights and certainly cathartic. The anonymnity of the characters is a relief from the bombardment of plot, character traits and action that is concurrent in the Blockbuster industry today.
Stanley Kubrik is revolutionary.

*****

Dear HaShem, Sincerely the Cohen Brothers

A Serious Man (2009)

This film is prefaced by an intriguing Jewish fable about the multiple Rabbis. With the dialogue in Yiddish (we were deciphering whether it was Polish, Russian, German or even French?) and an eerie prevailing atmosphere, it sets the stage for a 1960s comedic tragedy, exploiting the paranoia and self-deprecating attitude of a Jewish community in America. Parodying the uptight personality of American Jews is a subject that has to be portrayed sensitively however Joel & Ethan Cohen can take liberties as the film mirrors their world; being Jewish kids also growing up in the 60s, this community is a product of memory and imagination. These directors are not afraid of being disliked.

            The style of this film is one seen in the works of Wes Anderson, Spike Jonze and Jared Hess (director of Napoleon Dynamite). It is awkward, subtly mimicking, direct and the tones and setting is neutral. It is easy for the characters to fit into the neutral story/setting like clockwork rather than emerge as the Hero. Perhaps Jews don’t have Heroes, just pawns following down Ha’Shem’s path. 1960 is created so explicitly you come out the cinema believing you were watching this in the time. Its extremely inviting – most sets are shot face on and at eye level so they seem open – like you are inside and the awkward atmosphere is due to the audience’s intrusion into intimate affairs like discussions of divorce and at ‘Get’ or private conversation with head Rabbi Marshak himself.

            Joel and Ethan create a paradox; they show the world what is behind the dispassionate façade of a Jew yet in the story the father (main character Larry Gopnik Michael Stuhlbarg) who is untrustworthy of the world outside the community due to experiences. He lives next to a redneck who is intruding on his land. He feels constrained by his job and family – his opinions of his ineffective life subdue the nonchalant tones. He is stagnating but also at a crossroad. 

The directors weave in the uncertainty principal neatly into the film. This is not just for the characters but allows the film to take unexpected twists and forces you to question your own life.      

We pity the Jews just as much as they pity themselves. In history they have been the scapegoats and they almost accept their fate by making themselves exclusive to their race and religion: Jew school ect. Larry Gopnik believes all his problems can be solved by discussion – conversation with God’s prophets – although this film hilariously questions their usefulness. Their traditions are age old and so are the people that uphold these traditions the most; the young generation is more rebellious, tainted by the surging youth culture in the 1960s. This film is poignant, heartfelt and the best is the little footnote: No Jews were hurt during the making of this film.****