Life out of balance

Koyaanisqatsi (1982)
Koyaanisqatsi, est le premier film realisé par Godfrey Reggio, et ce film certainement cimente son héritage dans le monde du film. Ce film répresente le terre, essentiellement, USA, en toute sa gloire, sans ignorer aussi le contraire; le pauvreté abjét. En démontrant la nature magnificent, dans les scènes premières, on peut comparer comment on voit la beauté de notre monde avec l'absence des humaines. Or, avec la présence des humaines, est-qu'il y a la même beauté, ou peut-être, est-qu'il y a plus?



Ce film ne cherche pas un sens ou un signification. Au début, la réalisateur a voulu n'avoir rien comme titre. Il est ainsi approprié que il a choisi Koyaanisqatsi. Le spectateur n'est pas donné un façon dans laquelle il doit regarder le film. Il se peut qu'il soit un sérénade à la technologie et la modernité, ou un hymne pour la vitesse des cités et leurs régenerations? La seule clé est que la mot derive d'un langue Hopi, parlé par les indigènes qui habitent en Arizona, un langue ancien. Reggio présente l'idée que les états unis ont un histoire, mais ils avaient préféré de créer un nouveau monde, et utiliser les résources naturels sams cesse. Conséquemment marquent le terre, dans n'importe quel façon ils choisissent. Les images sur l'écran montrent comment la terre est exploité, apparemment très aggressif. Les machines déchirent le sol et la violence est illustrée à travers les explosions nombreuses.

Cela semble très moche, en outre, je crois que c'est la composition qui le fait si belle. Le rythme du film est dicté par la vitesse des scènes. Avec 'time-lapse', les nuages coulent gracieusement sus les montagnes forts et les ombres sous les nuages rougissent l'image. À mon avis, c'est le long duré des quelques scènes qui donne l'impression que les scènes accélerés sont en réalité plus lentes. Il est une illusion intéressante. C'est la prolongement des coleurs et les lumières des voitures, ou des fenêtres, qui augment cette abstraction. Toutefois les aspects visuelles define beaucoup de le rythme, il est aussi la musique. Le compositeur, Philip Glass, a une maîtrise de la marcottage des morceaux dont chacun s'entrelace. Pour chaque chapitre, la melodie commence avec une note dramatique, et des cuivres grognait comme un tremblement de terre.

Ce qui est le meilleure élément, c'est la mode, et la couleur du film qui est synonyme avec les années soixante dix. Les scènes avec les gens sont faits plus fascinant pour moi parce qu'ils évoquent un sens de nostalgie que je peut sentir, même si je n'avait pas encore été née. Plus important, les scènes de Monument Valley provoquent les sentiments de la Sublime, une émotion très enracinée dans mon esprit et mon âme. Est qu'il est claire que les films western aient inspiré ce film, en plus, que les autres films dans la future soient inspiré par le talent artistique des réalisateurs. Enfin, ce film preuve comment on peut rendre quelque chose belle avec un plutôt petit somme d'argent.

*****

RAN - Shakespearean Samurai

Ran (1985)

is an apt title for this film as it is synonymous to Japanese films to frequently run; into battle or for a messenger, or merely between conversing, fretting Shogun Warlords. In fact, Ran means "rebellion", "uprising" or "revolt", or to mean "disturbed" or "confused" in Japanese. All these translations can be used to describe an aspect of this amazing film.

Based on the tragedy of King Lear, yet fused with Historical events featuring real Emperors, who similarly, divided and conquered their land, Ran is a film drenched in rich complexities. What comes across most strongly is the melodramatic way in which this doomed story is conveyed. Kurosawa (Seven Samurai) really elaborates on the mythical elements of the combined history and fiction. However, more depth is added as Shakespeare's King Lear is based on a mythological pre-Roman Celtic king. It is interesting that these events have many similarities to other found across the globe in a completely different culture. So much so that the tradegy of greed, and desire to protect successes through one's family, seems inherent in human nature.


Next, Kurosawa retains the influences of theatre. The Globe is typically Elizabethan, yet the style of 'mystical intensity' thus described by Munakata Ueda (a pioneer in Noh Shakespeare), lends itself well to the poetic, dramatics of Noh Theatre. The circular globe is replaced with the square, wooden beams of a traditional Japanese shelter. Furthermore, the rich yet slow atmosphere is interspered with satirised sections and comical characters similar to the jesters or comedians that feature in Shakespearean tales.

Briefly, King Lear, or Hidetora has three 'loyal?' sons; Jiro, Saburo and Taro; for whom he divides the Kingdom. However, lust for power, manipulation from wives ensue, and battles and complications take place. Here is a link to a more detailed story

The film is a masterpiece. Kurosawa's attention to detail is exquisite and sustain's the reader's fixation for the running time of three hours. The atmosphere is your living room/cinema stills. Every melodramatic exclamation made by King Hidetora; every stab of a sword, or charge of uniformed soldiers, who move in unison like a menacing, black wave, is amplified. There is not one fixed colour palete. Kurosawa's atmosphere alters in each setting. The costumes and props revolve around the primary colours as each colour is allocated to one of the sons. I assume this is where inspiration for Power Rangers stems from. However, there is the contrasting hues that are prevalent in nature, and therefore are dependant on terrain- the barren and bleak greys of the wasteland reflect the misery and confusion of Hidetora in his inevitable (tragic) downfall. Yet the pinks and fresh green colours of beauty and plants radiate from the fertile hills and purer, more innocent characeters. Skin is an interesting canvas on which to add to the art of the film. As Hidetora becomes more and more decrepit, his face dirties and hollows out as the features become ringed with black makeup.

The devious seductress Lady Kaede is one of the most conniving women in all of film history, nevertheless, her determination is quite inspiring. Her make up has inspired Princess Amidala from the Star Wars prequels. Plus, the costume designer Emi Wada uses very unique designs that are not as traditional, using possibly 60's print (at least, very modern patterns). Her stunning qualities enriches the presence she commands on screen as she wades in the heavy kimonos. I think it is her serenity, that, juxtaposed with her outburst of precise ferocity is what makes her so impressive. One wonders what schemes she must devise when she sits cross-legged and ceremonial.

The soundtrack is equally haunting. Woodwind and stringed instruments played tentatively (yet still producing a good sound, confident in its disharmony) to create the ambient and almost lonely themes which reflects the questioning atmosphere of the characters, and the director himself.

Kurosawa has ultimate confidence as a film director to force the viewer to wait, and watch as observers of his creation. This is also relevant to the battle scenes. The scenes are as far away from Hollywood drama as can be. It is refreshing to see such well choreographed fights with less emphasis on individual toil, transitioned to the horror and destruction from the strength of the army of the prevailing brother. The image of the burning fortress, standing erect between yellow and red armies could symbolise Hidetora's mental and physical hell. Moreover, Kurosawa could be attempting to enlighten his audience to a human society that is doomed if it continues in greedy pursuits. This is furthered by the the shock that is shown so melodramatically on the face of Hidetora as he realises the terror he has caused to so many people. Innocent Lady Suë's
attempts portray redemption as positive are too late and therefore quite futile. As this film is Kurosawa's last Samurai epic, it could be his last jab at the destructive feudal society of 16th century Sengoku Japan, and perhaps suggesting we have not learnt from the mistakes in the past?

 ps I would love to add more stills yet I don't want to spoil the film for you all.
*****