Tsotsi and Biblical Redemption

There is without a doubt many note worthy comparisons in the film "Tsotsi" to the Bible.  As I was preparing for this essay on myth in world film there was a story that constantly came to mind, and although I tried to push it away for one reason or another I finally decided to use this as the center piece of my subtext. The story that came to mind time, and time again  is the story of the prodigal son in the Bible.

Here is a quick recap of the story of the prodigal son, just in case you are unfamiliar with it.  This is a parable spoken by Jesus as found in the gospel according to Luke (Luke 15:11-32).  In the story a man has two sons.  One day, his younger son demands that his father give him his inheritance; the father does so.  The son runs away.  While he is away he lives carelessly, he lives disconnected from the man he was brought up to be, and spends everything he has.  To make things worse, a great famine strikes the land.  Before he knows it, the younger son is working as a swineherd, and even envies the pigs he is looking after.  He comes to his senses, and decided to return to his father's home, where he is willing to work as one of the servants.

But when he came to himself he said, "How many hired servants of my father's have bread enough to spare, and I'm dying with hunger! I will get up and go to my father, and will tell him, 'Father, I have sinned against heaven, and in your sight. I am no more worthy to be called your son. Make me as one of your hired servants.'"
He arose, and came to his father. But while he was still far off, his father saw him, and was moved with compassion, and ran towards him, and fell on his neck, and kissed him.
— Luke 15:17-20

The father then sent for a feast to be made in honor of his younger son, but when the man's older son heard of everything that was going on he became angry and reproached his father.

But he answered his father, "Behold, these many years I have served you, and I never disobeyed a commandment of yours, but you never gave me a goat, that I might celebrate with my friends. But when this, your son, came, who has devoured your living with prostitutes, you killed the fattened calf for him." — Luke 15:29-30

The father explained that it was necessary for a feast to be made in honor of his younger son's return, and as for him, everything the father owned also belonged to the older son.

"My son," the father said, "you are always with me, and everything I have is yours. But we had to celebrate and be glad, because this brother of yours was dead and is alive again; he was lost and is found." - Luke 15: 31-32

Yes, I know, "Tsotsi" is not a direct illustration of this story, but if you allow me a few more minutes I may convince you that there is a relationship between the narrative, that is the film, and the parable spoken by Jesus.

One of the first things that I want to touch on is the fact that both of our main characters ran away from home at a young age.  The reasons that caused protagonists to run away may be different, however this is the beginning of comparison between the two.  After they both run off, they lose sight of who they are.  Both, David and the younger son, begin to conduct themselves in shameful manners; they do things they would never do if they had been home.  I also think that it is interesting to note that in both stories the protagonists are stripped of their names when they are away from home.  In the film David is not David but Tsotsi, and in the parable the young son declares that he is not worthy to be called his father's son.

This beginning part of Tsotsi is very different from the parable found in the Bible, as the younger son in the parable ran away willingly, and because he was foolish.  In the film however, David runs away from home (by home I mean his Mother's side) out of survival.  His father, was a great threat to his survival.

Then something crucial happens, something that causes these young men to come to their senses.  For the young son it was realizing that he was starving while his father's servants had plenty to eat.  David's realization came in a mixture of events; one of those main events was Boston asking him what his real name was, as they only knew him as Tsotsi.  This questioning caused him to remember his past, his family, himself.  So both David, and the younger son, with repented hearts, try to return.  The younger son returns home, and David returns the baby to the family.  The route the film chose to take in order to get the protagonist to come to his senses is fascinating - David was forced into that part of his past he had locked away.

Here comes the part of the older resentful son: when David returns the baby he is received by the child's parents, which represent the father in the story of the prodigal son, and by the security guard and police officers, which represent the older son.  The security guard and police officers, like the older son, are unable to see the good in David's return, all they can see is the mistakes he committed.

Obviously there are many differences between the parable and the film's adaptation of it; one of the main differences lies in the time period it was set in.  "Tsotsi" is set in a recent years, while the prodigal son was set in biblical times.  I believe this was done so because it makes the story so much more real; it goes from being a fantasy story, as may be seen by some through the parable spoken by Jesus, to something that viewers can relate to.  In my opinion, fantasies are distant, but a story told from this perspective hits home.  However, the element of myth added to the film an undeniable magic that can only be found in fantasy.

Summary of the prodigal son for Essay on Myth

As you read the summary of the following story, try to see if you can guess what film carries out the narrative for this subtext.

In the story a man has two sons.  One day, his younger son demands that his father give him his inheritance; the father does so.  The son runs away.  While he is away he lives carelessly, he lives disconnected from the man he was brought up to be, and spends everything he has.  To make things worse, a great famine strikes the land.  Before he knows it, the younger son is working as a swineherd, and even envies the pigs he is looking after.  He comes to his senses, and decided to return to his father's home, where he is willing to work as one of the servants.

But when he came to himself he said, "How many hired servants of my father's have bread enough to spare, and I'm dying with hunger! I will get up and go to my father, and will tell him, 'Father, I have sinned against heaven, and in your sight. I am no more worthy to be called your son. Make me as one of your hired servants." He arose, and came to his father. But while he was still far off, his father saw him, and was moved with compassion, and ran towards him, and fell on his neck, and kissed him.

— Luke 15:17-20

The father then sent for a feast to be made in honor of his younger son, but when the man's older son heard of everything that was going on he became angry and reproached his father.

But he answered his father, "Behold, these many years I have served you, and I never disobeyed a commandment of yours, but you never gave me a goat, that I might celebrate with my friends. But when this, your son, came, who has devoured your living with prostitutes, you killed the fattened calf for him." — Luke 15:29-30

The father explained that it was necessary for a feast to be made in honor of his younger son's return, and as for him, everything the father owned also belonged to the older son.

"My son," the father said, "you are always with me, and everything I have is yours. But we had to celebrate and be glad, because this brother of yours was dead and is alive again; he was lost and is found." - Luke 15: 31-32

Fascism, and Biblical Inspiration in Pan's Labyrinth

I"m still trying to decide how I feel about this film.  I thought that Del Toro did an amazing job at portraying the results of fascism; especially with the new generation of Francoist rising in Spain (yes, this is real. Read this: Franco's Legacy Rattles Spain ).  I thinks that it is so important that we are reminded of our past constantly.  There was a scene in the film where the townspeople come in to receive food, and the soldiers handing out the food continued to repeat these words to the people, "This is your daily bread provided to you by Franco." They repeated this sentence at least five times, and it truly terrified me. I think this look at fascism scared me more than the Pale man with the hands.

However, as far as the actual fairy tale goes, I am not sure if I'm a fan. There was something about that side of the story that didn't really stick with me. Sometimes I'm not sure if writers have an intentional purpose behind everything that they add.  I say this because while watching Pan's Labyrinth I picked up on a lot of things that brought me back to the Bible; I guess I'm not sure if these things were meant to be biblical references or not. 

 For example, in the beginning of the movie when Ofelia was  in her first life and  lived in this perfect world. This reminds me of the garden of Eden because Ofelia, like Adam and Eve, could do anything except one thing (in Ofelia's case, she was not to leave the underworld); Ofelia disobeyed and became mortal, just like Adam and Eve. Plus there is also the element of being drawn to the forbidden fruit; the forbidden fruit in Ofelia's case is the outside world.  There is also Ofelia sacrificing willingly sacrificing herself to save another --- Jesus giving his life for others.  Ofelia gains eternal life in paradise, and will sit in a throne next to her father --- Jesus sitting at the righthand of the Father reigning.

What do you think? Do these connections make sense? Am I looking too much into this?

The Lion King "Be Prepared": Best use of music in a movie

This is the best use of music in a movie. Hands down. Next.

Jeremy Irons has a fearfully beautiful voice.

And the song is just so darn clever.

A Look Into the Cultural World of Water

I'm not sure where to begin with this film. I think that Water may be my favorite film watched in class ever (with the exception of The 400 Blows - that film is a type of awesomeness all on its own).  One of the aspects of this film that I really appreciate is that we see taboo facets of one entity.  *Please be patient as I try to make sense*  I don't know about you, but in my humanity I tend to generalize and group things; this is dangerous.  When I think of India I think of Hinduism.  When I think of Hinduism I instinctively think of the many gods, and I think of the many festivals.  I think about striving for enlightenment. What I don't think about are children being forced to marry.  I don't think about the women who are stripped of their life because they have widowed.  So, when I said that Water gives viewers a look at the hidden/ taboo facets of one entity what I am referring to is that this film has taken the Indian/ Hindu culture and stripped it of the popularized, maybe even glamorized aspects we (Westerners) are used to seeing, and has instead handed us a look into a world within the Indian/ Hindu world.  This is the world of womanhood.  This is the world of childhood.  This is the world of power.  This is the world of order.  This is the world of tradition.  This is the world of god.  No, this is the world of: this is what god says.

Something that troubled me as I watched this film was the inconsistency and even hypocrisy coming from those in power.  Brahmans are supposed to be the most enlightened of all, but they have sex with widowed women - even widowed girls.  In the ashram (the widow house) Madhumati (the fat old lady) is a stickler about the rest of the widows following Hindu law, but she prostitutes the young ones in order to survive. 

Water is great.  It troubles the heart, but it opens its eyes and ears to an overlooked world.    

Richard Armitage Speaking Maori

As if Richard Armitage wasn't cool enough, handsome enough, witty enough, charming enough, intelligent enough, etc. in this short video we see him speaking Maori (swoon). This video is on the opening day of filming The Hobbit. 

side note: Can't wait for Desolation of Smaug

Sin Nombre

If you like watching foreign films, this is one worth watching. 

It's the story of two polarized worlds coming together by chance/destiny/divine provision (you choose). 

The film addresses an ever-growing threat to Latin America: La Mara Salvatrucha. For those not familiar with Mara Salvatrucha (MS), this is a gang that originated in El Salvador, and has since reached countless Latin American countries.  

The film also examines the coming of age in this brutal world.

Sin Nombre is horrific and beautiful all at once.

The Special Effect of Mary Poppins

Mary Poppins is full of special effects. Enjoy.

So this Tsotsi

Just look at them. They are so bad/cool/hip/dangerous. And as they walk through their neighborhood streets there is this crazy-brilliant urban song playing in the background. Amazing. Just like out of a movie.

This movie has instantaneously become one of my favorite foreign films. Yes, the plot is amazing. Yes, the actors are unbelievably realistic. Yes, the cinematography is beautiful. But all of this could not carry the same weight if the music embedded into the film was absent.

The music allows viewers to feel the rush of the moment.  In other scenes, music/sound allows us to look beyond the appearance of a character or location, and for brief moments hear the beating heart and the blood rushing through the body of a certain individual (most of the times, it is David we can hear).

One of the scenes I find to be most memorable is when Tsotsi is walking through the streets with his gang and this song comes on. (play the video)

Gary Oldman and Transitions

Gary Oldman in The Professional as Norman Stansfield

Here we have Norman casually killing a woman as she bathes. It's a jump cut

Here's another jump cut. Norman's famous "Everyone!" scene

Gary Oldman should have a room full of Oscars, just saying.

He's brilliant... in every film.

My name is Paikea Apirana, and I come from a long line of chiefs

I'll be brief: this movie is wonderful.

If you care to know why this movie is wonderful continue reading.

Okay, so this movie was great from the beginning.  I really loved the fact that the girl who plays Paikea is not a professional actress, and like her, many of the people in the movie are not professional actors.  No they are not professionals, but they are Maori. I think that this Hollywood-escape made the movie so refreshing.

There is so much value and richness that this film brings from a historical perspective.  The call to war, dances, chants, songs, etc. that we see from the Maori people in the movie are so lively and undeniably enchanting.  

I appreciated that the film took a subject that is so personal to a specific group of people, such as the history of the Maori, and makes it accessible and fairly relatable to a grater audience.  While I watched this film I was reminded of my culture and my personal need to live up to the expectations that it holds me to.

Experience Colombia:It's beauty and it's horror

I saw this movie this summer, and it is amazing. It's an independent film, but with so much to offer.  In Retratos en un mar de mentiras (Portraits in a sea of lies) you will get an amplified view of Colombia; you'll see the horror that has stigmatized it for years, but you will also see the beauty that has managed to survive despite it all. It's clever, modern, simple, and rich in culture. 

Short response to The Road Home

So, The Road Home, you're an interesting film. First you're all like 'I'm going to tell you the story of son who wants to get the heck out of this blizzard of a town, but first has to fulfill his god-ordained duties of burying his dead father.' But you trick us because about twenty minutes into the film you decide to tell us the story of how his mom and dad met (how the mom ran him down, actually), and fell in love. Not your typical love story, but, hey, that's okay!

Now allow me to touch on some symbolism that caught my attention: the barrette.  From the first moment the teacher gives the girl the barrette, I can't help but think of my childhood. My mom loved decorating my head with barrettes, but I hated them because I thought they were too flashy for my taste. Anyway, clearly the barrette is symbolic for childhood.  But then the girl loses the barrette, and just about kills herself trying to find it.  She finally finds the barrette outside of her home, near the fence that separates her home from the outside world.  My response: the barrette near the fence is symbolic for that transition between childhood and womanhood.  One moment we're in our parents home, the next we're out on our own journey. Pretty clever, I'll give you that. 

Classic "Gone with the Wind" camera movement

When I think of Gone with the Wind I can't help but think of the scene in which Scarlett  walks into Ashley's birthday party. Seriously, this must be one of the most iconic camera movements of all time.  The camera zooms into her face, giving us a close up. That eyebrow has the power of wiping out an entire village.  You have to love Scarlett O'Hara!

Screen shot in The 400 Blows

This is a high-angle shot. This is an interesting shot because it draws clear contrast to Antoine's size versus the room as a whole and the objects in it. The room, the ceiling, and even the horse are so big compared to Antoine. I then relate this to Antoine Doniel being a small child in a big,big world.

Les Quatre cents coups

I can't get over the many layers of beauty that make up this fantastic film.  One of my favorite elements of this film involves its simplicity. There are no crazy special effects, or even inconceivable set of events; no, this film is simple from beginning to end, and that, my friends, is the brilliance behind The 400 Blows. It's a simple story, one we can all relate to: feeling misunderstood, and uncared for. Antoine Doniel is having a hard time at school, and his home-life is not making his burden any lighter. After being completely fed-up with his crumbling situation, Antoine runs away, and is dealt with the consequences that transition him into a new stage in life.

I really appreciated that the film was told from the perspective of a child. Many times in life children are pushed to the side, and seen as second class citizens; we forget that they also experience all of the same emotions an adult experiences. I think François Truffaut, director of  the film, did an excellent job illustrating the essence of childhood: doing things without contemplating its consequences. One of my favorite scenes from the film is when Antoine tells his teacher that his mother has passed away, and he does this in order to get out of trouble. I can definitely say that I have been in this stage in my life, and if I remember correctly I was around twelve and thirteen, just as Antoine.  

One last thing: my absolute most favorite scene from The 400 Blows is when Antoine Doniel is being interviewed by the psychiatrist; that scene is brilliant on so many levels.