Searching for Mercy

Searching for Mercy

It is not as simple as black and white, since we are all composed of some of both, to differing degrees, but justice alone does not wield the sharpest blade. If apathy is the dulling trait we each most need to self negate, mercy is most deserving edge to activate by all peoples, parties and states.

 

Costs of Conformity

Costs of Conformity

“But what can be done when mercy has a greater force than law.” Quote opens the movie “12” (2007) by Nikita Mikhalkov.

 

Scorched Ladders

Scorched Ladders

Watch Open Channel Content’s trailer for proposed episodic series Scorched Ladders

 

Global cinema illuminates the web of the collective imagination

Global cinema illuminates the web of the collective imagination

I am confident that the advent of this easily accessed, ever improving tool for multidimensional communication will open up space in our minds for enlightened insights that allow us to outrace our present impasse and relegate its numbing inertia to the past.

 

“Because weakness is great and strength is nothing”

“Because weakness is great and strength is nothing”

As a painter does, with darks and lights, or a composer with counterpoint, Tarkovsky amplifies the emotional significance of his subject by portraying it’s polar opposite.

 

Because What is Hardened Will Never Win

Because What is Hardened Will Never Win

There is hardly a better way, in my opinion, for Americans of average education like myself to obtain an accurate understanding of any foreign culture than by watching world cinema. It gives a far more accurate assessment of our potential relations than the history books or evening news.

 

To Criticize our Own Judgment

To Criticize our Own Judgment

The intention of the filmmaker determines whether what they make will contribute more to culture or commerce. Tarkovsky speaks of art as an act of sacrifice for the sake of love and as a potential unifier of humankind. What a thing to say in a book about filmmaking.

 

Edge of Tomorrow

Edge of Tomorrow

In Tarkovsky’s cinematic language, which he calls sculpting in time, we race to outer space like we we’re surrendering to the pull of greater forces, as the leaf does, but partly also out of sheer exuberance, like the horse does in the opening sequence. But we do so out of fear, as well, like the child sprinting away from the horse in the same sequence. Whatever the motivation for this race, you can’t elude your emotional baggage, on earth or in outer space.

 

Malaise of the Future Past

Malaise of the Future Past

I should clarify here that it doesn’t seem as though Tarkovsky was much influenced by his critics. His retorts were formal, not personal. They changed nothing of the way he experimented and searched. His films are sincere acts of faith, self-sacrifice even. There’s nothing petty about them. He’s not messing with anybody’s head but his own.

 

Mise en Abyme

Mise en Abyme

It sure seems like it would be a nice time for a poet to make love to the beautiful and intelligent admirer with some of the passion she’s just finished devouring in the pages of his poetry. He takes the book from her, shuts the door again and throws it across the room. It lands in the corner. What is wrong with this guy? I think I know. I can’t answer for his love life, but what’s a piece of art to an artist after it’s made? A former mistress.