After nearly eight years of writing and posting monthly weblogs, featuring in-depth analysis of the greatest works of world cinema, as well as ten years of writing and directing a handful of original films and contributing time and skills to more than a dozen more, I’ve taken a sabbatical.
You may have found us after attending a film festival, or seeing our films on the web. You might have encountered this website upon searching for serious commentary on international films. The series “Films of Our Enemies,” which has generated interest among many film enthusiasts, worldwide, will likely be continued before the year’s end, but please acquaint yourself with other projects of mine in the meantime.
On the other hand, you may have resurfaced here from our Youtube programming that is dedicated to Dr. Charles Greenleaf Bell’s epic series “Symbolic History Through Sight and Sound.” There are over 160 videos there that attempt to span the entire cultural history of humankind, from the prehistoric to the great beyond, all in one collection.
Then again, there are some of you that have been with us since the nineteen-nineties when we first went online. If you knew us then, you may already know about the multi-award-winning work I’ve done as a display artist throughout the years? Recent creations have been tailored toward the customers of Goler Shoes in Santa Fe, but there was an entire decade previous to this when we were traveling a lot and putting our art in front of a quarter to a half a million consumers per year.
The featured image was taken from a bricolage that I composed using a clothes hanger and a high-heel shoe, evoking not only dry bones of antelope, deer and livestock remains, scattered over the southwest desert, but, of course, Georgia O’Keeffe, whose paintings so fetchingly abstract images from those artifacts in her breathtakingly original way. O’Keeffe is so emblematic of Northern New Mexico that there exists an entire museum dedicated to her in Santa Fe. That’s where Goler Shoes is also headquartered, comprende?
The bricolage from which this image was taken debuted as a Goler Shoes display for the Fall of 2016. I simultaneously oversaw the digital capturer, layout and reproduction of the design (with thanks for the expertise of Steve Zeifman at Rush Creek Editions), for Goler’s print advertisement campaign.
Above is the poster for the billboard. Here is the bricolage in the photograph above in a Goler Shoes’ display window for Fall 2016:
Here is the front window from the same campaign:
The theme for the window display above was “like moth’s to the flame.” It consists of my small collection of cheap, colorful asian insect kites, hovering over a pink Himalayan salt lamp, in front of an exceptionally enchanting original, hand-painted silk scarf that my lady dashed off some 20 years back.
The object is to help Goler sell shoes, but for me it was also a way to acknowledge the plight of the many refugees cast about in search of freedom last year. Along with our marketing pitch, I added a proposal for my clients to consider donating a percentage from the big sale to the Red Cross.
Refugees are a formidable set, reminders of the tenacity of the human race. Facing down considerable hazard, they, the dispossessed, leave everything behind.
The conundrum they’re faced with is sacrifice home or die. Maybe all of us will be faced with it some day.
The third and final Autumn 2016 display, began with a slice of real life. The phrase in the bottom of the window, hand-lettered, on satin ribbon, sheds both literary and figurative light.
“You can try to wrap the world in leather or you can put on some boots.”
Years back I heard someone drop that quote and never forgot it. That black deer hide, I bought from a local skinner. That green globe, is a ceramic planter. The light-grey one next to it, is solid granite, and weighs half-a-hundred pounds.
Those sexy shoes are all stamped Donald Pliner, the store’s biggest brand. The map underneath it all was drawn when Santa Fe was still Old Mexico. It bemoans how, despite how many wars are fought, and refugees are displaced, geo-political boundaries forever drift, like dunes in the wind.
“You leave us with the consequences.” Suha pleads for forbearance and calm. Said kisses her then flees on foot, flitting from life, like a moth toward a flame.
“Paradise Now,” is a best foreign language Oscar winning film. Whatever people want to say in critique of the lack of diversity evident in the Academy of Motion Picture Arts and Sciences annual awards celebration, that this film took away a statue, bears witness what an enlightening influence such an august institution can still have on mass consciousness from time to time.
These films we’ve viewed this summer live and breathe the daily life of the Muslim, none more so that this one. Strip away the wall in the Holy Land, if you can. Life looks surprisingly similar to the average American, shocking as that sounds. No wonder Said’s interactions with his family at home remind me of codes and customs my puritan grandparents practiced in the mid nineteens when I was still at home.
Every film in the past five titles we’ve discussed, acknowledges the ubiquity of traditional ways in the Middle East and beyond. Long practiced, tried and true, certain codes are deeply embedded, but there is a global quantum leap to be made too, ejecting paralyzing agendas.
Materialism is one modern trend, for example, that Muslims try hard to resist in these films. Can we show some respect and not shove it in their faces? You can’t blame orthodox folk for not wanting their sons sporting corporate tattoos on their necks, nor watch their daughters to be strutting fashion runways from the moment they can walk. That stroke of modesty alone should not make them outcasts. It’s hip to be square. It seems evident, by watching these Muslim films that they’d rather not become rotten with the same insatiable lust for stuff in which they observe so much of the first world caught up. What shall we take home from this? The immature response to have would be to make war on them for daring to not be like us. On the other hand,we could stand to reevaluate our relationship to stuff.
Militaries repeatedly keep being deployed here and there to make the world safer for corporations to do business, while often making it more hazardous for the rest of us. One inevitable consequence of iron rule, once it sets in, seems to be, sooner or later it becomes a matter of honor to resist. Much of this has been discussed in previous weblogs on Open Channel Content, such as our series on Sci-Fi. Revolution is like trying to align an earthquake with a hurricane. Mother earth eventually beats everyone. In a world ruled by war, everything is always finding a balance of its own. No one can control it, no matter what. It won’t either be rushed nor slowed down once its been embarked upon, so why be so hasty to be always throwing down?
The endgame of this unsettling tragedy is envisioned unflinchingly, with a masterful tracking shot pushing in, invincibly, like death itself, zeroing in on Said’s transfigured gaze. An explosive chunk of intelligent meat sits there, fit as a flute, in the rear of a bus where he’s somehow gotten himself immersed with a batch of fresh, young recruits. They look like soldiers to us, but in Israel, because of their age, they are looked upon more like first and second year college kids are here; remember, every kid in Israel is committed to serve in the military for two years.
A uniformed boy and a girl sit close together across from Said on a public conveyance. They are flirting. The vengeful, solo, self-crucifixion Said is about to undertake will undoubtedly inflict that budding young romance with the same fate.
Which makes so much sense, since love is the other great treasure Said forfeits along with his life, in this script. If his physical body is his public sacrifice, his relationship with Suha is his private one. As good a reason as any to explain why the last thing we hear on the soundtrack is a girl’s laugh. What could be a better send off and what better way to convey all that Said is throwing away, in that penultimate frame, before the screen goes blank?
According to Wikipedia, the director of this month’s film Muhammad Rasoulof was arrested on the set of his next film and sentenced to six years prison. None of his films have been released in Iran. How frustrating and isolating it must be for an artist to have his work banned in his own country, much less be put behind bars for it. I cannot fathom why any government would wish to persecute an artist whose work exhibits such compassion for humanity.
“Iron Island (2005), is the third film from Iran in our series entitled Films of Our Enemies. With these essays I declare my interdependence with the vast majority of humans alive on the planet today. Nothing beats travel to foreign destinations, but global cinema offers us deep insight into those cultures and provides abundant evidence of our common cause. Foreign film provides us with rich opportunities to soak up culture. I will use this film to talk about community building and leadership. That alone is reason enough to watch this film, although there are others.
I have heard some viewers of this film refer to the protagonist, Captain Nemat, as malicious. I came away thinking of him as a saint. His keen industriousness is defined by his forthright conduct and omnipotent accounting book. His spiritual dedication and maturity is evident in his instinct for swift resolution as well as his ever-faithful invocation, “As-salamu alaykom.”
The translation means, “peace be upon you.” It must be a peace loving people that imbues their most common personal greeting with that wish. Nevertheless the children in the makeshift school onboard the ship all have to ask who the enemy is. We grown-ups are really confronted with the senselessness of such concepts when children have to be taught in school who the enemy is.
While there is a Romeo and Juliet sub-plot embedded in “Iron Island,” it does not end in double suicide, because the film is not about the pitfalls of arranged marriage. It can’t be the main point.
It does, however, make the position of the story’s hero all the more sympathetic. In judging between romantic impulse and the letter of the law, the Captain is bound by the latter. Just one of many conundrums that confront a true leader.
Captain Nemat is not a schemer or a tyrant. His behavior is never heartless, even at his harshest. His intent is to sustain collective hope. Here is a role model with the responsibility for a lot of folks on his shoulders and he must angle in a number of streams, simultaneously, to fish out enough cash to keep this boat afloat. One gets the impression Nemat could go anywhere and create something fine. His genes stoked him with genius for founding sustainable communities pairing forgotten folk with abandoned machines.
A truly enlightened leader understands the greatest resource in the world is a healthy society. Here’s one that occupies itself inventing sustainable strategies for the benefit of the common good.
That boat is an allegory for sustainability and Nemat’s method, a model for survival. Underneath the shell of that rusting hulk exists a community. Cooperation is in constant ebb and flow. Its leader is not without flaws and his model is imperfect at best, but the place is way better than no place for the majority that call it home.
The Captain is performing a supreme service. Even so, that doesn’t make their home impervious. When the speculators arrive to take it away, the boat’s inhabitants are grounded. The captain must devise a back-up plan, on the spot, under the grilling gaze of the sun. And like a true leader, so that hope may prevail, Nemat devises one.
The brazen spectacle of predatory speculators, storming the ship like pirates, evicting the its inhabitants and snatching that ashcan utopia out from under them, cranks up the contrast between greed and generosity to its most stark.
The filmmaker projects Captain Nemat as an example of how compassionate leadership can inspire and lead the collective to do its part. No matter how adrift we are or how tenuous the situation becomes, our best hope and the surest way to a sustainable future is on a path of heart.
This film and its filmmakers should also be praised for the way it so perceptively elucidates the predicament of the Middle East. What will become of these Biblical descendants? This is the end of the world, as they know it. What will keep those countries afloat after the fossil fuel boom? What is the leadership doing to assure a smooth transition for its children? The opening sequence in “Iron Island” takes place in the dark. A pair of hands lights a match and attempts to light a lamp. But it’s not so easy. The hands are obliged to light a candle first, then find a lamp with some fuel in it. We are watching the passing of flame from one source to another, each one more technical and sophisticated than the previous. It suggests that there are degrees of industrialization that correspond with stages of enlightenment. Multiple levels of evolutionary processes are on parade in this allegory.
From my seat in the movie theater, here is the symbol (visual equivalent of words) for the role that the main character plays throughout the movie. He’s a candle, not a lamp. He is a leader, not a plunderer. He founds a cooperative, not a congregation, nor corporation or state. He is a civic genius, empowering the people he serves so that they can govern themselves. Which candidate does he most resemble in the 2016 primary election?
In “Iron Island,” it is corporate commerce that sinks their hopes. Captain Nemat sees a sustainable community. The speculators see a sinking vessel, and its value as scrap metal. Captain Nemat is clearly not a classic power broker. He’s a grassroots organizer, helping common people survive day to day. It is because he listens to folks that they give him their trust. He serves the common good by the way he aggregates the many small socio-economic contributions of individuals and cultivates them into a meek but mighty unit that can accomplish everyday living in peace.
With a beautifully staged scene of a Berber wedding on this iron island, the filmmaker manages to make us consider. Arranged marriages tend to perpetuate class distinctions, ultimately leading to racial inequality, fed by superstitions. Some things are slow to change. The way Captain Nemat deals with the situation is meant to to remind us what exceptional character and responsibility it requires to be a positive, contributing member to society.
Rich people can always seem to find a way around these tribulations buying influence over regulations, but a poor man is held to the letter of the law. The method of punishment employed by Captain Nehmat in response to this Romeo’s mutiny is an elegant cinematic punctuation mark, an allegory, in itself. The point being that the poor are drenched in their circumstances, at the mercy of all, at the verge of drowning any minute in accelerating misfortune.
We are treated to this amazing sequence where the punished and punisher appear to be captives of the same trap. They are fatefully connected by the machinery of punishment; a ritual as old as civilization.
The boy and girl’s clandestine attachment is not central to this story, but it is essential to the message. We all dream of social harmony where family feuds are settled and racial distinctions are not distractions. One might find puzzling the decision by the director to open the story with a minor character, the lovelorn boy Ahmad, instead ofthe story’s true protagonist, working class hero Captain Nemat. The answer comes when the story closes with on a sequence featuring an even more minor character, a younger orphan who slips away, like the the baby fishes he’s been liberating that have been sucked through a small hole in the submerged hold of the boat. He is last seen returning to the sea, aimed for some fishermen’s nets that will eventually become the tools of his work.
We rejoin our discussion of Iranian director Abbas Kiarostami’s “Taste of Cherry” (1993) in our series on the films of our enemies.
The ultimate passenger on Mr. Badhi’s journey is the most uncommon, common man of all. If we in the audience haven’t yet figured out how to crack Mr. Badhi’s depression, this compassionate passenger provides the grist.
What an altogether masterful cinematic choice it was to equip that man in the shotgun seat with the profession of a taxidermist. Doesn’t that craft bestow a kind of eternal life on ephemeral things? Consider then just what contents are concealed in the final passenger’s valise. Though they are never visually revealed, we later discover that a number of partridges and quails met their life’s end at this fellow’s hand. He’s killed them to instruct apprentices on how to mount and preserve them.
A taxidermist presence also draws attention to Badhi’s hollowness and his doomed stance. In contrast one gets the sense that this transporter-of-flesh intimately understands what makes a difference on the surface versus what’s underneath.
At the centerpiece of his soliloquy he reassures Mr. Badhi’s that we all feel trapped at some point in our life. It always passes. If we let it happen, life will not fail to reward us with something unforgettable that makes our saga worth enduring. The taxidermist artfully enumerates the joy that can be found in common things as simple as a sunrise, a taste of cherry, or the sound of children playing.
The end of Mr. Badhi’s story is not an end, per se, nor is it the final scene of the movie. We are never shown how it turns out for the depressed man. It is one more thing we must take home to work on.
An altogether radical shift of subject occurs before we fade to black. Ingmar Bergman and Jean Luc Godard were praised for this kind of bravado. Numerous prodigies have followed their lead. It consists of revealing the filmmaking process, opening the frame up to reveal the storytellers. This post-modern device which has been in vogue since the 60’s, really irked Ebert for some reason.
Kiarostami demonstrated just how liberal his country’s cultural police are capable of being. But the most popular American critic of the past three decades missed this completely. The censors Kiarostami answered to inside Iran were Islamic clerics. Ironically, they were more liberal in their judgment of this film than Mr. Roger Ebert of the Chicago Sun-Times.
Anyone willing to figure on the grander equation in “Taste of Cherry” is rewarded. Those of us in the audience that suspect an enlightened scheme should find it more than worth our effort to uncover it. Certainly it would imply some redemption for Mr. Badhi if film watchers like ourselves can relate to him, even a tiny bit, in his hour of need. And we are redeemed a bit with him. It’s the same justification for why all human dilemmas become immortalized in art.
If we could rewind to the very first encounter, the one with tile yard employee. This scene appears like an attempted homosexual hook-up. Here is the scene in which the critic Ebert got lost. He proclaims it to be some sort of red herring. And it may appear that way to some, but not all. I take it as fact that the director’s choice to leave it open was integral to the story. Part of the genius of this scene is how it invalidates eye-witness accounts. They are so much of what we depend on for truth in the judicial system and on the nightly news and they can be so false.
Cinema proves witnesses are never reliable. Before we’ve studied each frame in the sequence, we might be able to convince ourselves the exchange between these two men implies an attempted sex hook-up. Whether these two men are strangers to each other or have some shared history is ambiguous, and that is intentional. It is a deliberate play to place emphasis on the subtext. The tone and delivery of the few spare lines of dialog, actually flip flops one way then the other. Who can say definitively what is going on?
Watch the movie up to that point and then turn it off. If you don’t see the rest of the film it could be interpreted in any number of ways. The point is we can’t know all that might be transpiring between these two unsettled beings, simply judging by what we are shown. This is a good lesson to carry home. It should heighten our discrimination and make us keener observers.
The offer of money in this scene could be for the same reason Mr. Badni offers it to all the rest, or it could be a last attempt at redemption for some prior offense, or something else. We sense something bigger taking place before our eyes but we can’t tell what, and that should pique our curiosity. This easily dismissible scene should be the trigger for the main character’s entire trajectory. We should automatically presume unless proven otherwise, if a filmmaker defies our expectations, he’s shining light, a signal to the astute viewer. The audience is being asked to work on the problem until we can make sense of it.
I don’t bother deciding if it is a gay come-on scene or not. The information on the screen simply states, appearances can be deceiving. It could be a trivial thing, such as same sex copulation, or it could be the aftermath of some truly wicked thing that we are witnessing, or anything in between. Or it could all amount to nothing, as Ebert wanted to think.
What if it’s a different scene from all the rest? The encounter at the tile yard should be the inciting incident. I say “should’ because, it’s right there where it belongs in a conventional feature-length script. Somewhere around page ten you’ll almost always find the bit of business that culminates in the protagonist setting off on his journey between there and the final FADE OUT.
I’m going to propose that whether either of those men are gay, they know each other from the past, recent or otherwise. The have some unfinished business. Mr. Badhi is trying to fix it before he goes and does the other thing which makes up the rest of the story. Its amazing how the emotional tone of the actors can fit either interpretation and how his subsequent errand adds up. If the tile yard guy is his son, how does it change the ending? If he is that, or a younger brother or a former lover it doesn’t matter. What if he’s trying to get rid of dirty money that will tie him to a crime? When it fails, he tries another tack, the one he tries with every other passenger after that.
Let’s say after hearing what I propose, you don’t jive. Fine, decide for yourself. Either way, there is plenty of enlightening content to be absorbed, if we don’t let ourselves doze off. Writing from Cannes, Ebert describes “this is an excruciatingly boring film.” The best lesson we should take home from that is, don’t go out and eat a fancy French meal then try to watch this gem. We’re entitled to ignore Mr. Ebert for once. He got lazy. If it was not a masterpiece for him, at least it can be one for you and me.