Showing posts with label Movie Review. Show all posts
Showing posts with label Movie Review. Show all posts

Saturday, 5 January 2008

Elina - Som Om Jag Inte Fanns [As if I wasn’t there], (2002)


Director: Klaus Härö
Scripting: Kerstin Johansson i Backe (novel), Jimmy Karlsson, Kjell Sundsedt

Cast: Natalie Minnevik, Bibi Andersson, Marjaana Maijala, Henrik Rafaelsen

Cinema: [EUFF 'o7] Golden Screen Cinema, Mid Valley (14:C7), Dec 15, 2007




2 days upon my homecoming, yesterday during Sunday celebration in church, we watched a short video. Since it was produced and casted by my own church members, I naturally know all of the actors(ress). And so this highly impressed filmmaker-wannabe went chuckling and commenting away on the supposedly very moving story that should have touched the stonest of hearts. My seatmate almost slapped me (:-p).

But there were days when a story became so relevant and intense that it sucked the brains whose hungry eyes cared to lay upon, never allowing me a chance for observational detachment. A storyline so familiar to the history I could recall, yet bringing a fresh new possibility that I failed to risk. I give to you, my newest Swedish Finnish child hero – Elina.


Making Elina

The half withered tree stands in the middle of a wide field. She sits against the thin stem, alone, but her back not hunched, nor head bowed. She sings the tunes, and smells the air she used to smell with her father. She treads the sinky swamp scarcely covered with low flowers, exactly the way her father showed her how to navigate about without sinking into the quick-mud beneath. “Isä…” She calls her father by name.
“Papa……” she continues speaking although it returns no audible response.



Inside her home, her family doctor will let us know that she was recovering very quickly from a lung disease, and may well be allowed to go back to school.
“You want to, Elina?”
“I would like to” – She smiles at her own reply.

We could hear her excitement from the leaves ruffling and twigs breaking under her quick and decisive trudging across the woods. Her black boots leading us to the muddy field we have already been introduced to. She looks into the field through clefts of a spread of leafs, her eyes shaded from the morning sun. “Papa, I will be like you.” She determines. “Like you, I will always do the right thing” Her breath escapes as in a quick prayer.

Her mother half walking, half running Elina to school. We are then told the first rule in school…

“Remember you must speak Swedish in school.”
“But daddy spoke to us in Finnish”
… as well as Elina’s young passion for whom she knows herself to be.

And oh… students were not allowed to write with their left hand! This teacher snatches Anton’s pencil from his left hand and thrusts it into the right. The same boy, caught speaking in Finnish, was forbidden to take lunch for the day.

Who could have imposed such tyrannical rule other than a highly conceited, self-important, red-dressed control freak, and her supremacy – the head teacher?

It is this very Ms. Holm that Elina’s young passion is publicly risked against.



“How could anybody learn if he wasn’t allowed to ask questions?”
“He spoke in Finnish, and you know the rules”
“He doesn’t know how to speak Swedish”
“That’s what you’re here to learn”
“He was just asking me a question”
“And who here is the teacher?”
“But you don’t speak Finnish, that’s why he asked me. In that case, I shouldn’t be eating lunch as well.”


The Right Thing

Warm steamy chick pea soup bids every pupil a good lunch. Only Anton whose palate could taste no pea his nose could smell. A bowl of untouched soup waited beneath Elina’s thoughtful head, occupied in some calculations, maybe about where the chick peas would be more happy to be at. She decided it’s Anton’s belly.

Seeing a defiant plate wandering to redeem Anton from his hunger, Holm had to uphold her punishment and to mend her injured highness:

“You shall sit here until you finish your soup.”

That’s exactly what Elina did, minus the finishing part. The basin took it.

Apparent in many forms of physical or verbal duels, it is never enough to gain advances by making the good hits, it always seems much more justified to advance, and cause your opponent to twitch, scream and cry for mercy under your feet; like dogfights. We shall see this is what Holm very much desire to do, believing so well that Elina is doomed to comply.



The Right Thing, Regardless…

The deeper I went into the rabbit hole, without being aware of it, I began pulling myself into the skin of Elina; as if my soul discovered someone that it could understand, someone it could trust. Her small stature carries such a huge reservoir of dignity and respect; so strong a belief of humanity…




I had to secretly applaud her when she walked out of the lunch hall the next day, while Holm was attempting an insult devised upon her dead father, and her terribly poor family; secreting every sarcasm needed to remind Elina of her pitiful life, which needed the patronizing education Holm is giving, or so she thinks. Elina’s self-respect rises above such bullying.

Now, it’s pretty natural for us to be curious: What’s so admirable about a kid being stubborn? What’s so difficult about that? Then I must say that it’s actually not that easy to be “stubborn” when people around you pick the cold eyes at you if you were not joining the public act. Consider the things that went against Elina’s effort to be stubborn:

She knows her own poverty, she knows her own health issues, she definitely knows hunger when she feels it. Her classmates never spoke a word of support, and their giggles don’t help either. A few times Holm attempted to seduce her into “apologizing”, promising Elina her approval as an authority, luring her to make a “fresh start”. And as we have mentioned, it’s not enough to just make good points, more so if your points weren’t taken. Holm promoted her tactics to include dirty tricks of emotional manipulation, intentionally pretending Elina to be inexistent regardless of her intelligence.





At the face of an adult tyrant, maybe very alike a bloody eyed, pot belly-ed, long tailed, flame spitting monster for some kids, Elina holds on to her voice, not relenting to even friendly plea’s to give in and “just move on”; because she knows what to her meant victory, what defeat. She, in her own young mind sees the importance of defending compassion, and basic respect of other human beings; and ultimately, truthfulness to herself even when no one else thinks her behavior legitimate. And she is only 9 years old.

That was the very spirit my soul was unable to come to 15 years ago.


• • • • •


Wrongfully Accused

This episode warped me through my timeline, pushing me back to when I was 7 years old: stood in my terrified miniature-ness, enwrapped with an inescapable trap of injustice, threatened to be punished for wrongs I did not even know about…

After some minutes of threats and unrevealing “interrogations”:
“Was it you?”
(shook my head, jittering with fear, already tearing)
“You were the only one who went upstairs, you still deny?”
(speechless, paralyzed by not knowing what to do)
“Did you do it?”
(still shaking my head)

“Mary*, did she do it” (to which Mary “testified” my deed with much conviction)
“You still deny?? I’ll ask you again, did you do it?”
(by this time, the only thing I knew they want, is for me to nod my head, so I
nodded)
3 strong canings on my palm
“Why did you do it?”

(For goodness’ sake, how do I even know why if I didn’t do it, I thought silently. I shook my head again… this time, taken as another denial)
“Was it you?” (venomous tongue and the metal ruler waved in front f my face)
(I nodded hesitantly with great violation in my heart, hating myself for not being able to breakthrough mere lies despite my own innocence. Hating the “witness”, hating the unverified guesses and false reasoning, hating dirty threats to put me to unjustified defeat, hating the audience who rejoiced at my helpless confession.)

More canes made their mark on my hand and in my heart…


Finishing the Business

Watching Elina sort of provided me a new kind of courage to question what happened 15 years before. I borrowed her strength to imagine myself holding onto truth when the whole house believed I was to be punished. Elina showed me that truth and humanity can be upheld regardless of physical age or size. Thank God for revealing to me that shells and shackles cannot bind me forever; that as He lovingly gives me His strength, fear, disillusionment, and stronghold crumble and be dispersed in the victorious wind of the Holy Spirit.


Sunday, 16 September 2007

Fura Gâru (Hula Girls), 2006


Director: Lee Sang-il, Scriptwriter: Daisuke Habara
Main Casts: Yu-Aoi, Yasuko Matsuyuki, Etsushi Toyokawa, Eri Tokunaga
Watched: 22 August 2007
Cinema: Cineleisure Picture House, The Curve (4:C7).


I was nothing short of surprised when I saw, that the grass skirted, Polynesian butt shake was to be staged and told tales of, from this little land of the Chinese cousin twice removed – Japan. Cineleisure’s Picture House hosted this show just before the Japanese Film Festival in the Golden Screen Cinema. With Cineleisure showing only this Japanese show for the season, I’m not sure whether to call it pure, or seeming coincidence.

Anyway, I will call it a movie, in the splendor of its richness and island-ic festivity, well selected to make my return to Kuala Lumpur and the reactivation of this blog, a matter of a private fanfare.


See It Coming

Why would anybody in the world think of spending money at, say, an Italian restaurant, to eat a certain noodle made of wheat flour, when we could have our own local noodles?

Reviews after reviews, couldn’t stress enough that the Hula story goes as predictable as the royal marriage that comes with every Cinderella recitation. No doubt about it! Anybody with a healthy movie diet can quote us stories that involved learning a skill in a limited time for a very special occasion, and turn out glorious and breathe taking at the show down finale. Yet I guess, we will miss important details and nuances if we come out of this show, pointing cynically to a list of past movies, as if it was made merely with streams of ragged scenes taken from those.

After all, noodles are not called spaghetti, yee mien, udong, ramen,
phô huá
… for nothing.







image credits: spaghetti, pho hoa, yee mien

• • •

From the promotional poster, the ending stands up, peel open his tuxedo to reveal no bombs under his clothes; no surprise. We should know where we are going with the characters from scene one: Sanae, a teenage girl living in a coal mining village called Iwaki, stirs her mind with tickling hopes of becoming a professional dancer…

And invited a friend to go with her.

- - - - - § - - - - -





Aloha!

Saying hello doesn’t always entail an open arm on the receiving end, not especially when this tropical greeting was forcefully wished upon 2000 coal miners’ lay off. The company initiated a solution for unemployment: to build inside the village, a place, equipped and enabled to transport the full imagination of its visitors to a faraway island – the Joban Hawaiian Centre. Jim Carrey’s jaw drop could not find itself on the coal blacken, stoic faces of the miners, capable of disguising their aghast hearts, when announced that only about 500 employees will be needed at the centre. Flushes of angry questions, and runaway fists in protest turned upon themselves immediately after bouncing off the ironclad decision.




• • •


All Journeys lead to the End

Why would a story tell his end before even starting it? I’ve come to see, that with the end in our minds, we are then freed to pay attention to every little transformation as the characters “experience” it, and how may it be different from the notions we always have about people.

• • •



Emancipation of the Dancing Girls

She twists her hips and brings the grass around it to billow, turns her body with her hands raised, above her head, to punctuate the rhythm of the song with her lush pom-poms. Her wide-open lips charm the hearts of an invisible audience. Facing her, an old projector boldly plays back a hula dance video record, not knowing the amount of naked skin the faint hearted new recruits could bear watching. The little crowd burst out of the room; escaped in their shameful revelation, leaving the hopeful Sanae, dubious Kimiko & enthusiastic Hatsuko behind, and came later, shy Sayuri, whose plump, wide framed and coarse voice immediately suggest her comical role.





The foursome did not begin their tutorship before their teacher, Madoka, satisfied herself with lamenting over her fate of being sent into a village she calls ‘backwards’, then a good round of sneering at the clumsy and comical attempts of the four to demonstrate any movements they may dare call “dancing”, and reluctantly receiving a reminder from Kimiko’s gentle supporter & brother, about the gender traditions of the village and the passionate trust the dance crew might have on her.

Kimiko, though feeling obliged also felt skeptical towards the Hawaiian idea, it wasn’t until being punished by her mother and tearfully chased out of her house that she realizes how much she was willing to pay for learning dancing, and for being able to command the course of her life; even if it meant disgracing her late father’s legacy in his mining career.



• • •


image credit


“Ich – Ni – Sa – Shi… (1-2-3-4)”, The students’ intense commitment met with the teacher’s renewed sense of responsibility, and they began stepping into the beginner’s drill; where their bones were seen through rods to rolls. Those who escaped the introduction returned, as the hula stigma wears off; and eventually, their daily routines earned them more and more capacity to speak with dazzling gestures, steps, signs, and swirls.





The Village, Friendships, & Sorrows

The miners, making up the majority of the village, had to come before their company’s judgment – Released or stay? Those released, heaved heavy sighs to no effect, at their certificate of appreciation, which comforts not to an inch their expectations of ‘lifetime employment”. Some, however, did give the new Hawaiian project a try, and began an unfamiliar occupation for the first time.



Following the lay-off, Sanae’s father decided for the family to move into another mining village. At the eve of her departure, tender loyalty compels Kimiko to voluntarily strip off her chance to dance on stage as circumstances have deprived Sanae of.

“If you’re quitting, I’m quitting, too,”

To this, Sanae replies, “No, you’re going to be a star, and I’m going to brag to everyone that I knew you since we were babies.”
“This is my hope now.”


trailer still

"Goodbye...!"

From this moment, it seemed as if the filmmaker is making a drastic camera pan, to shift the audience’s perspective at the story. I urge you to remember that the story opened with Sanae wanting to become a dancer, and ‘she’ carried our attention with her naïve faith, enthusiasm in practicing and bravery in leaving the traditional occupation that girls were supposed to do. She persuaded Kimiko, and us, to follow through trying this new thing out despite the idea being an unthinkable far-fetched dream.

And then comes the shift: Sanae leaves the village, and Kimiko takes over the show. It’s like the filmmakers using the 2 characters to say, “Enough with playing around, lets move on to the real thing.”

• • •

trailer still
• • •

The Team
Coming through weeks of publicity stagings around Japan, the dancers thick headedly hatched out of dancing, and eventually learnt to dance as a team; supporting and looking after each other’s back.

"Sayuri, look out.."



If the miners’ lay-off wasn’t discouraging enough, the villagers were grieved once again. Parts of the mine lost its hold, rocks sliding off their grip, uncontrollably thrown onto and rolled over dozens of workers inside. Some injured, one, rejoined the ashes…

At such time, the news of Sayuri’s father’s death came to the dance teacher, whose ideal for excellence under every circumstance dilutes under her saturating sympathy. During this intense labour pain, the team pushes itself against the contractions of reality’s womb; at Sayuri’s quivering but steadfast request, they burst into the arms of the stage, their faces professionally hold a cheerful appeal, which on the same, not long after, shall be covered sorrowful dew that tells very little about the bitter sting it was wrung out of.

“Please let me dance…”

• • •


The Great Appeal (1)

Tscuk-te-Tscuk-Ge-te-te-te-te-Tschuk…! Walking towards the inner hall, she hears the offensive sounding beat, in her heart still feeling unsure if she did right, to chase Kimiko out of the house; and wonders if she should talk to her when she gets to pass her a parcel addressed to her. There was no apparent resolve in her clutch at the sliding door. Yet, the stun of her eyes petrified to escape into all ends of her limbs, as Kimiko paused from her solo practise to see who might come though the door. Her eyes, as thoughtful, as hers.



The decision was made at the spring of her hips, thrashing across the dance floor as a neat row of falling bamboos. Resolution enwraps her countenance in between her arms, spreading as floating light. Unspoken reasons parade itself all over the room. The sunlight through the windows from outside is her witness. Her statement gathers pace and slaps itself at her heels in concluding her unhesitant swirl. Slaps, in her unhesitant swirl. Slaps.

The message is spoken to her audience.

• • •

The Great Appeal (2)

Naturally, no amount of strippers would do a party any good if there were no guests to play host to.

The hot water pipes supposedly installed to keep the Hawaiian Centre warm, have been delayed. Palm trees transported from Honolulu could never wished more to return home while being propped in the shivering Japanese weather. In order to save these highly symbolic vegetation, Mitsuo, the person in charge, kneels in desperate begging, borrowing stoves from the villagers for warming the trees. Wanting to help her own daughter, Kimiko’s mother joined in soliciting, and as the president of the Women’s Society in the village, reprimanded the villagers for hindering the development of new ideas by their grips on tradition.

“Work doesn’t necessarily mean coal-mining only, dancing for entertainment is also good work!”

Stoves began flocking in at her call.


Total Celebration

" (In a Rojak) You have your pineapple, your cucumber, your 'this' and 'this' and 'this'... but you Must have a good sauce to hold it together!"
Pioneer of Malaysian contemporary dances, Marion De Cruz
said to Off The Edge magazine.


Hula Girls ends with the hula dance number at the grand opening of the Joban Hawaiian Centre. It is not hard to imagine a vast open, filled with adults, children, elderly people dazzled and amazed at the flower laden girls, on stage, giving out all that they have learned over the past 3 months, with much pride and joy.


I believe, what makes the ending great and moving, is the many emotional journeys that we’ve been taken through many characters in preparation for this grand display. It felt really marvelous because we understand what is sacrificed behind the show, and what it meant to the many characters, because we’ve ‘seen’ their painful struggles of negotiation & compromise, courageous decisions and tried & tested friendships. At just this single event, we’re able to feel many emotions, layered upon layers of their feelings and meanings; appreciating the success from different character motives and empathizing with how important it is to all who were present. That’s why, now, it’s no longer a dance performance, it’s a Celebration… !




- - - - - § - - - - -
Sharon Chong, published 15 September '07
Cineleisure Picture House, The Curve
:o)

Tuesday, 17 July 2007

Snow Cake (2006)


Director: Marc Evans. Editor: Mags Arnold
Main Casts: Alan Rickman, Sigourney Weaver, Carrie-Ann Moss

Watched: 2nd July 2007

Cinema: GSC, 1 Utama (14:A7)



What do these people have in common – plumber, handyman, barber, cobbler, product technicians, and mechanic? I’d say, one of their most important roles is to fix things for us. When something breaks down, we send them for repair, when our hair gets kinda frizzy, we get the barber to straighten things up a little bit. To us, the idea of making things ‘alright’ again, is almost natural; why, if there’s a problem, get something done right away! Make it work again!

Obviously, it’s easy to tell when machines or mechanisms are not functioning normally. So it is with people. We know when to call a person a cuckoo, and when to send them to halfway houses. Why, if they can’t work normally as we do, send them away – fix them; psychologist, psychiatrist, whoever you are! Make them become ‘normal’ again!

I’m telling you, these coo-coo guys are having major depression, delirium, autism, attention deficit, bipolar personality disorder, schizophrenia… etc

In our rush to send them to the asylum, diagnose and ‘treat’ them, why didn’t we have time to think for a second, Why is this person called ‘crazy’ instead me? Who said that behaving like this means being ‘crazy’? Who defines ‘craziness’? Is being productive and socially acceptable, the only measure for ‘normality’?

Without knowing questions like this were to come at me, I settled comfortably at the last row of the movie box, unexpectingly wait, as the line-up of tens and twenty advertisements made their appearance.


- - - - - § - - - - -


Alex Hughes stops for a coffee at a rest house, mid-way through his journey to Winnipeg. Seeing the shop was fully occupied, a girl comes to sit with him, and started asking him questions after questions, to which he impatiently grunted brief answers.

“Excuse me, but I’m not the ‘chatty’ type, would you please leave me alone?” he remarked, trying very hard not to sound rude, at Vivienne’s persistent attempt to strike a conversation with him.

“Do you know why I chose to sit here instead of other places?” She asked.
“That’s because you’re the one here that needs most to talk”
With a cheeky grin, “also because I need a ride home to Wawa, Ontario.”



Vivienne as a character plays more than just a 19-year old teenage girl. Alex somehow relents to her request, and the duo, cruising on the highway, begin touting each other’s good company, or the lack of it; Alex, in the latter case guards his scanty responses stringently, as if to take precaution lest he gets involved in the conversation too much.








With much congenial questions and remarks, and sometimes respectful silence from Vivienne’s part, The muscles on Alex’s face slowly soften to humour.

Alex drives out of a convenient store after Vivienne had bought some gifts for her mother. The pair starts their round of lighthearted smiles, jokes and comments. He couldn’t help but notice her child-looking admiration on the seemingly precious light sparkling rubber balls. Her joy seemed to capture something in his eyes, he needed to resume his gaze on the road, he thought to himself; darting his sight to the far right to check for oncoming cars, his eyes met a blinding stream of spot light, paralyzing the two unthinking traveler, unable to even squint; The 40-tonne lorry shoves into their puny truck together with its unstoppable force, the truck sinks helplessly into the air beside it, its metal beams crumples and caves in unquestionably. The insensitive jolt heaves the truck off the ground spinning a few rounds before smacking to halt against a roadside snow pile.



Vivienne died an instant death. Alex escapes with barely a few scratches.


• • • • •

Such was the introduction of Vivienne. Throughout the story, she qualifies as a ‘phantom character’. It’s interesting that she holds that much presence in the story despite not being on screen in person after the brief but substantial introduction. She could represent a perspective, a point of view, giving sufficient contrast to edge out other viewpoints of the living.


This story, is really a story about relationships, a very special one too. What happens when you have to live with an autistic person? And what happens when you too, have immense baggage to deal with at the same time?



Alex obliges himself to visit Vivienne’s mother, to apologize and return her the gift from her daughter. Nothing prepared him for his meeting with Linda when she allowed him into her house. She gleams with delightfulness of a child, excited to dance, when she held her sparkling gift to admire the pulsing lights. Apart from her present, all she seems to care about was that Alex’s shoes to be in perfect line with the others, him to not intrude her kitchen, to not dirty her floor, and to dry his drenched clothes. His thoughts unconvincing, his sight confusing, his feet stall, in search of explanation, as to why Linda seems indifferent to her daughter’s death, and even courteous to the driver who gave her a lift!




The life of their friendship started, when Linda requested him to stay until the waste truck comes to collect her garbage since she couldn’t bear even the slightest poke of anything considered dirty. The opportunity came longer, Alex felt responsible also to help her organize her daughter’s funeral, so he will stay a week longer.

"Vivienne did all the boring stuff, she carries out the garbage"

- - - - - § - - - - -


Private and Confidential

Director Marc Evans and Editor Mags Arnold handle the tension between Linda and Alex very well. Linda utters her thoughts, judgments and requests unrestrained, often too straight for the well-mannered, and linguistically groomed British; creating an unspeakable reserve of energy for Alex to regain confidence in making new relationships and to disclose personal history.



His comfort came instead from Linda’s neighbour, Maggie; a divorcee, not bashful to quickly develop sexual relationships with Alex. In whom he found safety to discuss about his stay with Linda, his life in very, very common terms., his feelings, eventually, his past...



Concerning Differences

The story takes great care to say its message. Many delicate scenes are woven carefully together, unrushed, allowing us a good view of the 4 characters. Its love for details helps us to understand and empathize for each viewpoint, making it a very ‘humane’ film.

It comes with a call, for humanity, too.
A call, in the midst of weirdity, strangerous, oddsome, wackerion mad-oeism, to accept, to embrace; putting down our rigid conception of the world for a moment and allow other people’s meanings to take us for a ride.

It’s an ambitious call too. It calls not for reckless, unthinking acceptance in the abstract, but a bold love, a risky attempt, to go near someone, to offer our interest to someone, our gentle presence into their life despite their bizarre attitudes, queer behaviors, and unreasonable rejections.


"I'd like you to put your arms around me and squeeze me really hard, but don't touch me with your hands."

There were many opportunities for us to pick this up along the movie, many scenes but one hammers this ambitious vision into my guilty heart.

After Vivienne’s funeral, it apparently was Wawa town’s custom to have their guests over at their home for a tea after such ceremony. So was this. Already very vexed by the many guests hovering about her small living room, seemingly doing nothing but converse about anything that comes to mind, Linda bursts out, as if to state her ownership of her ‘territory’. She turns on her music player, loud enough to discontinue everybody’s conversation.

She dances, and my, she dances like an enthralled child. She took the centre of the living room, and jumps and swings and waves at the musical trot. Her guests blush in silent aghast, some tried to stop her from her ‘completely inappropriate’ behavior for a solemn funeral. They judge that she should be grieving and crying ‘normally’. Linda’s mother came forward and stomps at her guests, insisting that Linda dances to her own delight.

Oh, what a scene, what a drama that disturbed Linda not a trivial bit. In her entranced mind, she remembers her daughter, yes; she remembers how very interesting she was. How Vivienne could understand her joy of spontaneous dancing, how she could share her thrill as they danced together, no trace of contempt on Vivienne’s face, but a similar abandonment to play with her mother; smiling enormously with loving admiration for each other. Though she doesn’t grieve like the commons, she remembers her, she misses her.

"I know, I’ll make a snowman whenever I miss Vivienne"
• • • • •

trailer image

• • • • •

Character As a Frame of Mind

The notion that a character represents a frame of mind, merely a particular perspective in a situation, is not new, probably not even interesting at all to know the fact, though this idea is not readily apparent to the common audience. The approach in Snow Cake exemplifies this idea very well, rendering Vivienne, an almost non-existent character, to take on such a substantial presence on screen. Despite being invisible, glimpses of her viewpoint frequently resides in other character’s conversations; her opinion sort of hovers above the storyline, subtly hinting the resolution, her statement; giving us a kind of pre-judgment to the texture of the film.

• • • • •

'Dazlious'

Snow Cake also surprised me with a quaint little scene, where Linda and Alex play Scrabble against each other. Their rules very much resembles Facebook's version of Scrabulous; each player make up words of their own, even if it's non-existent in the dictionary. This little exchange playfully teases the linguistic conservationist, and puts us in awe of Linda's creativity. The scene is worth a posting:




- - - - - § - - - - -
Sharon Chong, published 16th July, 2007
GSC, 1 utama
:o)

Wednesday, 20 June 2007

Sophie Scholl – Die letzten Tage (The Final Days), (2005)


Director: Marc Rothemund
Scriptwriter: Fred Breinersdorfer
Main Casts: Julia Jentsch, Gerald Alexander Held, Fabian Hinrichs
Johanna Gastdorf, André Hennicke
Watched: 13, 14th June 2007
Cinema: Cineleisure Damansara (3:C6)




I’ve come across many people who say, and say it proudly, that they don’t hold any political views, much less interested to spend any mindful thoughts on that subject. Now, since this film picks on freedom of speech, we shall talk about freedom of speech in Malaysia. Yesterday morning, I was waiting for my lift to meet up with my college mates. Waiting, you know is really not fun to do. So without much consideration, I pulled out “The Rocket” – A special edition newspaper produced by our opposition party DAP; and started reading. Out of the blues, I became so self-conscious, that I couldn’t help thinking, “Will I get arrested for reading this in the public?” On cue, my brain reminded me seemingly harmless stories of people who received state punishment for simply saying something that sounded “disrespectful” or “scornful” or “insulting” about this or that minister/ leader.

Reflecting upon my reflex-like reaction, I realized that all my life I’ve been taught not to make political evaluations or comments, not in public, not even in whisper to your friend lest the table we are at is tapped. Even if I hear others say it, they would do it in hush-hush.

This film is also a reconstruction of history. Let me impress you with my learning about Malaysian history. It’s not hard to conclude that many countries like our own were Victims of many colonial powers. Those Vicious Scumbags have robbed our power to rule our Own Kind. Their Prideful and sometimes Pathological Impositions probably have stayed on with us till this day. It’s not our fault that our system of “justice” has a somewhat offset in exercising impartiality. When “Malaysia” birthed out of independence… Hmm… actually, from this point onwards I’m not quite sure if I know what I’m talking about anymore; because I confused myself when the textbook emphasizes on M clubs, C clubs, and I clubs, right after the unification. Anyway, I believe our forefather fought hard for our country’s independence and the governance system. Their successors were all heroic and intelligent in forming our country the way it is now. No doubt, the government makes the best choices possible, I’m sure. I have no questions. Yes, Malaysia, we can!

Sigh… Hitler’s job would have been so much easier if he had more citizens like me.


- - - - - § - - - - -


image credit

Once Upon a Time…

This portion of the story happened 10 years into Hitler government’s dictatorship over Germany – after Churchill and Roosevelt announced that “the war (WW2) can end only with an unconditional German surrender” at Casablanca, and German’s first big retreat at Stalingrad (1). A few German students at University of Munich, who came back from serving the army, formed the “White Rose”.



Having lived the threat of death at the Eastern Frontline, they took upon themselves to write about the massive loss of young men turned soldiers, innocent Jews, women and children, blown dead at SS rifle tips; and mentally ill patients occupy the gas chambers; Jews or Germans, because they don’t economically produce. The “White Rose” called upon German citizens to measure their leader’s military efforts with the moral yardstick, and to resist laws and policies that violate Godly conscience, even if it means having to admit that Germans are not the superior race over other cultures. They took major risks in disseminating 6 batches of leaflets for this purpose, and on the 6th secret distribution at the empty hall of University of Munich, Hans Scholl and Sophie Scholl were spotted and arrested.


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The Fighting

Despite her being one of the heroic Nazi German resistors, Julia Jentsch’s personification of Sophie Scholl isn’t very dramatized. She comes across as unmovable and steadfast to her own beliefs, and offers them only as strongly as respect and composure would allow.

“We fight with words,” said Sophie.

Contrary to mainstream narratives which diligently builds a particular character, I think the “fighting” is exactly what’s dramatized here. Our senses are carried through debate zones to stay with, and feel the tensions along the battle of ideologies. Scriptwriter Fred Breinersdorfer spoke during an interview:

The political dialogue between Mohr, the Gestapo interrogator, and Sophie is my invention because I felt it was necessary to have one scene in the middle of the film so the audience can watch both opinions fighting each other (2).




Political juxtaposition is almost always verbal in here. A good part of the movie reduced scenes to stage fierce fencing of the foils, allowing us to witness how Sophie craftily attempted to slick away from police charges, only when confronted by incriminating evidences did she give in, yet claimed correctitude even at accusation of high treason. She would later commence gnashing political arguments with the interrogating Gestapo in quick and immediate ping-pong, answered to her communist cellmate, culminating to an unyielding statement put across the court to the President of the People Court, Roland Freisler. A detailed plot description can be viewed here.




“ You will very soon, stand where we are standing today (as the accused)” - Sophie


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The Leaflet

The content of the 6th Leaflet of the White Rose can be downloaded here.

“Hans Scholl, Sophie Magdalene Scholl, and Christoph Probst have been found guilty of high treason, troop demoralization, and aiding the enemy…”

Roland Freisler, Judge of the People Court.

It is very clear that there’ll be no story had the White Rose not differ in Hitler’s political vision. In fact, any slightest form of deviation could become a state affair. Of course, the criticism here is directed towards Nazi Germany’s conscious intention on killing other cats to feed on their fish; while tacitly understanding their unjustified cruelty, seek to remove any thoughts that might suggest so. Thus, the necessity to ‘catastrophize’ and ‘criminify’ the White Rose’s harmless piece of leaflet. This will become clear if we compare the following pictures in succession:


image credits

An essay needing involvement from the Gestapo

image credits

Essay content so 'damaging' that it requires court examination



image credits

Words found to be so evil that the writer deserves the Guillotine


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And perhaps, we might begin to wonder what kind of mentality would render, an act of patterning blots of ink onto papers to represent one’s thoughts, as a crime that deserves the guillotine?


Trials before the “People’s Court” were conducted in secret, owing to “national security” concerns, and appeals to higher courts were not permitted (3).


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Punch Bags

One thing about movies that talk history is that you can criticize the subject matter as brutally as you feel necessary. Because if ever you are caught denoting insults to a living ruler, there’s always this assumption that movies are merely stuff of imaginations and fiction, thus, any discussions that may stem from it theoretically stay within fantasia-land.

So, anyone of you angry fellows who cannot stand speaking in obscure terms, and seemingly gentle and respectable language, I suggest you consider criticizing movie characters and contents. Punch bags are good for catharsis…


Where is God?

“ The secret of a disciple’s life is devotion to Jesus Christ, and the characteristic of the life is its unobtrusiveness. It is like a corn of wheat, which falls into the ground and dies, but presently it will spring up and alter the whole landscape (John 12:24, parenthesis by author).”
Oswald Chambers, My Utmost for His Highest (June 19)


I’m convinced that I will not find God, in the context of this movie, if I looked for Him outside of Sophie Scholl.

The interrogator asked “How could a society be in order if they were no laws?”
“Conscience” - answered Sophie

Sophie does not shame away from telling in my view, the truth, about God given Conscience, she splats it right at the face of her atheist interrogator. In her urgency to make a point, she was never engaged violence to achieve that end. In this film, she was shown praying for God’s strength in between interrogations and trial. Yes, clear sight of hands clasping together, calling out to Jesus, and even a prayer for Germany as a country, and reciting a bible verse by a prison minister. Her valorous opposition involved supernatural aid.

A Christian review of this film can be viewed at Christianity Today.


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1) The History Place, (1996). World War Two in Europe: Timeline with Photo and Text. Taken from http://www.historyplace.com/worldwar2/timeline/ww2time.htm

2) Richard Phillips (2006). Fred Breinersdorfer, writer of Sophie Scholl-The Final Days, speaks with the WSWS. World Socialist Web Site. Taken from: http://www.wsws.org/articles/2006/aug2006/soph-a17.shtml

3) Jacob G. Hornberger, (July 11, 2003). Crossing the Rubicon. Taken from: http://www.fff.org/comment/com0307h.asp

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Sharon Chong, published 20, June 2007
Cineleisure Damansara, MY
:o)