All of the films chosen have an essay-worthy amount of symbolism involved; there is often a bit of symbolism here and there in all art forms , of course. And sometimes the symbolism is incorrectly used; I review three films in my book which are cases in point. To read an example of a symbolic film review of The Illusionist , [ click here ]. In Poetry, I include a wee bit of indirect counsel, for the transformational story is indeed a form of counsel.
The myths of old are full of wisdom concerning the human journey; the collection we call Greek myth is positively astounding in this regard. The end game to my counsel in general is self-empowerment. Developing both masculine and feminine powers integration , part of the alchemical journey.
Are You an Author?
Reconnecting with the wisdom and guidance innate to Spirit, Nature, and our soul. Though we learn to be the kings and queens of our lives, we are all in this together! Elle and James seemingly have just met as the film commences, and James is an author, and art critic. It's his philosophy concerning the nature of "real" art v.
It's a theme that's meant to educate on the nature of the authentic self that's usually covered up by our conditioning by the time we reach adulthood. Elle's son, her sister Marie, and Marie's husband who stutters her name out to express his love are examples of authenticity, as well. As the film progresses, Elle and James enter into increasing levels of intimacy, surprising the audience over and over.
Of course most of us have been on this ride from meeting with attractive stranger to entangled attachment, to the frustration of expecting others to fulfill our wishes, to the suffering and arguments and finally to some measure of detachment. In the ride Kiarostami takes us on, we get to watch the process from the observer standpoint. We get to observe the ways that masculine and feminine magnetize; attract and then repel.
There is a wealth of symbolism here, from the statuary in Elle's antiques shop, to telephone conversations, to weddings and costume jewelry earrings and, indeed, a certified copy. I published a symbolic review of this film in my e book Poetry in Motion: I read a critique on this page that called this great film of Kiarostami's "pretentious" and then praised Antonioni. As if anyone who really understands Antonioni and doesn't pigeon-hole him into "plumbing the depths of modern alienation" what does that 50 year old critics' cliche mean anyway?
Writing - Colleen Szabo Upper Peninsula Michigan Crystal Falls MI
It means very little would not be able to pay enough very-well-paid and rewarding in spiritual terms attention to understand and appreciate the many, MANY magnificent artful subtleties of Kiarostami in this film or let's say the myriad rare and subtle achievements of Rohmer's films which "Certified Copy" most resembles in a bit darker fashion. I've also noticed that these kinds of artless or attention-deficit people unable to concentrate on details in a frame and wanting to be force-fed and played like a piano don't like the fertile zeitgeist of the 's very much and especially the early and most revolutionary films of Godard which they consider "amateurish.
To think that a director who is a real artist de-sign scientist, one who creates new signs or de-signifies through sensuous imagery and not just dancing as a hack for money and fame and who makes a serious film SHOULD decide for us what "exactly" it's trying to say, as if real life ever does, rather than make the best presented case, with all warts intact, to let US, the other human beings viewing these representations and hopefully able to process it , decide our own interpretation of it, as in real life we always do, for better or worse, and only in false artifice the intuited and then fallaciously not-true-to-objective-reality approximated fake that does not make you see the real, the lie, copy or approximation that does not make you see the closest approximation: That film, made close to 40 years ago, is even more masterful, one of his best.
This guy is one of the very few master film-makers still left today. Most of of the overpraised others are pretenders to the throne. This drive is not truly vanquished and scarcely subdued by the fact that a regular and rigid new world is constructed as its prison from its own ephemeral products, the concepts. It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally. This drive continually confuses the conceptual categories and cells by bringing forward new transferences, metaphors, and metonymies.
It continually manifests an ardent desire to refashion the world which presents itself to waking man, so that it will be as colorful, irregular, lacking in results and coherence, charming, and eternally new as the world of dreams.
Indeed, it is only by means of the rigid and regular web of concepts that the waking man clearly sees that he is awake; and it is precisely because of this that he sometimes thinks that he must be dreaming when this web of concepts is torn by art. The variety of forms of which it is capable determines the value of the idea. So by way of ideas, and your mastery of them in relation to what you are doing, will come your value as an architect to your society and future.
Colleen Szabo
An un-named woman so let's call her Elle played by Juliette Binoche, who owns an antique shop went to a book-launching event to meet the author, James Miller William Shimell and to have six copies signed by the author. She was distracted by her young son who's more interested in a hamburger and coke. So she left prematurely but not before asking the gentleman sitting beside her who happened to be the organizer of the event to give the author her phone number.
Miller dropped by her shop and so begins a man meets woman story and we expect a romantic movie. In this version it's called a "dense forest". The woman prays for help and sees a light shining from the window of a little cottage, "on which hung a small sign-board, with these words, 'Every one who dwells here is safe'.
Out of the cottage stepped a maiden dressed in snowy garments, and said.
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So the king himself goes to the pear garden. Just as the maiden is accompanied by an ethereal being, so the king brings with him a priest "to address the ghost", and the gardener is there, too.
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These stories love threes. The king is still unacquainted enough with the ethereal and with his inner feminine that he believes he can't communicate directly with it. Maybe he's just dubious as to whether the "ghost" is a holy one, or some dead person, and the priest will theoretically. The Handless Maiden 4: Golden pears are good!
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Well I'm kinda hoping the rest of the story will be a bit quicker interpretation-wise. But hey, I don't make the rules, and a picture is worth a thousand words, right? Now I've explained the water element thing, and the earth element thing, let's see what's next. Like I said, this is Scene 2. We'll get the redemption story from a different angle. By the light of the. The Maiden Without Hands 3: Grief and the next layer of the alchemical cake. I left the last post in the subject of water element grief. The last post was pretty dense, I know.
Like a lot of these alchemical tales, this one is multivalent. Just as often happens in our dreams, the first scene gives a synopsis of the story. Then the scene changes, and we are given the same basic story, only using a different perspective.
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