2.5.13

ROSE QUAY


ROSE QUAY

The city looks quite empty
My first adult years slipped away
But I am waiting there
With a rose swimming in the hands

Who could relieve those feelings in the air?

This city is my face now
Full of hard dreams to bear their brunt
But it is possible for me to travel on
To breed images, points of a memory kit

To invest on the space images grow wild

The sea breeze goes on
But I am still standing with the rose
Unable to find any sense
In the rhythm of a grey life ahead of us

And the faded rose opens its velvet wings

The slippery sky after the rain is singing
It’s time to bounce back
I imagine because I embody my adult air
The city of names whispers my past years

The rose I had doesn’t exist anymore

All the scattered smell belongs to the city eye
To the truth without furniture
 It is something we carry when the skies dark
But we are all ears for the mystery

As we grow, we fade ourselves to keep up with the city

2.4.13

Hasta la Vista: Carpe diem, mi amor!






Geoffrey Enthoven’s ‘‘Hasta la Vista’’ film sends us the message: Carpe Diem. Life is hard but the moments we share are the important ones. Friendship makes people recognize themselves. So, Philip -Robrecht Vanden Thoren-, Lars- Gilles De Schrijver- and Josef-Tom Audenaert- are not just three young special-needs friends but three “lotus eaters” who want to pursue the dream of being independent with money abroad. After having spent a lot of years on a domestic life with parents, it’s time they discovered something different. It’s time they lost their virginity. So here the subject comes regarding this road movie about the importance of keeping the dreams alive notwithstanding any difficulties let alone different disabilities.

To pursue the dream of traveling- with the exact aim to visit a Spanish brothel- the three friends accept finally to be supported by Claude- Isabelle de Hertogh- who is in between a nurse and a driver for them. As soon as they realize her valuable role, their journey becomes pleasant. It is that moment Joe Dassin’s music comes to the fore. And the moments’ sharing present makes them see how this journey experience is an acquired taste. Claude performs a mother care role for all of them, whereas cityscapes change fast one after another. Dolce Vita is a fact. However, the story does not misinterpret the issue of life and death, even though the sea shootings have successfully created a balanced atmosphere of expectation in the film by setting the target destination from scratch. Sea is the destination but seems also to be the starting-point for the unknown. 

Consequently, it is vital that we become acquainted with the reality of special-needs men. This film illustrates some aspects of their life to make clear that they are people like all other people. Through a sense of humor, three characters are depicted in the modern era of techno vibes where mobiles are everywhere, parents’ fears continue to exist but, however, the majority of people somehow resist on disability. “Hasta La Vista” is an illustrated proof that even difficult life is life and therefore, instead of tilting at windmills, we should start spending our energy on relationships. No wonder why the film gained the audience award of EFA (European Film Academy) in 2012. Good, interesting, special.



In Greece, 4th of April, AmA films

Vitriol, une pièce sur l’équivoque entre la nature et la culture




Il y a quelques années, j’ai acheté les ‘‘100 définitions du théâtre’’ par Olivier Py, - ed. Les Carnets du Rond-Point (RMB)-. C’est intéressant comme quelques noms écrits deviennent réalité y pénètrent notre vie d’une manière physique. Ce ravissement est celle d’un mythe urbain et quotidien, où on participe. En fait, le mois dernier, j’ai connu Olivier Py à l’ Institut Français d’ Athènes –IFA ou, autrement dit, Inspirer Faire Adorer- à l’occasion de la représentation du théâtre de Vitriol de G. Mavritsakis au Théâtre National d’ Athènes. Avant de cette expérience, quelques définitions du livre m’avaient touchée. Particulièrement : No 91, ‘‘le théâtre est cet amant d’un soir qui dit Oublie-moi et je te serai rendu’’. Et en plus, No 17, ‘‘le théâtre est ce qui nous permet de contempler la mort sans en mourir’’… bien sur, il y en a d’autres, grâce aux lesquelles ce livre est à la fois amusant et bien pensant. Mais je termine avec le No 1: ‘‘Sapiens, Sapiens se plante une épine dans le pied. Il voit que sa douleur n’est pas partagée par ses camarades, alors il invente le théâtre’’.    

Donc, en ce qui concerne la représentation du théâtre de Vitriol de G. Mavritsakis au Théâtre National d’Athènes, je n’avais aucun doute. Py a fait un spectacle de tout. Il a pris un texte tout à fait poétique –et politique quand même- et il l’a présenté par rapport à une réalité bien corporelle y terrestre. C’ est pourquoi on est en face d’une ‘‘surface’’ d’argile, où les acteurs retracent l’histoire. C’est l’histoire d’un garçon qui se trouve en crise, homme de son ombre, esclave d’un fardeau soit personnel que social. Dans cette atmosphère, l’élément de la douche fonctionne positivement créant un nouvel ensemble d’antinomie. Contre le paysage gris y fluide, parallèle de la mémoire axée en ardeur, la douche symbolise la fraîcheur. Elle est un symbole antinomique en relation avec le sujet du titre ‘‘Vitriol’’ qui signifie exactement Visita interiora terrae rectificando invenies occultum lapidem”. Toute la mise en scène convient à une approche holistique des arts, dans laquelle les acteurs à travers leur rôle deviennent des personnages vivants d’une intervention figurative sur la totalité et l’infini, idées parcourues par la pensée philosophique d’Emmanuel Levinas. C’est Levinas qui soutient l’argument que ‘‘la représentation dans l’œuvre de la relativité occupe le poste d’un fait privilégié’’. Alors, il s’agit d’un privilège ouvert aux spectateurs. On voit des interprétations exceptionnelles en dépit de la difficulté de participer à une telle pièce. C’ est pourquoi je me demande, au nom de la flexibilité et de l’acculturation, comment Vitriol pourrait aller en France afin que les acteurs grecs montrent que la Grèce n’est pas seulement en crise mais en pleine créativité. Grâce à eux, à Mavritsakis, à Py certainement. C’est dur mais lorsque Olivier affirme que ‘‘notre temps est patrimoine plus que culture, mode plus que création, commentaire plus que littérature, image plus que promesse, spéculation plus que désir vrai, sondage plus que désirs’’, une question est soulevée : c’est quoi le plus dur pour un citoyen? La vie ou le théâtre?                       

20.3.13

Detachment, a P.E.T (Possible Education Tomorrow) movie



Apt literature quotes for a starter and a dessert, interesting animated blackboard doodling, modern plot and strong social messages about high school education relating to parallel attitudes embedded in society; except for the brilliant and promising name of Adrien Brody, Tony Kaye’s “Detachment” is a movie that approaches the educational big “Question Mark”. What has to be done in education today? Let’s focus on the detachment value. The answer of the script is clear. Only if the spirit is pervaded by an idea can a teenager proceed to the next chapters of life, with a degree of critical detachment. 

As to the plot, the movie features Adrien Brody as a substitute teacher. However, Henry Barthes is not an ordinary teacher but someone different –by comparison with his colleagues- and endowed with a vision to inspire his class. Thus, he tries to show his students that their life can be altered by making efforts and reading literature such as Camus or Poe so as not to suffer desperately. Although pain is inevitable, considered as the key feature of maturity, the way we experience it can be viewed through a variety of options. In a nutshell, Barthes is the teacher who feels his students and asks them to write compositions instead of being strictly judgmental. His surname is “B a r t h e s” after all… 

So, what is the counterbalance of Brody? If it hadn’t been for any, the movie would have become dreary. So, Erica, the prostitute-street girl (Sami Gayle) taken care by Henry at his home becomes his strong counterbalance. Actually, she symbolizes his agitated soul. As Henry has been beaten by fate and has already undergone personal mishaps so that it is logical to be in a somber mood. Therefore, Erica of the streets is the most interesting person-persona of the present for Henry. Her impact comes in juxtaposition with his bleak past, his mother’s suicide. Anyway, the orange red images of the mother face and her long wavy hair like an autumn on the move create a poetic language of film polysemy that cuts the reality in flashbacks in order to see the expansive concepts of it through memory. 

Relating to the issue of memory, the movie also features Louis Zorich as the aged grandfather of Henry who is about to die in a clinic facing Alzheimer's. So, the school scenes of the movie are interspersed with those taken place in another institutional background, where the notion of the patient could be regarded as the final outcome after having been a life student. By the way, it suffices to remember the “Castle of Usher” as a “state of being”, according to Poe’s excerpt mentioned by Henry. 

In conclusion, this dramatic movie implies on the disaster emerged from the ubiquitous teaching methods at high school level, illustrates the gap of communication between parents and teachers, whereas stresses on the importance of moral support towards students so that they develop their sense of detachment and avoid putting their head in the noose like Tony Kaye’s daughter (Betty Kaye as Meredith) did concerning the script. Interesting approach but it lacks in originality. It is easy to write a script with teachers of a nervous breakdown opposed to the so called Henry’s performance so as to mark him as masterful and different. Would be better-to avoid the banalities- if the movie illustrated more developed relations and reactions. On second thoughts, I think that this reaction made recipe did not help the movie-goers travel in the filmic mood. Of course there is a story, there is aesthetics, but there is a part missing: relations in-between. That’s why the movie is poor in serendipity discoveries...

1.11.12

“Why you and not me”, Greek politics on board.



“Why you and not me”

Due to the latest international developments that have placed Greece in the middle of the global crisis, Greek deputies and politicians come to redefine themselves as persons if need be.
But, what is “need” actually, in terms of politics and regarding the society? Although deputies -such as Marilisa Xenogiannakopoulou-make announcements about their removal from political parties where they used to belong, the problem of personification in politics also encloses its denial. It is very easy to deny your past when there is guarantee to rebuild it under the form of new alliances.   
However, this political game of flames billowed over the prairie has nothing to do with the society itself. Greek citizens -and any citizen on a global level- need politicians who will vote for the lifting of antisocial measures. What deputies may decide for their identity is another chapter of the politics history.
On the other hand, there is no wonder why especially now, some days before the voting of the Memorandum measures promoted as ‘‘inexorable’’ by the Greek government, we observe such political tendencies. It is just a proof for the political system to convince itself that it is still a dynamic network. This is incorrect given that this sort of dynamism should be relevant to the political impact and refer to the functionalism of the measures within the society. 
If there is a keyword about the latter-day problems, that’s “society”. Greeks cannot afford the measures just because some decided to vote their duty. This theatre of the absurd tends to serve more and more a strictly political construction and its language, of which the former PASOK now appears as PASHOCK in our memory. And this linkage makes part of the dialectic between the tragic vision and the ideological vision. Politicians strive for ideology but in reality, they strive towards defending themselves as ‘‘socially’’ defined persons.
According to Alvin Gouldner –i.e. The Dialectic of ideology and Technology, NY Seabury Press 1976 persons “are human beings socially defined as having certain attributes. A person is a human being believed 1) to be a locus of potency or power, and hence 2) to be morally responsible for his actions”.
Anyway, in the Greek political scene, we observe a great paradox. The notion of the moral responsibility regards the opposition members. The so called Lagarde’s list aroused quarrels among deputies; the lost “stick” and CD of the ex-minister Papaconstantinou also nourish the chaotic character of political narratives instead of offering new leads to the case. So, I wonder what kind of personhood is that…
I wonder how some Greek politicians call upon the future of the European Union to make citizens accept the urgency of the unbearable measures when they cannot fight the tax evaders and when at once, according to book sources of international law, in 2003 they rejected the formulation of the European Constitution. For which reasons, since 1975 –and until today-, hasn’t any text of the European Union been introduced by any government into the Greek Parliament regarding a strict report on the article 28, paragraph 2?
Of course; as legal books write, the Constitution should not be possible to be interpreted in a way that would abolish the rules characterized as “erga omnes”…States or nations must collaborate on different and distant issues. Anyway, apart from this collaboration theory, in reality as Gouldner has claimed, “a society with a pervading sense of the tragic cannot have the same relationship to politics as one with an ideological vision. The ideological vision has slipped free from the limits of which tragedy was so acutely aware”. Thus, both ideological and tragic visions keep up with false consciousness.
Consequently, there is no social need for Greek deputies to “play” the ideological partners in a tragic room. Jean-Jacques Rousseau –i.e. Discours sur les sciences et les arts, Athens 2012 Nissos publications- viewed Athens as a place of elegance and good taste, the country of orators and philosophers. From his critical standpoint, “the elegance of architecture was parallel to that of the language. One could see the marble and the cloth alive in the hands of skilful craftsmen”.
Until today, we have kept this marble tradition in the case of Metro. As citizens, we complied with the rules and we have kept it clean, as long as the authorities stressed on the importance of keeping the metro clean and worthy of respect. Therefore, citizens can follow the authorities’ lead, for they are trained to regard the state as the par excellence subject of law. This is the reason why –on the other hand-citizens are opposed to any unfair treatment within the framework of the conflict between the government and the press about the reporting of the economic crisis.
In conclusion, the unfair removal of the two Greek journalists from the Greek state television shows one aspect of the tragic in the Greek politics. The other one is the personification crisis. We lack in real persons and this does not happen by chance. It happens because now in Greece, after the huge failure of the ex Prime Minister, G. Papandreou, the religious character of the power is definitely over. As a result, new pretenders want to rule, no matter what name they may have. Clergy story is an old one, let alone when charisma and “chrisma”-nomination- have killed one another. But Greece does not need politicians who dwarfed their adversaries to collaborate with them afterwards. As a Mediterranean, European and Balkan country, Greece needs its society and social classes to go on. The Greek politics “on board” under the umbrella of the question “why you and not me?” does not help either the citizens and the society or even the political future of its strong defenders.

31.10.12

Is Amour the answer?

Is Amour the answer? 

The latest movie Amour of Michael Haneke offers the spectators the pleasure to belong in his story regarding the old age and life’s end; the director of Hidden and The white ribbon makes us love again Amour since we need to remember it so as to decode its meaning in our own way.

Setting out on this personal journey to decode what I have internalized, after seeing the movie at the 18th international film festival of Athens Nychtes Premieras I am to recall the fifth verse of “the outpost”, a poem from the collection Paths of Tomas Tranströmer, -The great enigma, translated by Robin Fulton, New Directions Books, New York 2006-, which says: “Mission: to be where I am. / Even in that ridiculous, deadly serious/ role- I am the place/ where creation is working itself out.”

The reason why I recall now this verse is due to the elective affinities I detect between Amour and “the outpost”. In Amour, the irony of love considered as the other side of death is rife. For Georges, Jean-Louis Trintignant, the relationship between him and Anna, Emmanuelle Riva, has been crucial for all the years they lived together, but it is only upon her first stroke that he realizes he has grown from a normal husband into a unique and faithful mate. In Amour, the alienation of the two retired music teachers-from others-is an important factor so as to see the topical meaning of love and its reflections in kindness, understanding and compassion as well as the bad aspect of instincts and physical denial. By the same token, in coming to appreciate the worth of what he has, Georges is forever consigned to a painful life where no one place can fully be home except for home. There, Georges means. He is “topos”for Anna. He is the place where Amour is working itself out...

Therefore, in Amour, home is the only intimate refuge for love and pain; whereas love is viewed as the other side of death, related to the nature and origin of pain. Through Georges- Jean-Louis Trintignant, through his silently active and loving gaze, the importance of moral behavior is conveyed to the spectators. If it had not been for Haneke, however, this movie would have probably been a disaster; for, his issue is a delicate one that demands special treatment. It is Haneke who focuses on the male gaze in order to make the spectators see how it has internalized the female voice. His film direction casts light on the facets of human nature when life is seen as a spectrum of death.

Thus, Jean-Louis Trintignant and Emmanuelle Riva, two outstanding film personalities that have contributed to the history of cinema during their career, give exquisite performances as Georges and Anne. Apparently, they shape the theatre of love, where either relatives or even children seem so different and partially unable to feel the nature and life of the problem. Anna has been paralyzed; she confronts problems in speaking and communication; not only she cannot play the piano any more but also dementia after the strokes causes serious trouble and confusion in her daily life.

From the director’s standpoint, Amour is a dinner strictly for two that enables two mates to rethink about the truth of their relationship and common life that ran away like running water from the tap. When death knocks their door this evaluation comes to be crucial. Death reality needs no publicity and this feeling about the life’s end keeps up with the winter atmosphere throughout the film.

Anyway, it is the director’s skillfulness that guarantees the concise, exquisite result without bordering on depression. Within one Paris-type apartment the connotations used construct a film worthy of attention and support. It is interesting to observe how Haneke first narrates something and then chooses to show the object of narration in the film. After the film, the dialogue about the essence of love is topical again. Is love the answer to all those who damage their political unconscious by nurturing their one and only ego? In a nutshell, we owe Haneke a lot.

• Production year: 2012 
• Countries: Austria, France, Germany
• Directors: Michael Haneke
• Cast: Emmanuelle Riva, Isabelle Huppert, Jean-Louis Trintignant 
 Cannes Palme d' or 2012

first, the review appeared here:
http://lego4.blogspot.gr/2012/09/is-amour-answer.html 

Skyfall, not just another James Bond movie


Skyfall, not just another James Bond movie

M for Murder; Silva for Silver screen and Bond… James Bond, for what the extravagant bonds of the current materialistic life have contributed to the system of integral calculus in the course of time, from Shanghai to Makao and London. Apparently, his gun is as good as his bond. His name is as good as the spectators erase the ordinary past of thoughtful images in order to explore the great fate of the most famous secret agent in the history of cinema, read as another history, hysteria of “His Troy”… 

But not in this case; Sam Mendes knows how to “play” the spectator. He is an agile administrator of patience, given that you expect from him until the end of the “Skyfall” comes. In a word made of do’s and don’ts, where first and foremost money “talks” and builds consciousness, the presence of James Bond -Daniel Craig- confirms its parallel absence. It stresses on the demand for another hero who is going to be a gun and a gunman at once. That is, it is necessary for Mendes to call upon a hero concerning the human nature proper. And here Silva -Javier Bardem -comes. Silva symbolizes the person beyond the weapons; he incarnates the ex defeated, the expiatory victim of the system being judged as unwanted by M-Judi Dench-. His role works in two senses: as participant in the plot and at the personal level, as an inner parallel psychic truth, with which the construction of the film a priori does not comply. Bond may be first in his class but Silva is gifted of a penetrative look. Whereas, Bond is not only controlled by the system but also perpetuates its power, Silva is the equivalent to the self-commitment and apparent independence. 

Trying to deal with the meaning of guns in the movie, we could deduce that the gun appears at once as what should be taken, what should be expected and yet as what is dangerous to take. This happens because the reality of a gun consists that of a thing and so the thing itself given forges a bilateral bond; therefore, according to this deduction it is taken for granted that the issue of guns has to be considered as the other –bad this time- facet of the bond established between donor and recipient. 

Additionally, Mendes invented the “Skyfall” residence in Scotland according to the logic he had to strike a match. The match-James Bond- existed. However, he had to light up the fire. On this occasion, no better place but a remote land of shadows could have ever been existed to fulfill his aim. At this point the film transfers the spectator to a microscopic theatrical condition, whereas the written name “Skyfall” leads to foster its self-relativity; a feeling of loss and oblivion pervades the atmosphere until the old man suggests Bond he leave immediately before conditions deteriorate. Anyway, the old man’s gesture of removing his hat is not just a pious one but tends to slow the action of that cruel scene down much more than simply empathizing with the fact of death. In conclusion, “Skyfall” is based on a witty script according to which James Bond is not conventionally in the mood for love and war but needs his other hero, Silva, so that a suspicion of theories regarding Oedipus Complex, in relation to castration- by the way, from M to Silva- and similar gender issues, arouses throughout the film. It is the so called ‘‘feel good entertainment’’ with exquisite interpretations including also that of the future M, Ralph Fiennes, and Naomie Harris; with some blood, Martini or beer and boom of guns… 

For Greece: Feelgood Entertainment