Snapshots From a Dream

What is this thing that builds our dreams yet slips away from us ....

Thursday, August 26, 2004

Snapshots From A Dream


Fly me high through the starry skies
Maybe to an astral plane
Cross the highways of fantasy
Help me to forget today’s pain

Gary Wright (Dream Weaver)


Why am I so different today?
Why am I so subdued?
Was it because of a dream that I had?
Why don’t I remember it?
Was it sad?
Was it about something that I did?
Was it about something that I want?
Was it something that I had?
Was it something that I lost?
Will I ever find it again?
Why don’t I remember?
Was it something that I can never have?
Why don’t I have it?
Why shouldn’t I have it?
Why can’t I have it?
Why can't I remember?
Will there be something else?
When will it be?
Will it be that good?
Will I lose it again?
Will I be able to live without it?
Will I dream about it?
Will it be sad?
Will I feel like this again?
Will I remember?
What was it?
Who was it?

Tuesday, August 17, 2004

Sound Of Silence


Flower Girl: You?
Tramp [Nods]: You Can See Now?
Flower Girl: Yes, I Can See Now.

City Lights


The above exchange constitutes what is definitely one of the most moving final scenes in history of movies. It is amongst the last great films from the silent era and made by one of the icons of world cinema, Charles Chaplin. City Lights was released in 1931, well after the talkies had come to Hollywood. However, Chaplin trusted the formula, which had made him a legend and decided to make the movie without dialogue. A few placards are all that he needed to convey the message as the film progresses. The magic was in the moving picture.

Chaplin plays his usual alter ego, the tramp whilst the radiant Virginia Cherrill plays the flower girl; who is blind when we first see her. The tramp is immediately taken with her and buys a flower. She is touched by his kindness and mistakenly thinks him to be a sympathetic rich person. Chaplin doesn’t revel his true identity with the fear of her rejecting him and so begins their relationship, with the tramp trying to help her at every stage. He tells her of an advertisement in the newspaper about an eye operation, which may help regain her sight, knowing that once she can see, the truth will be reveled. How he goes about raising the money for her operation is what makes this an inimitable Chaplin film, with his usual brand of self-deprecating comedy. There is a side story, which is essential to the romantic plot, and to watch Chaplin handle the various situations he finds himself in is to understand what classic comedy was in the silent era.

There are a couple of outstanding scenes between the tramp and the flower girl. The first is when he comes to give her the money for the operation. He hands her some dollar bills and keeps one for himself. She is touched and the affection she feels for him, leads to the tramp handing her the extra bill from his pocket. The second scene is towards the end when the flower girl has regained her sight and the tramp, who is holding a flower in his hand, is delighted to see her after a long time. She doesn’t recognize him and the way Chaplin’s expression changes from joy to dismay is mirrored in the flower losing all its petals gradually, till he is left holding just the stem. Then of course is the conclusion and the way, in which she discovers his identity, is something every cinema lover should experience at first hand. However, it is worth mentioning that the look on her face at that moment is the most heart-breaking one to be captured on film. Surprisingly, this is the debut film for Cherrill and it is as much a credit for Chaplin as for her to get that performance. The haunting score, by Chaplin himself, adds to the unforgettable moment.

Silent films, especially ones by Chaplin, were notable for pantomime performances. That was necessary to communicate to the audience what words usually do. Yes, the contemporary cinema needs a Quentin Tarrentino for engaging dialogue and yes, it needs a Peter Jackson for spectacular special effects, but at no point in the movie does the audience feel the need for any of this. The essence of Chaplin’s films is its simplicity. The tramp’s comedy may be slapstick but it has an unmistakable poignancy to it. City Lights is the most prime example of that fact. It is often said that anyone who does not smile after watching Singing In The Rain or Hard Days Night, must be the grumpiest person alive. Similarly, anybody who doesn’t have a lump in the throat after City Lights, is beyond human help. Chaplin appreciated the sweet sound of silence and taught generations of movie watchers to love it as well.

But...


I feel like no-one ever told the truth to me
About growing up and what a struggle it would be
In my tangled state of mind
I’ve been looking back to find
Where I went wrong

Queen (Too Much Love Will Kill You)


Everyone at some point in their life hears the phrase “ Its not you but …”. It may perhaps not be exactly as quoted, however the message is the same in all languages and so is its effect. As a kid it is sometimes heard after a scolding from their parents, especially in public, for some minor offence. The parents later explain that the diatribe was more intended for the benefit of neighbors who have thoroughly spoilt their children. Although the intentions were noble, it doesn’t make up for the utter humiliation in front of all your friends and random strangers. These days eventually pass and just as you think that you can do no wrong, those dreaded words come back to haunt you.

This time it’s the coach at school who cuts you from the team since the “so called regulations” allow for only certain number of players. Usually coupled with a “Keep trying son and you may make it next year”, it feels like an almighty slap especially since the coach is fully aware that it is your last year at that school. Now, one starts to comprehend that along with the neighbors, it is also the people who write sporting-rules who are to blame. So you start thinking that everything henceforth should be fine since surely, there is nobody else on this conspiracy to ruin your life. What you do not realize that it is just the beginning.

With a stunned look on your face, you await the college professor outside his office. He has just flunked you in a course, which you expected to sail through. As he lets you in, he starts with those words again while explaining that he had to fit all the grades on a curve, which of course means that some students have to flunk. I guess that it was unfortunate that your name got plucked out of the hat. Now you are beginning to get a grip on the entire situation. For the first time, there is a slight chance that there was never a conspiracy between the neighbors, the sporting authorities and the educational board. Perhaps it was something else. In any case you have had your share of misfortunes – or have you.

During a momentary lapse of reason, you decide that you have what it takes to be a research scientist and thus apply for graduate studies. It is only a matter of time before the best program is going to offer you admission with financial support. Then the letters start arriving, and they appear to be awfully thin. Shouldn’t there be a lot of acceptance forms to sign? Upon opening, they usually start with “We regret…” and continue to explain the same thing, which you are now accustomed to hearing. However, there are always some institutions that need cheap labor and you find yourself working for a research advisor who has you convinced that he is the reincarnation of Einstein. After an energetic beginning, it is only a few weeks till both of you realize the futility of the collaboration, but continue nevertheless like a couple in a bad marriage. Then suddenly you find that your paychecks have gone missing and after confronting your boss, it is learned that it was not you but the funding situation, which has led to the unfortunate event. Such a conversation is usually had just before you head off to beg for food and your advisor leaves for his biannual vacation. But surely, graduate school is just the last hurdle. Once it’s done, you are going to land up a nice job with a fat salary.

It is not a good sign when your boss approaches your desk with a security officer. As much as it hurts him, he has come to let you go. He explains that the company desperately wants your services but they are headed in a new direction and some sort of “re-structuring’ was needed. Honestly, it was not you but numbers, which some financial consultant pulled up, thus necessitating the lay-offs. While your manager does his best to put on a sad face, the rest of your ex-colleagues give you sympathetic looks while pretending to work. However jobs are dime a dozen, aren’t they? With your qualifications, recruiters would be lining up outside your door…at least soon enough when the economy recovers.

It is a wonderful morning. The one bright beacon of your life has asked you to meet her for lunch. Today is finally when she declares her undying love to you, which of course you have known for a long time. Then you will give the rehearsed speech about how you never thought of her as more than a friend, but now that she has mentioned it, you may actually contemplate going out with her. Amongst these flights of fancy, it is unpleasant to hear her talk so admiringly about a handsome co-worker who wants to go out with her for the opera. At this moment, plan A has been abandoned and the time for groveling is upon you. After you have blabbered for an eternity, there is a strange expression on her face, which will need a symposium of psychologists to decipher. Then finally she says what you have only heard several times before. Just for good measure, she adds an epilogue of “ There will be some other lucky girl”.

All your life you have been told that it was not your fault. You were just placed at the wrong place at the wrong time. Everyone has sympathized but no one has offered any solution. Let’s hope that next time anything goes wrong, it is your fault. Maybe that will break the jinx.

Disclaimer: All of the above is just an objective view. Not a personal memoir.

Tuesday, August 10, 2004

Life As A Cinema


Kyoko : Isn't life disappointing? ... Noriko [Smiles]: Yes, it is.Tokyo Story
Guido: I really have nothing to say, but I want to say it all the same.8 ½

It is often said that art transcends life. Typical examples of this fact would be to admire paintings of a gifted artist or listen to compositions of a great maestro. Sometimes, after seeing an outstanding film, people are moved to say the same about movies. Whilst there is no arguing that cinema is definitely a form of art, and a distinguished one at that, it is perhaps one exception to the aforementioned statement. Cinema is life, as we know it. It is just that we are viewing it through someone else's eyes. In most cases, it just captures normal people in their daily cycle and then observes their adaptability by placing them in extraordinary circumstances. This kink is usually mended towards the end, after which the audience is safe in the knowledge that life for these characters would go on in a linear fashion. Even in the case of fantasy films involving either mythical or extraordinary characters, the filmmakers are usually commenting on life, albeit at a different time and a far-away place. Hence, although watching a film may not be as spiritual experience as listening to music, it does constitute a noble way of studying life as it appears to some other visionary. This fact is corroborated in absolutely contrasting styles by two wonderful films: Yasujiro Ozu's, "Tokyo Story" and Federico Fellini's "8 ½".

I saw both films recently and was struck by their ability to tell a story in such divergent manner. Ozu's movie was released in Japanese in 1953 and its appeal lies in its simplicity. It is considered to be a trademark Ozu film with almost no camera movement. With precise scene composition, he was able to communicate whatever he wanted and the cast blended into the frame with consummate efficiency. It is as if the audience is peeking into the characters life and they do not consider it as a rude intrusion. As the film begins, we realize that the show has not been staged for our benefit, but rather we have joined an ongoing process. Although not in real time, during the course of the film, no effort is made to hasten the plot. It does not mean that the screenplay is flat or the proceedings get tedious. On the contrary, we get comfortable with the pace and settle down to go with the tide. The reason for our interest is Ozu's remarkable gift of impeccable character development. This makes us care for what happens to them, for we know that their life will continue long after we leave. To this day it remains an outstanding achievement in cinema and a though it may be interpreted as a social commentary, I find it a fascinating insight into life of simple people. The movie has a calming influence on us, which is almost therapeutic.

No other film can be more different than Fellini's Italian masterpiece from 1963. With rapid pace and unbound energy, it is an abstract vision that often has a dream-like state. Characters inhabit the screen with passion, which sometimes borders on pantomime. Various threads of the story come together only to be stretched and pulled apart. At times the audience members are left wondering if what they see is real or imaginary, comic or melancholy, honest or just a distraction. But at it heart, "8 ½" remains a deep insight into a man who is in retrospection of his life. From the very first scene, the movie is full of innuendoes to common events that we all experience. During the film, the protagonist goes through all emotions of despair to jubilation to the final realization of his life's meaning ... or does he? It all culminates into a wonderful sequence where his entire life is summarized in a joyous celebration, which the viewer knows is not real but rather happening in the protagonist's imagination. However, in reaching that stage, we have seen his life and though nothing in the plot is linear, we rejoice in the movie's obscurity. The film was earlier supposedly called "The Beautiful Confusion" and that wouldn't have been farther from the truth.

These two movies are amongst many great films, which have defined cinema. In today's age of fast action, nothing is more different that "Tokyo Story" and with audience expecting a coherent plot, "8 ½" would be an unpleasant surprise for some. But are they really that diverse from what contemporary cinema has to offer? The way of narration has changed but the stories have not. A filmmaker's outlook of life has not been altered; it is just how he exhibits it. Ozu and Fellini had their own vision and captured it on film in their unique way. I for one will be eternally grateful.

Monday, August 02, 2004

The Armchair Trilogy - I


The Sportsman

And bad mistakes
I've made a few
I've had my share of sand
Kicked in my face
But I've come through

Queen (We Are the Champions)

It is very easy to spot them. Right from when they are young, they stand out in a crowd. They are always the last to be picked in a team, be it for their school or local alley group. For some, it may be a crushing blow, but they turn out for the try-outs each time. Later in high school and university, they can be found sitting in the stands and being the loudest supporters of their team. Fiercely patriotic, they will always be ready to defend their team in a public debate but also be the first to criticize their team's shortcomings in private. They are the quintessential armchair sportsmen.

Ask them about the latest business mergers or the way a stock market is behaving, and you will draw a blank stare. But ask them the score of Timbuktu vs. Tombuktu's soccer game and they will not only give a minute by minute analysis, but also how the coach should have asked Mr. A to play a little deep behind Mr. B so as to take advantage of the narrow opening in the defense. Furthermore, they will predict the outcome of the next game between the two sides in soccer, archery and lawn mowing.

It is a monumental effort to get up for work each morning — after all the alarm may have run out of batteries, but the biological clock works just fine for an early dawn game in secluded part of Southern hemisphere. Whilst not being satisfied with watching it, they also have to read each and every article that is printed on that game. If the writers viewpoint is not what they saw, then a long hour is spent in drafting a rebuttal with what they think should have happened. Finally, just to prove that they are right, they will watch the taped highlights after getting back home. For them, the entire year is one big sports event. If one season ends, some other sport fills that vacuum. So what if their team is not participating, this result will eventually affect their home side in a couple of months. Thus it is their moral responsibility to scout the competition. After all, the coaches may call any day for the input.

They are typically very shy when confronted with a social gathering of strangers. Usually not the first to break the ice, they fidget around till they hear a conversation about some game which someone happened to catch last night. That's all the invitation that they need to throw their hat into the ring and debate till the cows come home. "He should have bowled first. After all the wind blows from the south at this time of the year"; "Why didn't he pass the ball? His marker was not in position"; "Well that's what happens when you use a 7 Iron"; "The manager should have brought on a left-handed pitcher"; "She shouldn't have gone for an ace on the second serve"; "Is the coach a coward, its 4th and 1, just go for it"; "You should never use a 3 pit-stop strategy on this circuit"; "He should have held back till the final 100mts"; This continues till they realize that the original group of people has long disappeared with a bevy of beauties and the current audience is composed of couple of old ladies knitting while trying to stay awake.

Such is their life. Social hermits who are only fooling themselves. There is a different world out there, which they are too blind to see. But for all their naivety, they have a good soul. After all any person who shares the passion for someone else's success, without asking for anything in return, can't be bad. So next time a sportsperson raises the trophy and thanks the fans, he is really acknowledging these armchair fanatics who are watching them on TV, not those who have paid $1000 for a corporate ticket.