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.