Into the Wild

شان پن اولین کار بلند سینمایی اش را با یک قصه واقعی کلید می زند. داستانی که به قلم توانمند کوهنورد ماجراجویی چون جان کراکوار نوشته شده . با این حال این

کار جوان 24 ساله فیلم چندان مهیج است که جان را هم شیفته خود می کند.ماجراجویی کریستوفر جوان هرچند که تا میانه های فیلم دوست داشتنی و الهام بخش است اما در انتها ببننده را به مرز عصبانیت می رساند جایی که خود او هم در آغاز بازگشت به زندگی معمولی است و کل آنچه را که بدست آورده را بر آن است تا به دیگران بیاموزد. اما مادر طبیعت مهربانتر از آن است که اجازه دهد فرزند جسورش مایه از دست رفتن هر آنچه بدستش آورده بشود و او را به زهر بوته ای از پای درمی آورد تا برای ابد مایه الهام هرآنکه دلش از دورافتادگی ازاصل خویش می شود بشود

Democracy

Democracy From the movie Exils by Tony Gatlif

21 Grams

How much did 21 grams weigh?
21 grams starts with a pivotal question when dieing Sean Penn ask himself " what I am doing there like a living corpse?". This could be everyone's question, which wants to know how much is the life's cost and what is left after a suffering life. Movie returns to this opining scene to answer that question at the end of movie.
Four different life has been reviewed in parallel in the same way that had happened in Amores Perros: Paul( Sean Penn)a heart transplanted professor in the terminal status; his wife who needs to have a child even through artificial mating, Jack (Benicio Del Toro) a reformed convict sucked into religious fervor and Cristina (Naomi Watts), a well-to-do-housewife. Film ends with the (Paul)'s death and 3 ( 2 real and one spiritual) birth of those four staring people. Jack, who was an ordinary religious man, but found himself a Jesus beloved person at the end of movie and his wishful happiness, which he claimed at the beginning of the move in front of a young man was brought to him by Jesus Christ. Indeed, He achieved this gift by suffering the life which brought to him by an accident to baptize him.
A non linear structure on movie gives a potential to tell more than one story at the same time and the director brings another story to combine with the above story of a ’rebirth'. However, in the new story a real creation of a being, a child has been told. This new birth is done by the cost of love. So, Gonzales, combines two different stories to imply that love can create life and these two are the faces of one coin.

21 grams

How many lives do we live?

How many times do we die?

They say we all lose 21 grams... at the exact moment of our death.

And how much fits into 21 grams?

How much is lost?

When do we lose 21 grams?

How much goes with them?

How much is gained?

Twenty-one grams.

The weight of a stack of five nickels.

The weight of a hummingbird.

A chocolate bar. How much did 21 grams weigh?

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Music of the movie by Gustavo Santaolalla is marvelous. This the third performance I have seen by him after Amores Perros (2000) and Brokeback Mountain (2005).

I've chosen Can Dry Leaves Help Us? from the sound track.

Amores Perros

With Pulp Fuction and 21 Grams, Amores Perros are a trilogy with none-linare story telling movies. However, Amoress perros emerges from a deep sociologiacl backgroud and is sopposed to have a significat awarness impact on the relevant societies. The three episodes of the the movie reflect the three layers of a society, which are uinfied with some common sings and characters. While in the lowest layer, which is reflected in the first episode, marginalized poor peolpe ( Susana and Octavia) struggle with thier life and play the main role, the second layer and correspondingly the second episode deal with ordinary people( Daneil and Valeri) who are busy with making entartainment for the society. The movie is wraped up with a story from life of two bussiness men who are in charge to manage the whole society. Using a dynamic editing and a non linear story telling style, Amores Perros, shows that any decay in the lowest layer of the society was rooted from coruption in the upper class people and busnesses.

Blow up

To answer the question,"What does modernization do with us?" Antonioni puts his word into the Blow up. Film starts with the most modernized element's invasion ( memies who they are white face clowns) to naive portrait of life ( workers who they are waking up to just survive). Thomas, a photographer who has spent a night like those workers, comes to his place to go on his modernized life. Before dressing up every things around him are messy. Coming scenes Just after his shaving change to luxury ones.

Thomas desperately struggles his life to get more money but an event changes his view about life and finds it more challenging. Trying to find out a murder sense's secret he is confronted by society's ignorance and finally is pushed by the surrounding to his first place. He is dissolved in the society and disappeared, sounding that he never existed.

Hiroshima mon amour

Hiroshima mon amour written by Marguerite Duras and directed by Alain Resnais is the story of a French woman (Elle) has spent 48 hours with a Japanese man (Lui) at Hiroshima where she went for making movie about peace. Lui reminds her of her lover, German soldier, who had been killed in Nevers in second world war.
Film starts with long shot of naked those characters while they are lying in bed after sex. Camera in close up switches their bodies (like Bergman) which is covered with ashes, radioactive dust blown from the nuclear bomb.
When she speaks to Lui, actually she speaks to her past lover, it means that is not what it seems ... Love is death.
Hiroshima mon amour is the story about pain of loving or losing one's love. At the end of the movie she calls him, "Hiroshima", ...Who reminds her of her love at Nevers.
Annihilation from love, Hiroshima, ... has equal meaning for me... Losing hair from Hiroshima or losing hair because of love in a cellar.

Imam Rebellion

Samurai Rebellion by Kobayashi, took me back to the A'ashura. Watching the movie I found the story more familiar. So, not until it ended did I remember the Aashura, a historical event of Shi"ite. Above all I found a universal massage spread over from east to west. For sure there was no chance that the same story to be told in the same way in two different apart cultures. I mean it's impossible that the A'ashura has inspired Kobayashi to tell his story. Instead, this is human perception of life to make it as beautiful as they want. Kobayashi's story, Samurai Rebellion, in turn inspired me to think of a more terrestrial version of Imam Hussein's act. I don't rule out A'ashura's celestial meaning but right now I am more involved with its touchable terrestrial meaning, and it makes more sense. Why I shouldn't think of A'ashura as a love story? There are some stories which look at the A'ashura as a tribal conflict. According to some of those stories it has centered around power, while some believe it was about a woman. Clearly Samurai Rebellion was about a love and looked more beautiful, though its brutality was inevitable. Whether A'ashura is about a woman or taking power, both story, Samurai Rebellion and A'ashura, end with the same massage to the world: a warning to the world about inequality in human clans. And this is still a new massage even after 1300 years after A'ashura and 40 years after Samurai Rebellion.

بلا روزگاریه عاشقیت

این کوزه چو من عاشق زاری بوده ست

این کوزه چو من عاشق زاری بوده ست

در بند سر زلف نگاری بوده ‌ست

این دسته که بر گردن او می‌بینی

دستی‌ست که برگردن یاری بوده ‌ست

این چرخ فلک که ما در او حیرانیم

حیرانیم حیرانیم حیرانیم

فانوس خیال از او مثالی دانیم

خورشید چراغداران و عالم فانوس

ما چون صوریم کاندراو حیرانیم

دل ای دل ...دل ای دل

ای دل غافل دل شیدا

Music by Axiom of choice - Color of Dreams

La Notte

Having shot in 1961 one of Antonioni's trilogy, La Notte, has pointed to a more common sensation of couples, a marriage. Giovanni Pontano starred by Marcello Mastroianni and Lidia () are in cutting edge of their marrage thinking that they haven't so much in common to go on their marriage. In shadow of their dying friend's last moments, Lidia's real lover as it's found out at the end of film, in a hospital, Lidia realizes that she doesn't love Giovanni any more since she has found his selfishness. The dying friend, Tommaso Garani (Bernhard Wicki - a German film director), had found her an intelligent woman (Her husband has looked down on her intelligent and talked about himself all the time) and persuaded her to read more regardless of her reading boredom. In the hospital she finds him a devotee lover, so she can't stand beside his bed merely to be a viewer of his dying and leave there. Just a moment after saying goodbye to Wicki, Giovanni met a delusional but beautiful nymphomaniac patient, who tried to seduce him and her attempts ended up in a brief love affair of those in her room. Driving to Giovanni's book premiere party, he confess his love encounter to make his wife jealous but she looks more reluctant to show her jealousy. During the party Giovanni was adored by people and Lidia leaves the party to hang around the city. Another party is held in a wealthy business man's house that night ( La Notte) during which Giovanni finds Host's girl more beautiful and intelligent. Their love affair can't escape Lidia's eyes and enforced her to fall in love with a importunate young man but refuse at the last moment to kiss him. She come back to party and finds his husband with his lover (Monica Vitti) but again doesn't show any jealousy. On The way to home when the night is over they uncover their old feeling about themselves. And After all, La Notte is more like an old version of Stanly Cubric's last masterpiece, Eyes wide shot

What Shall We Do Now ?





What shall we use to fill the empty spaces
Where waves of hunger roar
Shall we set out across this sea of faces
In search of more and more applause

Shall we buy a new guitar
Shall we drive a more powerful car
Shall we work straight  through the night
Shall we get into fights
Leave the lights on
Drop bombs
Do tours of the East
Contract diseases
Bury bones
Break up homes
Send flowers by phone
Take to drink
Go to shrinks
Give up meat
Rarely sleep
Keep people as pets
Train dogs
Race rats
Fill the attic with cash
Bury treasure
Store up leisure
But never relax at all
With our backs to the wall

Coração Vagabundo - Vagabond Heart

listen or watch one of my favorites

Lyric:

Meu coração não se cansa

De ter esperança

De um dia ser tudo o que quer

Meu coração de criança

Não é só a lembrança

De um vulto feliz de mulher

Que passou por meu sonho sem dizer adeus

E fez dos olhos meus um chorar mais sem fim

Meu coração vagabundo

Quer guardar o mundo em mim

Translation:

My heart is not gotten tired

To have hope

Of one day to be everything what it wants

My heart of child

The souvenir is not alone

Of a happy countenance of woman

That it passed for my dream without saying good bye

E made of the eyes mine one to cry more without end

My vagabond heart

It wants to keep the world in me

Mideast War



I'm so tired of being here

Suppressed by all my childish fears

And if you have to leave

I wish that you would just leave

'Cause your presence still lingers here

And it won't leave me alone

These wounds won't seem to heal

This pain is just too real

There's just too much that time cannot erase

When you cried I'd wipe away all of your tears

When you'd scream I'd fight away all of your fears

And I held your hand through all of these yearsBut you still have

All of me

You used to captivate me

By your resonating light

Now I'm bound by the life you left behind

Your face it haunts

My once pleasant dreams

Your voice it chased away

All the sanity in me

These wounds won't seem to heal

This pain is just too real

There's just too much that time cannot erase

I've tried so hard to tell myself that you're gone

But though you're still with me

I've been alone all along

مرثيه درخت - شفيعی کدکنی

ديگر كدام روزنه ديگر كدام صبح

خواب بلند و تيره ي دريا را

آشفته و عبوس

تعبير مي كند ؟

من مي شنيدم از لب برگ

اين زبان سبز

در خواب نيم شب كه سرودش را

در آب جويبار

بدين گونه شسته بود

در سكوت اي درخت تناور

اي ‌آيت خجسته ي در خويش زيستن

ما را

حتي امان گريه ندادند

من اولين سپيده بيدار باغ را

آميخته به خون طراوت

در خواب برگ هاي تو ديدم

من اولين ترنم مرغان صبح را

بيدار روشنايي رويان رودبار

در گل افشاني تو شنيدم

ديدند بادها

كان شاخ و برگ هاي مقدس

اين سال و ساليان

كه شبي مرگواره بود در سايه ي حصار تو پوسيد

ديوار

ديوار بي كراني تنهايي تو

يا ديوار باستاني ترديدهاي من

نگذاشت شاخه هاي تو ديگر

در خنده ي سپيده ببالند

حتي

نگذاشت قمريان پريشان

اينان كه مرگ يك گل نرگس را

يك ماه پيش تر آن سان گريستند

در سكوت ساكت تو بنالند

Sainkho Namtchylak

Sainkho Namtchylak is an experimental singer and extreme vocalist born in 1957 in a seceded village in the south of Tuva, an autonomous Russian state bordering Mongolia. She has an exceptional voice, spanning seven octaves and proficient in overtone singing.
Sainkho grew up in an isolated gold-mining village, immersed in a culture where music was unselfconscious.
spirituality, urban alienation and Buddhist philosophy are pervading lyrical themes in her work, which walks a fine line between dream-like and nightmarish qualities.
Her last album (Who Stole the Sky) was nominated for world music award 2005.
She says in one of her album (Naked Spirit) :

Life is a great journey through illusion.
Every moment of this journey is so intense.
Some people play with it, some people try to learn how to win,
some people just pass through it! ... I am sinking into every passing moment.
And I am grateful for this illusion which presents me every second with a new fruit to taste. Sweetness, sorrow, anger, happiness, passion and depression.
All is Fullness and Emptiness. Oh, what a taste!...
I'm born naked and I will die naked.
All I can take from this great illusion called Life is my Spirit.....