Into the heart of the dark woods, she saunters
where the ravens of Odin watching, ascending
the stairways of shadows hanging over the trees;
In the trail of the terrible mystery, she travels
with the hounds of Artemis howling, descending
The mountains of memories scattered on the grounds;
Where she goes, she knows not
But the fate of a ghost she knows;
Wandering by day, haunting at night
Always a stranger among strangers,
a changeling belonging to naught
Drifting into the maze, she follows.
Imagine this. You are the only person marooned somewhere far away from your world. You have all heard the dystopian chimes of every brave new world from George Orwell’s totalitarian society of 1984 to William Golding’s terrifying Lord of Flies and Aldous Huxley’s eponymously prophetic Brave New World. Yet, you have not realized how it would be like until you enter such a world alone. The world you face now is the amalgamation of all the worlds described above that exist in the selfishness of lettered cases. What would be your impulsive action toward the stupendousness of the incredible event? Besides, what if your best work a la your reason and hope as good as your pride and hubris can present turns out to be a grand Faux pas?
Planet of the Apes (1968), directed by Franklin J. Schaffner, is a crackling Sci-Fi movie that translates the dystopian thematic of a world in a phantasmagorical display of primal humans and intelligent primates that upends the existing hierarchy of creations and reconstructs the fundamental doctrines of the Origin of Species. It is an advanced society of chimpanzees and orangutans that talk smart, which the 20th-century American astronaut George Taylor (played by Charlton Heston) is hard to stomach with human pride. He then becomes a deformed kind of human slave of the apes in this new brave world where from their God to a prison guard, the apes are the master of the humans. What a wonder this brave new world, that has such apes in it.
The movie is a visually compelling Juvenalian satire that mercilessly but humorously mocks the targeted human hubris that brings about its destruction in an attempt to replace the role of God. The thinking, talking, and even kissing apes mirror the social behaviors that are no more particular to humans who fail to preserve humankind’s prerogatives by the self-destruction of humanity from catastrophic nuclear war. Taylor embodies the hubris in the optimistic veneer of audacious hope that he will find a way home, to his kinds. It is this hubris that causes the downfall of humankind and himself. He hunts desire and hopes together in the constant resistance against the apes despite the impossibility of returning to earth with the defunct spaceship. His faith is nothing but a waking dream, haughty defiance against the reality, dreaming an awareness of odds in his favor.
The figure of Taylor is one oddly fascinating mixture of panache and wit, sarcasm, and heart, wrapped in the likeliness of Shakespeare’s Macbeth. Talyor represents dramas of human characters wonderfully packed in the imposing physique, towering the apes as if to manifest the sovereignty of man over the apes. The pathos of Taylor in the climactic denouement of the movie reveals his frailty in recognization of the collapsed grand narratives of hope, disillusioned wishes, and shattered dreams as uttered by Macbeth: “Life is but a walking shadow, a poor player that struts and frets his hour upon the stage. And then is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing.” Will this be an empty outcry of failed civilization, echoing the collective pathos of the human consciousness for the corrupt world at its heart?
I ride on the wings of the wind
Flying high o’er the mountains
Across the deep, vast oceans
Touching the lovely fluffy clouds
Breasting the pure sea breeze
In the soft sweet hues of sunset
Lingering in the dazzling twilight
And find my star shining bright.
Out of Chaos comes the Universe,
and the Sky covers the Earth.
As Darkness joins with Light,
so does the Day with the Night,
making Alpha of Omega and
Omega of Alpha, Cycles in Epicycles.
A great film with a sincere message about life and human nature transcends a divide of time and a boundary of the territory. I believe that a good movie has a lasting sensory impact on the viewer and cultivates the mind with a visual efficacy of precipitation. In this regard, the epic historical drama ‘Ben-Hur’ (1959), directed by William Wyler, is an epitome of masterpiece cinema not for a time but all seasons. The remarkable triumvirate of the outstanding screenplay, the excellent performance of the cast, the fascinating cinematography produces supreme one of art that resonates with spiritual elements of humanity in the witchcraft of motion picture.
The film follows a history of Judah Ben-Hur, a young Jewish prince whose life is forfeited by a betrayal of trust and corruption of friendship. From the height of his prime to the fall, then to redemption, it is heroic acts of high human drama wonderfully conjoined with a tale of Christ whom Ben-Hur encounters by Providence. His wrath is untamed, and anger is the roaring of a lion. Ben-Hur chooses vengeance as a will to live in the march of death in the desert and the prison galleys on the Ionian Sea. He feeds on ire and utters curse every day until he intends to execute vengeance upon the perpetrator with recourse to the old retributory law of an eye for an eye, tooth for a tooth. Who can calm the turbulent vortex of the soul in despair and save him from the night of the soul?
The film revolves around Christ, and Ben-Hur is another disciple of his teachings through conversion into faith, charity, and hope. The figure of Christ is the central theme of the film, but his face is unseen, and his voice unheard. We can only see his rear, but it is the mysteriousness of the person of Christ that elevates the story of Ben-Hur to the sphere of hagiography. The providential encounters with Christ in the climactic moments of his life lead him to the way of Christ, which mirrors the process of Ben-Hur’s redemption from Wrath to Grace, from Desolation to Hope.
Whether or not you believe in Christianity is not a prerequisite to appreciating this excellent epic drama because it would be a loss to any lover of arts to forego the spectacular beauty of the cinematography, not to mention the spiritual thematic of one man’s redemption from hopelessness. The grand epic scale of cinematography that depicts the tale of Ben-Hur in the trail of Christ from the Nativity to the Crucifixion is akin to watching Michelangelo’s remarkable frescoes of the Sistine Chapel that illustrate the story of humanity from the Genesis to the Last Judgment under God’s mysterious plan for mankind. In conclusion, ‘Ben-Hur’ is not a movie about a hero but about a triumph of hope over the desolation that saves a man’s soul from self-destruction, resonating with ‘Dum spiro, Spero,’ meaning ‘while I breathe, there is hope.’