Posted in Film Review

The Electrical Life of Louis Wain according to Benedict Cumberbatch

The Electrical Life of Louis Wain is joy and sadness, lightheartedness and seriousness, just like his paintings. It’s about love and art in the oddly beautiful vagaries of what it means to be a human (in the company of cats). Wain’s cats graced the epochs before Walt Disney’s Mickey Mouse (and Minnie) and His Gangs) debuted. But Wain was not Disney, and would he have even wished it? Perhaps, that is why Benedict Cumberbatch decided to give Wain a second chance to shine his name once more on earth in the magic of moving pictures that resurrected him from the lapse of time through the chapters of his story in this superbly narrative of the artist.

Louise Wain was a brilliant artist, a contemporary of French impressionist artists, such as Monet, Pissarro, Degas, and Renoir, and Dutch Vincent Van Gogh, all of whom were united in the brotherhood of independent spirits and resilient creativity. Yet Wain’s was a different sort, more existentially debauched in the provisional circulation of works, in the crossroads of the reality of being the only male figure in the parentless family led by the dominant matriarchal sister and of the ideal of ensconcing himself in the solitary niche. All artists are by nature sensitive, but Wain was extraordinarily sensitive, and the world was too much for someone like him to deal with. His wife, the light of his life, was the only happiness and love he felt and shared, but jealous God took her away from him and left him in the lurch of the familial duties and responsibilities in the somber household. This house eventually drove him and his younger sister into the oblivion of reason to the end. Yet, notwithstanding the personal tragedy, Wain’s unique visual world articulated with the sonar modulation of impulse that sparked his creative spirit yearning to soar up to the boundless ether on a par with constellations with stars.

Wain’s wife encouraged and supported him because she knew of his genius despite other people’s ignorance.

Benedict Cumberbatch, now universally recognized as the Sherlock thanks to the phenomenally successful BBC series, proved to be a superb character actor who became Louis Wain rather than merely playing the artist’s part. Ancient Greeks and Romans regarded actors as an equivalent of a spiritual medium whose body could be channeled into another spirit for a willful possession during a mysterious rite of sacred ceremony. If that was the case, as it were, that was how I felt watching Cumberbatch being Wain as if he had summoned the soul of the dead artist from the beyond and asked him how the artist’s life would be told. His naturally mild, gentle deliverance of character nuanced the inner fear, confusion, and frustration that Wain must have felt in dealing with the realities of everyday life as a reluctant and unlikely head of household. Yet, his passionate eyes and particular diction dictate that Wain was an artist of force, a man not of an age but for all seasons.

Posted in Film Review

Hakuna Matata! ‘The Lion King’ (2019) – film review

Whether animated or dubbed, good movies are conversant with more delicate tissues of conscience and spirit than others replete with vehement manifestos. I am talking about ‘The Lion King’ (2019 film),’ that is. It is a wholesome movie with simple adages of friendship, love, patience, and courage—only the more vividly alive and visually superb with the Cute factor. The film is also what Plato says in the Republic, a work of art that best imitates the objects and events of human life, a good entertainment.

The a priori reasoning is sometimes apt, and so was the movie. I admit that had it not been for the cute Simba’s face in the movie’s advertisement on my newly subscribed Disney Plus channel, I would have passed it. Besides, living with nature in the form of thirteen-month-old tabby cat Toro at home perfected the inclination to watch it. What captured my eyes most was the realistic animals and landscape that rendered undoubtful verisimilitude of natural wildlife in Africa. It’s a hybrid of the 21st science and timeless imagination that created the world’s awe-inspiring symmetrical view of natural beauty in cinematography. Contrary to unwelcome and acerbic opinions about the movie for its lack of fluid emotions and spectacular action scenes, I find it genuine and honest. It illustrates the natural habitats and habits of the animals in the wild as authentically as possible, which may seem less than what today’s audience inured to gratuitous special effects and outpourings of dramatic gestures. However, nature is simple, and Leonardo da Vinci saw it as the ultimate sophistication of beauty.

If Aesop’s Fables are the ancient Greek’s way of teaching morals or virtues to people of all ages, this film follows the tradition of teaching the good in the audience’s hearts. There are four types of love subtly construed as thematic subjects in the movie: (1) Eros – passions between lovers; (2) Philia – friendship; (3) Storge – love between parents and children; and (4) Agape – humanity. Furthermore, the Homerian code of honors that Simba and his father Mufasa possess and the eponymous virtue of arete consists of moral integrity and physical finesse. The goodness described above incarnates in the pride of the lions and alludes to human characteristics laid bare in the majestically untamed landscape of the Pristine Wild.

‘The Lion King’ (2019 film) is thought-provoking and entertaining. Plato, whose view on the best of art as the best imitation of the physical world, would approve of this film as a wholesome entertainment in the constellation of the great minds. But, notwithstanding his approval, the film is worth watching when you feel lonely and need some pick-me-up spirit with smiling cheer. After all, a good mood in the buoyancy of a cheerful soul with hope for an uncertain future is what makes our lives pleasant. Hakuna Matata!

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“The Conjuring: The Devil Made Me Do It” (2021) – film review

“The Conjuring: The Devil Made Me Do It” (2021) is the newest in the Conjuring Universe Series, a new artifact to the Museum of The Haunted All and Sundry. The legendary Ed and Lorraine Warren are as inseparable as a couple in love and benevolent as rescuers of souls afflicted with the forces of evil as ever. But the mysteriously noble and spiritually convincing atmospheric elements are barely there, albeit the mix still has the thematic Catholic flavor. They said that when fact becomes legend, publish legend. So the story of the movie may be based on an actual event that has become American folklore, a modern legend, and it is the legend that the movie published.

As with the tradition of the Conjuring World, the movie evolves from the actual event of the supernatural phenomenon beyond the reasonable explanation on what the eyes only can see. First, an insidious ambiance surrounding a family house that seems strangely alienated adumbrates a sinister force lurking behind the bathroom door, over the shower curtains, and finally inside your head. Then comes a Catholic priest, thanks to the rite of exorcism popularized by The Exorcist and the Warrens’ association with the religion as their spiritual base. But he is usually not too much of significant help, if not a trouble, so it is always the Warrens’ job to ghost-bust with a style of a medieval magician who used to reconcile esoteric paganism with Christian faith. In this installation, Lorraine proves to be a mighty Christian mystic and a white witch in crossing over the space and reading memories of the dead, all for the fighting the devil’s deputy in a tunnel that promised to capture as many human souls as possible to fill up Hell’s Circles.

The essential thematic elements of good v. evil, love v. hatred, violence v. peace are unfailingly ubiquitous in this installment. Still, more violence and hatred make up the scenes than the others, making the movie more aligned with screaming scary movies than classified as supernatural horror. Perhaps the application of Catholic elements as a credible supplementary spell on the movie’s ambiance might have slightly fared well with the director’s intention (or the producer James Wan, the original creative director) to make the film elevated to a canon of classic supernatural movies. But it doesn’t give much of the movie’s intended effect when the Warrens can do what priests can do. Besides, the characters other than the Warrens themselves are not convincingly real, sympathetic, or natural. Instead, they are either surreal or theatrical to the point of playing a masque in Elizabethan time, so to speak, which would have been excellent.

I watched the movie with high hope when it first started showing on HBO Max last Friday night. But my expectation was already turning ominous when I had trouble viewing it at first for some unknown technical reason. Once I got into the third world of Conjuring Universe, I knew it wouldn’t be what I had expected. The real Warrens have become the ghosts themselves, and I wonder what they would have thought about the movie. Judging from their celebrity status in the society of paranormal investigators, I think they would probably have been thrilled about their being the creative subject of the movie. Then maybe, it’s time for me to leave the Conjuring Universe in search of a new world of the supernatural without celebrity.

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‘The Fugitive’ (1993 Film) – film review

The Fugitive (1993) is an adventure and a drama cleverly put together by the elements of popular entertainment and thought-provoking thematic subject of human nature in dealing with the malice of fortune. It consists of elegant scripts, solid storyline, and outstanding performance of the already cracking cast with Harrison Ford as the Fugitive and Tommy Lee Jones as Senior Deputy U.S. Marshall. Brilliantly, veteran actors do not vie for the best shot of cameras to claim the title of Hollywood aristocracy. Still, they only do their very best to portray their roles as possessed by their fictional characters.

Ford plays the role of a renowned cardiologist with the brain and the heart to care for patients in need. Then one day, the doctor finds himself on the run for the crime he didn’t commit, and above all, for the love of his wife. He has to find who killed his beloved wife, and the Marshall played by Jones has to catch him alive because, well, it’s his job. So much so that when the doctor confronts the Marshall face to face within an arm’s reach and tells the latter that he didn’t kill his wife, the henchman of law says, “I don’t care!” But the marshal isn’t all grim-faced reaper of death hell-bent on capturing the Fugitive, which makes him hard to dislike. Both the Fugitive and the marshal are alike as the mythological Teumessian Fox that never gets caught and the Laelaps Dog that never fails to catch, whether they like it or not.

Harrison Ford is one of the greatest American actors whom I think belongs to the last 20th century’s Hollywood nobility of actors, including still alive Clint Eastwood. He has the face of a romantic adventurer, an intelligent doctor, an ambitious corporate man, and a no-nonsense prosecutor. From the galaxy far away to the offices in cities, Ford is a protean actor who can pull out the characters as if conjuring them from his grimoire without trying too hard or with overtly effusive sex appeal. The emotions wanting to outburst are nuanced in the power of his voice carried in the elliptical words. He is an action adventurer who seems so natural living in our real-world yet so ideal on-screen, making us wonder whether life imitates art and vice versa.

The Fugitive is worth watching again if you want to watch something smart and thrilling to forget about the momentary existential dilemma or frustrations. The movie is at present for free to view if you are an amazon prime member. It is a one-of-kind American movie that has become a classic of our own time, and I wish there would be more movies such as this.

Posted in Film Review

“Insidious” (2010) – film review

“Insidious” (2010), directed by James Wan is an intelligent movie with an entertaining flair to hold the attentions of both serious and light-hearted movie lovers. I am glad to have watched it last night on Netflix after reading a book on the history of ancient magic and ritual, and I must say there must be some kind of strange reason that I came upon the movie. It always seems so pat to find a supernatural movie orbiting around me and materializing at an apropos time that it gives me chilling fillip to my suspected element unrealized from within. Whatever it may be, and apart from all the mysterious signs hinting at something about my unknown anima, I am pleased to write about the movie herein.

The movie is anything but a faulty horror movie. Not “Insidious.” Hardly Ever the criticism of flamboyant cast. Never the limitations of a seemingly infinite range of imaginations that the writer wrote and the director portrayed. It is beautiful alchemy of the harmonious performance of the stellar cast and brilliant storytelling of the extraordinary event in the ordinary existence, all fascinating and riveting. Like an incantation of a professional sorcerer, the narrative slowly builds mystery around the atmosphere. It brings up images of the beyond at the zenith of the ritual when everything seems ready for demons or the superiors to appear before your very eyes.

The magnet of the movie is the Elise character faultlessly played by Lin Shaye, who began to change my perspectives on a psychic that if there is one like her in real life, I would love to chat with her and possibly work for her even as a part-time assistant. Elise reminds me of an ancient Cumaean Sybil who helped Trojan refugee Aeneas meet his father’s spirit in the Underworld with a gentle but powerful voice elucidating her beautiful spirit. But to call her psychic doesn’t do justice to her essence and vocation as a mystic helping people in distress. She balances her spiritual power with a rational mind by scientific methods to discern the origins of the spiritual maladies of her clients. And she does it in the gracefulness of a good witch performing white magic that I believe even priests would be envious of.

What makes the movie on par with the timeless supernatural film is the universal subject of the world beyond our sensory perceptions and across religious dogmas. It’s the world of “Further” where spirits lost wander around and dammed lurk in the darker corners of the crossroads. Elise helps the lost spirit of the boy in the Further find his way back to Here and goes further than she should save people’s lives from the evil power even it means to be at her expense.

“Insidious” is a thoughtful movie dealing with a supernatural thematic element that is harder to play on the screen than it is to envision in the mind’s theater. The movie’s impression spreads into a mind’s garden and stays there in alterations like an insidious charm of ghastly sightseeing so incredible that you can hardly dispel it. If you like to watch a good, decent ghost movie without mutilated bodies and ear-shattering screams, but ghosts or demons only, this movie may do.