Godard and Greenaway
Two film masters' oeuvres over the weekend seemed already a bit too much for me: Jean-Luc Godard's Notre Musique (Our Music) and Peter Greenaway's
The Tulse Luper Suitcases Part II: Vaux to the Sea.
I liked Greenaway's elaborated visual and music like always, though comment of his over-extravagant manner still prevails among friends' discussions. The focus falls on the adaptation of high-resolution multi-layered digitized images, but the encyclopedic and overlapping narrations and contents are the same intriguing, despite the fact that at some points they are really over the top. (It worsened my headache! ) My problem was the lack of background knowledge about that part of history and the writer, and also the first part of
the trilogy. The play of blackness almost resembles some tricks of Robert Lepage, while the luxuriantly visualized subject of
suitcases helps develop a very conceptual presentation with incessant pictorial stimulations almost
audience-exploratory.
I liked the theme of
Godard's, borrowed from Dante's classic: hell, purgatory and heaven, adapted with the context of various wars at our time. The first part consists mainly of a collage of footages (war documentaries and episodes from fictional films). The main body, entitled "the Kingdom of purgatory" and set at Sarajevo, containing more narratives, is even more philosophical. The highly condensed dialogues/narration are hardly contextually descriptive but poetic for me (e.g. "Some say death is the impossible of the impossible and the other say it's the possible of the impossible.") The director's attitude is genuine and it does trigger my urge to learn more about Sarajevo, Israel and Palestine. Of course, hell and heaven live in every part of our world. We got to ask ourselves deeply to find out why even "humane people build cemeteries", besides libraries.
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