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movie

Talk to her/ Body and mind

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The director of this movie, Pedro Almod?var, keeps a constant theme throughout his movies.

In his movie, such social "taboo" in a society or those people who are outside of the social standard are place in the center. It is the foundation to build up stories that those peopel living in a shadow of the society are the weaks dealt harshly and absurdry. That might be one reason that he picks up the characters such as gays, transsexual, transvestite at its extreme, but at the same level, he deals with a sexual abuse by a Catholic Father, or a single mother who divorced herself. (Bad Education, All about my mother

However, the reason that he pays closer attention to gays, transsexual, or gender identity disorder, seems to be more fundamental to human nature. His movie has colorful and interesting stories, so that his movies have some danger to highlight and appeal only the aspect of such sgrangeness and its friction with others to keep going the interesting storyline. We can appreciate his movie as a drama of those people and their lives living at the edge of social taboos, but I often felt that he is trying to ask more existential issue of human being--the relationship between a body and a spirit under the skin of such dramas.

A Body as a container of a spirit often defines the position and the status in a society or in a daily life. The simplest distinction between a man and a woman is however the clearest but the most essential, important one. Then, for those who have more complicated background such as gay and transsexual, or more complicated transvestite, what does "a body" mean for his/her (.....very complicated!) spirit?

In Talk to her, the movie illustrates the relationship among those characters who make us think over that question of a body and a spirit. For example, the movie begins with a dance scene choreographed and performed by Pina Bausch, the choreographer of Tanztheater Wuppertal, Germany. The scene describes the body of Pina Bausch as a mirror to reflect and represent the spiritual space.

Her body movement constantly transform the materiality of the performing space--those chairs, placed like obstacles, are influenced by her movement as if the space is transformed by the movement of her body and her spirit. (Another man seems to receive the spiritual pulse from her and predict the possibilities of transformation--he pushes away those chairs in front of her) Another female dancer also follows the spiritual wave filled with the space.
The scene also affects an audience, one of the characters of this movie, Marco, and he quietly shed tears.

Marco can not cut off his feeling toward a woman in the past relationship. Even though the memories occupy a large space in his heart, the absence of her body creates an unreachable gap between them.

One day, Marco meets a female torero, Lydia as he interviewed about "lidia." (Bullfight is sometimes called lidia) Both have been trying to escape from their past, and by an accident they gradually get closer.
Lydia is living in the bullfight, which is normally the field of men. However, within the ceremonial space of a bullfight in the face of death, the notion of gender, being man or a woman, looses its meaning. A scene captures the moment to wear and equip with the ceremonial attire that transforms a person, a woman, to "lidia." It might contain the ciriticism toward the absurd prejudice and surface stereotype by a general public against transsexuals or transvestie.

By an accident in the fight, she fell into a coma. Marco was devastated--he knows that he is in an extreme grief as her mind and spirit might have been destroyed, but at the same time he is troubled to understand the fact that her body is still remained and the basic function of her body is still working. Marco can not accept the body with a lost spirit as Lydia.

In the same clinic Lydia is admitted, there is another young woman in a coma called Alicia, who also once was a ballet dancer, and Benigno, who nurses and cares Alicia. Benigno was in love with Alicia before she fell in a coma, and now he nurses Alicia with his all heart. Marco and Benigno understand each other for both having her lovers lost in a coma, and the friendship becomes the next core of the story.

Even though Alicia is in an anawakened sleep, her body stil keeps its youth and beauty. Benigno keeps talking to the sleeping Alicia--he tells all the story of himself, his experiences and his life, his heart for Alicia, and as the sign of his love, he cares Alicia with all of his heart. Often his cares to clean or massage her body look very sexual for others--however, the fact that he is a nurse, and Alicia is in a coma, and also his lie that he told to his colleagues as he is a gay does not ask and question his affectionate caring more than his passion for his job.
This scene illustrates how we are tied in an uncertain and vague relationship based on a thin lines of balance. It also asks the audience whether the relationship between Alicia, who is in a coma without the ability to escape from the unwilling relationship, and Benigno, who believes his behavior is the result of a platonic love, is abnormal or pure human relationship. Where does that judgement come from, whehter it is from your own emotional reaction, or from the common sense we learn by living inside of a society--?

One short silent film inserted with this movie also represented the detachment of a body and spirit world. A couple faces an absurd problem, as a man begins to shrink in its physical size. Even if the spirit and feeling does not dissapear, her body might crush him on a bed, and he was devastated that he lost the way to physically love and keep the relationship.

Finally Benigno crosses a line--he was jailed after the fact was uncovered that Alicia is pregnant.
Marco visits Benigno imprisoned in a white, clean bright prison--like a hospital and a nursery. Even though it is a prison, those jailed prisoners are not called prisonars for human rights reason--the insertion of this scene might be a cynicism of Armodvar. The condition of Alicia who was imprisoned by her condition now is turned around, that Benigno's body can no longer escape even if he has a spirit to still imagine Alicia. Benigno's spirit lost the world to reside by his body gets caught up in a prison and loose the chance to see Alicia any longer, he commits suicide.

Our body and spirit has an unseparable connection between each other. At the same time, the space and a realtiy of a spirit, and the space and reality of a body also have the place that never overlaps. Although we can recognize the gap, it can not be solved. The biggest paradox of human nature--those social taboos of our body and spirit have been surfacing by facing such paradox.
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上記広告は1ヶ月以上更新のないブログに表示されています。新しい記事を書くことで広告を消せます。