Spirit of baraka how to write a movie review
The film consists of awesome sights, joyful, sad, always in their own way beautiful.
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The contrast of human traits with nature was informative as well; the question of the fast moving traffic and people to me has contrast to the insects moving alone the tree in an orderly movement. Their eyes are wide, they look about amazed, their tiny wings flutter. The film juxtaposes a low-tech Cigarette Factory in Indonesia with a high-tech Electronics assembly line where workers wear face masks. I particularly enjoyed seeing the different scenes and pictures of technology in contrast with nature, how nature is in constant rival with man and technology. Stay away. An enormous strip mine scars the landscape. Every phrase contradicts every vision in the film. Friends, when you watch these "natural" people, take a moment to consider that everything you see is posed. What is it thinking? Why does no one make eye contact with the camera during crowded street scenes? People like me, who are penetrated by the natural parts of "Hearts of Glass," the ending of "In the Mood for Love," and Terence Malick's magical notions of vision. A virgin forest seen from high above, looking down on wave after wave of birds, hundreds of thousands of them from horizon to horizon. If there was philosophical content to this movie, I lost it somewhere between the directors self absorption and Phillip Glass licking an electric keyboard. They are all garbed in the cheapest fabrics of India, a land where a woman can crawl from a cardboard box on the sidewalk and stand up looking elegantly dressed.
One is open to as much insight and is given an equal amount of direction when one goes to the liquor store for a necessary compliment to this film or when one sees a glowing inferno after setting fire to a copy of Baraka in the midst of feeling a moral obligation to do so.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life. The big sky scrapers along with the impoverished families also contrast with the big city lives of rich and famous to the smaller societies clambering to stay alive.
Humans have as much value in westernized societies as the chicks do to the industrial farm. Freshly hatched chicks are pushed through a system of examinations and vaccinations. Beauty is in the eye of the beholder. We see the bright scarlet paint on the brow of a young Amazonian girl, peering solemnly from bright green leaves.
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Their eyes are wide, they look about amazed, their tiny wings flutter. Steelworkers are covered with grime. Fricke alternates these scenes with shots of crowded and active city streets. One scene juxtaposes the full body tattoos of a Japanese Yakuza gang with the tattoos of children from the Brazilian Yanomami Tribe. Similarly, as the workers of the industrial farm care little for the chicks and push them through processing as quickly as possible, westernized countries care little about their citizens and simply seek to push them through life. That would have turned Baraka into a master piece. A friend came into the room while I was watching the film, saw a closeup of the head of a Gila monster and said, "That's beautiful. People like me, who are penetrated by the natural parts of "Hearts of Glass," the ending of "In the Mood for Love," and Terence Malick's magical notions of vision. They will probably understand mountains, waterfalls, volcanoes. Beauty is in the eye of the beholder. What does this have to do with nature?
The eyes look old and thoughtful. Fast motion street scenes seem dehumanizing since individual people are lost within the larger patterns of car and pedestrian movement.
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That's been replaced here by insipid but appropriate space music. Girls and young women, thousands of them, as far as the eye can see, make cigarettes by hand in a South American sweatshop. She wasn't thinking about lizards. Tiny bright plumes in a desert are revealed as the burning oil fields of Kuwait. It is easy enough to achieve fast motion, but how difficult with a camera that is panning with exquisite slowness. With a lack of direction, I feel a case could be made for many philosophical topics without any of these topics being the intention the director. Prostitutes gather outside their brothel. We see the bright scarlet paint on the brow of a young Amazonian girl, peering solemnly from bright green leaves. Photographing natives for Westerners is a tricky business. The religious scenes, most notably the kekak dance and the temple shots remind me of religious issues, cultural relativism and those sorts of arguments. Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life. The result is overpopulation, mass production, factory farms, poverty, prostitution, war, and ultimately genocide. These are sound bites and as a result are every bit as repulsive as political utterances from the "other side.
The film depicts modern Chinese communist soldiers guarding Tiananmen Square, and then shifts to pictures of the ancient Chinese Taracotta Army statues. Frick includes images of an active volcano, waterfalls, churning clouds in fast motion, and time lapse movements of stars across the sky.
REVIEWS Baraka was a movie what had no verbal description, with this in mind the movie does allow the watcher to question and make their own judgments of what the meaning of the movie was to them. Concomitant to modernization is a variety of social evils.
The movie was filmed during a 13 month period in 24 countries at over locations.
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