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The first two films of the Qatsi trilogy were made up of organic images accompanied by the music of Philip Glass. Fabulous achievements, they are, mostly because of this. The utilize of “found” images to yelp a account – without dialog or a three-act screenplay – is quite an accomplishment.
So, in the third installment, what was left to effect? The opposite: to deliver a myth with synthetic images, but also without reliance on dialog, characters, or formal dramatic structure. A purely abstract film, in other words, where every image could be controlled precisely. The result is Godfrey Reggio’s Naqoyqatsi, which, in my conception, is not quite abstract enough.
When relying on “valid” images (i.e., representational) exclusively, you have to secure metaphors and create connections indirectly. Koyaanisqatsi’s most noteworthy example of this is a shot toward the extinguish where we behold an elderly person’s hand emerge from an endless row of hospital beds seen obliquely so that they are nothing more than diagonal lines of metal and plastic. It’s a haunting moment – humanity reaching out from the suffocating cocoon of technology it has woven about itself; reaching out for contact with something genuine.
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But the computer-enhanced (and often computer generated) work in Naqoyqatsi goes for the sure most of the time. Instead of oblique metaphors, we accept transliterations: valid ones and zeros flying around the hide to characterize information overload; corporate logos in 3-D zooming at us to yelp us how pervasive they are – complete with the sure Cheap Shot at Corporate Greed: the dreaded Enron logo; dollar signs raining on stock traders at the NYSE. And so on.
It’s mostly clumsy. We even have a double-image of Dolly the cloned sheep intercut with shots of human eggs being artificially fertilized, followed by a huge digital pull-back of lots and lots of naked babies, who are really the same four or five babies repeated endlessly. There is a obvious gorgeous beauty in the work – the patterns are reminiscent of Salvador Dali’s lattices of insects becoming clock hands; the periodic morphs, of his penchant for landscapes becoming faces. But as a whole, these images lack the elegance that marked the first two Qatsis. They’re unprejudiced too definite.
That being said, Philip Glass’ glean is sublime. It’s among his better works, eschewing strict minimalist formalism, while maintaining a minimalist kind of simplicity. It features some of the best Neo-Romantic orchestral writing I have heard in some time – a broad counterpoint to the frosty, industrial images of the film.
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For the Completist, I recommend Naqoyqatsi. It’s by no means a poor film. But for someone uncommon with the Qatsi graceful, I wouldn’t launch with this one. You need a grounding in the artistic sensibilities of the first two films to luxuriate in what does – and does not – work in this one.
Okay. I saw this movie in November of last year, and even had the honorable fortune to meet Mr. reggio himself (I told him to glimpse “Dancer in the Dismal”, he said he loved Von Trier and I almost collapsed proper there) . Anyway, the movie. Of all the opening scenes in the history of cinema, I’d say the opening scene of “Naqoyqatsi” ranks in the top ten most fine of all time. The first image you scrutinize is an MRI image (made 3-D) of “The Tower of Babel”, a painting by a notorious Italian painter. It zooms in to explain the unbelievable detail of the painting as the quite frankly INSANE music playing starts building up. Then begins a flawless, completely fluid transition from this unbelievable image to one even more fabulous and, in my view, the most grand in the film – the countless broken windows of an abandoned white building in Detroit. Now, when I saw this the first time, I had no understanding where this building was or what type of building it was (someone here said it was a railroad state, though it looked to me like an apartment building) . I hold the POINT is the anonymity, or better yet, the universality of the destruction and decay expose in this image. It could be anywhere in the world. As Yo-Yo Ma’s cello strikes out some of the most unforgettable music you’ll ever hear, the camera sweeps to note the face of the ruined building in its entirety and bear me, it’s one of the most haunting and blooming images in the history of film. That’s the BEGINNING of this movie! For the next 90 minutes, you’re shown a panoply of images that clarify our times in all their confusion and strife, and all I can say is you probably won’t gain them out of your head for at least a week after seeing it. How can people call this a disappointment? What MAKES this film so exquisite is the integration of the genuine and the unreal, of the reality leisurely the image and the artificiality of the image itself. I have this film is the synthesis of the trilogy, and that the filmaker’s message is that life out of balance ultimately BECOMES life as war. Now, let’s fair hope it gets out on DVD soon.
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