Set from the late 1940s and early 1950s in Santiago in the then-working class neighborhood of Matucana, the film is about Alejandro Jodorowsky’s time as a young teenager trying to find himself where he eventually becomes part of the bohemian culture where he finds his love for poetry and art while dealing with growing pains as a young man. It is a film that explore this man’s search for himself after having to leave his childhood home and live in this town where so much is happening after the events of World War II. Jodorowsky’s screenplay is loosely structured in the way it play into his own development from his time as a young teenager who feels stifled by the pressures of his family and eventually discovering a new home in the first act with the second act being about his first love and also finding friendship with another poet to the third act being about Jodorowsky gaining some success but political and social changes would emerge that would force him to flee Chile. It is a story in which Jodorowsky himself would appear as he reflects on these events but also in reconciling with the past including his relationship with his parents.
Jodorowsky’s direction is definitely stylish in not just its overall presentation that is shot on location at the Matucana neighborhood but also infusing it with actual locations and artificial sets. Notably as Jodorowsky opens the film in that neighborhood as it is in the mid-2010s and then transforms it through a mixture of backgrounds and such to show the neighborhood as it was in the late 1940s in his father’s shop where the teenage Alejandro works at where he reluctantly beats up a thief who was trying to steal clothes at his father’s shop. There is a lot of style that Jodorowsky would put into his direction as there would be actors covered in black clothing from head to toe who would serve as props to get a small object for a performer or scenes that play into this strange world that the young Jodorowsky would go into such as a bar that is filled with artists that often serves as a place of those who come to die as it is a place where Jodorowsky and his friends would frequent.
Serving as the film’s production designer with additional help from art directors Patricio Aguilar and Denise Lira-Ratinoff, Jodorowsky does create a world that is unique that play into the young Jodorowsky’s journey in the way the homes of the bohemian community including a few friends of Jodorowsky such as the poet Enrique Lihn (Leandro Taub) and his first lover in another poet in Stella Diaz Larin (Pamela Flores) although they’re portrayed in a fictional version. Jodorowsky’s usage of the wide and medium shots play into the world that his younger self would go into as well as some usage in the latter to play into some of the intimate moments. Jodorowsky also play into his own recollection about his time as a young adult where for all of its eccentricities and artistic rebellion. There was always a part of him that felt unfulfilled as the film’s ending does mirror the ending of its predecessor yet it also has Jodorowsky appear to express some regret over the things he never go to say or do. Overall, Jodorowsky crafts a rapturous yet whimsical film about his life as he comes of age into a young man who is trying to find himself.
Cinematographer Christopher Doyle does incredible work with the film’s vibrant and colorful cinematography as its usage of lighting to play up the colors in the daytime along with some unique lighting for some of the interiors at night as well as some of the exterior scenes as it is a highlight of the film. Editor Maryline Monthieux does excellent work with the editing as it has elements of style in the jump-cuts yet much of it is straightforward to play into the humor and drama. Costume designer Pascale Montandon-Jodorowsky does fantastic work with the look of the clothes in the many costumes the young Jodorowsky and his friends wear as well as the look of Stella Diaz Larin.
Visual effects supervisor Felipe Astorga does nice work with the visual effects that is largely bits of set dressing that help play into the look of the city of what it looked like in the late 1940s/early 1950s. Sound editor Sandy Notarianni does superb work with the sound as it is largely straightforward as well as it play into the atmosphere of the locations as well as the way live music is presented in carnivals and such. The film’s music by Adan Jodorowsky does amazing work with the film’s score that is a mixture of circus-based music as well as some somber orchestral pieces to play into the sense of drama and reflection while the music soundtrack feature an array of standards and folk music of those times.
The casting by Roberto Matus A. and Roberto Matus is wonderful as it feature some notable small roles and appearances from Kaori Ito as the Japanese dancer Cana, Felipe Pena as the composer Gustavo Becerra-Schmidt, Bastian Bodenhofer as the famed Chilean leader Carlos Ibanez del Campo whose return to the country would force the young Jodorowsky to leave Chile, Montserrat Lopez and Patricia Pardo as two sisters who own a house for all of the starving artists to live in that includes the young Alejandro, Carolyn Carlson as an American tarot reader in Maria LeFevre, Julia Avendano as a dwarf-like woman in Pequenita who would become a lover for both Lihn and the young Jodorowsky, and Felipe Rios as the famed poet/physicist Nicanor Parra who was an idol for the young Jodorowsky as he would appear late in the film for some advice that the young Jodorowsky wouldn’t take. Leandro Taub is fantastic as the poet who would become a friend and collaborator of the young Jodorowsky as they would embark on things that would give them artistic inspiration.
Pamela Flores is excellent in a dual role as Alejandro’s mother Sara who often operatically sings her dialogue as she laments over her son while the other role is a fictionalized version of the poet Stella Diaz Larin who would become the young Jodorowsky’s muse and his first love as she gives him ideas for his poems. Jeremias Herskovits is superb in his small role as the teenage Jodorowsky as a young man just trying to figure himself out as he would eventually let out his anger during a visit to his relatives. Brontis Jodorowsky is brilliant as Jodorowsky’s father Jaime as a communist salesman who is trying to get his son to not endure failure as he disapproves his son becoming a poet while he has this great moment in the film’s final moments that play into a sense of regret and acceptance. Finally, there’s Adan Jodorowsky in an incredible performance as a young version of his father as he brings in a lot of innocence, energy, and charisma to play into a man trying to find himself but also lamenting over what to do next despite the gift that he has.
Poesia sin fin is a tremendous film from Alejandro Jodorowsky. Featuring a great ensemble cast, incredible visuals, amazing art direction, a compelling coming-of-age story, and a mesmerizing music score. The film is definitely an engaging and exhilarating film from Jodorowsky that is also one of his most accessible for a filmmaker that is known for making weird cult films. In the end, Poesia sin fin is a spectacular film from Alejandro Jodorowsky.
Alejandro Jodorowsky Films: La Cravate - Teatro sin fin - Fando y Lis - El Topo - The Holy Mountain - Tusk (1980 film) - Santa Sangre - The Rainbow Thief - The Dance of Reality - Psychomagic: A Healing Art
Related: Jodorowsky's Dune - The Auteurs #59: Alejandro Jodorowsky
© thevoid99 2022
Directed by David Yates and written by J.K. Rowling that is based on her fictional guide book Fantastic Beasts and Where to Find Them, Fantastic Beasts: The Crimes of Grindelwald is the sequel to the 2016 film that follows various wizards trying to find the dark wizard Gellert Grindelwald who is rumored to be forging an alliance to destroy Muggles prompting a young wizard to seek the help of Albus Dumbledore. The film is set a year after the events of the previous film as it explore loyalties and the emergence of a much darker conflict that would possibly shape the wizarding world with Johnny Depp playing the role of Grindelwald and Jude Law as Albus Dumbledore. Also starring Eddie Redmayne, Katherine Waterston, Dan Fogler, Alison Sudol, Ezra Miller, Zoe Kravitz, Callum Turner, Claudia Kim, Kevin Guthrie, William Nadylam, and Brontis Jodorowsky as Nicholas Flamel. Fantastic Beasts: The Crimes of Grindelwald is a bloated and nonsensical film from David Yates and writer J.K. Rowling.
Set a year after events in New York City, the film revolves the escape of Gellert Grindelwald following a prison transfer as he has returned to Europe to wreak havoc prompting a young wizard to find and stop Grindelwald. It’s a premise that could be told in a simple fashion where it play into characters dealing with this antagonist as loyalties come into question yet its execution in the story ends up being more about spectacle rather than focusing on the story. J.K. Rowling’s screenplay is the biggest crime of the film as it’s a script that starts off with this exhilarating escape only to fall down hard into an overblown and over-explained first act that reintroduce characters from the previous film and don’t do much to introduce new characters. At the same time, the story goes all over the place where part of the narrative takes place in Britain while much of it is in Paris and there is so much that is happening that it’s hard to keep up.
There are also these twists and turns that starts to occur late in the film as it involves the identity of Creedence (Ezra Miller) as it ends up being filled with a lot of confusion while there are also these subplots involving individual characters with Queenie (Alison Sudol) going to Grindelwald thinking he can help change the law about wizards/witches marrying muggles/no-majs. The lack of a structure is also what hinders the script as much of it is all about exposition and an overdrawn first act that rely on exposition leading to a third act and skipping over a second act to unveil this climax that is underwhelming and incoherent in its execution.
David Yates’ direction is definitely undercooked largely due to the many shortcomings of the film’s screenplay. Shot mainly at a studio lot in Leavesden in Britain with additional shots in London, Paris, and parts of Switzerland, Yates establishes a world that is vast with much of the emphasis set on Europe as well as being in transition. It mainly serves as set dressing where it tries to distract the viewers with these vast spectacle of a magical world that has a lot to offer. Yet, Yates never really does more to establish the world nor make it feel special while the brief scenes set at Hogwarts has that yet it is only brief that also include a strange flashback scene involving a young Newt Scamander (Joshua Shea) and Leta Lestrange (Thea Lamb). Scenes involving Newt (Eddie Redmayne) and the no-maj Jacob Kowalski (Dan Fogler) has Yates creating compositions that are quite typical but it often tries to play it for laughs or suspense yet it doesn’t deliver in neither department. Even moments where Newt meets Queenie’s sister Tina (Katherine Waterston) feels tacked on as they never get a chance to really re-establish their own relationship.
Yates’ direction does establish the locations and where the characters are but its approach to suspense is underwhelming as it tries to put in awkward moments of humor while whatever dramatic rhythms it tried to put on feels flat. Even in the lead-up to its climax feels clunky and tacked on at times where it comes to these revelations about Creedence’s identity as it creates confusion that is followed by Grindelwald’s plans for an upcoming war as he asks wizards and witches to join him. Instead, it feels like an overblown set piece with lots of visual effects and ends up being anticlimactic that is then followed by another big revelation that isn’t just ridiculous but it raises questions into what Rowling is trying to say and set up for the next story nearly to the point of frustration. Overall, Yates and Rowling create a film that tries to do a lot only to end up being a hollow and lifeless spectacle about a wizard trying to stop an evil wizard from wreaking havoc on the world.
Cinematographer Philippe Rousselot does fine work in creating unique look for the visuals though it never does anything to standout due in part to what Yates try to do on a visual scale. Editor Mark Day does terrible work with the editing mainly due to the many subplots and expository scenes as it aims for too many quick cuts where at times it becomes nonsensical in what is going on. Production designer Stuart Craig, with set decorator Anna Pinnock and supervising art director Martin Foley, does nice work with the look of Hogwarts and the British and French Ministry of Magic buildings though other sets don’t have this air of intrigue that the characters go into. Costume designer Colleen Atwood does OK work with the costumes as it play into the style of the late 1920s to play into the refined look of Leta Lestrange and the more ragged look of Newt Scamander.
Hair/makeup designer Fae Hammond does good work with the hairstyles that the women wore at those time though the look of Grindelwald is just dumb. Special effects supervisor David Watkins, along with visual effects supervisors Tim Burke, Andy Kind, and Christian Manz, do some decent work with the visual effects to play into the world of magic yet it tries too hard to be big for the film’s climax as it just falls very short. Sound designers Niv Adiri, Ben Barker, and Glenn Freemantle do some terrific work with the sound to establish the locations and the kinds of power that the wizards/witches uses in the spells they create. The film’s music by James Newton Howard has its moments in soaring orchestral score yet nothing really stands out as tries too hard to help set a tone for the drama and humor as it ends up not being memorable at all.
The casting by Fiona Weir also has its moments though many of the actors involved are practically wasted due to the poor material they’re given. Performances from Joshua Shea as the young Newt, Thea Lamb and Ruby Woolfenden as the young versions of Leta Lestrange, Fiona Glascott as a young version of Minerva McGonagall, Poppy Corby-Teuch as Grindelwald’s right-hand woman Vinda Rosier, Victoria Yeates as Newt’s assistant Bunty, Kevin Guthrie as Tina’s former supervisor Abernathy who is a follower of Grindelwald, and Brontis Jodorowsky in a very under-used appearance as the famed alchemist Nicolas Flamel who helps out in the film’s climax. William Nadylman and Claudia Kim are wasted in their respective roles as French-Senegalese wizard Yusuf Kama and the circus performer Nagini as they’re not given much to do with the narrative as the former spends his time trying to catch Creedence as it relates to his own family while the latter is someone who befriends Creedence while dealing with a blood curse that eventually would make her a snake permanently. Callum Turner’s performance as Newt’s older brother Theseus is also underused as he’s not given much to do other than give Newt advice as well as be Leta’s fiancé.
Zoe Kravitz’s performance as Leta Lestrange as a childhood friend of Newt and later Theseus’ fiancée is a mixed bag mainly due to the material where it is a character that is definitely tormented and troubled but is unable to really be fleshed out as she ends up being a form of exposition about a story that relates to Kama. Alison Sudol’s performance as Queenie Goldstein as this witch gifted in Legilimens has become this desperate and almost psychotic character who wants to marry a no-maj as this character who was sweet and kind has now become insane as Sudol’s performance is just bad. Katherine Waterston is OK as Queenie’s older sister Tina as the American auror who is trying to find Creedence as she is badly written as someone who isn’t given much to do other than be upset at Newt over something she misinterpreted as well as be involved in awkward moments. Dan Fogler is bland as Jacob Kowalski as Queenie’s no-maj lover who is first seen under an enchantment spell as he is often confused while is also badly written as someone with no real sense of direction or motivation.
Ezra Miller is terrible as Creedence as there isn’t given any logical explanation into how he’s alive as he’s first seen in a circus while is also someone with a lack of direction about who he is as Miller is unable to flesh out his character. Eddie Redmayne is horrendous as Newt Scamander as whatever charm he had in the previous film that he carried is washed away in favor of him being quirky and awkward to the point where Redmayne just overdoes it as he tries to be funny and serious only to accomplish in neither. Johnny Depp’s performance as Gellert Grindelwald is horrible mainly because Depp never really fleshes out Grindelwald other than be someone with dark intentions and give this big speech as it’s just Depp being weird and menacing yet with no substance as it’s just a lazy performance. Finally, there’s Jude Law who gives an excellent performance as a younger version of Albus Dumbledore where Law manages to bring in some nuances and charm into the character despite the shortcomings of the script as his brief appearances in the film do have some gravitas as he’s the only thing in the film that is worthwhile.
Despite Jude Law’s appearance as Albus Dumbledore, Fantastic Beasts: The Crimes of Grindelwald is a horrendous film from David Yates and writer J.K. Rowling. Largely due to its uninspired direction, overblown spectacle, badly-written characters, lame twists, and a messy and incoherent screenplay that is expository rather than take its time to build up its suspense. It is a film that wants to be a lot of things as well as set things up for the next film and instead end up becoming demanding and overblown to the point of indifference and frustration. In the end, Fantastic Beasts: The Crimes of Grindelwald is an atrocious film from David Yates and J.K. Rowling.
Harry Potter Universe Films: Harry Potter & the Sorcerer's Stone - Harry Potter & the Chamber of Secrets - Harry Potter & the Prisoner of Azkaban - Harry Potter & the Goblet of Fire - Harry Potter & the Order of the Phoenix - Harry Potter & the Half-Blood Prince - Harry Potter & the Deathly Hallows Pt. 1 - Harry Potter & the Deathly Hallows Pt. 2 - Fantastic Beasts & Where to Find Them - (Fantastic Beasts Pt. 3) – (Pt. 4) – (Pt. 5)
© thevoid99 2020
Directed by Alejandro Jodorowsky and screenplay by Jodorowsky, Claudio Argento, and Roberto Leoni from a story by Jodorowsky, Santa Sangre (Holy Blood) is the story of a man who reflect on his life being raised in the circus as he looks back at his childhood and his life as an adult. The film is an unconventional life story that plays with unconventional narratives of flashback and flash-forwards to tell the story of this man’s life. Starring Cristobal “Axel” Jodorowsky, Adan Jodorowsky, Teo Jodorowsky, Blanca Guerra, and Guy Stockwell. Santa Sangre is a ravishing yet harrowing film from Alejandro Jodorowsky.
The film is a complex tale of a troubled and traumatized man who reflects on his life as a child living in the circus as a performer as he also copes with the demons of his past as an adult upon reuniting with his mother who wants him to kill women she sees as threats to her. The film is an unconventional story where it begins at an insane asylum where the protagonist Fenix (Cristobal “Axel” Jodorowsky) looks back at his life as a child magician (Adan Jodorowsky) where his parents were circus performers while his mother Concha (Blanca Guerra) was also a religious cult leader. Due to the infidelities of his father Orgo (Guy Stockwell), Concha would despise women as she disappeared leaving the young Fenix traumatized and institutionalized until he escapes, in the film’s second act as an adult, upon seeing her where she uses his arms to kill other women since she lost her arms following a fight with Orgo. For Fenix, whatever chances he has to find some normalcy or be with someone would be destroyed where he is consumed with guilt over his actions.
Alejandro Jodorowsky’s direction definitely bears not just style but also a lot of symbolism as it relates to the world that Fenix is in. A world of the whimsical and offbeat as well as the world of spirituality where Fenix is torn between two ideals that are each represented by his parents as both ideals have their flaws. Shot on location in Mexico, the film’s location represents that sense of conflict but also a world that is quite chaotic where Jodorowsky would create some dazzling compositions that play into some of the imagery that is prevalent in the film. The usage of wide and medium shots as well as some tracking shots play into some of the locations as well as the world that is the circus and the theatre where the latter play into the events in the film’s second act where Fenix returns to performing. The world of the whimsy wouldn’t just features a very bizarre scene that involve Fenix and Downs syndrome patients going to a brothel and snorting cocaine but also moments in Fenix’s performance as a magician.
The film’s violence is definitely graphic where Jodorowsky makes no qualms into the intensity of the violence that is in the film. The sequences in the first act that involve Concha and Orgo aren’t just gory but also have this impact where it is quite confrontational as it is really the start of what Fenix would be forced to do under Concha’s prompting. The scenes where Fenix is killing women where he is acting as Concha’s arms definitely add something that is very abstract but once Fenix’s arms would attack. All fucking hell breaks loose while there are also these elements where Jodorowsky also play into the fallacy of faith as it relates to what Concha believes in as well as what she tries to do. Especially in a scene where a Vatican magistrate (Sergio Bustamante) comes to her church to inspect this pool of blood where it showcases some of the fallacy of organized religion and faith. It would come ahead in the film’s climax in the third act as it play into Fenix’s struggle to be himself as well as the torment from his mother that continuously haunts him. Overall, Jodorowsky creates a terrifying yet rapturous film about a man’s struggle for sanity as he is tormented by demons in his life.
Cinematographer Daniele Nannuzzi does brilliant work with the film‘s very colorful and gorgeous cinematography with its usage of lights and moods for many of the daytime/nighttime exterior scenes along with unique lighting for some of the nighttime scenes. Editor Mauro Bonanni does excellent work with the editing as it has a few jump-cuts while maintaining something that is very straightforward and help play up some of the film‘s suspense. Production designer Alejandro Luna and set decorator Enrique Estevez do amazing work with the look of Concha‘s church and the shrine she created for her saint as well as the look of the circus and some of the places the characters go to. Costume designer Tolita Figueroa does fantastic work with the costumes that the characters wear as they‘re very colorful as well as have an air of personality into the characters and where they are in their lives.
Makeup supervisor Lamberto Marini does nice work with the design of the makeup from the look of Fenix‘s love interest Alma as well as the look of Alma‘s mother who is covered up with lots of tattoos. Special effects supervisor Marcelino Pacheco does terrific work with some of the minimal special effects as it relates to some of the magic tricks that Fenix performs as well as some of the intense moments of violence. Sound mixer Robert Camacho does superb work with the sound to play into some of the events in the circus as well as the party atmosphere in the streets. The film’s music by Simon Boswell is wonderful for its mixture of traditional Mexican folk music with some eerie synthesizer textures to play into the drama, comedy, and suspense where it help set a mood for a scene in the film while the soundtrack would feature songs played in a traditional ballad style.
The casting by Pablo Leder is great as it feature some notable small roles from Brontis Jodorowsky as a orderly at the institution, S. Rodriguez as a female wrestler called Santa, Hector Ortega as the institution doctor, Gloria Contreras as a performer that tried to seduce Fenix in Rubi, Jesus Juarez as a midget performance and friend of Fenix in Aladin, Sergio Bustamante as a Vatican official, Ma. De Jesus Aranzabal as a fat prostitute who would sleep with the Downs syndrome patients, and Teo Jodorowsky as the pimp who would give those patients cocaine and be this spark that would bring terror to Fenix. Faviola Elenka Tapia is terrific as the young Alma as this deaf-mute circus performer who would befriend the young Fenix while Sabrina Dennison is fantastic as the adult Alma who would remain deaf-mute where she would try to find Fenix and save him from the torment of his mother. Thelma Tixou is excellent as the tattooed woman who is Alma’s mother as she would seduce Orgo in a lot of ways and bring rage to Concha where she later becomes a prostitute and raise the ire of Fenix.
Guy Stockwell is superb as Fenix’s father as a circus performer who is also a hypnotist that tries to help his son become a man while also being flawed in the fact that he cheats on Concha to be with the tattooed woman. Blanca Guerra is amazing as Concha as Fenix’s mother who lost her arms during a fight with her husband as she becomes this figure of torment who forces her son to kill at urging where she has this very chilling presence that is just intriguing to watch. Adan Jodorowsky is brilliant as the young Fenix as this boy who deals with some of the events in his life as well as trying to be this performer who would lose his innocence in the most drastic ways. Finally, there’s Cristobal “Axel” Jodorowsky in an excellent performance as the adult Fenix as this troubled man that tries to regain some of his old innocence while dealing with the torment of his mother where it’s a very chilling and scary performance that is just fascinating to watch.
Santa Sangre is a phenomenal film from Alejandro Jodorowsky. Featuring a great cast, gorgeous visuals, compelling views on faith and torment, and some very intense moments of violence. It’s a film that explores the idea of torment and conflict through the eyes of a man as he reflects on his troubled childhood and already complicated life as an adult. In the end, Santa Sangre is a spectacular film from Alejandro Jodorowsky.
Alejandro Jodorowsky Films: La Cravate - Teatro sin fin - Fando y Lis - El Topo - The Holy Mountain - Tusk (1980 film) - The Rainbow Thief - The Dance of Reality - Endless Poetry - Psychomagic: a Healing Art
Related: Jodorowsky's Dune - The Auteurs #59: Alejandro Jodorowsky
© thevoid99 2016
(Played as Part of the Director’s Fortnight at the 2013 Cannes Film Festival)
Written and directed by Alejandro Jodorowsky that is based on his own novel, La danza de la realidad (The Dance of Reality) is the story of Jodorowsky’s own life living in a Chilean coastal town near the desert as he copes with his surroundings. A mixture of coming-of-age narratives mixed in with elements of surrealism, the film is an exploration of a boy who deals with the world around him as well as his own family. Starring Brontis Jodorowsky, Adan Jodorowsky, Jeremias Herskovits, Pamela Flores, and Cristobal Jodorowsky. La danza de la realidad is a visually-astonishing and enchanting film from Alejandro Jodorowsky.
Set in the small Chilean coastal town of Tocopilla during the 1930s, the film revolves around the life of a young Alejandro Jodorowsky who tells his own life story about his childhood and life with his parents. With Jodorowsky appearing as himself and provide commentary about moments in his young life, it is a coming-of-age story where the young Alejandro (Jeremias Herskovits) deals with not just becoming a man but also in finding himself as he is raised by his strict, Communist father Jaime (Brontis Jodorowsky playing his grandfather) and his kind and graceful mother Sara (Pamela Flores). Jodorowsky’s screenplay doesn’t just create a surreal interpretation of his own childhood where he admittedly does embellish things a bit for dramatic purposes.
At the heart of the story is young Alejandro’s relationship with his parents where the boy deals with the two sides of what they believe. Jaime, who is a Ukrainian-Jewish man, is a firefighter who tries to prove his bravery and masculinity where he would eventually go into a major character arc for the film’s second half. An arc that would lead to a journey of his own as it relates to humanity and faith while the young Alejandro spends time with his mother as he copes with his own fears. Especially in the third act as doesn’t just deal with the loss of a friend from the film’s first half but also in the prejudice and ridicule his father faces for who he is. It would be a moment where father and son finally come together but also a moment that would be crucial to Alejandro’s own upbringing and view into the world.
Jodorowsky’s direction is spellbinding in not just for the fact that he shoots the film on location in Tocopilla as well as other parts of Chile. While some of the imagery and the way he portrays the town and such is definitely inspired by the works of Federico Fellini. Jodorowsky’s take on Fellini is more in the line of surrealism as well as creating something that is odd in some of the characters that the young Alejandro would encounter. Especially as it plays into that idea of faith and whether God exists or not along with questions of identity in not just the young Alejandro but also in Jaime. Jodorowsky’s usage of wide and medium shots capture the town of Tocopilla as it is a character of its own in a world that is very rural and ordinary but also has a sense of life in its colors and a few ceremonies where Jodorowsky does create something that is lavish but also very homegrown.
The direction also play into these gorgeous images as it relates to the world the characters encounter whether it is a scene involving people infested by the plague or a contest for dogs wearing costumes. It adds to a world that is strange but also somewhat disconnected in what Jaime sees in the latter where he would try to kill Chile’s then-president but has a plan that would eventually shape his view on humanity. Even as Jodorowsky knows when to not go for anything weird but also be confrontational in the reality that is seen as it relates to people who are poor and feeling disenfranchised. Still, Jodorowsky displays a sense of hope that Jaime and young Alejandro would encounter but also a melancholia that the old Alejandro would feel towards the film’s ending as it play into what he faced in his childhood. Overall, Jodorowsky creates a rapturous yet heart wrenching film of a boy coming of age in Depression-era Chile.
Cinematographer Jean-Marie Dreujou does amazing work with the film‘s cinematography in the way many of the colors are captured in many of the film‘s locations along with some gorgeous lighting for some scenes set at night. Editor Maryline Monthieux does excellent work with the editing in its usage of jump-cuts and other stylish cuts to play into some of the drama and strange moments in the film. Art director Alisarine Ducolomb does fantastic work with the look of some of the sets including the shop Jaime runs as well as some of the look of the town and places that the characters would encounter. Costume designer Pascale Montandon-Jodorowsky does brilliant work with the costumes from the blue-like suit that young Alejandro wears to the very straight-laced clothes of his father along with some of the lavish clothes in the strange characters they would encounter.
Visual effects supervisor Ekkarat Rodthong does superb work with the visual effects in creating moments that add to some of the mystical and surreal elements of the film that the young Alejandro would encounter. Sound editor Sandy Notarianni does terrific work with a lot of the sound work that is presented on film including some of the raucous moments as well as the eerie scenes where Jaime works as a horse groomer for the president. The film’s music by Adan Jodorowsky is wonderful for its mixture of ambient and folk-based music to play into the world of Chile while music supervisor Jon Handelsman creates a soundtrack that includes some of the music that was played during the Depression as well as some classical pieces by Johann Sebastian Bach.
The film’s incredible cast include some notable small roles from composer Adan Jodorowsky as an anarchist who wants to kill the president that Jaime knows, Cristobal Jodorowsky as a strange philosopher named Theosophist who would give the young Alejandro some ideas about faith, Andres Cox as the president’s horse groomer Don Aquiles that Jaime would befriend and learn from, Sergio Vargas as an old carpenter Jaime would meet and find hope in, and Bastian Bodenhofer in an excellent performance as Carlos Ibanez del Campo as Chile’s then-right wing President who is seen as this cruel leader until Jaime sees an unexpected display of humanity that would trouble him. Jeremias Herskovitz is brilliant as the young Alejandro as a boy trying to find his identity as well as deal with his father’s demands along with elements of faith and reality. Pamela Flores is fantastic as Alejandro’s mother Sara as this woman who always sings whatever dialogue she is given as she is this woman of faith who shows her son the ways of the world where there is hope. Finally, there’s Brontis Jodorowsky in a sensational performance as his grandfather Jaime as a communist eager to prove his worth where he is tested by his own will only to deal with the realities he encounters as it’s a performance that requires a lot as Brontis delivers and more.
La danza de la realidad is a spectacular film from Alejandro Jodorowsky. Featuring a great cast that include his own sons including Brontis playing his grandfather as well as dazzling visuals and touching themes on the idea of family and growing up. The film is definitely strange in terms of the surrealism that Jodorowsky puts in but it’s also very accessible in how he puts in a lot of personal touches to a story that means a lot to him. In the end, La danza de la realidad is a tremendously ravishing film from Alejandro Jodorowsky.
Alejandro Jodorowsky Films: La Cravate - Teatro sin fin - Fando y Lis - El Topo - The Holy Mountain - Tusk (1980 film) - Santa Sangre - The Rainbow Thief - Endless Poetry - Psychomagic: a Healing Art
Related: Jodorowsky's Dune - The Auteurs #59: Alejandro Jodorowsky
© thevoid99 2016
Written, directed, set/costume designed, scored, and starring Alejandro Jodorowsky, El Topo is the story of a Mexican bandit who goes on a journey in search of enlightenment in a strange, surreal world. The film is a mish-mash of genres ranging from westerns to spiritual driven films inspired by Eastern philosophies and Christian symbolism as Jodorowsky plays the titular role. Also starring Brontis Jodorowsky, Mara Lorenzio, David Silva, Paula Romo, and Jacqueline Luis. El Topo is an off-the-wall yet extremely spectacular film from Alejandro Jodorowsky.
The film explores the journey of a Mexican bandit who travels through the desert to find enlightenment as he deals with the drawbacks of his journey and his search for meaning in a world that is very troubled. It’s a film that doesn’t play by any rules where its first half is largely a surreal western where the man known as El Topo (the mole) is a master gunslinger who goes into this journey where he would eventually battle four masters to prove that he’s the best. Yet, it’s a journey fraught with doubts and decisions that has El Topo question that journey. The film’s second half plays into the aftermath of that journey where El Topo becomes an outsider living with a group of dwarves and people with deformities as he and his dwarf wife (Jacqueline Luis) look at a nearby town and see its ugliness.
Alejandro Jodorowsky’s screenplay doesn’t go for any kind of traditional structure as it’s more about a spiritual quest to find meaning as El Topo is being pushed to do things to become a legend only to gain doubt in his mission. While he is a skilled gunslinger who knows how to kill, he gets seduced by a woman named Mara (Mara Lorenzio) and he’s later joined by this mysterious woman in black (Paula Romo) who speaks with a man’s voice. Part of the unique aspect of the script is El Topo’s development as his mastery as a gunslinger gives him the belief that he’s a god. After his battle with these four different masters, he would later declare himself in the film’s second half as a man, not a god. Especially as the story shifts to several years later as he realizes where he is and what has happened to him. Even as he deals with all sorts of regrets and try to find redemption.
To describe Jodorowsky’s direction as strange and weird is really understating exactly what he presenting. While it is based on surrealism, there’s also a lot of spiritual symbolism that is prevalent in the film with images of crosses as well as dialogues involving spiritual ideas. Much of the film has Jodorowsky use minimal dialogue in favor of action and images to help tell the story as it is shot in a full-frame 1:33:1 Academy ratio. Still, the locations set in Mexico are full of wonders as it adds to the touch of surrealism from its deserts to the places that El Topo goes to. Serving as the production/costume designer with help from art director Jose Duran and set decorator Jose Luis Garduno, Jodorowsky uses a lot of ideas that plays into the world of West but one that is very warped as among the early images in the film involves a man (Alfonso Arau) eating or shooting women’s shoes that look like the come from the 20th Century rather than the century before.
The usage of close-ups, medium shots, and wide shots add to the beauty of the film while Jodorowsky’s approach to its look in its set and costume design create something that is very offbeat. Even his music score play to that approach of psychedelia that roams in the film with its use of playful Mexican folk music to hypnotic, organ-based music. Yet, Jodorowsky is aware of what he is trying to say as the film’s second half plays into the way faith becomes manipulated for something that isn’t very spiritual. Notably as it would prompt a young priest (Robert John) to find salvation following an incident that makes him seek some meaning again with the help of El Topo. Overall, Jodorowsky creates a very sprawling yet mesmerizing film about a man’s search for spiritual meaning in a very troubled world.
Cinematographer Raphael Corkidi does brilliant work with the film‘s very evocative cinematography to capture the beauty of the Mexican deserts and locations as well as some of the lighting in the cave scenes for the film‘s second half. Editor Frederico Landeros does amazing work in creating some unique edits such as jump-cuts and montages to play into the film‘s surrealistic tone as well as its offbeat humor. Sound editor Lilia Lupercio does fantastic work with the sound to create some chilling sound effects to convey some of its terror as well as the moments of surrealism.
The film’s superb cast includes some notable small performances from Alfonso Arau, Jose Luis Fernandez, and Alf Junco as a trio of bandits El Topo encounter early in the film, David Silva as a tyrannical colonel, Robert John as a priest who turns to El Topo for guidance, and Brontis Jodorowsky as El Topo’s young son early in the film whom he would regretfully abandon. In the roles of the four masters that El Topo would face, there’s Hector Martinez, Juan Jose Gurrola, Victor Fosado, and Agustin Isunza in terrific performances as these four men who each represent a different philosophy that El Topo would learn from. Mara Lorenzio is excellent as Mara as this woman who would fall for El Topo and urge him to face the masters.
Paula Romo is fantastic as this mysterious woman in black who has a man’s voice as someone who would be a pusher as well as seduce Mara. Jacqueline Luis is amazing as El Topo’s dwarf wife as she is someone who would take care of him as well as help him in his attempt to free the outsiders he had been living with. Finally, there’s Alejandro Jodorowsky in a phenomenal performance as the titular character as a man who has a lot of charm but also anguish in his journey as it’s one full of humor and energy but also a sense of danger as it’s truly an unforgettable performance.
El Topo is an incredible film from Alejandro Jodorowsky. While it’s a film that definitely isn’t for everyone in terms of its surrealistic tone and refusal to be defined as a typical genre film. It is a film that is still very captivating to watch to showcase a man searching for spiritual enlightenment in a troubled world that is truly strange. In the end, El Topo is a remarkable film from Alejandro Jodorowsky.
Alejandro Jodorowsky Films: La Cravate - Teatro sin fin - Fando y Lis - The Holy Mountain - Tusk (1980 film) - Santa Sangre - The Rainbow Thief - The Dance of Reality - Endless Poetry - Psychomagic: a Healing Art
Related: Jodorowsky's Dune - The Auteurs #59: Alejandro Jodorowsky
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