Frederic Erk

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Sense of wonder

In Uncategorized on January 20, 2010 at 11:33 am

James Cameron

Sense of wonder



A second look revealed that beyond its stunning visual experience, “Avatar” is a philosophic, and yet candid, interpretation of our duality between the reality of science and technology, and fundamental aspiration to love and sense of wonder.

“DON’T LOOK, watch” said Ruskin, so as I returned to Angers for a second look at James Cameron’s “Avatar”, I had the firm intention to observe, analyse and understand why this film is so popular, and the reasons of this success. That I was moderately successful is a fact, as I got carried away again.

The first time I saw “Avatar” the stunning landscape of Pandora, the home world of the Na’vi, really impressed me with its breathtaking floating mountains, formidable trees and enlightened forests at night. The scenes of flight, as the hero is mastering the skill of flying his banshee, are a marvellous moment of cinema. The romantic love between Neytiri and Jack Scully will certainly blossom into romance worldwide, as the excitement and adventure of their relationship are so charming. Yes, the journey of a life can begin with a smile, I know that.

“Avatar” belongs to the category of initiatory films, like “Jeremiah Johnson”, “Dancing with Wolves” and “A Man Called Horse”. I believe that “A Man Called Horse” is emotionally stronger than “Avatar” because the picture of the Indian tribe is cruel and realistic, as the survival in those mountains is tough. “Avatar” is a bit lacking when it comes to the Na’vi culture as I believe that the survivability of the tribe in the dangerous forests of Pandora would make their character both tougher and gentler. To me the Na’vi remain abstract and spiritual, not real. They could be the gentle inhabitants of Tahiti when the “Bounty” arrived.

James Cameron has chosen “Avatar” and not “Pandora”, or “Save the Na’vi!”. And I hope that there will be no pornographic attempt with “In the Na’vi” (not Navy, mind you.) As I stated before, porn industry is invading too many subjects, especially films. Back to the subject of “Avatar”, which is more healthy and hopeful. “Avatar” is a kind of modern Frankenstein being, the result of a genetic experiment to mix human and Na’vi DNA. Perhaps I missed the point in my earlier reviews of this film, exactly like critics thought that “The Sea Wolf” was a romantic story, while it was eminently philosophic.

I think that James Cameron is a man of paradoxes, as his films are filled with soldiers and mercenaries, but eventually only the warriors with an ideal do prevail, and technology is opposed to the wonder of Nature, but at the same time technology is the tool unlocking the Pandora box. James Cameron is like a promising child, whose innocent dreams are filled with the wonders of science and technology (O the Stanford T-shirt of Grace in the film!) and the belief in the fundamental values of Man, like courage, love and the sense of wonder.

It is precisely the sense of wonder which is so appealing to me in “Avatar”. Machines of war and destruction are so realistically rendered, like icons of destruction. Soldiers are superhuman, tough, courageous and enduring. Women are graceful and loving, but also dangerous and fighting when they have to. Think of the chopper pilot, Trudy, who is so cute and fierce.

The Na’vi are so integrated into Pandora’s harmony, both physically and spiritually, that they are not interested with the things mankind has to offer. The Na’vi are keeping to themselves, and don’t let strangers in, because they feel that humans are so filled with knowledge, violence and belief in science and technology, that they have become ill, or mad. The indifference of the Na’vi is one of fundamental difference of way of like and philosophy. While humans are educated and formatted the Na’vi practise a life long learning of the marvellous complexity of their home world. Where the humans send bulldozers, the Na’vi tread delicately.

As the film is closing on a rebirth, I think it would be interesting to think about the consequences of that battle for the Na’vi. Will Jack Scully remain a warrior in time of peace, and prepare his tribe to the probable return of humans on Pandora?  Or will he melt into the Eiwa Oneness of harmony and non-intervention, now that Eiwa has proven its ability to defend itself against predators? We shall see that in a sequel as I am sure that “Avatar” is the beginning of a new era for the next decade.

On a closing note I would like to talk about the truly revolutionary aspect of this film, which is to remotely pilot a living being by thought. That I was not shocked or troubled with this does prove how used I have become to the notion of virtual reality within the context of games. First person shooters and RPGs are games where you are piloting a being in a virtual world, and the better the game, the more you feel part of the virtual world of it. When Neytiri admires the fearlessness of Jack Scully, it is possible to think that Jack is safe in his laboratory, but this would miss the point of the fundamental empathy of Jack with his “Avatar”. He is his Avatar.

The idea of living a second life in a virtual world is not new, since “Tron” or “Matrix”. With “Avalon” I think it was the first time when reality was considered secondary, even irrelevant to the point of confusing the senses. And it is also the first time when it was stated that those venturing too far would not return. “Avatar” is going further with a seminal closing sequence, which has the power of Stanley Kubrick’s “2001, A Space Odyssey” when the human being ventures to touch the Monolith and is born again as a Star Child.

“Avatar” has multiple interpretations, but its true value is one of Hope in the fundamental values of mankind, which are not greed or destruction, but love and sense of wonder.

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Groundhog Day: Eternity in a nutshell

In Uncategorized on January 19, 2010 at 9:14 am

Harold Ramis

Eternity in a nutshell

A review of “Groundhog Day” by Harold Ramis


A weatherman is caught in a time capsule and condemned to relive the same day over and over, in spite of his multiple attempts to escape while trying to seduce the lady of his dreams.

The synopsis does not bring justice to the quality of the film and talent of Bill Murray. Harold Ramis, the director of “Ghostbusters”, is a man of paradox who likes to juggle with reality to the great entertainment of his public, and highlight the common miracles and tragedies of our every day life.

“Groundhog Day” is a film with unexpected depth, as the farce is cruel and the redemption, both inventive and touching. Bill Murray has the facial expression of a fox terrier about to pee, and he is irresistible. And we really share with him the agony of this modern Sisyphus, trying to cope with the absurdity of living the same day, over and over, without being able to modify destiny.

What Harold Ramis wants to tell us is that happiness and purpose in life do come as a reward to what we give to the world. Bill Murray will use and abuse the seemingly endless possibilities of living without future, from the hilarious kidnapping of the groundhog, to the helpless seduction of the woman he loves. But it is only when he realises the potential of his predicament that his journey truly begins.

This film is about the power I have, you have, and everyone has to transform his life into something marvellous and meaningful. I think of that transformation as nothing less dramatic than a revolution of values. Copernicus told us that Earth was not the centre of the universe. I believe it was important to understand we are part of Universe, not the centre of it.

Bill Murray is transforming the little city hosting a groundhog into a thriving community of people. So moving it is when he is trying to save that old man who is living on the street, and day after day, he will fail to save his life, as it was his destiny to die. What can be more awakening to the fragility of life than witnessing the same person die, over and over?

Personally I have seen that film many times, and yet I don’t feel trapped in a time capsule. I have seen it as a comedy, partly romantic, but tonight I watched with the eyes of a man who has seen death, and is coping with it. And the film has touched me, as it is a true lesson of life.

I think that there are very few films who can both bring me to tears and smiles. “Groundhog Day” is a comedy, but it is really a story of redemption and love. It is because Bill Murray does understand that he can change the world even for a single day, without expecting something in return, that he becomes a man. I think of Stanislaw Lem wonderful sentence: “He waited for the return of a cruel miracle without expecting it.”

As a way of life, it is a troubling lesson, and I am very sensitive to the idea of living the present and trying to get the most of it, without thinking about the future. Bill Murray does it when he begins to enjoy doing it, without thinking about doing it. I have felt the same marvellous feeling when planting trees and caring for my mother, or my dogs. It is a blessing to stop thinking about the future and enjoy the present in a meaningful way.

“Groundhog Day” is a fascinating love story. Beyond the sad endeavour to seduce a woman with her preferred dishes and drinks, Harold Ramis tells the story of the miracle of love. When Bill Murray is playing in the snow with Andie McDowell, there is that fleeting moment of eternity as he tries to get close, and relive the magic of it. Because he is trying to replicate happy moments, he is incapable of living the present. No comedy since Ernst Lubitsch “Heaven Can Wait” demonstrated so well the alchemy of love, and the grace of unexpected moments of truth.

It is a cruel miracle to relive the same day, over and over. It could be the definition of purgatory, as Hell is perhaps endless repetition of the same task, without giving yourself to it. “Groundhog Day” could be the comic variant of the nightmarish “Jacob’s Ladder” by Adrian Lyne. The time capsule of Bill Murray is symbolic of our condition of human beings, trapped in our destiny, but able to move mountains and change the course of history, say when we are in love. Which I am, lucky me.

Thank you.

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Four Brothers and a funeral

In Uncategorized on January 18, 2010 at 8:07 pm

John Singleton

Four brothers and a funeral

A review of “Four Brothers” by John Singleton

Imagine a family without a father, but with four kids adopted by a loving mother. And now think of her being murdered by a local gangster and the four brothers united to avenge her death.

Welcome to Detroit, Bro.

It is not Los Angeles, but Detroit suburbs in winter. It is Thanksgiving and it could be a peaceful time, but for the duty to look for answers. Why would anyone care to kill such a charming old lady? Is it a tragic mistake, or is there a hidden purpose? Answers seem to point at a local gangster with connections in the police and city council.

John Singleton has the gentle touch of a Chester Himes when it comes to describing the turbulent life and revenge of those four petty gangsters taking on the local big boss. It is a family of United Colors, where Latino girlfriends are cruising in the stairs while boys have a shower or a shit parlour.

The police is corrupt and inefficient, but for a black inspector, with whom the brothers used to play hockey on the streets. It is not the dark picture of a classic tragedy by James Grey as in the splendid “We Own The Night”. It has the Southern drawl of Harlem and the New Orleans. Family is about food, but without the spaghetti gore of Francis Ford Coppola.

The revenge will be bloody of course, and tragic for the little innocent brother, who is used to be consulted when it comes to homosexuality and various penis related issues. The local big boss will take a cold plunge in the icy waters of Detroit, but without too much fuss. Detroit is a city with a past of unions and big factories, and it is worth recalling that one should always be careful with his employees. Don’t expect Scorsese drama in sophisticated New-York, or James Ellroy madness in L.A.

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