Fortunes scripted, ventured, improvised, inherited, youth and innocence nimbly characterized with cascading credulous streetwise spiritual tenacity, the frenetic pace complementing risks with elegant acrobatic smoothly flowing brisk tremors, the resultant emission subconsciously generating wild resonating exhilarating cerebral undulations which extranarratively converge in a whisking amorous three-dimensional dance of serendipity, illustrative soul ecstatic choreography, breaking waves basking beachheads seductive surf immaculate maelstrom, calmly executed with the delicate argumentative poise of a parlour room chat at high tea, which discusses obsessions with authentic splendour while staking suppositions with audacious rapt sincerity, spurred momentary inspirations lucidly identifying integral ephemerals with substantial sage elasticity, blossoming concerns burgeoned through wager, foresight, chance, bidding, marketed stratified sociocultural immersions, tantalizingly blended with cherished sympathetic assumption.
Religious figures often make a muck of communal virtues but Tulip Fever's Abbess (Judi Dench) and Cornelis Sandvoort (Christoph Waltz) do exemplify with resounding magnanimity.
Sheer beauty, unafraid to revel in perpetual genius with unconcerned in/discreet hesitant bold symphony, like lunching at an ill-defined French bistro it pauses, reflects, manoeuvres and mystifies to romanticize a psychology well worth perceiving.
Overflowing with life.
Materializing mercy.
Like the ideal and the practical were courting for millennia and suddenly found themselves conceptually synthesized for 105 begrudged minutes, during which they purified raw tranquility before separating everlastingly once more.
The omega directive.
Heartstrung honeysuckle.
It makes you wish you weren't too prone to love for postmodern romance.
Take your hand in mine.
And vanish.
Showing posts with label Justin Chadwick. Show all posts
Showing posts with label Justin Chadwick. Show all posts
Friday, December 15, 2017
Saturday, January 4, 2014
Mandela: Long Walk to Freedom
Justin Chadwick offers a selective charismatic altruistic account of Nelson Mandela's (Idris Elba) life in Mandela: Long Walk to Freedom.
Significant events from Mandela's heroic trials are qualitatively condensed then narratively harvested.
It unreels at a fast pace but Elba's calm committed confrontational resolve surreally subdues the passage of time, tantalizingly transforming 30 seconds into two-minutes-forty, proactively producing captivating capsules.
A good companion piece for 12 Years a Slave in terms of the differing approaches adopted to biographically elucidate, McQueen cultivating a shifting pyrodactic panorama, Chadwick proceeding more traditionally.
Chadwick doesn't shy away from presenting the difficulties associated with actively pursuing disenfranchised political agendas, and the toll Mandela's sublime idealism takes on his wives and children are dis/comfortingly displayed.
His first wife leaves him but his second never yields in her championing of his cause while he's imprisoned, suffering jail-time and countless indignities consequently.
Their breakup after he's released is perhaps the most unfortunate disengaging of amorous affections I've ever come across.
Winnie Madikizela-Mandela (Naomie Harris) kept the fire burning brightly throughout his 27 years in prison and seeing them part is tragic if not earth shattering.
But Mandela believed in a non-violent working solution and when provided with the opportunity to politically enact one, engaged.
Taking the resultant monumental fallout in stride.
Not a saint, perhaps, but definitely, a person of steel.
Significant events from Mandela's heroic trials are qualitatively condensed then narratively harvested.
It unreels at a fast pace but Elba's calm committed confrontational resolve surreally subdues the passage of time, tantalizingly transforming 30 seconds into two-minutes-forty, proactively producing captivating capsules.
A good companion piece for 12 Years a Slave in terms of the differing approaches adopted to biographically elucidate, McQueen cultivating a shifting pyrodactic panorama, Chadwick proceeding more traditionally.
Chadwick doesn't shy away from presenting the difficulties associated with actively pursuing disenfranchised political agendas, and the toll Mandela's sublime idealism takes on his wives and children are dis/comfortingly displayed.
His first wife leaves him but his second never yields in her championing of his cause while he's imprisoned, suffering jail-time and countless indignities consequently.
Their breakup after he's released is perhaps the most unfortunate disengaging of amorous affections I've ever come across.
Winnie Madikizela-Mandela (Naomie Harris) kept the fire burning brightly throughout his 27 years in prison and seeing them part is tragic if not earth shattering.
But Mandela believed in a non-violent working solution and when provided with the opportunity to politically enact one, engaged.
Taking the resultant monumental fallout in stride.
Not a saint, perhaps, but definitely, a person of steel.
Sunday, October 9, 2011
The First Grader
Post-colonial Kenya. A public education system is introduced. Free education for all is announced. The vast majority of new students are children.
But one 84-year old former member of the Mau Mau resistance who fought against the British seeks an education as well. Determined to learn how to read and write in order to have a better understanding of his surrounding worlds, and read for himself what is written in a letter he received from the government, he stubbornly adheres to the rules when his initial attempts to gain access are rebuked, and is eventually given admittance to an overcrowded rural classroom.
Kimani N'gan'ga Maruge (Oliver Litondo) becomes a peculiar presence at school but one whom facilitator of learning Jane Obinchu (Naomie Harris) finds endearing. The administration does not share Jane's sentiments and consistently reminds her that by 'everyone' the government means 'every child' and that they already do not have the resources to teach every child and would be incomprehensibly overwhelmed if every adult sought a free education from grade 1 onwards as well. Their statistical analysis coalesces with the community's jealous censure of Maruge's activities to make life exceedingly difficult for both teacher and learner.
But they endure.
Justin Chadwick's The First Grader is a powerful film that demonstrates the enormous benefits that can result from exceptions, or, in this case, literal applications, when the practical ethical results outweigh the economic forecasts. Obviously with scant resources at their disposal a Department of Education would be unable to educate every illiterate citizen right off the bat, let alone every child, but seeing how only an extremely small percentage of such citizens over the age of 20 would choose to be educated with children, why not make an exception for those who do, instead of blindly upholding a rigid principle?
Taxation is at the heart of the matter and the question of whether or not you want to pay higher taxes in order to ensure your children/relatives/friends/neighbours mature in a dynamic learning environment fully equipped with engaging professionals and resources (the same ones provided for students of private schools) that vigorously nurture and develop their gifts?
Maruge's gifts are nurtured and developed and he has a positive influence on his fellow classmates as well. His struggle to learn functions as a prominent example of someone courageously seeking to receive the same remarkable educational opportunities that many people in Western countries simply take for granted.
But one 84-year old former member of the Mau Mau resistance who fought against the British seeks an education as well. Determined to learn how to read and write in order to have a better understanding of his surrounding worlds, and read for himself what is written in a letter he received from the government, he stubbornly adheres to the rules when his initial attempts to gain access are rebuked, and is eventually given admittance to an overcrowded rural classroom.
Kimani N'gan'ga Maruge (Oliver Litondo) becomes a peculiar presence at school but one whom facilitator of learning Jane Obinchu (Naomie Harris) finds endearing. The administration does not share Jane's sentiments and consistently reminds her that by 'everyone' the government means 'every child' and that they already do not have the resources to teach every child and would be incomprehensibly overwhelmed if every adult sought a free education from grade 1 onwards as well. Their statistical analysis coalesces with the community's jealous censure of Maruge's activities to make life exceedingly difficult for both teacher and learner.
But they endure.
Justin Chadwick's The First Grader is a powerful film that demonstrates the enormous benefits that can result from exceptions, or, in this case, literal applications, when the practical ethical results outweigh the economic forecasts. Obviously with scant resources at their disposal a Department of Education would be unable to educate every illiterate citizen right off the bat, let alone every child, but seeing how only an extremely small percentage of such citizens over the age of 20 would choose to be educated with children, why not make an exception for those who do, instead of blindly upholding a rigid principle?
Taxation is at the heart of the matter and the question of whether or not you want to pay higher taxes in order to ensure your children/relatives/friends/neighbours mature in a dynamic learning environment fully equipped with engaging professionals and resources (the same ones provided for students of private schools) that vigorously nurture and develop their gifts?
Maruge's gifts are nurtured and developed and he has a positive influence on his fellow classmates as well. His struggle to learn functions as a prominent example of someone courageously seeking to receive the same remarkable educational opportunities that many people in Western countries simply take for granted.
Subscribe to:
Posts (Atom)