diluted Coen brothers (Film: Hail, Caesar! – Coen brothers, 2016)

A few weeks back I wrote about Bridge of Spies and I was mentioning the fact that I expected more than an OK+ story about the Cold War from a script written by the  and brothers. This feeling was now enhanced by viewing Hail, Ceasar!. The trailer was so promising – the anti-establishment brothers made a film about the Hollywood.  as the drunken (not even, actually) star in the historic super-production.  as the blonde brainless starlet. The bigger the expectations, the deeper the disappointment, they say. The brothers seem to have ran out almost completely of ideas and spices.

 

source http://www.imdb.com/title/tt0475290/

source http://www.imdb.com/title/tt0475290/

 

Hollywood loves making fun of itself, but never forgets to mix a dose of nostalgia. This is what made The Artist such a huge success, plus of course the French charm. It’s 2016 however, and nostalgia should not be consumed in overwhelming doses. Yet, the Coen brothers seem almost to crawl in repentance to the big studios they succeeded to teach in the past a few things about digging for gold in the classical fabric of American stories. There is only one scene where the Coen spin and spirit succeed to remind the good old days – that’s the ‘ecumenical’ discussion in preparation of the Christ movie with the participation of Catholic, Easter-Orthodox and Protestant priests plus one rabbi. It looked and sounded like a good joke. The difference is that we used to have ten or more such good jokes in the Coen brothers films, now it was just one. The social content which is also present in many of their films is now reduced to a parody of the black-listing of the 50s combined with an incarnation of Communist hysteria (in a Malibu villa by the ocean of all places) which is maybe the second good joke in the film. Still insufficient.

 

(video source Universal Pictures)

 

In a season that was so deprived of comedies that The Martian got a nomination in the category at the Golden Globes, Hail, Ceasar! is still the funniest show in town, but it’s more by lack of competition. and looked genuinely bored in a film which should have been fun to make. is no comedy actor. The ones lucky to get more interesting parts are the amazing and who left me with the dilemma of guessing which film director he took revenge upon when building his character.

I am waiting for the Coen brothers to return.

 

 

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Carte: Elif Shafak – Ucenicul arhitectului

Cativa dintre cei mai buni prieteni ai mei sunt arhitecti. La ei m-am gandit si ei sunt primii carora le recomand lectura celei mai recente traduceri aparute in limba romana din opera lui Elif Shafak, una dintre cele mai cunoscute scriitoare din Turcia contemporana. ‘Ucenicul arhitectului’ a aparut in seria ‘Actual’ a Editurii Polirom in 2015, si a fost tradusa din engleza (limba in care a fost scrisa cartea) de Ada Tanasa. Traducerea este impecabila, nu i-am gasit vreun cusur, iar notele pregatite de aceeasi traducatoare sunt extrem de informative si de precise, demonstrand o buna cunoastere a vocabularului si istoriei otomane a epocii.

Eroul principal al cartii este un personaj imaginar, dar pana la un punct extrem de plauzibil, pe nume Jahan.Nascut in India se gaseste printr-un concurs de imprejurari la varsta de 12 ani pe o corabie care ancoreaza la Constantinopolul din vremea sultanului Soliman (Suleiman) Magnificul. Dragostea lui pentru elefantul Chopa cu care impartasise aventura calatoriei il va face sa ajunga la curtea sultanului ca ingrijitor al animalului si in acelasi timp ca ucenic al arhitectului principal al curtii otomane. Chopa devine nu numai o atractie si obiectul curiozitatii locuitorilor Istanbulului, de la sultan si fiica acestuia, pana la multimea de pe strada, dar si un personaj cheie al cartii, soldat, salahor si artist de circ, dar si confidentul si obiectul afectiunii eroului principal. Este si una dintre puntile intre lumea otomana si alte culturi – cea indiana in acest caz, punti care fac parte din temele centrale ale cartii.

 

sursa http://www.libris.ro/ucenicul-arhitectului-elif-shafak-POL978-973-46-5721-6--p947636.html

sursa http://www.libris.ro/ucenicul-arhitectului-elif-shafak-POL978-973-46-5721-6–p947636.html

 

Elif Shahak are un condei usor si precis cu care stie sa contruiasca povesti si sa insufleteasca personaje care chiar cand sunt extraordinare in fapte si puteri au intotdeauna o dimensiune umana. Lectura ‘Ucenicului arhitectului’ mi-a dat senzatia unei tesaturi in care se imbinau fire din povesti arabe ca ale Seherazadei cu legende balcanice cum este cea a Mesterului Manole.  Unele dintre personajele cartii sunt insa reale. Sultanul Soliman a fost contemporanul lui Henric al VIII-lea al Angliei, al lui Francisc I al Frantei si al lui Carol Quintul si la fel ca si acesti regi europeni a fost atins de suflul Renasterii protejand artele si construind monumente ramase in istorie. A administrat eficient, a judecat drept in interiorul Imperiului si a extins stapanirea otomana ajunsa la perioada de apogeu. Fiica sa Mihrimah, si ea un personaj istoric real, devenita in carte si idolul si obiectul iubirii fara speranta a ucenicului de arhitect, a avut soarta nefericita a femeilor musulmane (chiar si a celor din cele mai inalte straturi sociale) in viata particulara, dar a influentat prin intrigi si farmece evenimentele politice si a patronat si ea artele si constructiile. Personajul cel mai deosebit este insa fara indoiala, Arhitectul.  Mimar Sinan a fost probabil cel mai mare arhitect din istoria Imperiului Otoman si unul dintre cei mai mari arhitecti ai lumii. Intre constructiile sale cele mai faimoase se numara moscheile Süleymaniye si Şehzade din Istanbul si Selimiye din Edirne. Lui i se datoreaza renovarea si consolidarea bisericii Sfanta Sofia (devenita moscheea Hagia Sofia) construita cu un mileniu inaintea sa, podurile Büyükçekmece langa Istanbul si Mehmed Pasa din Bosnia, si proiectarea sistemului de aprovizionare cu apa al Istanbulului. A fost contemporan cu Michelangelo si se pare ca cei doi mari arhitecti ai Renasterii si-au cunoscut unul celalalt lucrarile si poate chiar au corespondat. Albanez sau poate armean la origine, si-a crescut si educat cu grija cei patru ucenici, de fapt discipoli si asistenti ai lui, caci in acea perioada ucenicia se incheia doar la moartea maestrului.

Iata un dialog intre arhitect si ucenic inspirat de cele Zece carti despre arhitectura ale lui Vitruviu:

‘Arhitectura e o stiinta, se spunea in carte, care se intemeiaza pe trei lucruri: forza, trainicie; utilita, pe care Jahan o talmaci prin trebuinta; si bellezza, frumusete.

– Spune-mi, pe care dintre cele trei ai sacrifica-o daca ai fi nevoit sa sacrifici una.

– Belezza, raspunse Jahan fara sovaiala. Nu putem renunta la trainicie sau la trebuinta. Dar la nevoie ne-am putea lipsi de frumusete.

Chipul lui Sinan spunea altceva.

– Nu putem renunta la frumusete.

– Atunci, pe care ar trebui s-o sacrificam?

– Pe nici una, raspunse Sinan cu un zambet bland. Daca renunti la una, pana la urma le pierzi pe toate.’ (pag. 341)

 

sursa http://www.telegraph.co.uk/culture/books/10075910/Elif-Shafaks-rules-for-writing.html

Elif Shafak sursa – http://www.telegraph.co.uk/culture/books/10075910/Elif-Shafaks-rules-for-writing.html

 

Cartea este presarata si cu descrieri ale operelor arhitecturale ale Maestrului si a Ucenicilor sai.

‘Isi vazura mai departe de treaba. Minaretele erau mai subtiri, mai gratioase si mai inalte decat oricare altele pe care le vazusera sau pe care le auzisera. Patru randuri de ferestre asezate de-a lungul a trei galerii lasau lumina sa intre din belsug, oglindindu-se in placutele de faianta, facand moscheea mai luminoasa si mai vesela, in ciuda posomorelii salahorilor. Fatadele din gresie de culoarea mierii erau calde si imbietoare. Spatiul dinauntru era urias, neintrerupt. Oriunde ai fi ingenuncheat puteai sa vezi mihrab-ul, unde imanul statea si indruma rugaciunea. Fiecare era la fel de aproape de Dumnezeu.’ (pag. 337)

‘… peretii de pe laturi eliberti de povara sa sprijine cupola, erau strapunsi de nenumarate ferestruici, asa incat lumina se revarsa inauntru calda precum laptele pe care o mama i-l da pruncului ei sa-l suga de la san. Si mai putini stiau ca fiecare piatra iesita dinafara din ziduri era asezata in asa fel incat sunetele dinauntrul moscheii sa rasune limpede si puternic pentru ca fiecare credincios sa auda slujba, oricat de aproape sau de departe s-ar fi aflat de imam.’ (pag. 182)

 

Mimar Sinan; sursa - http://www.worldbulletin.net/news/167412

Mimar Sinan – sursa http://www.worldbulletin.net/news/167412

 

Un alt personaj important al cartii este Istanbulul – orasul punte intre continente, rascruce de drumuri pe uscat si pe mari, si mozaic de civilizatii. Ne aflam in momentul de culme al Renasterii si cel de cumpana in care civilizatia islamica ajunsese la al doile apogeu al sau sub otomani. De aici va incepe in istorie pentru Islam declinul si vestul european va depasi economic, social si cultural orientul, dar in momenul istoric in care se petrece actiunea cartii cele doua culturi si religii se aflau inca la paritate.

Jahan este cucerit de Istanbul de la prima intalnire, atunci cand il zareste de pe corabia care il aduce din indepartata Indie:

‘… incetul cu incetul ceata se risipi, asa cum o mana trage o perdea. Orasul, ce se deslusea limpede acum, se deschise dinaintea lui, stralucind orbitor. Lumini si umbre, coame si povarnisuri. Sus-jos, colina dupa colina, toate presarate ici-colo cu cranguri de chiparosi, parea un ghem de lucruri potrivnice. Tagaduindu-se la fiecare pas, schimbandu-si starea sufleteasca in fiecare mahala, duios si aspru deopotriva, Istanbulul se daruia cu marinimie, si in acelasi timp, isi lua inapoi darul. Un oras atat de intins, in stanga si in dreapta si in sus, spre bolta cereasca, straduindu-se sa se inalte, tanjind intruna dupa mai mult, niciodata multumit. Si totusi incantator. Desi ii era strain, baiatul simti cat de usor puteai sa cazi sub vraja lui.’ (pag. 37)

 

Moscheea Suleymaniye; sursa - https://upload.wikimedia.org/wikipedia/commons/c/c8/Cour_mosquee_Suleymaniye_Istanbul.jpg

Moscheea Suleymaniye – sursa https://upload.wikimedia.org/wikipedia/commons/c/c8/Cour_mosquee_Suleymaniye_Istanbul.jpg

 

Pentru cititorul roman este interesanta si imaginea razboaielor duse de sultanii otomani in tarile romanesti din perspectiva turcilor. Unul dintre ele il duce pe eroul cartii si pe sultan impreuna cu armata sa pe malurile Prutului. Iata cum incepeau in Istanbul razboaiele:

‘Vineri dupa-amiaza, cand se incheie rugaciunea, sultanul dadu porunca sa se bata toba de razboi – o toba rotunda, uriasa, din bronz, in care se batea de sapte ori inainte de fiecare razboi. Bubuitul acela care iti dadea fiori pe sira spinarii trecu prin incaperile de marmura, prin gradinile de trandafiri si prin custile animalelor si strabatu tremurand mahalalele bogate si sarace deopotriva.

Sub ochii lui Jahan intregul oras se pregati sa porneasca la lupta. Fiecare mama avea un fiu ostean, fiecare cu rostul sau. Ienicerii iesira din baracile lor. Pasii isi inseuara caii. Mestesugarii si negustorii pusera mana pe arme, la fel si gradinarii, brutarii, bucatarii, croitorii, potcovarii, blanarii, cizmarii, olarii, tesatorii, marinarii, tabacarii, lumanararii, geamgiii, taietorii de lemne, pietrarii, tinichigiii, franghierii, prinzatorii de sobolani, calafatuitorii, sagetarii, vaslasii, negustorii de peste, pasararii, pana si prezicatorii. Fiecare isnaf avea treaba de nu-si vedea capul, pana si cel al tarfelor.’ (pag. 101)

 

Istanbului desenat de Melchior Lorck - sursa http://t24.com.tr/haber/kanuni-doneminde-bir-seyyah-ressam-melchior-lorck,125296

Istanbulul desenat de Melchior Lorck – sursa http://t24.com.tr/haber/kanuni-doneminde-bir-seyyah-ressam-melchior-lorck,125296

 

Personaje reale si imaginare se intalnesc in paginile cartii si Elif Shafak are talentul de a le face sa traiasca, sa-si dezvaluie caracterele si uneori chiar sa povesteasca istoriile lor personale in cateva paragrafe sau putine pagini. Pe langa personajele principale – Arhitectul, Ucenicul, Sultanii si frumoasa si inaccesibila printesa Mihrimah, ii mai intalnim in paginile romanului pe Michelangelo, pe pictorul Melchior Lorck – personaj real caruia ii datoram reprezentarile vizuale ale Istanbulului din vremea in care se petrece actiunea cartii, pe Balaban – seful tiganilor de care il leaga cu Jahan o prietenie deosebita si care va juca un rol de ‘deus ex machina’ in cateva momente cheie ale povestii si ceilalti trei ucenici ai Arhitectului – fiecare cu povestea, destinul, caracterul si talentul sau aparte. Cele patru parti ale cartii acopera perioadele principale ale vietii eroului: ‘Inainte de Mester’, ‘Mesterul’, ‘Cupola’ (perioada de maxima creatie) si ‘Dupa mester’. Mi-a placut mai putin sectiunea finala, in care scriitoarea pare sa-si fi pierdut rabdarea narativa dar nu a renuntat tentatiei de a duce la capat povestea vietii lui Jahan. Sunt inghesuite aici elemente de actiune care ar fi putut sa fie subiectul unei alte carti. Pacat ca Eli Shafak nu a scris-o, caci in ea ar fi fost continuata tema contactului dintre civilizatia islamica si cea europeana si ar fi fost deschisa o poarta spre India mogulilor, unde urmasii arhitectului din Istanbul au contribuit la construirea admirabilului mausoleu pe care Shah Jahan (banuiesc ca alegerea numelui eroului cartii nu este lipsita de legatura) l-a dedicat sotiei sale favorite Mumtaz Mahal. Mai ca imi vine sa cred ca a aplicat si ea un principiu enuntat in carte de Arhitect – o creatie artistica nu are voie sa fie perfecta, trebuie lasat intentionat in proiect si executie cel putin un element discutabil, caci perfectiunea este rezervata doar Divinitatii. Si asa insa ‘Uncenicul arhitectului’ este un roman istoric plin de farmec, o evocare a orasului de la intalnirea dintre continente si civilizatii intr-un moment de apogeu al istoriei sale, o reverenta facuta civilizatiei islamice, artei Renasterii si meseriei de arhitect. O carte bine scrisa, plina de culoare si magie.

 

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a cynical exercise in evil (Film: The Hateful Eight – Quentin Tarantino, 2015)

The movies fans word is divided in two – those who love Quentin Tarantino’s work and those who hate it. There is almost nothing left out, if you have seen a film by Tarantino you either liked it immensely, or you felt insulted, disgusted and exposed to the worst of the bad taste. You probably dreamed about it the night or many nights after. You did not forget it completely. And it hardly left you indifferent. ‘The Hateful Eight’ will just deepen the abyss between the camps. Tarantino made not only another film but one that will confirm everything bad that haters dislike and will make delirious of evil joy the fans who admit they are fans and those who still feel it’s good to be cautious nowadays in admitting they are fans.

 

source http://www.imdb.com/title/tt3460252/

source http://www.imdb.com/title/tt3460252/

 

‘The Hateful Eight’ is full of quotes. The story is a crossing of action Westerns and Agatha Christie’s mysteries – meaning that not only that there are a lot (and I mean a lot!) of gunshots, horses, two bounty hunters, one criminal on her way to be hanged and one sheriff (or maybe none) on one side, and characters that play roles and are being discovered by the smart detective via traps and dialogs (a lot of dialogs and I mean a lot!). The music is by Ennio Morricone who composed the unforgettable tunes of the spaghetti westerns half a century ago. There are references to Spielberg’s Lincoln and to Tarantino’s previous movies and especially  Django Unchained  which dealt with the same period and the racial relations from a very different perspective. However, if you have seen the film you will get to the conclusion that the quotes are intentionally non-respectful. The ‘mystery dialogs’ are long and verbose, and will make the action film fans checking if they did not enter the wrong cinema hall. The Lincoln starts and an apparent moral anchor to twist into an interpretation that I will not reveal but which looked to me like Tarantino telling Spielberg – this is what I do to the kind of themes you beat me with at the Academy Awards in 2012. Tarantino takes no prisoners. He is taking classical material, blending it, smashing it to the walls, shooting at it and spitting it back mixed with blood and poison. Sometimes literally.

 

(video source Movieclips Trailers)

 

Then, it’s a movie by Tarantino. If you are a fan you will get plenty of the gore stuff you like, you will get villains who can look charming for a few minutes an commit atrocities or be victims of atrocities the next ones. It’s a well told story which proves again that Tarantino is in the big league of American film directors (together with the Coen brothers, Scorsese, Spielberg and Woodie Allen) who can invent and tell a story like no one does out of America. Acting is superb to the point that we hardly recognize  or .  The vision is kitschy, is dark, is violent, there is no place for kindness, no morals, no values. It’s Tarantino.

 

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the borders of the country of law (Film: Sicario – Emily Blunt, Benicio Del Toro, 2015)

If you really need to put genre tags or labels on movies, ‘Sicario’ would belong to the ‘psychological thriller’, ‘violent drug action’, ‘Mexican border’ categories. While each of these naming would have its dose of justification, ‘Sicario’ succeeds to be more than these, actually it is one of the more interesting films in a pre-Oscar Awards season that does not make me too enthusiastic.

 

surce http://www.imdb.com/title/tt3397884/

surce http://www.imdb.com/title/tt3397884/

 

The film directed by the Quebecois  starts and develops for a while on the lines of a violent well-made and fast-paced thriller about American drug enforcement agencies fighting a bloody war against the smuggling Mafia on the two sides of the Mexican-American border. As the story advances we realize that there is much more than a war of gangs going on, and the questions that are asked are not only about the number of victims or arrests, or the amount of drugs that is confiscated or makes its way to the ‘customers’ but about the balance between law and efficiency, the price of human life and the tragedy of families who are collateral victims of the violence.

 

(video source Lionsgate Movies)

 

The quality of the film is built of the combination between the sure hand of the director, the music of Jóhann Jóhannsson and the splendid acting of (in a role that fits him as a glove) and  who grows in the viewer eyes from a don-Quixotesque policewoman one can see only in movies to a key character for the whole story and a real person who carries on her shoulder the huge dilemmas of deciding between good and bad, between the rule of law and the need to win the war on crime by any means.

If you like any of the genres I listed at the start, you will not be disappointed by this film. If you are not the fan of any you still can enjoy this powerful drama and professionally made film, which exceeds the borders of the genres.

 

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smart and sad, apparently simple (Film: Anomalisa – Charlie Kaufman, 2015)

I expect something different, something smart, something deep, each time I am seeing a film written or (lately) directed by . Many of his films are not one-time experiences, the second or later viewing brings new understanding and discovers of new layers under the one of the original story which is also not obvious or readable from the first time. This may be the case also with Anomalisa, which is also the reason that I am cautious in sharing my disappointment with this latest film of Kaufman, which seems to me to be the more obvious and less sophisticated work that he has made or written in the last two decades.

 

source www.imdb.com/title/tt2401878/

source www.imdb.com/title/tt2401878/

 

The story is apparently simple. Michael Stone is a famous author of one of those successful ‘How To …’ business books. He comes for one night in one of these mid-America metropolis that look so much one as the other, he checks into one of these hotels that that look so much one as the other, calls one an ex-girlfriend who is one of those women that look so much one as the other. We soon realize that all the persons he talks with have the same voice, that all women have a very look-alike appearance. Actually, if we pay attention and we know some psychology, Michael may suffer of the Fregoli delusion, a syndrome in which patients believe that other people are in fact a single person who changes appearance or is in disguise. And the name of the hotel he checked-in is Hotel Fregoli! Or maybe the psychological condition is just a metaphor for broader human estrangement.

All these until he meets Lisa. Or Anomaly-Lisa. Or Anomalisa. The woman who may be the Different One.

 

https://www.youtube.com/watch?v=DT6QJaS2a-U

(video source Movieclips Trailers)

 

I will not continue telling more in order to avoid spoilers, but rather refer on a few details to film-making. Stop-motion, the animation method used by , and Charlie Kaufman provides a very special look to the film and shifts much of the expression and emotion to the modeled characters, sets, and lighting. All work well together, the faces seem like masks in a theater that reflects the reality but is also somehow different, and so is the surrounding combination of familiar and strange. We are in kind of a dream. yet the situation, characters, suffering is all well-known and very human.

The second part of the story and its outcome, however, quite disappointed me.I had the feeling that too many smart ideas were invested in too small a story. But, as I said, it’s a film by Charlie Kaufman, and I may have not gotten it all.

 

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Carte: Amos Oz si Fania-Oz Salzberger – Evreii si cuvintele

Cititorii de limba romana se bucura de cativa ani de posibilitatea citirii cartilor lui Amos Oz in traducerile aparute in seria de autor publicata de editura ‘Humanitas fiction’ in coordonarea Denisei Comanescu. Este o ocazie de a cunoaste opera unuia dintre cei mai importanti scriitori isralieni de astazi, si unul dintre candidatii pereni la Premiul Nobel pentru Literatura. ‘Evreii si cuvintele’ aparuta in 2015 in traducerea Ioanei Petridean este o carte diferita de precedentele din serie. In primul rand nu este vorba despre o carte de fictiune ci despre un eseu avand ca tema aventura spirituala care este istoria evreilor si problema extrem de complexa a identitatii evreiesti. Apoi cartea este scrisa in original in limba engleza si nu in ebraica contemporana in care sunt scrise majoritatea cartilor lui Amos Oz, si este rezultatul colaborarii intre scriitor si fiica sa, Fania Oz-Salzberger, de profesie istoric.

Introducerea cartii ii defineste descendenta din dialogurile intre generatii caracteristice istoriei intelectuale evreiesti (dar nu numai evreiesti) – dialogurile intre tata si fiu (sau fiica in acest caz), intre dascal si elev, intre rabin si invatacel. Nu este insa o carte de ‘dialoguri’ sau Q&A, ci mai degraba o constructie unitara cu o logica interna si o dezvoltare care isi dezvaluie structura pe masura ce cititorul avanseaza in lectura. Stilul este si el unitar si talentul de povestitor (si conferentiar – Oz este exceptional si in dialogurile cu publicul) nu lasa prea multe indoieli in legatura cu identitatea co-autorului care a finisat lucrarea. Referintele la ‘scriitorul dintre noi’ si ‘istoricul dintre noi’ care puncteaza din cand in cand textul sunt si ele trepte in constructia logica a eseului istoric.

 

sursa http://www.lapunkt.ro/2015/10/20/lansare-evreii-si-cuvintele/

sursa http://www.lapunkt.ro/2015/10/20/lansare-evreii-si-cuvintele/

 

Primul din cele patru capitole ale cartii se intituleaza ‘Continuitatea’. Unicitatea istoriei poporului evreu este greu de negat chiar si de catre cei mai inversunati dusmani. Secretul supravietuirii acestui popor care niciodata nu a fost foarte numeros, care nu a cucerit teritorii intinse si nu a construit imperii, care a fost discriminat, alungat, exterminat in atatea momente ale istoriei, si totusi si-a pastrat identitatea si unicitatea este disputat astazi si explicatiile sunt multiple – de la teorii etnice si rasiale, pana la religie si coeziune comunitara. Toate sunt disputate si contestate nu numai din exterior dar si din interiorul unei culturi care incurajeaza dezbaterea. Amos Oz gaseste ca liantul comun si esenta continuitatii evreiesti sta in Cuvant si scriu substantivul de data aceasta intentionat cu majuscule. Existenta unei culturi bazate pe transmiterea informatiei prin cuvinte – scrise si povestite, rostite ca rugaciuni sau soptite in taina de parinti copiilor din generatie in generatie – acesta este secretul supravietuirii si al continuitatii in viziunea autorilor acestei carti.

‘Exista o legatura genealogica. Analele noastre pot fi consultate, istoria noastra poate fi povestita. Dar “scara noastra de masuratori complet diferita” este facuta din cuvinte. … Biblia isi depaseste statutul de scriere sfanta. Desavarsirea ei literara transcende deopotriva disecarea stiintifica si lectura sacra … Este posibil ca alte mari poeme sa fi pus bazele unei noi religii, dar nici o alta opera literara nu a pus bazele, intr-un mod atat de eficient, unui codex de legi adaptat unei etici sociale. … Israelul antic nu a inaltat palate si nu a fost martorul unor miracole, literatura sa este deopotrivaa inaltatoare si miraculoasa. Si dam afirmatiei intreaga ei semnificatie seculara.’ (pag. 17, 20, 21)

Amos si Fania Oz sunt ceea ce se numeste in lumea evreiasca ‘evrei seculari’, nascuti in Israel si avand ebraica moderna ca limba materna. Respectul lor pentru religie si cartile religioase si dragostea pentru limba ebraica reprezinta o recunoastere a unui mod de viata care a abandonat poate perceptele de zi cu zi ale vietii religioase, dar care pastreaza respectul fata de traditie, istorie, cuvantul scris si rostit. Atitudinea lor fata de religie si conceptia raportului dintre religie si istorie care pentru evrei sunt strans legate deriva tot din aceasta conceptie in care umanismul universal si cunoasterea stiintifica fac casa buna cu respectul fata de ideile fundamentale ale traditiilor.

‘Avram si Moise nu sunt decat simple personaje mitologice? Poate. Dar un lant conceptual si textual exista inca de cand primii israeliti au inceput sa foloseasca cuvantul ‘Brit’. Iar la un moment dat, nu mai tarziu decat secolul al III-lea i. Ch., a fost instituita o traditie scrisa, care nu s-a pierdut niciodata de atunci.’  (pag. 30)

Cu alte cuvinte, nu existenta unui Avram sau Moise istorici este esentialul, ci transmiterea pildelor despre acestia din generatie in generatie!

Supravietuirea istorica a fost posibila tot numai prin carti si datorita cartilor:

‘… dupa distrugerea celui de-al Doilea Templu, au ramas sacre numai cartile si anumite cuvinte. Nimic altceva. … Alungati departe de Ierusalim, deposedati de tabernacul si menora, doar cartile au mai ramas. Atunci cand fugeai pentru a-ti salva viata din calea masacrului sau a pogromului sau dintr-o casa ori o sinagoga in flacari, luai cu tine doar copiii si cartile. Copiii si cartile.’ (pag. 61)

Capitolul al doilea se numeste ‘Femei vocale’ si se ocupa de rolul femeilor intr-o cultura si structura sociala care parea sa excluda aproape complet femeile din universul studiului si al preocuparii cu textele sacre. Sunt aduse in discutie argumente legate de figurile feminine ale Bibliei, de personajele istorice ale unor femei cultivate si destul de puternice pentru a lupta si dobandi dreptul de a-si exprima opiniile, dar si figura simbolica – de legenda si de anecdota – a ‘mamei evreice’ si rolul ei in educatie, in transmiterea traditiei prin intermediul cuvintelor. Si aici este tratata tema raportului intre ‘adevarul istoric’ si dimensiunea sacra a personajelor (barbati si femei):

‘Nu pornim de la premiza ca Sara, Miriam sau Hulda au existat cu adevarat. Dar autorii lor au existat si limba lor a existat … In calitatea noastra de evrei seculari, nu suntem catusi de putin interesati de existenta sau non-existenta istorica a lui Moise ori Miriam. Faptul ca povestitorii au fost personaje reale ne este de ajuns. Putem afirma ca acestia au trait intr-o societate obisnuita, cu figuri materne puternice si hotarate. Intr-o societate capabila sa scrie Biblia, cu siguranta au trait femei precum Sara, Debora si Hulda. Este posibil ca doamnele pe care le-am numit sa apartina unui taram al mitologiei, la fel ca zeitele grecesti – cui ii pasa? – dar cuvintele lor tradeaza o experienta umana cat se poate de palpabila.’ (pag. 116)

 

sursa http://www.porges.net/FamilyTreesBiographies/dan.porges_portfolios/dan.porges.portfolio3_IP.html

Amos Oz; sursa http://www.porges.net/FamilyTreesBiographies/dan.porges_portfolios/dan.porges.portfolio3_IP.html

 

Fascinantul capitol al treilea se ocupa de ‘Timp si atemporalitate’. Intr-o stralucita trecere in revista istorica combinata cu analiza pe texte, autorii arata ca istoria evreiasca pare a face din multi dintre eroii si inteleptii din vechime spirite care pot fi invocate in contemporaneitate si parteneri ai unui dialog continuu, care sfideaza tempralitatea. Unele texte religioase ii aduc pe inteleptii Bibliei in salile de studiu si dezbatere ale scolilor religioase de peste secole sau milenii, ii angreneaza in dispute, le contrazic si le pun sub semnul intrebarii argumentele.

‘Chiar si astazi anumiti evrei sustin ca traiesc doar in concordanta cu un cronometru interior al colectivitatii lor. Multi altii au fost victimele unei treziri bruste, in clipa in care istoria secolului XX le-a invadat si distrus temporalitatea evreiasca. Sionismul, marxismul, laicismul, viata moderna, moartea adusa de Waffen SS.’ (pag. 136)

‘Holocaustul nu a dat nastere unui Ecclesiast de data tarzie. Sinucigasi da. Indivizi care au pierdut lupta pentru sens, da. Dar nimeni nu a scris, dupa Auschwitz, “nu este nimic nou sub soare”. Cumva, circularitatea si repetitivitatea istoriei nu au mai reprezentat o optiune.” (pag. 138)

Temporalitatea istoriei evreiesti nu este una lineara. Inteleptii din vechime sunt contemporani evreilor din totdeauna.

‘Analele evreilor contrazic afirmatia facila conform careia istoria este scrisa de tabara invingatoare. Chiar si atunci cand au pierdut, si au pierdut ingrozitor de mult, israelitii, iar mai tarziu evreii, au avut mare grija sa scrie singuri istoria. Le-au spus copiilor lor, cu onestitate si fara ocolisuri, toate lucrurile rele care s-au intamplat: pacat si pedeapsa, infrangere si exil, catastrofa si fuga.’  (pag. 164)

‘Facerea, Isaia si Pildele sunt piramidele noastre, sunt catedralele noastre gotice. Raman in picioare, infruntand trecerea timpului. Au hranit o intreaga pleiada de urmasi: de la Mishna la Haskala, de la poezia medievala sefarda la literatura ebraica moderna, de la Gotthold Ephraim Lessing la William Faulkner, cu totii ne-am adapat din aceste fantani adanci. (pag. 141)

 

Fania Oz-Salzberger  sursa https://twitter.com/faniaoz

Fania Oz-Salzberger
sursa https://twitter.com/faniaoz

 

Capitolul final se ocupa de nume si de identitatea evreiasca in relatie cu iudaismul religios – de evrei ca individualitati si in colectiv si comunitati. Interactia cu alte culturi este abordata in cateva aspecte esentiale, desi acest subiect este mult mai vast. Sunt dezbatuti termenii de baza – iudaism, evreu si sunt identificate momentele si contextele istorice in care au aparut aceste cuvinte si felul in care au evoluat ele in timp.

Un aspect esential este faptul ca definirea evreilor s-a petrecut in exil si reintoarcerile in Israel (prima dupa exilul babilonian, in secolul 6 i.Ch., a doua in perioada moderna sionista) au modificat din nou perspectiva:

‘Candva, in perioada scursa intre momentul distrugerii Primului Templu si constructia Celui de-al Doilea Templu, israelitii au devenit evrei. … Intorsi in patria ancestrala, evreii repatriati s-au dovedit a fi plini de energie, cu o deosebita constiinta nationala si binecuvantati cu o conducere hotarata – semanand foarte mult cu simbolicii lor urmasi, doua milenii si jumatate mai tarziu, sionistii care au visat si au implinit cea de-a Doua Intoarcere.

Exilul a fost determinant in cristalizarea identitatii evreiesti si a termenilor sai fundamentali. Limba ebraica a fost liantul continuitatii, o limba care nu a fost niciodata moarta. Chiar in perioadele istorice in care comunitatile evreiesti vorbeau limbile locurilor in care traiau, evreii au continuat sa se roage in ebraica, rabinii si elevii lor au citit si dezbatut cartile sfinte in ebraica, au scris tratate si interpretari noi. Au existat intermitent si perioade de inflorire a literaturii ebraice laice, si au fost create si doua dialecte – idis si ladino – pe care evreii le foloseau in viata de zi cu zi. Cultura evreiasca pana foarte aproape de perioada contemporana a fost legata de cuvintele si literele ebraice.

‘Poporul nu mai avea profeti si regi. Invatatura lor nu a inflorit in palatele si academiile unor imperii victorioase. Cultura lor nu a dat nastere unor eroi si soldati care sa o protejeze, nici unor printi care sa o patroneze, nici unor binefacatori care sa doneze carti sau instrumente stiintiice. Eroismul lor umil s-a manifestat intre zidurile joase ale salilor de clasa, si a fost detestat de catre neevrei, era vulnerabil si neslavit. Cuvintele au fost catedralele lor.’ (pag. 221)

 

Amos Oz si Denisa Comanescu la Tel Aviv

Amos Oz si Denisa Comanescu la Tel Aviv

 

‘Cine este un evreu? Oricine se lupta cu intrebarea “Cine este un evreu?” Iata definitia noastra personala: orice om indeajuns de ticnit, incat sa se numeasca evreu, este evreu. Este el un evreu bun sau unul rau? Asta nu poate spune decat urmatorul evreu.’ (pag. 237)

Definitia personala a lui Amos Oz si a fiicei sale nu este originala. A exprimat-o in cuvinte asemanatoare insusi primul premier al Statului Israel, David Ben-Gurion, desi el nu a avut puterea sau poate vointa politica sa o transforme in lege. Opiniile autorilor trebuie citite si in contextul dezbaterilor care au loc astazi in Israel si in lumea evreiasca din Diaspora si este bine de tinut cont ca ele nu sunt impartasite de toti evreii sau expertii in cultura si istorie evreiasca. Exista si opinii mult mai extreme care leaga identitatea evreiasca mai strans de perceptele religioase, de continuitatea etnica si genetica. Exista si interpetari mai liberale care doresc sa deschida iudaismul oricui si-l asuma si in orice proportie o face. Si exista si teorii care neaga aspecte esentiale ale istoriei evreiesti, caracteristicile care fac din evrei o natiune, pana la a declara insasi notiunea de ‘popor evreu’ o fictiune.

Cultura evreiasca nu fuge insa de dezbatere. Dimpotriva. Un ultim citat in acest sens:

‘Si astfel continuam sa discutam in contradictoriu. Avram cu Creatorul sau, Tamar cu batranii tribului, profetul cu regele, Hillel cu Shamai, hasizii cu “opozantii lor”, ortodocsii cu laicii…O civilizatie vie este drama perpetua a luptei dintre diversele intrebari, in afara influentelor si a emfazei, o dezbatere neobosita despre ce este grau si ce este tarata. Revolta de dragul inovatiei.’   (pag. 234, 236)

Dialog perpetuu, dialog intre evrei, dialog cu alte culturi, dialog cu insusi Dumnezeu. Aceasta este esenta culturii si istoriei evreiesti.

Inchei cu cateva cuvinte despre editia de la ‘Humanitas fiction’. Ioana Petridean s-a confruntat nu numai cu o traducere din engleza, ci si cu continutul unei carti care discuta amplu despre limba ebraica – cea veche si cea contemporana – si despre istoria unui popor despre care exista o imensa baza de cunostiinte scrise. Reusita ei mi se pare aproape impecabila, textul romanesc cuprinde nu numai informatia extrem de bogata tradusa in mod riguros, dar si elocinta si caldura scrierii lui Oz. Sunt adaugate note explicative extrem de folositoare care se adauga notelor bibliografice de la sfarsitul cartii. Aici am o nedumerire, caci notele bibliografice nu folosesc trimiteri directe din text, ci sunt grupate pentru cele patru capitole – nu sunt sigur daca a fost alegerea autorilor sau a editorilor romani, dar mi s-a parut neinspirata.

Publicul cititor de limba romana – cel din Romania dar si cel din afara hotarelor tarii – are bucuria sa cunoasca in ‘Evreii si cuvintele’ un text de o mare valoare si complexitate despre istoria si identitatea evreiasca, despre textele si cuvintele care le-au definit si le-au asigurat continuitatea si supravietuirea. O carte pe care o recomand cu caldura.

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Jobs as father (film: Steve Jobs – Michael Fassbender, 2015)

The second film in the mini-festival of Steve Jobs movies that I enjoyed last Friday was also the better one. , the director of Trainspotting, Sunshine, and Slumdog Millionaire may have hit gold again, as his Steve Jobs started to collect awards at the Golden Globe ceremony last night, and became lead contender to the magic statuette to be awarded for Best Actor on February 28. What is the secret?

 

source http://www.imdb.com/title/tt2080374/

source http://www.imdb.com/title/tt2080374/

 

The film based on a script by (who also brought to screen the character of Facebook’s Zuckerberg) is very different from the other biopic (‘Jobs’) or from the documentaries dedicated to the man and the entrepreneur who was Jobs. It catches three half-hours prior to three major announcements in the career of Jobs, but does not deal almost at all with the technicalities – they deal with the atmosphere (ordered chaos we can call it), with the encounters of Jobs with people who are close to him – his technical partner Wozniak, his business partner John Sculley, and especially his estrange wife and his daughter, whom initially he refused to recognize in one of these attitudes who built his negative perception as a father and human in the eyes of the public. The situations repeat and escalate, but the relationship with his daughter provide the missing human dimension. We may not understand more of the hi-tech genius of Jobs, but we gain more understanding about the man and father he was.

 

(video source Zero Media)

 

Besides the smart script, acting is the second winning card that makes ‘Steve Jobs’ the better Jobs film. Michael Fassbender avoids replicating the physical characteristics of Steve Jobs and focuses on his personal life and the relations with his partners and close ones (as close as he let them be). Kate Winslet builds the character of Joanna Hoffman who was the right-hand of Jobs but gets a much more extended role than she played in reality. You may not recognize her at first sight, as this role is pretty far from her usual gallery. A Globe is hers already, other awards may follow.

By focusing on a specific segment of Jobs’ personality this movie succeeded to give a better view of the whole. Yet, it’s only one facet of a huge personality that remains from many other points of view an enigma, and maybe character for more movies.

 

 

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what would have Jobs thought? (Film: ‘Jobs’ – Ashton Kutcher, 2013)

The entrepreneur is one of the incarnation of the new American Hero in movies, and it is not surprising that the people who made the Personal Computer and the Internet part of the basic fabric of our lives, and turned Silicon Valley in the center of the technological Universe are getting more and more attention from the Southern neighbors in Hollywood. Steve Jobs has his turn as one of these heroes, his premature death in 2011 made of his character an easier to deal with. Easier because he is no longer here to sue anybody, and also because his malady and than death gave an implicit tragic substance to a life of full of achievements but also of personal controversies.  As I have seen in one weekend days both feature films dedicated lately to his biography I have the feeling that none of them would have been possible if Jobs had been still with us.

 

source http://www.imdb.com/title/tt2357129/

source http://www.imdb.com/title/tt2357129/

 

At first sight ‘Jobs’ directed by would be the most conventional of the two biographical movies. It starts with one epic moment of success (the launching of iPod which changed forever the music industry) to go back in time to the late 60s when the young Jobs was searching his ways in life among music, India, some drugs, girls. He was different, he was thinking a creative way, but we never get a real glimpse of his technology or design insights. The script written by seems rather to emphasize his astonishing business skills, doubled by recognition of talent that can be used in other people, and a set of no-prisoners tools which guided him in his career as well in his personal life. The Steve Jobs in this ‘Jobs’ is almost a persona we are invited to hate.

 

(video source Movieclips Trailers)

 

What keeps him away from the ugly negative characters space is the acting of . I have read so many bad things about him that his performance in ‘Jobs’ comes as a real surprise. He succeeds not only to recover many of the physical characteristics of the character, but also gave substance and charm to many of the moments of the film, especially in the first part that deals with the early years. Do we come closer to understanding the real Steve Jobs? I do not think so, but I believe that the problem is in the script and not in the acting, which did not walk the extra mile of trying to discover and explain the motivation of the man and the secrets of his extraordinary skills. Yet, while dealing only with the external strata, the film is quite successful in my opinion in retracing the atmosphere of a time where the flower power revolution resulted not only in fabulous music but also in a wave of inventiveness which changed the world in a different place than intended.

Would Steve Jobs have liked this film? I doubt it, and not only because he personally comes out as the rather jerky character in the story. He may also have said – ‘I have already seen this’, fired the team and go deal with the next thing. That was Steve Jobs.

 

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love in times of war (Film: Suite francaise – Michelle Williams, 2014)

The life and death of Irène Némirovsky and the fate of the cycle of novels that inspired ‘Suite francaise‘ could be the subject of a thrilling movie, a different one. Born in 1903 in an Ukrainian Jewish family, she took refuge to France after the First World War with her family flying the Russian revolution, but was never granted French citizenship. Converting to Catholicism and writing French nationalistic (some consider these anti-Semitic) fiction did not spare her the fate of the majority of the French Jews – deportation to the concentration camps and death (at Auschwitz). ‘Suite francaise’ was planned to be a five volumes saga about the years of war, written as the events happened. Irene Nemirovsky wrote only two of them before being deported, the manuscript was unread for more than half of a century until discovered by her daughter and published as what has become a historical novel about the years of the war.

 

source http://www.imdb.com/title/tt0900387/

source http://www.imdb.com/title/tt0900387/

 

I did not read (yet) the books, but from the synopsis on Wikipedia I understand that the script departs quite afar from the original. The (spectacular) introduction scenes may not be in the book but they are useful to understand the context and the historical moment. Similarly, the final seems to be a Hollywood patch, not necessarily adding anything. The core of the film resides in the building love story between the young French woman whose husband is a prisoner of war and the German officer who is allocated to live in their house. It’s a complex relationship, and the merit of the script is that it avoids the black-white, bad-good nuances and moral judgments leaving room for the feelings and emotions. There is also a strong social content, both in the main story (are love or even co-existence allowed between occupier and occupied? here is a question valid also in other times and places) and in the secondary story of the mayor-viscount who pays with his life the price of collaboration. Ambiguity is however the tone that works here best.

 

(video source Entertainment One UK)

 

One of the hard obstacles for viewers of ‘Suite francaise’ is the fact that the film is American and spoken in English. I do not know whom I should ask, but I would certainly loved to see a French version. Maybe it’s still easier for the non-French to deal with the theme of ‘la collaboration’?Beautiful and fragile and tormented and introspective do both good acting jobs in the main roles, but best of all is  as the mother-in-law who may make you change your mind about the moral fabric of the French high classes.  is only at his third long feature film and directs with kind of an academic touch not exactly to my taste, but there are many good reasons to go and see this film.

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techno-survival (Film: ‘The Martian’ – Ridely Scott, 2015)

I expect something special when I go to a film by . In his long and remarkable career Scott approached many genres from space horror to historical sagas, from road movies to gangster comedies and succeeded exceptionally well in many of these. The secret is of course professionalism, the talent to tell a story, and to build (sometimes) greater-than-life characters which are credible in extreme situations. He tried to do the same with ‘The Martian’ but in my opinion he did not succeed too much.

 

source http://www.imdb.com/title/tt3659388/

source http://www.imdb.com/title/tt3659388/

 

Maybe the problem lies in trying to build too much on the combination of two successful genres – the sole survivor story and the big space drama. The second genre was pretty successful in the previous two Academy Awards seasons (with ‘Gravity’ and ‘Interstellar’) and Scott and his producers may aim for a similar fate for ‘The Martian’ – the saga of an astronaut believed dead and left behind on Mars, to be rescued in an extreme action of inter-planetary dimension. We’ll see if he succeeds, but on my scale he rather failed.

 

(video source 20th Century Fox)

 

The sign of such a film not really succeeding is when the day or the days after you remember more the technical aspects. This exactly happens to me with this film. Planting potatoes on Martian soil and sealing a space vehicle with adhesive tape has some fun of itself, but it dangerously competes with the human dimension of the story, with the fight of the lonely astronaut to overcome the elements and his own despair. Matt Damon is a fine action movies lead actor but he’s no Tom Hanks (not yet, at least) and his role here may not get him even an award nomination. This techno-survival story leans too much on the technology side.

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