Circumstance has but recently provided me with expanded opportunities to peruse, consider and enjoy a variety of productions that might otherwise have escaped my immediate attentions.
I take this opportunity to pass on two of these recent additions to my iconography, in the hope you too might find then worthy of consideration.
‘Młyn i krzyż’, ‘The Mill and Cross’ is particularly time appropriate viewing, dealing as it does with the unfettered effects of outside agency upon the social and political activities of a populus, shown through the clever use of vignettes from Peter Brughels masterpiece ‘The Procession to Calgary’, painted in the period around the year fifteen sixty four.
Brugel is played by the late Rutger Hauer, an actor whose ability to projest emotion purely through facial manipulation may never be equalled. A product of his time Pieter Bruegel the Elder was seeminginly a morose and haunted individual, who observed and recorded a Flandrian countryside rife with religious and monarchial persecution, war and pestiliance. He painted religious subject matter but in the style and form of his own every day experience.
In times of hardship, contention, of overwhelming threat we are all thrust into the position of a chronicler, whether willing or simply coerced by circumstance. Bruegel’s unflinching acceptance of a seeming unavoidable fate, told so painfully, helplessly and truthfully through Hauer’s expressive features, produces shivers of icy recognition down humanities oft unaware spinal column.
I am not generally appreciative of others prophetic interpretations, preferring to amass mine own persuasions based on experience, understanding and education, however ‘Mill and Cross’ provides a multi layered instructional in a most enthralling and provoking manner.
My second original viewing might seem in stark contrast, yet in ways both obvious and subtle reflects similar themes of uncontrollable consequence, unwarranted expansion and oppression, but rather than a stoic acceptance of victimology suggests nay shouts aloud a wholly opposing remedy. ‘Birds of Prey and the Fantabulous Emancipation of One Harley Quinn’ should immediately be made essential viewing for every girl who approaches an impressionable age. Solid proof once and for all that bad is not an undesirable facet, rather simply a differential choice.
Momentarily I must leave the philosophic and return to the entirely personal. I am and probably always will be generally drawn to the troubled, the different, the unique, occasionally I might find the angelic or virginal titillating for a moment, but only till my own often viewed dark perspective has introduced to and overwhelmed any good with the elemental. I have never considered my tastes particularly unholy or unsavory, I simply prefer a life ever expanding rather than being fixed in place, my avenues ever reaching into the beyond without the hinderance of roadblocks.
Doctor Harley Quinzel is a characterization with whom I feel passionately in tune, whose morality is formed through necessity and desire rather than any omnipotent enforced proclamation. A wild child, yet with an patently plain undercurrent of care and responsibility that counters her excesses quite sufficiently to produce a balanced personality, unusual in the normal let alone her admittedly somewhat demented persona.
Being considerate of spoilers I will not relate the similarities and reversals I espy between the vehicles, instead I will simply point to both having a distinct similarity to early miracle plays in the manner of their depiction of good and evil, or more correctly of good and not so good, and evil and the downright despicable.
In times of difficulties, when the weight of the Damoclesian sword seems bound to rend the thread asunder momentarily hold tight to each and every soul, especially the different, for it is the exceptions who will provide the new rules to replace those that fail us so painfully now.