Sunday, March 15, 2015
Check out BookDaily!
Find out about great new books and authors by checking out BookDaily.com! And, while you're there, visit my author page and my book pages for Get the Picture?! and Consciously Created Cinema.
Cover designs by Paul L. Clark, Inspirtainment (www.inspirtainment.com)
Friday, March 13, 2015
‘Marigold Hotel 2’ says, ‘you’re never too old for an adventure’
“The Second Best Exotic Marigold Hotel” (2015). Cast: Judi Dench, Maggie Smith, Bill Nighy, Penelope Wilton, Ronald Pickup, Celia Imrie, Diana Hardcastle, Dev Patel, Richard Gere, David Strathairn, Tina Desai, Lillete Dubey, Shazad Latif, Rajesh Tailang, Subhrajyoti Barat, Tamsin Greig, Fiona Mollison, Avijit Dutt, Atul Tiwari, Claire Price, Seema Azmi. Director: John Madden. Screenplay: Ol Parker. Story based on characters created by Deborah Maggoch in the book, These Foolish Things. Web site. Trailer.
Upon reaching a certain age, many of us may be tempted to settle in for the home stretch, getting comfortable while waiting for the inevitable end to come. But is that enough? Even though physical and financial limitations and personal fears might seem like impediments, should they be allowed to keep us from living life to the fullest, especially when the clock is running short? That’s the question for all concerned in the delightful new comedy sequel, “The Second Best Exotic Marigold Hotel.”
The permanent residents of the Marigold Hotel (from left, Celia Imrie, Ronald Pickup, Diana Hardcastle, Judi Dench, Maggie Smith, Bill Nighy) enjoy a festive occasion in their return to the screen in the delightful comedy sequel, “The Second Best Exotic Marigold Hotel.” Photo courtesy of Fox Searchlight Pictures.
This followup to the delightful 2011 comedy (reviewed in my book, Consciously Created Cinema) presents the continuing adventures of a group of British retirees and other colorful characters living in the Best Exotic Marigold Hotel for the Elderly and Beautiful in Jaipur, India:
• The once-crumbling establishment, the brainchild of vivacious hotelier Sonny Kapoor (Dev Patel), has somehow stabilized its operations, thanks in large part to the invaluable assistance of manager and permanent resident Muriel Donnelly (Maggie Smith). In fact, with the hotel’s rooms nearly always full, Sonny is now looking to expand his holdings by acquiring another property for renovation, the first in a hoped-for chain of comparable facilities. Sonny and Muriel seek backing from an American franchising company headed by Ty Burley (David Strathairn), but the prospective investor says his final decision will depend on the recommendations of an undercover inspector he’ll send to check out the operation.
• For Evelyn Greenslade (Judi Dench), a widowed housewife who was forced into selling her residence back in England to pay a backlog of debts left by her deceased husband, life has taken some interesting twists and turns since relocating. She’s landed a job as a textile buyer, and she’s quietly taken a liking to fellow resident Douglas Ainslie (Billy Nighy), a retired civil servant and local tour guide. There’s just one problem: Douglas is married. And, even though he’s separated from his wife, Douglas is reluctant to pursue a relationship with Evelyn, especially when his estranged spouse, Jean (Penelope Wilton), who had previously returned to England, makes a surprise appearance. With the years running short, will Evelyn and Douglas allow their fears to keep them locked in place, or will they follow their hearts and move ahead? And why has Jean suddenly reappeared? What does she want?
• Onetime spunky skirt-chaser Norman Cousins (Ronald Pickup) has taken up residence with his new significant other, Carol Parr (Diana Hardcastle). But, despite Norman’s efforts to remain faithful, the old urges continue to surface. Will he be able to stifle his impulses, or will he give license to his feelings? And what exactly do these feelings entail? He has much to think about, especially when a variety of unexpected revelations come to light.
• Madge Hardcastle (Celia Imrie) enjoys the freedom her relocation has afforded her. Having once been saddled with numerous demands on her time, such as frequent requests for babysitting her young grandchildren, Madge relishes her job at a local ex-patriot club and the attention she receives from two would-be wealthy suitors, Nimish (Avijit Dutt) and Abhilash (Atul Tiwari). But, even with these changes in her life, she still senses something is missing, feelings she quietly tries to sort out with her driver, Babul (Rajesh Tailang). Maybe Madge isn’t done making changes yet.
The marriage of Marigold Hotel owner Sonny Kapoor (Dev Patel, left) and his fiancé, Sunaina (Tina Desai, right), provides a colorful backdrop for events in “The Second Best Exotic Marigold Hotel.” Photo courtesy of Fox Searchlight Pictures.
These stories play out against the backdrop of several other events that affect all of the residents. In addition to pursuing his operation’s expansion plans, Sonny is preparing for his upcoming wedding to his fiancé, Sunaina (Tina Desai). His attention from the big event is often distracted, however, by the meddling of his often-overbearing mother (Lillete Dubey). He’s also suspicious that a suave interloper, Kushal (Shazad Latif), a friend of Sunaina’s brother, has eyes for his bride-to-be. Sonny believes he has reason to be worried about this, too, especially when it becomes apparent that Kushal could be undermining his business plans.
Compounding all this is the appearance of two mystery guests who arrive unannounced. When American Guy Chambers (Richard Gere) checks in, Sonny immediately suspects he’s the undercover hotel inspector Mr. Burley spoke of. Chambers insists he’s a writer conducting research for a book, but Sonny believes that’s a cover story. Sonny thus goes out of his way to show his guest every courtesy, even if it means routinely inconveniencing the other new arrival, Lavinia Beech (Tamsin Greig). In fact, there’s almost nothing Sonny won’t do to win over his guest, something that earns the consternation of his mother, appalls Lavinia and raises the eyebrows of virtually everyone else, all of whom believe Sonny’s wrongheaded actions make him look foolish. It remains to be seen who has the last laugh, however, both in this and all of the other scenarios as they play out.
Marigold Hotel owner Sonny Kapoor (Dev Patel, center) and manager Muriel Donnelly (Maggie Smith, left) look to expand their operations in director John Madden’s “The Second Best Exotic Marigold Hotel.” Photo courtesy of Fox Searchlight Pictures.
As this film’s predecessor so aptly illustrated, we’re never too old for an adventure or a new beginning. Indeed, as the old adage maintains, as one door closes, another opens. But, given the magnitude of the changes these characters implemented for themselves in the original film, some of them wonder about the necessity or prudence of making even more alterations in the wake of their relocation. Wasn’t that change enough in itself? Or was that just the beginning? And are they up to the challenge of making more adjustments?
Those familiar with conscious creation philosophy understand that we’re all in a constant state of becoming, our realities ever shifting in line with the ebbs and flows in the beliefs we employ to manifest the existence we experience. So, considering that, why would this principle cease to operate just because we’re getting on in years? Age, in fact, has nothing to do with interrupting this process unless we purposely draw upon beliefs that impose such a state of affairs upon us. Is that what we really want?
If anything, it would seem that keeping an open mind about change is especially important for those nearing the ends of their temporal journeys. With the biggest adventure of all looming, maintaining such a mindset could prove highly beneficial in preparing for that grandest of odysseys. That’s something all of the Marigold Hotel residents must contend with to one degree or another, and how they respond will affect the satisfaction and fulfillment they realize.
The budding romance of retirees Evelyn Greenslade (Judi Dench, left) and Douglas Ainslie (Bill Nighy, right) attempts to blossom in an environment of hesitation in “The Second Best Exotic Marigold Hotel.” Photo courtesy of Fox Searchlight Pictures.
In tackling this task, it’s particularly crucial that we address an important consideration – our fears. Failure to do so can lead to stagnation, lost opportunities and regrets. This is true for both young and old, as the film illustrates, but it’s especially critical for those of advancing age. With the end of life approaching, they must ask themselves questions like “How many more chances have I got?” and “Do I really want the journey to end without having acted on impulses near and dear to me?” This is perhaps most obvious in the story line involving Evelyn and Douglas, but it’s apparent in virtually every other subplot in the picture’s narrative.
So how exactly do we go about this? One especially helpful tactic is to follow our intuition, because it gives us clues about how to proceed. All too often, though, we dismiss it out of hand, believing that its seemingly “illogical” impressions make no sense and that it will ultimately work against us. Yet nothing could be further from the truth. As one of the components aimed at helping us refine our beliefs, our intuition is a valuable source of guidance, and it would behoove us to listen to it.
We see this theme recur repeatedly in the film, especially in Madge’s story. Her choices regarding a suitor might “seem” evident, but are they really? If they were truly so obvious, then why does she have this nagging sense that something is missing from her options? And, in line with that, should she listen to those impressions, or are they just irrelevant nonsense percolating up in her consciousness? This is something only she can sort out, but, if she follows her heart, she just might find a very pleasant surprise awaiting her at the end of her deliberation.
Of course, in drawing upon these intuitional impulses, we must be careful not to let them become tainted by considerations like fear or doubt, as they can distort the information that’s trying to come through. This is territory where Sonny must tread cautiously. He claims to have a nose for sniffing out the truth, and he’s often spot-on in his assessments. But, on occasion, he lets his apprehensions get the better of him, giving him a skewed interpretation of his circumstances. Sometimes this can be chalked up to the inexperience of youth, a “shortcoming” that gets fine-tuned with age. All of which helps to illustrate why tapping into our intuition grows even more important as we grow older. Making use of it just might help infuse the gold into what should be our golden years.
Mystery guest Guy Chambers (Richard Gere, right) checks in to the Marigold Hotel under the watchful eye of Mrs. Kapoor (Lillete Dubey, left), mother of the operation’s owner, in the delightful comedy sequel, “The Second Best Exotic Marigold Hotel.” Photo courtesy of Fox Searchlight Pictures.
“The Second Best Exotic Marigold Hotel” does what a good sequel should do – continue the story without rehashing the original, despite the presence of familiar elements and characters. It also improves upon its predecessor by doing a better job of meshing the interaction of the characters, something that was somewhat lacking in the original. This can be attributed to the picture’s generally thoughtful writing, though a few of its story threads are silly, with plot lines involving overblown misunderstandings rivaling episodes of Three’s Company. The acting of the ensemble cast is generally good across the board (especially Smith and Wilton), though some of it is clearly overdone (most notably Patel, whose infectious effervescence could clearly use some tempering). The picture also features an impressive Bollywood-style dance number, an ethereal soundtrack, and beautiful depictions of local color and culture.
It’s been said that “When we rest, we rust.” This expression is most often used in connection with retirement, but it’s just as applicable to all of us in our conscious creation practices. If we were to allow this capability to atrophy, we would quickly find life a lot less interesting and immeasurably less fulfilling. And, given our finite time in this reality, let’s hope we never let things get to that point.
Copyright © 2015, by Brent Marchant. All rights reserved.
Upon reaching a certain age, many of us may be tempted to settle in for the home stretch, getting comfortable while waiting for the inevitable end to come. But is that enough? Even though physical and financial limitations and personal fears might seem like impediments, should they be allowed to keep us from living life to the fullest, especially when the clock is running short? That’s the question for all concerned in the delightful new comedy sequel, “The Second Best Exotic Marigold Hotel.”
This followup to the delightful 2011 comedy (reviewed in my book, Consciously Created Cinema) presents the continuing adventures of a group of British retirees and other colorful characters living in the Best Exotic Marigold Hotel for the Elderly and Beautiful in Jaipur, India:
• The once-crumbling establishment, the brainchild of vivacious hotelier Sonny Kapoor (Dev Patel), has somehow stabilized its operations, thanks in large part to the invaluable assistance of manager and permanent resident Muriel Donnelly (Maggie Smith). In fact, with the hotel’s rooms nearly always full, Sonny is now looking to expand his holdings by acquiring another property for renovation, the first in a hoped-for chain of comparable facilities. Sonny and Muriel seek backing from an American franchising company headed by Ty Burley (David Strathairn), but the prospective investor says his final decision will depend on the recommendations of an undercover inspector he’ll send to check out the operation.
• For Evelyn Greenslade (Judi Dench), a widowed housewife who was forced into selling her residence back in England to pay a backlog of debts left by her deceased husband, life has taken some interesting twists and turns since relocating. She’s landed a job as a textile buyer, and she’s quietly taken a liking to fellow resident Douglas Ainslie (Billy Nighy), a retired civil servant and local tour guide. There’s just one problem: Douglas is married. And, even though he’s separated from his wife, Douglas is reluctant to pursue a relationship with Evelyn, especially when his estranged spouse, Jean (Penelope Wilton), who had previously returned to England, makes a surprise appearance. With the years running short, will Evelyn and Douglas allow their fears to keep them locked in place, or will they follow their hearts and move ahead? And why has Jean suddenly reappeared? What does she want?
• Onetime spunky skirt-chaser Norman Cousins (Ronald Pickup) has taken up residence with his new significant other, Carol Parr (Diana Hardcastle). But, despite Norman’s efforts to remain faithful, the old urges continue to surface. Will he be able to stifle his impulses, or will he give license to his feelings? And what exactly do these feelings entail? He has much to think about, especially when a variety of unexpected revelations come to light.
• Madge Hardcastle (Celia Imrie) enjoys the freedom her relocation has afforded her. Having once been saddled with numerous demands on her time, such as frequent requests for babysitting her young grandchildren, Madge relishes her job at a local ex-patriot club and the attention she receives from two would-be wealthy suitors, Nimish (Avijit Dutt) and Abhilash (Atul Tiwari). But, even with these changes in her life, she still senses something is missing, feelings she quietly tries to sort out with her driver, Babul (Rajesh Tailang). Maybe Madge isn’t done making changes yet.
These stories play out against the backdrop of several other events that affect all of the residents. In addition to pursuing his operation’s expansion plans, Sonny is preparing for his upcoming wedding to his fiancé, Sunaina (Tina Desai). His attention from the big event is often distracted, however, by the meddling of his often-overbearing mother (Lillete Dubey). He’s also suspicious that a suave interloper, Kushal (Shazad Latif), a friend of Sunaina’s brother, has eyes for his bride-to-be. Sonny believes he has reason to be worried about this, too, especially when it becomes apparent that Kushal could be undermining his business plans.
Compounding all this is the appearance of two mystery guests who arrive unannounced. When American Guy Chambers (Richard Gere) checks in, Sonny immediately suspects he’s the undercover hotel inspector Mr. Burley spoke of. Chambers insists he’s a writer conducting research for a book, but Sonny believes that’s a cover story. Sonny thus goes out of his way to show his guest every courtesy, even if it means routinely inconveniencing the other new arrival, Lavinia Beech (Tamsin Greig). In fact, there’s almost nothing Sonny won’t do to win over his guest, something that earns the consternation of his mother, appalls Lavinia and raises the eyebrows of virtually everyone else, all of whom believe Sonny’s wrongheaded actions make him look foolish. It remains to be seen who has the last laugh, however, both in this and all of the other scenarios as they play out.
As this film’s predecessor so aptly illustrated, we’re never too old for an adventure or a new beginning. Indeed, as the old adage maintains, as one door closes, another opens. But, given the magnitude of the changes these characters implemented for themselves in the original film, some of them wonder about the necessity or prudence of making even more alterations in the wake of their relocation. Wasn’t that change enough in itself? Or was that just the beginning? And are they up to the challenge of making more adjustments?
Those familiar with conscious creation philosophy understand that we’re all in a constant state of becoming, our realities ever shifting in line with the ebbs and flows in the beliefs we employ to manifest the existence we experience. So, considering that, why would this principle cease to operate just because we’re getting on in years? Age, in fact, has nothing to do with interrupting this process unless we purposely draw upon beliefs that impose such a state of affairs upon us. Is that what we really want?
If anything, it would seem that keeping an open mind about change is especially important for those nearing the ends of their temporal journeys. With the biggest adventure of all looming, maintaining such a mindset could prove highly beneficial in preparing for that grandest of odysseys. That’s something all of the Marigold Hotel residents must contend with to one degree or another, and how they respond will affect the satisfaction and fulfillment they realize.
In tackling this task, it’s particularly crucial that we address an important consideration – our fears. Failure to do so can lead to stagnation, lost opportunities and regrets. This is true for both young and old, as the film illustrates, but it’s especially critical for those of advancing age. With the end of life approaching, they must ask themselves questions like “How many more chances have I got?” and “Do I really want the journey to end without having acted on impulses near and dear to me?” This is perhaps most obvious in the story line involving Evelyn and Douglas, but it’s apparent in virtually every other subplot in the picture’s narrative.
So how exactly do we go about this? One especially helpful tactic is to follow our intuition, because it gives us clues about how to proceed. All too often, though, we dismiss it out of hand, believing that its seemingly “illogical” impressions make no sense and that it will ultimately work against us. Yet nothing could be further from the truth. As one of the components aimed at helping us refine our beliefs, our intuition is a valuable source of guidance, and it would behoove us to listen to it.
We see this theme recur repeatedly in the film, especially in Madge’s story. Her choices regarding a suitor might “seem” evident, but are they really? If they were truly so obvious, then why does she have this nagging sense that something is missing from her options? And, in line with that, should she listen to those impressions, or are they just irrelevant nonsense percolating up in her consciousness? This is something only she can sort out, but, if she follows her heart, she just might find a very pleasant surprise awaiting her at the end of her deliberation.
Of course, in drawing upon these intuitional impulses, we must be careful not to let them become tainted by considerations like fear or doubt, as they can distort the information that’s trying to come through. This is territory where Sonny must tread cautiously. He claims to have a nose for sniffing out the truth, and he’s often spot-on in his assessments. But, on occasion, he lets his apprehensions get the better of him, giving him a skewed interpretation of his circumstances. Sometimes this can be chalked up to the inexperience of youth, a “shortcoming” that gets fine-tuned with age. All of which helps to illustrate why tapping into our intuition grows even more important as we grow older. Making use of it just might help infuse the gold into what should be our golden years.
“The Second Best Exotic Marigold Hotel” does what a good sequel should do – continue the story without rehashing the original, despite the presence of familiar elements and characters. It also improves upon its predecessor by doing a better job of meshing the interaction of the characters, something that was somewhat lacking in the original. This can be attributed to the picture’s generally thoughtful writing, though a few of its story threads are silly, with plot lines involving overblown misunderstandings rivaling episodes of Three’s Company. The acting of the ensemble cast is generally good across the board (especially Smith and Wilton), though some of it is clearly overdone (most notably Patel, whose infectious effervescence could clearly use some tempering). The picture also features an impressive Bollywood-style dance number, an ethereal soundtrack, and beautiful depictions of local color and culture.
It’s been said that “When we rest, we rust.” This expression is most often used in connection with retirement, but it’s just as applicable to all of us in our conscious creation practices. If we were to allow this capability to atrophy, we would quickly find life a lot less interesting and immeasurably less fulfilling. And, given our finite time in this reality, let’s hope we never let things get to that point.
Copyright © 2015, by Brent Marchant. All rights reserved.
Thursday, March 12, 2015
Conscious Film Reviews on Pinterest
Looking for one of my VividLife film reviews? Check out the Pinterest board that lets you find them all in one convenient location, available by clicking here. Of course, you can always find them on this page, too, but, wherever you read them, enjoy!
Wednesday, March 11, 2015
Check out GoodReads!
Want to ask me a question about my writing? See all of the available editions for my books, Get the Picture?! and Consciously Created Cinema? Read samples of my work? Find out about my latest blog? Learn more about my background? If so, then check out my updated GoodReads author page, available by clicking here. And, to see the GoodReads pages devoted to my books, click here and here.
Tuesday, March 10, 2015
The Latest from New Consciousness Review
Check out the new edition of New Consciousness Review magazine for my article, "Conscious Creation and the Silver Screen," my first submission to this excellent online magazine! To read more, click here.
Sunday, March 8, 2015
Check out Reviewers Roundtable
Interested in hearing about some great new books and movies? Then tune in for the latest edition of New Consciousness Review's Reviewers Roundtable on The Miriam Knight Show. Join host Miriam Knight and reviewers Cynthia Sue Larson and yours truly, available for on-demand listening, by clicking here.
Friday, March 6, 2015
‘Wild Tales’ looks at revenge, responsibility and karma
“Wild Tales” (“Relatos salvages”) (2014). Cast: Dario Grandinetti, María Marull, Mónica Villa, Rita Cortese, Julieta Zylberberg, César Bordón, Leonardo Sbaraglia, Walter Donado, Ricardo Darin, Nancy Dupláa, Oscar Martínez, María Onetto, Osmar Núñez, Germán De Silva, Érica Rivas, Diego Gentile, Javier Pedersoli, Lucila Mangone, Héctor Drachtman, Diego Velázquez, Alan Daicz, Ramiro Vayo, Marcelo Pozzi, Margarita Molfino. Director: Damián Szifron. Screenplay: Damián Szifron. Web site. Trailer.
When we’ve been wronged, many of us no doubt want to seek restitution. But how far do we go with this? When do we cross the line between seeking redress and pursuing vengeance at all costs? Those are among the questions addressed in the hilarious Argentine anthology comedy, “Wild Tales.”
“Wild Tales” consists of six vignettes that explore different aspects of revenge and its consequences, five of which are wickedly funny, with a sixth that’s more serious in nature. The stories include the following:
• Pasternak tells the story of an airplane full of passengers who all have a common – and unexpected – association with one another. Shortly after takeoff, Salgado (Dario Grandinetti), a music critic who once served as chairman of a panel of thesis judges at a conservatory, strikes up a friendly conversation with one of his fellow passengers, Isabel (María Marull), a fashion model. In the course of their chat, Salgado learns that he and Isabel have an ironic connection: Isabel’s onetime boyfriend, Gabriel Pasternak, a would-be classical musician, was once one of Salgado’s thesis candidates. He laughs and says he’ll never forget Mr. Pasternak because his work was so terrible, an opinion Isabel shares with an acknowledging chuckle. But, if this coincidence weren’t enough, another passenger who overhears their conversation (Mónica Villa) mentions that she was one of Gabriel’s high school teachers, noting that he was a bumbling student. The teacher’s admission subsequently gets the attention of other passengers and crew (Javier Pedersoli, Lucila Mangone, among others), all of whom say they know Gabriel, too, each acknowledging his quirks, faults and reputation. So how is it that all of these seemingly unrelated yet commonly connected people have ended up on the same plane? That’s what viewers will come to find out.
• In Las Ratas (The Rats), a stop at a roadside diner serves up more than expected. When Mr. Cuenca (César Bordón), a smart-mouthed malcontent, pops in for a bite to eat, he’s greeted by Moza (Julieta Zylberberg), the restaurant’s sweet young waitress. Cuenca’s insulting sarcasm unnerves Moza, raising suspicions that she’s met him before. It then dawns on her that he’s a loan shark who caused her family to lose their home, prompting her father’s suicide and forcing Moza and her widowed mother to move to a new town. In relating her story to the cook (Rita Cortese), a gruff, snarly ex-con, Moza says she’s going to tell Cuenca off. But the cook says a scolding isn’t nearly enough punishment for what he did. She suggests putting rat poison in his food, but Moza dismisses the suggestion, saying that her idea goes too far. The cook, however, has other plans. And, as serving time approaches, the heat gets turned up on more than just the stove.
• In El más fuerte (The Strongest), a pleasant drive in the country takes an unexpected dramatic turn. As well-heeled businessman Diego Iturralde (Leonardo Sbaraglia) embarks on a road trip in his new luxury sedan, he gets stuck behind a slow-moving road hog (Walter Donado) in a dilapidated heap. When Diego attempts to pass, the selfish motorist won’t let him by, either. The incident quickly escalates and turns ugly, and, even though Diego eventually manages to get past, he can’t help but hurl insults and flip the bird as he flies by. Not long thereafter, however, Diego suffers a flat tire, forcing him to stop and make repairs on the roadside. And, in no time, Diego’s nemesis catches up with him to exact revenge. The road rage that prevailed previously pales by comparison to what comes next, with results beyond anything anyone suspects – including the protagonists.
• Aggravating the wrong person can carry huge ramifications, as becomes apparent in Bombita (Little Bomb). Simón Fischer (Ricardo Darin), an engineer for a controlled demolition company, becomes irritated when his vehicle is towed while picking up a cake for his daughter’s birthday party. The reason? He contends he wasn’t parked in a no-parking zone. But, when he attempts to claim his vehicle, he’s met with towing fees, a parking fine and an uncaring bureaucracy. Then, when he arrives late for the party, he catches grief from his wife, Victoria (Nancy Dupláa), who says she’s tired of his excuses for putting his family behind everything else. And, if all that weren’t bad enough, things grow even worse thereafter. But everyone who wrongs Simón should remember what he does for a living; after all, he just might draw upon his skills and resources to get even.
• Making a deal with the devil is fraught with perils, as is evident in La propuesta (The Proposal). When Santiago (Alan Daicz), the son of a wealthy businessman, strikes a pregnant woman in a hit-and-run accident while driving impaired, he appeals to his father, Mauricio (Oscar Martínez), for help. Realizing that the car is likely to be implicated in the incident (even if the driver isn’t), Mauricio devises a plan to shield his son. He thus offers a proposition to his longtime groundskeeper, Jose (Germán De Silva): take the fall for the accident (an admission for which he’ll likely receive a short, “tolerable” jail sentence) in exchange for a huge payout. But, when Mauricio’s greedy lawyer (Osmar Núñez), a corrupt prosecutor (Diego Velázquez) and the victim’s husband (Ramiro Vayo) become involved, circumstances deteriorate rapidly, leading to an outcome worse than what anyone expected.
• It’s been said hell hath no fury like a woman scorned, and that theory gets put to the test in Hasta que la muerte nos separe (Till Death Do Us Part). The wedding of Romina (Érica Rivas) and Ariel (Diego Gentile) should be a happy occasion. But, when the bride learns her new husband has invited a woman with whom he had an affair (Margarita Molfino), she flees in tears. Romina escapes to the rooftop of the hotel hosting the reception, where she runs into a kitchen worker having a smoke (Marcelo Pozzi), who quickly proceeds to “cheer her up.” Moments later, when Ariel arrives, he finds his new bride in a compromised position, but Romina expresses no guilt. In fact, she threatens to take Ariel for everything he has, at which point she returns to what’s left of the reception as a changed woman. That return, however, fuels additional incidents that make what happened previously look like a cakewalk by comparison. Still, they say “love conquers all,” and the potential for that outcome strangely hangs in the balance, despite everything that’s occurred. (What a world.)
If it’s not already apparent, the stories in “Wild Tales” are all exercises in “be careful what you wish for,” especially where matters of vengeance are concerned. As conscious creation practitioners know, the process makes it possible to manifest virtually anything our hearts desire through the deployment of our beliefs working in conjunction with the power of our divine collaborator. And, with all options on the table, it’s a scenario that can work wonders – or wreak havoc.
In situations in which we feel we’ve been wronged, it may be natural for many of us to feel as though we want to get even, to exact what we think of as our “rightful” revenge. With sufficient clarity and focus, it may indeed be easy to manifest what we want in this regard, too. However, we must be careful to consider that these actions carry tremendous responsibility, not to mention consequences. This is true for both the perpetrators and victims of these materializations.
It’s easy to see how this principle affects those undertaking such ventures. In El más fuerte, for example, does the road hog really think he’ll be able to get away with his actions without consequences? Most would probably look upon what he does and believe that there surely will be hell to pay. In considering Diego’s response, many might feel that he’s justified in his actions – not realizing that his actions carry consequences, too, no matter how entitled he (and others) might believe he is in carrying them out.
As tempting as it might be to get even, it may not always be the wisest course. This calls upon us to carefully pick and choose our responses. For instance, making one’s feelings known without pursuing an accompanying act of aggression could be the best choice in some circumstances, as Moza’s actions suggest in Las Ratas.
Of course, this is not meant to imply that those who are wronged should just roll over and capitulate, either. As Simón wrestles with the greed of the bureaucracy and its minions in Bombita, he doesn’t hesitate to make his feelings known, even if those similarly affected don’t. He refuses to accept the status quo, lashing out while others just put their heads down and try to make their way through their circumstances as quickly and easily as possible. Their acts of complicity, while understandable, unfortunately serve to perpetuate the unjust creations perpetrated by their transgressors. They thus contribute to the materialization of this mass-created event. In that sense, then, they’re as much a part of the problem as those who concocted it in the first place. Simón, by his acts, seeks to be part of the solution, though, given what he’s up against, it’s unlikely he’ll be able to accomplish his goal all on his own. But his creations still serve a purpose by drawing attention to an issue that, one hopes, others will get behind and support to realize a different outcome moving forward.
As the film makes clear, those in positions of wealth, control and authority should be especially cognizant of the foregoing principles. In all six stories, those wielding these powers without regard for others fail to consider their need to tread carefully where those affected are concerned. If they don’t, they’re sure to get their comeuppance at some point – and most likely in extremely damaging ways. Those who wronged the unseen central character in Pasternak, for example, may find themselves in for a rather rude awakening. Such is the case also for Mauricio and his cohorts in La propuesta, for Cuenca in Las Ratas and for Ariel in Hasta que la muerte nos separe.
The bottom line in all this is that we must be aware of the beliefs we hold and what we seek to create with them. As any responsible conscious creation practitioner knows, we run the risk of tremendous peril, both for ourselves and others, when we obliviously engage in acts of un-conscious creation, the practice where we either ignore the process and let life unfold “randomly” or where we’re so focused on the outcome that we fail to take into account any of the ramifications that potentially accompany our acts of manifestation. The can of worms that may open as a result of this can be substantial, frequently reminding us that karma can indeed be a bitch.
“Wild Tales” is a raucously funny offering, at least in five of its sequences. The sixth, La propuesta, is considerably more serious than the others and, because of that, doesn’t quite mesh with the rest in terms of tone (even if it is thematically linked). The writing and acting are spot-on throughout, leaving viewers with no doubt about what the characters are experiencing, especially in Pasternak, El más fuerte and Bombita. Credit writer-director Damián Szifron for a job well done.
With all that said, however, a strong word of caution is in order: This film is definitely NOT for the squeamish or those who are easily offended. Some viewers might also find themselves feeling guilty or embarrassed for laughing at things that they ordinarily wouldn’t find funny. The picture’s uncompromising nature, though never gratuitous or grotesque, makes its points abundantly clear, presenting its material in a style akin to a tempered version of a Quentin Tarantino film. If you believe this is something more than you can handle, then stay away from this movie. But, if you’re someone who can laugh at our own folly without regret, then check this one out – you’re not likely to be disappointed.
“Wild Tales” has received a number of significant accolades for its efforts. The picture earned Critics Choice and Academy Award nods for best foreign language film, as well as a Palme d’Or nomination at the Cannes Film Festival, the event’s highest honor. The film is primarily showing at theaters specializing in independent and foreign cinema, and some of its online marketing materials may be found under the alternate title “Savage Tales.”
When others have transgressed against us, we might find it difficult to hold our tongues (and, from a conscious creation standpoint, even more difficult to “hold our beliefs”). As satisfying as exacting revenge may seem in the short run, there could be long-term consequences that might be far worse than anything perpetrated against us. So, when faced with such circumstances, we need to assess our options and consider a measured response, one that makes it point without ricocheting back on us. To do otherwise runs the risk of having even more heaped upon us than what we initially suffered, leaving us to sort out far more than what we ever bargained for.
Copyright © 2015, by Brent Marchant. All rights reserved.
When we’ve been wronged, many of us no doubt want to seek restitution. But how far do we go with this? When do we cross the line between seeking redress and pursuing vengeance at all costs? Those are among the questions addressed in the hilarious Argentine anthology comedy, “Wild Tales.”
“Wild Tales” consists of six vignettes that explore different aspects of revenge and its consequences, five of which are wickedly funny, with a sixth that’s more serious in nature. The stories include the following:
• Pasternak tells the story of an airplane full of passengers who all have a common – and unexpected – association with one another. Shortly after takeoff, Salgado (Dario Grandinetti), a music critic who once served as chairman of a panel of thesis judges at a conservatory, strikes up a friendly conversation with one of his fellow passengers, Isabel (María Marull), a fashion model. In the course of their chat, Salgado learns that he and Isabel have an ironic connection: Isabel’s onetime boyfriend, Gabriel Pasternak, a would-be classical musician, was once one of Salgado’s thesis candidates. He laughs and says he’ll never forget Mr. Pasternak because his work was so terrible, an opinion Isabel shares with an acknowledging chuckle. But, if this coincidence weren’t enough, another passenger who overhears their conversation (Mónica Villa) mentions that she was one of Gabriel’s high school teachers, noting that he was a bumbling student. The teacher’s admission subsequently gets the attention of other passengers and crew (Javier Pedersoli, Lucila Mangone, among others), all of whom say they know Gabriel, too, each acknowledging his quirks, faults and reputation. So how is it that all of these seemingly unrelated yet commonly connected people have ended up on the same plane? That’s what viewers will come to find out.
• In Las Ratas (The Rats), a stop at a roadside diner serves up more than expected. When Mr. Cuenca (César Bordón), a smart-mouthed malcontent, pops in for a bite to eat, he’s greeted by Moza (Julieta Zylberberg), the restaurant’s sweet young waitress. Cuenca’s insulting sarcasm unnerves Moza, raising suspicions that she’s met him before. It then dawns on her that he’s a loan shark who caused her family to lose their home, prompting her father’s suicide and forcing Moza and her widowed mother to move to a new town. In relating her story to the cook (Rita Cortese), a gruff, snarly ex-con, Moza says she’s going to tell Cuenca off. But the cook says a scolding isn’t nearly enough punishment for what he did. She suggests putting rat poison in his food, but Moza dismisses the suggestion, saying that her idea goes too far. The cook, however, has other plans. And, as serving time approaches, the heat gets turned up on more than just the stove.
• In El más fuerte (The Strongest), a pleasant drive in the country takes an unexpected dramatic turn. As well-heeled businessman Diego Iturralde (Leonardo Sbaraglia) embarks on a road trip in his new luxury sedan, he gets stuck behind a slow-moving road hog (Walter Donado) in a dilapidated heap. When Diego attempts to pass, the selfish motorist won’t let him by, either. The incident quickly escalates and turns ugly, and, even though Diego eventually manages to get past, he can’t help but hurl insults and flip the bird as he flies by. Not long thereafter, however, Diego suffers a flat tire, forcing him to stop and make repairs on the roadside. And, in no time, Diego’s nemesis catches up with him to exact revenge. The road rage that prevailed previously pales by comparison to what comes next, with results beyond anything anyone suspects – including the protagonists.
• Aggravating the wrong person can carry huge ramifications, as becomes apparent in Bombita (Little Bomb). Simón Fischer (Ricardo Darin), an engineer for a controlled demolition company, becomes irritated when his vehicle is towed while picking up a cake for his daughter’s birthday party. The reason? He contends he wasn’t parked in a no-parking zone. But, when he attempts to claim his vehicle, he’s met with towing fees, a parking fine and an uncaring bureaucracy. Then, when he arrives late for the party, he catches grief from his wife, Victoria (Nancy Dupláa), who says she’s tired of his excuses for putting his family behind everything else. And, if all that weren’t bad enough, things grow even worse thereafter. But everyone who wrongs Simón should remember what he does for a living; after all, he just might draw upon his skills and resources to get even.
• Making a deal with the devil is fraught with perils, as is evident in La propuesta (The Proposal). When Santiago (Alan Daicz), the son of a wealthy businessman, strikes a pregnant woman in a hit-and-run accident while driving impaired, he appeals to his father, Mauricio (Oscar Martínez), for help. Realizing that the car is likely to be implicated in the incident (even if the driver isn’t), Mauricio devises a plan to shield his son. He thus offers a proposition to his longtime groundskeeper, Jose (Germán De Silva): take the fall for the accident (an admission for which he’ll likely receive a short, “tolerable” jail sentence) in exchange for a huge payout. But, when Mauricio’s greedy lawyer (Osmar Núñez), a corrupt prosecutor (Diego Velázquez) and the victim’s husband (Ramiro Vayo) become involved, circumstances deteriorate rapidly, leading to an outcome worse than what anyone expected.
• It’s been said hell hath no fury like a woman scorned, and that theory gets put to the test in Hasta que la muerte nos separe (Till Death Do Us Part). The wedding of Romina (Érica Rivas) and Ariel (Diego Gentile) should be a happy occasion. But, when the bride learns her new husband has invited a woman with whom he had an affair (Margarita Molfino), she flees in tears. Romina escapes to the rooftop of the hotel hosting the reception, where she runs into a kitchen worker having a smoke (Marcelo Pozzi), who quickly proceeds to “cheer her up.” Moments later, when Ariel arrives, he finds his new bride in a compromised position, but Romina expresses no guilt. In fact, she threatens to take Ariel for everything he has, at which point she returns to what’s left of the reception as a changed woman. That return, however, fuels additional incidents that make what happened previously look like a cakewalk by comparison. Still, they say “love conquers all,” and the potential for that outcome strangely hangs in the balance, despite everything that’s occurred. (What a world.)
If it’s not already apparent, the stories in “Wild Tales” are all exercises in “be careful what you wish for,” especially where matters of vengeance are concerned. As conscious creation practitioners know, the process makes it possible to manifest virtually anything our hearts desire through the deployment of our beliefs working in conjunction with the power of our divine collaborator. And, with all options on the table, it’s a scenario that can work wonders – or wreak havoc.
In situations in which we feel we’ve been wronged, it may be natural for many of us to feel as though we want to get even, to exact what we think of as our “rightful” revenge. With sufficient clarity and focus, it may indeed be easy to manifest what we want in this regard, too. However, we must be careful to consider that these actions carry tremendous responsibility, not to mention consequences. This is true for both the perpetrators and victims of these materializations.
It’s easy to see how this principle affects those undertaking such ventures. In El más fuerte, for example, does the road hog really think he’ll be able to get away with his actions without consequences? Most would probably look upon what he does and believe that there surely will be hell to pay. In considering Diego’s response, many might feel that he’s justified in his actions – not realizing that his actions carry consequences, too, no matter how entitled he (and others) might believe he is in carrying them out.
As tempting as it might be to get even, it may not always be the wisest course. This calls upon us to carefully pick and choose our responses. For instance, making one’s feelings known without pursuing an accompanying act of aggression could be the best choice in some circumstances, as Moza’s actions suggest in Las Ratas.
Of course, this is not meant to imply that those who are wronged should just roll over and capitulate, either. As Simón wrestles with the greed of the bureaucracy and its minions in Bombita, he doesn’t hesitate to make his feelings known, even if those similarly affected don’t. He refuses to accept the status quo, lashing out while others just put their heads down and try to make their way through their circumstances as quickly and easily as possible. Their acts of complicity, while understandable, unfortunately serve to perpetuate the unjust creations perpetrated by their transgressors. They thus contribute to the materialization of this mass-created event. In that sense, then, they’re as much a part of the problem as those who concocted it in the first place. Simón, by his acts, seeks to be part of the solution, though, given what he’s up against, it’s unlikely he’ll be able to accomplish his goal all on his own. But his creations still serve a purpose by drawing attention to an issue that, one hopes, others will get behind and support to realize a different outcome moving forward.
As the film makes clear, those in positions of wealth, control and authority should be especially cognizant of the foregoing principles. In all six stories, those wielding these powers without regard for others fail to consider their need to tread carefully where those affected are concerned. If they don’t, they’re sure to get their comeuppance at some point – and most likely in extremely damaging ways. Those who wronged the unseen central character in Pasternak, for example, may find themselves in for a rather rude awakening. Such is the case also for Mauricio and his cohorts in La propuesta, for Cuenca in Las Ratas and for Ariel in Hasta que la muerte nos separe.
The bottom line in all this is that we must be aware of the beliefs we hold and what we seek to create with them. As any responsible conscious creation practitioner knows, we run the risk of tremendous peril, both for ourselves and others, when we obliviously engage in acts of un-conscious creation, the practice where we either ignore the process and let life unfold “randomly” or where we’re so focused on the outcome that we fail to take into account any of the ramifications that potentially accompany our acts of manifestation. The can of worms that may open as a result of this can be substantial, frequently reminding us that karma can indeed be a bitch.
“Wild Tales” is a raucously funny offering, at least in five of its sequences. The sixth, La propuesta, is considerably more serious than the others and, because of that, doesn’t quite mesh with the rest in terms of tone (even if it is thematically linked). The writing and acting are spot-on throughout, leaving viewers with no doubt about what the characters are experiencing, especially in Pasternak, El más fuerte and Bombita. Credit writer-director Damián Szifron for a job well done.
With all that said, however, a strong word of caution is in order: This film is definitely NOT for the squeamish or those who are easily offended. Some viewers might also find themselves feeling guilty or embarrassed for laughing at things that they ordinarily wouldn’t find funny. The picture’s uncompromising nature, though never gratuitous or grotesque, makes its points abundantly clear, presenting its material in a style akin to a tempered version of a Quentin Tarantino film. If you believe this is something more than you can handle, then stay away from this movie. But, if you’re someone who can laugh at our own folly without regret, then check this one out – you’re not likely to be disappointed.
“Wild Tales” has received a number of significant accolades for its efforts. The picture earned Critics Choice and Academy Award nods for best foreign language film, as well as a Palme d’Or nomination at the Cannes Film Festival, the event’s highest honor. The film is primarily showing at theaters specializing in independent and foreign cinema, and some of its online marketing materials may be found under the alternate title “Savage Tales.”
When others have transgressed against us, we might find it difficult to hold our tongues (and, from a conscious creation standpoint, even more difficult to “hold our beliefs”). As satisfying as exacting revenge may seem in the short run, there could be long-term consequences that might be far worse than anything perpetrated against us. So, when faced with such circumstances, we need to assess our options and consider a measured response, one that makes it point without ricocheting back on us. To do otherwise runs the risk of having even more heaped upon us than what we initially suffered, leaving us to sort out far more than what we ever bargained for.
Copyright © 2015, by Brent Marchant. All rights reserved.
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