Synopsis
Driven by fate, Vianne (Binoche) drifts into a tranquil French village with her daughter Anouk (Victoire Thivisol, from Ponette) in the winter of 1959. Her newly opened chocolatier is a source of attraction and fear, since Vianne's ability to revive the villagers' passions threatens to disrupt their repressive traditions. The pious mayor (Alfred Molina) sees Vianne as the enemy, and his war against her peaks with the arrival of "river rats" led by Roux (Depp), whose attraction to Vianne is immediate and reciprocal. Splendid subplots involve a battered wife (Lena Olin), a village elder (Judi Dench), and her estranged daughter (Carrie-Anne Moss), and while the film's broader strokes may be regrettable (if not for Molina's rich performance, the mayor would be a caricature), its subtleties are often sublime. Chocolat reminds you of life's simple pleasures and invites you to enjoy them. --Jeff Shannon for Amazon
Review
A drifting single mother comes to inject a healthy does of laicism and joie de vivre in a sleepy French village soaked up in bigotry. The two are at first ostracized but then, slowly, people in the village, and eventually even the strict, hypocritical and controlling mayor, are moved to see the brighter, sweeter side of life that chocolate represents. You don't have to be a chocoholic to get the point!
Binoche is simply superb throughout.
This well paced film is an invitation to free ourselves from stereotypes, and enjoy what life has to offer. I don't know if Steve Jobs ever saw this movie, but he might have said it is an exhortation to "be hungry, be foolish". Don't sit back and watch life flow past you, but look at what is new, unusual, apparently useless or even frivolous, and go for it: much good could come out for you!
01 July 2012
Photo exhibition: Robert Capa in Verona
Today I went to see the Robert Capa photo exhibition in Verona. Organized by Magnum Photos, the historic photographic agency founded in 1947 by Robert Capa himself, the great French photographer Henri Cartier-Bresson and other great photographers of that time, the Verona photo exhibition intends to pay homage to Robert Capa, one of the most influential photographers of the 20th century.
Description
The Verona exhibition presents some of the crucial moments of the history of the past century, documented by Robert Capa during his many trips. Almost one hundred photogaphs are shown, all B&W, which represent a compendium of Capa's work over a quarter century.
Born in Budapest in 1913, Robert Capa (born Endre Friedman) started working as a photographer in Berlin, and soon got in contact with an important photographic agency. With the rise of Hitler Robert Capa left Berlin and followed his restless soul across Europe until the start of World War II when he decided to move to New York and started working for “Life”.
The earliest pics are the photos taken in 1932 during the Leon Trotsky conference in Copenhagen, when for the first time the violence of Stalin regime was exposed.
We then move on to the Paris riots of the late 1930s. Capa then goes to war: first the Spanish civil war, then the Japanese invasion of China and finally the Second World War, where he followed the Allied landings in Sicily and then D-Day. On that fateful day he took over 500 pictures, but only a dozen or so survive because a technician screwed up the development of the rolls he sent back to England!
The exhibition in Verona also contains a display of photos showing some of Robert Capa’s friends, such as Hemingway, Faulkner, Matisse and Picasso.
We can also see photos taken in the Soviet Union in 1947, as well as the founding of Israel and finally his last photos taken in Indochina, where Robert Capa travelled to document the independence war and where he was killed in a mine field on 25th May, 1954.
Finally we see pictures of his lover Ingrid Bergman.
Review
I always loved his most quoted teaching to photographers around the world: "If your photographs aren't good enough, you're not close enough."
He certainly did get close to the action. He risked his life in many a war theater, often at the front line, and eventually died doing so. It is then surprising that he seems to have faked the most important image of his entire career. But then, at that time he was not a famous photographer. He was trying to scrape a living and might have given in to the temptation of creating a moving image when he could not find one.
I had a conversation with the exhibition guide about the famous picture of the "death of a militiaman" or "falling soldier". She argued it is genuine, the true instant when the loyalist militiaman was shot dead by Franco's forces. The picture has been controversial for a long time, but now the majority of scholars agree it was most likely staged. Another argument is about whether or not, if the photo was indeed staged, Capa was nonetheless justified in publishing it to send a political message. In my view, he was not. There is a difference between a mock image and a fake one, as it has been argued very well in this article (in Italian).
Some disagree, like my guide today. One famous article to argue that Capa's photograph was not staged was written by Robert Whelan in 2002.
Be that as it may, Capa remains a towering figure of photography. Another of his quotes I like, and try to implement in my travels, is: "Like the people you shoot and let them know it."
You can buy books with Capa's pictures on Amazon:
Here is his autobiographical essay on his work at the front.
 |
| Sicilian farmer showing the way to an American soldier |
The Verona exhibition presents some of the crucial moments of the history of the past century, documented by Robert Capa during his many trips. Almost one hundred photogaphs are shown, all B&W, which represent a compendium of Capa's work over a quarter century.
Born in Budapest in 1913, Robert Capa (born Endre Friedman) started working as a photographer in Berlin, and soon got in contact with an important photographic agency. With the rise of Hitler Robert Capa left Berlin and followed his restless soul across Europe until the start of World War II when he decided to move to New York and started working for “Life”.
The earliest pics are the photos taken in 1932 during the Leon Trotsky conference in Copenhagen, when for the first time the violence of Stalin regime was exposed.
 |
| D-day landing in Normandy, 6 June 1944 |
The exhibition in Verona also contains a display of photos showing some of Robert Capa’s friends, such as Hemingway, Faulkner, Matisse and Picasso.
We can also see photos taken in the Soviet Union in 1947, as well as the founding of Israel and finally his last photos taken in Indochina, where Robert Capa travelled to document the independence war and where he was killed in a mine field on 25th May, 1954.
Finally we see pictures of his lover Ingrid Bergman.
Review
I always loved his most quoted teaching to photographers around the world: "If your photographs aren't good enough, you're not close enough."
He certainly did get close to the action. He risked his life in many a war theater, often at the front line, and eventually died doing so. It is then surprising that he seems to have faked the most important image of his entire career. But then, at that time he was not a famous photographer. He was trying to scrape a living and might have given in to the temptation of creating a moving image when he could not find one.
Some disagree, like my guide today. One famous article to argue that Capa's photograph was not staged was written by Robert Whelan in 2002.
Be that as it may, Capa remains a towering figure of photography. Another of his quotes I like, and try to implement in my travels, is: "Like the people you shoot and let them know it."
You can buy books with Capa's pictures on Amazon:
Here is his autobiographical essay on his work at the front.
17 June 2012
Book review: Delusions of Gender (2011), by Cordelia Fine, ****
Synopsis
Review
I found this book interesting as a further reading in my series on the eternal conundrum of man/woman relationship. This book emphasizes the environmental influence on the development of man and woman, whereas other books looked at the psychological dimension (like "Men are from Mars, Women are from Venus") or at the biological evolutionary aspect (like "Why Men don't Listen and Women Can't Read Maps") of the differences between genders.
Put it another way, what these books purport to be hardware differences, Fine argues are only software differences, the result of education, upbringing, societal influences. Without these external conditioning there is no scientifically measurable difference in the brains of man and woman.
In my view the theory developed in this book does not necessarily contradict those of the other, hardware oriented, books. I came away persuaded both are at work and relevant. I also came away persuaded that it does not make a whole lot of difference, for practical purposes: I believe in equal rights between the genders, and so obviously we must strive for equal opportunity. That will probably not result in equal attitudes, equal predispositions, or equal approaches to problem solving. Or maybe, in time, it will. We'll see. For the time being it is clear that the most important thing is to be aware of existing differences, whether hardware or software. Pretending they don't exist can only be harmful to man/woman relationships and counterproductive to our effort to overcome discrimination.
A vehement attack on the latest pseudo-scientific claims about the differences between the sexes. Sex discrimination is supposedly a distant memory. Yet popular books, magazines and even scientific articles increasingly defend inequalities by citing immutable biological differences between the male and female brain. That's the reason, we're told, that there are so few women in science and engineering, so few men in the laundry room - different brains are just better suited to different things. Drawing on the latest research in developmental psychology, neuroscience, and social psychology, Delusions of Gender powerfully rebuts these claims, showing how old myths, dressed up in new scientific finery, are helping perpetuate the sexist status quo. Cordelia Fine, a cognitive neuroscientist with a sharp sense of humour and an intelligent sense of reality' (The Times) reveals the mind's remarkable plasticity, shows how profoundly culture influences the way we think about ourselves and, ultimately, exposes just how much of what we consider 'hardwired' is actually malleable. This startling, original and witty book shows the surprising extent to which boys and girls, men and women are made - and not born, empowering us to break free of the supposed predestination of our sex chromosomes.
Review
I found this book interesting as a further reading in my series on the eternal conundrum of man/woman relationship. This book emphasizes the environmental influence on the development of man and woman, whereas other books looked at the psychological dimension (like "Men are from Mars, Women are from Venus") or at the biological evolutionary aspect (like "Why Men don't Listen and Women Can't Read Maps") of the differences between genders.
Put it another way, what these books purport to be hardware differences, Fine argues are only software differences, the result of education, upbringing, societal influences. Without these external conditioning there is no scientifically measurable difference in the brains of man and woman.
In my view the theory developed in this book does not necessarily contradict those of the other, hardware oriented, books. I came away persuaded both are at work and relevant. I also came away persuaded that it does not make a whole lot of difference, for practical purposes: I believe in equal rights between the genders, and so obviously we must strive for equal opportunity. That will probably not result in equal attitudes, equal predispositions, or equal approaches to problem solving. Or maybe, in time, it will. We'll see. For the time being it is clear that the most important thing is to be aware of existing differences, whether hardware or software. Pretending they don't exist can only be harmful to man/woman relationships and counterproductive to our effort to overcome discrimination.
10 June 2012
CD review: Lama's Chants Songs of Awa, *****
Synopsis
Marking the 10th year since this popular Buddhist chant album was first released, this reissue ups the ante by featuring an expanded format. The first disc is a re-mastered version of the original album. The second features unreleased live performances by Gyurme and keyboardists Rykiel and Loy Ehrlich between 1995 and 2001, and it's this second disc that is truly intriguing. Recorded in caves, cathedrals, concert halls and open air festivals, the quality of the recordings is excellent. Mostly chanting and occasionally doing some long tones, Gyurme's voice again seemingly embodies a mix of the human and the holy during his prayers for healing, purification, liberation and peace--he's particularly spectacular on his solo intro to "The Mantra Of Padmasambhaval." Musically, Ehrlich seamless fills out Rykiel's ambient backgrounds, and two do a fine job accentuating the drama and majesty of Gyurme's voice, only overpowering it on the opening "Sacred Words Of Liberation." This is definitely a reissue that deserves to replace the original. -- Tad Hendrickson for Amazon
Marking the 10th year since this popular Buddhist chant album was first released, this reissue ups the ante by featuring an expanded format. The first disc is a re-mastered version of the original album. The second features unreleased live performances by Gyurme and keyboardists Rykiel and Loy Ehrlich between 1995 and 2001, and it's this second disc that is truly intriguing. Recorded in caves, cathedrals, concert halls and open air festivals, the quality of the recordings is excellent. Mostly chanting and occasionally doing some long tones, Gyurme's voice again seemingly embodies a mix of the human and the holy during his prayers for healing, purification, liberation and peace--he's particularly spectacular on his solo intro to "The Mantra Of Padmasambhaval." Musically, Ehrlich seamless fills out Rykiel's ambient backgrounds, and two do a fine job accentuating the drama and majesty of Gyurme's voice, only overpowering it on the opening "Sacred Words Of Liberation." This is definitely a reissue that deserves to replace the original. -- Tad Hendrickson for Amazon
09 June 2012
Film Review: Never Say Never Again (1983), by Irvin Kershner, ***
Synopsis
Sean Connery is back for his final performance as superagent James Bond in this high-velocity action thriller from the director of The Empire Strikes Back. When two atomic warheads are hijacked by the evil SPECTRE organization, Agent 007 is hurled into an explosive, pulse-pounding race to save the world from nuclear terrorists!
Review
Well this is not the best Bond movie. But then not every Bond movie can be the best Bond movie. It's good though, despite the mixed reviews. I also found it interesting to see Kim Basinger when she was thirty years old. Being an (ex) scholar on nuclear weapons made me giggle not a little for the awkward procedures and handling of the nukes... but heck it's a movie!
A bit sad at the end of the movie to hear Connery, while kissing Kim Basinger, replying "Never again!" when an emissary of his boss asks him to go back to work as the service is not the same without him. Well so it was the final appearance of the best Bond ever!
Missing at the beginning is the traditional gun barrel sequence, as this is (the only one) not produced by Eon Productions.
Sean Connery is back for his final performance as superagent James Bond in this high-velocity action thriller from the director of The Empire Strikes Back. When two atomic warheads are hijacked by the evil SPECTRE organization, Agent 007 is hurled into an explosive, pulse-pounding race to save the world from nuclear terrorists!
Review
Well this is not the best Bond movie. But then not every Bond movie can be the best Bond movie. It's good though, despite the mixed reviews. I also found it interesting to see Kim Basinger when she was thirty years old. Being an (ex) scholar on nuclear weapons made me giggle not a little for the awkward procedures and handling of the nukes... but heck it's a movie!
A bit sad at the end of the movie to hear Connery, while kissing Kim Basinger, replying "Never again!" when an emissary of his boss asks him to go back to work as the service is not the same without him. Well so it was the final appearance of the best Bond ever!
Missing at the beginning is the traditional gun barrel sequence, as this is (the only one) not produced by Eon Productions.
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