The Answer is Still Blowin' in the Wind

One of the most powerful moments in The Baader Meinhof Complex appeared after the film ended. As the end credits rolled, they were accompanied by Dylan's lyrical anti-war song- The Answer is Blowin' in the Wind. Realising the classic's significance as a protest song during the 60's and 70's, one can reflect upon the irony that the terrorising Red Army Faction originated from the student anti-war protest movement.

It is beyond doubt that, although it is a story about a domestic terrorist group in 1970s' West Germany, the film is making references to the present-day 'War on Terror': The training camps in Jordan; terrorist network in Iraq; the struggle in Palestine; The 1972 Munich atrocity by Black September; Degrading depiction of the US administrations.

Perhaps what struck me most was the scene in which, the police chief, Horst Herold, was expressing his opinion to the anti-terrorist unit that capturing the leaders was not the right answer in dismantling the group. To find an ultimate solution is to first understand and later eliminate the motives behind the violence.

Fast forward 30 years later to 21st Century, when confronted with threats and attacks from the Islam extreme groups, the belief in military retaliation as the right solution is still the prevailing wisdom among superpowers. One can almost predict that so long as Homo Sapiens is around, forces can not be ruled out as the preferred settlement process in any conflicts.

That is indeed, the premise on which James Cameron's Avatar was based. Well into the 22nd Century (the year is 2154, time-stamped on the Sully's videolog) and, as the story goes, human beings are oppressing the Navi species on planet Pandora so the sought-after Unobtanium can be mined.

As observed by many reviewers, Cameron is referring to the various conflicts involving America (historical or otherwise)- from Vietnam to Iraq; from romanticised Pocahontas to fictional Dances with Wolves. I would venture further- the reference is to human civilization. Colonisation exists from prehistorical time and shall continue to thrive- in one form or another.

Cameron has provided a feel-good ending in that the natives of the land prevail over the aggressors. But realistically and historically, how often, if ever, do the natives triumph over the colonisers or will the aggressors, faced with a setback or two, ever stop pursuing their conquests?

The answer is…...

Neo-neorealism in Italian Cinema?

The film title, Gomorra, is both a word play on Camorra, the mafia gang name in real life, and reference to Sodom and Gomorrah in the Old Testament, the towns that were inhabited by grievously sinful people and destroyed by God.

As I take in the non-linear narration, I recalled the recent news that I read of the Italian Prime Minister's alleged mafia connection. It certainly provided an additional dimension and context in reading the film. Especially so as the director adopted a style of fusing fiction with reality, aided in no small parts by the performances of the actors, the on-location shooting and fantastic cinematography and sound engineering.

Italian cinema is, afterall, renowned for its Neorealism school.

Particularly impressive is the crane-shot sequence that tracks the informant as he hurried away from a gang-execution scene. As the camera followed his escape, the on-screen sound faded in and the audience see and hear the bustling daytime traffic that is just feet away from a bloodbath location.

Gomorra was touted by many critics at end of last year to win this year's Oscar for Best Foreign Film, along with Walt With Bashir. I have seen Walt With Bashir and also Departures, the winning entry. And although I am a big fan of Japanese cinema, I feel that Gomorra, though it was not even in the shortlist, is the most accomplished of the three.