Samsara (2001)

The Internet Archive is a strange site, but also rewarding. The structure leaves much to be desired, but the positive side is that in order to find what you are looking for, you are likely to stumble upon other interesting films in the process. Like when I was looking for the film Samsara (2011), which I reviewed a few weeks ago.

After some little confusion, it dawned upon me that there are in fact two films with the same title at the Archvie, and the other Samsara also seemed interesting. It is hard to imagine two films that are more different; yet both embody the Sanskrit word ‘Samsara’, which in Buddhism refers to the constant cycle of life – birth, death, rebirth – and yet both evoke the same feelings of wonder and awe.

Buddhist monks in Pan Nalin's Samsara (2001)

Samsara is about the Buddhist monk Tashi. He is young, yet he has been in the monastery for most of his life. He is very devoted, but after meeting the young woman Pema, he suddenly starts to have feelings of doubt. Is this all there is to life? What about love? Family? He decides to leave the monastery to seek Pema and try to find out.

Samsara is a film about people trying to cope with everyday life, in a part of India where most things are what they have been for centuries. People weave their clothes and farm their fields in the same way as their grandfathers and grandmothers did. But modern life is drawing closer, along with all its blessings and curses.

This is a very beautiful film, filled with the magnificent nature of countryside India. But even though nature is important and breathtaking, focus is always on the humans living in it; on their strenghts and their faults. This is a very warm and loving film.

This film is best enjoyed when you have plenty of time and nothing to disturb you for a few hours. Samsara is a film that allows, and requires, room for contemplation.

Shawn Ku and Christy Chung in Pan Nalin's Samsara (2001)

Samsara
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Year: 2001
Running time: 2 h 19 min
Directors: Pan Nalin
Image quality: Good
Resolution: Low (608×288)
Sound quality: Excellent
Best file format: Cinepack (1.4 G)

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Broken Blossoms or The Yellow Man and the Girl (1919)

D. W. Griffith seems a very peculiar character in retrospect. Already an experienced director, he went ahead in 1915 and created one of the greatest classics in the history of cinema, The Birth of a Nation. Though a great financial success, it was justly criticized for racism and falsifying history. So the next year, he made Intolerance, allegedly in response to his critics of the former film. This was another majestic classic, but as for the response over the previous film, it falls flat.

So Griffith could have gone down in history as a racist film maker, but then in 1919, he made yet another of his greatest classics, Broken Blossoms or the Yellow Man and the Girl. Here we find a direct and unequivocal statement against racism and intolerance. Hard to tell what Griffith really thought on the subject; the films are his legacy and still deserve to be watched.

Richard Barthelness and Lilian Gish in Broken Blossoms or The Yellow Man and the Girl (1919)

Broken Blossoms tells the story of poor Lucy, whose father is a brutish and alcoholic boxer. He beats her for any poor excuse and forces her to do all the menial tasks in the household. But then she meets a young Chinese. He is also lonesome and disheartened, and they find that they are soulmates, able to lift each other to happiness neither thought possible. Fortune cannot hold forever, of course, though I will not reveal the ending here.

Lilian Gish, one of Griffith’s favourite actors, plays Lucy. Gish is sometimes mentioned as one of the greatest actresses of the silent era. Well, I am not entirely convinced, but she certainly makes a fine portrait in this particular film. In a time when overacting was the norm, Gish did it more than most. She had a pronounced flair for acting miserable, distressed or frightened, and in this film she has little reason to do anything else. In particular, there is a famous scene where she hides in a closet, while her raving father breaks down the door with an axe. This was the kind of scene where Gish absolutely excelled.

Artisitically, Griffith was perhaps at his peak here. He had a few great films ahead of him, but by the mid 1920s, it became steadily clearer that the man who once revolutionized film making had failed to stay ahead of the pack. Hence, you will find that in some ways the film has not aged well. Even so, its classic status cannot be denied.

This film is best enjoyed when you are in the mood for tragedy. This is not a feel-good movie.

Lilian Gish in Broken Blossoms or The Yellow Man and the Girl (1919)

Broken Blossoms or the Yellow Man and the Girl
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Year: 1919
Running time: 1 h 29 min
Director: D. W. Griffith
Stars: Lilian Gish, Richard Barthelmess
Image quality: Acceptable
Resolution: Medium (512×384)
Soundtrack: Good; synchronized with the images
Sound quality: Acceptable
Best file format: DivX (493 M)