Category Archives: 1. Art

Patreon: Any Patrons Out There?

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I have been looking into the web-site Patreon.com, and wondering, as an artist and woman with a very unusual lifestyle (you know… being a hardcore barefooter AND artist) if this might not be a good way to go. Being an artist is a tough row to hoe financially… and being so stubbornly barefoot makes making a living a challenge (one I strive to rise to… and have had a lot of success at, but some help from my many barefoot fans to keep me happily unshod would be groovy). The point is, I am wondering if this is the kind of life Patreon might not be able to assist.

Patreon is a site artists and fans go to to find support and to offer support. As I understand it, the patrons promise contributions as small or large as they see fit so the artist can pursue their projects and lives without distraction or stress.

I think if I could raise my rent and utilities every month, it would free me up to make more art, and to make the glorious blog entries I have always wanted to write. I have wanted to keep a diary of my daily life as a barefooter, but have not, as that would require a lot of dedication and work. I have also been wanting to write lengthy art and illustration tutorials and lessons, but all the researching of images and scanning that would take is currently beyond my means. And of course, I have pages of unfinished and unpublished work I would love to finish and share.

The very first thing I would like to do is finish my glorious piece on my conversion to Hindusim, see the process on that piece so far here:

Page 1: http://barefootjustine.com/2012/06/02/god-is-speaking-to-you-page-1-in-process/

Page 2: http://barefootjustine.com/2012/06/02/god-is-speaking-to-you-page-2-in-progress/

Page 3: http://barefootjustine.com/2012/06/03/god-is-speaking-to-you-page-3-in-progress/

Page 4: http://barefootjustine.com/2012/06/05/god-is-speaking-to-you-page-4-in-progress/

I think if I could get this Patreon thing to work, I could create one helluva blog, live a stressless barefoot life, and make tons of spectacular art… and share every line and moment of it totally FREE!

Does anyone out there think this is a good idea? Would any of you want to support my barefoot life and my art?

I’d love to hear your thoughts and ideas… so please, comment away…

Being a Working Artist… Not Easy…

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So we got this work inquiry, it’s gonna pay $2,500! Our proposal was accepted, and I was sooooo excited! I mean, I could really use $2,500. There were details as to the nature of the project, lots of technicalities are underway (like stuff in writing, sending art samples and resumes, etc.), then I reread the initial inquiry, this is all for a project that is 3 or 4 years down the road.

Yeah, I said 3 or 4 years down the road!

When I realized this I sent the email below to Tom Hart who had scored the job for me/us:

“That’s as disappointing as not getting the job… not that I won’t need the work 3 or 4 years from now, too…

Hope I can get by until then.

Thanks for landing this, in three of four years I’ll buy you lunch!”

Micanopy Florida

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My view of Micanopy

My view of Micanopy

My view of Micanopy (side)

My view of Micanopy (side)

I decided that since I had a lot of repetitive computer work to do today that I would take the 20 minute drive to Micanopy Florida (where “The Yearling,” “Doc Hollywood,” and “Cross Creek” were filmed) to sit on the great wrap around porch of one of its ice cream parlors, sip a chocolate malt, and do my work.

These pics were taken from my viewpoint… kinda shows not only why I moved to Florida, but why I came here to work. It’s like Mayberry here in Micanopy and Gainesville… but with hippies and punks mixed in. Micanopy is the oldest inland town in Florida, is full of antique shops and lovely old buildings with gardened lawns. Very charming. Oh… and the chocolate malt was made with real malt and not that lousy syrup!

I have to say, if I can spend the rest of my life sitting on scenic porches barefoot and sipping at chocolate malts while I work… then I’m doing better than most.

I am grateful!

If you are wondering, I am working on an animated info-graphic for the University of Florida’s library. The job was bid on by Tom Hart (our founder at SAW–“Sequential Artists Workshop,” where I teach), and the project has essentially been handed over to me to write, direct, illustrate and animate, so I think I’ll include one of the background images just so you all can see what it is I’m working on.

Well… it’s time to set this HUGE malt aside before I drink it all and get fat. Back to work!

Barefoot Justine's Easter Island Bots for UF.

Barefoot Justine’s Easter Island Bots, a background drawing for SAW’s UF project.

Film Vs. Video

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I was watching the BBC Dracula with The Beard tonight, and realized something very important: I simply can’t forgive video. I love film. It seems to me that it is a virtual impossibility to create tone on video… anything shot on video has only one tone: shot on video.

And the problem, I realized is this:

Film has the capacity to bring us the universe in all its vastness, and video shows us a landscape as seen through a box.

And SAW (Where I Work)

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I reappeared on the SAW site… check it out here:

http://sequentialartistsworkshop.tumblr.com/post/90692097040/preparing-for-next-years-saw-single-year-program

Though it’s my not so humble opinion that we oughta change Tom’s wording from “opinionated” to “divinely inspired with life-changing and immutable insights.” Well… perhaps that would be coming on a little too strong.

Posts and Comments

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Hey, group, I have been told by more than one person that my site is not allowing people to post comments. If you have had this problem, please go to my “contact” link at the top of the page and send me an email so I will know how widespread this problem is.

‘Gator Bait & Me 2

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To read “‘Gator Bait & Me 1″ follow this link: http://barefootjustine.com/2013/01/23/gator-bait-me/

gatorbaitThe story of my dinner with ‘Gator Bait creators Ferd and Beverly Sebastian.

I have been a fan of Ferd and Beverly Sebastian’s drive-in Exploitation classic… ‘Gator Bait for a very long time. The video (as in VHS) release poster I scored from a video store has been on my wall since as far back as the eighties; though the movie itself was released in 1973. For me, ‘Gator Bait was the perfect movie, it was love at first sight, right from the establishing shots and fabulously moody tone set by the opening song. First impressions aren’t always enough, the movie has not only held up through multiple viewings, but I have continued to notice little things about it that have continued to endear it to me. ‘Gator Bait is one in a million, and so are its creators.

‘Gator Bait is, at its simplest, a classic example of the (rape) revenge genre, yet it stands wholly apart and reveals its genre-subverting secrets slowly. One of its greatest strengths is its complete lack of cynicism and its warm and beating heart, which it always keeps in the right place… dead center. There is a depth of observation about the characters that always revealed a woman’s touch to me, after all, Claudia Jennings suggested the most rudimentary concept for the film to her friend Beverly Sebastian, who wrote the exceptional script. Beyond all of its obvious qualities ‘Gator Bait appeals to me for very personal reasons as well.

Firstly, Claudia Jennings as Desirae is not merely sexy, but strong and barefoot throughout, apart from a few shod minutes in the beginning. And she is not only barefoot, but a barefoot wild woman. Movies that fall under the “wild woman” category have long been favorites of mine–for I can relate to them. The problem with most wild woman movies and stories is that they more often than not reveal a deepset puritanical streak. More often than not the wild women in the movies must either be tamed and forced into shoes and submission, or worse… they must die for their wild “pagan” wickedness. See the otherwise wonderful Gone To Earth for just one example of the wild woman formula in action. In Gone To Earth, Hazel, the wild woman, is severely chastised (frankly, killed off) for her “wicked ways,” while the men (of course) all walk away healthy and happy. ‘Gator Bait is a rare exception in that the wild woman survives with her wonderful wildness wholly intact–if not hardened a little through the course of her adventure. Two of the most important factors that make ‘Gator Bait such a shining example of Exploitation at its best are its insightful and compassionate portraits of both the heroine and the villains. The writing reveals a woman’s touch at every turn, and a strong and passionate woman’s touch no less, and that woman, Beverly Sebastian, is a powerhouse. The villains, five men who have set out into the swamp to hunt, try, judge and kill Jenning’s character Desirae, all have their own motives and are bound together through the intertwining of their sins, ignorance and mistakes. Along the same lines, Desirae is brilliantly portrayed as a strong Cajun woman who falls into none of the traps of what filmmakers today errantly consider to be strong women.

Claudia Jennings Gator BaitStrong women do not abandon femininity to become men. Modern films take a grotesque shortcut when trying to create a strong female character, they rob them of every ounce of their femininity and turn them into characters as shallow, flat and uninteresting as their male counterparts. Strong women in modern films walk like men, chew gum like men, sling big stupid guns over their shoulders like men, and act every bit the asshole the men do… but they have ever buoyant breasts. ‘Gator Bait takes a much more enlightened approach. Rather than dismissing or degrading the truly feminine, ‘Gator Bait goes against the grain, celebrates it and reveals the sublime strength of primal feminine power. Desirae is no doubt strong and courageous (and a damn good shot, too), but she is cunning, sly, quick and quiet, and most importantly, she largely plays a distinctly feminine cat and mouse game with the men who sexually abused and murdered her sister and are now pursuing her through the swamps for a murder she did not commit. She plays these testosterone addled men like fools and leads them to self destruction. As the film plays out we slowly watch the men become more and more unhinged and frightened not merely of her and her swamp, but of each other. Such subtleties are rarely seen in Exploitation films… and I have seen and loved tons of them. Setting all that aside, and perhaps every bit as important as such subtleties, ‘Gator Bait does not make any promises it doesn’t fulfill, in the words of we Exploitation fans… it pays off!

o_the-hitchhikers-1972-dvd-misty-rowe-5e1fOf course Ferd and Beverly have shot many tremendous and memorable films, even a second huge favorite, The Hitchhikers, another movie that made quite an impression on me. For a start, the lead is played by a woman, again, and she runs away from home barefoot. When I moved away from Ohio to Florida, I did so barefoot, and with nothing but the courage to take a leap of faith and the small envelope of cash I had acquired by selling off guitars, my car, and other stuff. As I walked out the door of my house in Ohio for the last time I could hear the music from The Hitchhikers playing over in my head. As you can imagine, the thought that I would one day meet the writer/producer/director team who created two such personally influential films was always a little faint daydream of mine. I have a longtime habit of seeking, finding, meeting and befriending my heroes, from the great artist Jeffrey Catherine Jones to French director Jean Rollin, whenever possible I have found my heroes and gotten to know them, thereby getting to know not only their work better, but myself as well. Those are the people I learn from. As an artist I haven’t spent much time with my contemporaries, not once I discovered I could shoot over their heads and aim for Masters and personal heroes–even in high school I was closer to my art teachers than the fellow students. For some time I had been trying to find Ferd and Beverly Sebastian, but they were elusive to say the least–read the attached and linked blog entry above for more on that.

Needless to say, having dinner with Ferd and Beverly several days ago was an unlikely and hard-won dream come true. And more than anything, that is really what this is about. I don’t care to review ‘Gator Bait, so many people have done that so badly already that I dare not cast my bait into those waters. Waters muddied by men (mostly) who would rather look down on the things they claim to love and laugh at them by using words like “Cheesy” or “Schlocky.” As for me, I would rather take the higher road and look up with respect and admire the things I love. If I am going to love something, why bother loving something I feel or see as being beneath me? I was never one to get together with people, drink, and laugh at movies, what a lowly and derisive pastime. The other thing such weak-minded reviews do is demonstrate that people do not know how to approach low budget, independent or “Exploitation” films. Most people come to them with eyes, ears and minds that have been brainwashed into only being able to view movies from a limited singular mainstream Hollywood-centric perspective. There are many ways to make, view, and consider movies, and in order to get all one can out of alternative, independent or low-budget film culture one must empty their cup before viewing a film like ‘Gator Bait. What I care to do here, rather than review ‘Gator Bait, is write about my evening with its creators and talk about how much it meant to me.

When I first contacted the Sebastians I had talked to Ferd on the phone, something their son Ben (who was also in ‘Gator Bait) had set up for me. Merely talking to Ferd on the phone flooded me with tremorous joy. As I hung up the phone, having set up a time and place to meet them, the anxieties crept in, the questions… will this be awkward, cordial, friendly, stiff, distant… or will there be a connection between us? When we (“The Beard and the Barefoot Girl”, i.e. me and my dearest friend and a fine artist, Joe Blue Sky) pulled up to the restaurant, within a few moments Ferd and Beverly happened to pull up right beside us. Shit! What are these people going to be like? I was set at ease by the warm and welcoming openness of our initial greetings. Ferd had looked at my artwork on this very site and was already impressed. That has been essential to breaking the ice for me. When I meet a hero I want to establish up front that I am not merely a fan, I am one of them, perhaps an equal. When one artist of skill and dedication meets another of the same skill and dedication the ice is instantly melted and a bond is easy to establish. This is never a manipulation on my part, nor is it boastful, it is merely my way of establishing that we are cut from the same cloth, that we can open up and communicate as equals. We must be at eye level, I cannot stand to be talked down to. Of course, Ferd and Beverly never once talked down to me, having seen my work made that impossible.

Once we all sat down together at the restaurant, Ferd and Beverly and Joe and I, I was astounded. ‘Gator Bait was now real in the sense that I had at long last connected not only to the movie, but now the man and woman who had created it 40 plus years ago were sitting with me and my very best friend over dinner! This movie was no longer something “other,” it was no longer some ethereal dream from the past that I would be forever at a distance from, it would now and forever be an actual part of “me,” of my life, it would be in my gravity and became ever so much more real. I like to get as close as possible to the things I love. It is a funny thing to think about, that until that dinner, ‘Gator Bait was always something distant, something I could watch but could never truly touch or take hold of, something I could never know intimately, it existed in shadows, like a dream. Now and forevermore, ‘Gator Bait will be something I have personally connected with. Moreso, it would now be something Joe and I had connected with together… this is a powerful bonding between friends and fellow artists.

mlc-607x335-sebastianFor a while at first we talked about their (primarily Beverly’s, I think) newer project, her greyhound rescue foundation–for more on that go here and make a donation: http://www.4greyhounds.org. Additionally, Ferd has been running a sincere healing ministry after a profound and mystical healing experience. Joe and I naturally assumed they would be more inclined to talk about their present rather than their past, but soon into the conversation about their greyhound foundation, Beverly became emotional and said, “Enough about greyhounds, let’s talk about movies.” God bless her for that, now we were off and running!

For the next 3 and a half hours, after a meal and cups of coffee, we talked with ease and openness, like (dare I say it) old friends. I realized that these people were both (up around 80 years old) very present in the now, still as vibrant and passionate as ever, so I figured they would not want to talk about their films much past this conversation, so I wanted to ask all I had ever wanted to ask so I could leave them alone about it forevermore. From that dinner forward, it would be easier for me to see them in the future and only talk about their films with them when they wanted to do so. I don’t know if they are always like this or not, but the floodgates opened up and I learned far more about not only ‘Gator Bait and The Hitchhikers, but about their other films and the Exploitation film business in general, their methods, and Claudia Jennings than I ever could have thought possible. The next 3 and a half hours were staggering, even mind-blowing. But the most important lesson I learned was that just because you’re 80 doesn’t mean you have to accept the trappings of old age, no, they were as vibrant and passionate as ever, and both of them sharp as tacks, and this was so because they made it so. I need no longer fear old age… it’s all in the mind, you know! I want to grow old like Ferd and Beverly Sebastian.

Though I loved Ferd, as a woman with few real role models, Beverly soon became my hero, the one I most wanted to talk to and learn from. As a producer, I learned, she was terribly serious, did her research and the innovative and hard thinking it took to market her films, right down to her marking all of the area drive-ins on a map and figuring out which ones would be best for her films, as at that time they only had 20 prints of ‘Gator Bait struck. Their ad campaign involved taking out teaser ads in the classifieds sections in the places they thought would be most likely to be spotted by their potential viewers… keep in mind this was all done before the main ads were ever seen. This sort of ingenuity and classic ballyhoo had been essential to the Exploitation film biz, a beautiful holdover from the carnival, circus and Vaudeville days. Sadly, in this time and in this culture, that sort of thing is dead, and they are among the very last practitioners of this lost way of thinking. I for one am rather romantic about such things, so am delighted to hear stories from those who lived such grand adventures.

Beyond that they were patient with question after question about ‘Gator Bait, and not merely patient, they often went far deeper than I had been ready to ask. As a barefoot girl myself, and a big fan of other barefoot women, I of course wanted to know if Claudia Jennings and Misty Rowe were barefoot in their films because that was how the actresses were, or if they were barefoot because that was how Ferd and Beverly wanted them to be. Ferd clearly stated that that was their doing as the creators. Funny, I don’t know if this was disappointing or satisfying… I’m gonna go with satisfying.

I had heard that Beverly had written ‘Gator Bait in a weekend after Claudia Jennings had asked her to write a film where she could do a lot of action but wouldn’t have to speak much. Beverly confirmed that she had written the script in a weekend, but it was in no way tossed off by her, it became very clear as she talked about it that the script was positively inspired. She referred to ‘Gator Bait as “autobiographical,” so she understood those characters and their lives quite intimately. This film was easier than others for her, as she did not have to do so much research. She talked about the importance of research in regards to her other films, especially in learning how the people she wrote about talked. Beverly said if she made a film about prostitutes, she spent time with prostitutes. I, being a classicist and a big fan of research and disciplined approaches, was delighted to learn that we shared this thoroughness. This also explained why the characters in ‘Gator Bait all had such intense personal histories and motives… she was writing these characters from the inside out. And the closer I got to understanding how heartfelt and thorough their methods were, the more I understood why we were all getting on so well… we all created our works in the same spirit of dedication and sacrifice.

ferd2Of course Ferd had exciting stories about directing, especially about directing the actor who played the demented and tormented Leroy in ‘Gator Bait. Evidently, as convincing as the actor was, when they met him he looked like a little frail English professor. He had to prove to Beverly that he could frighten her, so he took a moment at the audition, mussed up his hair, grabbed a ruler and came at her as if it were a knife and he were Leroy. Hired! But our Leroy’s problems didn’t end at the audition, Claudia’s first day on the set involved shooting the scene where Leroy comes at her to finish her off, but Claudia had told Beverly that she just couldn’t be frightened of this guy, so Ferd gave the actor a brilliant bit of direction. He told him that as he stalked and approached her, to pretend he had a metal plate in the center of his skull, and a small metal ball bearing was rolling around on it, and if it touched the sides, it would blow his head off. The brilliant part is, when you watch that scene in the end when Desirae has set a trap for him, that he easily foils, as he comes down through the brush you can see in his eyes and posture that the threat of that ball bearing rolling too far to the side was ever present in his mind. And, of course, you could see the fear in Claudia’s eyes!

I learned a lot about Claudia Jennings, who I have always been fond of, too. What their stories about her did was wholly humanize her for me. In my mind, up to meeting with Ferd and Beverly, Claudia was something of a creature created by the media. What I learned from the Sebastians was that far from the vulgar and truly exploitive way Claudia Jennings was portrayed as a drug-hazed party girl on E True Hollywood Stories, Claudia was quite an innocent, another dedicated professional, and a very dear friend to the Sebastians. Far more than a friend, I think they were family to her. Of course I learned lots of other things and we talked about how misunderstood she and her tragic and untimely death were, but the Sebastians are still loyal and protective of Claudia Jennings, so I will honor that and talk about little beyond her professionalism. Besides, all we really need to know, and all that really matters, is that Claudia Jennings was wholly serious about her work, research and training, innocent, kind, and loving. And for the Sebastians to pass that along is an act of great love, after all, what greater gift can one do for a departed loved one than make other people love them as well?

Claudia’s dedication ran deep, she spent a couple weeks learning to drive that boat in ‘Gator Bait. They said she even wanted to do her own jumps over the logs and such (which they absolutely forbade), but she did do her other stunts all by herself, even going so far as to steer with her foot in the scene where she stands in the boat and shoots at the men. Similarly I learned that in Truck Stop Women Claudia demonstrated the same dedication in that she took the time to learn to drive a truck. These people, none of them, from the actor who played Leroy to Claudia and the Sebastians, were half-assing hacks… they were devoted and disciplined in their approaches, and any review of ‘Gator Bait that uses words like “cheesy” or “schlock” are to be treated with dismissal and contempt. It was important for me to learn that their working methods and philosophies were so disciplined and sincere, primarily because I had always hoped that was so, and it would have broken my heart to find out otherwise. Simply put, these are my kind of people, which explains why I have always been so drawn to ‘Gator Bait, The Hitchhikers, and will no doubt feel the same as I become more familiar with their other films.

So here it’s been almost a week since I met the Sebastians, and they invited me to call them again to come to their house in a couple weeks, and I am certainly hoping this happens. They are good people, and I need friends like them, but then again, don’t we all? Claudia Jennings certainly did.

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My Latest Project

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The latest project I have been working on (as one part of a really great team of artists, writers and such) made Yahoo News. The part of this that is relevant to me is Bryan talking about the Odysseus graphic novel adaptation that I have contributed to through Tom Hart and SAW. It has been designed as a therapy tool for veterans with PTSD. The work is amazing and will be available fairly soon, but for now, check this out…

http://news.yahoo.com/ancient-myth-helps-veterans-battle-ptsd-153531485.html

Soon I hope to publish a few pages from that project on my site, so stay tuned for lots more! In the meantime, for a preview of a couple unfinished pages, check out these:

http://barefootjustine.com/2014/04/19/on-being-back-at-the-drawing-table-2/

http://barefootjustine.com/2014/04/23/am-i-difficult-to-work-with/

Saawariya

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Sonam Kapoor in Saawariya 1 facebook timeline cover 849 X 312 Sonam,Kapoor,SaawariyaI knew I had the evening all to myself. This is not really a good thing. I tend to be fine so long as I’m out, about and productively occupied, so long as the sun is still shining. The problem is, as soon as it gets dark and I’m left alone for the evening (which happens about every evening), the demons rise up and whisper my deepest fears into my ears until my head is filled with dreadful words dripping with worry. One of the ways to banish the demons is to become engrossed in a movie, in a movie that is truly more of an experience. Simply put, a movie that can take me away from all this… this fearful “self.” I wanted to see a particular kind of movie, you know what I mean, certainly you’ve looked for the movie that would be just right for your mood, a movie that you’ve never seen, a movie that creates precisely the right atmosphere and contains just the right amount of fantasy and drama for your needs… you know, a movie that doesn’t exist. I have wasted a lot of my time seeking “that movie.” Of course, the tone and texture of that movie changes with my moods, but I never seem to be able to find a crystallized version of that specific but incorporeal movie that only exists in my head. This night I wanted to see something as colorful as a Disney cartoon, as fantastical as a fairy tale, romantic, maybe exotic, oh… and wouldn’t music as tuneful as the songs of Harry Nilsson be nice, too? And of course, this movie had to be full of women I can relate to. I can’t really relate to “the modern woman” as she exists in America, especially as she exists in American pop culture, so this is an especially immoveable challenge. Needless to say, once I got to the video store I realized the absurdity of my quest and just started looking for something that might keep my restless mind occupied. I picked up everything from Pixar, to the fifties movie “Lilith,” to a collection of Gerald McBoing Boing cartoons. In the end I wound up in the Bollywood section at Video Rodeo, and I settled on “Saawariya.” I figured at best I could simply endure it, which would at least be a distraction.

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MCCARTNEY2Being a Western Hindu, one might assume I am a huge Bollywood fan, or a huge fan of all things India. Not exactly, I mean I am fascinated by the romantic promises of India, but unsure as to whether I could weather the realities of India. And so far as Bollywood goes, I have seen plenty of great Indian cinema, though rarely do the films I like fit into the Bollywood category, a notable exception being the classic “Sholay,” which is rather like a Bollywood “Butch Cassidy and the Sundance Kid.” This one, “Saawariya,” turned out to be a shining example of the sort of magic only possible in a Bollywood picture… anymore. No doubt my unconditional and instant love of this movie was greatly assisted by the fact that the lead actor looks a helluva lot like a young Indian Paul McCartney from the White Album, or perhaps straight off the cover of McCartney II.

I mean… that would be enough, right? Enough to elevate this to a fave. Just imagine, a romantic movie with a young Indian McCartney. Swoon! I’d like to say that that wasn’t why I liked the movie, and actually it isn’t, but the similarities are strong. For one, the lead actor is not afraid to be silly, ditto McCartney. For another the music is melodious in the film, as it is with McCartney’s. And there is not a shred of cynicism in this film, nor is there any of that in McCartney’s music. I know this comparison may seem absurd or obsessive, but it isn’t, McCartney embodies those things I value most, as does this film, as did this film right from the establishing shot!

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I surrendered myself to the film from the opening scene, and I decided to trust it and let it take me where ever it wanted to.

The story is based on the Dostoevsky story “White Nights,” and I don’t know much about the original story, but the film plays the story out like a wondrous fairy tale, and that, right there, McCartney stuff aside, is why I fell in love with this film at first sight. “Saawariya” is a fairy tale of the highest order. The imagery, the colors, the lighting, all create a world bathed in the sort of beauty I could sink into, never to be seen again. The visuals are opulent, as only films made by Indians can be (See Mira Nair’s sensual delight, “Kama Sutra”), any visit to a Hindu Temple would prove that the Indians know something about rich sensual beauty. The Indians, like no other, know how to celebrate beauty. Beautiful stories, beautiful costumes, beautiful boys, and stunning women. How could any people born under such beautiful Gods be anything but admirers of beauty? Perhaps I generalize, but in my experience, Indians know something about beauty that the rest of us seem to have forgotten.

“Saawariya” was a treat to my weary eyes, especially in the grim mire of modern American films which seem to be getting more and more obsessed with the dark side of reality, with being “realistic,” films which more and more seem hellbent on being colorless and drab. I loathed Jackson’s “Lord of the Rings” for that very reason, every damn moment in the film was olive drab, brown, or a cold and depressing blue. So it goes with the cynicism of our age, our art, and our culture. Fortunately India hasn’t turned its head too far West for too long. The Indian’s have not forgotten what fairy tales look like, not like Tim Burton has, as evidenced by his perverting Willy Wonka into his own twisted world of cornball (ahem) “dark” gothic fetishism. “Saawariya” is bathed in blues and greens, the backgrounds, I must confess, are close to monochromatic in some scenes, but even those blues and greens are not the blues and greens of depression and death, not like Jackson or Burton uses, no, these are the blues and greens of springs and valleys, of moonlit nights and magic! And these blues and greens always make way for warmer colors, and these blues and greens celebrate rather than mourn. There is so much to mourn in life, I don’t need to spend any of my time steeping in the mournful drab of Jackson or Burton’s visions. I would much rather dance in the light of “Saawariya.”

That, for me, is what truly set “Saawariya” apart, there is not a hint, trace, or even whiff of cynicism in the air. The film is unrelentingly romantic, emotionally tragic at times, but only so much as all the great fairy tales often contain a mix of romance and tragedy. Some might see “Saawariya” as mere fluff, I do not. The skill, inspiration, craftsmanship and artistry displayed in this film, the total commitment to beauty, were enough to leave me swooning for more.

I admire anyone today who dares to strive to create beauty in this culture, a culture that has forgotten how to approach or even admire beauty. We have confused beauty with our fragile attempts to make believe that ugliness is beauty, that the mundane is beauty. No, beauty is an elevated state, it is to be worked for, yearned for, earned for, and above all, treated with the deepest of spiritual respect. God how I dread modern photography, full of sober shots of banal American slobs in their filthy or spartan and visionless cages. We have forgotten the value of romantic ideals, of beauty for beauties’ sake. This film’s sole purpose seems to be to breath life into us through it’s sheer beauty. The backgrounds look like the very best of vintage Disney, but brought to life. “Saawariya” is shameless and unapologetically beautiful.

saawariya-2007-17b-1_1190632094One of my other pet passions is bare feet, especially other barefoot women. There are a few barefoot scenes in the movie, but there is not one barefoot character, nor extended scene of any character barefoot outside of their dance scenes or homes, and though I mourned that personally, it was hardly going to put me off the movie, but it certainly would have enhanced the movie for me, though this is hardly a criticism, and is much more of a personal confession.

The other thing is that I love Indian Pop! The stuff is always such an experimental mix of cultural influences all filtered through the purely Indian sense of melody and rhythm. The melodies in the film’s songs are bright, fresh, and moving. The melodies, though at times filled with influence from Latin ballads and pop culture, are truly things of beauty. This is music, great melodic film and pop music without the banal crud and clamor that has polluted the cheap chincy world of market-driven drivel and computer-ravaged aggression that is American pop. The dance numbers are visionary, rather than being an odd or even incongruous interruption in the narrative (as with many Bollywood movies), this music is integrated beautifully, and wholly essential! This really is a musical in the most glorious sense. A beautiful romantic musical!

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The characters are in and of themselves not merely archetypal, but charming and nuanced. They can surprise you.

Lilipop, the old woman who runs the inn where our hero stays, is quite a delightful character. The lead actor charmed even me, and most boys leave me rather cold, but this one drips with good nature and a certain unearthly, if not simple, wisdom. He does not swagger with testosterone-fuelled ego, no he plays, like a child, like Peter Pan, though far wiser, far more insightful and touching. Gulabji, the prostitute is also a charming character, vivid, full of life and confidence. Gulabji left me wondering what the boy saw in Sakina, who was by comparison rather sad and even gratingly devout. The one thing that I found most enchanting about the movie was that every single character seemed possessed of some sort of easy magic. There is a subversive nature to the film’s characters. At first glance it appears the boy is charming every woman he encounters, but we soon realize that he is wholly at the mercy of each and every one of them. These are powerful women. These are ultra-feminine women. These are women I can relate to. These women have style!

There are moments of wisdom throughout the movie. The boy hero, Raj, is not merely adorable and charming, like any lost boy, he is possessed of some wisdom, and certainly plenty of magic. He has come not only to fall in love, but to teach, to open up the people who surround him. He is there to speak of God, when he says that God never takes everything from us without giving us someone to take care of us. How true I know this to be. I had to be reduced to nothing, to absolute hopelessness myself, before landing in the arms of those who helped take care of me. Of all the things I have lost, I regret nothing. Everything I have lost was taken from me so that I might see beyond my attachments and move closer and closer to where it is I need to be. I never needed to remain in the company of the things I have lost.

of course, none of this writing was really about the movie, it was about my reaction to the movie, about how delighted I was to see it. I haven’t researched the movie, frankly, I don’t want to know. I don’t want or need to know if it was a hit or a flop. I don’t want or need to know what critics and cynics think. I don’t feel any need to allow that silly gob of pudding in my skull to shout down my heart. What is the point, I often wonder, of checking in with critics or writers, to meet what end? I have learned to trust my heart over my brain. My heart is telling me that this film made me feel warm and completely joyful, what business is it of my brain, of some critic, of some controversy to jump in and shit in my happy place? It is enough that the heart knows it has been filled with joy, I do not need or crave any approval from that self-righteous patriarch… the brain.

What this blog entry was about was, quite simply, that on this one day I went out looking for that movie, that specific movie I had created in my head, that ONE movie that would take me exactly where I wanted to go, that one movie that would wholly fulfill my needs. That movie was “Saawariya!”

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It’s nice, isn’t it, to know that once in a while a movie can really hit the spot? And it’s nice to know, isn’t it, that consciousness has a way of connecting artists with those who most need to see their work? Consciousness, our Godheads have spanned that distance between Flordia and India, and the artists that made this movie and I, we have shared in this beauty together.