it's called fate

Eternal Sunshine of the Spotless Mind directed by Michel Gondry takes a science fiction view on love and memory. I really enjoyed the film although at times it was a little confusing to follow because of all the flashbacks and vanishing characters and objects within the setting.

The one thing I found ironic in the film was that the characters, who choose to erase their past lovers from their memories, end up being attracted to their "ex's" again. Obviously Joel and Clementine are perfect examples, they both choose to erase their memories of each other (good and bad) but eventually end up meeting each other again. The fact that they are not only still attracted to one another, but meet up and fall in love emphasizes that they are "meant to be together." I see this as fate, when two people find each other against all odds - and fall in love.

Another exemplary couple is Howard and Mary. The doctor and his assistant had a previous relationship and in this case, Mary was the only one who had her memory erased. Similarly to Clem and Joel's re-encounter, Howard and Mary reconnect and fall for one another again. Unlike Clem and Joel, their connection isn't truly based on fate because Howard knew about their previously relationship - but the fact that Mary was still connected to Howard even after having her memory erased must have something to do with destiny.

It makes me wonder if this would happen in real life, if two people are destined to be together - then will they end up together? or do all the complications of our world today get in the way... Atleast in the Eternal Sunshine of the Spotless Mind fate was allowed to play it's game.

I don't want to be a hero!

In class we watched Stage Coach and Unforgiven - both westerns - whose main characters are reluctant heros. This theme of undesired glory seems to be prevelant throughout all westerns especially in Unforgiven. William Munny is a widowed pig farmer with two kids and a history of ruthless killing.The last thing he wants to do is go back to his "old ways." But with some convincing by the Schoefield kid, Will decides he'll do the job. Throughout the film Will's lack of desire to be famous becomes appealing. The audience roots for him because his killing is "justified," he's doing it for the good of man kind, not for the glory. In contrast to the Schoefield kid who is searching for a way to become a hero. Schoefield need for attention makes Will look better than ever. As time goes on, the audience hopes applaudes Will when he kills others. At times the killing becomes excessive (especially toward the end of the film), but the audience pays no attention to this - they seem almost pleased. Due to Will's reluctance to be a hero, the audience becomes more engrossed with his story of success. They constantly push for Will to rise to the top and kill the bad guy. Will's consistent resistance to being the center of attention or the hero makes him more likeable because of his humility and selfless actions. In a world that's consumed by egotisical, self centered people - it's very attractive to find someone who isn't that way, and the audience finds that in Will Munny.

Music sets the scene...

In the film Babel directed by Alejandro Gonzalez Inarritu, music helps create the setting. Gustavo Santaolalla, composer, received a BAFTA film award for best film music in the film, although creating a score for it was no easy task.

Babel portrays four intertwined stories which take place all over the globe. The film begins in Morocco with a family of goat farmers, then travels to Susan (Cate Blanchett) and Richard Jones (Brad Pitt) visiting Morocco from America. The setting then switches to Japan where Yasujiro (Koji Yakusho) a recently widowed man and his deaf/mute daughter Chieko (Rinko Kikuchi) struggle to cope with the suicide of a family member. Again the setting switches to the US where Amelia (Adriana Barraza) is taking care of two children Debbie and Mike in a wealthy home. Like I said before – connecting these four stories with music was a true test of ability, but Santaolalla was up for the challenge.

Santaolalla peaked early in his career by winning an Oscar last year for Brokeback Mountain although his approach to score writing is somewhat unorthodox. Unlike others, Santaolalla composes music before the film is finished - specifically with Babel. Santaolalla followed the director, Inarritu, around the world to find a deeper connection with the settings and film. He provided the director with material to use before the actual rolling of the camera.

Particularly in Babel, music plays a large role in setting the scene for the audience. Due to the fact that there are four intertwined stories to follow, it sometimes becomes difficult to keep track of the location; this is when the music comes into play. By creating certain “motifs” (if you will) Santaolalla aids the audience in finding the site where the story is now taking place. The music travels across cultures combining sounds from Morocco, Japan, America and Mexico. “The experience is a musical assault on the senses, a real voyage of discovery for the listener” (Mike Beek, a film reviewer) Specific songs such as “Cumbia Sobre el Rio” and “Tu Me Acostumbraste” depict the Mexican culture, while songs from Takashi Fuji help portray the “pop” lifestyle of Chieko in Japan.

Not only does Santaolalla use music as a tool to “set the scene” in the film he also uses it to connect the many settings and stories. “Two Worlds, One Heart” and “The Skin of the Earth” combine music from cultures across the globe creating more ties between the seemingly random stories.

Gustavo Santaolalla created an amazing score full of culture and variety for the film Babel. It could be listened to an enjoyed, without ever having viewed the film. But because of his phenomenal talent and dedication this composition encourages the viewer to travel around the globe and become immersed in the story itself.