liuxing

Book Review

Sun, 19 Aug 2007 20:51:58 GMT

This review was written after taking the CPE, as a task for my English course at university. ( Subject was free, and The Sound and the Fury is one of my favourite books.)

The Sound and the Fury by William Faulkner

What should be first noted in this novel is the structure of its narration. The story is split into four sections, each recounting episodes from the lives of the Compson family members as viewed from different perspectives. The use of vocabulary and sentence structure varies greatly in order to illustrate the different modes of thinking of the characters and their individual takes on life.

The first section is told by Benjyamin, a mentally retarded 33 years old and the eldest son of Mr Compson and his wife. Benjyamin’s approach to reality is instinctive and rooted in physical sensations. He does not attempt to recognize relations of cause and effect between events, nor motivations beyond people’s actions. He also neglects to distinguish between past and present occurrences, which can become extremely confusing to the reader. In a sense, he is the most objective among the narrators, and his childlike descriptive style is a token of the lack of communication among people depicted in the novel.

The second section is written from the point of view of Quentin Compson, the second-born, who has been sent to Harvard university in Massachusetts, but who is chronically unable to cut ties with his past in the South. Quentin’s mind is complex and multi-layered, making this the most intriguing section of the book, since it provides a sympathetic insight into the characters’ lives in the Compsons’ household. A few themes are obsessively repeated throughout the chapter, the most prominent being the passing of time, which Quentin refuses to accept because it would mean forgetting the past to which he is so attached, and the relationship with his sister Candace, whose sexual affairs have led to an early pregnancy and to her being forced to leave the family. Although Quentin appears to love his sister, he is traumatized by what he – and the traditional morality of the South – regards as a sin of promiscuity. Caught in the contradiction between a rigid set of values and the inevitable fondness he feels for Candace, Quentin is stuck trying to reconcile the two, replaying crucial moments of his brother-sister relationship in continuous flashbacks intermingling with the present, to the point of confusing reality and memories. Another influent figure in Quentin’s mental universe is that of his father, a nihilist, whose words provide a running commentary to his son’s existential crisis. Quentin’s section ends with his suicide, for which he has been discretely making arrangements since the beginning of his narration, and which seems the only possible outcome of his desperate state of mind.

The third section is told by Jason Compson, the fourth son, born after Candace, and their mother’s only favourite. After Quentin’s emotional intensity, this character appears cold and detached, only concerned with material wealth. Despite being the most sane of the Compson children, he completely lacks human sympathy, even towards his kin, as shown by the fact that he deceives his mother on money matters, while at the same time pocketing the cheques that Candace sends to her daughter, now living under Jason’s guardianship. Throughout the section, he never displays affection of any kind towards other people, and he is eventually robbed of all his savings by Candace’s daughter, who flees away with an actor, presumably following in her mother’s path of self-destruction.

The last section is narrated by an external, invisible narrator, and is centred on the daily routine of the black servant who looks after the house and its inhabitants. Although Dilsey is a strong, sensible woman, she is bond to the Compsons by her condition of servitude, and takes part in the family’s suffering. She represent the human counterpart to the other members, catering for the selfish demands of Mrs Compson and worrying over the family’s destiny. Her presence at the closure of the novel seems to reinstate the element of social critique which emerges from previous passages, possibly suggesting that the whole story is an allegory of the condition of the South, doomed to be destroyed by its own contradictions.

It would be difficult to infer a unifying message from The Sound and the Fury, though some of the author’s intentions are clear. At the heart of the family drama lies its members’ inability to comprehend their own feelings. They have been so profoundly warped by social and moral restrictions that they cannot even envision a more serene approach to life, and their attempts at escape invariably end in disaster. In this bleak conception of life, the wisest solution is suicide, which is the only way for Quentin to stop the flow of time and preserve what is left of himself, of the memories that make up his true individuality.

Film Review

Sun, 19 Aug 2007 20:42:15 GMT

Howl’s Moving Castle is the latest production by Hayao Miyazaki, a world-wide famous Japanese director. This intense fable of love and magic is meant to strike a chord in children and adults alike.

The castle of the title is the residence of an attractive young magician named Howl. The whole plot revolves around his enigmatic figure and his relationship with Sophie, a seventeen-year-old girl who works in a hatter’s shop. After being transformed into her older self by a cruel witch, Sophie finds shelter in Howl’s castle where she starts working as a housemaid. Magic dominates both people and events and Sophie is forced to deal with a haughty fire demon, a stubborn scarecrow, a powerful witch who is trying to subject Howl to her will and her own ageing body. In the meantime, a war breaks out and Howl’s secret starts unravelling, with disquieting consequences. As the situation worsens, Sophie begins to realise her feelings as she struggles to fight both Howl’s curse and her own, in a world that can by turns be cruel and selfish or reassuring and breathtakingly beautiful.

What makes this probably the most compelling animated movie of the last few years is the finely portrayed psychology of the characters. Regardless of the overtly fantastic context, Howl and Sophie are surprisingly real in their fears and ambitions, as in their slowly progressing relationship. Moreover, despite some depressing themes such as armed conflict, alienation and loss of identity, the story manages to retain an enchanted atmosphere, and the ending conveys a sense of renewed hope.

Spectacular colour effects and Miyazaki’s typical style, which is easily recognisable in the cartoons, add quality to the spectacle.

Rarely have I seen such an intriguing and captivating animated movie as Howl’s Moving Castle. I therefore wholeheartedly recommend it to children and their families. I am certain it will provide a few hours of genuine entertainment and emotion.

Film Review

Thu, 09 Aug 2007 10:16:25 GMT

This is another film review. This one was written in 2005 as preparation for CAE, which is another English exam.

REVIEW : ARIZONA DREAM

Arizona Dream is a work by Kusturica, the celebrated director of the film Black Cat White Cat.

It portrays a powerful story of love and spiritual growth, brilliantly interpreted by a cast of experienced actors.

Axel, played by Johnny Depp, is a young coast guard fascinated with fish. He dreams of moving to Alaska, where he hopes to find peace, simplicity of life and a sense of privileged contact with a wild, untamed nature. His dreams, however, clash with his uncle’s aspiration of having him inherit his job as a car seller. While practicing to learn the secrets of the trade, Axel falls hopelessly in love with Elaine, a wealthy customer who, despite her age, fervently returns the feeling. He is soon involved into her dream of building a flying machine, which seems to absorb him completely. Their happiness is constantly endangered by Elaine’s embittered daughter, Grace, whose repeated suicide attempts and hostility set Axel on the verge of a nervous breakdown.

As everyone’s masks begin to fall and the line between sanity and madness becomes blurred, Axel has to come to terms with his attraction for Grace and the frail balance between life and death that appears to characterize the trio.

Kusturica is absolutely successful in depicting the loss of dreams and ideals typical of the modern society. The characters portrayed are all selfish and immature and cannot find their role in an oppressive society that condemns their ambitions. Being incapable of conforming to commonly accepted behaviour, they can only find their ultimate relief in death. Only Axel is able to achieve an understanding of reality and people, thanks to his sensitivity.

Throughout the film, the characters’ emotions are echoed by Kusturica’s magnificent soundtrack, which enhances the strength of their feelings.

Arizona Dream has affected my concept of life on more than one level and has provided me with a valuable insight into people’s motives. I recommend this film to those who are not afraid of exploring their inner depths.

Film Review

Thu, 09 Aug 2007 10:00:14 GMT

This review was written as practice for CPE (Certificate of Proficiency in English).

REVIEW: Spirited Away by Miyazaki

Japanese film director Hayao Miyazaki is known worldwide for his animated films, which are called anime in Japan. There is a frequently held misconception about anime in the Western world, since most people are convinced that cartoons are only for children, and that adults cannot watch and enjoy them as well.

The reason for this misconception can be sought in the general standard of the anime market, which floods Italy with products whose main features are bad animation, poor graphics and, more often than not, a tragic lack of consistent plot. Low-quality Japanese anime often purport life-styles and values connected with violence, a primeval sense of justice and sentiments, such as love and friendship, which are stereotypical and sketchy at best.

This harsh verdict, however, cannot be applied to the whole production of anime. Indeed, the cartoons we regularly see in television are just a minor sample of the Japanese anime world, which is far more complex and definitely worth investigating into. Miyazaki’s Spirited Away is a valid proof for that.

As a Studio Ghibli production, this film offers a superior quality guarantee as far as drawings, colours and soundtrack are concerned. It is Miyazaki’s special hand, however, that makes this work a jewel. Spirited Away narrates the adventures of ten-year old girl (Chihiro) who is trapped in a world inhabited by spirits and monsters and ruled by an evil sorcerer, while her parents are held captive in newly acquired pig-forms.

Chihiro, who is immature and inexperienced at the beginning of the story, is forced to work her way up the social ladder of the spirit world in order to save both her parents and Haku, a young water spirit whose presence and constant support are becoming increasingly vital for her. Chihiro undergoes a slow, sometimes painful change, but she never forgets the most important thing, that is, her real name, stolen by the sorcerer (Yubaba) who now owns her soul.

Some characters are representative of Miyazaki’s favourite types: Haku, powerful, protective and frail at the same time, Kamajii the spider spirit, who hides a golden heart beneath his brisk, dismissive attitude, the avid witch Yubaba, obsessed with money and power, unbending to pleads or prayers but ready to jump at the cries of her spoiled giant baby, and finally, the enigmatic No-face, who undergoes a change in personality even more dramatic than that of Chihiro. The themes are equally various, and not once does the director fall into cliché. Emotions and feelings are often enhanced by the suggestive scenery, rich in images taken from the Japanese traditions of fairy-tales, which often look entertainingly original to the Western eye.

Similarly to Alice in Wonderland, this story should be red on more than one level. Chihiro’s journey can be easily seen as an accurate analysis of the subconscious of children. Emphasis is put on the relationship between parents and child, which is doomed to change as the child realise that his parents are not almighty god-like figures, but that they too make mistakes and misjudgements, and need to be protected. In Spirited Away, Chihiro first scolds her parents for their reckless behaviour and, after their transformation into pigs, becomes totally committed to rescue them and get them back to their original form. The film also explores the inner psychological workings connected with the process of growing up, establishing friendships and finding a place in the world of adults.

One more distinctive feature of this tale is Miyazaki’s ability to hint at a whole universe lurking at the edges of the main scene. Only a tiny bit of the world of spirits is revealed to the spectator, while most side situations, social dynamics and background stories remain in the shadows. This technique produces a feeling of inner depths, surrounding the characters with an unfathomable sense of mystery, but is also crucial in providing a solid, realistic context. Dreams – and the subconscious – cannot be explained in their whole, but merely hinted at through the power of imagination.

I would like to stress the role of the imagery to convey a specific feeling, with reference to one of the last scenes, in which Chihiro is on a train, travelling away from Yubaba’s spa and further into the world of spirits. The railway is underwater, and the train runs on the ocean, interrupted here and then by a random farm or station, where incorporeal dark figures are waiting for it to pick them up. At sunset the water, reflecting the fading light and warm-coloured clouds, looks like a reversed sky, and the train seems to be running through the air.

In this context, the girl’s loneliness and her fear, interwoven with a blooming love for all creatures and the calming effect of a charming nature, are poetically conveyed as universal feelings.

I strongly recommend the vision of this film. As you will discover, it is not a product aimed exclusively at children, as adults can take great delight in watching it. This beautifully told tale will lead you into a colourful wonderland empowered by the imagination of both Western and Eastern popular traditions.

First Entry

Wed, 30 May 2007 16:45:24 GMT

Hi. This livejournal will mainly serve as a place to store schoolwork, random essays and links. English is not my native language, so expect some mistakes! Feel free to comment.

I don't think there is anything else I wish to say...so, um, have a nice day!