The CK’s not-so-secret Santa review swap in August (should have been July but I missed the deadline), where I employ the talents of a distinguished film studies professor to analyse the first nine minutes of Tromeo and Juliet
Nick over at Cinekatz, put together a blogathon for July called “The CK’s not-so-secret Santa review swap in July” where bloggers gifted films for other bloggers to review. However, much to my eternal shame, I missed the end of July deadline for the film which was gifted to me. That film was Tromeo and Juliet.
Y’see, I somehow didn’t find the time to watch it. With all this in mind, I employed the talents of a distinguished film studies professor to analyse the film for me. He sent me back his analysis of the first nine minutes of Tromeo and Juliet, where I then created a far catchier title than Nick’s for the blogathon, calling it “The CK’s not-so-secret Santa review swap in August (should have been July but I missed the deadline), where I employ the talents of a distinguished film studies professor to analyse the first nine minutes of Tromeo and Juliet”, a blogathon exclusive to me and my utter tardiness.
Take it away, professor!!
The Professor says: The opening sequence has Lemmy Out Of Motorhead (to give him his full name) regaling the viewer with a Shakespearean monologue. This is juxtaposed with scenes of violence between two warring families, during which we see an unfortunate young fellow being removed of his ears. Lemmy’s delivery of his lines may smack of boredom to some, but his uninterested tone is obviously intentional. Here is a man who has seen all the world has to offer: drugs, sex, violence, the darker side of life. Even a man having his ears pulled off does not phase him. He is resigned to it. Tomorrow, he will see a man have his eyebrows pulled off and thrown in a river. He will walk on by.
The Professor says: The man on the left is the brother of the girl on the right. In this scene, he lays out his philosophy on carnal relations between siblings, advocating that shared pleasures of a sexual nature can only strengthen the bond between brother and sister. Perhaps, like the royalty of ancient Egypt, he is seeking to keep the family lineage pure. His sister, quite rightly, is outraged, and squeezes his testicular area in a violent, non-sexual way, to act as a warning that any lewd advances on his part will probably result in the removal of his — as they say in street parlance — hairy bean bag. All in all, a fascinating insight into the twisted dynamic of this brother and sister relationship.
The Professor says: Here we have the film’s first genuinely emotional and affecting moment, of which there are no doubt many throughout the film. A black man, a director of gentleman’s interest videos, has partaken of too much alcohol, perhaps overcome by the spiritual emptiness of his profession. Enter his son who finds him in this woeful condition, and tries to comfort him as best he can. However, the father seems beyond reach, his shirt covered in what appears to be signs of another addiction: egg sandwiches. The egg, a symbol of new life yet to blossom, full of potential, provides an ironic counterpoint to the man’s depression, and his feelings that his life is over.
THE PROFESSOR’S CONCLUSION: Quite possibly, the defining cinematic moment of my career as a distinguished film studies professor. I would have watched more than the first nine minutes, but sadly, the “play” button got jammed on my Betamax video recorder. One can only wonder at the moments I have missed. What delights are contained in the rest of the film? I shall need to frequent my study, examine my leather bound books on film theory, and ruminate further on the audio-visual experience that I have witnessed today. Mmmmm.