The film, while beautifully filmed, promotes the most superstitious, dogma-infused form of Buddhism (this in contrast with the more practice-based forms endorsed by Stephen Batchelor and Jon Kabat-Zinn). The Buddha's teachings are largely lacking, replaced instead by the cultish deification and worship of the Buddha as a person/idol. Much of the narrative in this story connects with the depiction of Jesus in "Greatest Story Ever Told," including temptations, wilderness periods, and miracles, perhaps to make Buddhism appear like another form of Christianity. Oddly, the modern Western world is cast in a deathly bluish-gray tint, while the world of Buddhism is depicted with fuller reds & yellows. These and other special effects are visually appealing, yet manipulative, so the film has a feel of religious propaganda.
Reviews
3 Reviews
Borat
(2006)
Do unto others....
12 November 2006
I will only briefly state that the film manipulates subjects so that those of us who are "in on the joke" get to feel smug and self-righteous. Who among us would like our worst moments captured on film for the rest of the world to watch?
Subjects who appeared in the film have noted that they were misled and were rushed into signing releases so their likenesses could appear in the film. Because of Borat, people will become cynical and reluctant to participate in films such as this one.
The greatest task in a film such as this one belongs to the editors. And you have to wonder how much good will landed on the cutting-room floor.
Subjects who appeared in the film have noted that they were misled and were rushed into signing releases so their likenesses could appear in the film. Because of Borat, people will become cynical and reluctant to participate in films such as this one.
The greatest task in a film such as this one belongs to the editors. And you have to wonder how much good will landed on the cutting-room floor.
The Big Broadcast of 1938
(1938)
Amusing enough to watch every few years
23 March 2006
There are momentary gems in this movie, and I recently bought the DVD because I fondly remembered it from its television broadcasts during my childhood. Hope and Ross's "Thanks for the Memory" (that's the actual spelling; it isn't plural) is so well portrayed that it seems they are recalling actual moments from their lives. This is almost the only moment of sincerity in this otherwise farcical fluff-piece. Martha Raye's "Oh, Mama!" is eye-popping primarily because I believe she did her own stunts in it, and she is bandied about like an unlucky mouse caught by a gruesomely playful puss. WC Fields sparks frequent smirks with his ostentatious manner combined with total buffoonery. Dorothy Lamour is only pleasant; I don't believe she had yet found her spark for comedy that was later displayed in the Hope & Crosby Road Movies. Her song (she only gets one but sings it ad infinitum to Leif Erickson), along with the remainder of the musical score, is surprisingly engaging. All in all an enjoyable musical comedy review, designed so audiences could finally see the faces of the performers they invited into their living rooms through the radio.
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