Fantastic Planet by Rene Laioux

I always speak of serendipity. An unexpected lesson, falling in your lap, is a prized possession. I found Rene Laloux’s “Fantastic Planet” sifting through the shelves at Brandon Florida’s Regional Library. I selected the title because the box looked cool—being honest. But the day after my viewing this gorgeous piece of anime, its themes of knowledge and survival would take root.

Unexpectedly, My brother called, and we stumbled in to friendly but intense argument relevant to “Fantastic Planet.” With his request, I played the intro to Dead Prez’s album “Let’s get Free.” (Don’t Start) A strong voice spoke of a wolf, lured and caught by a knife lodged into a block of ice. After continuously licking the blade, the wolf, attempting to fill his hunger, dies from his insatiable taste for blood. My brothers argument was interesting: Because some men, like the wolf, are caught in the moment, living for Today’s hunger, and because they're faced with feeding a family or themselves, this person can not be told there is a better means for survival, simply because this individual is absorbed by what they feel is the right choice.

I didn’t agree. However, in many ways, I later killed my own argument. I mentioned the freedom of knowledge. As in the film “Fantastic Planet,” the domesticated humans were only set free with the understanding of the Draag's Alien language and knowledge of their science.

“There is a better way, I professed.” They're so many routes a person can take beside drugs.”

I also added, that African-American’s experienced slavery, reconstruction and Jim Crow, and didn’t resort to killing and drugs. He agreed. However, he countered with the variables that flourish in an ever-changing world: technology and the sensationalism of material. He asserts, African Americans, in latter time periods didn’t worry about cars and flashy material, it didn’t exist. I agree with this. I feel previous generations, had they been exposed to modern day perils of cars and money, they too, speaking generally, would have taken to the same rusty blade lodged in the block of ice.

The killer of my argument was my mentioning Malcolm X. “Think about Malcolm, I said. He would also agree there is a better way. But I quickly paused. For I know as well as any one else, after researching one of the most interesting men of twentieth century, no one could have told Malcolm little what to do during his time of the streets. To learn a lesson, Malcolm had to hit rock bottom. I looked at my own life. I had never been street person but this doctrine held true. I have said in the past, its easy for privileged people, like myself write off someone egregiously—yet done so subconsciously—tearing down a man or woman's choices without understanding their motivation. I can feel people sneering at this statement. But can you only take credit for a your positive influences.

Furthermore, can you call a person a "Star?" (Something capable of creating its own light) Though, I still feel knowledge is freedom. What does it take to give a man the “sober mind?” Can a man find his lane before prison or even worst death? I had disagreed with my brother’s argument, but had been agreeing with it all along. And I’ve reaffirmed my stance: I can’t judge a man; rather I must take the time to understand him. As for the freedom of the human race, I wish I knew the best course of action.

Obtaining these “quixotic” ideals is nothing like in the movies. However this Sci-Fi classic offers a wonderful solution: To be free, one must arm his self with knowledge. However, I love how the story opens the door for intelligent creatures need for superiority. Maybe this is just my interpretation, but there's a subtle scene that had me—the hugest advocate for brotherhood—watching with a sardonic smile.

WWII Veteran

This is my Great Uncle Huge Walton. He fought in WWII and he survived. My mother told me he owned a location used for the film Coley High. I will have to check for the exact name, but I believe a Walton will have a street named after him in Chicago.

Federico Fellini's Amarcord 1973

Grandisca! Grandisca!Gradisca!

Picture a curvy and enticing middle age Italian woman inviting your hands to rome freely, it’s a fifteen year old boy's dream come true.If Federico Fellini’s childhood was anything close to his film Amarcord, in my book, he was lucky kid. Not just for the character Grandisca, the curvy Italian beauty, but for the unique experiences. However, in terms of memory my brother recently told me: we tend to forget the bad things. In Amarcord, Fellini’s coined term which translates, I remember, he rehashes the joy being young and the pain stemming from our unforgiving world. Many say the film is autobiographical. However, Fellini contends he’s created a world, dreamlike and artificial. Though, his childhood friend appears in the film, I also believe Amarcord deals with the memory and they way we’ve imagined our past. Oddly—maybe a bad word choice—I remember my kindergarten teacher, bending before me, revealing her breast coated with freckles. Most women neal down, back perpendicular to the ground, or cover their cleavage. But this woman, who noticed me looking, didn’t cover anything and I remember fighting with my eyes, slowly losing the battle--if you wondering why I'm rehashing this story see the film. Why these memories stay with us is one thing, but the way we recall our crazy childhood or any time period, in my opinion, is the psychological equivalent to the bodies use of endorphins. We heal the pain of memory with a veneer. The lie is good. I love filmmakers who aren’t afraid to ascend into their closet of skeletons. These types of films offer a challenge. With my hand covering my nose and mouth, I open a door to my past daily. An event sticking out in my mind is my grandmother’s funeral—I was five years old. I hate my self for saying it, but I looked at my mother and said: It wasn’t so sad mom. I didn’t cry. I would love to go back and smack myself, for being young and stupid. Yes. My silly mouth would get me into trouble, especially with women, for years. Which is why, my watching of Fellini's exaggerated yet objective tales of Fascism, and the confrontation with family members, for me, was inspiring. For an introduction into Fellini's world, where his characters seem like metaphors, you should read his essay Mi Rimini. The stories in the essay are told in the same episodic fashion as Amarcord,however with out question the essay is an example of an idea on paper materializing on screen. As a aspiring Filmmaker, the film Amarcord, in terms of honesty and innocence, is the direction I hope to take some day. Lately, I've been opening the can of worms that is my childhood. : ) So far it's been pleasant, the 1990's were fun and I was very silly boy then, it's my college years that scare me.

Andrei Tarkovsky's The Stalker 1979

Like all of Andrei Tarkovsky films, the Stalker is a spiritual journey. Amazingly,Tarkovsky, a Russian Filmmaker, deals with spirituality, knowing censors are waiting to cut out his disagreeable themes on politics and nuclear weapons--yet some way The Stalker is released, and seemingly with full creative control. Judging by the content, this film is definitely risky, dealing with nuclear weapons years before stepping into a cold war. While watching the film, I couldn't help thinking about the reaction of the Russian censors--the film must have been challenging for them to watch. And with out doubt, I'm sure The Stalker will be a hard film for the impatient. But for me,The Stalker extends a hand to the viewer in special way—to watch this film is to partake and become a piece in its intricate story. Though the title may wet one’s appetite for an obsessed criminal, The Stalker is a science fiction film minus the special effects—something that’s almost a sin to an American audience, where science fiction is known for lasers, droids and roaring spaceships. But Tarkovsky proves less is more. And after watching this film, I’ve reaffirmed my position on cut shots: they're use too often these days. In this film every shot has significance. Tarkovsky creates suspense with superior camera movement. He relies on the viewers mind to create the feeling of fear. For those new to Tarkovsky, you must be informed of his use of Oneiric sequences: a deceptive dream-like state. One can easily be confused, for these day dreams occur at random and give no warning when they initially begin or even end. But Oneiric dream sequences are constants in Tarkovsky’s story telling, so if you're going to watch Tarkovsky, you'll have to adjust to their subtlety. However, all of his films, which tell the story in pieces, are pleasing when viewed twice. A rewarding element to look for is the character that unexpectedly takes a spill to the ground. In all of Tarkovsky’s films, his characters fall before stepping into to hardship. I hate to delve in the plot or even give a run down, for this drains the films luster. I watched the film not knowing much about the plot, and to fully enjoy The Stalker that's the best way. I can only mention the Oneiric film theory, the deceptive dream like states, and of course the classic spill before adversity. With out understanding this, you'll likely watch feeling lost by the subtle turn of events I saw this film at a time when I longed for my desire, film making, and had no clue how to obtain my goal. Before watching this film, I went in feeling one way,and when it ended I was left watching a blank screen, fumbling over new thoughts.But I will say this: If you desire something, how far would you go for it? And would you accept all that you find?