Violence Blossay

 THE BIG BOSS: Are humans in control of their violent actions?

In the Big Boss (1971), Cheng, played by Bruce Lee, is introduced as someone who has committed many violent acts in their past. Wearing his mother's amulet, Cheng swears to his uncle that he will stop fighting. Later, we see that Cheng only resists getting in a fight with bullies thanks to his amulet. Already, Cheng is presented as a character whose first instinct is to act out of violence, and seems to physically struggle when he cannot. There is also the larger question of why Cheng has come to work in Thailand. Can he simply not get work in China, or has his fighting forced him to change locations? This seems to indicate that Cheng's desire to commit violence is a primal urge, one that he can only overcome by physically and mentally restraining himself.

Later in the film, Cheng is forced to return to his violent ways, and turns the tide for the workers in the riot against the factory after losing his mother's amulet. Here, the true Cheng is revealed, and he becomes a hero by saving the other workers. Yet, Cheng is again shown to not be able to control his actions. Although he saves the workers, he undergoes a complete persona shift while fighting, seeming dangerous and chaotic. This shift in attitude becomes even more apparent later on in the film. After Cheng discoveres the factory's secret and the truth about his cousins death, he breaks into the factory at night to investigate. However, he is discovered by the factory's gangsters, including the Big Boss's son. In a fit of rage, Cheng fights his way out of the factory, violently disposing of the gangsters. Covered in blood, Cheng now awakened from his rage, stares at his fists, as if he cannot believe what they have done, rather than what he has done. This scene shows that rather than having control over his violence, Cheng's violence controls him. As his fists take over, Cheng becomes inhuman and surreal; his personality changes to that of a dangerous machine. Without his amulet, Cheng no longer has control over his violent actions.

At the end of the film, Cheng's violence culminates in his fight with the Big Boss, Hsiao Mi. Both are unable to avoid the fight; not simply for reasons of revenge but also for reasons of violence. The Big Boss's whole organization is run on violence. As the most violent, most successful fighter, he gains the top position. His authority is challenged when Cheng appears, forcing him to fight Cheng not only due to the loss of his son, but also to establish his superior ability. Cheng is also unable to simply exact his revenge by calling the police; as an immigrant he must physically show his strength and continue the cycle of killings in order to stop it. Thus, the showdown depends entirely on Cheng's primal, violent instincts. After defeating the Big Boss, Cheng falls limp; he is finally released from his fists' control. No longer having a purpose, he lets the Tai police take him away.

The Big Boss showcases Cheng's inability to fight against his violence urges. Rather than controlling his violence, his violence controls him. Cheng comes out on top in his social sphere thanks to his fighting ability, however his violence and the violence of others eventually leads to the downfall of everyone. As no one can control their violent tendencies, chaos descends.

SPRING, SUMMER, FALL, WINTER...and SPRING: Why are humans Violent?

In Spring, Summer, Fall, Winter...and Spring (2003, Kim Ki-duk) goes through the seasons of a young monk's life, and also follows the seasons of his violence, and the repetition of the cycle. From the very beginning of the film, we see that the child monk action's lead him to violence. This is shown through his play, where he ties rocks to a fish, frog, and snake. In doing this, violence is connected to the natural action of a child's play and exploration. Again, this shows violence as stemming naturally from a human. Thus, Kim Ki-duk shows that violence stems from human nature itself.

As violence has been established as human, it can only be removed by the inhuman. This is where the character of the master comes in. In order to train the young monk, the master ties a rock to the young monk while he sleeps, and tells him when he wakes that in order to be freed, he must remove the stones from all of the other animals. However, if an animal should be dead, the boy will carry the stone in his heart forever. When the fish and snake are dead, the boy learns the consequences of his actions and thus is presented in a way to curb his violence. However, this can only be accomplished by removing one's self from humanity.

However, in the boy's Summer, the path to violence is again presented in a natural context, showing that removing oneself from violent acts is difficult and requires the total removal from human urges. When a young woman arrives at the monastery for healing, the boy again is unable to control his urges. The two form a sexual relationship, and are later found out by the master. The master advises the boy,"lust leads to desire for possession, and possession leads to murder", stating that desire leads to violence, and that these human urges are therefore linked. In the end, the boy cannot resist his urges, and leaves the monastery to pursue the girl. By giving into his natural urges, the boy puts himself on the path to violence.

In Fall, having lived a lifestyle of giving into his human urges, the boy, now a man, is consumed with violence and anger. After returning to the monastery, he is revealed to have killed his wife after she cheated on him. However, his violence was not simply committed as a result of his wife's actions. Rather, the man was still unable to harness the violence that plagued him since his childhood. Thus, the man committed violent acts because he had rejected the means presented to him to control them, and thus, had no way of rejecting his own human nature.

It is shown that the only way that the man can reject his violence is to submit to his master's teachings. After writing the Heart Sutra and returning in the Winter of his life, the man focuses on and struggles against the stone within his heart that bares his violent deeds. However, the man is still not freed from his violence and seeks support from Maitreya's contemplative gaze. This is reinforced in Spring, when the man now watches as his adoptive child commits similar violent actions; the cycle is continued. This end of the film reinforces that violence is almost inescapable; as one learns how to resist their own violence, they must pass this on to their more human counterparts.

Overall, Spring, Summer, Fall, Winter and Spring shows violence as a natural urge, stemming from all including the young and the innocent. Thus, violent actions are inescapable without vigorous training to resist violence and desire. Without consciously attempting to resist violence, humans are unable to do so. Lessons about violence also can only be learned once violent actions have been completed.

CROUCHING TIGER HIDDEN DRAGON / MONKOKE HIME :What does Violence accomplish?

In both Crouching Tiger, Hidden Dragon (2000, Ang Lee), and in Mononoke Hime (1997, Miyazaki Hayao) violence serves as both a means to harm and as a mean to save. In both films, violence is necessary at times, yet dangerous and poisonous at others.

Jen, in Crouching Tiger, Hidden Dragon, draws the fine line between martial arts discipline and uncontrolled violent actions. Strung between the revengeful Jade Fox and and the honorable Li Mu Bai, Jen must make a decision as to whether she will use her skills honorably or not. If she is to become a true warrior, she must battle with honor. Although a warrior's battles must sometimes commit harm against other human beings, they do so only when necessary, and by controlling their violent urges and taking honorable actions. However, Jen strays away from this ethic by using the training of a warrior for unethical reasons, and thus, commits violence only selfishly.

Jen's violence is largely used in her confusion between freedom and honoring her family. As she cannot have both in her life, she uses violence to shape her own desires. However, Jen's violence only leads to further unhappiness in her life. Unjustly hurting Shu Lien after their fight, Jen loses both a friend and an ally. Her later actions lead to the death of Mu Bai. In the end, Jen's violence only results in further sorrow, and cannot solve any of the decisions in her life. The same is seen of Jen's master, Jade Fox. Unable to become a Wuxia warrior due to her gender, Fox commits murder in order to obtain a Wuxia manual. However, this only leads to unfulfillment, betrayal, and further violence.

However, Shu Lien and Mu Bai use their fighting style in a totally different manner. As warriors, they only commit violent actions when absolutely necessary. Even when Shu Lien defeats the then renegade Jen, she does not harm her, as she knows that Jen still hold the potential to be good. Mu Bai shapes his violent actions to benefit those around him, such as seeking revenge against Jade Fox, whom planned to murder Jen, and succeeded in killing Mu Bai. Had she been killed earlier, less violence would have resulted in the film.

Mononoke Hime character's have a similar reaction to the violence in their lives. As both the Forest and Iron Town struggle against each other for control of the landscape, both sides commit violence acts against the other. The forest spirits, gain in slowing the progression of Iron Town by harming villagers, but in the process, also lose the lives of their elders. And Iron Town, in destroying the homes of the spirits and killing their elders, also risk the lives of their inhabitants. Rather than compromise, both sides suffer.

This comes to a climax when the leader of Iron Town, Lady Eboshi uses her gun, the tool of violence to behead the Deer god. In doing so, she disturbs the cycle of life and death, and almost spells certain doom for both forest and Iron Town. Giving in to her violent urges, she has ignored the safety of all of her workers, and given in to her selfish desires. In the end, Lady Eboshi loses an arm herself, and must completely rebuild her home and livelihood. Rather than gaining from her violence, Lady Eboshi almost loses everything that she once held dear.

In both Crouching Tiger, Hidden Dragon, and Princess Mononoke, it is apparent that violence laregly does not result in success. Rather, the one committing the violent acts can only worsen their situation, and may even harm themselves or others in the process. Only those who commit violent acts to protect benefit, and even then, still may face repercussions from their actions, or even death. Overall, it is apparent that violence largely leads to tragedy.

Spring, Summer, Fall, Winter...and Spring examines the concept as a natural stemming urge, tied to humanity's instincts and desire. Without a way to control it, it is shown to take over a young monk's life. This is certainly true for Cheng in The Big Boss, whom is controlled by his fists. Unable to stop his own violence, nor others violence before harm can be done, Cheng loses his family and home. Finally, in Crouching Tiger, Hidden Dragon, and Mononoke Hime,violence is shown to only be of use for protection, usually leading to unhappiness and failure. Thus, violence is a bane upon humanity, but also innate to it. Without dedication and diligence, one may be controlled by their own fists.

(not quite sure why this changes formatting int he middle of the post, haha)

Rashomon, Ikiru-Review

 After watching Ikiru in class, I was struck by Akira Kurosawa's directing style and Shimura Takeshi's acting. Due to the distinctive nature of Ikiru, I was curious to examine what aspects's of Kurosawa's directing changed depending on the plot and stylistic choices of the film. To provide a means to that end, I chose to review the film Rashomon. While Ikiru was viewed very favorably, Rashomon was the film that began Kurosawa's international career. Rashomon was released in 1950, while Ikiru was released in 1952. I was also interested in Rashomon as Mizenko Sensei always spoke highly of it.

Rashomon's scenery is more minimalistic, drawing influence from silent films. Rashomon has only 3 different environments, the gate; Rashomon, the grove, and the imperial courtyard. Rashomon opens underneath the deteriorating gate, introducing the viewer to the woodcutter, priest, and peasant, all taking refuge from the rain. The woodcutter and the priest are both very distraught, consumed by the story of a notorious bandit, Tajomaru, charged for rape and murder. To pass the time, the peasant listens to them recount the different versions of events from each of the witnesses. Those present for the murder; the bandit, wife, and murdered samurai husband, all recount their plausible, but incompatible versions of the tale. Tajomaru recounts that he had a duel in which the husband was killed after the wife professed that could not live with the knowledge that two men of her dishonor. In the woman's version, she is rejected by her husband and hysterically kills him in her grief. Through a medium, the samurai tells his story, in which Tajomaru asks his wife to go with him. The wife agrees, but asks the bandit to murder her husband. Enraged, Tajomaru abandons her, and the man kills himself.

After the stories have been told, the woodcutter is overcome with grief and admit that he too, saw the events unfold. However, his story is also different. In his story, Tajomaru begs the woman to marry him, however she instead frees her husband, and spurs her husband and Tajomaru to fight each other, although they are both initially unwilling. Tajomaru seems to win the battle almost through accident, and then proceeds to cowardly kill the samurai whom begs for his life as the wife flees. At first seeming to be the most unbiased of all of the tales, the priest is quick to discover that the woodcutter had stolen a valuable dagger from the scene. Everything now seems more hopeless than ever, when suddenly, a baby's cries are heard . While the peasant seizes the opportunity to create more misdeeds by stealing the baby's clothing, the woodcutter redeems himself in front of the priest by adopting the baby into his already large family of six.

Rashomon asks questions about human perceptions and realities, and also of the nature of the human spirit. This is shown through the characters of the woodcutter and the priest. The woodcutter questions himself and his reality throughout the film; unable to even discern whether his version of events is true. The priest questions humanity; unable to decide whether humanity can really be 'good' or if everything is conducted out of selfishness. It is not until the end of the film when the priest sees the woodcutter with all of his flaws, but also as a human being capable of compassion that he reconsiders.

To me, this also brings up the question of how we should live our lives, which is also heavily focused upon in Ikiru. In Ikiru, Watanabe, after being shaken with the knowledge of his impending death, searches for meaning in his life, and finds it when he makes a difference in the lives of others. In Rashomon, The woodcutter and priest are similarly shaken, both questioning their perception of the world and human nature. In both films, we see that those whom selflessly give to others become more fulfilled and at peace. In contrast, those whom do not break the mold; Watanabe's selfish coworkers, the peasant, are able to provide only shallow happiness for themselves; they do not live a full life.

Rashomon's view of the human spirit is cautiously hopeful. Many of the characters in Rashomon are entirely selfish, and never act for the common good. It is revealed that even the woodcutter stole a valuable knife from the scene. However, his faults are revealed to not necessarily be 'bad', as the sale of the knife very well may have gone towards feeding his 6 children. When the woodcutter also chooses to adopt the baby that appears at the end of the film, restoring the priest's and the viewer's faith in humanity. The baby itself also marks the potential for positive growth in humanity, and the rain finally stops falling to reflect this.

Both Watanabe and the woodcutter are played by Shimura Takeshi, and both roles present a character whom struggles with their flaws, yet manage to live with them while

questioning and eventually bettering themselves. Although the transformation of the woodcutter is not as great as Watanabe's complete life perspective change, the viewer is nonetheless presented with an identifiable, human character whom now looks to find his place in the world. In making Watanabe and the woodcutter question themselves, Kurosawa asks the audience to question themselves, and challenge how they see their lives.

Rashomon's question of reality based upon perception is reinforced by its minimalistic scenery. With only 3 locations present in the film, the viewer is forced to become even more apparent of how the film itself distorts their perception of reality. This simultaneously makes the viewer pay heightened attention to the events of the film while also considering what they think to know to be reality. The characters in the film also also often masked in both shadow and light; both the dappled light shining through the trees and the mist from the rain help to conceal and break up the characters, helping to make the events of the film seem even more ambiguous, which also creates the same effect.

In Ikiru, the events of the film were presented much less ambiguously. Instead, the viewer followed the dogged Watanabe, becoming more involved in the events of his life than in their perception. For these reasons, viewers were made more susceptible to film techniques, rather than being made aware of them. This was also reinforced by the plot, where Watanabe is suddenly removed from the story, just as death is sudden.

However, in comparing these two films, we see that Kurosawa has excellent control over his viewer's perceptions and utilizes this depending on what aspect of the film he wants to emphasize.Through Rashomon and Ikiru, Kurosawa is able to tell a compelling story while also looking for self reflection from his viewers. By utilizing plot, cinematography, and set design, Kurosawa explores both the human and the story.

While Ikiru explored what leads to fulfillment in live, Rashomon explored how the human character changes how one sees the world. By doing so, it also shows us how fragile our perception is, and how different the world may seem to someone else. It also shows how this differences can breed distrust and misunderstanding; but that attempts to trust and understand others offer more fulfillment than distrust. This new found trust symbolized by the baby at the end of the film; something untainted and hopeful for new growth. However, Rashomon also clearly exposes the faults of the world and humanity. Ikiru also shows a hopeful message while also giving the viewer a dark reality.