{"id":152107,"date":"2015-05-24T21:05:51","date_gmt":"2015-05-25T04:05:51","guid":{"rendered":"http:\/\/www.shockya.com\/news\/?p=152107"},"modified":"2015-04-24T06:04:54","modified_gmt":"2015-04-24T13:04:54","slug":"a-pigeon-sat-on-a-branch-reflecting-on-existence","status":"publish","type":"post","link":"https:\/\/www.shockya.com\/news\/2015\/05\/24\/a-pigeon-sat-on-a-branch-reflecting-on-existence\/","title":{"rendered":"A Pigeon Sat on a Branch Reflecting on Existence Movie Review"},"content":{"rendered":"

A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE <\/strong>
\nMagnolia Pictures<\/strong>
\nReviewed by: Harvey Karten for Shockya. Databased on Rotten Tomatoes.<\/strong>
\nGrade: C+<\/strong>
\nDirector: Roy Andersson<\/strong>
\nScreenwriter:\u00a0 Roy Andersson<\/strong>
\nCast:\u00a0 Holger Andersson, Nila Westblom, Charlotta Larsson, Viktor Gyllenberg, Lotti Tornros, Jonas Gerholdm, Ola Stensson, Oscar Salaomonsson, Roger Olsen Likvern<\/strong>
\nScreened at: Review 2, NYC, 4\/22\/15<\/strong>
\nOpens:\u00a0 June 3, 2015<\/strong><\/p>\n

A guy sees his friend writhing on the ground with a spear implanted in his stomach.\u00a0 \u201cAre you OK?\u201d the guy queries using that hoary clich\u00e9 so prominent in the movies and on TV.\u00a0 \u201cIt hurts only when I laugh,\u201d the friend responds. As absurdist as the answer sounds, there is a philosophic truth therein.\u00a0 Life is good even it\u2019s bad, which is probably why people who suffer from horrible paralytic afflictions like Lou Gehrig\u2019s disease generally want to live.<\/p>\n

\u201cLife is good even when it\u2019s bad\u201d forms the theme of the third movie of Roy Andersson\u2019s trilogy on the human condition, Roy Andersson, in what some critics have called more accessible than his \u201cSongs from the Second Floor\u201d and \u201cYou the Living,\u201d offers us \u201cA Pigeon Sat on a Branch Reflecting on Existence,\u201d which he says was partially motivated by a Renaissance painting by Bruegel the Elder, \u201cHunters in the Snow.\u201d\u00a0 Bruegel is celebrated for his detailed landscapes, in this case featuring four birds observing the human beings below, their follies and contradictions and absurdities.<\/p>\n

\u201cPigeon\u201d is composed of thirty-nine vignettes, all of which are as deadpan as you are likely to see with the possible exception of the comedy \u201cWelcome to Me.\u201d\u00a0 The scenes are cohesive only when two salesmen are on the screen: Sam (Nils Westblom) and Jonathan (Holger Andersson), who operate in the style of Quixote and Sancho Panza, or Samuel Beckett\u2019s Dido and Gogo, or even Laurel and Hardy.\u00a0 But unlike the last pair, they never engage in slapstick humor, relating to each other and to others in the vignettes as though appearing in one of those inscrutable cartoons in The New Yorker magazine\u2014which prominently feature jokes about death.\u00a0 Yes, there is humor in dying, the best example of which can be found in one of Roy Andersson\u2019s early scenes in which a woman lies on her deathbed, her face exuding all the pallor of the mortally ill (as are other faces in the film), but she is clutching her handbag.\u00a0 A family member keeping vigil explains that she wants to take the handbag with her to heaven, and sure enough, when one fellow tries gently to pry the object from her fingers, the poor woman moans and clings to her property.<\/p>\n

From there the action becomes more lively, but only somewhat. For example, a follow-up to that death scene finds us watching a cruise ship.\u00a0 A passenger drops dead, but the crew are more concerned about the meal he had just purchased, offering those still living a free glass of beer and a plate of food.\u00a0 \u201cHe paid for it,\u201d is about the best memorial they could think of for the fellow.<\/p>\n

In the most serious allegorical content but, again, one that shows humor in defeat, an exhausted King Charles XII (late 17th century) at first enters a caf\u00e9 to find a bathroom (which is occupied and therefore off limits\u2014never mind that there were no bathrooms in Charlie\u2019s day) and is followed up by troupes of Swedish fighters trudging home after losing half their country.\u00a0 If you look outside you\u2019ll see the soldiers, each with a hand on the shoulder of the man in front of him, reminiscent of Bruegel\u2019s painting \u201cThe Blind Leading the Blind.\u201d Women cry, not necessarily because of the Swedish losses but more likely due to incidents of their own sad lives.<\/p>\n

Give this to the writer-director.\u00a0 Each of the scenes is carefully composed. The actors comport themselves in line with the probable direction, holding themselves back from laughing out loud at the absurdity of its all.\u00a0 And the two salesmen, who are peddling useless party novelties like vampire fangs and rubber masks showing one tooth, carry on with their trade as though they were really adults engaging in a responsible job.<\/p>\n

In other words, to get back to the initial point, life is good even when it is absurd, and death itself is not a condition to be mourned but rather to get over quickly to allow the living to get back to carrying out their daily tasks.\u00a0 But admire though one may the composition of the scenes, the comic pacing, the actors who carry out the banalities of their existence as though to say \u201cI don\u2019t know why I am doing this, but life is still good,\u201d audience members could not be blamed for feeling exasperated by the lack of cohesion among most of the scenes and the slow-motion actions depicted herein.\u00a0 Yet the film has already received critical accolades and awards at festival as in Venice, though one can imagine many audience members heading to something like \u201cBatman v Superman\u201d to get back to something more realistic.<\/p>\n

Unrated.\u00a0 101 minutes.\u00a0 \u00a9 Harvey Karten, Member, NY Film Critics Online<\/strong><\/p>\n

Story \u2013 C<\/strong>
\nActing \u2013 B<\/strong>
\nTechnical \u2013 B<\/strong>
\nOverall \u2013 C+<\/strong><\/p>\n

Unrated.\u00a0 101 minutes.\u00a0 \u00a9 Harvey Karten, Member, New York Film Critics Online<\/p>\n

\"poss\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE Magnolia Pictures Reviewed by: Harvey Karten for Shockya. Databased on Rotten Tomatoes. 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