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Inside Mecca (2003)
Life-changing pilgrimage
This documentary by National Geographic provides a unique insight into the holy pilgrimage for the members of the Muslim Ummah - the Hajj. By showcasing the story of three pilgrims from South Africa, Malaysia, and the U.S., this movie demonstrates how the journey to Mecca unites people from around the globe under the same goal of praising Allah. It is through these stories, accompanied by religious explanatory narratives, that a spectator gets an opportunity to dive "Inside Mecca" and understand each step that Muslims go through in their pilgrimage.
The fundamental notion that the documentary is built on is what in Mircea Eliade's jargon would be called "axis mundi" - embodied by the Kaaba, or the "House of Allah". Kaaba defines the direction, in which Muslims pray, and it is also central to the ritual of Tawaf, whereby pilgrims have to circle around the Kaaba as a part of the Hajj. This "axis mundi" remains at the center of the holy site of Mecca, which is a house to other "sacred spaces", including the Grand Mosque, known as Al-Masjid al-Haram and the hills of Safa and Marwah, between which the pilgrims urgently walk, similarly to Hagar, who was desperate to find water for her son Ishmael. The documentary also sheds light on other holy sites such as the valley of Mina, the plain of Arafat with each of them being crucial to the 5-day journey of Muslim pilgrims. It is not only geographic locations, that the movie shows as being consecrated as sacred for Muslims, but also particular rites and even objects - all of which derive their symbolic significance from the religious sources.
While the documentary does a great job in portraying the holy sites in Islam, it also draws attention to important social issues, that underpin the story of each of the three main characters in this movie. In these regards, U.S. Professor Fidelma O'Leary's story was particularly appealing to me. Having converted to Islam from Catholicism, Fidelma underwent a long way to get to Mecca. She had to verify that she is a Muslim and ask permission from a male member of her family - her son to get a visa. She has also been subjected to gazes of multiple wondering eyes, due to her appearance, that differs substantially from most of the Muslims. Despite these challenges that she faced due to her gender and race, she was able to show patience and perseverance, remaining faithful to Ihram - a state of mind essential for Muslim pilgrims. Similar qualities were demonstrated by Khalil - a pilgrim from South Africa, who faced a somewhat different treatment due to the color of his skin. Yet, he was fulfilling his "Islamic ideal", doing charity, displaying a high level of consciousness and being careful not to lose his temper because of external circumstances. The third character of the story - Ismail, a wealthy man from Malaysia, received relatively less attention in this documentary. Unfortunately, his personage was not fully uncovered in the movie, although his story is highly enlightening insofar as it illustrates probably one of the most important messages delivered by this documentary. This message pertains to the notion of equality in Islam. One embodiment of that equality is the white clothing that makes every pilgrim, regardless of their race, gender or socioeconomic status, equal before God. It is specifically through the Malaysian pilgrim, that one can understand how unimportant is material wealth compared to the mental and spiritual fulfilment, as the hero says he was undergoing a "struggle against the poverty of spirit". An essential part of this struggle is to overcome the temptations, evoked in humans by the devil. The documentary further reveals how Muslims attempt to resist these temptations and become closer to God. As such, through each of the stories, a grander narrative flows - that of the mental transformation which Muslims undergo while fulfilling one of their most important religious duties.
The content of the movie is indeed highly important, so is its delivery. Certain technical details, including low quality of the video and inappropriate musical accompaniment slightly diminished the overall impression from the movie. Yet, these should be understandable provided that the movie was made long ago when technological sophistication constrained the ability of filmmakers to improve the quality. Alternatively, one might suggest that it could have been rather difficult to film the pilgrimage given the external and logistical impediments. Either way, the delivery component of this movie could be improved to match the quality of content.
In sum, the documentary leaves an overall positive aftertaste. It was highly educative in terms of revealing religious explanations of the stories behind each stage of the Hajj, and it was also thought-provoking when pointing to the social issues that underpin the stories of particular pilgrims. More importantly, however, it attempted to show its spectators how life-changing the experience of the Hajj might be.
Jiro Dreams of Sushi (2011)
Philosophy behind Jiro's sushi-making art
David Gelb's documentary delivers a remarkable story of the Japanese chef Jiro Ono, who has devoted his life and career exclusively to making state-of-art sushi in his restaurant "Sukiyabashi Jiro" in the capital of Japan. His devotion borne fruit as his small 10-place restaurant, awarded with three Michelin stars, has come to attract not only local guests but also visitors from around the world, who make reservations long in advance to try Jiro's gastronomic masterpieces. One may wonder what stands behind this highly successful restaurant, where each process starting from food preparation up to consumption is ritualized. While the success story behind is indeed important, the movie nonetheless seeks to deliver a deeper message, which is conveyed through the plot that revolves around Jiro's relationships with his colleagues and family, as well as philosophical underpinning behind his approach to work.
Undoubtedly, the idea of this movie transcends a biography of one man. Indeed, Jiro is an exemplary devoted self-made man, who by virtue of hard work and talent worked his way to mastery. To an equal extent, however, it is a story of relationships between father and son, master and disciple, human and nature. It is a deeply philosophical narrative about the willingness of children to fulfill the hopes of their family, with Jiro's elder son Yoshikazu dedicating his life to pursue his father's path and a younger son Takashi trying to realize himself via opening another sushi-restaurant. It is also a story of each individual disciple who overcame 10 years of practice before getting admitted to Jiro's kitchen. And finally and most remarkably, this is a documentary about a unique philosophy - the one that allowed for the miracle that Jiro and his team made.
Rather than a single philosophy, however, I would argue it is a blend of East Asian religious traditions that guided Jiro's actions and influenced his unique approach to work. In fact, the prime importance that Jiro attaches to the value of hard work might be implicitly linked to certain elements of Buddhist philosophy. His life-long dedication to his own art seems deeply rooted in the idea of striving to perfection. Similarly to Buddhists who adhere to Eightfold Noble Path to achieve enlightenment, Jiro has his own vision on how to achieve perfection in his work. This vision incorporates the need to focus exclusively on sushi-making and bringing this art to perfection by constantly repeating the process. This is comparable to the philosophy of Zen Buddhists who emphasize meditation and its constant practice as the primary way to attain satori (enlightenment).
At times, however, his desire for perfection might be criticized for its excessiveness, as Jiro remains highly critical both towards himself and his surrounding. Nonetheless, Jiro's self-criticism and strict demands in relation to his disciples should be viewed within a broader context of East Asian communal values. Undoubtedly, in his kitchen Jiro highly values discipline and order, trying to retain certain hierarchy - ideas that are intrinsic to Confucian thinking. To illustrate the value of discipline, it is worth noting that to become "shokunin", a disciple, has to pass through certain stages and practice art of preparing food for at least 10 years. Furthermore, Jiro seems to have believed that keeping subordination within master-disciple relations allows his "students" not only to learn from him but more importantly, to sustain a social order, with everybody knowing his place in the process.
Alongside Buddhism and Confucianism, one can also note an implicit presence of Taoist philosophy in this movie. For example, one can note the episode that drew attention to the problem of overfishing and shrinking tuna population. While this is a vivid illustration of the destructive consequences of human activity, Jiro's call for the need to maintain a balance between profit-making and resource preservation corroborates the Taoist focus on the necessity to keep harmonious relationships with nature.
Given a complex Japanese religious environment that incorporates a blend of religious beliefs, it is of little surprise that Jiro's philosophy is influenced by more than a single tradition. The syncretic nature of East Asian religions has contributed to a formation of collective East Asian identity with its emphasis on communal values. Jiro's relationship with his sons and disciples provides a remarkable case study to illustrate the importance of these values in the region.
Equally noteworthy is the fact that Jiro's incredible story would not have been so vivid, had it not been conveyed in such a professional way by Gelb and his team. Attentiveness to details, high-quality captions, and relevant background music not only helped to deliver a unique local atmosphere but also factored to the high ratings that this movie had received so far.
Overall, besides aesthetic gratification, this documentary has a high educational value. While it highlights the importance of hard work and constant improvement in life, it also speaks volumes about religious and philosophical influences, prevalent in East Asia, that underpin Jiro's approach to life and work.
Biruma no tategoto (1956)
Red rocks of Burma
A well-known Japanese director Kon Ichikawa, in his masterpiece "The Burmese Harp", reveals how small groups of Japanese soldiers reacted to the end of the World War II. The off-screen voice, which belongs to one of these soldiers, narrates how he alongside his comrades had to face difficulties not only on the battlefield, but also after the War had come to an end. Hoping to return to Japan and "rebuild" it, his group surrenders to the British, while the other one refuses to do so. All of the attempts to persuade this second group were in vain for the soldier Mizushima, the main hero of the movie, who could skilfully play the harp and accompanied the songs of his fellowmen. In half an hour, British bombarded the non-surrendering Japanese troops, whereas Mizushima managed to survive. Although he seemed to have got lost and the evidence pointed to his death, his comrades didn't abandon the attempts to find him. When they finally managed to do so, they discovered that while feeling guilt for his failure to prevent the death of the soldiers, Mizushima becomes a monk and decides not to return to Japan unless the bodies of his countrymen are scattered in Burma.
This movie should be viewed as more than simply a narrative about the desperate monk and the soldiers, who had to cope with the consequences of the World War II. Each character and each scene symbolizes the Japanese view on their nation during this significant historical event. For instance, the group of Mizushima is portrayed as it had to surrender, but nonetheless had a great goal to come back to Japan and "rebuild" the motherland. The group of soldiers expressed its patriotism even more explicitly, by refusing to give up and preferring death for the sake of Japan. Such elements of the movie are particularly important in a way that each of the two groups of soldiers seems to represent the Japanese spirit and a strong sense of the national identity.
A harp being another central element of this film seems to serve several functions. It is an instrument, which during the most difficult moments of war acted as a therapy, raising the spirits of the fighters. Moreover, it is a tool and language of communication, which sends different signals to the soldiers and is difficult to understand by the outsiders. It is also a distinctive feature of Mizushima, by which his comrades managed to distinguish him while being in search. And the way in which it is depicted in the movie makes it not a less significant hero than Mizushima.
The role of Buddhism in this movie, however is more implicit. One might get an impression that a few references of the words "Buddha" and "sutra" makes the Buddhist context less significant, while the temples and statues, shown in the movie have a decorative function. Yet, such conclusions might be misleading. Although they contain partial truth, and even Mizushima as a monk, has little to do with the commonly accepted characteristics of monks, other than his appearance, the most important message of the movie still coincides with the Buddhist understanding of the world. In one of the final scenes, when the Captain is reading the letter of Mizushima, the Buddhist observer can easily identify the First Noble Truth that "life is suffering". This truth concerns not only the life of Mizushima, but all of the people who witnessed the war. It is definitely true that Mizushima's decision to remain in Burma was motivated by the self-imposed duty to bury his dead countrymen in an appropriate way, which in its turn is a deal of honour. Yet, it is also probable that the internalization of the Buddhist ideas influenced his decision to adhere to the monastic way of life. For these reasons, it would be incorrect to undervalue the role of Buddhism in this movie.
Mizushima, being the central character of the movie, is worth being noted separately. He is the embodiment of the true Japanese soldier, an impression that comes to mind first while watching the movie. This is a complex character, who experiences an internal struggle and dilemma regarding his comrades. Although it seemed rational to come back home, his devotion to his fellowmen and his honour prevented him from returning to Japan. His even more serious decision to devote his life to the Dharma, Buddha and the Sangha make his heroic image even more appealing.
In general, the fact that it was the mid-20th century product does not make its quality less worth-praising. Most probably, this is due to the realistic delivery of the atmosphere of the War period and the actors, most of whom, had undergone these times themselves. The efforts put by the movie crew seem to have been justified, due to the worldwide recognition and mainly a positive reception of the film. After all, this is an exceptional drama, with a breath-taking plot and full of different ideas that give a spectator some "food for thought".
Erleuchtung garantiert (1999)
A comedy worth watching
In "Enlightenment Guaranteed" (1999) a German director Dorris Dorrie showcases the story about the adventures of two brothers with different attitudes and characters on their way to and during their stay at the Japanese Monzen monastery. Uwe - a down-to-earth, somewhat pessimistic and impulsive salesman is contrasted to his sibling Gustav, who at first appears as a calm, peaceful meditation practitioner, devoted to Zen Buddhism. It follows, however, that both of them are undergoing middle-age crisis: while self-centered Uwe, uncompassionate towards his wife and children, feels anxious after being left by his family, Gustav's life is not as smooth sailing as it may seem as well. In pursuit of finding himself, he plans the trip to Zen monastery not far away from Tokyo, and after numerous pleadings of Uwe, resolves to take his brother with him as well. But once they come to the Japanese capital, the brothers face unpredictable circumstances. Left without a penny in their pockets, they get lost in the Japanese megapolis, but finally figure out a way to get to the monastery, where their path to the enlightenment begins...
From the opening scene of the film, the director made the Buddhist context of the film quite clear while depicting children singing about shining lanterns. Some peculiar Buddhist features can be well observed throughout the movie: for instance, when the heroes engage in dialogue about existence of no self (anatman), central to Buddhist philosophy. The primary role ascribed to meditation in this movie, sheds light on peculiarities of Zen Buddhism, for example. The First Noble Truth, recited by Gustav at the beginning, is especially relevant for this movie. Uwe engages in repetitive thoughts about the reasons why his wife had left him, while Gustav is excessively afraid of not-making mistakes. When they get in trouble in Japan, the episodes are shown when the heroes of the movie feel desperate once they have to sleep in the boxes on the street, for instance. They seem to be attached to the material comfort they had, which is natural for people like them. But once they are deprived of this comfort, they start suffering, which is an accompanying component of life, according to the First Noble Truth.
This movie is a truly useful insight not only to Buddhism, but into the life and culture in Japan, in general. Busy streets of Tokyo are contrasted to the calm monastic atmosphere. But what is common among all Japanese is the strong discipline. It is so inherent to Japanese culture, that it is highly observed in shops and restaurants, and also in the monastery. Probably, this explains why Uwe and Gustav needed a long time to accustom to certain monastic practices, which are alien to their ordinary life. Nonetheless, they proved to be hard-working, and by the end of their monastic adventure, were so internalized that they even engaged in collecting alms.
Although the elements and concepts of Buddhism are well represented in the story, this is not to say that Buddhism is an overarching and dominating theme of the movie. Instead it can be viewed as a helpful tool accompanying the main characters on the way to the enlightenment. Enlightenment in this context, should not be perceived as the Buddhist awakening which one attains while striving to Buddhahood. Instead, for the heroes of this movie, enlightenment is something personal that is acquired as a result of self-investigation and meditation; it refers to their ability to become free from previous attachments and fears, as well as enables the brothers to look at their lives through a completely new prism. Such understanding of enlightenment might reflect how certain Buddhist notions are viewed from the Western perspective.
The work done by film crew is especially worth noting. Notwithstanding its modest budget, this movie has successfully combined the elements of comedy, that kept the spectator appealing to main characters with elements of documentary, which made the movie appear more realistic. The transformation which Gustav and Uwe have undergone on their way to enlightenment is so well-delivered, that viewers cannot but feel sympathetic towards these two brothers.
Overall, this fascinating movie with its naïve and attractive characters might barely leave someone indifferent. While it remains doubtful whether one as a viewer can be guaranteed enlightenment, it is certainly true that some food for thought and a pleasant spending of time are definitely guaranteed.
Buddha's Lost Children (2006)
Buddhist school of life
Cast: Phra Khru Bah Neua Chai Kositto, Pan Saen, Nehn Suk, Khun Ead,Pan Saen and Boontam
Director: Mark Verkerk
Plot: "Buddha's lost children" is a story of a wandering monk Khru Bah and his disciples traveling along the borders of Thailand aiming to rebuild a temple 100 kilometres away. The borders on the road are full of poor villages, residents of which have problems with drug addiction. A former Thai boxer Khru Bah, who found his mission in monkhood aims to help such villagers to deal with their problems. His altruism is not limited to the villagers, since he also manages to spiritually educate and bring hope to orphans and children from poor families - his disciples for new life. This spellbinding narrative about a daily life of the monk and his small community during a year-long adventure, is definitely worth dedicating time to.
Review:
The Dutch director Mark Verkerk rather than capturing a documentary about the Buddhism itself, focused on its narrow aspect - life of a small representative part of Buddhist sangha residing in the area of Golden Triangle in Thailand. It is worth noting that the director and his crew observed their daily activities of Khru Bah and his followers throughout a year and succeeded in portray their life in a realistic way.
The documentary focuses on three young disciples of Khru Bah, each with a different story of becoming a monk. Suk was a muted child with sad eyes, who finally became exemplary for his peers and who plans to pursue monkhood in the future. Pan Saen joined Khru Bah, since his mother had no means to feed him for, but grew into a stronger child with a good concentration. Boontam, the 4-year old who had problems with his legs and barely could walk, became the youngest member of Kru Bah's community and for his great heart and happy attitudes was ascribed traits of the potential Buddha by his teacher. All of these stories are different in certain ways, but what unites them is that they all grew into stronger personalities under the mentorship of Kru Bah.
The community of Khru Bah is not limited to him and his disciples. It is impossible to imagine a life of this community without a nun, Khun Ead, who is responsible for a variety of daily tasks, such as cooking and healthcare. Moreover, there is a strong interdependence between villagers and monks; since villagers earn merit once they give alms to the monks. Still, one of the episodes depicts that monks led by Kru Bah provide blankets and food for some poor villagers, standing in a long queue. This shows an altruistic component of Kru Bah's community.
One might be prejudiced that the Buddhist monks behave in a very peaceful manner. The documentary reveals, however, that Khru Bah places great importance on the discipline among his surrounding and can even apply physical strength to the ones, who break the order. This applies to villagers, who wanted to fight each other in one of the scenes, and also to his disciples who are stubborn and are unwilling to follow their master's directions. Such behavior might be shaped by his past as a boxer. It should be mentioned that Thai boxing is a necessary skill for his disciples as a means of self-defense. At certain moments, Khru Bah appears as an authoritative figure, but this only emphasizes his prestige among people. This illustrates a high degree of respect for monks within a whole Buddhist community.
Overall, the director and his crew made a fascinating job in showcasing life of a small Buddhist community. By demonstrating how multiple aspects of Sangha life intertwine with each other, they help a viewer to get a complete and realistic picture of the monks lives. Although, Kru Bah is far from being a usual monk, his life is an inspirational story about the strength of will, purity of intentions, mutual help and discipline.