La danza de la realidad

As a fan of Jodorowsky's earlier films, I was very interested in how the new one would compare. La Danza de la Realidad follows Alejandro Jodorowsky's childhood in Tocopilla, Chile. His tyrannical father is played by his son Brontis, previously seen as El Topo's son. The film begins focusing on Jodorowsky as a kid, then shifts more toward his father. Alejandro Jodorowsky also appears on screen, as himself. A scene I particularly enjoyed was the meeting of the local communists. The digital photography is also very well done. I won't give anything away; you should see it for yourself. This film is one of his best. If you like Jodorowsky, go see it.

Jodorowsky is back in full swing and has certainly learned from his previous films. It is on par with the weirdness of holy mountain and has a somewhat coherent narrative at the same time without the pacing ever slowing down and managing to keep it to 2 hours long.

He creates a metaphorical world where we follow a young Jodrowsky and his father full of bright colours and some very quirky characters. There are his signature marks of male and female nudity bizarre imagery and amputees. I can't help but feel the film was more about his father growing up than about Jodrowsky as his father changes from the macho- Stalin worshipping God denying homophobic hypocrite to a broken god fearing hero of the people. Along with that we some real nice cinematography and is overall a great film it is not by any means for the casual movie goer as they would be repulsed by some of what goes on in this film.

If you're familiar with Jodorowsky's films ('The Holy Mountain' / 'El Topo') you are already aware that your chances of fully understanding the menagerie he presents is futile; whole books can and have been written in an effort to deconstruct his symbolism and celebrate his imagery. It's very easy to focus on the humor and find distraction in the surrealism of his films – that was always the initial draw for me - but his ambitions are of substance with meanings often relevant only to the director himself. The seed of this film is an autobiographical story of Jodorowsky's early childhood in the isolated coastal city of Topopilla, Chile where he experienced alienation as a displaced Ukrainian Jew. Jodorowsky insists that reality is a subjective concept and he immediately describes his setting as a circus with an overbearing father who dresses as Stalin and a mother whose lines are entirely delivered in operatic sing-song.

The film is as much about his father's journey through life as it is his own and the performances are so passionate and over-the-top that, along with his vivid pallet of colors, there is a 'cartoon' quality to the experience. All whimsy aside, this is one of his most cohesive narratives and he refers to 'The Dance of Reality' (his first film in 23 years) as a therapeutic endeavor – or 'psychomagic' – intended to heal residual, family-related psychological distress. Films made for an audience of one will always be a challenge but it's an absolute privilege to be allowed a peek into the mind of such a unique artist.

I could pretty much say that for every other film from Alejandro Jodorowsky. Lucky enough I was able to familiarize myself with his previous films; 'El Topo' and 'The Holy Mountain' a month ago, before hearing his latest 'The Dance of Reality' will play at the Melbourne Internation Film Festival; direct from its Cannes premiere.

I can't really recommend this to you if you aren't very familiar with Jodorowsky's other films. He always if not Often plays on Allegories; El Topo appears as an allegorical Western playing on a very mystic and strange backdrop full of religious ideals and encounters, while also exploring how much of this comes from human deeds on a spiritual journey to enlightenment. I'd gladly revisit that film again and consider it his "Masterpiece". 'The Holy Mountain' on the other hand has just as much of a cult following as 'El Topo' does, Instead That film focuses on spiritual conflict and pilgrimage to attain a spiritual level greater than man above the solar system's landscape. Both films have even been noted to be part of the ever wondrous hippie generation. Jodorowsky truly is an icon for what he achieved expressing within his films; very Avent-Garde spiritual understanding within our mind's visions giving greater tones to such surrealist imagery of psychedelia. Sure enough his films aren't for everyone and must be approached with a curious and Adult mind to fully understand.

'The Dance of Reality' marks Jodorowsky's first film in almost 23 years. Its an autobiographical film based upon the Jodorowsky's memoir of he name. The Film focuses on his upbringing in Chile, Young Alejandro (Jeremías Herskovits) is a curious boy trying to understand the values of life and childhood. His Father Jaime (Brontis Jodorowsky) is very strict, arrogant and abusive due to his obsession with communism and Stalin, he teaches the young Alejandro the meaning of manhood growing up and the lessons in life. His Mother; Sara (Pamela Flores, all her dialogue is sung) is more gracious and loving towards both Alejandro and Jaime.

The plot seems to focus on both father and son character development. Alajandro is growing up to becoming a fine young lad with good moral values taught by both his parents. Jaime on the Other hand thinks he can do anything within his power and might but eventually ends losing is all not learning his lesson from such reckless deeds, eventually trying get out the hard way. The 84 year old 'Jodorowsky' himself, serves as the film's narrator or spiritual guidance to his younger self.

In some way 'Dance of Reality' explores Jodorowsky's allegory of life and childhood as well as his old man's mistakes. You could say most of these themes have already been explored when looking back at 'El Topo', Although that film was more a metaphor for Jodorowsky's upbringing.

'Dance of Reality' directly takes Jodorowsky's native Chile setting and brings it up close examining his childhood and early spiritual understanding as well as what type of person his father was.

This film mainly has many of the similar motifs and symbolism found within Jodorowsky's other films (e.g. limbless or missing limbed humans and visible genitalia, Why? Cause he can!). Psychedelia and surreal imagery play a significant parts within the films substance. The narrative is easy to understand from a direct perspective rather than an exercise on the weird and wonderful. The film for one is fascinating, very engaging and self centered. The character development of Alajandro and Jaime is so drawn in; its hard to distinguish the line of fantasy and reality. Supporting and minor characters also play memorable roles in this film. I guess it was worth the wait for Jodorowsky's first release in years.

I can see this film being praised and divided by critics and audiences alike. Jodorowsky shows things within his films that even the most repentant or squeamish mind may find uncomfortable to watch. If given the right audience were to view this film they won't be disappointed. This film is Unlike anything I've ever seen; it has left me Awe Struck, amazed disturbed at the same time. One Thing for certain is Alejandro Jodorowsky is like no other film maker thats ever lived

Alejandro Jodorowsky - a living legend. That may be in part in his mind, but his status as a cult icon has been around for decades; when you make El Topo, The Holy Mountain, Santa Sangre, and have a whole side-line of comic books, "Magic Therapy" sessions (seriously, if you get the blu-ray he advertises it in the liner notes), and of course the legend of the insane achievement that was his adaptation-that-wasn't of Herbert's Dune, it's bound to happen.

He also always appears in interviews with an infectious, joyful personality even when he talks about very serious things like art and living and good life and being screwed over in the movie industry (see Jodorowsky's Dune for more on that). But here, he gets to return as a filmmaker, after an absence of decades, and the results? An overused word is appropriate here: fantastic.

The Dance of Reality is Jodorowsky's (for him) straight-forward look at what it was like for himself, and his father Jaime, to go through the late 1930's in Chile - but in the only way that Jodorowsky can as one of the last old-school surrealists (by this I mean he could pal around with Salvador Dali like it was nothing). The movie might appear to be two movies: the first half more-so considers how rough things were for poor little 'Alejandrito', especially under rather Jaime Jodorowsky's strict "Be a Man" philosophy of parenting (and, of course, Jodorowsky cast his son, Brontis, to play his father, and the director appears as "himself" in certain parts). The boy has long locks of golden hair, and these get cut off (rather, the wig comes off!) and the boy has to deal with being tickled - "Don't laugh!" - slapped, dentistry without anesthesia, and being picked on by fellow boys for being Jewish.

The movie might appear to be all about the kid from the first half... but then Jodorowsky does something really interesting - though it's bound to split audiences - as he really follows the father in the second half (with a couple of trips back to the son, and the mother Sara who sings every one of her lines of dialog). It's both the son AND the father's story in Dance of Reality, and it's touching how the director charts what is kind of a tale of humbling for this father character as he tries, as the staunch anti-dictator Stalin-supporting Communist he is, to kill the ruler of Chile Ibanez, and fails, and goes through many trials and tribulations.

Often, we see, with his hands curled in a permanent state of vegetation! Dance of Reality is filled with heart and passion, and what's great about it is how much the director doesn't cheat any of the emotions. Another filmmaker, maybe one more self-conscious or ironic, might play for a wink some of these scenes where the mother talk-sings in her operatic tones and the father beats the boy or the town-folk go about in their crazy ways (sometimes with masks, sometimes it's amputees up in arms, pun intended), or the clowns or lepers or other freaks who the director loves to see on screen.

Jodorowsky doesn't play like that; for him, this is all magical realism, surrealism, any-kind-of-WTF-ism you want, but it's not something that is taken precisely as a goof, if that makes sense. Yet it's that which makes many scenes delirious, and deliriously funny. The cure for leprosy, for example, is a howler of a scene, even (or because) as it doesn't make logical sense.

Sense? Hey, it's this filmmaker, why not go along for the ride? And it's actually more straightforward and stream-lined than the acid-trip fever dreams of his early/notorious midnight movie work. Here, it's more reflective - it's hard not to compare of course to it's cousin, Fellini's Amarcord, also in the 1930's, about fascism, and big breasts. But I'll continue returning to this film if only for its love of filmmaking, of bringing great big colors on the screen - I don't know how the color timing worked or how much was used, but every color here is vibrant and alive, as if the director were still remembering this like it was today, and it feels that way - and how much the family unit it explored without full-on cynicism. You can look at this father-mother-son and they have their problems and issues (putting it lightly), but... they're real and painful and experience pain and the horrors of society, and persevere.

This is a powerful work of brazen, uncompromising, funny-sad-strange-illuminating art for those open to the experience.