Thursday, November 29, 2007

The Road Home Synopsis

The Road Home Synopsis

SYNOPSIS: THE ROAD HOME
Zhang Ziyi, Sun Honglei; Directed by Zhang Yimou
Approx 100 minutes
July 4, 2004



Every time the word home is discussed, the event brings me tears because it evokes colorful memories of the past. Maybe the Filipino word “tahanan” is more appropriate to start with. It comes from the word “tahan” which means to stop crying, (v.g. tumatahan na ang bata sa pag-iyak), it means to settle down, to let the intense and emotional experience sink in. And when we say “diyan ako tumatahan”, it brings us to a deeper understanding of home. It is the center, the focal point where we have our roots. Or when we say “at home ako sa iyo o tahanan kita” -- we perhaps mean I am very comfortable to be with you. G. K. Chesterton once said that his wife is his home, a home sweet home, that goes with him wherever he goes. And Robert Frost says that a real home is a place/situation that accepts you as you are anytime, anywhere.

I have been changing homes for the past three decades of my life due to the nature of my vocation and ministry. And every time I change home, the painful tears of letting go have to be overcome. And the pulsating joys of discovering new friends, new homes have to be cherished. I think the journey, our journey in this life, has all the pains and the joys in the road home. This is I think what the director shares with us in this movie. It will be hard to name another director -- Kubrick, perhaps -- who has created so many masterpieces or near-masterpieces with so few lifetime films. Zhang Yimou starts with richly sensual tales (Red Sorghum, Ju Dou, Raise the Red Lantern), moves to sociopolitical epics (To Live, The Story of Qui Ju), and then here, in 1999, presents what may be called a "domestic epic."

For the first time in many years, a fairly young middle-aged engineer Luo Yusheng returns to Sanhetun, the home village of his birth in North China right after his father's death. The district mayor phones to tell him that his father died suddenly, and Yusheng is rushing back to be with his mother. He finds her grief-stricken mother keeping a sad vigil outside the decrepit village schoolhouse His mother insists that all the age-old local customs and rituals be observed, including weaving the funeral cloth on the village loom and hand-carrying the body many miles back from the city hospital morgue to the village so the deceased will know "the road home." The mayor hopes that Yusheng will persuade his mother to be more 'reasonable' - for example, to allow the coffin to be driven rather than carried. He fears that even if he could find men willing to carry the coffin many miles through the winter snows, there would not be enough of them. Most of the young men of Sanhetun - like Yusheng himself - have left the village to work in faraway cities.

As he watches his mother weave the funeral cloth, Yusheng reflects on what he's heard of his parents' courtship. Everyone in the village knows the story of her parents’ relations. He relates the story of how his parents -- Zhao Di, an 18-year-old farm girl and Luo Changyu, a somewhat 20-year-old teacher (who arrived from East Gate) sent to the village by the government -- met and fell in love in 1955. His mother living with her blind and widowed grandmother is considered the prettiest girl in Sanhetun, and she sets her sights on the handsome newcomer as soon as she sees him. When Changyu teams up with the village men to build a new schoolhouse (and Zhao Di, following tradition, is nominated to weave the red cloth that will be wound around its rafters), she always hopes that Changyu will pick her dishes from the lunch-table provided communally by the women. And when the new school is opened, Zhao Di takes to drawing water from the little-used old well - because that brings her close to the schoolhouse and gives her the chance of passing Changyu as he accompanies pupils home.

Her efforts to attract the teacher's attention are successful. By the time it is Zhao Di and her mother's turn to invite Changyu to eat in their home, he is shyly showing his interest. And so it is a huge blow to Zhao Di when men arrive from the city to take Changyu away with them for questioning. Changyu snatches a moment to say goodbye to Zhao Di, promising to return as soon as possible and giving her a hairpin as a small gift. During Changyu's protracted absence, Zhao Di goes to the schoolhouse to clean it up and repair its paper windows. The rest of the villagers realize that she and Changyu are in love. There is much talk, because arranged marriages are still the norm then. This was Sanhetun's first "love match".

Changyu is away for a long time. One day he is rumored to be due back, but didn't return. Zhao Di waits for him so long she becomes feverish and then sets off through the snow and mist to look for him in the city. She is found collapsed in the snow and brought home with a bad chill. She wakes two days later to find that Changyu has come back, and has sat by her bedside for hours. It turns out that Changyu has sneaked away without permission from some political tribunal in the city specifically to see her. His disobedience is punished when he goes back to the city, and he and Zhao Di are kept apart for two more years. When he finally comes back along 'The Road Home" to Sanhetun, Zhao Di is there to greet him. And they are never separated again.

Back in the present, Yusheng realises that his mother's wishes for Changyu's funeral must be respected. He gives the mayor 5000 yuan to hire 32 men to carry the coffin in shifts and to keep them plied with cigarettes and rice-wine. But when the day of the funeral arrives, more than a hundred of Changyu's former pupils turn up to carry his coffin, and none of them will accept payment. The coffin is laid to rest near the old well, overlooking the schoolhouse.

Next day Zhao Di takes Yusheng to the schoolhouse (due to be rebuilt next spring) and reminds him that his father always hoped that he would succeed him as the village teacher. And before he leaves to go back to his job in the city, Yusheng spends one day teaching the local children in the old building.

Most of the movie centers on the earlier love story. It's a shame that the more recent "Crouching Tiger, Hidden Dragon" made it to Davao City first, because Zhang Ziyi, the spitfire young girl of the action flick, is much more incredible in her debut in this movie, aged 20. The simplicity and transparency of her emotions, the incredible beauty of her face, are captivating. There is no sex or nudity, not even a kiss, in this intensely romantic film; and the landscape, seasons, and light -- the sound of vegetables being chopped, the chanting of children's voices in school -- are as much stars as Ziyi. This movie is a gorgeous and moving piece of work. It moves me everytime I view it, not only because of the utmost love and commitment that persons can make in their lifetime, but because of the silent yet effective character the teacher has in our society.

The Road Home

Aside from the film elements (mimetic elements) that you will use in crafting your film critique, please include the following in your paper:

(1) The film is a love story without a even a kiss. Why didn't Director Zhang Yimuo include sex scenes in the movie?

(2) The plot is simple, the use of BW/Color transitions were simple. What makes this movie amazing in its simplicity?

(3) Identify the symbolisms used in the movie. What are the relations of the symbol to the theme of the movie?

(4) Based on your experience of watching other Zhang Yimuo's films, can you elaborate on his style as a director?

Saturday, November 24, 2007

Saturday Film Class

Due to request from the Division, I have a Saturday class for Film Appreciation 4PM-7PM, F513G. Although this course will be for the graduate students, there are some undergrads and faculty who request to attend my class.

My class will be open for "sit-in" students as long as they ask permission from the Mass Comm Deparment or Humanities Division first, or inform me ahead of time. I can only accommodate 30 students.

Thursday, October 25, 2007

DXUP

I was lazily surfing the net, when suddenly I chanced on DXUP blog.... and I was perplexed that an article I wrote about Discourse Ethics and Democracy was discussed over radio waves. I cringed at the possibility of how the radio commentator attacked (or approached) my article. Funny thing, this was the radio program's topic last 21 May 2007 in a segment called "Kapayapaan."

And to top it all, DXUP is in Upi, Maguindanao and broadcasts on frequency 105.5 MHz and can be heard over some barangay of Upi and South Upi, and nearby municipality in Maguindanao & Shariff Kabunsuan province, some part of Lanao del Sur, & Norte, Zamboanga Sibugay, Sultan Kudarat and North Cotabato province.

See article here

Wednesday, October 24, 2007

Grades Online

Another good news for ADDU college students. You can access your grades online through the website. Just go to current students.

Thanks to my web development team who worked hard doing the scripts and uploading all the data needed.

Nobel Laureates in ADDU

On behalf of Fr. Antonio S. Samson S.J., President of Ateneo de Davao University, we kindly invite you to participate in the upcoming “Bridges” events and dialogues with keynote speaker Professor Robert Alexander Mundell, the 1999 Nobel Laureate for Economics from Columbia University in New York.

Professor Mundell prepared the first plan for a common currency in Europe and is known as the father of the theory of optimum currency areas. He has established the foundation for the theory which dominates practical policy considerations of monetary and fiscal policy in open economies. His contributions to monetary dynamics constitute the core of teaching in international macroeconomics.

Professor Mundell will speak on “Economic development by fitting globalization into the national development strategy” on

November 16 at 2:30 pm at Ateneo de Davao University in Davao, further information and free tickets via phone (082) 227-8771, fax (082) 226-4116 or email jse@addu.edu.ph.

We hope you could join Professor Mundell’s events in November 2007 or any other upcoming “Bridges” events with Nobel Laureates for Economics, Peace, Physics, Chemistry and Medicine and with former World Bank President James D. Wolfensohn which will be continuously held in Ateneo de Davao University from November 2007 to April 2008. The detailed schedule of all “Bridges” events and further information is available a t the website www.peace-foundation.net.

We thank you for your kind attention and consideration and would be delighted to personally welcome you at some of the upcoming “Bridges” events in the forthcoming weeks.

Tuesday, October 23, 2007

More Wifi Access Points in Ateneo

Good news, the technical people just finished installing wifi access points in the campus.

BellarmineAP: it covers the gazebo, University Library, American Library and Wieman, Thibault, Canisius Halls facing the gazebo.

CanisiusAP: it covers the Canisius Hall and part of Finster Hall facing the covered courts. It reaches up to the covered court, Mitchel Hall, Chapel and Jesuit Residence.

As of the moment, these access points are open for public. Come second semester, students and faculty should register their wireless equipment with the Technical Services Office (6th Floor, Finster Hall).

COMING SOON: Food court access point and Law School library access point


Film Appreciation and Basic Photography Classes

I'll have my film appreciation class on Tuesdays, starting later afternoon until evening (3 hrs). My photography class schedule will be the same, Saturday afternoon 1-4PM. Registration starts on 25th October 2007.

Friday, October 19, 2007

Glorietta Bombed

This is really devastating, one of the premier malls in Makati district being bombed. Hay naku, kailan pa kaya tayo aasenso sa Pilipinas kung ganito lagi tayo. Nakakainis!


From disneycute.multiply.com, a blogger who happened to be in the vicinity.

Wednesday, October 17, 2007

Second Semester

Second semester has not yet come and I am overwhelmed by the request to teach (again!) Basic Photography (MC310) and Film Theory/ Film Appreciation (Hum3). Almost all of the philosophy faculty will join the Saturday afternoon class on photography, begins at 1:30PM.

I am still contemplating where to place the Film class, it may be Thursday evening or Monday/Friday evening (3 hours straight!). I opted to have once-a-week class for Film Theory/ Appreciation so that I could finish a full feature film in one session with discussion and lecture. I have a new collection of foreign films, aside from the usual films I have used since 2001.

See you. =)

Tuesday, October 16, 2007

New Schedule for Second Semester 2007-2008 (For ADDU students only)

After some deliberations of University administrators this morning due to the coming local elections, the following will be the new schedule:

October 2007
19 - Submission of Final Grades (for faculty)
25 - Early Registration for all regular students (with no academic deficiencies)/ Registration for 3rd/4th Year BSN
26 - Early Registration for all regular students (with no academic deficiencies)/ Registration for 3rd/4th Year BSN
27 - Early Registration for all regular students (with no academic deficiencies)/ Registration for 3rd/4th Year BSN
29 - Barangay Elections (not yet declared as holiday)
30 - 1st/2nd Year Registration
31 - 1st/2nd Year Registration

November 2007
1 - All Saints' Day
2 - All Souls' Day
3 - 1st/2nd Year Registration (cont.)/ Transfer Students Application Processing
5 - 3rd Year Registration
6 - 4th/5th Year Registration/ Transfer Student Enrollment
7 - START OF CLASSES
8-22: Adding/ Dropping of Courses

For more information, please email psspdvo@addu.edu.ph or admissions@addu.edu.ph. Please disseminate information to your classmates and friends. Thank you.

JEREMY ELIAB
Asst. to the President

Thursday, October 11, 2007

Cine Europa in Davao

For those who are cinema buff and non-Hollywood fans, you may be interested to watch some contemporary and critically-acclaimed films EU at Gaisano South Citimall (Ilustre):

12 October 2007 (Friday)
12nn: Summer with the Ghosts (Austria)
1:45pm: Dead Man's Hand (Belgium)
3:20pm: The Kiss (Belgium)
5:20pm: Kolya (Czech Republic)
7:30pm: Jalla! Jalla! (Sweden)

13 October 2007 (Saturday)
12nn: Summer in Berlin (Germany)
2:10pm: Just Sex and Nothing Else (Hungary)
4:00pm: Inside I'm Dancing (Ireland)
6:00pm: Facing Windows (Italy)

14 October (Sunday)
12nn: Meeting the Enemy (Slovakia)
2:15pm: Carol's Journey (Spain)
4:15pm: Ellis in Glamourland (The Netherlands)

15 October 2007 (Monday)
12nn: You am I (Lithuania)
2:00pm: La Mome (France)

Thursday, September 20, 2007

My fave in Elton's Shoot


Model: Muchy; Photographed by: Elton Domingo



Model: Muchy; Photographed by: Elton Domingo



Model: Muchy; Photographed by: Elton Domingo

Tuesday, September 18, 2007

Samal Photoshoot

MC310 class had its photoshoot at the Samal Campus site of Ateneo de Davao University, thanks to the help of Engr. Paul Abrina, the Physical Plant Administrator of the University. Likewise, the OIC of the Student Affairs Office went with class. The shoot went fine, we had a nice and cooperative sun. Here are some select shots I have seen so far from different sites of people. I will posting some good shots here from time to time, as soon as permissions for such are granted by models and photographers.



Photographed by: Mick Basa; Models: Byron and Dina (from Dena's Friendster)

Advisory

A virus recently peppered my multiply account while I am out of the office.... imagine, I am in Ateneo de Naga right now and I just discovered a few minutes before that a supposedly private mail was sent by the virus to the mail addresses in my address book. What the ....

Haha, so much about my paranoia of net viruses. I discovered a loophole in my blog sites: cross-posting by mail. The concept is: I can post an article to my blogs from anywhere (through phone, or laptop) by just sending an e-mail to a specific blog address.

Now, a virus intercepts my mail (which is supposed to be private) and sends it to the specific blog address and to other email addresses, yahoogroups-- voila! MY MAIL IS POSTED IN ALL MY BLOG SITES AND YOU RECEIVE THE MAIL!

Katangahan ko, sorry if you have received the mail, it was intended for a specific person whom I was asking permission to post a specific photograph in my site.

Lesson: if you have a cross-posting feature in the blog, make sure the blog's email address is not in your address book (just memorize it), or better yet, turn off the email posting for the blogsite.

My apologies to you, and to the specific person to whom the e-mail was supposed to be sent. If you have the mail, please delete it. It may contain a worm or something that replicates itself through email attachments. Thanks.

Virus Alert

A virus recently peppered my multiply account while I am out of the office.... imagine, I am in Ateneo de Naga right now and I just discovered a few minutes before that a supposedly private mail was sent by the virus to the mail addresses in my address book. What the ....

Haha, so much about my paranoia of net viruses. I discovered a loophole in my blog sites: cross-posting by mail. The concept is: I can post an article to my blogs from anywhere (through phone, or laptop) by just sending an e-mail to a specific address.

Now, a virus intercepts my mail (which is supposed to be private) and send it to the specific address -- voila! MY MAIL IS POSTED IN ALL MY BLOG SITES! Katangahan ko, sorry if you have received the mail, it was intended to a specific person whom I was asking permission to post a specific photograph in my site.

My apologies to you, and to the specific person to whom the e-mail was supposed to be sent.


Monday, August 13, 2007

For Car Buff

Here is something you car buffs probably didn't know.

The 3 Goldberg brothers, Norman, Hiram, and Maxwell invented and
developed the first automobile air-conditioner.
Didn't know that, did ya...

On July 17th, 1946 , the temperature in Detroit was 97.

The 3 brothers walked into old man Henry Ford's office and sweet-
talked his secretary into telling him that 3 gentlemen were there with
the most exciting innovation in the auto industry since the electric
starter.

Henry was curious and invited them into his office.

They refused and instead asked that he come out to the parking lot to
their car.

They persuaded him to get into the car which was about 130 - turned on
the air-conditioner and cooled the car off immediately.

The old man got very excited and invited them back to the office,
where he offered them 3 million dollars for the patent.

The brothers refused, saying they would settle for 2 million but they
wanted the recognition by having a label "The Goldberg Air-
Conditioner" on the dashboard of each car that it was installed in.

Now old man Ford was more than just a little bit Anti-Semitic, and
there was no way he was going to put the Goldbergs' name on 2 million
Ford cars.

They haggled back and forth for about 2 hours and finally agreed on 4
million dollars and that just their first names would be shown.

And so, even today, all Ford air-conditioners show on the controls the
names "Norm, Hi, & Max".

There, now ya know it....

Wednesday, August 08, 2007

International Video Project

I lost my digital copy of this video project. I searched the net, and hey, there it is! Ah, the advantage of internet in finding things that I lost. I am beginning to believe that the vritual reality becomes a repository of everything serious and banal.


This project was done when I taught nonlinear editing (final cut pro to be specific) way back 2001. I was invited by Philipp Ennemoser (the main coordinator) to join in this international project -- different cinematographers from different cities around the world contributing footage in the spirit of filmmaking.

Philipp was kind enough send me an original DVD copy of the final documentary. Somebody borrowed it, and it was never returned back to me. I did show this film in one of those Rough Cut Nights (the local version of Cannes Festival in Davao) at the Kanto Bar, Matina Town Square along with the projects of my nonlinear editing class.... I guess it's the class of Zsa Zsa Perasol, Gian Bonador, and Chiqui Arjona, and the Gigi Patiño semi-rated MTV. Hehe.

Anyway, I found a digital copy (downloadable!) of the project.

Here is the introduction:

In an ever faster moving world cities have become somehow fascinating for us. They do not only respresent mankind's belief in technology but do also provide us with an endless variety of images and sounds.

urbanDynamics is an international video project designed to cover global urban dynamics. Its aim is to make a collage of urban environments around the world by assembling video footage from citizens. It's an experiment that totally depends on the participants, who rediscover their cities with a simple miniDV camcorder.

Besides, the project can promote a more positive point of view towards globalisation by recognizing the possibility of making such a project with unknown people simply on the basis of confidence and the spirit of film making.

Over the period of a year 26 people from 17 different countries joined the project and contributed video footage or music to the project. It has shown me that our world has really developed to a global village. Regarding the fact that those 26 people have never met but produced a film together shows the new opportunities of a globalised world for the "normal" people.

Interested parties can download the documentary at:

Saturday, March 17, 2007

Cinema Paradiso Notes

Please chek my other posts about Cinema Paradiso

Introduction to Cinema Paradiso

An Essay on Cinema Paradiso
Cinema Paradiso
A film review by Christopher Null (Copyright © 2003 filmcritic.com)

In one of the more puzzling DVD reissues ever comes Cinema Paradiso: The New Version (note it's not called "The Director's Cut" -- in fact this is really the "old version," as the cuts were made to make the film more palatable to U.S. audiences), which takes a sweet two hour production and turns it into an overwhelming three hour movie, which is far more paradiso than anyone really needs. Frankly, the cuts were understandable. And it won Best Foreign Film at the 1989 Oscars... what more do you want?

After all, what was wrong with the short version? Never saccharine, this love affair with the movies is a simple film. Poor, young boy befriends older (yet uneducated) projectionist in his small Sicilian town, learns the ropes, and grows older and wiser with his pal by his side. Eventually, there's romance (no, not between these two). There's war. There's departure. It's like three coming of age stories in one! They're all well produced, subtle, and tender. Unless you truly have no heart, you can't help but enjoy the film.

What The New Version adds is a long denouement that answers a question that few people probably cared to ask. As a teen, Salvatore's big love is with a girl named Elena. But her father disapproves, and he moves the family away from Sicily to marry her off to some rich guy. Salvatore spends years trying to find her but never does. End of story. What happened to Elena? Well, she got married and had kids but of course she still remembers Salvatore and has feelings for him.

This was originally a 30-minute epilogue to the movie, as our hero, now late into middle age, returns to his hometown for a funeral. Wrapping things up with Elena is harmless, but it adds considerably and unnecessarily to the length of the film. The other restored cuts add little, reminding us of Italian cinema's penchant for silly, almost slapstick, sex scenes. The rest of the film is so innocent that the raunchy stuff feels out of place.

Lucky then that Cinema Paradiso includes the original U.S. version on the flip side of the disc. Unless you're an utter completist, you needn't bother with the "new" version, but it'll always be there for you just in case.

Aka Nuovo cinema Paradiso .

Tuesday, March 13, 2007

For your film viewing consideration

For your film viewing consideration, below is a synopsis of a digital film directed by our alumnus, Benjamin "Benji" C. Garcia II (ADDU GS'71, ADDU HS'75, AdMU-AB ComArts'79). The film is "Batad: Sa Paang Palay" which will be shown at the SM Digital Theaters (including SM Davao) from March 14-20, 2007. In addition to winning the Best Screenplay and Best Actor awards, the film won Best Production Design and the Special Jury Prize in the Full Length Feature category in the 2006 Cinemalaya Independent Film Festival and Competition.

In a filmaker profile at http://www.culturalcenter.gov.ph/cinemalaya/synopsis/Batad.pdf

BENJI GARCIA is a freelance producer of TV commercials. For the past 10 years, he has produced and directed numerous radio and TV commercials and many corporate films and documentaries. He has acted, written, produced and directed for theater and television. He has also done production design for films. He was art director for the TV historical drama Alab ng Lahi, the La Aunor TV series and for Ishmael Bernal's acclaimed film Himala. He was production designer for Mel Chionglo's Teenage Marriage, Edgardo Reyes' Bulaklak ng Apoy and J. Erastheo Navoa's Manoy, Di Ka Na Makaka-isa. He is a graduate of Ateneo de Manila University where he earned an AB Communication Arts Degree, with honorable mention. He took courses at the London International Film School.

I hope many of our students, alumni and friends will watch this film at the SM theaters during its theater run. Mr. Garcia believes the film has a lot to tell Ateneans, and Filipinos for that matter, about the struggle between tradition and Western modernization.

Monday, March 05, 2007

Jan Dara



Jan Dara A film review by Don Willmott (Copyright © 2005 filmcritic.com)


Jan Dara, a Thai import adapted from a well-known Thai novel by the feverish mind of writer/director Nonzee Nimibutr, is a thoughtful tone poem about the bonds between father and son and the importance of family loyalty in a troubled…

Wait. Let me start again. Jan Dara is about sex. Lots of sex. Lots of hot sex of every imaginable kind. Any other thematic concern — and there are a few — is hopelessly lost in the wake of all that sweaty, mosquito-net-shrouded sex.

The title character (Suwinit Panjamawat) is born into a well-to-do Bangkok household, but his mother dies in childbirth, and his father Khun Kaew (Patharawarin Timkul) hates him for causing her death. (He also hints that Jan Dara may not be his flesh and blood.) As Dad surrounds himself with an ever-changing retinue of hot girlfriends, maids, and nannies, Jan Dara grows up like Cinderella, forced to do chores and endure severe beatings, even as he watches his younger half-sister enjoy her status as Daddy’s little princess. It’s all humiliating and impossible to bear. No matter where Jan Dara walks in the house, Dad is screwing someone on a chaise lounge.

Eventually, Dad’s number one girlfriend Khun Boonlueang (Christy Chung) takes a shine to Jan Dara, and on one especially hot day, she asks him to join her in her budoir to work her over with an ice cube. Jan Dara, who at age 15 has already been introduced to sex by various horny housekeepers, takes Khun Bo as his lover. What better revenge on Dad than bedding his woman? Sex as a weapon. Let the war begin.

Although Jan Dara also longs for a virginal local schoolgirl, he’s always sucked back into the sexual cesspool of the family manse. We see cousins boinking cousins, girls boinking girls, Dad boinking everyone, and Jan Dara boinking Khun Bo. When Dad happens to see this last one, he has a massive stroke. The war is over, but for some reason involving real estate deeds, it won’t truly end until Jan Dara marries and rapes his half-sister. Too bad they didn’t have air conditioning back then. These people really need to cool off!

Hot blooded, I'm hot blooded!

Saturday, March 03, 2007

Crash (2005)

A film review by David Levine - Copyright © 2006 filmcritic.com



In Crash, a simple car accident forms an unyielding foundation for the complex exploration of race and prejudice. Thoroughly repulsive throughout, but incredibly thought provoking long after, Paul Haggis' breathtaking directorial debut succeeds in bringing to the forefront the behaviors that many people keep under their skin. And by thrusting these attitudes toward us with a highly calculated, reckless abandon, Haggis puts racism on the highest pedestal for our review.

There is no better place for this examination than the culturally diverse melting pot of modern-day Los Angeles. In just over 24 hours, Crash brings together people from all walks of life. Two philosophizing black men (Ludacris and Larenz Tate) steal the expensive SUV belonging to the white, L.A. District Attorney (Brendan Fraser), and his high-strung wife (Sandra Bullock). A similar vehicle belonging to a wealthy black television director (Terrence Howard) and his wife (Thandie Newton) is later pulled over by a racist cop (Matt Dillon) and his partner (Ryan Phillippe). Soon, many of these people get mixed up with a Latino locksmith (Michael Peña), a Persian storekeeper (Shaun Toub), and two ethnically diverse, dating police detectives (Don Cheadle and Jennifer Esposito).

Every confrontation leads to an inexcusably violent, outward display of racism. Haggis and co-screenwriter Robert Moresco have crafted a scrupulous script that keeps the film's tension near the boiling point with merciless verbal assaults and disgusting physical demonstrations of hatred. There's little redeeming value to any of these individuals. Looking for a hero? Forget it -- you'll be hard-pressed to find anyone without flaws. One moment, they're behaving in the most loathsome ways; later, they're performing acts of kindness you wouldn't think these characters are capable of.

And that's the primary point Haggis seeks to drive home with Crash. We're all in some way swayed by our preconceptions of others, and our behaviors and attitudes are affected by the situations we find ourselves in. In one example from the film, when Dillon's racist cop happens upon a serious traffic accident, he risks his own life to save the life of a black woman trapped inside her car. Dillon, the previous night, sexually assaulted this same woman while showing off to his rookie partner during a routine traffic stop.

Superbly crafted and visually stunning from start to finish, Haggis's follow-up to Million Dollar Baby is on par with similarly structured ensemble stories like Robert Altman's Short Cuts, and Paul Thomas Anderson's Magnolia. All of the performances in Crash are first rate; to single out one would be an injustice to the others. Even those with the smallest roles generate a large impact.

Crash is not without some minor flaws. While the pure bluntness and confrontational nature these people take with their racist remarks delivers the film's strong message, many times it feels like overkill. It also seems like a bit of a reach that all of these individuals would cross paths multiple times in the second largest city in the U.S -- one too many conveniences for my liking.

Crash packs a giant emotional punch that keeps us watching and constantly demanding a closer look at our own attitudes and belief systems. This powerful and important film should not be missed.

The DVD includes commentary track and behind the scenes footage.

You have the right to remain silent during the movie.

No Man's Land Review

No Man's Land: A film review by Christopher Null - Copyright © 2001 filmcritic.com



Patton would have been disgusted.

Modern wars (at least, those not involving the U.S.) aren't fought man to man, or even tank to tank. They're fought in the dead of night, when everyone thinks the United Nations "peacekeepers" aren't watching. By day, the U.N. "smurfs" (so called because of their ridiculous blue helmets) try in vain to broker half-assed ceasefires between sides that have extremely complicated reasons for fighting and have little respect for the men in blue.

Unlike any of the recent rash of rotten films about the conflict in Bosnia (Savior, Welcome to Sarajevo) No Man's Land presents a balanced and devastatingly accurate look at the conflict, lambasting the west for its inability (or apathy) to do much of anything to stop the carnage.

And while No Man's Land is really about presenting its political goals, it still manages to hold our attention by telling a very personal and engaging story from the front lines. Or rather, from between the front lines, as we fine two soldiers, one Bosnian and one Serbian, stuck in the no man's land between the trenches. A standoff develops when a third man becomes trapped, lying upon a live land mine that will obliterate the area if he is moved. And an uneasy détente forms among the men as they wait from help from the U.N. in defusing the mine. Their innate hatred for one another makes it difficult for any kind of peace, however short, to be reached -- and as a result, the whole situation self-destructs.

The ending is unfortunately both expected and curiously unmoving, though it's not without a certain sense of irony and a hands-in-the-air surrender about the reality of the modern civil war. All of the performances are spot-on, though the use of a half-dozen languages that come at you rapid-fire gets unnerving quickly. While No Man's Land doesn't quite redefine the war genre, expect to see it on a number of top ten lists come year-end (and in fact, it just won Best Foreign Language Film at the 2002 Oscars, Best Screenplay at 2001 Cannes Film Festival and Best Foreign Film at Golden Globe Awards).

Saturday, February 24, 2007

The Bridge on the River Kwai: A Review

In case there was any doubt concerning man's savagery to his fellow kind, then the Thai-Burma railway, all 415 kilometres of it, stands as a horrific testament to human brutality. Constructed under order of the Japanese by prisoners of war and enslaved locals during WWII, the Death Railway's most famous section, 'The Bridge Over the River Kwai', now acts as one of Thailand's major tourist attractions.

The Bridge on the River Kwai (1957), the memorable, epic World War II adventure/action, anti-war drama, was the first of director David Lean's major multi-million dollar, wide-screen super-spectaculars (his later epics included Lawrence of Arabia (1962) and Doctor Zhivago (1965)). The screenplay was based upon French author Pierre Boulle's 1954 novel of the same name - although he received sole screenplay credit, other deliberately uncredited, blacklisted co-scripting authors (Carl Foreman and Michael Wilson) collaborated with him and were post-humously credited years later.

The film's story was loosely based on a true World War II incident, and the real-life character of Lieutenant Colonel Philip Toosey. One of a number of Allied POW's, Toosey was in charge of his men from late 1942 through May 1943 when they were ordered to build two Kwai River bridges in Burma (one of steel, one of wood), to help move Japanese supplies and troops from Bangkok to Rangoon. In reality, the bridges were actually used for two years, and were only destroyed two years after their construction - in late June 1945. The memoirs of the 'real' Colonel Nicholson were compiled into a 1991 book by Peter Davies entitled The Man Behind the Bridge.

The film was the number one box-office success of the year (the highest grossing film) and it won critical acclaim as well - eight Academy Award nominations and seven Academy Awards: Best Picture, Best Actor (Alec Guinness), Best Director, Best Screenplay Based on Material from Another Medium (Pierre Boulle), Best Cinematography, Best Score, and Best Film Editing. Only Sessue Hayakawa, a former silent screen star, who was nominated for his Best Supporting Actor role as the Japanese colonel, lost. The film created an additional stir when it appeared on ABC television on September 25, 1966. The date was dubbed "Black Sunday" due to the loss of business at movie theatres on account of its popular airing.

Shot on location in the steamy, colorful, dense tropical jungles of Ceylon (Sri Lanka), the story's theme is the futility and insanity of war, viewed through the psychological, confrontational struggle of imperialistic wills between a British and Japanese Colonel. The two protagonists are symbols of different, opposing cultures, but actually they share much in common - egotistical pride, dedication, a belief in saving "face," and stubborn, inflexible obedience to their class, military codes and rules. Themes of heroism, pride, military tradition, hierarchy, and power are masterfully interwoven into a plot that is ambiguous enough to allow for various viewpoints and perspectives.

Before and during the title credits, an evocative opening shows a single soaring, circling hawk, free from restraints. The aerial camera view pulls back to reveal a vast, green, tropical jungle (from the hawk's point of view), then descends into the teeming, chattering, underbrush of the forest to pan by a row of crude graveyards (in the jungle and next to train tracks), marked with makeshift wooden crosses. A train with a machine-gunner on top whistles as it roars past the graves, coming upon POWs in a World War II Japanese prisoner of war camp. The camp inhabitants and building one link in the infamous Bangkok-Rangoon "death railway."

Read the Review at http://www.homevideos.com/revclas/7b.htm

The Bridge on the River Kwai: Plot

The Bridge on the River Kwai
Plot Summary

The Bridge on the River Kwai is an epic tale of the struggle of British POWs in a Japanese prison camp in Burma during WW II. As the story begins, Lt. Colonel Nicholson (Alec Guinness) marches his men into Prisoner of War Camp 16, commanded by Colonel Saito (Sessue Hayakawa). As the troops enter the camp, they are observed by long time captive Shears (William Holden), an American sailor, who has bribed a guard to be put on the sick list. Saito announces that their job will be to build a bridge over the River Kwai so that the railroad connecting Bangkok and Rangoon can be completed. However, Saito also demands that all men, including officers, will do manual labor. This act forces Nicholson to inform Saito that, under the Geneva Convention, officers can not be required to do manual work. Saito expects them to do as their told because they are his prisoners after all.

A standoff occurs when Nicholson adamantly refuses to make his officers do manual labor. The battalion is marched off to work with the officers left standing under the gaze of a machine-gun. Because of Nicholson's unwillingness to back down, he and his officers are placed in the "ovens"- small, galvanized iron boxes sitting in the heat of day. Time passes with Nicholson sweating his life away, while the enlisted men labor away at the bridge. Shears, along with two British soldiers, try to escape but only Shears manages to get away, having been thought drowned in the river. Eventually, Saito reveals why he is desperate to finish the bridge on time. If the bridge is not completed on the pre-set date, Saito will be disgraced and, according to the Japanese code of honor, must kill himself.

Nicholson mentions that he does have men skilled in this type of task but Saito simply locks him back in the “oven.” Eventually Saito gives Nicholson and his officers amnesty and Nicholson sees this as a small but well needed victory. Nicholson suggests to his officers that, instead sabotaging the work, why not build the bridge to the best of their ability. Nicholson and his men set to work.

Shears, who survived the escape and is now recovering in a hospital in Ceylon, is asked by Maj. Warden (Jack Hawkins) to come along on a mission to destroy the bridge. Fearing recapture, Shears reveals that he is not even an officer but has been posing as one to get better treatment. Unfortunately for him, Warden already knows and literally blackmails Shears into going on the expedition. After recruiting a fourth man, the team parachutes into the jungle but only Warden, Joyce (Geoffrey Horne), and Shears make the jump safely. After several days of hardship, the team learns of a train scheduled to travel the railroad on the 13th. They choose this day as the day to destroy the Bridge on the River Kwai.
Nicholson informs Doctor Clipton that the bridge won’t be completed on time. To increase manpower, Nicholson recruits wounded men from the 'hospital' to do light labor at the bridge. Far away from the bridge, the team of Shears, Joyce, Warden, and their native porters are resting when they are discovered by a Japanese patrol. A gun battle ensues and Warden and Joyce chase down one of the enemy soldiers. They find and kill him, but Warden is wounded in the struggle. The team presses on, but Warden has difficulty walking on his wounded foot. Finally Warden tells the team to go with out him but Shears refuses, telling Warden what he thinks of him. Warden is carried from then on in a makeshift stretcher. The team finally makes it to the bridge the evening before the train is due.

As Nicholson dedicates a plaque to the bridge, the demolition team watches and makes preparation for its destruction. Shears and Joyce are sent upstream to prepare to float themselves and the equipment down river to the bridge, while Warden stays behind to prepare a mortar assault. Nicholson admires his bridge and reminisces with Saito about his military career. When night falls, Shears, Yai and Joyce make their way to the bridge. Under the clattering boots of sentries, they set charges on the bridge and continue down stream. Shears leaves Joyce with the detonator and crosses to the other side of the river with Yai to cover him. Back in the POW camp, Nicholson’s men hold some entertainment. Nicholson congratulates his men on a job well done.

In the morning, the team discovers that the water level of the river has dropped, making the wires visible. Joyce feverishly tries to cover the cable but it is still spotted by Nicholson. Saito and he follow the wire to Joyce’s location. While their backs are turned, Joyce kills Saito with a blow to his back. Nicholson attempts to stop Joyce and Joyce winds up being shot. Warden begins to mortar the bridge as Shears attempts to cross the river to get to Joyce but is taken down by Japanese soldiers. Nicholson realizes what he has done and tries to get to the detonator but is wounded by a mortar shell. Nicholson stands and makes his way over to the detonator. Keeling over from shell shock, he falls on the detonator just as the train crosses.

Clipton, who had been watching the whole ordeal from a hill, sees the wreckage of the bridge and the bodies of Nicholson, Shears, and Joyce. His only remark to this is "Madness".

Post: For "Bridge on the River Kwai"

The Thai-Burma Railway and Beyond
(Text of a talk by Fred Seiker to the Kwai Railway Memorial (Three Pagodas Group) at their October 1997 Annual General Meeting)


When asked a while ago to talk about 'Life on the Railway'. I felt somewhat uneasy about this title because it suggests that there was indeed life during the construction of the Thai-Burma Railway. By that I mean life as I had known it prior to becoming an employee of the Imperial Japanese Army. Also, to describe the Railway to the uninitiated and expect them to even begin to understand does rank among the 'impossibles' of our time. The mind refuses to accept what it hears. The brain seeks for acceptable content when listening to the many POW stories about the Railway, which abound since the V.J. commemorations in 1995. When it cannot detect any, it closes shop and ceases to process further information. I am not enlightening you with all this to make a particular point, only to emphasize my understanding of the public's reaction to the stories told about the Thai-Burma Railway, built during the Second World War by Allied POWs.

'Any opinions are entirely my own and highly prejudiced'

I have, therefore, decided to base this talk on a few personal experiences and witnessed events, avoiding the horrors of the well-documented tortures carried out by the Imperial Japanese Army and their military police, the Kempitai. Those atrocities were executed by the Japanese with relish and often with immense amusement. I would also stress that any opinions about the Japanese that might surface during this talk are entirely my own and, by their nature, highly prejudiced.

'The humiliation was complete. In minutes I ceased to be a person'

I became a POW in Bandung, Java, soon after the Japs occupied the island. I walked into the POW camp, complete with two suitcases filled with all manner of food. The cases were immediately ripped from my grasp, my objections to this piracy act were rejected by Japanese fists slamming into my face and a rifle butt sending me crashing to the ground. A Jap officer explained to me in English that I was now a POW of the Imperial Japanese Army and, as such, had no rights whatsoever. They then proceeded to remove my personal belongings: watch photographs, money, etc. The humiliation was complete. In minutes I ceased to be a person. I believe to this day that they considered a worm in the earth of greater value than a POW

'Their death was designed to be painful and slow'

I was shown my temporary home, which consisted of the veranda of an abandoned bungalow, which I shared with two other POWs. The front of the veranda was open to the elements and somewhat draughty and wet at times. We soon organized ourselves in some sort of routine and waited for things to develop. Which they did. One late afternoon, the entire camp was ordered on parade. We were confronted with the spectacle of three sailors, each tied to a wooden pole. A Jap officer explained that these three chaps had escaped from the camp, but were soon caught and were now waiting to be executed. A rumble rippled through the assembled POWs. It was a tense moment, but the cocked machine guns, trained on us, soon calmed things down. The sailors were executed by bayonet thrusts in the throat, the stomach and lower abdomen. Their death was designed to be painful and slow. A warning to future escapees! It also became clear to us what kind of animals we were dealing with.

'You were confronted with a huge bayonet, and a hasty retreat back into hell followed.'

One evening it was announced that we would be taken to another place, where we would be put to work on building a railroad. Those who followed orders would be well treated, others would receive harsh but just treatment. Convoys of lorries took us to Tandjong Priok, the harbor of what was then Batavia, now Djakarta. We were herded onto a shabby old rust bucket and driven into the holds of the Maru. To describe the scene is one of those occasions when even an imaginative mind fails to grasp the horror of it all. We were stacked - and I mean stacked - onto elevated platforms within the holds of the vessel. The horizontal space per man was just enough to turn over without landing on your neighbor. In some cases bodies had to turn over in unison to avoid landing on your mate next to you. Vertical space was not quite enough to sit up. A dim light at the end of each row of bodies was the only glimmer that could be seen. Each hold had one single opening at the top for ventilation. At each of the openings stood a Jap guard, who was in total command of who was allowed on deck for natural functions. If he decided not to allow you on deck, you were confronted with a huge bayonet, and a hasty retreat back into hell followed. The natural function then took place in the hold. The first dysentery cases began to appear.

The trip to Singapore took several days. Our misery and humiliation at that time was total. On arrival in Singapore we were transported to Changi Jail. Time at Changi was not too bad. The Japs left us alone and we ran our own affairs as best as we could. Food was lousy, of course, but little extras could be obtained through various obscure channels.

We were obviously waiting for further orders from the Japs. Time was on our hands, and tempers often flared.

Time had come when we were transported to Thailand, and we found ourselves packed into steel railway trucks. I shall not describe our journey, which took several days. Various books on the subject have been published describing this hell on wheels in some detail. We eventually arrived at a place called Kanchanabury, where we were housed in a long bamboo hut. The floor consisted of wet mud, the sleeping platforms were constructed from bamboo slats, the allocated space per man was about two feet, and the roof in many places open to the sky. This was to be our home for some time to come. It soon became evident that the question of camp and personal hygiene were crucial to one's survival.

'Fist fights were the order of the day, until we realized that the Japs took great delight in our squabbles.'

I wish to mention something here, which is usually avoided in the many books written about this episode. The large base camps in the south of Thailand held thousands of men from various countries, each with their own distinctive way of life. The British had their community spirit, the Aussies their egalitarian attitude, the Dutch their individualism - the Americans were not in evidence at that time. It should, therefore, not be too surprising to hear that in the days of early captivity, ugly scenes took place among the POWs. Fist fights were the order of the day, until we realized that the Japs took great delight in our squabbles. The camp atmosphere changed for the better, which also made us realize that we depended upon each other in times ahead.

Our group was soon put to work on the foundations for the Kwai Bridge at Tamarkan. We were detailed to work on driving wooden piles into the riverbed for the foundations of the concrete bridge supports. I would like to explain how this highly complex and technical feat was executed. Several triangular wooden pole structures were erected which carried a pulley at the top end. A stout rope was fed over the pulley. One end of the rope carried a heavy steel ram; the other end was splayed into several leaders, which were held by POWs standing in the river bed. Straight tree trunks were obtained from the surrounding forest, transported to the bridge site by elephants or floated from up-country downstream, where a Jap decided which ones were to be used for piling. The piles were hauled into position beneath the ram and we began pile driving, on the command of a Jap standing on the riverbank shouting through a megaphone the required rhythm at which he decided that piling should take place.

'Hour after hour after hour, day in, day out from dawn to dusk, unrelenting.'

You pulled in unison, you let go in unison. 'Ichi, ni, san, si, ichi, ni, san, si, on and on and on. Hour after hour after hour, day in, day out from dawn to dusk, unrelenting. On returning to camp at night it was often difficult to raise the spoon to eat the slop issued to us. Your arms protested in pain, often preventing you from snatching some precious sleep. And yet, come dawn you repeated the misery of the previous day. I often wondered about the miracle of the human body and mind. Believe me, it is quite awesome. I was fortunate in that I was engaged in the piling operation for only a short while, when our group was taken up-country to begin work on the rail embankment. This meant we were to occupy smaller camps, run by Japanese non-commissioned officers. These thugs were usually power-drunk, sadistic, evil individuals.

'Whenever this occurred the Japs were on you with their heavy sticks, and beat the living daylight out of you.'

Building embankments consisted of carrying earth from alongside the track to the top of the ever-growing embankment. You carried a basket from the digging area to the top of the embankment, emptied it and down again to be filled for your next trip up the hill. Or you carried a stretcher - two bamboo poles pushed through an empty rice sack - one chap at each end and off you went. Simple really. But in reality this job was far from easy. The slopes of the embankments consisted of loose earth, clambering to the top was a case of sliding and slithering with a weight of earth in attendance. This proved to be very tiring on thigh muscles and painful, often resulting in crippling cramp. You just had to stop, you could not move. Whenever this occurred the Japs were on you with their heavy sticks, and beat the living daylight out of you. Somehow you got going again, if only to escape the blows. Also, the soil alongside the track varied considerably, affecting the volume of earth an individual could move during a day. At the start of each day a Jap would decide the total volume of earth to be dug out that day. By the nature of things, some finished earlier than others. The volume the following day was fixed by the fastest time obtained the previous day, thereby increasing the total workload of the entire team. It was a truly 'no win situation'. If a team was running late, everyone worked on until the volume for that day was achieved. That meant that the Japs also had to stay behind. They relieved their anger and frustration by random beatings of POWs sometimes resulting in serious injuries.

I have often been asked 'Can you describe a typical day for us?'. A typical day! A typical day would begin the previous evening at the roll call on return from the work site. The numbers counted were then expected to turn up for work the following morning, ignoring those who had become ill, some badly

'The orderly who presented the Japs with his sick list was always, and I mean always, beaten up in a show of Jap rage'

It was a never changing scenario. The orderly who presented the Japs with his sick list was always, and I mean always, beaten up in a show of Jap rage. The poor, sick individuals were then dragged from the so-called hospital, and forced to turn out for work on the railway. Sometimes they returned to the camp that night carried on a sack stretcher, dead! These were, by no means, isolated incidents: they occurred on a daily basis all along the track. I want to express an opinion here, which is close to my heart. As we know, numerous individuals have been praised and honored for their humanitarian work in the base camps, often enduring horrendous treatment by the Japs for ignoring their stupid orders. These individuals deserve our admiration and deepest respect. The orderly in the jungle camp carried out his work with steadfast dedication. He protected his charges with unstinting velour, day in, day out. Often moving with great pain in his body from the beatings he received. He knew for certain that every time he tried to protect his mates he would receive a merciless beating. He never flinched, although he did not know whether he would be able to walk away from the next beating. That to me is heroism of the highest order. Where are these men now? I do not recall seeing their names in the honors lists.

'This thug is the only one I would love to meet on my own ground, even at the sensible age of 82'

I have been intrigued by ex-POWs who readily remember the names of Jap guards and the camps they occupied. Perhaps it is because I was never long enough in a particular camp to become familiar with their names. Although I must confess that the names of the guards never did have much significance. I believe that my mind decided for me, to remember only those things worthy of its function. However, there is always the exception and that is 'Horseface'. The reason for this nickname becomes obvious when you look at the sketch of his face depicted in my modest book 'Lest We Forget'. He was a Korean guard of the worst type. The Japs sent many Korean guards to the smaller camps in which I so often found myself. This thug is the only one I would love to meet on my own ground, even at the sensible age of 82. He was the original pervert and sadist. His main enjoyment was that of loitering at the tail end of a column of POWs returning from a day's slavery on the railway and prodding any straggler with his bayonet, the point of which he had honed to a razor sharp edge. It never caused serious damage, but it always drew a trickle of blood. On spotting the blood he would grunt with pleasure, face distorted in ecstasy. He would then select his next victim. Oh yes, I'd love to win him in a raffle.

' I was propped against the tree, my arms pulled back and tied at the wrists behind the tree trunk. My feet were tied together with barbed wire and secured to the tree trunk. After a few more punches in the face, they left me alone.'

I would also like to demonstrate to you the crazy philosophy of these creatures. It refers to what I call the 'kitchen incident'. In one camp in the north of Thailand it occurred that it was my turn to raid the Jap cookhouse in the hope of finding something to eat. We knew that the Japs had confiscated a small consignment of Red Cross parcels, which was their usual procedure. I was able to nick a tin of fruit. On my way back to my eagerly waiting mates, I was suddenly confronted with a glistening bayonet, followed by a kick in the groin. I was terrified. I was marched to the guardhouse with the bayonet in close attendance. The ritual beating began. Several of them pounced on me all at the same time. When eventually the sergeant in charge of the camp appeared, he ordered them to stop. I could not have been a pretty sight; I certainly did not feel like one. He drew his sword and pointed it at my neck, grinning. He addressed me in broken English, from which I understood that stealing from the Imperial Japanese Army was a serious crime, and would be punished by chopping my head off. At some point, I managed to explain to him that I could not possibly be a thief by taking something that was mine in the first place. He did not appreciate the logic of my defense, and he ordered that I be taken to the punishment tree some ten yards in front of the guardhouse.

I had watched many a comrade undergo the sergeant's favorite punishment and realized that it was now my turn. I was propped against the tree, my arms pulled back and tied at the wrists behind the tree trunk. My feet were tied together with barbed wire and secured to the tree trunk. After a few more punches in the face, they left me alone. The pain that lashes your body after a while, I must leave to your imagination. When morning broke they put a bucket filled to the brim with water in front of me and left me to it. A sophisticated torture if ever there was one. Parade was called, and it was explained that this was the punishment for stealing from the Imperial Japanese Army, and that I would be executed later on. I do not remember much after that. As you are aware by now, the execution did not take place. The terror of it was that you never knew whether it was an idle threat or an official statement. I came to in the 'hospital', with an orderly trying to pour water into my mouth. I have never found out why I was caught, though there was a suspicion. These things did happen now and then. A short while after that I was back on the railway.

'You do not have to be afraid of ever finding yourself in hell. There would be no purpose - you have been there and worse'

Cholera! Once you have lived through a cholera epidemic in a Japanese POW camp, you do not have to be afraid of ever finding yourself in hell. There would be no purpose - you have been there and worse. It broke out as suddenly as it vanished.

Overnight the huts were filled with the dead and those waiting to die. The Japs were terrified of this disease and hastily vanished to a safe distance up the road after barricading the entrance to the camp with X-shaped barricades and rolls of razor wire. We were instructed to incinerate our dead, not to bury them. Cholera strikes swiftly without warning. It is terminal in the absence of medication. Our medic's kit did not even contain an Aspirin tablet. Combined with the emaciated state most of us were in, the onslaught was terrifying. You could be OK in the morning and dead at 10 o'clock that same evening. Once dehydration set in, your place on the pyre was assured. l was one of a team attending the funeral pyre for a while, and depositing the bodies of my friends into the flames. This was a round-the-clock operation, 24 hours a day. It was particularly macabre and frightening at first during nighttime. Bodies would suddenly sit up, or an arm or legs extend jerkily. But even this horror soon became a routine job.

The reply was: 'He's had it, packed up last night.' Someone muttered 'Lucky bastard, he's out of it'.

On the subject of the acceptance of death, l would like to recall a typical incident Once, after a day's work on the embankment, a mate next to me laid down for the night's rest, when he turned to me and said; 'I feel lousy and very tired.'. The following morning I shook him to make sure that he was awake. He was not, however. He was dead. Died during the night, quietly. The orderlies came and took him away. Another identity tag into the rusty metal tin! At some time during the day, someone would say: 'Where is old Tony?' The reply was: 'He's had it, packed up last night.' Someone muttered 'Lucky bastard, he's out of it'. There never was intended disrespect. Death had become an accepted part of our existence on the Railway of Death. The cholera outbreak lasted for several horrendous days. It took away many of my friends. l do not recall the total death toll. I learned after the War that some native labor camps were entirely wiped out, because of cholera.

'Consider for just a moment how these human beings died, where they died and, above all, why they died.'

The railway was completed on the 17th October 1943 at Konkuita in Thailand, not far from the Three Pagodas Pass. l shall not enter into the statistics or technical data or the final death toll of the various countries involved; these have been extensively quoted in numerous publications, only to state that the railway was 415km long and built from scratch in just 16 months. (A previous assessment, carried out by British Engineers was 5 years.). The total labor force consisted of about 68,000 Allied POWs and 200,000 Asian laborers. The combined death toll was around 96,000, of which 18,000 were Allied POWs. Consider for just a moment how these human beings died, where they died and, above all, why they died.

'The Japs' intent to massacre our group in the tank traps, pour kerosene over the bodies, set them alight and finally bulldoze earth over the remains'

When the Railway was completed, teams of maintenance workers were formed by the Japs, moving up and down the track, repairing and maintaining bridges, tracks, embankments, etc. I was one of a group sent to northern Thailand and into Burma, to dig caves into the hillsides. These caves were used by the Japs for ammunition storage. The caves were connected to the railway by heavily camouflaged roads, so they were not visible from the air. We often considered the danger we represented to the Japs because of our knowledge of the whereabouts of these caves. It seemed not to bother them. At some point we were ordered to dig tank traps in close proximity to our camp. "Tank traps in the middle of virgin jungle?", we asked ourselves. These tank traps were of considerable length and width. Then someone offered the thought that these tank traps looked remarkably like mass graves. Our suspicions of the Japs' intentions were later justified by the discovery of a hidden fuel depot nearby. I have no personal knowledge of this, but it would appear that later found evidence proved the Japs' intent to massacre our group in the tank traps, pour kerosene over the bodies, set them alight and finally bulldoze earth over the remains. We would have disappeared forever.

'The bastards have gone.'

Then the Bomb happened. On 18th August 1945 at dawn I went on my usual trip to the latrines, expecting the ritual early morning bashing from a guard for either not spotting him in time to bow, or bowing to an empty space, whilst he was hiding a few yards away. But the bashing never came. No shouts of 'kurrah'. Nothing stirred. There was an eerie silence. Others shuffled by as bemused as I was. I collected my mate and, together, we crept to the point where the guardhouse could be seen. Not a Jap in sight. Could this be a trap? Waiting for something to happen so they had the excuse of firing on us? The hated flag, which usually hung draped at the bottom of the flagpole after sun down, had gone. Empty crates and rubbish strewn all over the place. I remember looking at each other in total disbelief. We entered into the open, every sinew in our body tensed, expecting the unexpected. Nothing happened. Still no Japs. Could it be? Then someone shouted 'The bastards have gone.' The words shot through the camp like a lit fuse. Then someone else shouted 'The lorries have gone', and so they had.

'I had become a person again as sudden as it was ripped away from me all those years ago'

After a while a few natives appeared, telling us with gestures and much excitement that the Japs indeed had gone during the night. Later we learned that the War had ended three days earlier, on August 15th. We wondered whether the Japs had known. I cannot begin to tell you how this news was received by us. Some sank to their knees and seemed to pray. Others just stood their, tears streaming down their haggard faces. A few were running around, wildly gesticulating and screaming I could not grasp the enormity of what had happened. I had become a person again as sudden as it was ripped away from me all those years ago. I remember the feeling of triumph that swept over me. I had done it! I had outlived all attempts by Hirohito and his murdering freaks to kill me. But, above all else, I could say 'NO' again to anything and anyone. It is called democracy and freedom. Believe me, it's worth fighting for. The present and generations to come around our world must be made aware of this so they can guard their birthrights with all their might.

However, a heavy shadow hung over the camp that day, because on 16th August, a day after the War had officially ended, an Aussie friend was bayoneted to death by the Japs. Perhaps he knew more than we did. He made an escape bid and was promptly returned to the camp by members of a nearby hill tribe. It was believed that the Japs paid handsomely for this kind of enterprise. I only hope that his folk at home never found out.

'I do not recall having been given so many pills and injections in one single day.'

There remains to tell you that we found a serviceable locomotive and some flattops on a nearby siding. We began our journey south with great care and little progress. Then, after only a short while, a cry from the leading flattop pierced the quiet air. OUR ORDEAL WAS OVER. It was a rescue train slowly steaming up the track towards us. Two Red Cross flags flying at either side of the loco. The train had left the base camp a few days earlier, picking up survivors as it rattled up the track. They had been told about us, but didn't know where we were, and had begun to fear the worst. I do not recall having been given so many pills and injections in one single day. But I do recall the warmth coursing through my veins on swapping jokes with the medics, the feeling of belonging, to be among your own. I was eventually taken to the field hospital in Kanchanabury, where we were once again separated into groups of nationalities I did not cherish this at all.

'A few could not handle the return to normal life and committed suicide, the most distressing fatality of all'

The aftermath of the Railway atrocity affected many POWs in different ways. Some showed minor problems, some were crippled for the rest of their lives. Others spent the rest of their days in hospital. Some suffered mental problems. A few could not handle the return to normal life and committed suicide, the most distressing fatality of all. Still others saw their marriage torn apart, often because of complete character change. I was one of the lucky ones. My problems were manageable, though still with me today. The problems I had to deal with whilst working on the Railway were mainly chronic dysentery, intermittent malaria attacks, of which one was touch-and-go, minor beriberi and a small tropical ulcer which miraculously disappeared. These ulcers were the most feared of all. They caused horrible limb disfigurements and often required amputation without an anaesthetic! But there was always the malnutrition problem, causing such slaughter among the POWs.

I finished up with an enlarged spleen and liver and a permanent disorder of my digestive system as a result of the years of dysentery. On the whole I have managed very well in contrast with many of my old comrades who have led lives of misery since their release from hell. I had a little difficulty in adjusting to normal living and was treated by a psychiatrist for a while. Within a year of returning to normality I was ready to face the world again, and that is what I did. One incredible point I have in common with other POWs still alive, we still have nightmares after more than half a century of civilized living. It would seem that the brain does not forget, however hard one tries to wipe out certain events. I can't make up my mind whether this is a good or a bad thing.

In winding up this talk about the Railway, I would like to acquaint you with some related subjects that still cause bitterness:

In October 1946 the then British Government sold the Thai section of the Railway together with most of the rolling stock to the Thai Government for the bargain price of £1,250,000. The bulk of this money was used to recompense the owners of rolling stock, locomotives and rails removed by the Japs from Burma, Malaya and the N.E.I. I leave you to JUDGE the MORALITY of this TRADE DEAL. It means that for every British corpse that lies buried in Thai soil, the then Government was paid about £190. Spread over the total of Allied dead, this came to about £70 per corpse. A comforting thought indeed for the widows, relatives and other loved ones who lost their men folk in the jungles of Thailand and Burma. The Japanese individual responsible for the infamous biological trials carried out on Allied POWs and others was initially arrested after the War as a war criminal. He was, soon thereafter, released, following a deal with the Americans. He was moved to the U.S. where, by all accounts, he was given a major job with a leading pharmaceutical organization. Well-documented sources have revealed that the Japanese High Command ordered their forces to kill all Allied POWs the moment Allied soldiers would set foot on Japanese soil. The Bomb prevented the unthinkable. One should remember that this happened within our lifetime.

'This timid, friendly little man rose to be a giant of mental strength, a beacon for us all to follow'

And finally, some impressions and emotions I treasure. It is hard to explain, but in some way I feel privileged to have endured and experienced the Railway episode. It is given to few people to observe their fellow beings stripped of the trappings of civilization. The raw nature of man soon emerges once the protective mantle of society is ripped away. I have observed men of immense stature in civilian life crumble like dry earth, when confronted with issues affecting their own life or that of their comrades - a truly pathetic and pitiful sight. On the other hand there was a man, who in civilian life was the headmaster of an elementary school. A typical man for this job by appearance, if you like. Bald-headed, with a fringe of hair around the back of his head. Slightly built, of small stature, walking with a slight stoop. Always polite, always civil. The Japs didn't bother him. He used to say: 'It won't last forever, they cannot possibly win this War. Just hang on, and it will be right in the end'.

Then one day on the railroad, I do not recall what happened. He jumped in front of a Jap who was beating a sick friend. He shouted at the thug that if he wanted to beat up someone, he should at least have the courage to pick on a so-called fit person. The Jap proceeded to do just that with great abandon. The schoolmaster received a terrible beating. We had to carry him back to the camp that night. This timid, friendly little man rose to be a giant of mental strength, a beacon for us all to follow. We were separated later on, and I have not heard from this marvelous man ever since. There are many examples like this, exposing human nature at its best and worst.

I firmly believe that nothing that life throws at an ex-POW that has endured the Thai-Burma Railway can ever be as bad. It is a useful thought to keep alive.

'There was a huge man, towering above the assembled viewers, standing in the center of the gallery, his fists clenched and tears streaming unashamedly down his bearded face'

Another episode of recent times will always be with me. Allow me to explain. During the VJ commemorations in 1995, I held an exhibition of paintings at the Bevere Vivis Gallery in Worcester, depicting Japanese atrocities carried out on the Thai-Burma Railway. It soon got around and the media turned up in force. As a result, people came to the Gallery from all over the place and from all walks of life. The emotion released on looking at my pictures and, for the first time, understanding a little of what happened to their loved ones, was an experience almost beyond description. It was just overwhelming. There was a huge man, towering above the assembled viewers, standing in the center of the gallery, his fists clenched and tears streaming unashamedly down his bearded face His father had died on the Railway. His grave was never found. All there remained was his father's name on a plaque. How can one ever forget such pain and emotion?

With this in mind, I shall now finish this talk with a few words based on the theme of the now famous words: 'When you go home, tell them of us and say we gave our tomorrow for your today.' My words are these:

'….and, when I came home, I told them about us, the dead and the surviving.
They listened, they nodded, smiling, forgetting.
The widow held my hand, kissing me on the cheek, lightly,
Not to rouse the pain within and walked away, sadly, proudly.
Yes… I told them about us when I came home'

Thank you for listening.

Copyright © Fred Seiker
22 Raven Drive, Worcester WR5 3LR
Tel: 01905 354510