Ooooh Goooraight!

Just as I finished writing a post with my 2011 outlook based mainly on horoscopes, they - the horoscopers or horoscopedians - come out with a refutation of the present signs - that they’re wrong because the Earth has been wobbling. Good heavens! Are you kidding me? See, this is why I said I don’t believe in these Zodiac maniacs. This is like saying that if you ride long enough on a wobbly bus that’s traveling on an unpaved road with lots of potholes and bumps, in the end your tibias and fibulas will switch places and the femurs will fall off from their pelvic sockets. Weird.

Well, with new changes I am now an Aquarius ...but what difference does it make if I do not believe in them? So I’m safe and just for the sake of wanting to hobnob with the “stars”, I will remain a Piscean. Once a Piscean always a Piscean. I like Pisces because I like fish. Very much.

Thankfully, my Piscean middle name is Patiente (it’s Martian for “patience” ..haha) so I’ll wait for Mother Earth to wobble my Pisces back into its rightful place (Feb 20-March 20) then I’ll renew my subscription to their Zodiac magazine and philosophy. Otherwise for the time being, the old Piscean horoscopes will remain in effect in my little corner of the planet, solar system, galaxy or wherever I currently exist as a mortal. I need to remind these mere earthlings that the universe, worlds and celestial bodies have been perfectly organized and much more orderly than they’ll ever know.

Come on Pisces light my fire

...a lighthearted post. A break from the more serious writing as of late.

It's a new year - 2011...
Whaaaaat? ... Already? ...
Where did 2010 go?
Away!
Yea, but where?
To the afterlife.

Oh my. I still have not started on my last year's resolutions. Come to think of it, they're not resolutions anymore - they're revolutions. Because they are not resolved - they just revolve, year in and year out. Yep, they just keep going round and round and.... roooound. Or better still, they may not have even revolved, but evolved - into new ones, new goals and new resolutions.

Well, I have actually thought about my resolutions for 2011. I started by saying: This is the year. It's the year. 2011 is my year. Well, duh, and so is everyone else's. Every soul on the planet and possibly in the universe  is saying the same thing.

No, no, this is the year - do you hear? No fret. No fear.
Why this year? Because it's a dear year. Funny. Funny.

Well it's a start of a new freshly-minted decade. That means if not this year, I still have nine more years to do what I'm planning to do with this fresh start. In fact the year 2020 should be a good clear year - if you catch what I mean - to everyone's sight - foresight, that is. Cool. Cool.

Anyhow, you see, once in a violet moon, I read horoscopes. But I don't believe in them. The word itself sounds like "horror scopes" which sounds like something a doctor would use to probe your long and winding anatomical convolutions and yes ... revolutions too. Now let me rephrase my position on horoscopes. I actually like them but I still don't believe in them. I like them only if they give me serious motivation. Meaning, only if they light and keep the proverbial fire in the belly burning ....Hot!

Recently, by chance, I found two very positive and very favorable horoscopes. No, I did not go hunting for them; they just happened to cross paths with my keen and inquisitive Poly brown eyes. Horoscopes are nowhere close to my devotion - uhmmm ok, addiction - to the Sports page. (Btw, if they want men to read horoscopes, please insert them in a sports article or picture, or pin them on a picture of some nice, kind and church-going person like Ms. Crawford, Hayek, Zeta-Jones or JLo - no, not a Kardashian.)

Anyway here are the two Pisces horoscopes that have jump-started my new year - first one specifically for 2011.

Pisces, the stars of fortune are ready to bless you with some things you've been waiting for in 2011! Jupiter, planet of success, and Uranus, planet of luck, will be conjunct in your sign as you kick off the New Year, so you'll enjoy a positive start. You'll be especially fortunate in love, the arts, or service to others - anything ruled by your dreamy sign. The only downside is that things might not be handed to you - you need to work hard for what you want. But you can do it!

Wow! This speaks directly to me and my goals in 2011. Is there a downside? Yea, the things might not be handed to me, I have to work hard for them. Dang it! ...LOL! ..Actually, FAIR Enough! ...and that's the key word - "fair", not as in complexion or carnival, but as in "just" and "equitable". Someone said that life is the most fair employer - it gives you back what you sowed or invested . So I like "fair"! The second horoscope says the same thing about being fair.

Pisces:
Use your creative ideas to turn a profit. What you have to offer, along with a tempting presentation, has potential to position you for success. There is a lot to gain by handling fairly what needs doing.

Ok, ok, I get it. Work hard and be fair and I will gain a lot! ...But the best motivation of all, is the assurance that I CAN DO IT ! ...so I therefore say, "Come on Pisces ...light... my... fire!"  2011 is THE year!

Tautoga Gausia: Critical Review

Part III

Filial Love versus Romantic Love.
Though most of the initial and conscious sentiments go to Sam and Teuila because of an unconsummated marriage and tragic ending, some extant thematic issues stay adrift in the ominous ocean of Tautoga Gausia. Their ambiguous and intricate nature incites more questions than there are answers. Questions such as these: Are parents being criticized and reprimanded in the movie? Did Sam commit honor suicide? How much, if any, do the children owe their parents? Does the "new freedom"- according to Tafu’e - for a daughter to choose a suitor include choosing a religion in which to get married, or is the religion issue decided and settled solely by the parents and the aiga?

In light of these issues, it appears that Tautoga puts the parents - more than the children - on the proverbial stand for both cross-examination and self-examination. For a good portion of the movie, the underlying pitting of family against family and parents against children in their socio-religious roles, decisions and obligations are evident.

Sam and Filemoni do not have a close relationship. A battle of wills exists between them and Sam’s overall lack of affection for his parents makes him a less than obedient child, especially compared to Teuila’s obedience and close relationship with her parents. While Sam argues with his parents, especially his dad, Teuila is a model child (teine lelei) who quietly submits to the wishes of her parents. The relationship seems ideal based on understanding, mutuality and respect. And although she falls in love with Sam, she still maintains strong ties and love for her parents -again, unlike Sam.

Ironically, Tautoga uses Teuila as a messenger of filial love, more than romantic love, which she considers and advertizes as "Soft Love". The petition for - and sometimes imposition of - filial love is rather common among Samoan parents especially those who use the Biblical fifth commandment as basis, as well as justification, for absolute obedience and even ludicrous demands - bordering on force and compulsion - on/of their children. For most families these demands often create tension and subsequently drive wedges into family relationships.

The parent-child discord is depicted in the switching shots that contrast Filemoni working arduously in his plantation while Sam is having a fun time at the swimming pool with his friends and waiting for his girlfriend. The comparative scenes represent a common notion for parents’ accusations and complaints for cold-hearted children. Filemoni voices a common rebuke in an aside while taking a break. Sam who withdraws and sequesters himself from his real parents is a guilty party in all this. In the scenes, Filemoni certainly gets the sympathy of the viewers and typical Samoan parents can identify with the complaint and the fatuaiga (family sustenance) comment that impugns untrustworthy and disloyal children.

Tautoga further entreats for support of paternal sentiments and for filial love through the Western Union remittance scene. A remittance represents, in most cases, a definite demonstration of filial love by children living away from home. Apparently the money is not from Sam and therefore serves as a further smear on his disloyal child disposition. Also, the fact that Sam does not live far from his parents on the same island and never - according to Filemoni - goes to visit or help, does not help his case either. Sam’s disputative and arrogant assurance to his father that he is not counting on anyone to help out with the wedding, as well as his seeking the counsel of others (Tise?) and not of his parents also attest to the discordant relationship.

The above trend and pattern in the movie’s depiction of Sam therefore cast him in disfavor with some Samoan parents. And though some viewers have empathy for him, especially in death, others may feel unsympathetic and may even pass malicious judgment on his fate as poetic justice. On a more compassionate level, some may see Sam’s untimely death as an extreme remorseful and self-redeeming act, though rationalizing suicide at the same time. Still others may cite the reverse literal fulfillment of the promise in the fifth commandment. Simply, Sam’s "days [are not] long upon the land" for not honoring his father and mother and lacking filial love.

As a subtle yet stark contrast to the loftiness of filial love, romantic love is depicted as inferior, fickle and soft. Teuila’s own affirmation of their love as infatuated and soft is painted befittingly as "Soft Love" on her shirt during the prearranged picnic at the beach. Further, Sam, oblivious to the notion and concept, writes the evanescent "I love Teuila" on the porous, soft and impermanent sand at the beach. Perhaps the climactic representation of the fleeting nature of romantic love is symbolized in the simulated marriage. The irony in all this is the immediate annulment of the "marriage" not by any other reason but by death, as affirmed by the typical declaration "til death do us part".

Tautoga Gausia: A Critical Review

Part II

Who is the Protagonist? Filemoni - not Sam
In typical feature film fashion, the protagonist (hero or main character) is one around whom the plot, storyline and other elements revolve. He/She is also the one who demonstrates and substantiates the character arc based on the three-act structure of prototypical movies. In the character arc, the protagonist experiences change - more specifically, growth - during the course of the movie. The protagonist embarks on a quest facing inordinate and often insurmountable challenges - outer and/or inner.

In the end he overcomes the challenge(s), hence the change and growth.  Death - especially by suicide - is hardly evidence of growth and/or overcoming the challenge(s), unless the death of the protagonist is depicted as sacrifice or martyrdom in which case religious dogma will have been the main push behind the subtext and overall message of the movie. Similarly, in the case of Tautoga, some may elevate and argue Sam’s death as that of a "martyr" for the anti-suicide cause. But despite the convincing role of religion in the storyline, Tautoga is not a movie on religious dogma.

So even though there is not a clear-cut protagonist, we can still dub one, at least for our own penchant and sanity. Most viewers generally agree that Sam and/or Teuila are the main characters, but the lack of change and/or growth in their characters disqualify them in the protagonist search. Filemoni is more qualified as protagonist. He is the one who demonstrates change - though quite late - and therefore adheres to the character arc paradigm. Better late than never, some in the Filemoni-as-protagonist camp may argue. Personally my disappointment lies in the brevity and feebleness of the scene of him as a penitent; the timing also proves more anticlimactic and therefore seems futile and ineffective. But again, Tautoga’s educational story as a docudrama overrides and transcends character struggles and development. And like Cooper says, that in a docudrama "although there are many characters on both sides ... their vividness does not dominate the story, indeed there is no single main character."

Nonetheless, as Samoan viewers, we still always look and pine for a protagonist or hero (tama o le ata/tama autu) regardless of genre. And if there doesn’t seem to be a clear one, we assign our own - as long as he’s not dead in the end. For Samoans, this concept is traditional and proverbial. There’s a familiar story of an old Samoan father who asked his son, who had just come home from the movies, to recount for him the story and plot, but with one condition - to make sure the protagonist is not dead in the end. Though chimerical, the notion is widely adopted and embraced. Yet, it’s not a Samoan concoction either; rather, it’s the conventions of a typical three-act plot of the majority of movies that are being observed and followed. Perhaps this is the reason some viewers are not comfortable with endowing Sam as protagonist - because he dies in the end.

The more we relate to a particular character in a movie, the more we identify with him and the more anxious we are in putting him on a pedestal as our hero. And so we often end up anointing our own protagonist as someone who is brave, strong, funny or who is like us in some ways. We also look for someone who resembles a close relative or someone in real life, a role model character or standout. Filemoni is that standout character in Tautoga. In fact it’s possible that he qualifies for a dual role of protagonist and antagonist based on the nature of his character. Add to that his true-to-life portrayal of a typical belligerent short-tempered, yet hard working Samoan father and Filemoni- both the character and the actor - has a future in Samoan films. Even with his antagonistic tendencies, we seem to relate better to Filemoni than any other character. He is someone’s father, brother, uncle, neighbor or friend. Though harsh and unrepentant in his testimony at his son’s funeral service, Filemoni uses three words which may be termed as "sad and painful truths" to describe the cause(s) of Sam’s death - stubbornness (fiafaali’i), cowardice (pala’ai) and stupidity (faavalevalea).

Again, Filemoni changes and grows - not Sam. Filemoni contemplates suicide but overcomes the urge - not Sam. Filemoni is more realistic and natural in demeanor and dialogue - not Sam. Filemoni displays qualities of a protagonist - even if cast as a "false" one - but not Sam. All in all, Filemoni’s character is easily the most believable one. Even on the emotional and sentimental levels, Filemoni gets my unbiased sympathy.

By contrast, the assumed main characters - Sam and Teuila - are lethargic as far as acting and dialogue are concerned. Though they drive the story, they remain lackluster and dull. Most of the scenes are short brief and bland. Sam and Teuila seem unnatural, contrived and artificial at times. Can we use innocence, inexperience and the lack of sophistication of youth to explain Sam and Teuila’s uninteresting characters? Maybe, maybe not - since both are grown adults. Anyhow, for their first efforts as movie characters, Sam and Teuila should still be congratulated and saluted.

...part iii next

Tautoga Gausia (Broken Promise): A Critical Review

Part I

Suicide or not suicide?
It's not in Verona (Italy), but in Samoa. It's not the Capulets and the Montagues, but the Tafu'e and Filemoni families. It's not two lovers' deaths but one. Both, notwithstanding, are tragic love stories involving suicide. But in terms of literary and movie merits Romeo and Juliet is miles ahead and oceans apart - as in setting and location - from Tautoga Gausia.

Tautoga Gausia is more a docudrama - and a "promo" cleverly disguised - than a feature film especially since it lacks and/or languishes in the main elements of a typical Hollywood film blueprint. Patricia Cooper in her book Writing the Short Film says:

"At the heart of the docudrama is the sense of actuality ..... [focusing] on real people, in a real place and time ....the nature of the [main] character's struggle is subordinate to the goal of the story....[and] the challenge of conformity is more critical than the main character's fate."

This partial docudrama template is basic to pulling Tautoga away from the Hollywood norm and tradition.

Further, Cooper says that the main aim of a docudrama is to "educate more than to entertain". This has been true for me. Though parts of Tautoga are entertaining, the immediacy and preponderance of the lessons about suicide have a more positive, didactic and educational impact.

Overall, however, as a pioneering effort in the fledgling Samoan movie making enterprise, Tautoga is not too shabby. Therefore I offer my heartiest congratulations to all those involved in the making of the film. But criticism - especially the constructive type - must still be rendered and received hopefully in amicable mutuality. After all, it is generally accepted, as credo in the arts, that criticism is that which makes the art - and artist.

Tautoga succeeds in one main area which is the reintroduction - through a different and perhaps a more effective medium - of the suicide problem among the Samoans. Though ambiguous at best and controversial at worst in that objective, the drama nonetheless raises a renewed awareness in suicide and its underpinnings - especially religion. That, in and of itself, is an irony in the movie and in a country that is reputed as one of the most religious places in the world.

Unequivocally, whether we like it or not, suicide is the main subtext of the movie. (For good or for bad, that is left to one's own interpretation and viewpoint.) Tautoga is a tragedy.

The images and foreshadows of suicide - or at least of general violent and tragic death - are both vivid and subtle. A few vivid symbolic ones include the sharpening of the machete, the fishing spear and the pickaxe - all ominously depicted and all belonging to Filemoni, the victim's father, who likely is incriminated and vilified for his son's death. Other digging tools are subtle reminders of the grave (pun intended) references by Filemoni and the soundtracks.

The most subtle foreshadow, yet proves the most fatal, is the ocean/sea which the movie effectively uses to foil the happiest and romantic moments of Sam and Teuila's courtship. Though water is universally symbolic of life, in the movie, it seems to take on a controverting significance. The swimming pool also advances this same notion. Sam's dive in the pool is a foreshadow of his own death. The canoe also is a fitting foreshadow of death and burial. This conforms to some Pacific lore and myths in which the dead are placed in canoes or canoe-shaped coffins believed to continue carrying the dead or spirits on to the afterlife. The transition from canoe to casket and the later transfer of Sam's body therefore are convincing.
 

Paraquat (weedkiller) has long been the
major method of suicide in Samoa.

Poison, using weedkiller, as the most common method of suicide in Samoa for a long time has its share of allusions.  In fact the image of drinking - albeit ostensibly casual - abounds throughout the movie. At the very beginning when Sam offers to pay for Teuila's shopping, he is buying two bottles of some type of drink (see picture).  I still remember the time when paraquat weedkiller was bottled in very similar bottles as those Sam is holding. The connection therefore is indubitable. (They look like bottles of Vailima beer which would have been more obvious had the Brewery been one of the sponsors, I guess.  Then again making it that obvious would give away an important subliminal message.)  The fact that Sam was holding the bottles up in plain view of the viewers is very telling too.  In their very next meeting Teuila serves Sam a drink advancing the ingesting of poison reference. Though normal in such relationships, the metaphorical allusions still add to the overall suicide message.

Again, at Roko's, drinks get a more than fair share of the scene. Though both drinks get the initial medium close up shot, Sam's drink gets the cu (close up) shot. Likewise, Tafu'e's bowl of kava, a drink that is generally known for its drugging effects conjures up the same allusion. Here, Sam - and not Teuila - is present and even serves the kava drink, though he ironically declines the offer by Tafu’e.  Sam's predictable suicidal fate is alluded to in these images of drinking poison from the very beginning. Although drowning is believed to cause Sam's death, technically, ingesting and drinking of salt or ocean water is the real killer.

Last but not least, the movie title and explicit lyrics of the soundtracks also connote and proclaim predictable and untimely death. If the subtext of the film isn't suicide, Sam will have made a good and ideal prodigal son prototype based on his rocky relationship and seeming resentment for his father.

...part ii coming soon.

Some Christmas pics

the rest of the three thousand and one pics somewhere on FB ... but no place like home on Christmas with family.  I finally got to watch "Tautoga Gausia" during the break, and will be posting a review in a day or two. We played  "Just Dance" (Wii ), and that's great cardio workout right there, not to mention aquiring some new dance moves for the New Year's ward partay ...yeahh rigghhtt....LOL... with the way the weather is now, I might yield to being snowbound at home sweet home .... "Just Dance" was a perfect way to burn some serious calories after indulging in typical Hamo food ...taro, palusami, chop suey, oka, pua'a cooked the Poly way....kugu viliviliring ....

the girls - l to r: Naeya, Eden, Kora and Neni

G and Tasha relaxing

the main tree - the day after



snack/dessert table christmas eve



Kora just wanted to be in the pic