Monday, October 30, 2017
A Pigeon Sat on a Branch Reflecting on Existence
Three people have a heart attack and die on three different places. Jonathan and Sam are two traveling salesmen who try to sell their useless "comical" products, including vampire teeth and masks. A man on a horse enters a bar and then leads the 18th century Swedish army into war, but they return wounded and decimated. An instructors teaches a class how to dance ballet. A girl recites a poem about a pigeon reflecting on existence in front of a school theatre. Jonathan and Sam argue over their business and separate. Jonathan has a dream about British men doing something terrible to some Natives and is plagued by this.
One of the most noticed examples of Scandinavian "Neo-Dadaism" and surreal humor, Roy Andersson's bizarre film is a strange experiment without a plot, revolving only around episodic vignettes that show up and disappear without any sense of urgency to the storyline, framed only by two travelling salesmen, yet its 'daft' mood and peculiar sense of humor assure it a certain (hermetic) charm. Just as the title hints at, "A Pigeon Sat on a Branch Reflecting on Existence" is a film essay about the banalities, contradictions, peculiarities and mysteries of human existence, and Andersson crafted them almost as if the characters are watched by some aliens puzzled by this life form: the entire storyline is filmed in static wide shots, without any cross-cutting, or without a single close-up even, all adding to its distant tone, with an almost comic-book mise-en-scene, following a strange rule that each sequence is narrowed down to only one scene. Even the two main protagonists are distant and elusive. Andersson follows his theme by making fun out of art, including dance and theatre, as well as patriotism and war, de-masking them as human constructs, and thereby showing the human limitations that need to be transversed. This is also evident in the two most disturbing sequences: a scientist is making a phone call, asking if a person is all right, all the while ignoring a small monkey "crucified" onto a lab equipment, getting electric shock every once in a while; a group of 19th Century British soldiers locking up Natives in a giant barrel and setting it on fire underneath, which is reminiscent of the Khaibakh massacre — they both show how human existence can be completely indifferent to the suffering of other existences around them. As Jessica Kiang proposed in her review, the modern day depression of people may lie in this guilt from the crimes in the past, "a kind of original sin, a stain in the blood". "Pigeon" is not for everyone's taste, yet its strong shot compositions and uneasy thought provoking points assure it validity.