MOVIE REVIEW : ‘Baraka’ Turns to Spiritual

To a considerable extent the impact of Ron Fricke’s visionary, shimmeringly beautiful “Baraka” (Cineplex Odeon Showcase) will depend on whether or not you’ve seen Godfrey Reggio’s “Koyannisqatsi” or its sequel “Powaqqatsi.” Like those two films, “Baraka” is a dazzling, disturbing collage of images of life on this planet warning us of the dangers of our increasing detachment from nature and our pillaging of the Earth’s resources. It is far too similar to those earlier films for its own good, yet such is its sheer gorgeousness in its Todd A0 70mm grandeur and its superb sense of structure and movement that it is nevertheless affecting. “Baraka” takes its title from an ancient Sufi word suggesting the essence of life from which the evolutionary process unfolds.

Fricke, who in fact was “Koyannisqatsi’s” cinematographer, co-writer and co-editor, has said his favorite theme is “Humanity’s relationship to the eternal,” which is precisely what he and his colleagues explore in “Baraka.” It begins with a majestic half-hour survey of individuals in the timeless act of religious worship in ancient, glorious settings the world over. This sequence gives way to scenes of tribal peoples participating in traditional dances, but as the film moves toward its middle the images grow increasingly ominous, with depictions of the Earth’s desecration and the frenetic, congested, quality of modern urban existence. In this segment, Fricke uses the speeded-up cinematography techniques he first employed in “Koyannisqatsi” to suggest humans becoming like ants and robots--he has a passion for shots of dehumanizing assembly lines.

This portion of “Baraka” seems the most derivative of his earlier efforts. Therefore, it is its least-satisfying part, but gradually his film regains momentum as it completes its circle by returning to concerns of worship. Without so much as a single word uttered, Fricke makes it perfectly clear that humanity has a choice--our survival depends upon choosing the spiritual over the material and caring for others and for our planet as much as we care for ourselves. His key colleagues in this accomplishment are his producer and co-writer/editor Mark Magidson and inspired composer Michael Stearns, whose soaring score at all times reinforces the film’s images.

“Baraka” (Times-rated Mature) was shot in 24 countries over 14 months, but none of its locations, many of which are unfamiliar, are ever identified. Technically, the film is as awesome as its images. Like the Reggio films, it does not hesitate to use the most advanced technology to deplore the impact of technology upon our lives. Fricke’s cinematography is so consistently magnificent in the compositions of its images and in their clarity, in its use of natural light and delicacy of hue that Fricke creates a further paradox: His film is consistently beautiful even in its most ominous moments.

‘Baraka’

A Samuel Goldwyn release of a Magidson Films production. Director-cinematographer Ron Fricke. Producer Mark Magidson. Concept and scenario by Fricke, Magidson and Bob Green. Original treatment by Genevieve Nicholas, Constantine Nicholas & Fricke. Editors Fricke, Magidson, David E. Aubrey. Music Michael Stearns. Sound effects design John Morris. Running time: 1 hour, 37 minutes.

Times-rated Mature (for scenes too intense for small children).