The Holy Mountain

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  October 21, 2009

  harrycaul

  Another helping of vanity, insanity and profanity from the man who inflicted El Topo upon us. Hmm, I'm racking my brain here, trying to think of something complimentary to say about this... I like the art direction and I can't deny that he does pull off the occasional dazz...( read more)ling visual coup, but it would take a much better alchemist than Jodorowsky to turn this shit into gold. "I promised you the Great Secret and I will not disappoint you." Yeah, right! The ending is a total cop-out. Not that I was expecting the answer to the Meaning of Life or anything like that, but if Jodorowsky's message is that we should make the most of the real world and stop questing after illusory holy mountains, I wish he'd let me know two hours earlier and I wouldn't have wasted my time on his lousy movie. I was also irritated by the arrogant way he broke the fourth wall to impart this pearl of wisdom, as if I'm supposed to be so wrapped up in what he's doing I've forgotten it's only a movie. "Oh my God!!! You mean this is only a movie I've been watching? Not the profound spiritual experience I thought I was having?!?! The man's a genius!" I'm sorry, Alejandro, but you have to cast the spell before you can break it, and you never did.

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  October 2, 2009

  flixsterman

  I get the impression that writer/director Alejandro Jodorowsky was raised in a repressive Catholic boarding school populated with sadistic nuns and this, The Holy Mountain, is his revenge. It's full of blasphemous imagery that I'm certain caused more than one self-righteo...( read more)us christian to exit the theater before the last reel concluded. Personally, I wasn't offended, but I'm a less-than-devout protestant who is detached enough to see the irony of it all. I don't necessarily agree with Jodorowsky's vision but I definitely applaud his courage.

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  October 2, 2009

  SirPant

  A bizarre and surreal film, full of imagery and symbolism. Typical Jodorowsky really. Astrology, religion, alchemy, enlightenment, it?s all there. I loved everything about the film apart from Jodorowsky's usual animal cruelty and the ending.....at least at first. It is actually a...( read more) very cleaver end to a film and it would have been totally original at the time, it?s just watching it now, you just can't help but think 'Monty Python'. Not as good as El Topo but still awesome!

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  April 5, 2009

  kenstachnik

  Unique.

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  March 23, 2008

  djdemersseman

  Like El Topo, Holy Mountain is slow but often poignant. The beginning and ending are both equally stunning, arguably moreso than its predecessor.
  
  However, A little editing in between would've gone a long way this time around. There are so many gems, verbal and visual alike, but...( read more) I couldn't watch it in one setting. So many great one-liners and scenes are all-but-lost in a smattering of pointless and half-retarded dialogue and scenes, namely between the middle and ending. The explanation of the universal journeyman was especially harrowing.
  
  Half the time it was funny and interesting and half the time it was simply poorly written and truly unnecessary, and strangely, formulaic. How odd for Jodorowsky! The music was further boring and formulaic, and it takes a lot for me to enjoy a movie with a (near) piss-poor soundtrack.
  
  How sad that his Dune production never came to be, that David Lynch and not he, who cared so much more deeply about the project, eventually made the movie. Jodorowsky influenced so many great artistic talents in the process. It's truly horrible that he never got to see his own great masterpiece come to life.

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  November 4, 2009

  mrchewbacca

  The most beautiful
  and radical that I ever have seen, and maked in Mexico!

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  October 27, 2009

  ahhh1989

  A masterpiece of surrealism, beauty, violence, wonder, and artistic freedom.

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  October 18, 2009

  ElCochran90

  "You are excrement. You can change yourself into gold."
  
  THE HOLY MOUNTAIN (1973)
  
  Director: Alejandro Jodorowsky
  País: México / Estados Unidos de América
  Género: Aventura / Comedia / Drama / Fantasía / Horror / Misterio /...( read more) Ciencia Ficción
  Duración: 114 minutos
  
  
  
  SPANISH REVIEW:
  
  En 1973, la definición y concepción tradicional del cine fue superada en todos los aspectos. Alejandro Jodorowsky ha redefinido el término de pretenciosidad y lo ha reemplazado con un concepto de superioridad fílmica. Perfeccionando el estilo fílmico surrealista típico de Jodorowsky desde los comentarios sociales y religiosos llamados Fando y Lis (1968) y El Topo (1970), The Holy Mountain mantiene viva la típica costumbre de Jodorowsky de jugar con el cine de una forma simbólica y espiritual, dejando la misma interpretación de los hechos a cargo del espectador a un nivel personal y transformando el arte audiovisual del cine en una experiencia inolvidable tanto para los sentidos como para el alma. El alto grado de ambición y perfección mezcladas con una interminable pretenciosidad tuvieron como propósito incluir básicamente casi todo aspecto benigno y maligno, espiritual y religioso, científico y tecnológico que gobierna a la sociedad actual, añadiendo toques fantásticos de ciencia ficción para la mayor representación mística y simbólica posible de hechos cuya trascendencia en la existencia del ser humano resultan, en última instancia, irrechazable, una vez más, enalteciendo la cristiandad.
  
  El peso de la trama dentro de The Holy Mountain alcanza niveles extraordinariamente épicos. Separada en diferentes capítulos, The Holy Mountain representa gráficamente y con un guión relativamente corto la historia de un ladrón que falsamente desea representar a Jesucristo en las regiones más degradadas y pecaminosas de la sociedad moderna. Mientras vaga por bizarros escenarios plagados de simbolismos profanos y blasfemos sumamente cargados de un surrealismo total, el ladrón se encuentra con un guía místico, denominado el alquimista. Después de tener un duelo fracasado con el alquimista, él le introduce a otros siete seres humanos quienes representan a siete planetas del Sistema Solar. Éstos abundaron, en un pasado, en riqueza y poder, y están destinados a convertirse en los seres más poderosos del Universo. Junto con estos siete seres, el alquimista y su asistente, una mujer afroamericana cuyo cuerpo está cubierto de símbolos religiosos, emprenden un viaje a la Montaña Sagrada, un lugar donde se les promete descubrir el secreto de la inmortalidad y convertirse en dioses.
  
  Alejandro Jodorowsky, uno de los genios pretenciosos más brillantes de la historia de la cinematografía, siempre tuvo en mente en qué consistía el proceso de crear cine. Aplicando una vez más su estilo fílmico de principio a fin, adueñándose no solamente de la dirección, sino también de la elaboración del poético guión, de la producción, de la composición de la banda sonora y del montaje, siendo también escultor, pintor y el director de arte, sin mencionar que él mismo interpreta al alquimista, el largometraje acaba convirtiéndose en un viaje espiritual y catártico sin igual. La película cuenta con la más vasta, impresionante e hipnótica imaginería y cinematografía que jamás se haya visto en una película, como si ésta violara al cerebro en contra de su voluntad pero acabara sintiendo culpa y placer. El manejo de cámara, gracias a la cinematografía de Rafael Corkidi, quien también brindó su maravilloso trabajo en El Topo (1970), brinda paisajes hermosos de la naturaleza, la arquitectura y calles típicas de la Ciudad de México, y escenarios surrealistas con movimientos de cámara vertiginosos, como si se nos tratara de enamorar con el ciclo de la vida, representado una vez más por la perfección del círculo. El vestuario varía, lo cual implica un gran esfuerzo por parte de Jodorowsky. Desde vestuario novedoso y moderno para representar a la completamente lasciva, pecaminosa y egoísta clase alta hasta un gran repertorio antiguo mayormente oriental, The Holy Mountain ofrece una muestra de colores tan vivos y vastos como una paleta de pinturas.
  
  De nuevo, a The Holy Mountain no se le puede escribir una crítica ni reseña constructiva, pues se podría decir que la película es al cine como Baraka (1992) es al género documental: Representan un mundo con distintas realidades. Desde el principio, la carta de El Tonto, la cual forma parte del tarot convencional y muestra a un personaje en el borde de un risco, es encontrado en el suelo, pues ya ha caído del risco. Es claro que el personaje necesita un renacimiento para adquirir un nuevo significado a su existencia. Inmediatamente, un enano sin brazos ni piernas lo levanta, quien representa a la derrota, la carta del cinco de espadas. Las almas más ciegas e inocentes, las cuales son representadas por un grupo de niños desnudos (con el posible propósito de enaltecer su estado de inocencia) proceden a simular la tortura y crucifixión de Jesucristo. Después de vagar por escenarios de la Ciudad de México y una inusual representación de la Conquista de México con un circo de ranas y camaleones cubiertos de escombro y sangre, el ladrón se da cuenta de su propia personalidad al percatarse de que ha vivido bajo una ilusión, y que su cuerpo se haya sujeto a una imagen que no le pertenece, pese a su gran religiosidad.
  
  Una vez que el ladrón simula el proceso de la Eucaristía mientras "devora" el cuerpo de Cristo y envía su imagen al cielo, la película introduce a un nuevo capítulo, cuando el alquimista es presentado por primera vez. El rol del alquimista simboliza el balance del bien y del mal, y tratando de evitar ser una película estrictamente religiosa, recurre a filosofías budistas, de yoga, y enseñanzas y costumbres de Gurdjieff, del Kabbalah y del I Ching, contrastándolas con los crímenes y personificaciones del pecado en sus formas más escandalosas. Fon, representante del planeta Venus, se dedica a la comodidad y confort del cuerpo humano. Isla, representante del planeta Marte, fabrica y vende armas. Klen, representante del planeta Júpiter, posee una fábrica de arte. Sel, representante del planeta Saturno, fabrica juguetes de guerra mientras ofrece entretenimiento a infantes. Berg, representante del planeta Urano, es consejero financiero del presidente. Axon, representante del planeta Neptuno, es un jefe de policía coleccionador de testículos. Lut, representante del planeta Plutón, se dedica al negocio de la arquitectura. Cada uno concentra los pecados y faltas a la moral más degradantes y desafortunadamente comunes de la actualidad, desde alusiones a la Inquisición hasta una infrenable y totalitaria anarquía posmoderna.
  
  Venus revive, insultantemente, los estereotipos que han degradado la imagen física del ser humano a través de la creación de imágenes falsas, especialmente en la mujer, que nos permiten aparentar ser humanos que no somos en realidad, llegando a la conclusión de que son nuestras acciones y creencias en vida las que nos otorgan personalidad. Marte es un ataque directo en contra de la altanería del ser humano en posición de poder y en contra de la religión, dejando en claro que la religión que posea un ser humano en particular no lo enaltece ni le otorga una mayor autoridad ni relevancia significativa a comparación de sus semejantes. Es su mera sensación de poder y pertenencia a una clase social o culto religioso el que le nubla la conciencia, teniendo como el efecto más devastador la guerra y la creación de armas. Júpiter reafirma las falsas creencias adoptadas en la sociedad de Venus y los empuja a un extremo ridículo de perversión sexual y discriminación a las maravillas y la capacidad del cuerpo de la mujer, incluyendo el causar el milagro de crear vida, convirtiéndola en un objeto. Saturno constituye un recordatorio a la forma en que la irresponsable emisión de contenidos inapropiados a masas juveniles e infantiles corrompe la inocencia inicial del hombre, destruyendo completamente el mundo inofensivo de fantasía en el que viven e introduciéndolos de una manera inadecuada a la cruel realidad en la que se vive en la actualidad, creando monstruos en el proceso. Urano personifica al ridículamente excesivo poder que los gobiernos totalitarios poseen sobre una nación, ejecutando la voluntad que más parezca acorde a sus respectivos miembros, mezclando esto con un extremo absurdo de detestación a las ceremonias sociales y control del crecimiento de masas a través de genocidios. Neptuno es la imagen viva y fiel de un gobierno más extremista y utópico con un toque anárquico sadomasoquista y la forma en que éste suele tomar las posesiones más valoradas de una sociedad en particular, simbolizadas por los mil testículos y la pérdida de las vidas de la gente, haciendo mayor énfasis a la brutalidad a través de la exageración de emociones con un acercamiento ligero al renacimiento y que la superficialidad es lo que menos cuenta. Plutón vende la idea de refugio físico al ser humano, cuando, en realidad, el verdadero refugio es la forma valerosa de enfrentar la vida misma ante las tribulaciones que ésta trae consigo. El alquimista clasifica a todos estos personajes como ladrones, no necesariamente en el sentido estricto de la palabra, sino ladrones de pertenencias y posesiones valoradas del ser humano que, por ironía del destino o por crueldad de la vida para crear un balance, las obtuvieron. Ningún humano, por más imperfecto que sea, está exento de alcanzar la perfección.
  
  Compartiendo las ideas de eliminación de objetos y posesiones materiales que solemos considerar como dioses, tales como las riquezas y el poder sobre otros, así como la destrucción de ilusiones e imágenes personales falsas que no nos pertenecen ni nos representan como seres existentes únicos, el hombre forma parte de una naturaleza cuya perfección no se le puede deber a la casualidad ni a la Teoría de la Gran Explosión (la cual ni siquiera es oficial), sino a un Creador, que es Dios, la verdad absoluta y el dador de vida. Asimismo, se invita incluso al público a vivir la verdadera vida sin basarnos en ilusiones predominantes, las cuales son, en última instancia, humanas, sin pretender ser nuestros propios dioses ni que la vida está bajo nuestro estricto control. De ahí radica la superioridad y sabiduría de The Holy Mountain. La Montaña Sagrada es una ilusión cuyos mitos místicos los adquirió por su altitud y sus características físicas, por lo cual se asegura que alrededor del mundo se ha hablado de montañas sagradas en diferentes costumbres. "The Pantheon Bar" es un lugar donde los humanos han renunciado en su búsqueda de la Montaña Sagrada y han sido absorbidos por su propia egolatría y sus talentos inútiles, considerándose superiores al significado de la vida misma. Al final, el único medio mediante el cual se puede vencer a la naturaleza es uniéndose a ella, formando un solo ser vivo.
  
  The Holy Mountain ofrece temas de la vida tan variados como lo es su banda sonora, la cual incluye géneros de todo tipo, desde música clásica hasta rock and roll, entre otros. Así como la ilusión del término "película" es rota durante los últimos minutos, así logró The Holy Mountain superar al cine mismo. No necesariamente quiere decir que haya superado al Séptimo Arte, convirtiéndose en la mejor película jamás dirigida por la humanidad, pero sí se encuentra dentro de las experiencias más asombrosas que se pueden experimentar, con un sentimiento predominante de asombro. De la misma forma en que los personajes tienen que enfrentar sus miedos y ambiciones más profundos mediante visiones epifánicas extraordinariamente bizarras y simbólicas, así es la vida misma, no dejando a nadie exento de dicho reto. The Holy Mountain es la película que más ha cambiado mi perspectiva de ver la vida y disfrutarla al máximo, y la que más ha fortalecido mi fe en Dios Todopoderoso. "La verdadera vida nos espera."
  
  100/100
  
  ENGLISH REVIEW:
  
  In 1973, the definition and traditional conception of cinema was surpassed in every single aspect. Alejandro Jodorowsky has redefined the term of pretentiousness and has replaced it with a concept of filmic superiority. Perfecting the filmic surreal style typical of Jodorowsky since the social and religious commentaries named Fando y Lis (1968) and El Topo (1970), The Holy Mountain maintains the typical habit of Jodorowsky of playing with cinema in a symbolic and spiritual form, leaving the interpretation of the facts in the hands of the spectator at a personal level and transforming the audiovisual art of cinema in an unforgettable experience both for the senses and the soul. The high level of ambition and perfection mixed with an endless pretentiousness had as a purpose to include basically almost every single benign and evil, spiritual and religious, scientific and technological aspect that governs the modern society, adding fantasy elements of science fiction for achieving the maximum mystical and symbolic representation possible of events which transcendence in the existence of the human being ultimately result irrejectable, exalting Christendom once more.
  
  The weight of the plot within The Holy Mountain reaches extraordinarily epic levels. Divided into different chapters, The Holy Mountain graphically represents, with a relatively small screenplay, the story of a thief that falsely wishes to represent Jesus Christ in the most degraded and sinful regions of the current society. While he wanders through scenarios riddled with profane and blasphemous symbolisms considerably loaded with a total surrealism, the thief finds a mystical guide called the Alchemist. After having an unsuccessful duel with the Alchemist, he introduces him to other seven human beings that represent seven planets of the Solar System. These beings abounded, in a certain past, in richness and power, and are destined to become the most powerful beings of the Universe. Along with these seven beings, the Alchemist and his assistant, an Afro-American woman whose body is covered with religious symbols, embark on a journey to the Holy Mountain, a place where they are promised to discover the secret of immortality and become gods.
  
  Alejandro Jodorowsky, one of the most brilliant and pretentious geniuses in the history of cinema, had always in mind the overall process of cinema creation. Applying his filmic style from beginning to end once again, becoming the owner not only of the direction, but also of the elaboration of the poetic screenplay, the production, the composition of the soundtrack and the mounting, being also a sculptor, painter and the art director, without mentioning his interpretation of the Alchemist, the feature film ends up becoming an unparalleled spiritual and cathartic trip. The movie has the vastest and most impressive and hypnotic imagery and cinematography I have ever seen in a film, like if these raped the brain against its will but ended up feeling guilt and pleasure. The camera work, thanks to the cinematography of Rafael Corkidi, who also offered his extraordinary work in El Topo (1970), brings beautiful nature landscapes, the typical architecture and street composition of Mexico City, and surrealistic scenarios with vertiginous camera movements, like if we were being convinced to fall in love with the cycle of life, represented, once more, by the perfection of the circle. The costume design constantly varies, which implies a great effort from part of Jodorowsky. From a modern and novel wardrobe that represents the completely lascivious, sinful and selfish upper class to a great antique and majorly Eastern repertoire, The Holy Mountain offers a sample of colors that seem as alive and vast as a painter's palette.
  
  Once again, The Holy Mountain doesn't allow a constructive critic or review to be written, since it could be said that the film is to cinema like Baraka (1992) is to the documentary genre: They represent a world with different realities. From the beginning, the The Fool card that forms part of the conventional tarot and shows a character at the edge of a cliff is found on the ground, since he has already fallen from the aforementioned cliff. It is clear that the character needs a rebirth in order to acquire a new meaning to its existence. Immediately, an armless and legless dwarf picks him up, who represents defeat, the five of swords. The blindest and most innocent souls, which are represented by a group of naked kids (with the possible purpose of exalting their state of innocence), proceed to simulate the torture and crucifixion of Jesus Christ. After wandering through scenarios characteristic of Mexico City and an unusual representation of the Conquest of Mexico with a circus of frogs and chameleons covered with blood and rubble, the thief realizes his own personality after he notices he has lived under an illusion and that his body has been subject to an image that doesn't belong to him, despite his heavy religiousness.
  
  Once that the thief simulates the process of the Eucharist while "devouring" the body of Christ and sending his image to Heaven, the movie introduces a new chapter when the Alchemist makes his appearance for the first time. The role of the Alchemist symbolizes the balance between good and evil, and while avoiding being a strictly religious film, it resorts to Buddhist philosophies, yoga, and teachings and customs of Gurdjieff, the Kabbalah and the I Ching, contrasting them with the crimes and the personifications of sin in its most scandalous forms. Fon, He whose planet is Venus, is dedicated to the comfort and commodity of the human body. Isla, She whose planet is Mars, manufactures and sells weapons. Klen, He whose planet is Jupiter, owns an art factory. Sel, She whose planet is Saturn, manufactures war toys while offering entertainment to children. Berg, He whose planet is Uranus, is a financial adviser to the President. Axon, He whose planet is Neptune, is a chief of police and a collector of testicles. Lut, He whose planet is Pluto, is dedicated to the business of architecture. Each and every one of them congregates the most degrading sins and insults to morality which, unfortunately, are common nowadays, from allusions to the Inquisition to the unstoppable and totalitarian postmodern anarchy.
  
  Venus revives, insultingly, the stereotypes that have degraded the physical image of the human being through the creation of false images, especially of women, that allow us to seem to be humans that we are really not, arriving to the conclusion that it is our own actions and beliefs in life the ones that grant us a personality. Mars is a direct attack against religion and the haughtiness of the humankind when being granted power, making clear that any human being in particular isn't exalted nor given a bigger amount of authority or significant relevance in comparison with the rest of the world regardless of the religion he or she possesses. It is the same feeling of power and membership of a social class the one that blinds our conscience, having as its most devastating effect the war and the creation of guns. Jupiter reaffirms the false beliefs adopted by the society of Venus and pushes them to an extreme ridicule of sexual perversion and discrimination towards the wonders and capacities of the woman's body, including the creation of the miracle of life, converting her into an object. Saturn constitutes a reminder of the way in which the irresponsible emission of inappropriate contents to juvenile and children masses corrupts the initial innocence of man, completely destroying the inoffensive world of fantasy in which they live and introducing them, in an inadequate manner, to the cruel reality in which we live nowadays, creating monsters in the process. Uranus personifies the excessively ridiculous amount of power that totalitarian governments possess over a nation, executing the will that most appeals to the taste of its members, mixed with an extreme absurd of detestation towards social ceremonies and of mass growth control through genocides. Neptune is the live and faithful image of a most extremist and utopian government with a sadomasochistic touch of anarchy and the way this tends to take away the most valued possessions of a particular society, an aspect symbolized by the one thousand testicles and the loss of the people's lives, making a higher emphasis in the brutality through the exaggeration of emotions with a slight approach to rebirth and to the fact that superficiality is the least relevant thing. Pluto sells the idea of a physical refuge for the human being when, in reality, the real refuge is the valorous form of facing life itself with the tribulations and hardships it involves. The Alchemist classifies these characters as thieves, not necessarily in the strict sense of the word, but they are thieves of belongings and possessions valued by the human being which, due to the irony of fate or the cruelty of life that creates a balance, they achieved to obtain. No human, regardless of its overall flaws, is exempt from reaching utter perfection.
  
  Sharing the ideas of the elimination of objects and material possessions that we tend to consider as personal gods, such as richness and the power over others, and the destruction of illusions and personal fake images that do not belong to us and do not represent us as uniquely existent beings, man forms part of a nature whose perfection cannot be owed to chance or the Big Bang Theory (which is not even official), but to a Creator, who is God, the absolute truth and the giver of life. Likewise, the public is invited to live the real life without basing it in predominant illusions, which are, ultimately, humans, without pretending to be our own gods and that life is under our strict control. From there, the superiority and wisdom of The Holy Mountain irradiates. The Holy Mountain is an illusion whose mystical myths were acquired thanks to its altitude and physical characteristics; consequently, it is clarified that people have spoken about holy mountains in different parts of the world based on regional customs. "The Pantheon Bar" is a place where humans have renounced to their quest of the Holy Mountain and have been absorbed by their own egotism and useless talents, considering themselves superior to the meaning of life itself. Finally, the only means through which nature can be beaten is to converge with it, becoming one single living being.
  
  The Holy Mountain offers themes about life so varied as it is its soundtrack, which includes all types of genres, from classical music to rock and roll, among others. Just like the term "movie" is broken during the last minutes, The Holy Mountain achieved to surpass cinema itself. This does not necessarily mean that it achieved to surpass the Seventh Art, becoming the best film ever directed by mankind, but it is found within the most astonishing experiences that can be experimented with a predominant feeling of awe. In the same way the characters have to face their deepest fears and ambitions through extraordinarily symbolic and bizarre epiphanic visions, life itself is like that, leaving nobody exempt from such challenge. The Holy Mountain is the movie that has modified my perspective towards life the most at the expense of enjoying it at its fullest, and the one that has strengthened my faith in God Almighty the most. "Real life awaits us."
  
  100/100

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  October 10, 2009

  Phonex

  The world where we live.

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  July 28, 2009

  lackovicmich

  philosophical myth-buster

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