Filed under: Not Your Average,Reviews,Shots Fired,Sizzle-chest,Unkut Theatre,Video Clips
Written by: Robbie Ettelson
Highly esteem film critic Rodger Tossenpot just submitted his thoughts on Kanye’s latest piece of ‘creative jeanious [sic].
No one man should have this much Power. The power to make me weep at the frailty of the human condition, laugh at our faults and marvel at the beauty of Great Art. Many dismissed the idea of Mr. West directing a short film as self-indulgent navel gazing, but only because haven’t experienced the majesty of his vision. Combining the story-telling prowess of the Brothers Grimm with the gritty edge of a young Scorsese, Mr. West has delivered our generation’s Citizen Kane via this 35 minute Rap Opera.
Opening with a shot of our hero running along a road through an empty forest, it immediately speaks to the isolation that our culture of faux-celebrity worship and gadget fetishism has produced, as if Kanye is attempting to out-run his own personal demons while at the same time saving humanity from it’s own worst excesses. Suddenly he’s piloting a sleek sports car through the same environment, a symbol for controlling one’s own destiny perhaps? Then an explosion from the heavens and we hear the sound of screeching tires and broken glass. What tragedy had befallen our hero so early in the piece? Not a meteor, dear friends, but a magnificent winged women has fallen to earth. A young fawn watches on silently, representing the innocence of untainted youth as Kanye carries the unconscious feathered belle to safety.
Back in the safety of our hero’s country mansion, we witness a well-aimed barb at the media before this alien creature explores the wonders of nature. The near-naked form of this bird woman is a statement about the exploitation of the female form on modern Western culture – compelling the eye to gaze upon her form while at the same time chastising us for voyeurism. It’s not immediately explained why the garden contains a deer, a sheep and some wild turkey’s, but the symbolism is hard to ignore. The deer has long been a fixture in American storytelling, encompassing the naive, the pure and the holy, while the sheep is a comment about the mindless copy-cat syndrome that seems to consume all facets of Pop culture (and possibly even a cheeky nod towards the cloning of animals in food production, first pioneered with Dolly The Sheep). As for the turkey’s? Perhaps Kanye is letting us know that it’s always Thanksgiving at his table. Living la vida loca, indeed!
The seduction scene finds Mr. West serenading his guest with his drum machine, as he composes a chaotic symphony that seems to excite his feathered friend immensely. Then we cut to a new song, as the couple enjoy the splendors of a personal fireworks display, complete with a marching band and a float featuring an enormous P\papier-mâché tribute to Michael Jackson, obviously put together by some blind orphans. Is this Kanye’s way of passing the torch to himself, announcing that he is in fact our new King of Pop?
It’s the dinner party, however, that serves as the focal point for this feature. It points the finger at the vapidity of most social functions, and highlights the sense of alienation that all of us feel at one time or another when cast into alien surroundings. Why is the room now full of ballerina’s? Do these symbols of bourgeois excesses provide any deep symbolical significance? Or do we simply admire the contrast between the juxtaposed ballet and modern dance techniques, as Mr. West sings of ‘assholes’ and ‘douche bags’. I won’t spoil the end of this magnificent experience, suffice to say that we should all appreciate this visionary epic at least once a day. We are not worthy, sir.
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