As Freddie discovers, these are difficult to see when you’re caught up in world tours, fame and wealth, loneliness and exploring your sexuality. You can actually feel these movements realised in pivotal cinematic movements, the appreciation for a performer at the top of his game or alternatively the desolation of the wild excesses of partying. In his view, there are only really two basic movements, one toward God, genuine love, relationship and community, and the other which runs in the opposite direction towards destruction, egoism, false love, manipulation and isolation. ![]() Ignatius Loyola, no stranger to the excesses of the life and death drama that most of us inhabit, has a useful scheme for characterising the different forces, spirits or movements (cf. The real tragedy is that it is only very late on in the film when he realises who his real friends are, what real love is and how he has been deceived in many ways. ![]() There is an element of a Greek tragedy about it, as befitting the best opera theme, insofar as the main character, Freddie, is under pressure from a number of issues externally and internally.
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