It’s no surprise that we are all in self-isolation and the world is in a state of distress. Kuwait has taken some pretty harsh measures to contain the COVID-19 Virus. I am very grateful and glad that we are trying to contain it.
Meanwhile, I ended up searching for memories, old stuff, work I’ve done that I had forgotten about. I found a short film that I had written and directed back in 2010. A whole decade ago. The film was a representation of disability and societal pressures and discrimination in Kuwait. It was screened at various universities and the Kuwait Cinema Club. We were all English majors at the time and had no budget, no real experience in film-making, and pretty much just wanted to do something together we all felt was needed. We wanted to start the conversation about disability, difference, race, sex, etc.
Looking back, I am able to see that my thinking has changed drastically. The film has many problematic issues and there’s a lot that Disability Studies has helped me figure out. I was dealing with internalized fear and hatred of my own disability and that, I feel, is projected on the main character.
The film (Chained) has English Subtitles and is around 23 minutes. I am linking it here:
“The mystery of love is greater than the mystery of death.” Oscar Wilde, Salome. (1831).
I recently watched Salome. It was recommended by someone who knows the intricacies of my mind, my passion for words, and my love for theater. This film is an adaptation of Oscar Wilde’s play. Of course, I read the actual script after watching the film. It had me hooked, and definitely in love. Salome is a fiery woman, a woman who is a legend, and there are numerous adaptations, Biblical allusions, and sexual imagery. The storyline is fascinating, the dialogue is gripping, and the performance is wonderful. I only wish I could attend this play live. I believe the film doesn’t do it justice.
Filled with sexual connotations, passion, desire and death, there is a blurring of the line between love/obsession, passion and lack, madness and sanity, purity/virginity and sexual desire. There is also the idea of the body as spectacle. The play, critically speaking, is infested with the idea of the “male gaze” and surprisingly, this femme-fatale image. Salome’s double, I think, is the moon. The moon in all its seductiveness, glamor, beauty, is also dangerous. The moon mirrors Salome’s psyche and character. There is simply too much to write about and think about when analyzing Salome. I have always been fascinated with “madwomen” and women who are considered “troubled.” The Young Syrian, a character who is obsessed with Salome states: “She is like a dove that has strayed..She is like a narcissus trembling in the wind. She is like a silver flower.” The moon here is a metaphor. The idea of “looking” and being “looked at” is also part of this story’s complexity. To be looked at is to be seen. However, it depends on who is looking. You can have the wrong person “looking” at you, and all you want is for the right person, that “right love” to look at you. You want to be seen by him/her. Salome’s passion, her tragic ending, her desire to be seen, to kiss the man she has chosen is so intense. I was left gazing at the screen, shocked, uncomfortable with the bloodiness of it all. All she wanted was his “lips” and yet it is far greater than sexual. There is a union. There is a desire to merge with the lover, with the object of affection.
I won’t ruin the entire plot, but it is highly recommended. I will be looking into Salome’s legend and hopefully dissect it even more.
Side note: it is so refreshing when someone can access your brain and soul almost as much as you can.
Here are some beautiful excerpts:
“Ah, Iokanaan, Iokanaan, thou wert the man that I loved alone among men! All other men were hateful to me. But thou wert beautiful! Thy body was a column of ivory set upon feet of silver. It was a garden full of doves and lilies of silver. It was a tower of silver decked with shields of ivory. There was nothing in the world so white as thy body. There was nothing in the world so black as thy hair. In the whole world there was nothing so red as thy mouth. Thy voice was a censer that scattered strange perfumes, and when I looked on thee I heard a strange music. Ah! wherefore didst thou not look at me, Iokanaan?”
― Oscar Wilde, Salome
“I am athirst for thy beauty; I am hungry for thy body; and neither wine nor apples can appease my desire. What shall I do now, Iokanaan? Neither the floods nor the great waters can quench my passion. I was a princess, and thou didst scorn me. I was a virgin, and thou didst take my virginity from me. I was chaste, and thou didst fill my veins with fire . . .”
A Hybrid Biomythography 