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Thursday, January 28th, 2010
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In a culture desensitized by violent brutality and computer-generated wizardry, it may be enough to say that I watched The Holy Mountain, which contains neither, with my mouth hanging initiate the entire time. I unexcited can’t quite beget that such a film was ever made, though I’ve long sensed that such a film should be. While not overtly violent, The Holy Mountain is punctuated by graphic, unpleasant and heretical images, but these only originate one aspect of its jaw-dropping resonance. Jodorowsky’s film is unique, bold, visually and thematically inspired. It’s also kind of silly.

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In essence the film is a series of literalized metaphors about the archetypal spiritual saunter to experience reality beyond illusion, a quest motivated by a desire to transcend the absurd horrors of civilization: war, greed, corruption, self-obsession and the politics of power. As such the characters and events themselves are largely symbolic. Unlike a lot of avant-garde films, Holy Mountain’s yarn is structured and surprisingly linear, though it flowers like a rambling, slightly disjointed dream.

Jodorowsky’s spiritual path is an unflinching synthesis of the basic conceptual and heavenly elements of many mystical traditions, including Zen’s formal simplicity, Kabbalic and Hindu ritual, Alchemical processes, Shamanic trials, master/student dynamics and the mythology of the Holy Mountain itself, all of which are gracefully blended into the artful and psychedelic texture of the film.

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Despite the clichéd “conventional wisdom” aspect of some moments, The Holy Mountain achieves what is a fairly unique and ultimately tongue-in-cheek attempt to train the audience. Sometimes the pacing and editing of the film feel a small dated, but this usually adds to the film’s original style rather than diminish it. The Holy Mountain is an ambitious film, tantalizing in its boldness and charming in its outlandishness, and traveling with these seekers will undoubtedly color our maintain journeys, both inner and outer…

I have now purchased a copy of The Films of Alejandro Jodorowski and I give this film even a higher recommendation than I did before. The DVD is first-rate, and it’s a nice plus to hasten Jodorowski’s commentary track as subtitles on the film itself, since the commentary is in Spanish anyway.

El Topo was about a man seeking enlightenment and was made before Jodorowsky had ever smoked marijuana or taken LSD. The Holy Mountain is the attempt to relate the entire society. To prepare, he found a Guru, who gave him LSD. Then after he had gathered his cast, he took them on a three month retreat to prepare, and the film itself seems to have taken six months to shoot. When I met Jodorowsky in 2003, he called El Topo his current son; The Holy Mountain his worried son; and Santa Sangre his perfect son. All three are important works. Jodorowsky truly is Alexandro the Expansive.

Holy Mountain is not about being high, it is about seeing through all illusions, of which getting high very remarkable is one of those illusions. It is a ample satire of the new world in which the Alchemist (played by Alexandro himself) finds the most bad people in the solar system, and then takes them on a quest that pacifies them by promising immortality - objective like the regular religions!

For a film that does not go “inside” any of the characters — we gawk them in beautifully framed compositions — it is very easy to follow and never lets the viewer down. In the waste, he even reveals the secret of immortality. “And here we are — mortals, more human than ever.”

I contemplate I should impress that Richard Rutowski, who worked with Oliver Stone on several of his most gripping works (like The Doors, Nixon, and U Turn), plays the character Axon.

I absorb The Holy Moutain may be the most perfect Utopian vision ever keep on film.

And if someone tried to gain a film like this today, they’d probably be arrested.
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