Humo sagrado

Most of Jane Campion's films make me uncomfortable. This one was no exception. But I liked it. And it has grown on me.

Having investigated eastern philosophy and western mysticism for years, I appreciate Jane Campion's competency in dealing with themes of a metaphysical nature. I was stunned by her use of metaphor in "The Piano," a constant returning to the place of origination, the synergy of yin and yang, the veil of illusion, and the mystery of expression ("the word").

Holy Smoke is more direct in its approach, but effective in exploring themes of power and love as both intimate and universal life forces. As usual, Campion approaches her subjects with an unflinching, but sympathetic, eye.

I am always nearly a fan of Campion's production values: I love the saturated, dark colors, the carefully contrived shots, the whimsical and sparing use of special effects and humor, and typically incredible casting.

While appealing on an aesthetic level, what appeals to me most about "Holy Smoke" is that it deals with some of my favorite themes: the illusory nature of "reality," the vulnerability, and power, of the human mind, and heart, and the sometimes shocking, sometimes humorous ways that we learn from the wisdom of the universe.

In "Holy Smoke," when I saw PJ Waters get off the plane to the sound of Neil Diamond singing "I am I said... I am I cried," I took notice, and became expectant of a punch line somewhere down the road.

This film could be called flawed, and is definitely not for everyone, but I come away from it feeling empowered, humbled, and amused--and appreciative of the sensitive, creative, adventurous spirits who made it.

PJ Waters is retained as an expert to de-program Ruth, but the Universe has other plans in mind... I love it.