It is doubtless thing - you will enjoy that movie much much more if you're Polish. It's obviously not as hermetic as i.e. "Mis", "Sexmisja", but you have to know/feel what's about countryside of Poland nowadays. Anyway, if you are familiar with "magical realism" (either "Chocolate" and "One Hundred Years of Solitude") then you will find yourself extremely happy. I did. And those fragrances.. Perfume: The Story of a Murderer will maybe hit the blockbuster, but I will still feel Yasminum... There are other Kolski's pictures, some of them I remember pretty well ("Jancio Wodnik", "Szabla dla komendanta") - Yasminum is their rightful successor.
14 Reviews
Andrew 366
cardboardmafia8 February 2007
Warning: Spoilers
This film, directed by Jan Jakub Kolski, is interesting for several reasons: it compares and contrasts several ideas such as religion and science, draws parallels between a love story in the past and one in the present, and analyzes the lives of all of the main characters. Kolski structures the film by creating several small plot lines, which are linked by the underlying meaning of the film. Kolski further creates a film that is light hearted, which is a venture from the norm of modern cinema. Though this film is light hearted, it does not lack substance and irony, as it carries a message that binds the film neatly together.
Jasminum is set in a town in the country, where a monastery is located. In the monastery live five monks, three are striving to achieve sainthood, one is a cook, and the other is the abbot. There is a rich history in the monastery, and this is reflected in the plot; several parallels are drawn between the past and the present, which include a love story and the three monks who are trying to achieve sainthood. These historical parallels are significant to the plot, as well as significant for the meaning of the film. The film posses many themes, some of which would be scents, love, and sainthood. Natasha, a woman who comes to the monastery to revive art within the monastery, is also an amateur chemist who makes both chemicals for the restoration of the paintings as well as scents and perfumes. She constantly searches for the "heart" of the scent, which she is trying to produce in order to induce love for a local hair dresser-gone-friend. Natasha is trying to mimic the scent, which Bird cherry, the monk, carries with him, but she cannot find the heart of the smell. The heart of the scent is found to be jasmine, which is discovered upon the unfolding of a love story that had taken place hundreds of years previous to the story. Jasmine is the smell of a woman who had a love affair with one of the monks in the monastery, and in Natasha's reuniting of the scents, the two dead souls are simultaneously reunited.
Another theme in the story is faith versus science, which is portrayed in the restoration of the paintings and interaction between Natasha and prior Kleofas. Natasha comes with modern science as an instrument to physically revive the painting. However prior Kelofas is skeptical of Natasha's restoration and feels that physical scientific restoration will not make anyone pray any harder, as he awaits for a miracle to revive the painting. This instance gives birth to a struggle between religion and science that spans into the search for scents as well as exists in the restoration of the painting. It raises the question, can faith perform the tasks of science or can science perform in the roles of faith? Natasha cannot create her scent without the use of history and religion, as prior Kleofas sees that the paintings can be restored by science and still be viewed as sacred objects. The themes of love, science and religion subtly blend together to create a strong underlying message, which is properly addressed by the title, Jasminum.
This film, with its many layers, can appeal to several generations; the relationship between the cook and the child may appeal to children, the love story plot could appeal to an adolescent generation, as the themes can be read and appreciated by older generations. The mass appeal reinforces the fact that the film appeals to many generations, not one exclusively.
Jasminum is set in a town in the country, where a monastery is located. In the monastery live five monks, three are striving to achieve sainthood, one is a cook, and the other is the abbot. There is a rich history in the monastery, and this is reflected in the plot; several parallels are drawn between the past and the present, which include a love story and the three monks who are trying to achieve sainthood. These historical parallels are significant to the plot, as well as significant for the meaning of the film. The film posses many themes, some of which would be scents, love, and sainthood. Natasha, a woman who comes to the monastery to revive art within the monastery, is also an amateur chemist who makes both chemicals for the restoration of the paintings as well as scents and perfumes. She constantly searches for the "heart" of the scent, which she is trying to produce in order to induce love for a local hair dresser-gone-friend. Natasha is trying to mimic the scent, which Bird cherry, the monk, carries with him, but she cannot find the heart of the smell. The heart of the scent is found to be jasmine, which is discovered upon the unfolding of a love story that had taken place hundreds of years previous to the story. Jasmine is the smell of a woman who had a love affair with one of the monks in the monastery, and in Natasha's reuniting of the scents, the two dead souls are simultaneously reunited.
Another theme in the story is faith versus science, which is portrayed in the restoration of the paintings and interaction between Natasha and prior Kleofas. Natasha comes with modern science as an instrument to physically revive the painting. However prior Kelofas is skeptical of Natasha's restoration and feels that physical scientific restoration will not make anyone pray any harder, as he awaits for a miracle to revive the painting. This instance gives birth to a struggle between religion and science that spans into the search for scents as well as exists in the restoration of the painting. It raises the question, can faith perform the tasks of science or can science perform in the roles of faith? Natasha cannot create her scent without the use of history and religion, as prior Kleofas sees that the paintings can be restored by science and still be viewed as sacred objects. The themes of love, science and religion subtly blend together to create a strong underlying message, which is properly addressed by the title, Jasminum.
This film, with its many layers, can appeal to several generations; the relationship between the cook and the child may appeal to children, the love story plot could appeal to an adolescent generation, as the themes can be read and appreciated by older generations. The mass appeal reinforces the fact that the film appeals to many generations, not one exclusively.
A stand-out Polish film.
sm2629 January 2007
Warning: Spoilers
One thing that I have learned from Polish film is that there seems to only be three genres of film in Poland: the meek tales of desolate life, ridiculous comedies and the overproduced but beautiful adaptations of classic literature. In contrast, director Jan Jakub Kolski manages to evade all three of these clichés in his 2006 movie Jasminum. The result is a film that is magical, aesthetically rich, but above all and most surprisingly, happy.
At the very surface the movie is about a woman, Natasha, who arrives with her five year-old daughter, Eugenia, at a monastery in small-town Poland to restore religious paintings. However, we learn that at heart, the movie is a wise, warm-hearted story about things that matter: love, sincerity, tolerance and standing up for the things you believe are righteous and good. It also touches on other subjects like enjoying the simple pleasures in life and the relationship between science and faith. The latter two subjects are best displayed through the relationship between Brother Sanitas and Eugenia and also through the dynamic between Natasha, Father Kleofas and the painting of the Virgin Mary, respectively. Brother Sanitas can be described as an introverted soul at best. He works as the monasteries cook and is severely under-appreciated, underestimated, and overworked by the other monks. When Eugenia comes into his life there is a definitive attitude shift. At first Brother Sanitas is confused and even annoyed by the little girl. However, soon enough we see them spending time together skipping and in a scene of unprecedented gratitude towards each other Eugenia buys Brother Sanitas a pair of shoes while he builds her a swing. In a pivotal scene Father Kleofas notices that Natasha's restoration is unarguably making the painting more beautiful. Father comments, "What is the point? We can see her (Virgin Mary) more clearly now. But does it make our prayers any stronger?" The question that Father Kleofas poses remains relevant throughout the whole movie not only in relation to the painting. For example, the question of science versus faith comes up in the sub-plot regarding Natasha's disbelief of the three brother's supernatural ability to produce the scents of plums, sweet berries and bird berry. Natasha then begins to use her knowledge of chemistry to disprove this possibility.
Much can be said about the cinematography of the film. Krzysztof Ptak encompasses the elements of magical realism into a beautiful reel of film. The colors are lush and the scenery demure, but interesting. Through his cinematography, Ptak helps to enlighten the reader on another struggle, rural versus city-life. One will notice that in the city the colors are less lush and the weather not as pleasing. The lack of nature in the city also contributes to the feeling of barren and uninviting terrain.
The film plays in the style of all whimsical children's fairy tales, while at the same time blending in a series of very serious adult themes. There is a distinct scene in which two characters engage in sexual relations while Eugenia is narrating. Eugenia says, "I probably shouldn't say anything in this moment." It is this kind of juxtaposition of adult theme in a child's story that makes the film particularly amusing and interesting. The little girl, Eugenia, steals the show and is by far my favorite character. She develops a fantastic, hilarious and warm relationship with Brother Sanitas, the aforementioned cook of the Monastery. Eugenia is quite rambunctious and boisterous. However, Eugenia proves to be an extraordinarily dynamic character and she serves as both the narrator and as an actor in the film. She also helps Kolski succeed in telling his story delicately, in his very own style, with fine nuances and a twinkle of humor in his eye.
At the very surface the movie is about a woman, Natasha, who arrives with her five year-old daughter, Eugenia, at a monastery in small-town Poland to restore religious paintings. However, we learn that at heart, the movie is a wise, warm-hearted story about things that matter: love, sincerity, tolerance and standing up for the things you believe are righteous and good. It also touches on other subjects like enjoying the simple pleasures in life and the relationship between science and faith. The latter two subjects are best displayed through the relationship between Brother Sanitas and Eugenia and also through the dynamic between Natasha, Father Kleofas and the painting of the Virgin Mary, respectively. Brother Sanitas can be described as an introverted soul at best. He works as the monasteries cook and is severely under-appreciated, underestimated, and overworked by the other monks. When Eugenia comes into his life there is a definitive attitude shift. At first Brother Sanitas is confused and even annoyed by the little girl. However, soon enough we see them spending time together skipping and in a scene of unprecedented gratitude towards each other Eugenia buys Brother Sanitas a pair of shoes while he builds her a swing. In a pivotal scene Father Kleofas notices that Natasha's restoration is unarguably making the painting more beautiful. Father comments, "What is the point? We can see her (Virgin Mary) more clearly now. But does it make our prayers any stronger?" The question that Father Kleofas poses remains relevant throughout the whole movie not only in relation to the painting. For example, the question of science versus faith comes up in the sub-plot regarding Natasha's disbelief of the three brother's supernatural ability to produce the scents of plums, sweet berries and bird berry. Natasha then begins to use her knowledge of chemistry to disprove this possibility.
Much can be said about the cinematography of the film. Krzysztof Ptak encompasses the elements of magical realism into a beautiful reel of film. The colors are lush and the scenery demure, but interesting. Through his cinematography, Ptak helps to enlighten the reader on another struggle, rural versus city-life. One will notice that in the city the colors are less lush and the weather not as pleasing. The lack of nature in the city also contributes to the feeling of barren and uninviting terrain.
The film plays in the style of all whimsical children's fairy tales, while at the same time blending in a series of very serious adult themes. There is a distinct scene in which two characters engage in sexual relations while Eugenia is narrating. Eugenia says, "I probably shouldn't say anything in this moment." It is this kind of juxtaposition of adult theme in a child's story that makes the film particularly amusing and interesting. The little girl, Eugenia, steals the show and is by far my favorite character. She develops a fantastic, hilarious and warm relationship with Brother Sanitas, the aforementioned cook of the Monastery. Eugenia is quite rambunctious and boisterous. However, Eugenia proves to be an extraordinarily dynamic character and she serves as both the narrator and as an actor in the film. She also helps Kolski succeed in telling his story delicately, in his very own style, with fine nuances and a twinkle of humor in his eye.
Jasminum is a sweet, aromatic fairytale about love
bc22829 January 2007
Jasminum
The film is about love: primarily about love or love relationship between a man and a woman. The viewer is gradually introduced first to Patricia's unrequited love to the movie star, and as the story unfolds, also to Jasmina's tragic love story with one of the monks, and finally the unhappy love story of Natasza, the main character. And the movie is about love in a more general sense, or similar feelings between human beings: exemplified in the unusual friendship between the little girl Genia and Brat Zdrówko (Brother Sanitas), or Natasza's friendship with Patricia.
Although the topic seems rather trite, "Jasminum" does a good job making it interesting by presenting it in the form of a fairytale for adults. The voice-over narration by a child and the waltz music mainly played by piano set the fairytale atmosphere. Jan Jakub Kolski, the director, obviously has a penchant for light, melodious but slightly sad waltz, as he made use of such music in his previous work "Pornografia (2003)." The difference is that in Pornografia the music is partially diegetic, while in "Jasminum" it is completely non-diegetic.
This is because in "Pornografia" the music directly relates to the main character's tragic past. In "Jasminum," on the other hand, the waltz mostly accompanies the young narrator's voice-over, helping to set the atmosphere: tragicomic, sad and comforting at the same time. When doing so, the music also functions as a separator between stages of the plot development, or a symbolic "curtain" between "acts" of the film.
As in "Pornografia," tragic love story and secrets from the past are important in Jasminum. The monastery itself holds a tragic love story from the past, and its spell still persists. The spatial setting of a monastery is quite adequate in this context because by definition the setting must separate men and women. Natasza, the altar-painting restorer and perfume maker on the side, turns out to have her own unhappy love story, no matter how absurd: a runaway bridegroom. Patricia, the hairdresser whom Natasza helps, has perhaps the most banal kind of sad love story: unrequited love towards a famous actor. The film, however, treats all of these love stories equally with "a sense of humor and attentiveness" as the director emphasizes in one of the interviews.
The precocious narrator Genia is the only person who does not have a tragic love story hidden in the past for obvious reasons. Therefore her narration of the story is fairly objective, with her adorable dryness adding to the humorous aspect. In the end, however, Genia experiences her own version of a sad love story when she must leave Brat Zdrówko.
The key to solving all the mysteries of love lies in finding the right aroma. The film is all about magical smell. This extraordinary idea also adds to the fairytale aspect of the film. The important fact is that Natasza's magic perfume works as a love potion only because the love is already there. She merely gives a little boost by caring and acting upon her sympathy. This leads to the final topic of the film: "saintliness," as the director comments.
The film's message is that the most important thing between people is love and caring, and acting upon one's caring for another person. When the caring and acting reaches a certain level, it qualifies to be saintliness. The final scene, when Brat Zdrówko becomes a saint, confirms this idea. As the viewers saw in the film, Brat Zdrówko is the one who cares the most, even about the piglets; he is the one who acts the most to take care of the entire monastery, silently and inconspicuously. This final message is conveyed again with "a sense of humor and tender attentiveness" as Zdrówko complains he cannot light the stoves with the stigmata his hands.
The film is about love: primarily about love or love relationship between a man and a woman. The viewer is gradually introduced first to Patricia's unrequited love to the movie star, and as the story unfolds, also to Jasmina's tragic love story with one of the monks, and finally the unhappy love story of Natasza, the main character. And the movie is about love in a more general sense, or similar feelings between human beings: exemplified in the unusual friendship between the little girl Genia and Brat Zdrówko (Brother Sanitas), or Natasza's friendship with Patricia.
Although the topic seems rather trite, "Jasminum" does a good job making it interesting by presenting it in the form of a fairytale for adults. The voice-over narration by a child and the waltz music mainly played by piano set the fairytale atmosphere. Jan Jakub Kolski, the director, obviously has a penchant for light, melodious but slightly sad waltz, as he made use of such music in his previous work "Pornografia (2003)." The difference is that in Pornografia the music is partially diegetic, while in "Jasminum" it is completely non-diegetic.
This is because in "Pornografia" the music directly relates to the main character's tragic past. In "Jasminum," on the other hand, the waltz mostly accompanies the young narrator's voice-over, helping to set the atmosphere: tragicomic, sad and comforting at the same time. When doing so, the music also functions as a separator between stages of the plot development, or a symbolic "curtain" between "acts" of the film.
As in "Pornografia," tragic love story and secrets from the past are important in Jasminum. The monastery itself holds a tragic love story from the past, and its spell still persists. The spatial setting of a monastery is quite adequate in this context because by definition the setting must separate men and women. Natasza, the altar-painting restorer and perfume maker on the side, turns out to have her own unhappy love story, no matter how absurd: a runaway bridegroom. Patricia, the hairdresser whom Natasza helps, has perhaps the most banal kind of sad love story: unrequited love towards a famous actor. The film, however, treats all of these love stories equally with "a sense of humor and attentiveness" as the director emphasizes in one of the interviews.
The precocious narrator Genia is the only person who does not have a tragic love story hidden in the past for obvious reasons. Therefore her narration of the story is fairly objective, with her adorable dryness adding to the humorous aspect. In the end, however, Genia experiences her own version of a sad love story when she must leave Brat Zdrówko.
The key to solving all the mysteries of love lies in finding the right aroma. The film is all about magical smell. This extraordinary idea also adds to the fairytale aspect of the film. The important fact is that Natasza's magic perfume works as a love potion only because the love is already there. She merely gives a little boost by caring and acting upon her sympathy. This leads to the final topic of the film: "saintliness," as the director comments.
The film's message is that the most important thing between people is love and caring, and acting upon one's caring for another person. When the caring and acting reaches a certain level, it qualifies to be saintliness. The final scene, when Brat Zdrówko becomes a saint, confirms this idea. As the viewers saw in the film, Brat Zdrówko is the one who cares the most, even about the piglets; he is the one who acts the most to take care of the entire monastery, silently and inconspicuously. This final message is conveyed again with "a sense of humor and tender attentiveness" as Zdrówko complains he cannot light the stoves with the stigmata his hands.
great movie
asia190624 June 2006
Kolski at his finest! it truly is a beautiful and heart warming story. I strongly recommend watching it to all you people who enjoy good stories, beautiful scenery and amazing light. Great Polish actors and of course- the little girl who, in my opinion, did a very good job-so natural and so cute! Grazyna Kolska, Janusz Gajos, Adam Ferency, Boguslaw Linda. If you know and respect them, you won't be disappointed, I guarantee. The title is Jasminum and you can almost smell all the fragrances throughout the whole movie.I went to see the movie with my girlfriend, not actually knowing the plot line or anything and we were both speechless after the show. Go see it, even if you are not Polish-this is just a truly beautiful picture.
What does it mean to have faith?
Jedynka36630 January 2007
Warning: Spoilers
Jasminum is a mysterious film that explores the ideas and experiences of love, romance, and friendship in a religious, faith-based context. The viewer is swept back in time to the year 1619, where three mystifying and colorful coffins are housed in the crypt of a small monastery. The film is able to captivate the viewer by slowly explaining the mystery of the coffins and their inhabitants' strange scents clear through the end of the film which takes the setting to modern day Poland. Jasminum has the ability to hold on to the audience's attention because it does not reveal the explanations/answers all at once, but rather continuously builds upon itself as a masterfully crafted story. The audience feels right there beside the characters as they purse a journey of self-discovery while gaining an understanding of their own faith.
The modern day characters, Genie and Natasha, bring a wonderful sense of joy and hope to the monastery and the local town. One cannot help but to smile at the sight of the narrator, little Genie. Genie's character offsets that of her mother's. Natasha seemed to be a strong willed woman with many curiosities of her own, struggling to find meaning in a life that has led her down an unknown, unplanned path. Meanwhile Genie stays relatively simple and true to her heart in the film. It is in this simplicity that the mystery is finally revealed. This film is sure to be interesting for viewers because of its brilliant plot and kind-hearted humor. Jasminum is a refreshing change in the history of Polish film. It is not gloomy and does not dwell on a rough past, but rather is colorful and insightful. Instead of portraying the problems and hardships of Polish life, like many famous Polish films of the past have done, Jasminum is more like a fairy tale exploring the brighter sides of the human experience. It may also rejuvenate one's Catholic faith.
This film explores many earthly topics as well as those embedded in Catholicism. Such topics are desire, sense of belonging and duty, humility, and most of all love. Every character seeks to find his/her place in this world. This is an easy task for some, much harder for others. A hairdresser Patricia seeks a means to find herself a companion for she is convinced she cannot find it on personality and looks alone. She believes if she can harness the scent of Birdcherry any man could be hers. She epitomizes desire.
Three monks, Birdcherry, Sweetcherry, and Plum, have an obligation to carryout their earthly duties in the hopes of performing a miracle, propelling them onto sainthood. They feel comfortable with this path, it is how they exemplify faith and it is what gives them strength and belonging. The audience learns later that Birdcherry and Natasha were once romantically connected in the past and this encounter has forced them both to reevaluate their responsibilities and purpose in life. Monk Sanitas is of course the lovable, and most of all humble cook. This character, if not any other, should be the most inspiring of the film. For thirty years he has been the cook and overall caretaker of the St. Roch Church. He lives the humble life that a monk is generally thought to live. He is innocent and compassionate, especially with Genie. By the close of the film, he wants nothing more than the girl to stay with him so he may play with her and watch little Genie grow up. He never forgets to ask for the Lord's blessing to watch over those in his heart.
The last major theme of love may be attributed to Natasha; the chemist who finds out love is more about faith and feeling rather than scientific equations and experiments. Though one might believe to have all the explanations and reasons to life's questions and great mysteries, it is the nature of life and existence that keeps people guessing and searching. Sooner or later, if one has a pure, simple heart like Monk Sanitas or little Genie, life will be sure to reward. The characters that are most pure of heart and soul, like Monk Sanitas and little Genie, do not ask too many questions of God and therefore, do not question their purpose, their faith, and their abilities. On the other hand, those like Patricia are lost in a sea of doubt and unhappiness, that is until they reconnect with their faith, or at least something that give them faith.
This film comes highly recommended to any person seeking a fresh outlook on the daily dilemmas they might encounter. Sometimes humans have a way of putting their lives into narrow perspectives containing too many explanations and diluted rationale. Jasminum helps viewers take that much needed step back, a breather. It helps one to understand life is much bigger than the individual while being grateful for the blessings they are granted. All age groups will learn something about themselves by viewing this film, and not only once, but every screening. This film will not put crazy ideas into one's head but rather a better understanding of what it is to be human in the world one lives in.
The modern day characters, Genie and Natasha, bring a wonderful sense of joy and hope to the monastery and the local town. One cannot help but to smile at the sight of the narrator, little Genie. Genie's character offsets that of her mother's. Natasha seemed to be a strong willed woman with many curiosities of her own, struggling to find meaning in a life that has led her down an unknown, unplanned path. Meanwhile Genie stays relatively simple and true to her heart in the film. It is in this simplicity that the mystery is finally revealed. This film is sure to be interesting for viewers because of its brilliant plot and kind-hearted humor. Jasminum is a refreshing change in the history of Polish film. It is not gloomy and does not dwell on a rough past, but rather is colorful and insightful. Instead of portraying the problems and hardships of Polish life, like many famous Polish films of the past have done, Jasminum is more like a fairy tale exploring the brighter sides of the human experience. It may also rejuvenate one's Catholic faith.
This film explores many earthly topics as well as those embedded in Catholicism. Such topics are desire, sense of belonging and duty, humility, and most of all love. Every character seeks to find his/her place in this world. This is an easy task for some, much harder for others. A hairdresser Patricia seeks a means to find herself a companion for she is convinced she cannot find it on personality and looks alone. She believes if she can harness the scent of Birdcherry any man could be hers. She epitomizes desire.
Three monks, Birdcherry, Sweetcherry, and Plum, have an obligation to carryout their earthly duties in the hopes of performing a miracle, propelling them onto sainthood. They feel comfortable with this path, it is how they exemplify faith and it is what gives them strength and belonging. The audience learns later that Birdcherry and Natasha were once romantically connected in the past and this encounter has forced them both to reevaluate their responsibilities and purpose in life. Monk Sanitas is of course the lovable, and most of all humble cook. This character, if not any other, should be the most inspiring of the film. For thirty years he has been the cook and overall caretaker of the St. Roch Church. He lives the humble life that a monk is generally thought to live. He is innocent and compassionate, especially with Genie. By the close of the film, he wants nothing more than the girl to stay with him so he may play with her and watch little Genie grow up. He never forgets to ask for the Lord's blessing to watch over those in his heart.
The last major theme of love may be attributed to Natasha; the chemist who finds out love is more about faith and feeling rather than scientific equations and experiments. Though one might believe to have all the explanations and reasons to life's questions and great mysteries, it is the nature of life and existence that keeps people guessing and searching. Sooner or later, if one has a pure, simple heart like Monk Sanitas or little Genie, life will be sure to reward. The characters that are most pure of heart and soul, like Monk Sanitas and little Genie, do not ask too many questions of God and therefore, do not question their purpose, their faith, and their abilities. On the other hand, those like Patricia are lost in a sea of doubt and unhappiness, that is until they reconnect with their faith, or at least something that give them faith.
This film comes highly recommended to any person seeking a fresh outlook on the daily dilemmas they might encounter. Sometimes humans have a way of putting their lives into narrow perspectives containing too many explanations and diluted rationale. Jasminum helps viewers take that much needed step back, a breather. It helps one to understand life is much bigger than the individual while being grateful for the blessings they are granted. All age groups will learn something about themselves by viewing this film, and not only once, but every screening. This film will not put crazy ideas into one's head but rather a better understanding of what it is to be human in the world one lives in.
A Miraculous Film
knolen30 January 2007
Warning: Spoilers
Set in this day and age, in a modern monastery, Jan Jakub Kolaski's latest film, Jasminum, explores an array of themes and questions. Perhaps most notably, "what is love?", "what constitutes a miracle?", and "what is true (religion or science or both)?" or, "what is right?" While the film provides an ambiguous answer to these and other questions, all are interwoven into a beautiful film.
Jasminum is narrated by the five year old Eugenia, who announces in the opening sequence of the film that, since she is unsure how best to tell this story, she might as well begin, "quite plainly." And so, the unusual setting of the modern-day monastery is described through the eyes of a most charming and innocent voice. There are three ostensibly soon-to-be saints in the cloister, brothers Sweetcherry, Birdcherry, and Plum, in addition to the prior and the kindhearted cook, Sanitas. The prior is waiting for a miracleany miraclefrom the three sequestered monks, when Eugenia and her mother, Natasha arrive. Natasha has been commissioned to restore the altar-paintings, but the prior is reluctant to allow her to work, insisting instead that the paintings "will restore themselves." Nevertheless, the mother and daughter move into town and, as Natasha begins to remove layers of dirt and years of grime from the paintings, together, the pair begins to unveil layers of the film and years of the monastery's history.
At first, all that is revealed about the monastery are more questions. The saintly monks all emit distinct smells that correlate with their names and captivate the attention of the town's women. What causes this phenomenon? The prior insists it is a years-old miracle, while Natasha, a committed scientist, attempts to duplicate the smells and their effects with chemistry. However, neither the prior nor Natasha can prove the case for religion or science entirely. Later, as it is revealed that once upon a time Birdcherry was engaged to Natasha, the question of what is true love is brought into play. Romantic love was not enough to satisfy Birdcherry, who instead is now searching for answers in divine love. There is considerable love between Natasha and Eugenia, but not enough to keep Natasha from seeking out her former lover at the cloister. The prior harbors an unusual affection for films. Sanitas loves animals and Saint Roch. Additionally, it is later discovered that the maybe-miracle of the monks' scents began years ago when Birdcherry's predecessor had his lover, Jasmine, die outside the walls of the monastery of a broken heart. Furthermore, Sanitas is obviously taken with the delightful Eugenia, ("no pet names, please" and "are you surprised?"), but are any of these kinds of love superior to one another?
How to answer these questions? What is the truth of these matters? Is there a right answer? Can one solution solve all of these problems on its own? According to the message in Jasminum, no. What constitutes a miracle? Are the cloistered monks emitting enhanced scents miraculous? Or is it the chemistry that allows Natasha to duplicate their smells and restore centuries-old paintings in the monastery that should be considered the real miracle? Or perhaps Natasha's daughter Eugenia, the young girl who inspires such felicity among the monks is a miracle in herself? The ghost lovers? Those living and in love? Ultimately, the film provides an interesting but illusive answer to these questions. There is "something, but not everything, in a smell." Likewise, there is something (of science, love, and religion), but not everything, in a miracleand something of a miracle in love. As unsatisfactory a conclusion as this may be to some, the film itself is beautiful and endearing. "A film is a kind of miracle," asserts the prior, early in the film, and in the case of Jasminum, at least, it is true.
Jasminum is narrated by the five year old Eugenia, who announces in the opening sequence of the film that, since she is unsure how best to tell this story, she might as well begin, "quite plainly." And so, the unusual setting of the modern-day monastery is described through the eyes of a most charming and innocent voice. There are three ostensibly soon-to-be saints in the cloister, brothers Sweetcherry, Birdcherry, and Plum, in addition to the prior and the kindhearted cook, Sanitas. The prior is waiting for a miracleany miraclefrom the three sequestered monks, when Eugenia and her mother, Natasha arrive. Natasha has been commissioned to restore the altar-paintings, but the prior is reluctant to allow her to work, insisting instead that the paintings "will restore themselves." Nevertheless, the mother and daughter move into town and, as Natasha begins to remove layers of dirt and years of grime from the paintings, together, the pair begins to unveil layers of the film and years of the monastery's history.
At first, all that is revealed about the monastery are more questions. The saintly monks all emit distinct smells that correlate with their names and captivate the attention of the town's women. What causes this phenomenon? The prior insists it is a years-old miracle, while Natasha, a committed scientist, attempts to duplicate the smells and their effects with chemistry. However, neither the prior nor Natasha can prove the case for religion or science entirely. Later, as it is revealed that once upon a time Birdcherry was engaged to Natasha, the question of what is true love is brought into play. Romantic love was not enough to satisfy Birdcherry, who instead is now searching for answers in divine love. There is considerable love between Natasha and Eugenia, but not enough to keep Natasha from seeking out her former lover at the cloister. The prior harbors an unusual affection for films. Sanitas loves animals and Saint Roch. Additionally, it is later discovered that the maybe-miracle of the monks' scents began years ago when Birdcherry's predecessor had his lover, Jasmine, die outside the walls of the monastery of a broken heart. Furthermore, Sanitas is obviously taken with the delightful Eugenia, ("no pet names, please" and "are you surprised?"), but are any of these kinds of love superior to one another?
How to answer these questions? What is the truth of these matters? Is there a right answer? Can one solution solve all of these problems on its own? According to the message in Jasminum, no. What constitutes a miracle? Are the cloistered monks emitting enhanced scents miraculous? Or is it the chemistry that allows Natasha to duplicate their smells and restore centuries-old paintings in the monastery that should be considered the real miracle? Or perhaps Natasha's daughter Eugenia, the young girl who inspires such felicity among the monks is a miracle in herself? The ghost lovers? Those living and in love? Ultimately, the film provides an interesting but illusive answer to these questions. There is "something, but not everything, in a smell." Likewise, there is something (of science, love, and religion), but not everything, in a miracleand something of a miracle in love. As unsatisfactory a conclusion as this may be to some, the film itself is beautiful and endearing. "A film is a kind of miracle," asserts the prior, early in the film, and in the case of Jasminum, at least, it is true.
Thought provoking, pleasure to watch
sdway6 February 2007
Jasminum is a beautifully crafted film and a pleasure to watch. The relaxing pace of the movie is reminiscent of the pace of life within the monastery in which it takes place. A sense of mystery and a genuine fondness for the characters, particularly Brother Salinas and the young Genie, make this movie interesting to watch. With the exception of a few scenes, the majority of the movie takes place in a small monastery, but the mystery surrounding the monastery as well as the actions of its inhabitants keep the viewer compelled throughout.
Besides the prior Kleophas and the cook Salinas, there are three other monks in the monastery- Birdcherry, Plum and Sweetcherry- who are sequestered and silent. These three produce extremely desirable body odors, which Fr. Kleophas and the surrounding community regard as a miracle. The initial scene of the movie depicts the reception of the monks' dead bodies into the monastery -- five hundred years ago. This, along with Fr. Kleophas' belief in the coming fulfillment of a prophecy made by the apostle Barnabas, and the repeated appearance of a ghost around the monastery grounds, adds to the sense of mystery that keeps the audience captivated. Kleophas believes that the three odiferous monks are on their way to sainthood, a status that requires the performance of a miracle, but are their miracles for real? Are the brothers somehow reincarnations of their 16th century namesakes? What is the significance of the prophecy, and what secrets does the monastery hold? The issue of science versus faith is an important theme in the movie. The chemist and art restorator Natasha is working to restore a painting that Fr. Kleophas believed would be restored by a miracle, and is able to accomplish what no miracle had. In this sense, science is victorious, but Fr. Kleophas wonders what good a chemically restored painting is. Only a painting restored by a miracle would truly enhance the prayers of the faithful. Natasha seeks also to reproduce the scents of the brothers chemically. Her first attempt recreates Birdcherry's scent, but something is missing and the perfume is a failure. Eventually, she finds the missing ingredient Jasmine, which when mixed with Birdcherry's scent produces an odor Natasha calls "oblivion." The hairdresser Patricia then uses this scent to seduce the object of her affection. However, the seduced man cannot figure out why he is in love; he only recognizes an obsession that seems to be driving him mad, which leads to another theme of the movie: the search for happiness. Patricia believes that possession of Birdcherry's scent will lead to her happiness, because it will cause the actor to fall in love with her, but in reality he is only in love with the scent itself, which will eventually fade or run out. This raises the question of whether one really knows what one wants. Does the actor really want Patricia, or does he want her smell? Does Patricia really want the actor, of whom she knows very little, or does she want merely to be desired? Meanwhile the relationship between Sanitas and Genie exemplifies a healthier type of love, a caring reciprocating relationship where each member cares for the well being of the other.
The theme of science versus faith is a very timely one, particularly in Poland. Perhaps no other country besides Ireland stands out so much as the Church's last European stronghold of the faithful. Science is a wonderful and even miraculous thing, but faith is mysterious. As rational human beings, we are inclined to accept that which can be explained to us, but faith is required because we can never completely understand the deepest, most personal mysteries of the human experience. Jasminum was very interesting and thought provoking, and anyone interested in the themes of faith and happiness will find it very enjoyable.
Besides the prior Kleophas and the cook Salinas, there are three other monks in the monastery- Birdcherry, Plum and Sweetcherry- who are sequestered and silent. These three produce extremely desirable body odors, which Fr. Kleophas and the surrounding community regard as a miracle. The initial scene of the movie depicts the reception of the monks' dead bodies into the monastery -- five hundred years ago. This, along with Fr. Kleophas' belief in the coming fulfillment of a prophecy made by the apostle Barnabas, and the repeated appearance of a ghost around the monastery grounds, adds to the sense of mystery that keeps the audience captivated. Kleophas believes that the three odiferous monks are on their way to sainthood, a status that requires the performance of a miracle, but are their miracles for real? Are the brothers somehow reincarnations of their 16th century namesakes? What is the significance of the prophecy, and what secrets does the monastery hold? The issue of science versus faith is an important theme in the movie. The chemist and art restorator Natasha is working to restore a painting that Fr. Kleophas believed would be restored by a miracle, and is able to accomplish what no miracle had. In this sense, science is victorious, but Fr. Kleophas wonders what good a chemically restored painting is. Only a painting restored by a miracle would truly enhance the prayers of the faithful. Natasha seeks also to reproduce the scents of the brothers chemically. Her first attempt recreates Birdcherry's scent, but something is missing and the perfume is a failure. Eventually, she finds the missing ingredient Jasmine, which when mixed with Birdcherry's scent produces an odor Natasha calls "oblivion." The hairdresser Patricia then uses this scent to seduce the object of her affection. However, the seduced man cannot figure out why he is in love; he only recognizes an obsession that seems to be driving him mad, which leads to another theme of the movie: the search for happiness. Patricia believes that possession of Birdcherry's scent will lead to her happiness, because it will cause the actor to fall in love with her, but in reality he is only in love with the scent itself, which will eventually fade or run out. This raises the question of whether one really knows what one wants. Does the actor really want Patricia, or does he want her smell? Does Patricia really want the actor, of whom she knows very little, or does she want merely to be desired? Meanwhile the relationship between Sanitas and Genie exemplifies a healthier type of love, a caring reciprocating relationship where each member cares for the well being of the other.
The theme of science versus faith is a very timely one, particularly in Poland. Perhaps no other country besides Ireland stands out so much as the Church's last European stronghold of the faithful. Science is a wonderful and even miraculous thing, but faith is mysterious. As rational human beings, we are inclined to accept that which can be explained to us, but faith is required because we can never completely understand the deepest, most personal mysteries of the human experience. Jasminum was very interesting and thought provoking, and anyone interested in the themes of faith and happiness will find it very enjoyable.
Excellent!
voron-528 December 2006
Well....to be honest I am a huge fan of Masters Gayos and Peczka so their participation was the main force that made me to get JASMINUM and my God! the movie is AMAZING! From the beginning to the end...I was embraced by a cascade of colors, sounds and scents...yes - SCENTS for as one of previous reviewers said - You can literally FEEL the scent of the mysterious fragrances! I'd compare my impressions to those I got after watching "Amelie Poulain". Sound - amazing Picture - incredible Actors - superb! Without a doubt I can predict a bright future to Polish cinematography if there would be more that one of a kind (IMO - so far) movie I am talking about!
If you are looking for something different, if you are tired to the all like Hollywood "matrix" movies - JASMINUM is the very right answer!
If you are looking for something different, if you are tired to the all like Hollywood "matrix" movies - JASMINUM is the very right answer!
Jasminum Review
blents8 February 2007
Warning: Spoilers
It is my opinion that almost anyone who enjoys films would be interested in seeing Jasminum. Those who are acquainted with foreign cinema would especially enjoy it, as it is not the typical Hollywood film. There are no botched drug deals, car chases, or explosions, but a wealth of emotion and relation. The characters are original and well-developed and serve to supplement the main theme of the film, which is important when taking into consideration what constitutes good film-making universally. This is not just a good Polish film, but a good film in general. Kolski is a master director and warrants the praise he has received with his Jasminum, a beautiful and heartfelt film. This film's beauty stems from the characters and the way in which they interact and represent the main theme of the film: the importance of love and relationships. Jasminum is a 2006 release that tells the story of a monastery and its inhabitants. The primary focus of the film is on Brother Sanitas, the pious monastery cook, who lives a monotonous life without the comforts of material possession. Sanitas lives in the monastery with his fellow brothers, Birdcherry and Plum, who are also pious, religiously astute, and prone to bouts of silence as they strive to achieve spiritual perfection. They lead seemingly uneventful lives until an art restoration expert and her daughter pay a visit to the mundane monastery.
The most meaningful and interesting aspects of Jasminum come to fruition upon the arrival of the art restoration expert, Natasha, and her five year-old daughter, Eugenia. Natasha has been employed by the monastery to try her hand at restoring an altar painting. Eugenia, who also serves as narrator of the film, is a cute, darling child who wins the heart of the solemn Sanitas. It is the interplay between these two characters that makes the film particularly interesting because Brother Sanitas has held the same routine for 13 years before the arrival of Natasha and Eugenia. Every morning, he feeds the animals, his fellow residents, and finally himself. Their time together represents the aforesaid primary theme of the film: how important love and relationships are in life. Both Eugenia and Sanitas both enjoy spending time together and look forward to what each day will bring in the company of one another, while at the same time understanding that not all relationships are able to last.
The love and relationship theme permeates throughout the film, creating a web of relation that involves other characters as well, including Natasha, Brother Birdcherry, Patricia, and the actor Zeman. Through the art of manufacturing scents, memories are recalled and amorous relations are created. For instance, Patricia believes that there is no hope in establishing a relationship with the actor Zeman, who is self-centered, arrogant, and ignorant of her intentions. However, with the help of Natasha and of a special fragrance concocted from jasmine, among other scents, she is able to attract Zeman's attention. Viewers come to realize the importance of scent not only in the history of the characters, but also in the history of the monastery and its 1617 prophecy by Brother Barnabas. Scent functions as the strongest form of sensory stimulation and as a way to help people remember the past.
The most meaningful and interesting aspects of Jasminum come to fruition upon the arrival of the art restoration expert, Natasha, and her five year-old daughter, Eugenia. Natasha has been employed by the monastery to try her hand at restoring an altar painting. Eugenia, who also serves as narrator of the film, is a cute, darling child who wins the heart of the solemn Sanitas. It is the interplay between these two characters that makes the film particularly interesting because Brother Sanitas has held the same routine for 13 years before the arrival of Natasha and Eugenia. Every morning, he feeds the animals, his fellow residents, and finally himself. Their time together represents the aforesaid primary theme of the film: how important love and relationships are in life. Both Eugenia and Sanitas both enjoy spending time together and look forward to what each day will bring in the company of one another, while at the same time understanding that not all relationships are able to last.
The love and relationship theme permeates throughout the film, creating a web of relation that involves other characters as well, including Natasha, Brother Birdcherry, Patricia, and the actor Zeman. Through the art of manufacturing scents, memories are recalled and amorous relations are created. For instance, Patricia believes that there is no hope in establishing a relationship with the actor Zeman, who is self-centered, arrogant, and ignorant of her intentions. However, with the help of Natasha and of a special fragrance concocted from jasmine, among other scents, she is able to attract Zeman's attention. Viewers come to realize the importance of scent not only in the history of the characters, but also in the history of the monastery and its 1617 prophecy by Brother Barnabas. Scent functions as the strongest form of sensory stimulation and as a way to help people remember the past.
slow start, but patience is rewarded
anhinnant18 February 2007
Warning: Spoilers
I thoroughly enjoyed Jasminum. The film is beautifully set in a small Polish townfar, far away from the reality of urban Warsawwhere surreal elements come to life and peace of mind affords the characters a chance to reflect and search for what is missing in their lives.
Nearly every character in this film is looking for something namely, the missing pieces in their lives that could lead to fulfillment. The mother is trying to find the perfect mixture of scents, but also trying to find her own spirituality, which was destroyed twenty years ago when her fiancé left her at the alter and her mother died four days later. All of the monks have their own peculiar and personal mysteries to solve: the head monk wants to find the pattern in the movement of the monks; the care-taker monk/cook searches for meaning through St. Roch; the other monks in the monastery play lesser roles, yet despite providing comic relief, also are looking for somethingmeaning in life through meditation and prayer. Through loneliness and circumstance, both the hairdresser and small girl need love and caring from male figures, which, for different reasons, they lack in their lives.
Jasminum then uses these discrete ingredients that each character offers (love, beauty, aroma, childhood innocence, and spiritual purity) to explore the nuanced area between black and white, science and spirit, or "the space between is and is not." Using the refurbished painting as a metaphor throughout the film, we see that chemistry and physics alone cannot produce a feeling or beauty. This theme is brought to the surface in the use of contrasts: for example, the old and somewhat stale male-dominated monastery contrasted with the vibrant small girl and her mom. Some of the missing ingredients that exist in the nuanced area are seen throughout the film: 1) the main character looking throughout the film for that missing part of her past, her ex-fiancé, 2) The hair dresser unable to find true love, despite her good looks and desire to do so, and 3) The care-taker monk/cook who needs something more in his life beyond spiritualism, which he clearly finds in the small visiting girl.
Overall, I really liked this story and this film. The story was complex and slow to reveal itself, and even now I feel that there was plenty that I did not understand. The power of the mixed scent was on the borderline of being exaggerated to the point of distracting from the development of the film as a whole. In the end, however, there were enough ideas and character development, so that the aphrodisiac nature of the scent did not become too absurd, which, I felt was the downfall in magical-realistic movies of a similar genre, such as Chocolat.
One thing I would have liked to see a bit more of were the three monks talking and interacting together. They seemed to have real chemistry together, breaking and explaining their vows of silence, for example, and they were a refreshing break from the seriousness of the other actors, including, strangely, the little girl who thought and behaved far beyond her years.
Nearly every character in this film is looking for something namely, the missing pieces in their lives that could lead to fulfillment. The mother is trying to find the perfect mixture of scents, but also trying to find her own spirituality, which was destroyed twenty years ago when her fiancé left her at the alter and her mother died four days later. All of the monks have their own peculiar and personal mysteries to solve: the head monk wants to find the pattern in the movement of the monks; the care-taker monk/cook searches for meaning through St. Roch; the other monks in the monastery play lesser roles, yet despite providing comic relief, also are looking for somethingmeaning in life through meditation and prayer. Through loneliness and circumstance, both the hairdresser and small girl need love and caring from male figures, which, for different reasons, they lack in their lives.
Jasminum then uses these discrete ingredients that each character offers (love, beauty, aroma, childhood innocence, and spiritual purity) to explore the nuanced area between black and white, science and spirit, or "the space between is and is not." Using the refurbished painting as a metaphor throughout the film, we see that chemistry and physics alone cannot produce a feeling or beauty. This theme is brought to the surface in the use of contrasts: for example, the old and somewhat stale male-dominated monastery contrasted with the vibrant small girl and her mom. Some of the missing ingredients that exist in the nuanced area are seen throughout the film: 1) the main character looking throughout the film for that missing part of her past, her ex-fiancé, 2) The hair dresser unable to find true love, despite her good looks and desire to do so, and 3) The care-taker monk/cook who needs something more in his life beyond spiritualism, which he clearly finds in the small visiting girl.
Overall, I really liked this story and this film. The story was complex and slow to reveal itself, and even now I feel that there was plenty that I did not understand. The power of the mixed scent was on the borderline of being exaggerated to the point of distracting from the development of the film as a whole. In the end, however, there were enough ideas and character development, so that the aphrodisiac nature of the scent did not become too absurd, which, I felt was the downfall in magical-realistic movies of a similar genre, such as Chocolat.
One thing I would have liked to see a bit more of were the three monks talking and interacting together. They seemed to have real chemistry together, breaking and explaining their vows of silence, for example, and they were a refreshing break from the seriousness of the other actors, including, strangely, the little girl who thought and behaved far beyond her years.
Scents and Sense in Kolski's Jasminum (bbraleyP566)
bbraley7 February 2007
Jasminum by Jan Jakub Kolski is, to my mind, well described by the terms 'unusual' and 'charming' that have been applied to it by Polish reviews. Certainly, the backdrop of a small town and monastery both removes the story from Polish film of the second half of the twentieth century (most films involve one of the two cultural capitals or another prominent city such as Lodz) and tied it to Polish history and tradition (village life and the relationship o the Catholic Church to secular culture share this film's conceptual center). In addition to this, the content and themes in Jasminum interweave with those previously taken up by other Polish directors, most notably the theme of artist and artistic attitudes existing in conflict with religion and politics (addressed by Wajda in Man of Marble and engaged even in such blockbuster classics as Da Vinci) and the motif of broken or frustrated love and philosophical estrangement.
It is true that in Jasminum Kolski gives these topics a fresh airing, reinvigorating them with a slightly off-kilter, quirky narrative point of view and an enchanting cast (though Linda might have been better employed in a more demanding role). Everything from the botanically derived names of the candidates for sainthood down to the cinematographic details of verbal and visual perspective (the chiaroscuro lighting, music in the underground vault scene and knowing 'but-not-supposed-to-know' childishness of the narrator's commentary) adds to the eclectic atmosphere of this love drama. And whether Kolski was successful or not in pulling in off, a love drama it was apparently meant to be.
The film's preoccupation with smell would seem to provide some clue as to the director's essential vision of this tale of love. The heroine (whose tale is, charmingly, told by her daughter) discover piece by piece the secrets of the saints of older days and even of the monks currently living in the cloister. Birdcherry, Plum, Roch--finally, jasmine, the very 'heart' of love, as we find out along with Natasha--all provide the scent-addicted ladies of the town with something so essential they seem unable to bear life without it. What magic do these fragrances conceal, making them so seductive? It would seem they offer their wearers a certain distillation of the life-force itself, an irresistible attractiveness, self-confidence and perhaps most of all a renewed sense of life's possibilities. They transform reality in accordance with the wearer's will in the concentrations appropriate not to weakness but to saintly strength, fortitude and charity.
However, in the end it is the humblest of the monks--Sanitas--who, though tempted by the glory in a new pair of glossy boots, cherished his relationship with little Eugenia, the narrator, and with other small, helpless creatures above all else. While each of the monks is portrayed sympathetically through Kolski's lens (even Birdcherry, the source of Natasha's bitterness), the most penetrating and genuinely touching aspect of this narrative is the growing attachment between an old man and a little girl who, it turns out, have more in common than each originally believes.
The mother--the ostensible heroine, as she is verbally depicted by Eugenia--has her own tale, forming a second stratum of the film's treatment of love. Hers is a story of disappointment and bitterness distilled over time, and it is only slightly mitigated through her meeting with her runaway fiancée. While Natasha's unwillingness to place her own trust in a love potion (as does her own disciple) and consequent search for 'oblivion' in another concoction reveal her veiled motivation for working in the cloister, they also complicate and add a sense of authenticity to her character.
I wholeheartedly agree with the online review that bravely call the movie 'weak'--in the sense that what at heart is meant to be a love story is to a great extent undermined by the secondary plot involving Boleslaw Linda. In the layer of Kolski's message love is portrayed exclusively as sex without much elaboration, forcing Linda and his stage partner into somewhat superficial roles. Even if by this Kolski is merely attempting to represent various attitudes to love and the way individuals are taken by surprise, he fails to provide the internal logic of the rapidly-developing and 'out of the blue' relationship that evidently blossoms into marital bliss.
While Jasminum's atmosphere is engaging and the plot thought-provoking, I ultimately find it a mite contrived and more than a little bit mystifying. I would like to see this very deservingly popular director channel his energies towards even more of these 'modern fairy tales' (bajki), provided he remains faithful to the human reality as well...meaning, just as many fantastic oddities but alongside them a more nuanced and carefully handled human component.
It is true that in Jasminum Kolski gives these topics a fresh airing, reinvigorating them with a slightly off-kilter, quirky narrative point of view and an enchanting cast (though Linda might have been better employed in a more demanding role). Everything from the botanically derived names of the candidates for sainthood down to the cinematographic details of verbal and visual perspective (the chiaroscuro lighting, music in the underground vault scene and knowing 'but-not-supposed-to-know' childishness of the narrator's commentary) adds to the eclectic atmosphere of this love drama. And whether Kolski was successful or not in pulling in off, a love drama it was apparently meant to be.
The film's preoccupation with smell would seem to provide some clue as to the director's essential vision of this tale of love. The heroine (whose tale is, charmingly, told by her daughter) discover piece by piece the secrets of the saints of older days and even of the monks currently living in the cloister. Birdcherry, Plum, Roch--finally, jasmine, the very 'heart' of love, as we find out along with Natasha--all provide the scent-addicted ladies of the town with something so essential they seem unable to bear life without it. What magic do these fragrances conceal, making them so seductive? It would seem they offer their wearers a certain distillation of the life-force itself, an irresistible attractiveness, self-confidence and perhaps most of all a renewed sense of life's possibilities. They transform reality in accordance with the wearer's will in the concentrations appropriate not to weakness but to saintly strength, fortitude and charity.
However, in the end it is the humblest of the monks--Sanitas--who, though tempted by the glory in a new pair of glossy boots, cherished his relationship with little Eugenia, the narrator, and with other small, helpless creatures above all else. While each of the monks is portrayed sympathetically through Kolski's lens (even Birdcherry, the source of Natasha's bitterness), the most penetrating and genuinely touching aspect of this narrative is the growing attachment between an old man and a little girl who, it turns out, have more in common than each originally believes.
The mother--the ostensible heroine, as she is verbally depicted by Eugenia--has her own tale, forming a second stratum of the film's treatment of love. Hers is a story of disappointment and bitterness distilled over time, and it is only slightly mitigated through her meeting with her runaway fiancée. While Natasha's unwillingness to place her own trust in a love potion (as does her own disciple) and consequent search for 'oblivion' in another concoction reveal her veiled motivation for working in the cloister, they also complicate and add a sense of authenticity to her character.
I wholeheartedly agree with the online review that bravely call the movie 'weak'--in the sense that what at heart is meant to be a love story is to a great extent undermined by the secondary plot involving Boleslaw Linda. In the layer of Kolski's message love is portrayed exclusively as sex without much elaboration, forcing Linda and his stage partner into somewhat superficial roles. Even if by this Kolski is merely attempting to represent various attitudes to love and the way individuals are taken by surprise, he fails to provide the internal logic of the rapidly-developing and 'out of the blue' relationship that evidently blossoms into marital bliss.
While Jasminum's atmosphere is engaging and the plot thought-provoking, I ultimately find it a mite contrived and more than a little bit mystifying. I would like to see this very deservingly popular director channel his energies towards even more of these 'modern fairy tales' (bajki), provided he remains faithful to the human reality as well...meaning, just as many fantastic oddities but alongside them a more nuanced and carefully handled human component.
Jasminum: A Sweet Charming Aromatic Gem
Chrysanthepop20 October 2007
'Jasminum' is a sweet and beautiful film about love, caring, smell, acceptance
hang on, it's not a romantic film. It's certainly not one of those conventional boy meets girls films. There are flying ducklings, sweating ghosts, and slices of bread that are either too thin or two thick. A fellow user has compared it to 'Chocolat' but 'Jasminum' is a lot more ambiguous and a far better film. The film is about acting upon ones loving feelings toward another person. In 'Jasminum' we are presented with three love stories. That of Patrizia and the Comedian, that of Jasminum and that of Natasza. All the broken love stories are treated with some humour without ruining the essence. We also see a love that builds between two unusual friends like that between the little Genia and Brother Sanitas and this two becomes a somewhat sad love story when Genia has to leave. Kolski's direction stands out as one can see how much heart he's put in the film-making process The cinematography takes us through the spectacular Polish landscape. The background score provides pleasant company and the set designs and special effects are very impressive. The child's voice-over gives it a fairytale feel and adds to the humour (e.g. during the sex scene, we here the child's voice saying 'I am not allowed to say what happened
) and it also appropriately narrates the story from a very objective point of view. The monastery itself provides an open atmosphere that reflects the loneliness of the characters.
Kolski also cleverly introduces (in a magical way) the idea of one of the five human senses: smell. In 'Jasminum' we are reminded of how important the sense of smell is and what significant role it has in the interaction of two people. Here in 'Jasminum' it the 'right smell' is the answer to the mystery. The character Natasza uses creates these magical smell through her perfume and uses them to heal the broken love stories. Note the love is there.
However, I thought Kolski could have shown more development between Patrizia and her actor lover. It looks as though the relationship was based on sex. Even though I do think that Kolski was merely trying to show something otherwise, a different attitude towards love, it remains for the viewer to assume and makes the film a little weak.
The performances, particularly by Blecka-Kolska, Gasiewska and Zdrówko are standouts. Blecka-Kolska's subtle expressions are noteworthy and Zdròwko's portrayal of the slow transition that takes place in Sanitas is sublime. It is Sanitas who values his relationship with all the small things (e.g. Genia and the little duckling). Gasiewska is absolutely cute (without trying to be so) and she brings out the innocence with Genia through her chemistry with Zdrówko.
In a few words, 'Jasminum' is sweet charming aromatic gem that is both a visual treat and a very pleasant viewing experience.
Kolski also cleverly introduces (in a magical way) the idea of one of the five human senses: smell. In 'Jasminum' we are reminded of how important the sense of smell is and what significant role it has in the interaction of two people. Here in 'Jasminum' it the 'right smell' is the answer to the mystery. The character Natasza uses creates these magical smell through her perfume and uses them to heal the broken love stories. Note the love is there.
However, I thought Kolski could have shown more development between Patrizia and her actor lover. It looks as though the relationship was based on sex. Even though I do think that Kolski was merely trying to show something otherwise, a different attitude towards love, it remains for the viewer to assume and makes the film a little weak.
The performances, particularly by Blecka-Kolska, Gasiewska and Zdrówko are standouts. Blecka-Kolska's subtle expressions are noteworthy and Zdròwko's portrayal of the slow transition that takes place in Sanitas is sublime. It is Sanitas who values his relationship with all the small things (e.g. Genia and the little duckling). Gasiewska is absolutely cute (without trying to be so) and she brings out the innocence with Genia through her chemistry with Zdrówko.
In a few words, 'Jasminum' is sweet charming aromatic gem that is both a visual treat and a very pleasant viewing experience.
review for 566
zlorgle30 January 2007
Warning: Spoilers
The film Jasminum made both positive and negative impressions, but overall was enjoyable to watch. The production is aesthetically very good, with attractive settings, music, and characters. It was often difficult to figure out what was happening and why, however, and the film's final message was somewhat ambiguous. Kolski's habitual style of "magical realism" was evident throughout the film, affecting the director's development of characters and backgrounds as well as theme.
The fairy-tale-like atmosphere of this film entailed the use of characters who lacked any particular depth. Kolski's story did not delve much into the personal thoughts and developments of any individuals, focusing rather on their interactions as symbolic types. Most characters were used to represent particular feelings or aspects of the human character; they were symbolic types rather than developing beings. Patricia, the blond hairdresser, was portrayed as a somewhat shallow woman desperate for a partner, Sanitas as a monk simply following his orders and duty, and even Natasha's inner troubles were probed very little. The Father, also, did not act his part with any particular religious inspiration; nor did either of the brothers who were there together with Birdcherry.
The monastic setting, too, seemed chosen primarily for its archaic and magical appeal, for the film was surprisingly devoid of religious expression given its overt placement in a monastery. This could be the director's active judgment on the worth of monastic life (as is hinted when all three of the brothers come out of their silence and admit they don't really know what they're doing there), but it is more likely that the monastery is simply used as a nice background for the various love stories with little religious connotation.
These outward symbols clearly designate Jasminum as a fairy tale, but what the tale is actually about is more difficult to say. Part of what keeps the film interesting is that the viewer spends a good deal of time trying to figure out the plot and understand the message. One of the film's major themes was clearly related to love. Just what Kolski was trying to say about love was not entirely obvious, however, or at least one hopes that he had some deeper thoughts about love than those that came out most strongly. The intertwining of the ghostly Jasmine's love story with numerous subplots, her involvement with the monastery since its beginnings, and the sainting of Sanitas after he brought about her reunion with her lover all point to the centrality of her theme in which lovers are united despite great obstacles. The story of Patricia's infatuation with her actor was introduced rather late in the film, yet had become one of the central subplots by the end. In a sense her story is the central one, representing the triumph of love (so-called) that so many other characters desire. As such, Kolski paints a rather depressing picture of love. The actor, who was portrayed as a rude and unpleasant man, suddenly fell madly in love with the hairdresser after being exposed to the right perfume. Rather than treating this as a shallow love or allowing Patricia any sort of realizations about her lover's nature, the director uses the story of their union to parallel the true love epitomized in the "reunion" of the bodies of Jasmine and the original Birdcherry.
While Brother Sanitas was portrayed as a good man, it was somewhat unclear why he was chosen to become a saint. Since general goodness did not seem to be valued so highly in this film as love, it seems likely that he was made a saint for his role in leading Natasha to Jasmine's body and thus causing the two dead lovers to be reunited.
The best thing about this film in my opinion was its aesthetics: beautiful music, idyllic setting, and attractive characters. These traits make it appealing to audiences who enjoy a film as an artistic experience. The somewhat difficult plot may discourage viewers who don't want to expend a lot of effort to follow it. If one takes Jasminum's theme of love too seriously, it may come across as disappointingly fatalistic and shallow. Kolski's film is best appreciated as a fairy tale.
The fairy-tale-like atmosphere of this film entailed the use of characters who lacked any particular depth. Kolski's story did not delve much into the personal thoughts and developments of any individuals, focusing rather on their interactions as symbolic types. Most characters were used to represent particular feelings or aspects of the human character; they were symbolic types rather than developing beings. Patricia, the blond hairdresser, was portrayed as a somewhat shallow woman desperate for a partner, Sanitas as a monk simply following his orders and duty, and even Natasha's inner troubles were probed very little. The Father, also, did not act his part with any particular religious inspiration; nor did either of the brothers who were there together with Birdcherry.
The monastic setting, too, seemed chosen primarily for its archaic and magical appeal, for the film was surprisingly devoid of religious expression given its overt placement in a monastery. This could be the director's active judgment on the worth of monastic life (as is hinted when all three of the brothers come out of their silence and admit they don't really know what they're doing there), but it is more likely that the monastery is simply used as a nice background for the various love stories with little religious connotation.
These outward symbols clearly designate Jasminum as a fairy tale, but what the tale is actually about is more difficult to say. Part of what keeps the film interesting is that the viewer spends a good deal of time trying to figure out the plot and understand the message. One of the film's major themes was clearly related to love. Just what Kolski was trying to say about love was not entirely obvious, however, or at least one hopes that he had some deeper thoughts about love than those that came out most strongly. The intertwining of the ghostly Jasmine's love story with numerous subplots, her involvement with the monastery since its beginnings, and the sainting of Sanitas after he brought about her reunion with her lover all point to the centrality of her theme in which lovers are united despite great obstacles. The story of Patricia's infatuation with her actor was introduced rather late in the film, yet had become one of the central subplots by the end. In a sense her story is the central one, representing the triumph of love (so-called) that so many other characters desire. As such, Kolski paints a rather depressing picture of love. The actor, who was portrayed as a rude and unpleasant man, suddenly fell madly in love with the hairdresser after being exposed to the right perfume. Rather than treating this as a shallow love or allowing Patricia any sort of realizations about her lover's nature, the director uses the story of their union to parallel the true love epitomized in the "reunion" of the bodies of Jasmine and the original Birdcherry.
While Brother Sanitas was portrayed as a good man, it was somewhat unclear why he was chosen to become a saint. Since general goodness did not seem to be valued so highly in this film as love, it seems likely that he was made a saint for his role in leading Natasha to Jasmine's body and thus causing the two dead lovers to be reunited.
The best thing about this film in my opinion was its aesthetics: beautiful music, idyllic setting, and attractive characters. These traits make it appealing to audiences who enjoy a film as an artistic experience. The somewhat difficult plot may discourage viewers who don't want to expend a lot of effort to follow it. If one takes Jasminum's theme of love too seriously, it may come across as disappointingly fatalistic and shallow. Kolski's film is best appreciated as a fairy tale.
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