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Without wishing to fall into the trap of critical hyperbole, I can honestly say that this is the most original and impressive American film that I've seen this decade, more so than the highly acclaimed likes of The Departed (2006) or No Country for Old Men (2007). Whatever problems you might have with Gibson, from his personal politics to his previous work, there is no denying the determination of his vision, or the sheer sense of daring and imagination in attempting to pull off a project of this size and pitch; taking elements of an already well-documented real life civilisation and abstracting it for the purposes of dramatic tension, to create a once-in-a-lifetime cinematic experience that genuinely takes us to a world that we've never before experienced on film. In my opinion, it is the very essence of cinema; developing a story and reducing it to the most simple and iconic of images, placing the emphasis on family and a race for survival, and all captured with a skillful combination of design, editing, music, performance, choreography, photography and character.
Admittedly, you could always argue that the narrative is secondary to the atmosphere that Gibson and his crew so skilfully create, and yet, it is no less affecting or exciting as we come to know and respect these characters through the film's rich and amusing opening sequences - filled with a great sense of character and warmth - as well as a fairly pointed visual metaphor in the killing of an animal that will come to prefigure the subsequent actions of the final film. To counter some of the criticisms levelled against Gibson by historians and scholars alike, it is worth taking into consideration the subtle way in which the director plays with the notions of myths and legends; creating a heightened atmosphere of continual stylisation that stresses the influence of a film like Apocalypse Now (1979) or Aguirre, Wrath of God (1972), with the fevered madness of the jungle giving way to an unforgettable depiction of the Maya civilisation as an infernal hell on earth. The film can also be read as a story-within-a-story construct, in which the film we see becomes an extension of the folktales being told by the tribe's elder as the men sit quietly around the campfire in the scenes directly preceding the carnage. If we think about this particular interpretation, we can see the that the film is working on a level of fantasy, in which the more recognisable themes of the film create a parable related very much to the idea of becoming a man; illustrated by the journey that our central protagonist Jaguar Paw undertakes in order to prove himself to his wife and young family. More fascinating than even that, however, is the notion of the film as a prolonged nightmare; with the scene of the initial massacre beginning immediately after Jaguar Paw awakes from a particularly frightening dream, rife with subtle allusions and a sub-textual foreshadowing to certain themes further developed throughout the rest of the film.
Leitz wetzlar binoculars manufacturing dates. German WWII Binoculars - Leitz Wetzlar 10x50 Dienstglas. Leitz Wetzlar 10x50 Dienstglas (service glass) M H/6400 serial number 257230; manufacture was prior to 1941 (when a 3-letter manufacturer code. Leitz Wetzlar 8x30 Binuxit Binoculars with Case. Ernst Leitz Wetzlar Company Microscope Serial Numbers Serial Number Year made 1 1851 2 18 50 18 91 1854 100 1854 109 1854 220 1856 250 1858 260 1857 310 1858 380 1859 430 1860. Ernst Leitz Microscope Serial Numbers Author: J. Gregory McHone. Leitz Binuxit, Zeiss Deltrintem information please - posted in Binoculars: Dear All,Can anyone please help me to determine the age of my Carl Zeiss Jena Deltrintem 8x30 binoculars?The serial number is 2339102.I also have Leitz Binuxit binoculars The details are:E. Leitz Wetzlar Binuxit8 x 30Serial number 217051On each barrel the leather has a 3/4 inch square cut out.