Baraka (1992)

Henry David Thoreau once said, "The world is but a canvas to the imagination." Perhaps he had Baraka in mind when first contemplating this now-famous quote. A film of startling grandeur that never ceases to inspire, Baraka is indeed a canvas that spans the world, bringing to life a wonder and spectacle that is second-to-none, a rousing portrayal of life as it is lived from the busiest city streets to the most remote corners of the globe, instantly transporting audiences to witness places and meet people never before so vividly captured or richly detailed. It is a story of the world, told not with words but with images so clear and striking that the eyes and mind will often deceive the viewer into believing he or she is no longer within the confines of a living room but in a bustling factory, a crowded subway, a sleepy village, or a grandiose and serene seascape. Baraka transforms theaters into gateways to the world where audiences witness in a mere 90 minutes what would have taken a lifetime several generations past. Baraka is life, not as we know it, and not even as we thought we knew it, but as it truly is, and it is a spellbinding experience.

Despite the lack of a traditional structure, there are clear running themes throughout Baraka. The film opens with long, lingering shots of nature, a series of phenomenal glimpses into its beauty and power, its scale and texture, its comforts and harsh realities that run the spectrum of the world's most exotic, dangerous, and grandiose locales. Later, the film displays mankind and the current peak of civilization, where the perspective often shifts to time-elapsed photography to emphasize the hustle-and-bustle of modern life in the big city. Such shots are accompanied by fast tribal beats that underscore the point, creating a nearly dizzying and surreal experience. Baraka then turns to the less glamorous side of humanity as it contrasts the average fast-paced workday of so many through visual emphasis on poverty-stricken street corners or a garbage dump where trash becomes treasure. The film continues by showcasing the ravages of conflict, focusing on the aftermath of the Gulf War and the haunting halls of Auschwitz which represent the most poignant segment of the film. Eventually, the film returns to nature as day settles into night and the world seems to stop, at least for the moment. Somewhere, on the other side of the world, the images of Baraka are played out in similar, but never identical, circumstances, and as always, the night brings with it a reprieve, a temporary halt in the ever-shifting global perspective, as nature and man prepare to play out similar scenes with the dawn of a new day.

The similarities between man and nature become apparent during a viewing of Baraka. Over time, both create splendid works of arts of unparalleled beauty and grandeur. Be it the Grand Canyon or Niagra Falls, or the Pyramids or Beethoven's Fifth Symphony, nature and man are artists, compelling entities that strive to not only survive and thrive but to improve and grow in strength, presence, and beauty. For as long as it may take to form a grand canyon or build a pyramid, the destructive forces of both man and nature are quick to lay waste to that which has been slowly and painstakingly brought to life. An earthquake may swallow a civilization, a storm may flood a village, a bomb may level a city, or hate may lead to the deaths of thousands of innocents. Baraka is this contrast of beauty and ugliness, showcasing both unabashedly yet respectfully. The film is an education all its own, not in the traditional sense, but in a way that allows for each viewer to find within the film a theme, a meaning, a world that is inaccessible for most but brought to startling life here.

Baraka will take viewers to places they recognize and to many that they won't. Where, when, and why the audience is in a particular place seems unimportant in the context of the film. The magic of the film lies simply in its wonders. In a way, it is refreshing not knowing where a shot is, who is in the frame, or what creature graces the screen. Baraka is about discovery, of appreciating the many natural and manmade wonders of the world, and it is a spiritual journey through civilizations both primitive and advanced as the film reveals the marvels of every corner of the world. Another amazing aspect of Baraka is how the camera can linger on one particular object, place, or animal for several moments and manage to captivate the audience. As the film flows from one object, creature, or locale to the next, sometimes drastically differing from the previous shot, the viewer effortlessly goes along for the ride, never once feeling artificially prodded and poked and forced along in the journey. Baraka is true reality television. The wonders of the world, some of which might be down the street, other which might be on the other side of the globe, are brought into living rooms and theaters with unparalleled spectacle and scope. The film is so enthralling that only something outside of one's control – a meteor crashing into the media room, for example – has the power to pull away viewers and shock them back into reality and the confines of their own slice of the vast world.

EXTRAS
Baraka debuts on Blu-ray with two supplemental features. 'Baraka:' A Closer Look (1080i, 1:16:23) is the first. This extensive documentary examines the origins of the production and the inspirations of the filmmakers, looking at the decision to create a nonverbal film and the advantages and challenges of such an endeavor. The creation of the film Chronos is discussed, including its influence on Baraka, the experiences and technologies the filmmakers brought from that film to this, and the development of newer and better cameras for the film is also examined. Shooting techniques, schedules, cost and time restraints, the process of recording sound, travel to Kuwait to capture the aftermath of the Gulf War, various filmmaking pitfalls, and the film's theatrical release, among other areas of interest, are brought to the attention of the viewer. The subject matter of Baraka is heavily discussed as well. Running almost as long as the film itself, this feature is a revelation into the filmmaking process of Baraka and is a must-watch for fans and budding filmmakers. Restoration (1080i, 7:04) is a short but fascinating feature that closely examines the restoration of the film, the awe-inspiring experience of viewing the film as it was meant to be seen, and the process utilized to most closely replicate that experience at home.

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