“When I realized that (ancient wisdom)... had been handed down...from generation to generation for thousands of years, and yet had reached our day almost unchanged...I...regretted having begun too late to give the legends of antiquity the immense significance that I now understand that they really have” --- George Ivanovich Gurdjieff (www.ggurdjieff.com) (1876/7-1949)
Director Peter Brook’s film is an adaptation of George
Ivanovich Gurdjieff’s multi-volume book of the same name Meetings with Remarkable Men, specifically focussing on the second volume . For those who have not come across
the author of the book, Gurdjieff was a spiritual teacher, originally from
Armenia, born to a Christian family, exposed to a “multi-ethnic,
multi-confessional” population that respected mystics and holy men. In a life
seeking philosophical quest for answers, Gurdjieff travelled to several parts
of Central Asia, Egypt, India, Tibet and Italy. His significant interactions
were with dervishes, fakirs, the Yazidis (of Iraq and Syria who bore the brunt
of the ISIS onslaught in recent times) and finally with the Surmoung
Brotherhood, which in turn was influenced by the Naqshbandi Sufi tradition of
Islam. Gurdjieff propounded “the Fourth Way” blending the fakir, the monk and
the yogi. Various intellectuals, such as P D Ouspensky, artist Alexandre de
Salzmann, photographer Rene Zuber, writer/philosopher Colin Wilson, editor
Alfred Orage (The New Age),
mathematician John Bennett and the eminent New Zealander short-story writer
Katherine Mansfield found solace in his distilled knowledge. His
funeral took place in the Russian Orthodox Cathedral in Paris and is buried
there.
Peter Brook made the film after he was approached by Jeanne
de Salzmann (wife of artist Alexandre de Salzmann, and mother of one of the six
Gurdjieff offspring) and there is evidence that Brook himself is a follower of
Gurdjieff. Brook and his production manager Jean Claude
Lubtchansky chose to film in Afghanistan before Taliban and other
fundamentalist force crippled it. The result is an interesting product that
promotes Gurdjieff’s writings and his life’s quest for spiritual wisdom.
Now Peter Brook may not be a major filmmaker comparable to the
likes of Tarkovsky, Malick or Welles but he is awesome as a director dealing
with dramatic situations, possibly because of his extensive experience with
British stage theatre and handling major stage actors. This comes through in spurts
throughout his film Meetings with
Remarkable Men with some fascinating sequences that unfortunately seem
disconnected in time but appear as beads of an unusual necklace.
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| A strange musical competition on the hills of Central Asia, where the judge is not a human being but the hills around the venue |
Who are the remarkable men? One could be Gurdjieff’s father
who wishes his son could become a Christian priest, but young Gurdjieff
expresses interest in science. His father counsels him to study medicine as “body and soul depend on one another.” He even sagaciously advises “Become yourself—then God and Devil don’t
matter” A snake is found indoors and Gurdjieff’s father asks his scared son to buckle up courage and to pick it up, which he does. Those familiar with Christian and Jewish
religious texts will see the connection of the snake and the Devil; others
might not. Anecdotes like this, pepper the film. For those inclined towards philosophy, this
film is indeed an important film—not for others. It all distils into a single
quest for Gurdjieff—“I want to know why I
am here.”
An early episode in the film has young witnessing a
competition of musicians with only one winner being able to get the hilly
environs to respond unlike others with echoes that defeat logic. But music does
become important to Gurdjieff as he grows up and encounters sages and religious
personalities of varied hues across Central Asia, Iran, Egypt, India, and the
Gobi Desert. The Sufi dances and chants
are indeed uplifting for any viewer (provided by Laurence Rosenthal adapting
the compositions of Thomas de Hartmann, a student of Gurdjieff).
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| Sufi dances and music (composed by de Hartmann, adapted by Rosenthal) |
Not all of the film is heavy spirituality and metaphysics.
Consider this interesting truism spoken by Gurdjieff partly in jest to a young
friend intending to be a priest “My
father used to say, if you want to lose your faith, make friends with a priest.”
There are sequences in the film that provoke the viewer to
sift belief in religion from sham—such as the Yazidi child who seems imprisoned
in a chalk circle with an invisible cage above it. It takes a rationalist Gurdjieff
to erase a section of the circle and child walks out free of the imaginary
bars. In another sequence, a village population is unnerved when they find a
dead man who they thought was dead and buried, lying on a cot in the centre of
the village. A village elder emerges, slits the throat of the dead body, and
the village population is subsequently shown relieved and happy. Is the village elder, one of the remarkable
men in Gurdjieff’s life?
What the film does definitely indicates as remarkable men include
the Prince Lubovedsky (Terrence Stamp), dervishes, a certain Father Giovanni, and
a spiritual stranger who tells the Prince in the company of Gurdjieff “I advise you to die, consciously, of the
life you led up to now and go where I shall indicate.” Gurdjieff does
interact again with the Prince much later in time who by then has apparently
found his spiritual answers in a secluded monastery with Sufi life-styles,
dances, and strict regimen.
Brook’s film includes a sandstorm from which Gurdjieff and
his friends survive by standing on stilts while animals and all life forms
below their feet are swept away. More
than a sandstorm it is a metaphor for a contemplative viewer to absorb all the
rich symbols in the film. Towards the end of the film, there is a risky high-elevation
bridge crossing—another metaphor captured by Brook with some theatrical elan.
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| Mind games: A risky high-elevation rope-bridge crossing by Gurdjieff (Dragan Maksimovic), with no barriers of support on the sides |
A character called Father Giovanni (played by Tom Fleming,
who had played a similar priest in the 1971 film Mary, Queen of Scots) counsels Gurdjieff thus “Faith cannot be given to me. Faith is not the result of thinking. It
comes with direct knowledge. Thinking and knowing are quite different.”
For Brook and for Gurdjieff, remarkable men are quite
diverse. Some are obvious, some are not. It is quite possible for viewers of
Brook’s Meetings with Remarkable Men to
wonder in retrospect, who the remarkable men could have been. For this critic, they were all remarkable: a musician
who could make hills respond, a village chieftain who could slit the throat of
a dead man and a stranger who knew intimate facts of a Prince’s life. A strange film with a stranger central
figure. Yet, a rewarding viewing for a
reflective viewer.
P.S. The author saw the
film at the 1980 Bangalore Filmotsav sitting next to the legendary former
Indian Cricket Team Captain, the late Nawab of Pataudi, Jr (Mansour Ali Khan Pataudi),
who to the best of the author’s knowledge only watched this particular film at
the festival and apparently had prior knowledge of the subject of the film, having travelled from New Delhi to far away Bengaluru (former Bangalore). The author attended a lecture by Mr Brook on his views on theatre given to a select audience in Delhi in 1981, which resulted in a long article by the author, published in The Hindustan Times. The film Meetings with Remarkable Men competed at the 1979 Berlin Film Festival but did not win any award.
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