Hirayama’s life is akin to a long meditation—you develop patience as you observe and interpret his actions. Solitude here means that Hirayama doesn’t align his actions with anyone else’s expectations. He takes responsibility for his actions. He is never portrayed as lonely—he isn’t isolated but always in his own company.
The end scene that portrays Christ-like suffering for Doug surrounded by the dogs is a reminder of all the suffering that a man goes through to truly be transformed or resurrected as something else – the journey of a broken self to mend the mind and body by creating ruses that fit the maze called ‘world’.
John Keating: (Dead Poet’s Society, 1989): John was the kind of teacher that every student needs – and the earliest the better. His personality is an unusual mix of caring and rebellious. Regarding this quote by Henry David Thoreau: “I wanted to live deep and suck out all the marrow of life.” John’s fundamental teachings come to the forefront – to live to the fullest and follow one’s passion.
If people of the Western world were introduced to Indian films as full of colors, songs, and dance; they also had a rendezvous with the Indian realistic cinema. For instance, Satyajit Ray’s Pather Panchali first premiered at New York’s Museum of Modern Art (MOMA) in 1955 and then later it was released in Kolkata the same year. During the 1960s, the Indian government financed some of the independent films based on Indian themes.
While we are dwelling in the world of murder mysteries and psychological thrillers in web series, TV shows, and movies; I fail to find the happy coincidences that once made our bones tickle amidst the monotony of life. Where deceit and disguises were not meant to rob anyone but just to add a slice of humor to life.