WITNESSES (2003)

WITNESSES: LIFE IN KARLOVAC

In the midst of a war, it is not just the frontline where fatalities occur. In Vinko Brešan’s Witnesses (2003), the city of Karlovac plays an integral role in the unfolding drama. The Croatian war of Independence has gripped the small city, causing the division of ideologies within the town to become exceedingly obvious. The accentuation of different beliefs causes former friends to become enemies and begins the story.

When the movie opens, three Croatian soldiers intend to destroy the home of a Serbian man as a demonstrative protest. This goes wrong when they realize that he is actually inside the house, causing them to spontaneously change their plan. Were it in chronological order, this is where the story should begin. The rest of the movie concerns the reactions and viewpoints of what occurred from various characters however; this is presented in a non-linear fashion.

The small town setting of the movie is crucial in constructing this environment of distrust amongst the community. The prior prejudices and relationships of the characters spill into the investigation and influence the way that people react to the unfolding events. In a totalitarian state such as this one, the presence of authority is inescapable therefore there is already an atmosphere of cynicism present between the government and society. When wars such as this occur, not only are people suspicious of the state’s intervention in their lives but also, it is believed that even your neighbor may be plotting against you.

In the West, it is commonly believed that there will be some physical marker that distinguishes one side from another. This is because most of the wars concern entirely different nationalities however, in confined wars such as those in Eastern Europe; this is not so easily differentiated. Realistically, the problems are considerably less superficial than that. It is less about what is physically different and more so about ideological beliefs. To put it simply, the main problem was that Croatia wanted freedom from Serbian rule therefore the Croatians developed a strong detest for their neighboring country.

While this racial prejudice clearly influenced the way that the citizens reacted to the investigation, the profession of the Serbian was also an issue. It was well known that he had dealings within the black market. Many Eastern European countries still operate under Marxist economics, which state that such dealings with commodities are inherently bad. Therefore, the career choice of the Serbian man coupled with his nationality would have proved exceedingly difficult for people to ignore such a notorious figure in the small town setting.

The appearance of the town itself contributes to the uneasy environment presented within the narrative. Contextually, the reason that the place is so gray and muted is related to the weather. From March to November, thick heavy clouds mask the city causing people to seek solace in inside venues like bars or homes. The effect that this creates within the movie is one of uneasiness, as though the city itself is an enemy in the war. The miserable environment of the town emphasizes the unhappiness and tension felt by the characters that reside within it.

In conclusion, Brešan has creatively constructed a visual narrative that is seeped in distrust and prejudice. The cinematography of Zinko Zalar perfectly compliments the plot and is certainly a key aspect of the film’s success. By intentionally avoiding the glitz and glamor perpetuated by mainstream Hollywood productions, the film maintains a much-needed gritty, realistic quality. From the five-minute opening shot of Karlovac, before a word has been said, the audience becomes aware of just how much war can impact a city and its residents.

GRBAVICA (2006)

GRBAVICA: DREAMS VS. REALITY

Jasmila Zbanic’s Grbavica (2006) is an award winning film that explores the aftermath of the Bosnian war. In the United States, the distribution company attached the subheading The Land of My Dreams to the title. This is particularly fitting as the film regards the juxtaposition between the harshness of reality and a dream life constructed by denial. The film explores the war through the relationship of war-camp survivor Esma (Mirjana Karanovic) and her daughter, Sara (Luna Mijovic).

From the very beginning of the movie, Esma is depicted in a state of denial. In the scene, the camera pans across a room in a women’s resource center. This is supposed to be a place for abused women to share their stories and find solace in each others company yet they are all simply sitting in silence. After a traumatic experience, it is common for a person to feel a metaphorical numbness due to confusion or disbelief over what happened. Throughout the film, Esma acts as though by repressing what she endured in the war camp, she can act as though the abuse did not occur. She is living in this dream world formulated by denial.

Before Esma actually admits that she suffered any kind of sexual torture, there have already been a large number of visual signifiers that imply this. This demonstrates to the viewer that, although she is in this state of denial, in reality she cannot pretend that the abuse did not occur. All of her surroundings seem to act as a reminder of the ordeal. Whether it’s a journey on the bus or a night in a bar, she cannot forget what happened to her. Ironically, although the bar reminds her of the assault, one of her fellow workers tries to use the venue as a way to rehabilitate Esma in regards to her sexuality. She explains that by unbuttoning her shirt, she will receive more tips. This is a very empowering message and suggests that one should not be ashamed of their body. Rather you should use your body to your advantage.

Part of Esma’s recovery process involves the assistance of Pelda (Leon Lucev), a bouncer at Amerika. Having surrounded herself with a stable support system of women in her work and personal environments, her initial reaction to this male attention is one of apprehension. In her interactions with him, she is initially hesitant as demonstrated by her refusal to spend much time with him. This obviously changes when the two begin to increasingly spend time with one another. Although it appears that a relationship did not originally factor into her dream at the start of the movie, towards the end it seems as though her perspective has changed. This new dream however conflicts with that of her daughter who seemingly wants all of her Mother’s attention. This contributes to the feeling that there will be an eventual confrontation between the two.

Sara’s dream is also presented in the movie. The truth about her conception at a war camp has been kept a secret. Esma has constructed an elaborate lie regarding the profession of her Father. In typical angsty, teenage-fashion, Sara berates her Mother in an attempt to learn the truth. The entire situation leaves Esma with a difficult dilemma; should she shatter her daughter’s dreams with the reality of her torture or continue to lie about the incident? As a child, she should hypothetically be protected from such atrocities of war however, to lie is unethical and could ultimately ruin the relationship of the Mother and Daughter.

Although the film explores the public issue through a personal narrative, it cannot be forgotten that a large number of Bosnians will recall these horrors on a daily basis. Over the course of the film, Esma learns to verbalize her problems and finds solace in the company of both men and women. By facing reality rather than avoiding it, Esma begins to construct a healthy, honest relationship with both Sara and Pedla. In many ways, the truth ultimately sets them free.

BEFORE THE RAIN (1994)

REPEATING PATTERNS: CYCLES IN BEFORE THE RAIN

One of the most important things to know about Milcho Manchevski’s Before the Rain (1994) is that it begins at the end. By this, I don’t mean the opening scene spoils the ending. The film is broken into three separate segments and only when you have witnessed the movie in its entirety can you appreciate the non-linear structure.

The first installation ‘Words’ depicts the state of Macedonia following the warfare with Albania. The environment is evidently still very hostile and the citizens are dealing with the repercussions of the conflict. When Zamira (Labina Mitevska) a young runaway finds a place to hide in a monastery, her protector Kiril (Gregoire Colin) finds himself up against a violent mob. Before this occurs, Father Marko (Josif Josigfovski) tells Kiril that ‘time never dies’ and ‘the circle is not round’. These cryptic comments preface the entire structure of the movie. They allude to the recurring violence that the film presents. In the grand scheme of things, time and place mean nothing. There will always be violence and death happening. There is no specific pattern to it but rather it can happen in any place at any time.

The middle section ‘Faces’ follows Anne (Katrin Cartlidge), a picture editor at a successful London magazine. She is shown flicking nonchalantly through the scenes of violence and blooshed from the opening extract. In this portion of the film, Manchevski shatters the Western notion that it is only uncultured people who kill frivolously. When Anne initially looks at the images of brutal murder, they seem so far away from her own life. This illusion is shattered when an argument in a restaurant leads to an intense conclusion. No matter where the stories are situated, the devastating effect of violence is inevitable.

In ‘Pictures’, Aleksander (Rade Serbedzija) has returned to his homeland after spending two decades in Western civilization. Upon arrival, he realizes that the country is not as he remembered it. The influence of warfare is now inescapable with gunmen patrolling the streets. By this final section, the structure and outcome is routine. The viewer learns to anticipate the eventual violence in a way that the characters seemingly cannot or do not. Interestingly however, the director does not allow this understanding to remain for long. When the film returns to its starting point, there have been noticeable changes to the events. This begs to question, will the outcome change as well? As the film does not reveal this, the audience is left to decide for themselves.

Another interesting cycle within the movie is the representation of innocence. In the London section, Anne passes by a small Church wherein a choir of children is singing. The Religious imagery coupled with the age of the singers emphasizes the virtuousness of the characters. This is contrasted with the two middle segments in which the children are depicted experimenting with weaponry in their leisure. The reaction of the men in the monastery suggests that the children playing with bullets is just a normal experience. They are almost indifferent towards this occurrence. This implies that the oncoming generation will also experience the bloodshed presented in the movie. The nature of this violence is relentless and unstoppable.

By creating his own unique structure, Manchevski illustrates his point more clearly.  The non-linear narrative demonstrates the spontaneity of such devastating encounters with death. Even though you know that it’s coming, what happens still leaves you disorientated and surprised. It makes the viewer feel as though they are part of the narrative as they experience the shock and emotional devastation at the same time as the characters in a similarly bewildering fashion.

Although the film may initially appear confusing, those who stick with the inventive storytelling are rewarded. Manchevski has created an intelligent, thought-provoking tale through an unusual narrative. Despite this being his first feature film, he has been prevalent in the industry for decades prior to this. I believe that the director has enriched his understanding of film through the accumulation of experience. After watching this movie, I can say that the years he spent perfecting his craft did not go to waste.

WHEN NIGHT IS FALLING (1995)

WHEN NIGHT IS FALLING: SYMBOLISM ON THE BIG SCREEN

When Night is Falling (1995) is a film by Canadian director Patricia Rozema. The movie follows Pascale Bussières’s Camille in her exploration of her sexuality. Rather than using forced dialogue to convey the inner thoughts and feelings of the different characters, Rozema interestingly decided to create stunning, visual metaphors. These well-constructed symbols captivate the audience’s attention by demanding them to actively think about the text rather than simply watching as a passive viewer.

The director’s use of symbolism is evident from the very opening scene in which Camille is seen underwater struggling to break through a layer of ice. This is emblematic of the protagonist’s entrapment. Sexuality, like water, is fluid however; society often restricts one’s possible options, forming this layer of ice. To have the confidence to break through this requires a significant amount of emotional and physical strength. From this allegory, the viewer learns that Camille can endure this kind repression and is therefore a strong, resilient woman. Experiencing this kind of intense cold can be an invigorating experience during which your awareness increases exponentially. The Bible consistently attributes water with clarity and purity. In the film, Camille is at a point in her life where she is re-evaluating her core values and beliefs therefore; this clear water is symbolic of her own newfound clarity.

The subplot regarding Camille’s pet dog, Bob, parallels this metaphor. Near the beginning of the movie, she discovers that he has died. Rather than start planning a funeral, she decides that the best course of action is to place him in her refrigerator. Ultimately however, there is a scene during the credits in which the dog springs back to life. Bob can be interpreted as a metaphor for the life of the protagonist. Only when her love for Petra is clear and her life is back on some kind of track does she experience this kind of rebirth similar to the one her pet encountered.

In the film, Rozema offers another allegory in the presentation of Petra (Rachael Crawford) as Cupid. This was constructed through her outlandish, Tudor-style appearance and the use of a bow and arrow. This playful side of Petra’s personality further differs her from the men in Camille’s life who are considerably more traditional in both their thoughts and their clothing. Petra conforms to the Freudian concept of Otherness. This is the abstract notion that, while somebody can look ordinary, they may have some exotic trait that somehow alienates them. This is depicted through Petra’s unusual clothing and the outlandish music, which accompanies her entrance. These make her appear to be intriguing which positions the viewer with Camille. As an audience, we want to learn more about her.

The director’s use of metaphor is very visual, making her underlying messages clear to the viewer. An example of this is during the carnival performance. The women are dancing with irons while wearing grand Victorian dresses. These costumes, although humorous, intentionally emphasize the femininity of the characters. Without using any dialogue, Rozema contrasts the progressive message of the movie with such an archaic representation of womanhood. This creates a discourse regarding the role of women in contemporary society.

All of these allegorical interpretations can be seen as offering a deeper understanding of the characters without requiring any explicit dialogue. As in books, metaphors in movies allow writers to project the interior thoughts and ambitions of the characters in a more interesting format. By using this style, Rozema proves her proficiency as both writer and director as she can translate ideas to the audience in such a subtle, visual manner.

By creating such interesting images on the screen, the director entices the viewer to actively engage with the content. It is possible to take multiple interpretations from such allegorical scenes. When writing on literature, Roland Barthes discussed the concept of the death of the author. He stated that there is less importance on the ideas of the writer and rather a focus on what the audience decode from a text. This theory can be applied to the film industry and Rozema’s movie. When Night is Falling offers multiple different readings, as though the main purpose of the movie is to inspire the audience to continue to think about the movie after leaving the cinema or switching off the DVD.

To conclude, Rozema’s use of allegories in When Night is Falling encourages viewers to consider their own opinions regarding sexuality and gender. This method of presenting ideas, although used very little in the industry, can be extremely useful, particularly when dealing with such difficult concepts. These provide the movie with interesting interludes that, although not directly progressing the plot, offer audiences a chance to develop a greater sense of empathy towards the characters and what the filmmaker is trying to represent. Through these constant metaphysical concepts, the film offers a pioneering discourse about controversial topics.

THE GIRL BY THE LAKE (2007)

THE GIRL BY THE LAKE: LIFE AND DEATH IN ITALIAN CINEMA

Italian director Andrea Molaioli’s debut feature film The Girl by the Lake (2007) is a detective-based thriller.  In the film, Inspector Giovanni Sanzio (Toni Servillo) finds the beautiful, young Anna (Alessia Piovan) murdered. This triggers a who done it-style investigation where the entire small community is put on trial. While searching for Anna’s killer in an array of possible suspects, a subplot is unfolding regarding the Inspector’s relationship with his wife, Moglie di Sanzio (Anna Bonaiuto). She has been suffering with a mental disease causing her to increasingly forget memories of her past. The main narrative coupled with the various subplots of the movie emphasizes the effect that life and death has on the characters.

The presence of death within the movie is starkly contrasted with the opening. A tracking shot follows a small girl through the village on her way home. During her journey, she interacts with a variety of characters from the small community. This scene, while acting as a subtle introduction for many of these minor characters, suggests more about the town. This demonstrates the way that everybody in the community is interconnected. Through this juxtaposition, the film proposes larger existential questions regarding the purpose of life. To what extent are we all interconnected? Despite the film being located in Italy, it could be translated to any country. There aren’t any parts of the area that are massively discernible as being part of Italian culture. The crime could have occurred in rural America or the English countryside. All over the world, there are places where such communities exist, therefore the film has a global presence.

Through storyline regarding baby Angelo, the director addresses what can happen to a family following death. It is revealed that the child’s death left an everlasting problem in the marriage of Corrado (Fabrizio Gifuni) and his wife (Valeria Golino). After a person dies, people predominantly spend their time thinking about how the person lived their life. The people left behind are often forgotten. Dealing with loss is a monumental aspect for family and friends of the deceased, particularly when it is a child who has lost their life. The guilt about Angelo’s death ultimately proved too much for the couple and the only way they could resolve this was to end their relationship.

The film reinforces the fact that death has no preferences of any sort. Out of the various citizens of the small town, it is suggested that Anna was one of the kindest and most selfless people. Before she became ill, Anna was the babysitter of Angelo, a young disabled boy. There seems to be some disparity initially about how the baby lost his life however, the blame ultimately is placed on his parents.  When she found out that she was dying, rather than fulfil her own wishes, she ensured that the death of baby Angelo was avenged. The repercussions this had on the family suggest that living with the guilt of such an atrocity is the punishment for those left behind. This can be compared to the town in general as all the characters seem to be dealing with their own internal struggles. To die can be seen as a form of salvation as it is seemingly only those with pure consciences who lose their lives and escape such circumstances.

The affect death has on the lives of those left behind is further presented in the movie through Mario and his relationship with his rabbits. Mario (Franco Ravera) is a local man with a mental handicap who is presented as having a very intimate, tender relationship with the creatures that he cares for. Around the middle of the movie, he discovers that his favourite, Hercules, has passed away. His father says that the rabbit died of old age but Mario is suspicious that his father actually murdered the creature. This situation is reminiscent to that of Anna. The death triggers a sense of mistrust amongst those involved and the search for the culprit becomes a way to seek closure. Ultimately, the anecdote further suggests that sickness does not serve as a valid excuse for murder. No matter how inevitable death is, a person or creature should choose for himself or herself when death is appropriate.

This proposition is also applicable to the subplot regarding Sanzio’s sick wife, Moglie. Her mental disease causes her to increasingly forget memories of her past therefore her husband and daughter both understand that tragically she will eventually forget about them, too. Even though the characters understand that her disease will eventually consume her, it does not stop them from allowing her to continue living happily. At the end of the movie, she appears content having engaged in a new relationship. There is a brief second where she seems to knowingly acknowledge her family leaving the audience to wonder whether this kind of ignorance can actually be a good thing. Her life is a possible representation for what Anna could have retained had she not already decided to devote her remaining time to avenging baby Angelo.

The film is summarized effectively when the main character states that ‘everybody is harmless until they turn nasty’. This suggests that in life, eventually all people turn out to be cruel. While this is a very pessimistic opinion, it suggests that perhaps it is best to face death before coming to such a realization. By dying at such a young age, Anna avoided becoming such a cynic. In many ways, she ultimately died for a good cause as a martyr.

MR. BROOKS (2007)

MURDEROUS MASQUERADES: THE MULTIPLE PERSONALITIES OF MR. BROOKS

Since the times of Shakespeare and earlier, multiple identities have been a literary staple. In many of his most famous productions, the playwright had his characters transforming themselves physically and mentally to succeed in various different ventures. Bruce Evans’ psychological thriller Mr. Brooks (2007) also follows this fictional narrative. The title character’s different personalities essentially form the basis of the entire film. These various disguises present the question, which are masks and which is the real Mr. Brooks?

In the Oscar winning movie American Beauty (1999), Anette Bening’s character repeats a mantra throughout the film. She states “to be successful, one must project an image of success at all times”. Mr. Brooks has seemingly adopted this mentality towards his own lifestyle. When the audience is first introduced to the character, he is receiving the Man of the Year award from Portland, Oregon’s Chamber of Commerce. This instantly creates a representation of Brooks as a pinnacle of society. By having such a well-known institution vouch for his reputation, the audience is comfortable with the idea of him as a man worthy of respect. His clothing and the venue both signify the level of accreditation he is receiving through this honorary award. By projecting this image of accomplishment, nobody suspects that he is the serial killer that has been terrorizing the city. It supports the Western idea that somebody so civilized and beloved could not be capable of such atrocities. This is merely one of many different facets to his personality. It is possible to assume that the character is undergoing some kind of personality crisis, as he seems to adopt various different roles as the movie progresses.

Another role presented near the beginning that has a similar effect is Brooks’ position as a Father. By demonstrating that he has managed to raise an attractive, college-educated daughter (Danielle Panabaker) would suggest that he is a responsible person. However, as more details about his daughter emerge, the viewer increasingly realizes that his nuclear family is not as idyllic as it may initially seem. One of the most important scenes in this respect appears towards the end of the movie. Brooks’ dream sequence is shown, which depicts his daughter murdering her Father before putting on his glasses. This implies that she too may eventually adopt his habit of assuming different identities in order to conceal her own.

When committing murder, Brooks undergoes an interesting physical transformation. The professional pretense is dropped entirely in favor of a different visual style. Instead of his shirts and glasses, there is a focus on long, dark clothing. His appearance seems relatively similar to Marshall’s (William Hurt) when he is wearing this disguise. This change clearly acknowledges to the viewer that the title character has also undergone a change in his mentality. When he is in this apparel, it is as though Marshall’s influence has entirely eradicated any semblance of a personality that Brooks used to have.  For the majority of the film, he follows his omniscient manifestation’s commands. The two figures become practically interchangeable. His aforementioned roles were seemingly a way that he could please his family however, his obedience in regards to killing seem to be a way to please Marshall. He is constantly striving for the acceptance and appreciation of others rather than living for himself.

Over the course of the movie, Brooks adopts an accomplice although not by choice. In order to prevent being exposed to the police, the protagonist must teach Dane Cook’s Mr. Smith about his murderous tendencies. This relationship further complicates Brooks’ character. When Brooks is informing Smith about killing, his targets seem to be frivolous. They are people who have caused minor aggravation to the characters however, by the end this has changed. The protagonist becomes a kind of anti-heroic Robin Hood by mysteriously killing those who deserve punishment or atonement for their behavior. We witness the pair avenging his adversary, Detective Tracy Atwood (Demi Moore), by killing her ex-husband. While the two were having legal disputes over their separation, her partner had been having sex with his lawyer. This is gross misconduct on both parts therefore, by killing them; Brooks was essentially doing Atwood a favor. This further represents Brooks’ need to please, as he is not killing for his own satisfaction but rather for the benefit of others.

Throughout the film, Mr. Brooks is able to deconstruct the masquerades that the other characters wear. This is likely through embracing his own falseness for an extended period of time. There is only one character who he seemingly exhibits trouble with and that is Detective Atwood. She too embodies the aforementioned American Beauty quotation however; she does so with such conviction that, despite his best efforts, Brooks struggles to understand her motivations. Atwood disguises her crumbling personal life from her colleagues by maintaining her almost impenetrable mask. This suggests that while Brooks’ experimentation with different personalities has given him some abilities such as intuition, even this attribute is largely flawed.

Ultimately, I believe that Mr. Brooks has no true identity. He clearly expresses displeasure when having to maintain the charade of the businessman. He only adopts the conventional fatherhood role to please his family and he only conforms to his murderous impulses to please Marshall. His fluctuating personalities prove that he does not have one solid concept of self with which he identifies. Instead, I think he will likely be forever trapped in this cycle of dissociative identity disorder, projecting himself into different characters until he finds one that fits.

BEFORE THE RAIN (1994)

REPEATING PATTERNS: CYCLES IN BEFORE THE RAIN

One of the most important things to know about Milcho Manchevski’s Before the Rain (1994) is that it begins at the end. By this, I don’t mean the opening scene spoils the ending. The film is broken into three separate segments and only when you have witnessed the movie in its entirety can you appreciate the non-linear structure.

The first installation ‘Words’ depicts the state of Macedonia following the warfare with Albania. The environment is evidently still very hostile and the citizens are dealing with the repercussions of the conflict. When Zamira (Labina Mitevska) a young runaway finds a place to hide in a monastery, her protector Kiril (Gregoire Colin) finds himself up against a violent mob. Before this occurs, Father Marko (Josif Josigfovski) tells Kiril that ‘time never dies’ and ‘the circle is not round’. These cryptic comments preface the entire structure of the movie. They allude to the recurring violence that the film presents. In the grand scheme of things, time and place mean nothing. There will always be violence and death happening. There is no specific pattern to it but rather it can happen in any place at any time.

The middle section ‘Faces’ follows Anne (Katrin Cartlidge), a picture editor at a successful London magazine. She is shown flicking nonchalantly through the scenes of violence and blooshed from the opening extract. In this portion of the film, Manchevski shatters the Western notion that it is only uncultured people who kill frivolously. When Anne initially looks at the images of brutal murder, they seem so far away from her own life. This illusion is shattered when an argument in a restaurant leads to an intense conclusion. No matter where the stories are situated, the devastating effect of violence is inevitable.

In ‘Pictures’, Aleksander (Rade Serbedzija) has returned to his homeland after spending two decades in Western civilization. Upon arrival, he realizes that the country is not as he remembered it. The influence of warfare is now inescapable with gunmen patrolling the streets. By this final section, the structure and outcome is routine. The viewer learns to anticipate the eventual violence in a way that the characters seemingly cannot or do not. Interestingly however, the director does not allow this understanding to remain for long. When the film returns to its starting point, there have been noticeable changes to the events. This begs to question, will the outcome change as well? As the film does not reveal this, the audience is left to decide for themselves.

Another interesting cycle within the movie is the representation of innocence. In the London section, Anne passes by a small Church wherein a choir of children is singing. The Religious imagery coupled with the age of the singers emphasizes the virtuousness of the characters. This is contrasted with the two middle segments in which the children are depicted experimenting with weaponry in their leisure. The reaction of the men in the monastery suggests that the children playing with bullets is just a normal experience. They are almost indifferent towards this occurrence. This implies that the oncoming generation will also experience the bloodshed presented in the movie. The nature of this violence is relentless and unstoppable.

By creating his own unique structure, Manchevski illustrates his point more clearly.  The non-linear narrative demonstrates the spontaneity of such devastating encounters with death. Even though you know that it’s coming, what happens still leaves you disorientated and surprised. It makes the viewer feel as though they are part of the narrative as they experience the shock and emotional devastation at the same time as the characters in a similarly bewildering fashion.

Although the film may initially appear confusing, those who stick with the inventive storytelling are rewarded. Manchevski has created an intelligent, thought-provoking tale through an unusual narrative. Despite this being his first feature film, he has been prevalent in the industry for decades prior to this. I believe that the director has enriched his understanding of film through the accumulation of experience. After watching this movie, I can say that the years he spent perfecting his craft did not go to waste.