Apocalyptic hero

By Lubna Abdel-Aziz

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Love him or hate him, Mel Gibson will be reckoned with. He is a serious filmmaker and should be taken seriously. Slave to no man, he walks alone, crossing paths dim and perilous, with curiosity and courage. Each creation of his philosophical mind stuns us with its passion and conviction. His latest effort Apocalypto (new beginning), is an adrenaline-drenched study of ancient Mayan cultures, of intrinsic savagery and simple rituals "a visceral, visual experience," stirring all the human senses, nominated for three Oscars. Yet Mel Gibson is no hero in tinsel town.

Mel Gibson Slave to no man

His recent problems arose from an episode late last July, that found him driving home in the wee hours of the morning under the influence (DUI), or intoxicated. He was arrested and charged, and has since been battling a deluge of unrelenting attacks and criticism. How common is DUI in Hollywood, or elsewhere! How prevalent is alcoholism in all circles, business, showbusiness, politics, etc. Was not the wife of a former US President an acknowledged alcoholic? Gibson should have known better than to DUI, but why was he not sympathised with, forgiven and understood, like all the others?

It was not the alcohol, or the arrest that triggered the uproar, rather it was the conversation that took place between Gibson and the arresting officer. In his state of inebriation, Gibson inquired if the officer was Jewish. He then proceeded to remark that "all the wars were caused by Jews" and that was the flame that ignited the fire that is still raging in tinsel town. Poor Mel Gibson, the sky came crashing down on him. Despite some Jewish and non-Jewish sympathisers "who do not take offence to an otherwise gentle and kind Mel Gibson", despite numerous and repeated apologies to the Jewish community, the war rages on leaving Mel Gibson a virtual outcast. A holocaust mini-series project he was producing for ABC-TV has been cancelled. Speaking on behalf of the Hollywood community, talent agent Ari Emmanuel said: "we cannot idly stand by and allow Mel Gibson to get away with such tragically inflammatory statements!" What does Mr. Emmanuel propose?

Mystified and unhappy, but not discouraged, Gibson remains first and foremost faithful to his craft. His response: Apocalypto, daring, unique, defiant -- a political allegory about civilisations in decline. Gibson does not act, but features a cast of unknown Mexicans. It is spoken in ancient Mayan dialects, with English subtitles. Once again Gibson, directs with brilliance. His sights and sounds brim over with enjoyment and excitement.

He has a quick eye for detail and a bent for violence, while his camera rests upon the minutest objects, with quiet satisfaction.

Set in Central America, before the Spanish incursion, the Maya Empire was already collapsing. Raiders enter a Meso-American village, under false pretences, killing the villagers, setting aflame their homes and fields.

Jaguar Paw, the young hero, slips away, hiding his pregnant wife and son in a cave and returns to fight the invaders. The raiders are finally chased out to the shore, where they encounter the arrival of the Conquistadores. Jaguar Paw hastens to the cave to find his wife had given birth to a healthy second son -- hence the "new beginning". You almost wish to stand up and cheer.

The film was extremely well received by critics, earning a 4-star rating and $15 million at the box- office on its opening weekend. It set a new record for the highest opening weekend for a foreign- language film in the UK, earning £1.3 million. (' The Passion of the Christ' only took £229,426).

Unstoppable Gibson responds to the public scandal, eloquently and gently.

It is possible to dislike Mel, and many do. He has his eccentricities, and is not exempt from human traits of vanity and vulnerability. He remains undetracted by criticism, concentrating himself to serving his Muse, with his glorious imagination and unique gifts of bright fancy.

Gibson's friction with Hollywood is multi-fold. Although American-born (Peekskill, New York, 3 January 1956) young Mel moved with his family to Australia when he was 12. He attended The National Institute of Dramatic Art, Sydney, and proved his acting skills in such Australian hits as Mad Max (1979), Galipoli (1981) and The Year of Living Dangerously (1982). A bankable star, he moved to Hollywood, and took the town by storm. Killer looks and deep blue eyes aside, Gibson moved with grace and ease in a variety of characterisations, from genre to genre with a natural flair. The brooding Hamlet, the mirthfully wild cop in Lethal Weapon, the perfumed dandy in Maverick. His portrayal of the kilt-clad Scottish warrior, William Wallace, the Braveheart, with bare chest and painted face, was an unexpected triumph, winning him Best Director Oscar (1995).

Another reason why Gibson stands alone, is his religion. A staunch Catholic, Gibson wears his religion on his sleeve. Unlike alcoholism, this is not a common phenomenon in Hollywood. He has a chapel on his estate, where he and his family worship regularly. He doggedly shelters them from the media, and being a conservative, the liberal press does not gush over him.

Gibson had a dream, a burning passion to make The Passion of The Christ. Never was an artist so vehemently discouraged from fulfilling his dream, but he struggled alone, invested his own money and realised his dream. Amazingly The Passion of the Christ struck gold. Relishing his success and still counting his blessings, Mel was arrested on a balmy summer night, for drinking too much. A mighty tempest overtook tinsel town and made the steeples moan.

Wise man or madman, he sails where he will, on the wild ocean of life. His whimsical pranks reveal the softness and simplicity of a child. Though they may do battle with this lonely "spirit in the woods" of Holly, they can do nothing to destroy the powers of a superior man who made Braveheart, The Passion of the Christ, and now Apocalypto. It is indeed time for a new beginning.

A good civilisation is not conquered from without, until it has destroyed itself from within.

Will Durant (1885 -- 1981)

PS.: We apologise for last week's computer error in the title, which should have read: "Revisiting the glory".