The Wedding Banquet

     Ang Lee's 1993 film The Wedding Banquet can be considered a modern day love story, where conflict is not derived from love itself, but rather from cultural and generational beliefs  and differences. The protagonist, Wei-Tung, is a successful career-man and landlord, who happens to be a gay Taiwanese American who has yet to reveal his sexual orientation to his traditional Taiwanese parents. Out of fear of causing disappointment and shock to his recently removed and prestigious military father, as he is recovering from recent a heart-attack, Wei-Tung accepts a match-dating service arrangement, to uphold the happiness of both his parents. After the revealing of his homo-sexuality to his dating service date, Wei-Tung, as an excuse for the failure of the dating-service arrangment, lies to his parents by telling them he is engaged to a Taiwanese woman. In response to Wei-Tung's claim of marriage, his parents invite themselves for a visit, as Wei-Tung's father's last request in life is to hold his grandchild in his arms. Out of panic, We-Tung's male partner, Chris, suggests the marriage to a tenant of We-Tung's, Wei-Wei, as she needs the arrangement of marriage in order to acquire a green card. As both, Wei-Wei and Wei-Tung, agree upon the proposition, drama and chaos ensues as the couple tries to portray personas they realistically are not; Wei-Wei, a cooking and cleaning house-wife, and Wei-Tung, a hetero-sexual male. After a passionless and undignified town hall wedding, Wei-Tung's crying mother takes the couple and hersbund, in addition to Chris as a “ friend and landlord”, out to eat at a Tawiwanese resturaunt, an ex-soldier of Wei-Tung's father, who happens to be the owner, demands to host the family a respectable wedding banquet. Following the alcohol-supplied wedding banquet, Wei-Tung and Wei-Wei make love after Wei-Wei's aggressive assertiveness  causing a an argument between Wei-Tung and Chris; through which, We-Tung's father learns the whole truth. As a Hollywood-type ending would entail, Wei-Wei decides not to have an abortion and both, Chris and We-Tung, agree to help raise the baby under the blessing of Wei-Tung's father, while the love shared between Chris and We-Tung remained strong, and prevailed in the end.

     The themes of cross-cultural and cross-generational differences echoed throughout the film: Old -school generation, a generation of tradition and respect, and new-school generation, a generation of new beliefs and achievement through self-happiness; not upholding of family tradition. The lesson of the film, while not always the actual result in life, is that the older generation will be accept something they do not understand, or agree with, as long as it makes their children happy.

     Although I found the film to have a typical Hollywood type ending, it was still an entertaining film. For a romantic comedy, I found it enjoyable due to the theme of cross-cultural and cross-generational differences and misunderstanding, as it was a well-thought up plot that creatively addressed a cross-cultural/generational theme.  

Walk on Water

     Walk on Water is a 2004 film, directed by Eytan Fox, that is centered around a successful Israeli Intelligence assassin, Eyal, who is struggling with issues and personal views of life, death, hate, prejudice, and self, as brought on by the recent suicide of his wife. With concerns regarding his mental and emotional state following his wife's suicide, Eyal's father, who serves also as his boss, assigns Eyal to a more subtle and non-lethal mission of befriending Axel, the grandson of a long-time fugitive Nazi war-criminal, in an attempt to obtain information on the his grandfather's present whereabouts. It is through the mission and the unanticipated relationship formed with Axel, in which Eyal embarks on a journey of personal evaluation and transformation, as he is faced with, and challenged by, the morals and dilemmas of forgiveness and acceptance that have previously defined his life, disposition, purpose, and beliefs. As from being a product of an Israeli militant culture, Eyal has a cold disposition as he sees the present-day world from an old-fashioned view; Eyral still looks at all Germans and Muslims as the enemy, and homosexuals are people he cannot be associated with as they are different and foreign. It is through the experience and exposure of Axel's views and disposition, in which Eyral has a revelation in regards to his life and self. Through his visit to Germany, Eyal transforms from hate-filled human being who believes to know his place in the world, to a man of question and wonder as he opens up to Axel in regards to his past and questioning of things he does not understand, such as homosexuality. Eyal's pinnacle moment of change occurs when he chooses not to kill Axel's ex-Nazi grandfather and comes to the realization that he is tired; tired of hating, tired of killing, and tired of being cold. The film ends with Eyal writing Axel a letter inviting him to visit his nephew, as Eyal has settled down with Axel's sister, Pia, to have a child and try a different new kind of life, more fulfilled life not defined through hate, but one defined through experience, appreciation, happiness, and love. It is not until Eyal removes all the negativity and hate in his life, in which he can dream and envision himself, with Axel, walking on water.

    

     The primary themes which are evident in Walk on Water are those of hate and acceptance. Eyal is the definition of hate, as he is an Israeli assassin who has open disdain and resentment towards Arabs, Homosexuals, and Germans. It is not until Eyal's one on one exposure with Axel and his philosophy of life, in which Eyal begins to realize his hate has ruined his life, and anyone he comes in contact with. It is finally in the end of the film in which Eyal can accept himself; himself, in regards to revealing of being born in Germany as well as himself being the reason his wife committed suicide, his hate depressed her and ruined her to the point she could no longer live with it. Eyal in the end seems to finally find happiness as he has learned to experience life, rather judge it, as is expressed through his relationship with a German woman as well as his dreaming of walking on water.

     Although at times the story line seemed to drag, I thoroughly enjoyed this film. I especially liked symbolism of the repeated varied versions of Buffalo Springfield's “For What It's Worth”, as it is a song about tensions and restrictions placed upon by society. Overall, I recommend this film to anyone who enjoys coming of age films, and films which subtly bring into question societal issues and problems through simple themes and creative plots.

Tsotsi

     Tsotsi, a 2005 film that is written and directed by Gavin Hood, takes its viewers on a journey into the life of a young gang leader, Tsotsi, as a series of events causes the troubled protagonist to reflect upon his past, as well as re-evaluate his present views of life and of himself. At the beginning of the film, Tsotsi is depicted as a volatile and troubled teenager living in the slums of present day South Africa, as he leads his gang of fellow troubled teens into nightly violent acts of robbery and muggings. Following a violent assault, in which Tsotsi inflicts upon a member of his gang as a result of an argument over a mugging turned murder, Tsotsi goes rogue and shoots a woman while stealing her car in the wealthy community of South Africa, leading to the discovery of the victim's baby in the backseat. The decision to take the baby with him, instead of leaving the infant alone in the crashed car, reveals an existence of compassion buried within Tsotsi. The struggles, which accompanies the caring of a human infant, cause Tsotsi to reminisce about his childhood; which in turn stir up painful childhood memories of his mother's death; as well as his running away from home to live with orphans in the harsh wilderness, instead of with his abusive father. As a way to symbolize his acceptance of putting his past to rest, Tsotsi, chooses to call the infant by his own real name, David; further showing the progress of Tsotsi's transformation into a full human-being as he discovers his buried emotions. As to fully complete Tsotsi's transformation, he returns the stolen baby to the mother he stole it from; hence, completing the cycle of transformation as Tsotsi ends his journey at the point of where it began, and yet as a completely different individual.

     The themes, which are demonstrated in the film Tsotsi, are those of redemption and finding peace. The journey, in which Tsotsi experiences throughout the film, causes the protagonist seek redemption and forgiveness within and from himself, in addition to those he has previously wronged. The discovering and caring for the infant he stole form its mother, causes Tsotsi to reflect upon himself, as well as transform his cold and remorseless disposition. He not only returns the infant back to its mother, apologizes and offers shelter to the fellow gang member he assaults, but Tsotsi as well gives money to the homeless man in wheelchair he earlier assaulted. Tsotsi's experience of putting a child in harm, only to care and relate to the infant, triggers the yearning for redemption and peace that Tsotsi demonstrates throughout the film, Tsotsi.

     I thoroughly enjoyed the film Tsotsi. In addition to the plot and characters, I liked how scenes and interactions of emphasis were depicted and shot with limited, and in some cases, no dialogue at all; the importance of symbols and scenes was emphasized, or demonstrated, through actions,expressions, as well as reactions. The director, Gavin Hood. did an exceptional job of taking his viewers on a first-person journey of redemption and transformation as depicted through his protagonist, Tsotsi. 

Shanghai Triad

     Director Yimou Zang's 1995 Shanghai Triad is a film that follows the journey of young peasant boy, Shuisheng, as he is recruited by his uncle to work as a servant for a Chinese mafia-type gang. Shuisheng, like his uncle, is recruited from the poor life of farming solely for the the purpose of being a servant to Boss Tang; but in Shuisheng's case, a servant to the Boss's Mistress. As expected, Xiao Jingbao, the boss's mistress, is conceited and arrogant as she constantly disrespects Shuisheng and orders him around. Only a few days pass for Shuisheng in his new life of being constantly disrespected by Xiao, in addition to being locked in his room when she receives a male visitor who happens to be Boss Tang's right hand man, Mr. Song, before he begins to regret his decision and begs his uncle to leave. Only to be met with a temper and slap in the face from his uncle, Shuisheng must not only accept his new life, but must also accept the loss of his uncle, who is killed shortly after their disagreement in assassination attempt on Boss Tang's life. Boss Tang although injured, is not killed, and takes his closest associates, including Xiao and her servant, to accompany him on a remote island as he goes into a time of hiding and healing. Here, on this island, Shuisheng develops a liking to Xiao as she has nobody to talk to except for Shuisheng, and the farmer who cares for Boss Tang, along with her pretty young daughter. While using the bathroom in the woods, Shuisheng overhears the voices of two men claiming to be sent by Mr. Song in order to kill Xiao and Boss Tang. In response to hearing this scandal, Shuisheng rushes to Boss Tang's cabin, where Boss Tang, Xiao, and Mr. Song are all present, to warn Boss Tang of the murderous plan in which Boss Tang surprisingly already knows the details of. Upon revealing the plan in which Shuisheng thought he recently discovered, Boss Tang, has Mr. Song, along with Xiao, killed for trying to overthrow him and trying to make him look like a fool by having relations behind his back. In response to Boss Tang's ordering of Xiao's death, Shuisheng rushes to her defense as he is easily overpowered and strung upside down on Boss Tang's ship as punishment. It is in the final scene, as Boss Tang's ship leaves the remote Island, in which Shuisheng, hanging upside down, learns of Boss Tang's order of the killing of the farmer woman, who was caring for him on the island, while also taking her pretty young daughter with the intentions of turning her into the next Xiao Jingbao. The coin, in which Xiao gave Shuisheng to help start a business someday, falls from Sheuisheng's pocket into the deep water symbolizing how another honest dream and another simple person from a poor background is consumed by the vicious nature of the mob, yet again.

     The theme of organized crime being a poison, a toxin, to people, dreams, happiness, and honesty is paramount throughout the film, Shanghai Triad. Even as confessed by Xia, she was a young innocent girl from a humble family, until the day Boss Tang came into her life and turned her into what she is. Shuisheng, although not yet corrupted, still lost his uncle and a future of free-will to the world of organized crime, as well as did the pretty little girl and her mother, the farmer and care-taker of the Boss Tang upon the island. As summarized in the closing scenes of Shanghai Triad, all people who cross paths with Boss Tang and his gang, end up dead or prisoners/servants.

     Overall, I enjoyed Shanghai Triad, and would strongly recommend it. Although it may be far from an action packed and exciting movie, Shanghai Triad consists of a cast of good actors whose talents all come together in an intriguing plot that uses symbolism to enforce and reveal the underlying themes.

Moolaad'e

     Writer and director, Ousmane Sembene, brings to attention the issue of female genital mutilation within Africa, through his 2004 film, Moolaad'e. The protagonist  Coll'e, is a woman who shelters and protects young girls, withing a small African village, during the periods in which female genital mutilation is enforced upon young girls. Despite the constant verbal assaults made by the men of the village, along with the tribe of women who perform the mutilations, Coll'e stands strong to her convictions. Finally, after growing tired of her defiance, the men of the village force her husband to publicly beat her until she gives-in, to which she does not. At the moment of her beating, the only person who comes to her defense is, ironically, the town merchant, Mercenaire. Mercenaire is depicted as a traveling, as well overpriced, salesman who travels from great distances to sell goods to the impoverished village. The important symbolism of Merchant, at least in my opinion, is how he is the only character, besides the one engaged son, who has traveled outside the village; hence, the only character with convictions and morals. Although depicted as a conman, Mercenaire, is the only one who shows any decency and mercy when he halts the beating of Coll'e, resulting in his chasing out of town, and possible death. In the end, Coll'e's persistence prevails, ending in the ceasing of female genital mutilations within the village.

     The themes which echoed throughout Moolaad'e are those of courage, and knowledge of the world. The theme of courage is obvious through the symbolism of Coll'e and her actions. Coll'e publicly stands strong on the popular opinion of the victims, when no one else would stand by her side; resulting in her perseverance against punishment and enforcement, which sparks the other women to rally behind her. The theme of knowledge of the outside world is represented through Mercenaire, as well as the engaged son. While the engaged son seems educated and knowledgeable through his exposure of the outside world, he stills seems confined and controlled by traditional village beliefs, unlike the foreign Mercenaire. Mercenaire, being removed from village roots, has been exposed to “small-town” thinking, and knows when he sees something unjust, and will stand up against it; as demonstrated through his military story.

     I thoroughly enjoyed the film Moolaad'e as brought light upon an unknown societal issue among first world countries. Although as real and disturbing as the plot may be, it it is a beautifully visual film with beautiful and natural scenery. I would recommended this film to anyone who is interested in document-style type films. 

Children of Heaven

    The 1997 film Children of Heaven, which is directed and written by Majid Majidi, is a very powerful and beautiful story of a brother and sister in poverty stricken Iran. After losing his sister Zahra's shoes, Ali comes up with the idea of sharing his shoes with his sister out of love and respect for her, as well as for their hardworking father, as Ali does not want make his father feel pressured into spending money they do not have for a new pair of shoes. Despite the pressures from school, for being frequently late since the the shoe-sharing idea, Ali continues to stay loyal to the shoe-swap plan and refuses to reveal the shoe dilemma as his reasoning for consistent tardiness; which, seems to to be out of respect for his family as not to embarrass or put further pressure on their impoverished life-style. A very powerful scene in the movie occurs when Ali goes with his father for a day to earn money through gardening work in a wealthy area of Iran; it is within this setting in which Ali's father's lack of education and social skills comes on full display, one of the infamous formulas that equals poverty. Ali's father, although a very dedicated family-oriented man, does not possess the skills to even inquire about a job, rather it is Ali and a wealthy child's yearn to play with him which gets his father paid work; hence, money for the family. In the end of the film, after a tearful plead to the school's coach, Ali gains the opportunity to participate in a monumental race involving the top fastest boys from each of the schools of the area; with the third place prize being a brand new pair of shoes. Determined to win for his sister, Ali makes every possible attempt to finish third, only to be over inspired by his love for his sister and push himself to the limits, finishing first place, leaving Ali in tears as he receives much applause for his victory; but no pair of shoes. Although a the end of the film, Ali arrives home empty handed and saddened over his broken promise of winning shoes for his sister, he truly is the one who comes through for his sister and family as the camera cuts to the scene of his father, using the money they earned working in the wealthy area of Iran, to buy two new pairs of shoes.

     For a simple film, the themes of Children of Heaven were as equally simple; poverty and respect. The true beauty of this film lies within the camera work, as the themes of poverty and respect are strengthen through the use of the camera. The hardships of poverty are perfectly defined throughout the film, as director Majid Majidi uses multiple close-up shots on Ali's worn and torn shoes, especially in Zahra's chase scene through the street gutters. Just the pure determination and desperation that is shown of Zahra's chase and desperation, as she constantly chases and swats at the floating worn and torn shoe, perfectly, but beautifully, captures the pain and survival of poverty. Even the scene of Ali's father seeking work in the wealthy area of Iran is powerful, even though sad, as Ali's father almost looks like a buffoon as he speaks to landowners through their intercoms, but constantly runs away when knowing how to react to barking dogs and people asking of his business; the pity of poverty powerfully captured. Ali, through his actions, demonstrates tremendous amounts of respect, as above all cost even above himself, he constantly thinks of his family and sister in all trying times.

    This is film is creative and beautiful in my opinion. Director Majid Majidi takes a very simple plot, and transforms into a a powerful and moving story. This movie, I feel, should inspire all aspiring playwrights and directors, as it is a movie that is defined through the way it is portrayed. In today's society of overused movie ideas and themes, a film can still be unique and original through the way it portrayed, directed, and shot. I fully enjoyed and respected this film as I would recommend to anyone, especially              those aspiring to create films of their own.  

Bombay

     The 1995 Bollywood film Bombay, which is directed and written by Mani Ratnam, is a love story centered around the real life incidents involving the tensions and riots which occurred over the co-existing Hindu and Muslim religions in Mumbai, India. The young protagonist lovers, a Hindu man and Muslim woman, fall in love, marry, and move to Mumbai, despite the disapproval and rejection they receive from the strongly Religious convicted families. As the two lovers form a new life and a family of their own in Mumbai, present-day Bombay, their parents, especially fathers, coincidentally visit at the same time to make amends with their children. During the visit in which the parents reunite with their children and each other, ending the family feud between the rivaling fathers, Bombay erupts in violent riots between Hindu's and Muslim's over the conflict of which Religion is the prime belief of India. The riots intensify, leaving the parents of the young lovers dead from a fire and the their two sons lost and lone in civil-warring Mumbai,India. Director Mani Ratnam does an admirable job of using the Bollywood style of song and dance to depict and tell his story of love, forgiveness, and the real joys, in which define a beautiful life among the stupidities and pointlessness that corrupts the world. The basis of a love story centered around such a pivotal and violent event in India's history, is an ingenious strategy in regards to showing how violence and pointless disagreements poison and destroy life's beautiful joys of family and love. Despite the pain and loss experienced by the protagonists throughout the riots of Bombay, the couple finds a happy Hollywood-type resolution as the film ends with reuniting of their unharmed sons, in addition to the emphasis of the tragedies of pointless violence that is demonstrated through the father's impassioned closing speech.

     The themes of Bombay are pretty evident as violence, especially over differences over Religion, is destructive In addition to theme of violence and it's destructive nature, the perseverance and strength of love is a paramount theme echoed throughout the movie as love is the on thing that unites the film's protagonists, and is the on unwavering symbol of goodness that still stands in the end among all the chaos, hate, and death.

     Overall, despite the foreign Bollywood style of incorporating multiple song and dance montages, which seemed to at times distract from the film's plot and story flow, it was an enjoyable film. Even as much as some of the montages seemed to distract my interest in the film at certain points, they as equally, at certain points, helped add to the film's draw and and strengthen film's message and themes, as the montages seemed to depict emotions and experiences that wouldn't have been as powerful if told through direct simple dialogue.

Bad Education

      Bad Education is a 2004 Spanish film, directed and written by Pedro Almodovar, that begins with the re-acquittance of two supposed childhood friends and former lovers, as they discuss their current situations in life over the introduction of a movie script, which leads to the revealing of their scandal ridden past; while forever changing their lives. Ignacio, or the man claiming to be Ignacio, appears at office of his old friend, Enrique,as a begging actor looking for work and hoping to cash in on an old relationship tie. After Enrique, a present day film producer and director, reveals his lack of ideas, hence lack of work; the assumed Ignacio, now demanding to be called Angel, reveals a movie script he has written, entitled, “The Visit”. With the introducing of “The Visit”, the film reveals Enrique and Ignacio's past relationship as childhood friends and lovers through a series of flashbacks, as the script is a fictional screenplay based on the two's actual relationship and experiences as students of a religious, assumed to be Catholic, boarding school; with an added fictional plot detailing their adult lives. It was at that very boarding school in which Enrique and Ignacio met, shared love and a sexual experience, and were instantly broken apart by Ignacio's sexual molester, Padre Manolo; the same man who serves as the pedophile antagonist in Ignacio's screenplay, “The Visit”. After Ignacio, now demanding to be called Angel, runs off angered with Enrique's choice of not having him star as the lead role, Zahara, Enrique chooses to look for Ignacio at his mother's home. Once Enrique arrives at Ignacio's childhood home, he quickly discovers that Ignacio has been dead for some time and his brother, Juan, now demanding to be called Angel, has in fact tricked Enrique into believing he was Ignacio in an effort for a chance to make it big as an actor. Even after learning of Juan's deceit, Enrique chooses not to confront the man claiming to be Angel, and even makes him the lead role in the film in exchange for sex. It is not until during the production of “The Visit”, does Enrique receive a Visit from Padre Manolo claiming that “The Visit” is actually a non-fiction screenplay, due to the fact that the script is not only based on the actual blackmail, but is as well serves as the actual blackmail in which the real Ignacio arranged against the priest before Padre Manolo and Juan ultimately killed him. As soon as this stunning story of deception and greed is revealed, the film ends with the textual telling of Juan's success as an actor and Juan's hit-and-run murder of his former lover- turned blackmailer priest , Padre Manolo.

      The theme of Bad Education that seemed paramount was cynicism, as it was feature shared by all four characters involved. Everyone knowingly used someone else for their own gain: Padre Manolo used a young Ignacio for sex and Juan for sex and eventual blackmail, Juan used sex to lure Padre Manolo into helping kill Ignacio and both Ignacio and Enrique to jump-start his acting career, and Enrique used Juan for sex in exchange for the lead role in his movie. It was a film that featured vicious and cynical characters that were all in way some intertwined in web of lies and deceit; it had many characters of a Neo-noir style film. The Neo-noir reference is even heavily suggested towards the end of the film when both Juan and Padre Manolo are leaving a movie theater that is showing only films of Film noir, and Padre Manolo makes a statement along the lines of, “I felt as if those movies were talking about us”.

      

      As a viewer of this film, do not only expect a heavy load of sexually-oriented scenes and innuendo’s between males, but also expect a masterfully written script that creatively uses the elements of drama,deceit, mystery, and murder. While Bad Education hit some slow and anticlimactic scenes, it's underlying ironic plot paired with it's many surprising twists, makes this particular work of Pedro Almodovar's a must watch for any fan of the Neo-noir and mystery drama genres.  

“Cinema Paradiso”

The film Cinema Paradiso, which is  directed by Giuseppe Tornatore, is a fictional Italian film from 1988 which focuses on the recollection of a man's past, as the death of a childhood friend causes the protagonist, Salvatore Di Vita, to reminisce about life as a poor Italian boy from a poor Italian village. The film follows Salvatore as a young boy growing up without a father, who was killed in action during war times, as he finds escape and enjoyment in the village's movie theater, as well as a friend and companion in the theater’s projectionist, Alfredo. The relationship between Salvatore and Alfredo originally stems from their equal love for cinema and film, and evolves into a beautiful companionship where each character fills the voids in the others' life; Alfredo serving as a wise, guiding, and insightful father figure to Salvatore, and Salvatore serving as a friend and son figure who seems fill the voids of youth, education, and enjoyment that Alfredo is lacking. The companionship between the characters remains steadfast and strong throughout the film as it serves as the principal foundation that gives both Alfredo strength to accept and live with becoming impaired by blindness, as well as guides Salvatore through the struggles of love, desires, and dreams that accompany the life journey of growing up. Salvatore’s present day situation of “rags to riches” story is all credited to Alfredo's pleading to a young Salvatore to leave their poor village and it's humble promises, in which Alfredo's death triggers a present day Salvatore to reflect on his humble beginnings of life and the beautiful life impacting relationship he formed with his friend, as is depicted in the beautiful film, Cinema Paradiso.

Even though Salvatore, along with his experiences of life and his relationship with Alfredo, serve as the main characters and plots of the film, it is the movie theater, Cinema Paradiso, that stands as the underlying paramount theme and heart of the story. As the sub-plots of Salvatore and Alfredo occur throughout the film, it is in fact the theater and it's symbolism of community that steals the spotlight and serves as the film's most important underlying theme. The village theater, which eventually becomes named Cinema Paradiso, is the escape and unity that all the villagers, including Salvatore and Alfredo, desire and need during the difficult times of poverty and war. It is in the theater where the village comes together as a community; people pull jokes on each other, finish each others' famous rants of anger, have sex publicly, and engage and discuss with each other. As movie viewers who live in the 21^st century watch Cinema Paradiso they become exposed to almost a world they never knew existed. It is refreshing and even enlightening to witness how something such as a simple movie theater can serve as a community identity, as everyone in the community finds pride, association, identity, and most importantly unity, in a public institution as such the movie theater depicted in Cinema Paradiso.

I did fully enjoy the movie. It is usually with movies such as Cinema Paradiso in which I seem to find the most unexpected enjoyment in watching as I grow older, probably due to it's emphasis on the simple beauties of life and experiences. It is in everyday occurrences and experiences in which people become spoiled, such as falling in love, a simple conversation with an old friend, or having the opportunity to visit a favorite place of conversation and leisure such as a movie theater. It is films such Cinema Paradiso that when watching, removes it's viewers from their everyday constraints and occupiers and allows them, even if only for an hour or two, to remember and appreciate the simple beauties of life and experience that are always taken for granted.