To decipher the scent of a flower is not less than being an ordeal. One sure does derive hints of it, but never thoroughly dissects them into entirety. Same goes with the emotions that a flower breathes into our life. All we are familiar with is the fact that the presence of flower blends into a frame of our life, gets inspired from the aura, saturates itself with the emotions that are transpiring around and then begins to contribute to the environment in question. How? I shall enlighten you.
A frame of our life, a frame of cinema, a scene from our life, a scene from a film, all stand true to innumerable emotions that our soul harbors, all stand true to the events that are taking place. It can be fairly argued that a film is a piece of fiction – it comprises of a definite start, it concludes with a definite end. But can we claim otherwise when it comes to our life with surety? We can try to, but can never really succeed. There are always some surrealistic thoughts churning in our mind that tend to blemish that thin line between fact and fiction, making it cease to exist.
Perhaps, we are the protagonist of our own film. Let’s dive ahead into the nature of flowers, when it comes to cinema. Hopefully, it shall cast light on their very nature, when it comes to their presence and influence in the reality of our lives. Imagine two different scenes from two different pieces of cinema. Say in one particular piece of cinema, that is considered to be the epitome of classic cinema, the protagonist offers a beautiful red rose to the character that plays his love interest, implying the feelings of genuine love that he harbors for her, whereas in another crime classic, a victimized character, places a blood red rose on the grave of his father – a portrayal of sadness that he harbors owing to his father’s departure. A singular flower, bearing the same color, used in two different movies under different circumstances, and the effect it tends to play on our mind. We shall always regard the former rose as a token of love, while the latter rose shall always linger in and out of the windows of our mind, bearing the essence of sadness and despair, no matter how much alike the two roses are, when their appearance is taken in regard, they shall be polar opposites of each other when it comes to the essence they impart. They have faithfully incorporated within themselves, the emotions that surround them.
The Great Gatsby
Mr. Gatsby loved Daisy. Daisy herself was an ode to daisies, all beautiful and fragile, a beautiful victim to circumstances, swaying to and fro, from one person to another, as if in an unsure search of love. The interiors of her grand mansion are decorated with beautiful flowers that don the mellow of faint colors, her clothes bear fabric cognates of flowers that tend to impart their excessive influence in her life. For Gatsby, she was the one – the only one, the most beautiful woman for him in the entire world, hence in the cinematic adaptation of Gatsby’s story, the character of Daisy was developed, considering, that she stands true to her name and is synonymous with the flower itself.
Daffodils are of the dainty sort. Beautifully crafted by the motherly hands of nature, a single daffodil defines ‘beauty’, but an entire field flourishing with the likes of them, provide a tasteful meaning to the word ‘paradise’. In the cinematic piece, ‘Big Fish’, the protagonist Edward Bloom, knew that there was more to daffodils than what caught the eye. He was familiar with the significance that yellow daffodils held. New beginnings, rebirth and rejuvenated roads ahead. Hence, he flooded the garden of the girl he loved by planting beautiful yellow daffodils all over – a gesture towards a new life with her that he looked forward to, a nod to the feelings for her, that he accommodated in his heart.
Alice In Wonderland
The cinematic version of the wonderland held a mesmerizing appeal for the viewers. In wonderland, the mammoth dwarfed and the minuscule was inflated to gigantic proportions. Two queens who reigned this very land, with polar opposite beliefs were constantly at war. The Red Queen and The White Queen. The former infected with ego, jealousy, cruelty, hatred et al, whereas the latter was blessed with the boon of kindness and was thereby sympathetic. In a flashback sequence, a grown-up Alice is made to realize that she had once visited the wonderland as a child, and it was then, The Red Queen who had favored victorious over The White Queen, had made the little Alice to color all the white roses in her garden, transforming them to a robust shade of red. The white roses that were a symbolism of innocence, sympathy and purity were adored by The White Queen, whereas the red roses that were exemplary of energy, dominance, and harshness (when it comes to the negative aspect of red roses) were a favorite of the Red Queen. An interesting revelation, isn’t it?
In cinema, a person can be described into elaboration, owing to the kind of flowers, he/she prefers. In cinema, the crux of a situation can be determined by witnessing closely the kind of flowers that adorn the frame. In cinema, the nature of a person can provide more to the essence of a particular flower, in cinema a flower can derive the best of a situation and stand faithful to the situation. This is nothing, but a relativity, a form of art that is being utilized since time memorial, when it comes to the beautiful matrimony of films and flowers – two pieces of art, one created by man, the other fashioned by nature.