The film Jasminum made both positive and negative impressions, but overall was enjoyable to watch. The production is aesthetically very good, with attractive settings, music, and characters. It was often difficult to figure out what was happening and why, however, and the film's final message was somewhat ambiguous. Kolski's habitual style of "magical realism" was evident throughout the film, affecting the director's development of characters and backgrounds as well as theme.
The fairy-tale-like atmosphere of this film entailed the use of characters who lacked any particular depth. Kolski's story did not delve much into the personal thoughts and developments of any individuals, focusing rather on their interactions as symbolic types. Most characters were used to represent particular feelings or aspects of the human character; they were symbolic types rather than developing beings. Patricia, the blond hairdresser, was portrayed as a somewhat shallow woman desperate for a partner, Sanitas as a monk simply following his orders and duty, and even Natasha's inner troubles were probed very little. The Father, also, did not act his part with any particular religious inspiration; nor did either of the brothers who were there together with Birdcherry.
The monastic setting, too, seemed chosen primarily for its archaic and magical appeal, for the film was surprisingly devoid of religious expression given its overt placement in a monastery. This could be the director's active judgment on the worth of monastic life (as is hinted when all three of the brothers come out of their silence and admit they don't really know what they're doing there), but it is more likely that the monastery is simply used as a nice background for the various love stories with little religious connotation.
These outward symbols clearly designate Jasminum as a fairy tale, but what the tale is actually about is more difficult to say. Part of what keeps the film interesting is that the viewer spends a good deal of time trying to figure out the plot and understand the message. One of the film's major themes was clearly related to love. Just what Kolski was trying to say about love was not entirely obvious, however, or at least one hopes that he had some deeper thoughts about love than those that came out most strongly. The intertwining of the ghostly Jasmine's love story with numerous subplots, her involvement with the monastery since its beginnings, and the sainting of Sanitas after he brought about her reunion with her lover all point to the centrality of her theme in which lovers are united despite great obstacles. The story of Patricia's infatuation with her actor was introduced rather late in the film, yet had become one of the central subplots by the end. In a sense her story is the central one, representing the triumph of love (so-called) that so many other characters desire. As such, Kolski paints a rather depressing picture of love. The actor, who was portrayed as a rude and unpleasant man, suddenly fell madly in love with the hairdresser after being exposed to the right perfume. Rather than treating this as a shallow love or allowing Patricia any sort of realizations about her lover's nature, the director uses the story of their union to parallel the true love epitomized in the "reunion" of the bodies of Jasmine and the original Birdcherry.
While Brother Sanitas was portrayed as a good man, it was somewhat unclear why he was chosen to become a saint. Since general goodness did not seem to be valued so highly in this film as love, it seems likely that he was made a saint for his role in leading Natasha to Jasmine's body and thus causing the two dead lovers to be reunited.
The best thing about this film in my opinion was its aesthetics: beautiful music, idyllic setting, and attractive characters. These traits make it appealing to audiences who enjoy a film as an artistic experience. The somewhat difficult plot may discourage viewers who don't want to expend a lot of effort to follow it. If one takes Jasminum's theme of love too seriously, it may come across as disappointingly fatalistic and shallow. Kolski's film is best appreciated as a fairy tale.
The fairy-tale-like atmosphere of this film entailed the use of characters who lacked any particular depth. Kolski's story did not delve much into the personal thoughts and developments of any individuals, focusing rather on their interactions as symbolic types. Most characters were used to represent particular feelings or aspects of the human character; they were symbolic types rather than developing beings. Patricia, the blond hairdresser, was portrayed as a somewhat shallow woman desperate for a partner, Sanitas as a monk simply following his orders and duty, and even Natasha's inner troubles were probed very little. The Father, also, did not act his part with any particular religious inspiration; nor did either of the brothers who were there together with Birdcherry.
The monastic setting, too, seemed chosen primarily for its archaic and magical appeal, for the film was surprisingly devoid of religious expression given its overt placement in a monastery. This could be the director's active judgment on the worth of monastic life (as is hinted when all three of the brothers come out of their silence and admit they don't really know what they're doing there), but it is more likely that the monastery is simply used as a nice background for the various love stories with little religious connotation.
These outward symbols clearly designate Jasminum as a fairy tale, but what the tale is actually about is more difficult to say. Part of what keeps the film interesting is that the viewer spends a good deal of time trying to figure out the plot and understand the message. One of the film's major themes was clearly related to love. Just what Kolski was trying to say about love was not entirely obvious, however, or at least one hopes that he had some deeper thoughts about love than those that came out most strongly. The intertwining of the ghostly Jasmine's love story with numerous subplots, her involvement with the monastery since its beginnings, and the sainting of Sanitas after he brought about her reunion with her lover all point to the centrality of her theme in which lovers are united despite great obstacles. The story of Patricia's infatuation with her actor was introduced rather late in the film, yet had become one of the central subplots by the end. In a sense her story is the central one, representing the triumph of love (so-called) that so many other characters desire. As such, Kolski paints a rather depressing picture of love. The actor, who was portrayed as a rude and unpleasant man, suddenly fell madly in love with the hairdresser after being exposed to the right perfume. Rather than treating this as a shallow love or allowing Patricia any sort of realizations about her lover's nature, the director uses the story of their union to parallel the true love epitomized in the "reunion" of the bodies of Jasmine and the original Birdcherry.
While Brother Sanitas was portrayed as a good man, it was somewhat unclear why he was chosen to become a saint. Since general goodness did not seem to be valued so highly in this film as love, it seems likely that he was made a saint for his role in leading Natasha to Jasmine's body and thus causing the two dead lovers to be reunited.
The best thing about this film in my opinion was its aesthetics: beautiful music, idyllic setting, and attractive characters. These traits make it appealing to audiences who enjoy a film as an artistic experience. The somewhat difficult plot may discourage viewers who don't want to expend a lot of effort to follow it. If one takes Jasminum's theme of love too seriously, it may come across as disappointingly fatalistic and shallow. Kolski's film is best appreciated as a fairy tale.