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I was watching a movie this week, a very good one, that will open Friday here in Chicago. As sometimes happens, it led me into a realm of thinking that was not directly connected to it--or perhaps it was. It literally enters into a famous painting, Bruegel's "The Road to Calvary," and walks around inside of it. How often do we find ourselves entering a painting? Sitting on Van Gogh's bed? The discovery of perspective encouraged us to think of paintings as spaces available to us.
The title suggests the execution in this case is of Christ; the painting transposes his Crucifixion into another land and time. The theme is the same: Death justified by invaders on religious or nationalistic grounds. But Christ is not the central figure of the painting; the group around the christ-figure are part of hundreds of figures, most of them not concerned.
This is a theme found in another famous Bruegel painting, "The Fall of Icarus," concerning the legend of the young man who built wings and attempted to fly. He flew too close to the sun, which melted the wax in his wings, and he fell to his death in the sea. This painting is also a vast land and sea scape in which the event in the title is simply a detail in the busy rush of life--two legs disappearing into the ocean, easy not to see.
Bruegel is in reaction to the tradition of narrative painting where the subject is the focus of attention. His painting shows the full sweep of Fleming society, of people and animals going about their daily affairs, most of them unaware of the great event that is taking place.
Of the film's extraordinary artistry and beauty I will write in my review. My concern today is with the way the film selects one detail in the canvas and explains it. On the right side there is a pole fixed in the ground with a wagon wheel attached to its top.