In the Marvel Cinematic Universe, two powerful characters often associated with supernatural abilities are Vision and Scarlet Witch. These characters have developed a close relationship over time in the comics and on-screen. Both characters possess unique powers and together they make a formidable team. Vision, created by Ultron using the body of the android named J.A.R.
R.V.I.
Film Review: ‘The Vanquishing of the Witch Baba Yaga’
A poetic, mesmerizing fusion of fairy tale and cultural commentary from director Jessica Oreck.
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Nature and civilization square off in Jessica Oreck’s poetic meditation-cum-documentary “The Vanquishing of the Witch Baba Yaga.” Alternating between two complementary narratives (fairy-tale and cultural-anthropological) in two languages (Russian and Polish) and two formats (animation and live-action), Oreck spins a mesmerizing web that appropriates a wealth of disparate Eastern European images — of mushrooms, farmers, falling trees and war-destroyed buildings — to illustrate its lyrical discourse. Probably less accessible than Oreck’s feted entomological curio “Beetle Queen Conquers Tokyo,” “Baba Yaga” ventures closer to experimental film, breaking new ground with calls to the collective unconscious that should lure adventurous arthouse auds.
The story Oreck tells is simple: Man, fearing nature’s wildness, builds walls against it and demonizes it in folklore. But there is another, far more violent force within man himself that, once unleashed, sends him fleeing to a wilderness that now affords sanctuary. Eastern Europe, with its war-torn history and amalgam of ancient and modern customs, seems an obvious setting for Oreck’s dual narrative. And using alternating voices — Tatyana Zbirovskaya dramatizing the fairy tale in Russian, Mariuz Wolf offering selected cultural insights in Polish — adds immeasurably to the film’s mystique. It is doubtful that the film would pack a similar wallop in English: The almost unbroken flow of unfamiliar syllables (so that subtitles need to be deciphered by another part of the brain) hypnotically streams into the very unconscious of which it speaks, gathering eclectic imagery on the way.
Oreck’s version of a well-known Slavic fairy tale replaces a wicked stepmother with hostile soldiers as the reason two children must venture into the woods. There they encounter Baba Yaga, a fearsome witch who flies around in a giant mortar and lives in a movable hut mounted on chicken feet. She demands near-impossible tasks of the sister and brother, threatening to eat them if they fail. But, aided by small representatives of nature — a talking mouse, cat and sparrow — the duo accomplish her bidding. Foiled, Baba Yaga must allow the children to leave, reluctantly giving them a magic comb; fleeing marauding soldiers, the boy throws the comb on the ground whereupon it transforms into an impenetrable thicket. The siblings wander in the forest where they are reunited with their mother and all live happily ever after.
Oreck presents this fairy tale as a series of animation storyboard panels, rendered with 3D perspectives. Though these illustrations do not literally constitute animation — there is no frame-by-frame character movement linking one drawing to the next — the camera simulates storytelling by constantly roaming the panels, zooming in and out and slowly panning across surfaces.
The Polish monologue, borrowing freely from evocative poetry, musings and memoirs, encompasses a far less cohesive procession of live-action images. Occasionally the images literally complement the words: When the narrator intones “Beyond the grasping reach of civilization, lost within the indistinct shadows of the forest, certainty falters,” the camera moves with disorienting swiftness through a contorted forest landscape, past Old World tableaux of bucolic enclaves where old men sit on wooden benches smoking pipes as horse-drawn wagons clomp past. But after “It is in the objectification of the world that man becomes unknowable,” the camera travels, picking up speed, past a “Weekend”-like traffic jam of stalled vehicles.
Rundown, modern-day apartment buildings afford a variety of long-shot vistas, with individuals on balconies engaged in sundry activities. Grocery storefronts at twilight assume a mystical glow, while the lights of oncoming vehicles are glimpsed between the shapely legs of high-heel-clad women. Deserted, war-ravaged edifices and a crumbling schoolhouse, littered with upturned benches and curling book pages, silently attest to the cost of civilization.
Though the alternation between Devin Dubrolowski’s carefully crafted drawings and d.p. Sean Price William’s freeform 16mm live-action sequences yields no overt throughline, Oreck’s vision holds fast to its premise.
S., is often described as a synthetic being with a vibranium-laced body and an artificial mind gem embedded in his forehead. He possesses superhuman strength, density manipulation, the ability to fly, and the power of energy projection. Vision's artificial mind allows him to process information at an incredibly fast rate, making him one of the most intelligent characters in the Marvel universe. On the other hand, Scarlet Witch, also known as Wanda Maximoff, is a mutant with the ability to manipulate reality to a great extent. She can alter probabilities, create energy blasts, levitate objects, and even reshape reality itself. Scarlet Witch's powers are rooted in chaos magic, making her one of the most powerful characters in the Marvel universe. In the comics, Vision and Scarlet Witch have a complex and often tragic love story. They married and had children, but their happiness was short-lived as it was revealed that their children were actually fragments of the demon Mephisto. This revelation led to the dissolution of their relationship and a long period of separation. On-screen, the relationship between Vision and Scarlet Witch has been explored in the Marvel Cinematic Universe through movies like "Avengers: Age of Ultron" and "Avengers: Infinity War". In "Age of Ultron", Scarlet Witch joined the Avengers and formed a bond with Vision, as they were both new members of the team. Their connection grew stronger in "Infinity War" when they fought side by side and displayed their powers in tandem. However, tragedy struck again when Vision became the target of Thanos, who wanted to extract the mind gem from his forehead. In a heartbreaking scene, Scarlet Witch was forced to destroy the mind gem and kill Vision in order to prevent Thanos from obtaining it. This moment showcased the depth of their love, as Scarlet Witch had to sacrifice her love in order to save the universe. Despite Vision's death, there have been hints and teases that he may return in some form, potentially reuniting with Scarlet Witch. The upcoming Disney+ series "WandaVision" is set to explore their relationship further, suggesting that their story is far from over. In conclusion, Vision and Scarlet Witch are two powerful characters in the Marvel universe with a complex and tragic love story. Their unique abilities and strong connection make them an intriguing duo, and their journey has captivated audiences in both the comics and the Marvel Cinematic Universe..
Reviews for "The Redemption Arc of Seeing and Scarlett Witch: From Villain to Hero"
1. John - 2/5
I have to say, I was quite disappointed with "Seeing and Scarlet Witch". The show felt slow-paced and dragged on for too long. The plot was confusing and lacked proper development, leaving me feeling disconnected from the characters. The action sequences were few and far between, and when they did happen, they were underwhelming. Overall, I found the show to be dull and unsatisfying.
2. Emily - 1/5
I don't even know where to begin with "Seeing and Scarlet Witch". The storyline was all over the place and didn't make much sense. It felt like the creators were trying too hard to be unique and ended up losing sight of what made superheroes interesting in the first place. The dialogue was cringe-worthy at times, and the acting didn't do much to redeem it. I found myself losing interest within the first few episodes and had to force myself to finish the series. Definitely not worth the hype.
3. Mark - 2/5
I had high expectations for "Seeing and Scarlet Witch" but was ultimately let down. The show tried to explore complex themes and introduce new elements to the Marvel universe, but it felt disjointed and convoluted. The chemistry between the two main characters seemed forced, and their motivations were unclear. While there were a few interesting moments, they were overshadowed by the overall lackluster execution. I wouldn't recommend this show to die-hard Marvel fans, as it falls short of expectations.
4. Sarah - 2/5
I found "Seeing and Scarlet Witch" to be a disappointing addition to the Marvel franchise. The plot lacked depth and failed to engage me emotionally. The characters felt one-dimensional and lacked development, making it difficult to invest in their journeys. The visual effects were decent, but they couldn't salvage the underwhelming story. Overall, the show felt like a missed opportunity to explore the potential of these beloved characters and left me unsatisfied.