Alexander Cimini, Red Krokodil.

Red Krokodil
During my first years of philosophical learning, hedonistic age in which the great and enlightened thinkers tended me hand, I visited quite often the work of the Spanish philosopher and essayist Antonio Escohotado, “General History of Drugs”, an enlightening text where the phenomenology of these cultural and prohibited substances acquired a new dimension, quasi-magical, at least for my young and impressionable awarenesss raising my experimentation to a higher plane. Taking as certain some of the ideas that Escohotado defended wherever he was claimed, namely: “The drug is a work of culture” or even “knowledge seems positive,” naming just two, it’s difficult to understand the reality that surrounds the main protagonist -the drug is the other anti-protagonist of the story of “Red Krokodil”, directed by Domiziano Cristopharo and starring Brock Madson showing with rawness and realism the destructive effects of this substance called Krokodil (1), drug easily accessible that has hooked millions of people in Russia, so the director included in the final title the word Red, in clear reference to this dug’s birthplace. Therefore, it is curious how these two images of the same reality, the cultural and positive of Escohotado – idealized and romantic – and the visceral and self-destructive of Cristopharo are facing each other, for the sake of their different and conflicting proposals, the one with the other. Make use of these outdated ideas of my adolescence to contextualize a destructive and metaphorical reality -catalyzed by the music of Alexander Cimini- who alienates the subject through an hallucinogenic trip very well orchestrated and directed by the director and the composer.
Metaphor of compassion
Separate lysergic issues – hallucinogenic drug’s paradigm– “Red Krokodil” is a metaphor for the destruction that Domiziano exposes in a very explicit way, I would say too explicit, showing the devastating effects of a drug that leads the protagonist to despair. Locked in a room, as if a Guinea pig you were, alone, with the nightmare vision of an apocalyptic city built in the image and likeness of Chernovil, the main character fights with hallucinations and adding Krokodil produced as a metaphor for the destruction of guy.
                                                                     I cried tears of fire
                                                                     Clinging to death, mine
                                                                     I saw the apocalypse on my bones
                                                                     While I am devouring my conscience Krokodil
                                                                     … Krokodil, my death is near.
Well now if Cristopharo proposes as main storyline the metaphor of the destruction that affects the physical and psychological aspects which are destroying the protagonist, it is Alexander Cimini who through the music composes a heartfelt metaphor for compassion plasma intelligence despair of the protagonist, and that is, what is music ?, but a metaphor for the passions and perversions of the human being. Cimini translates the language of emotion of all, the most international, the view that the viewer has the images composing a melancholic leitmotiv -Red Krokodil Main Theme- showing the inner tragedy of the protagonist. The musician achieved with this delicate and enveloping melody performed by the cello of all instruments, the most humane, the audience feel emotion rather than horror and aversion to the appalling images2. The music achieves its purpose by getting the viewer, even knowing that self-destruction, put part of the protagonist-in that melancholy empathy which she spoke nesting inside the idea of ​​a salvation that never arrives. From this wrenching melody, porch Holocaust, the musician is describing -Alone- with the violin as a great ally loneliness Krokodil, red leviathan consequences, infringes its presence through the alienated man. Cimini music plays whit the violin and cello -Prologue / My Little Green crocodile- causing the viewer’s response looking between images output to despair.


Under the previously exposed is easy to guess that the intense work of Cimini has been to catalyze -in its second meaning, namely that of “forming and group forces” – the narrative mechanisms resulting from the duality of these two metaphors that music and the image projected on the reality of the protagonist. Now, the music not only develops in the plane of melancholy or emotion, as has been explicitly stated, but delves into the psychological aspects of paranoia hallucinations produced by Krokodil -My Mind-exert on the lonely look the destruction. Using environmental and ethereal sounds the composer aptly describes hallucinatory images that intoxicate sanity projecting on the space unreal silhouette of Krokodil.

Returning once again to the liturgy psicotrópica Escohotado teacher meeting a new affirmation that defines my current emotional and physical condition, an assertion that may seem far less controversy over accounting for a supposedly civilized society such as ours. Escohotado came to say, if memory serves me correctly, that “the drug is a matter of dosage …” and knowledge- -Responsibility, well, taking this assertion as true can say without fear of contradiction, that after hearing the Alexander Cimini work I consider myself, with all that this entails, a junkie of his Red Krokodil.
1 Also known as the zombie drug or heroine of the poor. Its main feature is gnawing the skin of addicts to leave the bones exposed. Consumer skin becomes greenish-like scales, as is the texture of some reptiles, hence to be known by the name of Kokodrile.
2 Text extracted from the web Asturscore interview conducted Alexander Cimini.

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