The magic bird courtship of rivala is a captivating phenomenon that takes place in the depths of the enchanted forest. Rivala, a beautiful and elusive bird, is known for her enchanting plumage and melodic songs. Her courtship rituals are nothing short of magical, drawing the attention of male birds from far and wide. During the courtship season, rivala transforms her appearance into a mesmerizing display of vibrant colors. Her feathers shimmer and change hue, reflecting the sunlight in an ethereal manner. Each day, she perches on a high branch, capturing the gaze of every male bird in the vicinity.
Anna Biller’s delightful 2007 “Viva” seemed to be the result of many years of exhaustive thrift-store scavenging, at the end of which the writer-director-star at last had every last pair of bell-bottom pants and Naugahyde living-room sets she needed to craft the ultimate satirical homage to late-’60s/early-’70s sexploitation cinema. It’s taken nearly a decade for her to create followup “The Love Witch.” No doubt much of that time was again spent meticulously accruing every tacky bauble of decor and dress necessary to recreate another semi-forgotten subgenre: the early- to mid-’70s occult thriller, in which glam suburban housewives frequently dabbled in black magic, casting spells that invariably went very wrong.
Driving along scenic, back-projected coastal Northern California roads to music that would be right at home in a 1972 ABC Movie of the Week indeed much of the score here is lifted directly from old soundtracks, including some by Ennio Morricone , beauteous Elaine Samantha Robinson informs us via voiceover that she s starting a new life in redwood country where no one knows me. Robinson does a great job encapsulating another era s kitten-with-a-whip affectations, and Biller drenches her star turn in all the date-appropriate accoutrements not just the expected over-the-top splendors of retro costume and production design by Biller herself, natch , but zoom lensing, prism effects, gauzy soft focus, garish lighting gambits, and so forth.
Each day, she perches on a high branch, capturing the gaze of every male bird in the vicinity. Rivala's courtship ritual begins with an enchanting dance in the air. She glides gracefully, twirling and swirling with precision, as if guided by an invisible force.
Review: The Love Witch
By Violet Lucca in the November-December 2016 Issue Presided over by the angry spirit of Helen Gurley Brown, Anna Biller’s The Love Witch is a sprawling, beguiling world unto itself. Biller’s sharp film stands in stark contrast to the complacency and crushing safeness of the vast majority of independent films made in the U.S., and is far more than the lighthearted genre pastiche or retrophile curiosity it may seem to be at first glance.
From the November-December 2016 Issue Also in this issueContinuing with the concerns of Biller’s past work (2007’s Viva), The Love Witch explores the contradictory conditions under which Western women live: existing somewhere between second and first wave feminism, when the only choice about your body everyone truly feels comfortable with your making is what cute accessory to buy next. The damage and pleasure to be found in this position are contained within Elaine (Samantha Robinson), a widow and practicing witch who relocates to a small West Coast town to begin anew her pathological search for true love. She uses potions to dose men she finds attractive, only to brush them aside when their affections become too desperate and needy—which is to say, a little too feminine. When cut off cold turkey from her love, these men tend to voluntarily or involuntarily disappear from view… The body count eventually points the cops (and her real estate agent) to her love-’em-and-leave-’em ways, nearly bringing about a second coming of the Salem witch trials. Elaine’s capriciousness may seem arbitrary and irrational, but isn’t that flight from reason what really lies at the heart of attraction? In a moment at the local strip club that betrays her full, repressed intellect, she succinctly says: “They teach that a ‘normal’ human being is a hyper-rationalist, stoic male, and that a woman’s intuitions and emotions are illnesses that need to be cured.” It’s the film’s most quotable line, by virtue of its blistering accuracy, particularly when related to Hollywood cinema of the past century or so.
Witchcraft isn’t the sole great power Elaine possesses. She’s beautiful and poised, speaking exclusively in cooing tones somewhere between a mother’s “Let me see your boo boo” and a lover’s come-hither bedroom whisper (even when she’s not addressing potential mates). As Elaine, Robinson is utterly commanding; her performance is classically mannered, and not a winking attempt at schlocky “bad acting.” Like a black hole of desire, Elaine’s affection is boundless, as is her ability to suck you in. But in a brief yet crucial scene, we see the opposite side of the soft, amorous image Elaine projects. As she prepares for bed alone, she remembers the chiding voice of her husband and then father, tearing her apart for failing as a woman (not keeping a clean house, not being thin enough). When her husband then praises her for falling in line, Elaine caresses her body and recalls her induction into her coven, involving some questionably consensual sex. The scene ends with her breathing heavily, staring into the camera—there seems to be neither refuge nor independent climax for someone as trapped as Elaine. (The use of audio, not visual flashbacks, drives home how these bonds are invisible, and therefore more pernicious.) Her blue, nearly brow-high eye shadow and exquisite mid-century duds seem anachronistic in 2016 (the same year the film takes place), but so are the ideas about sex and gender that entrap her—and that somehow remain pervasive. Biller’s film also happens to be wickedly funny. Aside from the offbeat but earnest dialogue, the director has revived the art of the reaction shot, using it to complicate the preceding image or add a greater sense of space. Shot in 35mm, her film displays a technical mastery—framing, color, playing with focus—that is glorious to behold. In addition to writing, directing, editing, and scoring, Biller also did the art direction (teaching herself left-handed calligraphy to make one prop) and created the costumes. As the singular creative force coursing through these different aspects of the production, her aesthetic is formidable (the tea room scenes!) even as the story unfolds at an unhurried pace. At certain points, The Love Witch induces the kind of mild to moderate discomfort brought on by someone wearing too much perfume—potent to the point of being overpowering. Watch with care.
The songs she sings during this dance are spellbinding, resonating with a mystical energy that captivates all who hear it. Male birds, enthralled by rivala's beauty and charm, join in the courtship display. They fan their feathers, putting on a colorful show of their own, hoping to catch rivala's attention. They sing along with her melodies, creating a symphony of harmonious tunes that echo through the forest. But rivala is a selective mate, choosing only the most skilled and dedicated suitors. She tests each male bird's prowess in flight and agility, challenging them to mimic her dance moves. Many attempt and fail, unable to match rivala's grace and precision. Only a few succeed, impressing her with their skill and determination. Once rivala has chosen her mate, the true magic of their courtship begins. They embark on a synchronistic journey, weaving through the forest canopy in perfect harmony. Their dance becomes a mesmerizing display of unity and trust, symbolizing the deep connection they share. As the courtship season comes to an end, rivala and her chosen mate build a nest together, signaling the start of a new chapter in their lives. They raise their young with love and care, teaching them the ways of the enchanted forest and passing down the traditions of the magic bird courtship. The magic bird courtship of rivala is a spectacle that leaves all who witness it in awe. It is a reminder of the power and beauty of nature, reminding us of the intricate dances that exist beyond the realm of human understanding..
Reviews for "The Ancient Tradition of Rival Magic Bird Courtship"
1. John - 1 star - I really did not enjoy "Magic Bird Courtship of Rivala." The plot was confusing and all over the place, making it incredibly hard to follow. The characters lacked depth and development, and it felt like their actions were inconsistent throughout the story. I found myself constantly trying to figure out what was happening, and by the end, I was just left feeling frustrated. Overall, I would not recommend this book to anyone looking for a well-crafted and coherent story.
2. Sarah - 2 stars - "Magic Bird Courtship of Rivala" left me disappointed. The writing style was too flowery and overly descriptive, making it a struggle to stay engaged. The pacing was slow, and the story felt unnecessarily drawn out. Additionally, I found the world-building lacking, as I struggled to envision the magical elements and the overall setting. While there were a few interesting moments, they were not enough to redeem the overall reading experience for me.
3. Mark - 2 stars - I was excited to read "Magic Bird Courtship of Rivala" based on the intriguing premise, but it did not deliver. The characters were flat and lacked depth, and their relationships felt rushed and forced. The plot had potential, but it fell short due to poor execution and a lack of clear direction. The pacing was uneven, with slow moments that seemed to drag on and abrupt jumps that left me feeling disconnected from the storyline. Overall, I was left feeling unsatisfied and would not recommend this book to others.