Roswell; Rashomon

The season finale of "Roswell" just finished. I'd cheated the last day or so and read some of the spoilers at the fan sites, so I knew what was going to happen. The biggest revelation was that there are other, far more sinister, aliens around. Aliens who are the mortal enemy to the four at Roswell. Now what, I wonder?

For a story to work, you have to care about the characters. They don't have to be logical, or noble or even that good. (Ripley in the "The Talented Mr. Ripley" is a murderer, yet you care for him.) And I like these characters. It may be that they appeal to some post-adolescent sensibility in my subconsious. Some of the allure is also the seductive quality of Jason Behr.

The last couple of days have afforded me the time to catch up on journal reading. One of the most intriguing points is noticing what is and what is not discussed. One person may deal only with relationships - friends, lover, parents. Another may almost never mention these. Some may opt for a timetable of events. Yet, another will offer, not the events, but sentiments and feelings about the events. Some are very straightforward; others, very obligue. In some instances, friends and family are mentioned by name; other cases, never. Some give a sense of place, but some seem placeless.

I suppose that the journals are like any other story. You may or may not wind up caring for the character or person. I've tried to be open as I read, but I find myself caring for some and not so much for others. Several times, I've wanted to write the person and said, "Get off it! You're being an insufferable prick!" And there are journals that are almost sublime in their inference.

Several weeks ago, I read almost all of one person's journal including a breakup with a boyfriend. Then I discovered that the boyfriend also had a journal. So I read it. Very much a Rashomon experience. Truth is non-existent, and we only have our versions of events.

For anyone not familiar with the Rashomon concept, a few words may be in order. (I tired to find references on the web, but couldn't locate any.) In the early 50s, the great Japanese director Akira Kurosawa created a movie by the name "Rashomon." It takes place in ninth-century Kyoto where a nobleman's bride is raped by a bandit, and the nobleman is murdered. The drama is reenacted four times. The bandit, bride and the ghost of the noblelman, each present their version. The fourth is by a woodcutter who witnessed the events. But the mystery is not solved or even defined. You come away not knowing what to think.

I saw the movie years ago, but its images and message have stayed with me. At any number of times in my rumblings, I've wondered if some memory actually happened. If there are defining moments that shape your way of thinking, then I would have to name seeing Rashomon as one.

PAX!