October daily special, in case you couldn’t get enough of all the creative content craziness from Jennifer Weigel we’re posting one a day for the whole of the month!
I
am
wholly
entranced by
Maria’s dance scene –
the undulating gyrations
of her hips, so very sensual and suggestive.
She holds everyone in her spell,
swaying to-and-fro
and prancing
across
the
stage.
All
eyes
feasting
upon her
delicate beauty,
we stare in pure fascination
as the robot-maiden leads us into temptation
and brings about the beginning
of Apocalypse
from astride
dragons
of
yore.
Death
waits
in the
shadowy
recesses somewhere
offscreen, lost in Freder’s nightmare.
Bewitched, the kaleidoscope of eyes can’t look away.
A glass of water will not help
abate impending
doom within
primal,
deep
needs.
The
scene
reveals
more about
our voyeuristic
tendencies, amplified in film,
as scantily clad women have always drawn the eye
in black and white or Kodachrome –
in moving pictures,
photographs,
paintings,
and
more.
We
still
cannot
help but to
succumb to desire
as we gaze mesmerized again
at Salome dancing near nude across the stage once more,
silver platter at the ready
to catch those heads that
always roll
when lust
rules
us.
This Fibonacci poem is an homage to the great 1927 silent German horror film by the same name directed by Fritz Lang, focusing on Maria’s dance scene to reflect on human nature across time.
(Image features Reversals altered mirror image Pucker Up of rose.)
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