A resident of central Ireland’s County Laois came across the well-preserved “Cashel Man” — named for the bog he was found in — while milling for peat moss, which is used for a variety of farm purposes, including animal-bedding and field conditioning.
Having realized that he had come across a human body, the resident notified archaeologists at the National Museum of Ireland, who later conducted a formal excavation of the site. A summary of the dig appeared in the latest edition of the Irish journal Ossory, Laois, and Leinster.
“All that was visible to start with was a pair of legs below the knees, and a torso,” Eamonn Kelly, an archaeologist at the National Museum and lead excavator of the project, wrote in the report. “The body appeared to be naked. Later, it was possible to work out that the torso had been damaged by the milling machine, which also removed the head, neck and left arm.”
The team calculated the age of the body using radiometric carbon dating, in which the constant decay rate of radioactive carbon-14 is used to estimate age based on remaining levels of carbon-14 in the dead tissues. Surprised to find the body was roughly 4,000 years old, the team dated the peat above and below the body to confirm the results, and came up with about the same age. Previously, the oldest bog body ever found in Ireland was 1,300 years old, according to the Irish Times.
The team conducted computed tomography (CT) scans of the body after the dig, and found that the young man’s arm and spine had been broken multiple times, seemingly from sharp blows before his death.
The researchers also found cuts along the man’s back that looked like ax wounds. They uncovered axes capable of producing such wounds within the vicinity of the site.
Given this evidence of brutality, the team concluded that the young man had been killed in a ritual sacrifice, a practice commonly known in later eras, but not well documented in the Early Bronze Age of 2000 B.C., about the time this bog body would’ve lived.
“All the indications are that the human remains from Cashel Bog tell of the fate of a young king who, through folly or misadventure, was deemed to have failed to appease the goddess on whose benevolence his people depended, and who paid the ultimate price,” Kelly wrote.
Giuseppe Arcimboldo, Portrait of Rudolf II, Holy Roman Emperor painted as Vertumnus, Roman God of the seasons, c. 1590-1591. Skokloster Castle, Sweden.
Not coming to a theater near me, living in the boondocks, but opening recently in urban theaters is the long-awaited biopic about Ip Man, the Wing Chun master who was Bruce Lee’s Sifu, by illustrious Chinese director Wong Kar Wai renowned in the West for “Chungking Express” (1994) and “In the Mood for Love” (2000). Walter Addiego‘s review indicates that the version being released currently theatrically suffers from having been shortened by the great minds of Hollywood to suit the preferences of Western demos, but it will still be a must-see movie for hard-core cineastes and martial arts enthusiasts.
Wong… .focuses on Ip Man’s life roughly from the 1930s to the ’50s, and includes his role in helping sort out the rivalries among Northern and Southern Chinese kung fu schools, the effect on his life of the second Sino-Japanese war, and his later experiences teaching martial arts in Hong Kong.
As you would expect from this filmmaker, a master stylist capable of exquisite images, this isn’t an ordinary martial arts picture. (Ip Man has been the subject of other films, notably two starring Donnie Yen, but they inhabit another universe from Wong’s work.) The fight scenes are balletic, and there’s a lush, sometimes overripe, air about the whole movie. The otherworldly feeling is enhanced by Ip Man’s oracular utterances, thankfully leavened with occasional humor.
The film is at its best when Ip Man (Wong regular Tony Leung Chiu Wai) interacts with a fictional character, Gong Er (Zhang Ziyi of “Crouching Tiger, Hidden Dragon”), who, as the daughter of an aged martial arts master, cannot inherit his position because of her gender. But she is quite adept at the old man’s style, as evidenced in a remarkably choreographed fight with Ip and battles fought during a later revenge quest. While the first half of the film is Ip’s, Gong Er eventually comes to the fore and even eclipses him.
This is a Wong film, so there will be a major thread of romantic longing and unrequited love.
The martial arts set pieces are skillful enough to thrill even non-connoisseurs. The standouts include the long opening scene of nighttime combat in the rain, with Ip Man wearing his signature white fedora; an extended brawl in a stunningly designed brothel; and a remarkable one-on-one in which Gong Er shows her stuff next to a speeding train.
Wong has long since proved his ability to create a powerful, hallucinatory atmosphere, and he is working here with two charismatic actors – it’s hard to take your eyes off them. But he can’t overcome the film’s choppy feeling, which has nothing to do with its fractured chronology. Story strands feel truncated and characters who seem significant suddenly disappear, as if we’re seeing the choice bits of a longer movie.
In fact, the version that played at this year’s Berlinale was 130 minutes; the film being released by the Weinstein Co., and reviewed here, runs 108.
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It turns out that, these days, all is not lost for exurbanites like myself. “The Grandmaster” is available from third party dealers via Amazon on DVD, and at derisory prices no less. I’ve already ordered mine.
Julie Andrews demonstrated her celebrated sense of humor at an appearance at Radio City Music Hall by singing a very special age-appropriate version of “My Favorite Things.”
Three students —- Tobia Haase, Jan Mettler, and Lydia Lohse– at the Film Academy in Ludwigsburg, Germany — shot a commercial, disavowed by Daimler Benz, exploring the idea of dramatically advancing Mercedes safety technology.
