I’ve got to say that I’m honestly hooked to this serial novel. Tawny and Michael have done a wonderful job in crafting a very believable world where nothing is as it seems. We’re immediately immersed in the lives of six teenagers and a little boy who are intent on enjoying themselves at the yearly carnival. When things change within the blink of eye, they soon come to the realization that their lives have changed in more ways than one.We'll have the next episode out in August.
Tough Reader, Good Advice
The PAGE International
"To be honest, the money I have spent on these reports ($50 for each one) has been some of the best money I have ever spent. "
Journey of a Screenwriter
Tuesday, July 16, 2013
Friday, July 12, 2013
The Ballad of Narayama
Another "Ballad" in the title, another great movie by the Criterion Collection. I wasn't expecting that much from The Ballad of Narayama based on the description but it blew me away. It's easily one of the most exciting experiments in film I've seen but it's also one of the most touching stories I've seen. For those of you keeping track, my list of favorite -I would love to see these again and again- Criterion Movies is:
AN ANGEL AT MY TABLE
THE BAD SLEEP WELL
THE BALLAD OF NARAYAMA
The story is about the ancient Japanese practice of abandoning old people to die on mountains as a way to appease the gods. There's some question whether this was ever an actual practice or just a myth that grew up. Regardless The Ballad of Narayama uses this as the basis for a simple but powerful story. In an ancient village, an old woman has reached the age of 70, the age at which people are sent to the mountain to die. But her son truly loves his mother and is deeply conflicted about abandoning her.
The story is very powerful but it's not even the most striking feature of the movie. Except for the final scenes, the entire movie was shot on a sound stage. That's not unusual for 1958 but the film draws attention to the fact. The movie is presented almost as a kabuki drama complete with a singing narrator. Often there are very theatrical scene changes. The background screen will suddenly fall revealing a new set that the camera pushes into. Despite this very artificial appearance the acting is totally realistic. The viewer is sucked in to the plight of loving son who is asked to carry his mother to side of a mountain and then leave her there. The thought reduces this man to tears.
At first this movie wasn't appreciated for what it is. As noted, sound stage sets weren't that unusual in 1958. There was Forbidden Planet and Brigadoon which were also shot on sound stages. But now the picture can be appreciated for what it is, a bold attempt to combine the flamboyance of kabuki with raw human emotion.
The movie was by Keisuke Kinoshita who directed The Army and Apostasy. This is the movie that convinced me Kinoshita was a true master. This film is so ambitious and it works beautifully. Any questions I had about his poitn of view were wiped out with this picture. Here tradition is the true enemy. The man doesn't want to abandon his mother but society won't let make any other choice. There's even a scene that feels like J Horror. The old woman is embarrassed that she still has a full set of teeth at 70. So she knocks them out. The sequence is played as pure horror and she even shocks the other villagers. The final shots, the only ones not done on a sound stage, are of modern Japan. The place where old people were sent to die is now a ski resort. It's a bitter, final jab at the dead traditions. I can't help but feel that the man who created The Army felt deeply disappointed in his country's leaders after the war.
The film is a visual feast. There are so many incredible shots. The one haunting image is of the old woman sitting on the mountain as the snows slowly cover her. Her son yells his final goodbye as she sadly waves him away.
Obviously this would be a tricky film to use as a template but it would great for directors and writers to look at this film and use it as inspiration. This is a very sad story but the film it inspired is alive and exciting.
Thursday, July 11, 2013
Ballad of a Soldier
Now we're into a very good stretch. I don't what is with Ballads but the next three, all with Ballad in the title, were all great. One made it to my new favorites list, another might be on there - I'll have to think about it - and there's this one which didn't make it to my new favorites but I was still mightily impressed by it. Ballad of a Soldier was made in the USSR in 1959. It's not a propaganda film like The Army but the movie is clearly meant to generate good feelings and nostalgia for World War II. It's also basically the Soviet Union's answer to Titanic. It's romantic, it's a an incredible feel good movie, yet it has an ending that is a weapons grade tearjerker. And that's not a contradiction. You can't get the tears to flow with getting the audience engaged and keeping them entertained up until the ending.
The story takes place in World War II. The main character, 19 year old Alyosha knocks out two German tanks. As a reward he's given a six day furlough to go back to his village and spend a day or two with his mother. Alyosha sets off. It's not an easy trip as the Germans are still on the offensive. Along the way Alyosha meets a whole bunch of people. He's a good kid, a boy scout really, and tries to help where he can. He helps a wounded veteran make it back home to his wife. He delivers a present (two cakes of soap) to the wife of a soldier at the front. When he discovers the wife has shacked up with another man, he takes the soap to the soldier's sick father instead and makes up a few stories about a man he just barely met.
Alyosha finds a traveling companion in the young Shura, a girl who jumps into the train car he's riding in. Their first meeting is hilarious. Also a hoot is the guard whom they have to bribe to stay on the car. There's a hilarious joke with the guard and the lieutenant he calls, "a beast."
All these side trips plus the destruction of a bridge means that when Alyosha finally does arrive at the village he has to kiss his mother and then turn around right away. That's where the ending comes in. It's incredibly manipulative but it works. The audience is cheering for Alyosha and all the while dreading that he will have to turn around before he finds his mother. But he does find her and that one moment is incredible between them. We know from the opener that Alyosha will die during the war so this is the last his mother will see of him. My brother and I talk about some movies like the Toy Story series and compare them to the Marvel super villain Psycho-Man. Psycho-Man has this tablet like device that can make people feel a range of emotions. And some movies it's like the director has Psycho-Man's device and he keeps pushing the button that says "CRY!" And that's what the final scene is like. We've come to really like this kid. The moment between the two characters is so universal and so real that it feels like someone is hitting the CRY button over and over again.
This movie is very well directed and it has a top notch script. It may be due for rediscovery. It's well worth watching.
Wednesday, July 10, 2013
The Bakery Girl of Monceau
Another short. This one by Eric Rohmer who did some writing on the Jean Luc Goddard's All the Boys Are Called Patrick. The Bakery Girl of Monceau was made in 1963 when the French New Wave was at its zenith.
The story is surprisingly complex but realistic. A student in Paris develops a crush on a girl he keeps bumping into. Finally he works up the courage to speak to her and they make a date. But when the day arrives the girl is no where to be found. The student looks for her everyday. For food he stops at a neighborhood bakery. There's a young girl who works there and they develop a bit of relationship. They move to flirting.
The student then begins to resent the Bakery Girl and he resolves to break her heart the way his own was broken. He asks her out. Finally she agrees. His plan is to stand her. But on the day he finally runs into his crush from earlier. She had a bad sprain and was off her feet for a few months. They meet and have dinner. The student stands up the bakery girl. He eventually marries his crush and he never sees the bakery girl again.
There's a lot that happens in this short that runs around 20 minutes. Eric Rohmer is known for his complex characters and this is a fine example. The student is obviously wrong. We're not meant to sympathize. But we're not meant to demonize either. This is story is made of small, even petty events and actions that can have lasting effects. The student may have done some bad things but fate plays a role in the story as well.
The photography is good. The best shots are of the bakery girl. As the student notices her she is framed and shot beautifully. The camera mimics the desires of the character.
This is a fine example of a short subject. It has excellent camerawork and a script that rewards analysis.
Tuesday, July 9, 2013
The Bad Sleep Well
We come to Kurosawa, the master, the sensei, the legend. The Bad Sleep Well was a movie I'd heard about. I'd even seen a bit of it. But until I saw it now I hadn't appreciated it. Now I love it. It is one of my new, would love to see it again and again, favorites. For those keeping score that list is pretty short even though nearly every film I've seen in the Criterion Collection has been pretty good to really, really good. I only have two other films on that list at this stage, Alambrista! and An Angel at My Table. Now that list has to make room for The Bad Sleep Well.
This shouldn't be a surprise. Kurosawa is one of the godfathers cinematic cool. This man inspired Lucas to make Star Wars. That's how cool he is. Somewhere along the line he discovered how to make movies awesome. There's no other word for it. It's like umami, also a Japanese discovery. It had always existed but Kurosawa just isolated and refined it with his films.
The story isn't as Western friendly as Seven Samurai. Sure it's inspired, loosely by Hamlet, but it has some very Japanese traits. The movie opens with a mini masterpiece. A bevy of reporters gather at a wedding party because several of the guests are expected to be indicted on corruption. During this long scene we are introduced to all the main characters and the basic plot. This exposition is handled in a very realistic way. Why wouldn't reporters share info? The scene ends with an amazing shot. A cake, made into the replica of an office building is wheeled into the party. The building it replicates was the sight of an official's suicide. A red rose is placed on the window from where he jumped. The various guests show their surprise and discomfort. The hero, as yet unidentified has already sprung his trap.
That hero, played by Toshiro Mifune makes his presence known soon enough. He confronts another official about to commit suicide high atop a hill. The scene is as epic as anything in Seven Samurai. The fight against corruption in modern day Japan was one that needed a hero of that magnitude.
Now I've been very spoiler heavy with my reviews here. But really this is a film that is best if you go in knowing nothing. Do not read any further if you want to preserve the ending. It is a stunner.
What really impresses me about this film is that Kurosawa had the guts to kill his hero. And he does it off screen. The saddest deaths are the ones like Robb Stark's, when the hero seems close to fulfilling his goals. This is the case with Mifune's character. He's on the verge of winning and sending his enemies to jail. A few scenes later he's been done away with. This is the coldest ending since The Great Silence a spaghetti western that deserves its own Criterion release.
The only thing Western audiences may struggle with is the culture of corruption depicted here. Here subordinates are willing to commit suicide in order to protect their bosses. It's not something people in America have had to deal with.
If you're a director you need to see this film. The wedding scene alone is a scene that should inspire and excite young filmmakers. The writing is top notch. The cat and mouse game between the hero and the villains is intense and of course the ending is one of the bravest I've ever seen.
Monday, July 8, 2013
And now for something completely different. This entry answers a question I never thought to ask. I love Robert Downey Jr. as Iron Man but who is Robert Downey Senior? Turns out, a pretty funny guy. Babo 73 is a very short underground comedy shot a micro budget.
It's about the President Sandy Studsbury, his advisers Chester Kitty-Liter and Lawrence Silver-Sky and his secretary Phillipe Green. There's no plot to speak of. There are hardly any sets. When the cast isn't running around the real Washington DC he and the other characters are either at the beach or a rambling wreck of an old house. The jokes come one after the other. For starters Studsbury is president of the United Status. In the first scene they murder the ambassador of Luxemborg who threatens to "drain their gold." It doesn't make a whole lot of sense and the jokes are specific to the 1960s. There's the threat of nuclear war and the fight to desegregate schools. Studsbury isn't the sharpest knife in the drawer either. One adviser is rabidly right wing the other a weak and ineffectual liberal. There are a few F bombs which are rare for the 1960s.
There area few jokes that are really memorable. Phillipe Green is constantly shouting and later declares he's having a nervous breakdown. The interview with a white man who tried to enroll in a black college is unforgettable. The finale is something I laughed at despite myself. This looks just like a student film. The cameras were handheld and the stock was fast. The sound looks like it's non synch.
There's not much else to say. It has no plot. Honestly it starts to run out of steam pretty quickly. This would have been awesome as a short. Twenty minutes or less the energy and humor would have been outstanding. It runs a little less than an hour but honestly I found that to be too long.
If a director wants to see how things used to be done, on old 16mm fast stock, this a fun film to check out. Writers may find some of the jokes funny. But a lot of them are dated and the movie runs way too long. The important lesson here is don't overstay your welcome.
Sunday, July 7, 2013
And here's the foodie portion of the Criterion Collection. I mean that sincerely. Babette's Feast came out just as our obsession with food was taking off. It was the first of the foodie classics. The others being Big Night, Eat Drink Man Woman and Like Water for Chocolate. The Food Network would start just a few years afterward.
I'd seen Big Night and Eat Drink Man Woman before so I was pretty excited to see this one. I have to admit I wasn't as into it in the first half though. Maybe that's because I was anticipating the feast too much. The story is very simple. In a remote Danish village, two elderly sisters continue the work of their father, a strict Calvinist minister. Their only companion is a French woman named Babette who escaped political violence in her home country. One day Babette wins the French lottery. The sisters think they are losing their companion so they grant her one request, that she prepare a fancy French feast to celebrate the birthday of their deceased father. The sisters agree but being strict Calvinists they are appalled at the idea of indulging in anything, especially food.
The beginning does set up some important background. Both sisters had suitors who play a part in the story. One is a young army officer who is madly in love with one sister. But he leaves when he realizes she will never marry him. Years later the man returns to partake in the feast. Having served in the Royal court he is, at first, the only one who truly appreciates the culinary treasure before him. The second suitor is a French opera star who discovers one sister has a voice like an angel. He gives her lessons but later returns home also disillusioned. But years later it's because of him that Babette becomes their maid and companion.
While the first half may have been a little slow the ending more than makes up for it. The feast lives up to its reputation. Maybe food porn existed before this movie but this raised the bar. But more than that the sequence is hilarious. The sisters, upon seeing the ingredients, sea turtle, cow's head, chicken feet, utterly panic. And most people today would freak out too. We haven't changed that much. They warn their friends in the village, also strict Calvinists that they can't be sure what they'll be forced to eat.
At first the sisters and their guests timidly poke at their dishes. But the magic of Babette's cooking can't be denied. The guests enjoy themselves in spite of it all. More than that they begin to experience joy. In a critical scene prior to the feast the community was shown as bitter and riven with feuds. But during the feast the old slights are forgotten. Everyone is too happy to mad with each other any more. And that's when the film really works. It captures that moment that Tony Shaloub talks about in Big Night. He says (paraphrasing) that to cook a great meal is to come a little bit closer to God. And at the end of this meal that's how these people feel.
I liked this one but not as much as I thought I would. I should have gotten to it earlier. There are are other foodie movies now and more are coming. But this one set the table for what was to come. The directing is solid. The writing is good. It's a fine template to study. If you haven't seen this one, Big Night or Eat Drink Man Woman, see this one first.
Saturday, July 6, 2013
So last time I didn't have much to say about Au Revoir Les Enfants, one of the best known foreign/art house films. Much to my own surprise I find I have plenty to say about Autumn Afternoon by Yasujiro Ozu. I first learned about Ozu in college. His style of film making is very particular. He has famously restricted himself to domestic dramas that revolve around traditional Japanese themes. His stories are made up of little things with almost no dramatic outbursts. I saw one of his movies, I can't remember the name right now, and I found it at the time a little hard to sit through. The story was very small and the characters often seemed to be talking directly to the camera.
So I went into Autumn Afternoon not expecting much. And was I shocked to discover how much I loved this film at the end. It just misses out on being a new favorite. A professor at NYU once told me that you shouldn't see Ozu until you were old. I'm older than I was but I'm certainly not old. I think part of the reason I love this film is that since my college days Sophia Coppola has come onto the scene. She's not exactly an American Ozu but she does specialize in smaller more intimate stories. Lost in Translation is one of my favorite movies. But more than that I got what Ozu was driving at with Autumn Afternoon. I'll get to that in a little bit.
The story is one of Ozu's typical domestic dramas. It's about a past middle age father whose daughter still lives with him. His friends urge him to marry her off but he's content. His daughter has become the mother of the house for both him and his youngest son. But a visit with his old school teacher has a profound effect on him. The teacher's daughter also stayed with him and now they are miserable together. The father then succeeds in finding a husband for his daughter. But that gives him no comfort. He realizes his youngest son will soon also be gone and then he'll be alone.
What first struck me is the photography. The opening shots of a 1960s era factory is gorgeous. I don't think a smog belching plant has ever looked more beautiful. Ozu does the same with crowded apartments and streets in this picture. They aren't necessarily glamorized but these scenes are alive. And I can relate. I lived seven years in a one bedroom apartment in Van Nuys, definitely not the garden spot of LA. But even there you could find beauty.
The setting may be realistic but the staging is incredibly formal. Any one shot of an Ozu film is like a carefully composed portrait. The characters still look straight ahead during some of the dialogue. Here it wasn't as distracting as I remember. That may be because I saw it on a tablet. But most importantly the heart came through. There was a lot of humor in this story. The person that stole the show was the wife of elder brother. She is a hoot in every scene she's in.
The humor made the pathos stand out. The scene where the daughter cries when she finds out the man she likes is already engaged is very moving. The final scenes with the father are incredible. He doesn't tear his hair or roar at the heavens. Yet somehow that makes it even sadder. He has no choice but to accept the lot fate has dealt him. And that's when I really got what Ozu was driving at. It wasn't just this one man who will die someday. It's his entire world. He and his generation are holding on to a way of life that will be swept away soon by the new Japan.
In a way this film has the same spirit as Sam Peckinpagh's work. Both are obsessed with the passing of an age. Whereas Peckinpagh's Wild Bunch rages against that end, the father in Autumn Afternoon decides to fade quietly. Yes I just compared Peckinpagh to Ozu.
Which brings me to the reason I love this film but can't put it in there with my new favorites. It's because this film also demonstrates that the world Ozu is mourning is deeply flawed. In the story, soon after the father finds out that the daughter's preferred suitor is off the market he goes ahead with a traditional arranged marriage. The eventual husband is never shown. Apparently no one in 1960s Japan had heard of the term "rebound." So while this film made me understand what Ozu was driving at. It's also the film that made me realize I can't share his sorrow. Somethings fade away for good reason.
This is a difficult film. I think students should see it. I don't buy that you have to be an AARP member in order to appreciate Ozu. That's not what he's about. And appreciating a story this small, and a craft this particular is a huge part in growing as an artist.
Friday, July 5, 2013
Au Revoir Les Enfants
Once again we're back to the old Blockbuster foreign movie section standards. Au Revoir Les Enfants is a title I've know about for over twenty years now. I remember seeing the VHS box sitting there alongside Amarcord and the Bicycle Thief. Part of the reason is that the movie was made at the right time. It was made in 1987, just when VHS stores were becoming a thing. It had earned rave reviews. So of course every store with a foreign section was going to put it in there.
The story is simple but powerful. Julien, an adolescent, returns to a Catholic boarding school in 1944 France. The Germans occupy the country and they are deporting Jews and others. Julien meets a new classmate Jean. At first they are combative but eventually they form a tight friendship. Julien discovers Jean is actually Jewish and that he and a few other students are being protected by the priest in charge of the school. It all comes to and end one day. Julien discovers one of his friends has turned in Jean and the others. Jean, the other students and the priest are taken away and we later learn that they all die in concentration camps.
After all the fuss I wish I had more to say about this film. It's well made and well acted. Louis Malle is the director and I had a similar reaction to his other film And the Pursuit of Happiness. I liked it. I can't find anything wrong with it. But it didn't blow my hair back. I will say that ending is very good. There's one scene in particular that stands out. A Gestapo inspector enters the classroom where Julien and Jean are sat with the rest of the class. The inspector demands to know if there are any Jews in the class. Julien, concerned about his friend turns towards Jean. But that one gesture gives the boy away. It's a terrible moment in which a good person is betrayed by his better instincts.
It's a good movie for certain. It's tightly directed and the story is excellent. Directors and screenwriters should give this one a look. As for me, I like it, I respect it, but for whatever reason that's as far as it goes.
Thursday, July 4, 2013
Au Hasard Balthazar
There's a myth about good film making. People tend to think it's snooty and overly high brow. There's an episode of the Simpsons, the one crossover episode they did with Critic, where Barney enters a film contest and blows away the judges with his "serious" film. All except for Homer who is captivated by a short called Football to the Groin. Barney's short is full of fancy editing, transitions, and supposedly deep meaning. This is what the popular imagination thinks art house and foreign films are. I've discovered there's a lot more to foreign and art house films. Films like 400 Blows, Alice in the Cities, and Ali: Fear Eats the Soul are emotional and full of life and they can be enjoyed just as movies. There are some films that live up to the stereotype though. Au Hasard Balthazar is the prime example. This movie fits our notions of a foreign film to a t.
That's not to say it isn't good. When director Robert Bresson first filmed it, it was revolutionary and not a cliche. The film tracks the life of a donkey named Balthazar. But this isn't a Disney movie. Balthazar is at first a pet but he is passed from one owner to the next. Some treat him with kindness, others do not. It becomes pretty obvious that Balthazar's is supposed to be allegorical. It's hard to actually see this as a story in its own right. Again that's not a bad thing. Melville did okay with an allegorical story about a whale. The allegory in Balthazar is a very European one. Americans prefer much more active stories and heroes. Balthazar endures and suffers. And what the critics say about this film isn't true. The animal does complain plenty. It's just that he's a donkey and who's going to listen to a donkey. Actually some of the human characters are more stoic about their lot than Balthazar. He at least brays and occasionally kicks.
The human story in this one concerns Balthazar's original owner, a girl named Marie. She grows up in her small town and falls for the local bad boy Gerard. Gerard is no romanticized bad boy. He's the real thing. In one of his first scenes he and his friends beat the helpless Balthazar for fun and giggles. And he doesn't treat people, including Marie, that much better. The acting is very underplayed. Again this fits our preconceived notions of art house films; characters who say "I love you madly" with a blank expression on their face. That's exactly what happens here.
The film also makes use of close ups to get its point across. Small details are zeroed in on, like Marie's hand moving away from a childhood friend. I get the feeling that Bresson's guiding aesthetic is based on that old Russian film experiment; the one where a scenes of a man with a blank look on his face is intercut with shots of a bowl of soup or a crying infant. The audience infers the state of mind from the context of the images.
But that style of film making is in the past. It's not favored now even by art house directors. That's because popular entertainment has gotten very impersonal. The independent movies now are the ones that show the raw emotion. If you want to see pretty people with bland expressions now you turn on the TV.
It's still worthwhile to check out and all serious film students should see it at least once.
Wednesday, July 3, 2013
The Criterion Collection has an odd assortment of sci fi and horror programmers from the '50s and '60s. Atomic Submarine is a movie I'd heard about but had never seen.
A little background. Looking back I've always been interested in certain subjects. Back in grade school I had those cookbooks for kids. I also had a lot of books on film. Nothing like Film Journal or anything like that. These were coffee table books full of pictures. They were a staple of the old Walden Books stores back when there was a Walden Books. They weren't deep film analysis but they got the juices flowing. One of the ones I still have in ratty condition is A Pictorial History of Science Fiction Films by Jeff Rovin. It was really old when I first bought it. One of the films Mr. Rovin praised in the book was Atomic Submarine from 1959. Here's the review from the back summary.
"Spencer Bennet - director of Atom Man vs. Superman - does a far superior job with this film, the story of a cyclopean invader from space"
After seeing this film finally I can only say: Wow, Atom Man vs. Superman must be a huge pile of crap. This film is not very good. It reminded me of an episode of the old Voyage to the Bottom of the Sea TV series. Except that Voyage had better sets and special effects. Think about that for a second. The makers here couldn't even be bother to put their model submarine in a tank of water. Most of the time we see the obvious model sub in an obvious miniature set with even more obvious dry for wet lighting. The interior sets of the flying saucer are also pretty blah. They mostly consist of a blacked out sound stage.
The story takes place in the (then) near future of the 1960s. By that time nuclear subs go back and forth across the North Pole carrying cargo and passengers until a mysterious force starts wrecking subs. Right off the bat we have a problem. Why didn't they make this a more contemporary story? Anyway the crew of a new sub investigates. The pace is not helped by a voice over narration. The crew finally confront and destroy the alien creature that looks a little bit like an early Muppet. The one interesting part is the conflict between the Executive Officer and a scientist on board. There's a peace versus war debate that is pretty intriguing considering this film is from 1959 and not 1969.
Obviously I can't recommend this film to anyone besides a real die hard fan of old sci fi films. I can think of at least ten episodes of Voyage to the Bottom of the Sea that were way more exciting than this one.
Tuesday, July 2, 2013
We're back with Samurai! The Criterion collection has a LOT of Japanese movies and quite a few samurai movies. Assassin (Ansatsu) is really good one. I'm very glad to have discovered this movie.
This movie is based on actual history. In the turbulent 19th Century a swordsman named Hachiro Kiyokawa leaves the ranks of the Imperialist faction and agrees to form a ronin army for the Shogunate. But Kiyokawa is crazier than a sack of crazy. He veers from one side to other and leaves both sides wondering what he's really up to. That leads various people to investigate Kiyokawa's past to try and get a handle on him. I loved this part. The characters make several contradictory statements about Kiyokawa. Some say he's a master swordsman. Others say he's never killed a man. He's the kind of character that the more you hear about him, the less you know. In a way it's like Citizen Kane, but Citizen Kane with some great sword fights. Again this isn't Lightning Swords of Death so it isn't wall to wall action. But what there is is very well done and striking.
There is one sequence that's a little uncomfortable. Kiyokawa buys the freedom the prostitute and she becomes a loyal companion. Later she is tortured and eventually dies rather than reveal his whereabouts. The whole sequence with her is a little borderline. But considering how bad Japanese pop culture can get it isn't that bad.
The directing by Masahiro Shinoda is outstanding. This film actually looks ahead of its time. It was made in 1964 but several scenes and shots felt more 1970-ish. The film makes frequent use of freeze frames. And the black and white photography has a gritty realistic feel. There are some great samurai sequences. The scene where Kiyokawa has to fight his former compatriots is stunning. It opens with the death of the one samurai who steadfastly believed in Kiyokawa. The ending is also a stunner. There is a long POV sequence that again feels years ahead of its time.
My favorite thing about this movie is its main character. Kiyokawa has plans within plans. The audience is never sure whether he's really one step ahead of everyone or just making this up as he goes along. I love the tension characters like that can create just by entering a room.
If you're a samurai fan you need to see this film. If you want to be a director there are some scenes you have to check out. If you're a screenwriter you need to study this character. If you like movies go see this one.
Monday, July 1, 2013
Ashes and Diamonds
This is one I heard about but had never seen until now. I'm glad I did. Ashes and Diamonds is the final film in Polish director Andrzej Wajda's trilogy of films that cover Poland in the second world war and its immediate aftermath. The other films in the series are A Generation and Kanal so I'll be watching the trilogy in reverse order. That's just how things worked out.
Ashes and Diamonds tells the story of Maciek, a young Polish partisan. It's 1945 and Germany is about to surrender. For some of the partisans the fight has now turned against the Russians and the communists. Maciek and his superior ambush a jeep carrying what they think is a communist party member. It turns out to be a mistake. Their target arrives in town a short while later. Maciek is assigned to assassinate the man. While he waits he spends time with a barmaid named Krystyna and begins to question his life and what he's doing.
Ashes and Diamonds is a showcase for it's lead actor Zbigniew Cybulski who has been called Poland's answer to James Dean. A post on IMDB seems to take issue with that comparison but after seeing the film, it's hard not to see the similarities. For starters both of them excel at playing alienated young men. The alienated youth can be annoying but done right like in East of Eden, Ashes and Diamonds, or Hamlet it can be extraordinary. Maciek doesn't really understand the politics around him and what he does know isn't that appealing. Both the communist and anti-communist forces are portrayed as hypocritical. Maciek's commander is a pampered army officer who is leaving the country along with his aristocratic friends. This final operation makes no sense and seems motivated by spite. The only character who acts with honor and intelligence is Maciek's target.
The James Dean comparisons also extend to their mannerisms and acting style. Maciek, like Dean is fluid and alive on screen. There's a great seen at a bar where gazes at shot glasses full of vodka. I know I've seen Dean perform similar bits of business in his movies. This film is also incredibly sexy. I thought it was even sexier than And God Created Woman. There were moments when I thought maybe this film was the inspiration for those black and white Calvin Klein ads in the '80s and 90s.
The acting is so good it almost outshines the direction which is top notch. The setting is realistic but the bombed out churches and buildings take on a Gothic feel. The photography is nothing short of stunning.
This is a vital movie that earns its status as a film classic. Directors should study Wadja's use of lighting and set design as well as his deft hand with the actors. The script is a very tight, very complex story. It's an excellent standard for a beginning writer.
Sunday, June 30, 2013
I'm going to steal from this movie. I don't think there's a higher compliment. That doesn't mean it's my new Criterion favorite, Alambrista and An Angel at My Table still hold that honor. But this one is up there. And it has a few elements that are incredible and one moment that impressed me so much that I know I'm going to use it; somehow, some way.
The Ascent is a 1977 film made in the then Soviet Union by Larisa Shepitko who tragically died shortly after making this film. It tells the story of two Russian partisan fighters during World War II who get cut off from the rest of their unit. They are captured and each makes a critical choice.
As I said there are some elements that are outstanding. In the early going, the shots of the Russian countryside in winter are astonishing. This is a black and white film and the stark white backdrop is used to great effect. Often the two characters Sotnikov and Rybak look like they are lost in some kind of limbo. And in a way they are.
Early on Rybak seems like the stronger character. Sotnikov is sick and later wounded. Rybak is healthy and pretty clever. That changes after they are captured. Sotnikov stays resolute and endures tortures that even impress his captors. Rybak keeps trying to weasel out of his predicament. He keeps telling Sotnikov that if they tell the Germans and their collaborator friends what they want to hear, they'll let their guard down and they can escape.
This leads to the next great moment. Sotnikov refuses to compromise. There are several innocent people in the cell with them who will be executed along with them. Sotnikov confesses to killing a German soldier and asks that he be killed and the others released. The Germans refuse. Rybak finally breaks down and asks to join the "police" a group of Russian collaborators. The Germans accept. And then we come to the Ascent of the title. Sotnikov and the other prisoners are lead up to the place of execution. The scene has almost a religious feel to it. Sotnikov is a committed communist but his eventual execution is treated as a martyrdom. It's incredible how deeply religious this film and Andrei Rublev are even though they were made in the Soviet Union.
Then we come to the scene that I am going to steal. Sotnikov and the other prisoners are executed. Rybak joins the rest of the police as they return to the barracks. In the final scene Rybak sees the gate to the barracks is open. Freedom is beckoning him. But he can't move. Then it becomes clear, he was never waiting to escape. He was just trying to live another day. And now he can never be free because he will never risk his life to chance freedom. His moral decision to value his own skin over everything else now has him trapped. It is a brilliant piece of film making and also a keen observation on the human character. That's another thing that reminds me of Andrei Rublev.
Obviously I think this film would be a great template for filmmakers to study both as directors and writers. The story is morally complex yet simple, direct and riveting. The movie has tremendous style and it's a shame the director died after making this one.
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