Posted by Pablo Kjolseth on December 1, 2013
I was going to write about The Hudsucker Proxy (1994), because it’s screening tomorrow on TCM and, also, because the latest Coen brothers film, Inside Llewyn Davis (2013), opens theatrically this coming Friday. Instead, I got stuck on the Inside Llewyn Davis poster. There is something about its composition that I find very striking. To notice it, you’ll have to ignore the top and bottom, which are lame in the ways that most movie posters are routinely lame: emphasizing celebrity names up top, and then all the normal credits at bottom. The middle section, however, is inspired. I can’t stop looking at the cat. There are several reasons for this, and the first is due to the sight-lines, which immediately reminded me of the Wanderer Above the Sea of Fog (1818) painting by famous German Romantic painter Caspar David Friedrich. It’s a classic example of a visual construction where all the lines lead to the center. Except in Friedrich’s case the lines of the natural landscape converge on man, whereas with the Inside Llewyn Davis poster, the sight-lines provided by the New York City streetscape converge on the cat. I think this is great because, in my humble opinion, any movie poster is immediately improved with the addition of a feline presence. Since our furry little friends are said to have nine lives, in this post I’ll be looking at how cats have been depicted throughout cinema in nine different categories. [...MORE]
Posted by R. Emmet Sweeney on June 4, 2013
The history of Japanese cinema can never completely be told. It is estimated that 90 percent of its pre-1945 film output was lost or destroyed, the silent era razed in the 1923 Kanto earthquake, and Allied firebombing in WWII incinerating the rest. One of the most tragic casualties of this cultural obliteration are the films of Sadao Yamanaka, of whose 27 features only 3 survive. A galvanizing figure in the 1930s, he was a passionate cinephile and member of the Narutaki Group of Kyoto that sought to modernize the jidai-geki, or period drama. His films bring the heroes of pulp novels and kabuki theater down to earth, into sake bottle level views of the everyday lives of the working poor. They speak in modern Japanese, in dialogues modeled after his drunken late night conversations with the Narutaki Group. He wrote, “If what drinkers say is lively when utilised in a film, I may insist that drinking is part of my profession.”
He took flak for turning the popular nihilistic samurai Tange Sazen into an irritable layabout, but he gained fans and friends from peers like Yasujiro Ozu. He died at the age of 28 as a military conscript in Manchuria, from an intestinal disease. The scrupulous Masters of Cinema label (the Criterion Collection of the UK) has released his surviving works in an essential two-DVD set (make sure you have an all-region player): Tange Sazen: The Million Ryo Pot (1935), Kochiyama Soshun (1936) and Humanity and Paper Balloons (1937).
Posted by Kimberly Lindbergs on May 2, 2013
I first became familiar with Chris D.’s (Dejardins) writing in the early 90s thanks to his work for a small-press magazine (or zine) called Asian Trash Cinema. At the time I was utterly obsessed with Japanese pop culture and history and for a 10 year period roughly between 1991-2001 I spent many of my weekends in San Francisco’s Japantown where I’d rent movies and anime (often without any subtitles), buy manga and books I couldn’t read and eat lots of good meals that I couldn’t pronounce properly. I was also writing and publishing my own zines at the time. Zine culture peaked in the ‘90s before the internet changed the way we all communicate but for a brief time the only place where you could really find good information about cult cinema, B-movies, forgotten gems and unusual art-house films was between the pages of self-published zines and small-press magazines like Psychotronic, Video Watchdog, Shock Cinema and Asian Trash Cinema. These are the kinds of publications that helped shape my own film interests and writing. While many film journalists may have found popular mainstream critics like Pauline Kael and Roger Ebert inspirational, they held little interest for me because they weren’t talking (or writing) about movies that appealed to my own eccentric tastes and if they were, they weren’t particularly kind. But folks like Chris D. were and one of Chris’ early essays from Asian Trash Cinema (Issue #3, 1992) titled YAKUZA EIGA: Losers on Parade is one of my favorite pieces of writing on Japanese cinema. When Chris D. composed that love letter to gangster (aka yakuza) films that I was just discovering and beginning to appreciate, he was one of a handful of writers trying to thoughtfully grapple with a genre that had been ignored and maligned by critics and scholars for decades. Chris helped me see the often tenuous connection between Japanese cinema and the country’s complex cultural fabric that seemed to confuse and perplex many western writers. I mention all this because I’m not exactly an unbiased reviewer. In fact, Chris and I have exchanged numerous notes over the last few years and I was honored to be asked to write a blurb that appears on his latest book GUN AND SWORD: An Encyclopedia of Japanese Gangster Films 1955-1980. I wanted to share his new book with Movie Morlocks’ readers but to be fair I thought I should let you know these facts first. What follows is my honest review of Chris’ latest book but read on at your own discretion.
Posted by David Kalat on January 5, 2013
The late 1970s and early 1980s were lousy with disaster flicks, a sub-genre to which Virus unquestionably belongs. Apocalypse thrillers have always been in vogue, but they do tend to shift in tone with the cultural zeitgeist. But there was something about the Cold War era that gave rise to some wonderful end-of-the-world movies the likes of which we don’t really encounter anymore. The bizarre illogic of the Cold War was somehow more conducive to nightmare poetry: two superpowers armed with enough firepower to destroy life on Earth countless times over, where in order to preserve the peace they each must threaten total war. The only thing keeping those nukes in their holsters was the promise of Mutually Assured Destruction (quite appropriately, MAD). Edward Albee couldn’t have thunk up any better.
And Virus, mind you, is the gift that keeps on giving. It’s a rip-snorting good movie that packs in not just one apocalypse, but two.
Posted by Kimberly Lindbergs on November 15, 2012
The fuzzy line that separates fiction from reality has become increasingly blurred in recent years. Reality television programs promise to provide viewers with an unscripted look at the life of individuals willing to bare all for our entertainment but there is very little reality found in reality television. Inquisitive cameras, altered environments and skillful editors make participants keenly aware of their involvement in an orchestrated production and truth eventually takes a backseat to drama as would-be stars and starlets compete for their moment in the spotlight.
Cinema has also become progressively more self-aware. The current influx of mocumentaries, docudramas, 3D movies and “found footage” films attempt to obscure reality and mimic authenticity while filmmakers such as Werner Herzog, Errol Morris, Michael Haneke and Abbas Kiarostami seem to enjoy encouraging viewer participation in oblique ways. Their films frequently refuse to provide easy answers to the problematic truths they present and directly or indirectly ask audiences to question what they’re seeing on screen. They illustrate how reality is often subjective, transitory and pliable.
Posted by Pablo Kjolseth on August 26, 2012
In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). [...MORE]
Posted by Pablo Kjolseth on August 12, 2012
The art house film calendar that I program goes to press in two days and, although I’m still waiting for some confirmations, I’m sharing the rough-draft with TCM readers, along with some brief thoughts regarding the choices made.
Posted by medusamorlock on August 8, 2012
With apologies to all the film aficionados and experts frequently present here on Movie Morlocks, I don’t believe I’m going out on much of a limb in saying that many other people know or have heard of Toshiro Mifune not from his appearances in masterworks of Japanese cinema but from his appearance in one of the most famous broadcast television miniseries ever presented. On September 15, 1980, NBC presented Part 1 of their five-part adaptation of Shogun, novelist James Clavell’s sweeping saga about a British sailor shipwrecked in 17th century Japan who ends up smack in the middle of an intense rivalry between two powerful and ambitious men who crave the same thing — to win the title of Shogun.
Posted by David Kalat on August 4, 2012
A boilingly hot summer day, a crush of commuters, a moment of carelessness. With these universal ingredients, Akira Kurosawa set up a film that would mix the grim obsessions of film noir with a documentarian’s observation of postwar Japanese life. Talk about universal–Stray Dog is a mashup of pulp pop and reportage, of true crime and intimate drama, of buddy cop movies and art house cinema, of East and West. There isn’t much a movie can do that Stray Dog doesn’t put on its agenda.
That being said, the international critical acclaim that greeted this film requires some dissection, because there’s something really weird going on here. Stray Dog was never a barn-burning commercial splash, and it wasn’t even distributed in the US until 1963 (almost 15 years after it was made) but it was an award-winning and highly regarded art house release that contributed substantially to Akira Kurosawa’s growing renown, and there’s something screwy about that.
Posted by R. Emmet Sweeney on July 10, 2012
For the sixth year running, the Japan Cuts film series in New York City presents an eye-opening glimpse of contemporary filmmaking from across the Pacific, the vast majority of which will never receive distribution in the United States. Programmed in concert with the ongoing New York Asian Film Festival (which I covered for Film Comment), it runs from July 12 – 28 at the Japan Society, and will screen 37 features and two shorts. The normally sober-minded fest has gone pop this year, booking a slate bubbling with hyperactive rom-coms and sci-fi extravaganzas, but there is also a sidebar of films responding to the Fukushima nuclear disaster, as well as a tribute to the expressively stone-faced actor Koji Yakusho, who will appear in-person for the screening of The Woodsman and the Rain (2011).
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