Post by morrisondylanfan on May 13, 2018 13:14:15 GMT
The end of April marks and brings to a close a six month nightly viewing fest, exclusively of Classic Japanese Cinema.
It has been a captivating re-discovery, an off the beaten track, wondrous exploration of the extraordinary Nihon eiga
Ten Outstanding Highlights from 29 First Time Views in April... Highly Recommended
Shônen , Boy (1969) Nagisa Ôshima Exceptional masterly directed dark drama
Inochi bô ni furô , Inn Of Evil (1971) Masaki Kobayashi. Excellent deadly tale of intrigue
Asaki yumemishi , Lived in a Dream (1974) Akio Jissôji. Spellbinding poetic tale
Bakuchi-uchi: socho tobaku , Big Time Gambling Boss (1968) Kôsaku Yamashita. Outstanding
Nigorie , An Inlet of Muddy Water (1953) Tadashi Imai. Superb direction beautifully filmed
Meiji kyokyakuden - sandaime shumei , Blood Of Revenge (1965) Tai Katô. Marvellous Yakuza
Shiroi Kyotô , The Great White Tower (1966) Satsuo Yamamoto. Magnificent multi faceted drama
Kazoku , Where Spring Comes Late (1970) Yôji Yamada. Wonderful human drama
Showa onna bakuto , Modern Lady Gambler (1972) Tai Katô. First-Class formidable femme !
Yûhi ni akai ore no kao , Killers on Parade (1961) Masahiro Shinoda. Delirious pop art black satire, a unique and truly original film a sensational finale to my six month classic film odyssey in the "Land of the Rising Sun" ...
I've just found this good list from Indie Wire:
5 Essential Films By ‘Silence’ Director Masahiro Shinoda
www.indiewire.com/2016/12/masahiro-shinoda-best-films-filmstruck-silence-japanese-directors-1201752057/
"Killers on Parade” (1961)
"An exuberantly demented pop exercise that’s all style and no sanity, “Killers on Parade” is an 82-minute firecracker that explodes with the self-possessed euphoria of a true cinematic movement (in this case, the Japanese New Wave).
The kind of movie that requires an exclamation point in order to be properly summarized — FilmStruck’s description reads: “A team of hired killers target a young journalist, and only another killer can save her!” — Shinoda’s audacious early career delight is like a Seijun Suzuki movie as remade by Edgar Wright. Restless, exhausting, and bursting at the seems with wonderful sight gags, “Killers on Parade” may not be the most accurate indication of where Shinoda was going, but it’ll make you want to follow him anywhere."
I want to say thank you for sharing your viewings from Japan here, (which finally gave me a push to take a real look at Asia cinema) and are there any genres/ film makers whose works you are planning to continue exploring?
