|
Post by morrisondylanfan on Apr 22, 2020 18:39:15 GMT
Hi all,being in a J-Horror mood, I decided to check a lean 50 minute title. FTV:13:The Mother Tree (1958)8. Flickering the burning need for revenge from beyond the grave as two burning balls of fire flies hanging above the head of the killer, director Goro Kadono & cinematographer Hiroshi Suzuki superbly brush J-Horror with the long shadowed stylisation of German Expressionism, expressed in the death face mask of the returning dead, refined minimalist, side shots of the painters family falling into the arms of the killer, and a wonderful dip into a painted surreal final. Taking the brush from Encho San'yutei’s novel, the adaptation by Torao Tanabe takes a J-Horror revenge outline, and divides it with welcomed quirks,from the mum saying she can no longer give breast milk, to the growing number of former servants joining forces with the avenging dead husband. Whilst serving up sharp revenge, Tanabe refreshingly puts that brush down, to instead draw a final flight of fantasy message of personal fulfilment from eyes drawn on the mother tree.
|
|
|
Post by manfromplanetx on Apr 22, 2020 23:25:50 GMT
Joshû sasori: 701-gô urami-bushi , 701s Grudge Song (1973) The fourth, and last official instalment in the Female Prisoner Scorpion series. Actress/singer Meiko Kaji was reluctant but returned to play the title role, not with the director of the three previous films Shunya Itō , it was cult director Yasuharu Hasebe who completed the popular series. Captivating scorpion Meiko Kaji sweetly sings a soothing intro, as the last few notes fade away intense revenge justice action instantly grips our attention. You could say the film is standard viewing for the pinku genre and maybe not up to the previous entries but nevertheless a solid exciting and at times shocking drama, not for all tastes, the kids, or the faint hearted...time to get stung again with a re-look at the rest of the series !! Thanks to and recommended are the reviews of morrisondylanfan who has shared his thoughts on the series with some fabulous insights and stills, back a few pages here...
|
|
|
Post by morrisondylanfan on Apr 24, 2020 0:55:58 GMT
Hi all.despite the attention it got leading to me learning about him,I've never seen one of Miike's most famous films. Finding the Blu at a good price on the Arrow Easter sale,I finally saw it tonight. A note about the ending: It oddly reminded of The Favourite (2018),due to a lingering impression that the psychological turmoil is one that the characters now find themselves left permanently stuck in. “Tomorrow’s heroine, is living just like you today.” 10. Miike's Audition (1999) Continuing to build on a occasional collaboration that began with the thrilling Fudoh: The New Generation, (1996-also reviewed) auteur director Takashi Miike & cinematographer Hideo Yamamoto make the opening audition process be one which marks where Miike began,and where he finished the decade,as Shigeharu’s auditions cut between film, and a first person view of a rolling video camera (the format Miike started his career on.) Seeping the bad blood that is soon to reach the surface in their relationship down the wall, Yamamoto and Miike wire a white-hot tense atmosphere by hanging on flat, understated, wide-shots,which are pinned on a descent of Asami’s starry eyes and Shigeharu’s original casual gaze at the relationship. Reuniting with his regular editor of the era Yasushi Shimamura,Miike takes the lingering in the air breakdown of Asami and Shigeharu relationship, and jabs it with gloriously extreme violence on body mutilation (a recurring Miike motif.) Slicing it away from being a mere gore fest, Miike and Shimamura bring psychological meaning to the violence, via the inter-cutting flashbacks to the childhood memories (a major recurring theme of Miike’s) of Asami, whose haunted memories of the abuse she suffered that continued into adulthood, injects her as a avenging angels to all the men who exploited her. Hired to adapt Ryu Murakami’s novel by the studio as they looked for a project to get the Ringu (1998) crowd in, the screenplay by Daisuke Tengan brilliantly surges from Comedy to J-Horror with a razor-sharp skill. Murakami holds Shigeharu’s jokey “auditions” for a new partner,with having a underlying creepiness, from the dismissive way he treats all the woman auditioning, which comes to haunt him, in the excellent, elusive dialogue Tengan gives Asami, which threads Shigeharu to playing a investigation into her past. Encouraged by his son to do these auditions after he has become a widow, Ryo Ishibashi gives a refine, considered turn as Shigeharu, whose grief Ishibashi has weighs heavy on him, bringing out pure fear when Shigeharu eyes the different state Asami sees their relationship in. In only her second credit, former model Eihi Shiina gives a hypnotic turn as Asami, thanks to Shiina getting under the fragile outer appearance of Asami, to unveil a fiery hole that needs to be filled with vengeance, that lands Asami a audition. My Miike ranking from outstanding to good (have yet to see a "bad" one.) 1: Audition (1999) 2: Big Bang Love, Juvenile A (2006) 3: Fudoh: The New Generation (1996) 4: Red Hunter: Prelude to Kill (1991) 5: Bodyguard Kiba: Apocalypse of Carnage (1994) 6: Toppuu! Minipato tai - Aikyacchi Jankushon (1991)
|
|
|
Post by morrisondylanfan on Apr 24, 2020 4:13:21 GMT
Hi all,having watched the first recently,I decided to play the other 50's J-Horror I've got with a run time of under a hour. Seven Mysteries (1957) 6 View on the film: Enticing the audience with a eye-catching opening 4 minutes overlapping montage of ghosts from J-Horror folk legends setting the stage for a anthology film, director Goro Kadono & cinematographer Hiroshi Suzuki instead take a step back, in order to lean in a more Fantasy direction, with the un- credited jaunty score emphasising the fantastical,and giving the final ghostly melle a oddly comedic tone. Taking on Akira Sugawa’s short story Seven Wonders of Honjo,the adaptation by Otoya Hayashi and Nagayoshi Akasada (none credited on IMDb) never quiet blends the Fantasy and the samurai tale fully together,with the magical “ Tanuki” coming off as a mere add on to the samurai family drama wandering on.
|
|
|
Post by morrisondylanfan on Apr 25, 2020 0:06:14 GMT
Joshû sasori: 701-gô urami-bushi , 701s Grudge Song (1973) The fourth, and last official instalment in the Female Prisoner Scorpion series. Actress/singer Meiko Kaji was reluctant but returned to play the title role, not with the director of the three previous films Shunya Itō , it was cult director Yasuharu Hasebe who completed the popular series. Captivating scorpion Meiko Kaji sweetly sings a soothing intro, as the last few notes fade away intense revenge justice action instantly grips our attention. You could say the film is standard viewing for the pinku genre and maybe not up to the previous entries but nevertheless a solid exciting and at times shocking drama, not for all tastes, the kids, or the faint hearted...time to get stung again with a re-look at the rest of the series !! Thanks to and recommended are the reviews of morrisondylanfan who has shared his thoughts on the series with some fabulous insights and stills, back a few pages here... I hope you are having a good weekend on Planet X,Man,and I really enjoyed reading your take on the 4th Scorpion. i was wondering if Hasebe leaving the series is something you strongly felt in the film? And the most important question,does Kaji wear "that hat"?!
|
|
|
Post by manfromplanetx on Apr 25, 2020 9:55:22 GMT
Joshû sasori: 701-gô urami-bushi , 701s Grudge Song (1973) The fourth, and last official instalment in the Female Prisoner Scorpion series. I hope you are having a good weekend on Planet X,Man,and I really enjoyed reading your take on the 4th Scorpion. i was wondering if Hasebe leaving the series is something you strongly felt in the film? And the most important question,does Kaji wear "that hat"?! Hi there MDF A lovely Autumn weekend down here hope your making the most of yours Apparently Meiko Kaji was tired of the role, but a weary scorpion still has plenty of sting and she certainly delivers yet another captivating performance. It was eight detectives already revenged at the start point of #4 , I lost count how many more were added ! Yasuharu Hasebe brings a distinct tone and rhythm to his direction getting straight into the action he does not let up, and infuses his own unique style of brutal savagery one scene in particular I will never forget Hasebe's film compliments the series with an impressive finale ... "that hat" yes Kaji turns and faces us having just... what an awesome moment, I wont spoil... Happy J Classic viewing to you
|
|
|
Post by morrisondylanfan on May 22, 2020 4:55:57 GMT
Hi all,having stuck to originals/exclusives on Shudder up to now, the images I've seen of this over the year broke that cycle. Tetsuo: The Iron Man (1989) 10. Spending 18 months putting all the wages from his regular job into the production, leading to a burn out with the crew and the film maker even becoming tempted to burn the negative due to the stress over completing it,animator/co-star/ production designer/editor/co-cinematographer/producer/writer and director (!) Shin'ya Tsukamoto builds a magnificently transgressive Cyberpunk creation. Using his own flat as the editing room and the main location, the strong personal hold Tsukamoto has on the title blossoms into ultra-stylisation of stop-motion animation being skillfully welded onto the practical effects building of the man. Pieced together in grainy black and white,Tsukamoto brings The Metal Fetishist back to life with frenzied jump-cuts/scrambled close-ups being mashed up with hyper-stylised long Kinetic whip-pans rushing towards the Fetishist drilling the man who killed him into a grotesque surreal Horror creation of flesh and twisted metal. One of the few in the crew to not quit the production, Tsukamoto’s regular composer Chu Ishikawa reveals why Tsukamoto kept the dialogue to a handful of lines, by delivering an extremely expressive Industrial score, thanks to Ishikawa layering each individual grind over the other, keeping the heart of the Iron Man beating, as he long lives for the new flesh.
|
|
|
Post by manfromplanetx on May 27, 2020 2:49:50 GMT
Before going on Hey there MDF , that is an extraordinary still above from Tetsuo-The Iron Man Having posted on the recent trucker thread a brief note about this film, it seemed appropriate to take another look and share my thoughts here, having penned this review at the Imdb. Nippon jokyô-den: Gekitô Himeyuri-misaki , Aka "Trials of an Okinawa Village" (1971) Dir. Shigehiro Ozawa A solid entertaining action drama, a second trip giving me a greater appreciation inspiring this review.. On the surface story tells of a tough no-nonsense trucker boss a hardened self reliant woman having survived the war, she now runs the trucking company established by her parents, both victims of the WW2 island battle. Following an offer to help the poor local villagers, trouble breaks out because Lady Boss has angered the local yakuza gang with her stubborn upright stance... Director Shigehiro Ozawa throws everything into this absorbing epic saga. With shifting tones he composes a rollercoaster of emotions, light moments give way to dark, the touching & moving human story suddenly erupts with cruel & bloody, encounters, in the background a sharp denunciation of the occupation force past & present, A fabulous cast of seasoned veterans portray great depth of character in their varied roles, and obviously the director has placed much focus on his talented and lovely leading lady Sumiko Fuji. Familiar with her traditional looks in so many period dramas Red peony et, here she lets her hair down and wears a trucker outfit with natural alluring style. The on location production uses footage from Tadashi Imai's exceptional Himeyuri no Tô (1953). Complimenting the personal tale with intimate detail the seamless insertion looks as if it was meant to be, the footage is a valuable & evocative historical reference a background to the harrowing drama which shaped the destiny of Okinawa ... Highly Recommended.. "Lady Boss" Sumiko Fuji billed as Junko Fuji
|
|
|
Post by manfromplanetx on Jun 2, 2020 7:20:49 GMT
From the last decade, the final feature film of pioneering Japanese Director Isao Takahata, the realisation of a lifetimes conception , eight years in the planning & production, to date is the most expensive Japanese feature ever. The timeless feature... a bona fide Classic for sure. かぐや姫の物語, Kaguya-hime no Monogatari, The Tale of the Princess Kaguya (2013) Based on The Tale of the Bamboo Cutter, a 10th-century Japanese folk tale. A bamboo cutter discovers a luminous bamboo shoot inside a tiny girl whom he and his wife raise as their daughter. The girl grows rapidly & blossoms into a beautiful princess, leaving her much loved rural setting she is moved to the imperial capital. Given the name Princess Kaguya, meaning ‘shining light’, her great and refined beauty attracts a series of noble admirers who come with fanciful tributes to charm her, hoping to take her as their bride, but she sends them all away on impossible errands, only to find herself rueing her own secret destiny here on earth. Being faithful to the idiosyncrasies of the parable, the story’s subtle drama, the pastel composition & subdued action will probably alienate most children but certainly not their parents. An implacable perfectionist Isao Takahata here uses a rare blend of raw line-drawings and watercolours, bringing to life Japanese woodblock and scroll art. In a bold move away from the fantasy and the colourful fabular heroism of previous Ghibli animations Princess Kaguya is crafted with exquisitely subtle pastels and gentle watercolours. The pencil & brushstroke style exudes spontaneity and swiftness, a magical realism captivating with absolute wonderous delight. Highly Recommended !!
|
|
|
Post by Fox in the Snow on Jun 2, 2020 12:57:54 GMT
From the last decade, the final feature film of pioneering Japanese Director Isao Takahata, the realisation of a lifetimes conception , eight years in the planning & production, to date is the most expensive Japanese feature ever. The timeless feature... a bona fide Classic for sure. かぐや姫の物語, Kaguya-hime no Monogatari, The Tale of the Princess KaguyaBeautiful film, one of my top 5 anime features.
|
|
|
Post by manfromplanetx on Jun 8, 2020 1:50:47 GMT
Hikarigoke , aka Luminous Moss (1992) Kei Kumai This powerful drama takes place in a remakable geographical setting, a fascinating treat to be at the very tip of the Shiretoko Peninsular. It is the easternmost portion of the Japanese island of Hokkaido, protruding into the Sea of Okhotsk. Incredibly scenic with an extreme winter this frigid inhospitable landscape is the setting of this harrowing tale. Visiting the remote town of Rasu a novelist looking for inspiration meets up with the local headmaster, who guides the author to local caves where famously rare local flora thrive, green glowing moss. While at the caves the headmaster relates back to an incident that occurred here in the past... In 1943 just off the coast a convoy loaded with army munitions got into trouble, one of the ships was abandoned the fate of the others unknown. A captain & three sailors make it to shore and discover the welcome shelter of the cave. Cold and starving & facing the approach of a severe winter, which blocks with drift ice any sea access, the prospects for rescue & survival are grim. In absolute hunger, in desperation the men consider eating human flesh, after one of their crewmates has just died... The absorbing psychological drama is a brilliant multi faceted story. A social conscious director, here as in previous films Kei Kumai raises issues & interweaves thought provoking layers. He adapted the tale from avant-garde novelist Taijun Takeda, the story is based on a true incident. Credit must go to Kumai for his bold determination filming in such remote and hostile climatic conditions. A standout cast is headed by captain/headmaster Rentaro Mikuni who gives tremendous depth of character, his personal tale very much the centre of the story. Accompanying is a fabulous evocative soundtrack from Teizo Matsumura. Genre labels as Horror, mysterious is the glowing moss, horror abounds but not through supernatural elements; it is a slow burn horror arising from the darkest depths of human despair. Highly Recommended !!
|
|
|
Post by manfromplanetx on Jun 8, 2020 2:28:39 GMT
Onna wa nido umareru , Women Are Born Twice (1961) Yûzô Kawashima. An enthralling cinematic journey of self discovery from Director Yûzô Kawashima & actress Ayako Wakao... I really am at a loss for review words here, they seem so inadequate, superfluous, non-essential also is knowing beforehand any plot details, I didn't & I am not giving anything away... For me the collaboration of the two distinguished names alone are enough to seek out this classic film. Beautifully composed, captivating from start to finish, profoundly pensive a masterwork of Classic Japanese Cinema art.... Highly Recommended !!
|
|
|
Post by manfromplanetx on Jun 11, 2020 0:03:22 GMT
Kuro no chôtokkyu, Black Super Express (1964) Headstrong but somewhat naïve Keiichi (Jirô Tamiya) is coerced into a questionable get rich business scheme. An associate from the past has tracked him down, especially for this job... Keiichi agrees to go along and performs his part of the deal to the great satisfaction of his overseers. Earning a hefty commission Keiichi speculates on the stock market gambling for greater wealth. When he finds out that he was used in an elaborate plan of deceit, it is not righteous indignation he feels, Keichi now wants a larger share of the monetary spoils... An engrossing drama of personal ambition, of greed, corruption, of controlling corporate power, of those that struggle to climb up from the bottom rung in Japan's amoral post war social order... Yasuzô Masumura's bold cinematic presence is a highlight of late 50s and 60s Japanese cinema. With great emotion and outstanding noir composition Black Super Express is a captivating highly entertaining cinematic tale from a master of his craft... Highly Recommended !! Starring Jirô Tamiya & Yukiko Fuji... who married in 1965
|
|
|
Post by morrisondylanfan on Jun 11, 2020 19:23:04 GMT
Hi all,a few years ago (yep,years!) I won on eBay a Criterion DVD that has a plain white sleeve. Due to something coming up,I for some reason chucked it on a bookshelf,which due to the spine being white it blended in and I lost it! Finally finding it again last week,I went in knowing nothing about the film. Harakiri (1962)10. Bringing the sword down on this adaptation of Yasuhiko Takiguchi’s novel by titling Hanshiro Tsugumo “The ronin from Hiroshima”, the screenplay by Shinobu Hashimoto brings the defiance against authority in post-WWII Japan to the early beginnings, of what would become a consolidation of power, leading to the 250 year Tokugawa reign. Seating Hanshiro face to face with Saito in the house of Li Clan palace, the poetic dialogue Hashimoto balances the blade with the refine allegorical brutal, feudal authority of the Li Clan being used to rip the other clans and samurai’s of the land apart, leading to Hashimoto striking back,and exposing the fragility from shattering their orders. Bringing Hanshiro into the palace pledging to commit harakiri, Hashimoto skilfully blades the allegorical with a absolutely thrilling samurai tale, drawing Hanshiro’s compassion for his family with a fierce, passionate fire to fight and save the individualism of his family, up against the authoritative band of Li Clan. Saying later in a interview with Joan Mellen in 1972 that “In any era, I am critical of authoritarian power.” directing auteur Masaki Kobayashi reunites with cinematographer Yoshio Miyajima, and stylishly displays his rebellion against authoritarian rule with the empty suit of armor hanging above the Li Clan palace like a gargoyle, which Kobayashi brings crashing down to earth via Hanshiro throwing the façade of power from the armor,right back at Li Clan. Cutting Toru Takemitsu’s score to sparse inserts, Kobayashi displays a expertise in the use of silence, filling the Li Clan palace with Hanshiro’s anguished words, being only interrupted by the lone sound of wooden panels being stepped on as guards rush to Saito’s side. Igniting a lit fuse atmosphere which ends in a thrilling final fight, (where real swords were used!) that breaks the walls of the Li Clan palace, Kobayashi begins to shake the foundation with long static camera shots a few feet from the floor listening to Hanshiro, that Kobayashi starkly cracks with tightened close-ups on Hanshiro’s agonised face,and refined zoom-ins on the terror sinking into Saito’s face. Reuniting with Kobayashi,Tatsuya Nakadai gives a incredibly raw performance as Hanshiro, thanks to the love and warmth Hanshiro gives to his family, being contrasted by Nakadai with a simmering rage to fight for freedom freed from harakiri
|
|
|
Post by morrisondylanfan on Jun 12, 2020 14:51:26 GMT
From the last decade, the final feature film of pioneering Japanese Director Isao Takahata, the realisation of a lifetimes conception , eight years in the planning & production, to date is the most expensive Japanese feature ever. The timeless feature... a bona fide Classic for sure. かぐや姫の物語, Kaguya-hime no Monogatari, The Tale of the Princess Kaguya (2013) Based on The Tale of the Bamboo Cutter, a 10th-century Japanese folk tale. A bamboo cutter discovers a luminous bamboo shoot inside a tiny girl whom he and his wife raise as their daughter. The girl grows rapidly & blossoms into a beautiful princess, leaving her much loved rural setting she is moved to the imperial capital. Given the name Princess Kaguya, meaning ‘shining light’, her great and refined beauty attracts a series of noble admirers who come with fanciful tributes to charm her, hoping to take her as their bride, but she sends them all away on impossible errands, only to find herself rueing her own secret destiny here on earth. Being faithful to the idiosyncrasies of the parable, the story’s subtle drama, the pastel composition & subdued action will probably alienate most children but certainly not their parents. An implacable perfectionist Isao Takahata here uses a rare blend of raw line-drawings and watercolours, bringing to life Japanese woodblock and scroll art. In a bold move away from the fantasy and the colourful fabular heroism of previous Ghibli animations Princess Kaguya is crafted with exquisitely subtle pastels and gentle watercolours. The pencil & brushstroke style exudes spontaneity and swiftness, a magical realism captivating with absolute wonderous delight. Highly Recommended !! Wonderful to read that you enjoyed this so much Man. I was really taken by how different the animation looked to other Ghibli titles,with Tale looking in some scenes like moving works of art, with the animation and colours having such a delicate quality. From when I first saw it in Nov 2016: 10. Based on the 10th century Japanese folklore tale The Tale of the Bamboo Cutter,co-writer/(along with Riko Sakaguchi) director Isao Takahata paints the tale with exquisite water colours,giving the title a haunting atmosphere of being a fading memory. Taking the brave step of not filling every inch of the frame with a constant stream of action, Takahata expertly uses space to give the film an extraordinary poetic quality,with the royal ruby colours Kaguya is surrounded by being unable to replace the lush greens and blues of the flowers in Kaguya's former village. Currently the longest movie to come from Studio Ghibli,the screenplay by Takahata & Sakaguchi brilliantly use the time to meditate on the emotional bond Kaguya has to her childhood home,which sails off into a devastating, melancholy final,where Kaguya's parents find their daughter to grow away from them. Along with the heart-wrenching family Drama,the writers sparkle the title with a dose of Ghibli magic weaved in the attempts to get Kaguya's hand in marriage having the touch of tall tales from the lights of The Canterbury Tales and the fragmented encounters between Kaguya and Sutemaru leaping from an earthy bond into a pure,bittersweet flight of fantasy,as the bamboo shoots open up the tale of Princess Kaguya. Keeping to Anime, I recently watched the non- Ghibli The Sky Crawlers (2008),and it is a Drama about the loss of innocence,that I really recommend catching.
|
|
|
Post by manfromplanetx on Jun 13, 2020 0:05:11 GMT
かぐや姫の物語, Kaguya-hime no Monogatari, The Tale of the Princess Kaguya (2013) Wonderful to read that you enjoyed this so much Man. I was really taken by how different the animation looked to other Ghibli titles,with Tale looking in some scenes like moving works of art, with the animation and colours having such a delicate quality. Hi there MDF a fabulous review of The Tale of the Princess Kaguya We have a couple of vintage Japanese watercolour scrolls on our walls, this beautiful film seems to have leapt straight out from the traditional & natural scenes We watched last night... Hadashi no Gen , Barefoot Gen (1983) Dir. Mori Masaki , Written by Keiji Nakazawa. It's the summer of 1945. Gen is a young boy living in the city of Hiroshima, strangely spared by the bombing seen in almost every other Japanese City. Three years of war has made food scarce. Gen's pacifist family is suffering from malnutrition. Little do they, their friends and neighbours know, what the Americans have in store for the city of Hiroshima. As of the 6th of August 1945, when the bombers appear with an eerie silence, the course of their lives are about to dramatically change forever. This dynamic & powerful anti war film was based on writer Keiji Nakazawa's own harrowing recollections. From his playful childhood innocence to a desperate reality, the film spans the before and after depicting the bombing with frightening, ferocious detail. It is an incredibly creative animated work, clearly critical of the Japanese powers, Maski & Nakazawa are unflinching in their portrait of the heartless, unrelenting enemy force. Ending on a note with a sense of hope & optimism, the finale is a profoundly moving moment. Highly Recommended !!
|
|
|
Post by manfromplanetx on Jun 13, 2020 23:12:50 GMT
Niguruma no uta , Cart Song (1959) Dir. Satsuo Yamamoto Spanning decades of radically changing times, this compelling epic drama closes on a touching note as a soldier returns at the end of the Second World War ... Very much centre of the saga is Seki, characterised with a tremendous emotionally charged performance from Yûko Mochizuki. From humble beginnings to hardworking, cart-pulling, wife and mother wife, her admirable strength of character is challenged often over the years. Constrained in a rigid social order Seki however maintains her dignity & continues to build & progress herself & family forward... Independent and socially conscious director Satsuo Yamamoto passionately adapted from author & political activist Tomoe Yamashiro. Niguruma no uta was written by her in 1955, active in agrarianism the author was an advocate on behalf of women and peasant farmers in rural communities, an opening introduction/dedication reads... " This film was created by the hands of 3,200,000 farm women...When all human beings acknowledge each other as human let the precious joy that results be universal. When this joy lives forever in the hearts of women and is handed down to daughters who become mothers then tomorrow will not just repeat today but be a new beginning, With these thoughts in our hearts we made this film "... Highly Recommended !!
|
|
|
Post by manfromplanetx on Jun 15, 2020 23:37:59 GMT
Danryû aka Warm Current (1957) Yasuzô Masumura Shoshimin-eiga... Focuses on the everyday lives of ordinary people. This extraordinary contemporary melodrama was adapted from prominent author, playwright Kunio Kishida, considered to be one of the founders of modern Japanese drama. Fittingly it was the third excellent film from Yasuzô Masumura in a productive debut year, following on from the beautiful Blue Sky Maiden... Hiashi (Jun Negami) is no doctor, a skilled accountant, he was recruited by the ailing director/owner of a city hospital, the frail man is also the patriarch of a once wealthy upper class family. Resolute Hiashi uses his tough managerial skills to sort out the hospital's faltering finances & lax administration, he is also entrusted to control the family's dwindling fortune. Reining in waste and inefficiency Hiashi comes into conflict with family members & elements at all levels of the hospital hierarchy. Naturally the handsome newcomer smitten himself on arrival, has attracted competing rivals, generating much romantic intrigue... The Japanese title translates as Stream aka Warm Current, the film in fact opens like a wild torrent, a frantic head spinning introduction eventually dissipates , calming down into an absorbing but still turbulent flow. The story is a multi faceted complex melodrama; family & social issues, morality, romance & marriage, using as the main backdrop a busy hospital setting. Captivating with surprising twists & turns you can never be too sure just how things are going to play out. Filmed in rich colour with striking camera work, a fabulous & fashionable cast enliven the tale with superb intensely passionate performances. No time for gushy sentimentality, Yasuzô Masumura charges his melodrama with dynamic vigour & great emotional depth. An adventurous storyteller, a consummate craftsman, Danryû is highly entertaining cinematic art. Interesting to note that similarly stylish, director Samuel Fuller pays homage by displaying this film's poster in the final moments of The Crimson Kimono (59) ... Highly Recommended Viewing !! Jun Negami , Hiashi ; Hitomi Nozoe , Keiko ; nurse Sachiko Hidari , Gin
|
|
|
Post by manfromplanetx on Jun 16, 2020 0:17:53 GMT
Hi all,a few years ago (yep,years!) I won on eBay a Criterion DVD that has a plain white sleeve. Due to something coming up,I for some reason chucked it on a bookshelf,which due to the spine being white it blended in and I lost it! Finally finding it again last week,I went in knowing nothing about the film. Harakiri (1962)10. Bringing the sword down on this adaptation of Yasuhiko Takiguchi’s novel by titling Hanshiro Tsugumo “The ronin from Hiroshima”, the screenplay by Shinobu Hashimoto brings the defiance against authority in post-WWII Japan to the early beginnings, of what would become a consolidation of power, leading to the 250 year Tokugawa reign. Hi there MDF was great to read your insight on this excellent film After re-watching recently an earlier film of Kobayash I thought it may be of interest of you... Karami-ai aka The Inheritance (1962) Masaki Kobayashi here directs a very dark and cynical contemporary noir, beautifully expressed in crisp b&w cinematography, a twisting tale of greed & fractured loyalties, with an alluring femme, accompanied with a tremendously evocative score from Tôru Takemitsu... Yasuko...Keiko Kishi
|
|
|
Post by manfromplanetx on Jun 17, 2020 9:53:45 GMT
Gaki zoshi , The Water Was So Clear (1973) Dir.Yôichi Takabayashi Hungry Ghosts...An arduous rain drenched trek leads a frail teenage girl to collapse on the steps of a hill top Buddhist Temple.. The youthful resident monk takes her in and along with his motherly helper they nurse the mysterious girl back to health. The homeless girl comfortably settles into the austere lifestyle, secure within the sanctity of the temple refuge. Her presence inevitably draws obsessive attentions. Desecrating the purity of the sacred shrine a violation initiates an affair, one which fractures the rigid harmony of the spiritual realm, clouding the clarity of the devout priest. . "Not standing upon words"... The Water Was So Clear is a dialogue free film , sparse as it is, conversation is muted, clearly audible are grounding everyday sounds providing an evocative & tangible natural reality. With striking composition and varying rhythms, multi themes are vividly presented often with dissolving seemingly random imagery...very Zen. Experimental, independent filmmaker Yoichi Takabayashi intricately creates a unique, profoundly expressive work of cinematic art. A story with no words, however it is a story that has so much to say... 餓鬼 Gaki in the films title references Hungry Ghosts... In Japanese Buddhism these spirits, punished for their mortal vices, have been cursed with an insatiable hunger... emerging from an unhappy death or where there is neglect or desertion of venerable ancestors. Highly Recommended for Classic Japanese film enthusiasts !!..
|
|