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You're going to get that subscription and finish this project, jiv. The Criterion Collection...it calls to you. It beckons you. You must finish what you began.
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Dec 1, 2016 02:05
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Raxivace posted:You're going to get that subscription and finish this project, jiv. Time to see what I can accomplish in a 14-day free trial!
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Dec 1, 2016 02:08
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After WAAAAAAY too long of a hiatus (July was the last planned review, October for my spontaneous trip to Shin Godzilla), I'm finally back! Samurai I: Musashi Miyamoto Released September 26th 1954, Directed by Hiroshi Inagaki My single sentence review of this one is that it starts and ends strong, but has a bit of a meandering and repetitive middle. I also want to preface things with the admission that I know very little of the legend or history of Musashi Miyamoto. The early stuff, with Toshiro Mifune's Takezo and his friend Matahachi deciding to try to bring themselves some fame and glory in the war, followed by one of the quickest realizations of "war is hell" I've ever seen, is really powerful. The battle of Sekigahara, with the rain and thunder, is very well presented; the use of the natural elements was very reminiscent of things I've seen from Kurosawa. The meeting with the widow and daughter was a bit of dark comedy that just doesn't end well for Matahachi, although I lose a fair bit of sympathy for him after he tries to force himself on the daughter while she's tending to his injury. I think that's just a sequence that doesn't play the same way to an audience 60 years later. Both women trying to seduce Takezo and being rebuffed helps solidify his character as being rugged and strong, but also driven by motivations outside the material. He's singularly focused on some combination of fame, glory, revenge, and a desire to simply prove himself. The last is a bit reminiscent of his character from Seven Samurai; but its not a direct enough of a parallel to make the character feel derivative. After this, however, the film takes a bit of a hard turn toward the bland. Matahachi is coerced into escorting the widow and her daughter on their travels, leaving Takezo to his own devices. Taking away a companion to directly play off of, I feel, harms Takezo's character. He really shines when contrasted against a more homebody-ish figure, and without Matahachi, Takezo spends a time descended into rote strong-man stereotype. He spends a few scenes breaking through a roadblock checkpoint, attempting and failing to bring news of Matahachi's fate to his family, and eventually being captured by a priest after accepting the offer of food and warmth on a cold night. The character of the Buddhist priest, Takuan, is an odd one to me, that I don't quite understand. He's presented initially as a bit eccentric, wandering about outside his temple nearly nude. He then takes on a more traditional priestly role of offering Takezo sanctuary, assuring him that if he surrenders to a priest he will be shown some degree of clemency. But then he becomes a vaguely sadistic mentor/trainer figure, leaving Takezo strung up from a tree for days in inclement weather, in an attempt to provoke some manner of character growth. Admittedly, Takezo was arrogant and prideful (to the point of professing to not care that his family members were being held hostage due to his actions), but I truly don't quite understand Takuan's motivation in torturing Takezo in such a manner. But then we come to the end of the film, where both Takuan and Takezo's motivations come to a head. Otsu, Matahachi's betrothed who transferred her affections to Takezo after Matahachi ran off with the widow's daughter, frees Takezo from the tree, but gets captured after helping him escape. In a bid to in turn rescue her, Takezo is locked in a room in the beautiful Himeji castle for years, with naught but spiritual texts to accompany him. This unshown reading montage becomes a source of character growth for Takezo; and this is the part of Takuan's mentorship I would have actually liked to see depicted on-screen. In the final scenes, we see Takezo be given a new name, Musashi Miyamoto, and leave on a quest for physical training and spiritual enlightenment, leaving Otsu behind at Takuan's urging to give up his old life. Takezo has been reborn as Musashi, and the tale comes to a close. Structurally, the ending feels very similar to the original Star Wars. This could have been a single, self-contained picture, ending with the promise of further adventures that we just don't see. But, much like Star Wars, we have two more films to watch with this character. I'm interested to see where the character of Musashi Miyamoto goes from here. He amply demonstrated his significant combat prowess in this film, and the ending also implies that he's already attained at least some measure of spiritual balance as well. I'm curious to see if his character is "rolled back" to the headstrong and prideful version in order to support two more movies of him learning from his travels, or if his character arc will feel contiguous with what we've seen so far. Overall I give this a solid, but not exuberant, thumbs up. Up Next: Samurai II: Duel at Ichijoji Temple Released July 12th 1955, Directed by Hiroshi Inagaki
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Dec 1, 2016 06:16
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I'll try and post more later, but it's worth mentioning that for the longest time Samurai I: Musashi Miyamoto actually was a single self-contained picture in the United States. In Japan the trilogy was released from 1954 through 1956. In America we got the first film in 1955...and then didn't get the two sequels until 1967. I've never been able to find an explanation for why this happened, and it is especially weird considering the first film got an Honorary Oscar (Even though it wasn't even the best movie from Japan that year in the jidaigeki genre).
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Dec 1, 2016 07:00
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Drop Hulu get Filmstruck. You won't regret it. You get Criterion and TCM!
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Dec 1, 2016 16:59
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MacheteZombie posted:Drop Hulu get Filmstruck. You won't regret it. You get Criterion and TCM! That good, huh?
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Dec 1, 2016 17:00
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HUNDU THE BEAST GOD posted:That good, huh? I'm on the free trial right now and I don't really see a reason to drop it... well unless I watch EVERY movie.
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Dec 1, 2016 17:11
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Any more specific news on a PS4 app?
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Dec 1, 2016 17:19
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MacheteZombie posted:Drop Hulu get Filmstruck. You won't regret it. You get Criterion and TCM! Criterion leaving was the final straw for my wife to dump Hulu. I had only talked her into keeping it as long as we had due to that.
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Dec 1, 2016 17:21
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Basebf555 posted:Any more specific news on a PS4 app? I use my amazon firetv for streaming so I don't know anything about that sadly. jivjov posted:Criterion leaving was the final straw for my wife to dump Hulu. I had only talked her into keeping it as long as we had due to that. I signed up for the trial and I plan to do the full year plan (99$ for the year saves ya like $30). Since you are expanding your movie pool I think you'd really like it.
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Dec 1, 2016 17:30
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Well - I've now finished my year of Kurosawa. I saved Ran for last instead of finishing in chronological order, and it was a good idea - it's a masterpiece, easily Kurosawa's best since Yojimbo. Once again his use of colour was mesmerising, and his steady-handed control of the huge production was impressive. I get terror sweats just thinking about the logistical nightmare of filming crowds of people in front of a massive burning castle. To not only do so but also end up with such elegant, lyrical footage is incredible. Ran also improved on everything I thought was a misfire about Kagemusha: the battles were coherent, the story had a strong momentum, and even the lead actor, Tatsuya Nakadai, seemed like a much better fit - in fact, this might be the only post-Red Beard film where I didn't miss Mifune's presence. I hadn't realised that the story would follow King Lear quite so closely - it's a closer adaptation than Throne of Blood was of Macbeth, and I thought this gave the film a solid narrative backbone, keeping it from rambling or fizzling out like Kurosawa sometimes does elsewhere. I did really enjoy the addition of the revenge-seeking Lady Kaede, though, and she may actually be my favourite character in all Kurosawa. She went out like a total badass! Thematically the film was stripped of all of Kurosawa's typical sentimentality, which I also appreciated. It was instead utterly bleak and uncompromising, and I could see the same theme of the stupidity of man revisited later in some segments of Dreams. Ran's last shot of the abandoned blind man groping vainly on top of a cliff for his lost image of God is one of the more brilliant shots Kurosawa ever thought up (though it sounds a bit on the nose when typed out here). Looking back at his catalogue as a whole, Kurosawa was a true master - without a doubt one of cinema's greats (although that's news to no one). When he was at his best he made masterpieces - of these, I count Rashomon, Ikiru, Seven Samurai, The Hidden Fortress, Yojimbo, and Ran. It's tough to pick a favourite, but if I had to I'd say that The Hidden Fortress is his strongest overall film, and is the one that I'd use to introduce others to Kurosawa. Aside from these masterpieces, though, I think what defines a great artist is that even when they don't quite manage to express their full vision, their work is still undeniably theirs - and Kurosawa is thoroughly infused into the fabric of all of his films. So even with the films that I'd rate as second (or third) tier Kurosawa, there are moments that continue to stick with me: the meticulously constructed, mounting tension in the wedding scene of The Bad Sleep Well, the image of the petals floating through the river in Sanjuro, the vaguely mystical cat story in Madadayo, the little boy walking off into the wilderness as the music swells in the fox wedding segment of Dreams. These types of little moments capture a very particular mood that you know comes directly from Kurosawa's brain, and they're magical things to experience. Of all Kurosawa's misfires, though, one has stayed with me the strongest: as you might guess from the picture to the left, it's The Idiot. I don't know what it was about this film that I enjoyed so much. It's undeniably a big mess, but for whatever reason I really did enjoy it. Had Kurosawa ever been able to find his original cut, I think, it would easily be considered one of his masterpieces. In summary: Kurosawa was good. Also, I'm headed to Tokyo for a few weeks soon, and am wondering if there's anything Kurosawa-related worth checking out there. Anyone have any ideas?
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Dec 5, 2016 09:22
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There's something about Kurosawa's films that make me want to rewatch them every time I hear someone talk about them. Ran isn't a short movie, I've seen it 4 or 5 times now, and yet I find myself itching to see it again after reading ozza's reactions to it. I guess its the images themselves, they're so strong and memorable that I can keep coming back to them again and again and they never lose their power.
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Dec 5, 2016 16:19
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Yeah watching Ran on the big screen was a great experience. I recently rewatched Rashoman and I think its interesting to compare how that ends with mankind still capable of selfless act vs the blind on the edge of the cliff of Ran. He definitely grew a little more pessimistic over the years.
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Dec 6, 2016 04:35
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I looked into Filmstruck and was happy when I saw it was going to be on Roku sometime next year, and then immediately sad that it is only available in the U.S.. drat copyright laws.
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Dec 6, 2016 06:36
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El Gallinero Gros posted:I looked into Filmstruck and was happy when I saw it was going to be on Roku sometime next year, and then immediately sad that it is only available in the U.S.. drat copyright laws. Check out a VPN service maybe? I can refer you to a couple good ones.
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Dec 6, 2016 06:37
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David Bordwell recently did a brief piece on Sanshiro Sugata that I thought was worth sharing. http://www.davidbordwell.net/blog/2016/12/19/action-and-essence-kurosawas-sanshiro-sugata-on-the-criterion-channel/
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Dec 20, 2016 15:37
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Raxivace posted:David Bordwell recently did a brief piece on Sanshiro Sugata that I thought was worth sharing. Had this post on my backburner for a while and finally made it back to read it. This is phenomenal and I'm actually gonna go edit this link into my Sugata review for posterity.
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Jan 5, 2017 14:12
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 Samurai II: Duel at Ichijoji Temple Released July 12th 1955, Directed by Hiroshi Inagaki Released 35 years to the day before my birth, Duel is the second installment of the Samurai trilogy, tracing a fictionalized telling of the life of Miyamoto Musashi. Somewhat as I feared, Musashi's character is rolled back a bit at the start of this film. He must be told again at the beginning of the film that being a samurai is about more than being a strong fighter. The priest from last time even tells him that he is too strong; that he's compensating for his lack of brains with an excess of brawn. The entire film is basically an extended character growth for Musashi. Despite winning a duel against a chain-and-sickle wielder, he still struggles to attain a sense of inner calm. He challenges a sword school to a duel and strikes down something like half the students before deciding to skip straight to the leader. Much like the first film, this is where I feel the film falters. There's a fun plot here about the students of the rival school not wanting to let Musashi fight their master, and they spend time setting up ambushes and trying to discourage him...but I feel it all could have been trimmed down a bit. Musashi also has to deal with two different women pining for him. His friend's old fiance Otsu and the thief's daughter Akemi. Musashi himself doesn't really have to resolve much of the situation; other than one moment (quickly moved past) at the very end of the film, he maintains that he has forsaken the love of women in favor of the love of the sword. I'm honestly not sure if this is his own personal desire or him just trying to live up to some manner of ideal, but the two women have enough of their own drama fighting over him to keep the romantic subplot from being useless. The best part of this film is honestly the atmospheric surroundings of the various duels. The beginning of the film starts in a beautiful, Kurosawa-esque, windswept soundstage/landscape. The set dressing really makes the area feel desolate and empty. The large multi-man brawl at the end of the film moves from a grassy trail into muddy rice paddies. This is where Musashi has really learned to use his head, knowing that he cannot take all the opponents on alone, he uses the morass of the rice fields to his advantage. Much of this duel also takes place in the early hours of the morning, lending a sleepy, almost dreamlike, air to the fight. While the fights were very well done, and the period nature of feudal Japan is very well represented, Duel at Ichijoji suffers middle-installment syndrome for me. Musashi spends the entire runtime basically refining the lesson he was already said to have learned in the first film, rather than really pushing forward his own character. I still give this one a thumbs up...but a much more mild one than Samurai I, and I sincerely hope the final chapter is stronger. Up Next: Samurai III: Duel at Ganryu Island Released January 3 1956, Directed by Hiroshi Ingaki
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Mar 28, 2017 01:32
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Alamo is doing a screening of Seven Samurai in a couple weeks...can't decide if I should go or not. On the one hand, I'd love to see more theatrical screenings of Kurosawa, on the other hand, it'll make me very sleepy for work the next day.
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Apr 10, 2017 18:06
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You have my permission to watch the good movie in a good setting.
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Apr 10, 2017 19:02
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loving do it
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Apr 10, 2017 19:02
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Alright, alright. I bought a ticket.
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Apr 10, 2017 22:00
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Trip Report from the Alamo last night: Once again, Kurosawa on the big screen is the way to go. They, sadly, didn't have any themed menu items, but the preshow was themed quite well, and included trailers of weird martial arts films, other Kurosawa clips, and George Lucas reminiscing on how much he loves Kurosawa. Seven Samurai itself was as much of a delight as it was the first time around, but on the big screen I was able to really appreciate just how much of a dirty, brutal, slog the final battle was. Unlike many film showdowns, this really sold to me just how horrible the fight was and how little Kambei in particular wanted to be there.
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Apr 26, 2017 04:15
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New film hopefully coming tomorrow, and then after that I'll be out of bonus review territory for a bit and back to Ghibli and Kurosawa. That I think is what killed this project for so long, was getting too sidetracked with other films. I have no other bonus film planned until after The Hidden Fortress, so hopefully I can get back on track and on schedule before we hit the 2-year anniversary!
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Jun 15, 2017 01:44
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 Samurai III: Duel at Ganryu Island Released January 3 1956, Directed by Hiroshi Ingaki I found the third chapter in the life of Miyamoto Musashi to be a much stronger standalone film than the second, but I found myself feeling a bit lost at the beginning, as I didn't expect Musashi to have given up the life of a samurai between films. But taking this movie on its own merits, I really enjoyed the parallel stories of Musashi travelling the land and basically getting his groove back (amongst acting as a sort of mentor to a younger samurai hopeful, encountering drunken bullies at a run-down inn, and defending a small village from bandits in a Seven Samurai-esque sequence), and his rival Kojirō climbing the ranks from ronin to samurai and teacher (while also laying a lethal smackdown on street assailants, becoming well acquainted with the upper classes, and being kinda a jerk to his love interest). Musashi's character arc feels a bit muddled to me, especially taking the previous two films into account...but overall I captured the gist that Musashi has reached a point of inner peace. He knows he's an extraordinarily good swordsman, but no longer feels a burning drive to have to prove it. He's matured from student to teacher, and he's solving problems with calm rather than strength. He sorts out his love life by the end of the film (more on that later). He becomes a humble man of the land rather than a rich and well paid samurai retainer. And most importantly, he spends a bulk of the runtime of the film avoiding a duel that he does not feel needs to be fought. Kojirō's arc is basically the inverse of all of this; he spends the whole movie becoming more and more powerful, respected by the elite, upping his body count....only to lose at the end because of his own hubris in forcing the fight. The romance subplot is as awkward and underserved as ever, and I really feel that it is only included in the film for some low drama as Musashi has conflicting feelings for the "good girl" and the "bad girl"...but I never really feel any tension in that arc of the story, save for the two women actually having a fairly serious brawl with farming tools that leads to a house getting burnt down. In my poking around and research before writing this review, I saw someone online posit that this entire trilogy could potentially be cut down into a single 2-2.5 hour film. I'd really be interested in seeing that cut. While nothing in this movies felt egregiously extraneous, some of it did feel like it was fluff for the sake of just showing more of the character. That isn't in and of itself a bad thing, but this could have been a duology or a Seven Samurai-length epic and still have much of the same resonance. Overall, watching through these films has been fun. Mifune is always a treat....but I'm excited to get back to some more Kurosawa! Up Next: I Live in Fear Released November 22 1955. Directed by Akira Kurosawa
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Jun 16, 2017 05:02
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I Live In Fear owns. I honestly feel like Kurosawa's best actor, far and away was Takashi Shimura.
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Jun 16, 2017 05:09
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HUNDU THE BEAST GOD posted:I Live In Fear owns. I honestly feel like Kurosawa's best actor, far and away was Takashi Shimura. I've been enjoying him more than Mifune so far, honestly
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Jun 16, 2017 05:12
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Mifune was a megahunk, particularly for that era of film, great comic actor, great "big" actor who could probably do musicals because he was so physically expressive. But yeah, Shimura was the goods.
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Jun 16, 2017 05:22
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I love both Shimura and Mifune. They were both great, just at different things.
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Jun 16, 2017 05:43
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Also I'm glad to see you keeping up with this jiv.
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Jun 16, 2017 05:44
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Mifune was definitely the more powerful presence, but Shimura was by far the better actor. Mifune's last appearance in a Kurosawa film (Red Beard) really shows his limits, I think.
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Jun 17, 2017 06:48
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Raxivace posted:Also I'm glad to see you keeping up with this jiv. I wish you worked for Hulu, and could turn that appreciation into having the Criterion Collection back.
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Jun 18, 2017 02:30
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So this news is a few months old at this point...but apparently a Chinese mobile app company called Jinke Entertainment is teaming up with Kurosawa Productions to finish up unfilmed screenplays of Kurosawa's. This sounds like an absolutely horrid idea.
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Aug 9, 2017 02:27
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jivjov posted:So this news is a few months old at this point...but apparently a Chinese mobile app company called Jinke Entertainment is teaming up with Kurosawa Productions to finish up unfilmed screenplays of Kurosawa's. This sounds like an absolutely horrid idea.
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Aug 9, 2017 02:30
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Raxivace posted:It probably is but it's not like every copy of Seven Samurai and Ikiru will go up in flames as a result either. This is true...but I feel that there's an expectation of quality from "hey this is Kurosawa!" that's most likely not going to be met. But hey, maybe the strength of Kurosawa's screenplays will carry the day
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Aug 9, 2017 02:56
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I'd like to see a good director take on the material. If you wanted to get mad at something, there's always the anime and video game adaptations of Seven Samurai.
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Aug 9, 2017 03:33
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Mantis42 posted:I'd like to see a good director take on the material. If you wanted to get mad at something, there's always the anime and video game adaptations of Seven Samurai. Oh, I absolutely would too...I'm just confused as to why a mobile app development house is suddenly interested in making feature films of this nature. Speaking of films, I finally starting a FilmStruck trial, let's see how good their streaming is! Edit: eurgh; the tracking bar on their web player is godawful. There's no way to tell where you're clicking on it. jivjov fucked around with this message at 03:44 on Aug 9, 2017 |
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Aug 9, 2017 03:39
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Mantis42 posted:I'd like to see a good director take on the material. If you wanted to get mad at something, there's always the anime and video game adaptations of Seven Samurai. How bad is it?
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Aug 9, 2017 04:50
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I watched the first 3 or 4 episodes a few years ago. It really is just the seven samurai story stretched out into a series, and set in a weird retro future setting. Unless things get crazy later in the series, I think it's biggest flaw was not doing enough of its own thing to set itself apart from being a longform version of the original with new setdressing.
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Aug 9, 2017 04:52
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 I Live in Fear Released November 22 1955. Directed by Akira Kurosawa (Also known by the titles Record of a Living Being and What the Birds Knew) We're back to an old Kurosawa standby in the first film he ever submitted to Cannes; examining the effects of illness on the life of Toshiro Mifune! Seriously...Kurosawa does not let this guy catch a break, first it was TB in Drunken Angel, then syphilis in The Quiet Duel, and now paranoia here in I Live in Fear . And that's not even covering all his other various fates in Kurosawa's works. Before I launch into talking about this film in particular, I want to spend a little time talking about Nakajima Kiichi's (Mifune's character) fear of nuclear weapons. I was struck shortly after this film ended at how this fear is both extraordinarily topical and not at the same time. This movie came out a scant 10 years after the bombings of Hiroshima and Nagasaki (events that reached their 72nd anniversary very recently), so the thought of A-bombs and H-bombs would absolutely be on the mind of virtually all of Japan's people. And today, we live in the specter of the President of the United States threatening "fire and fury like the world has never seen" against a nation openly conducting nuclear weapons tests. This film, and Nakajima's fears, resonate in a deep way that I don't think they would have even a handful of years ago. Sitting here writing this review, I'm finding myself wrestling with very concepts Kiichi did in the film. So into the film itself; at its heart, I Live in Fear is a tale of a man willing to go to literally insane lengths to protect his family from death, and the reactions of that family (and society at large) to those lengths. Something that really sells Kiichi's sincere belief of atomic annihilation is the fact that he's completely willing to expose a handful of infidelities and illegitimate children to his legal family in his quest to protect everyone. He clearly has passed a point where he doesn't care exactly what people think of him, so long as they all live to continue to think poorly of him. When we reach the end of the film, with Kiichi committed to a mental hospital after burning down his own place of business, its not clear at exactly what point he went "too far". Where did he cross the line from taking large scale precautions to acting on a paranoid delusion? Did he even actually cross that line? Is he being held in an asylum rightfully? He obviously has suffered a psychotic break of some kind, as he sees the sun and begins crying out about how Earth is burning...but did this happen only because his family resisted his efforts to save them? The character in the film that's asking these same questions is Shimura Takashi's Dr. Harada, a respected dentist who was elected to serve as a family court mediator. In the scenes of the court arguing in Kiichi should be declared mentally incompetent or not, Harada is the man who makes the point "Aren't we all aware of and justifiably afraid of more nuclear strikes? Yes, Kiichi is going to great lengths...but can we really say that its unjustified?" Even once the family court makes it's decision, which is to deem Kiichi to be incompetent, Harada seeks out Kiichi on a couple occasions, and becomes increasingly convinced that he may have made the wrong decision. An early moment in the film that I definitely want to draw attention to is when Harada first arrives at court, the summary of the Nakajima family's complaint is read to him. During the reading, Harada had struck a match with which to light a cigarette. At the very mention of "fear of A-Bombs and H-Bombs", Harada freezes, letting the match burn all the way down to his fingertips. Even a character presented as completely sane and rational has a noticeable reaction to the thought of more nukes falling on Japan. Serving as the backdrop to both of these stories is Kiichi's family. For various motivations, they are in opposition to Kiichi's plan of relocating them all to a farm in Brazil with an underground bunker. Some think he's just crazy and don't want to uproot their lives to entertain his paranoid. Others are concerned solely concerned about the loss of livelihood of Kiichi potentially selling off his foundry to pay for the farm. Others want to delay the court's decisions solely to get themselves written into Kiichi's will before he either gets dies or is deemed legally insane. Its a backdrop that seems small and petty in the face of potential death and devastation...but considering things from the point of view of the family, many of their concerns are valid. Overall, I wholeheartedly recommend seeing I Live in Fear. I certainly got more out of thinking about the film that I expected I would have going in. There's just a whole lot of ambiguity and complexity to unpack here that I wasn't anticipating. Up Next: Throne of Blood Released January 15 1957. Directed by Akira Kurosawa And so here we are...a little over a week until this thread's 2nd birthday and I've just hit the halfway mark of Kurosawa's films!
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Aug 9, 2017 16:31
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