Tokyo Twilight (1957)

| Thursday, February 5, 2004 | 0 comments |
AKA Tôkyô boshoku

Director:
Yasujirô Ozu

Writers:
Kôgo Noda
Yasujirô Ozu



Akiko Sugiyama (Ineko Arima) is a young college graduate girl learning English shorthand. Her elder sister Takako (Setsuko Hara), running away from an unhappy marriage, has returned home to stay with Akiko and their father Shukichi (Chishu Ryu) in Tokyo, together with her toddler girl. Akiko has a relationship with her college boyfriend Kenji, which results in an unwanted pregnancy. Later, Akiko has an abortion on learning her boyfriend is avoiding her.

While going to a mahjong parlour to look for Kenji, Akiko comes across its proprietress Kisako (Isuzu Yamada), who seems to know a lot about her family. Back at home, Takako hears about Kisako from Akiko, and pieces together the fact that she is their long-lost mother. Takako visits the parlour to ask Kisako not to reveal to Akiko who she really is – but the plan backfires. Akiko learns of her visit and goes to confront Takako. Takako then discloses to her Kisako is their mother, who has run away with another man when Akiko was still a toddler. Shaken, Akiko goes to confront Kisako to ask if she is the daughter of her father. She leaves in a huff, angered by Kisako abandoning her as a child, then goes to a Chinese noodle shop for some sake. Her boyfriend Kenji enters, and the two has a tiff. Akiko leaves angrily, but is hit by a train at an intersection just outside the shop.

Akiko is badly injured and she expresses the wish to live and start life over again in the presence of her father and sister. In the next scene however, in one of Ozu's famous ellipses, a bitter Takako goes to visit her mother to tell her the news of Akiko's death. Kisako is distraught, and agrees with her new husband that she will leave Tokyo for his new assignment. She goes to the Sugiyamas to offer her last condolescence, and to tell Takako of her decision. Unfortunately, Takako does not go to send her off at the railway station.

In the last scene of the film, Takako reveals to her father that she is going back to her husband to try to make their marriage work again. She does not want her toddler daughter to follow in the path of Akiko, who lacks the love of one parent. Shukuchi agrees with her decision.

http://www.imdb.com/title/tt0051093/

El Topo (1970)

| Sunday, January 11, 2004 | 0 comments |
Director:
Alejandro Jodorowsky

Writer:
Alejandro Jodorowsky


The movie takes place in two parts. The first half resembles a western; albeit a surreal one. The second is a love story of redemption and rebirth.

The first half, set in an unnamed desert, opens with El Topo (played by Jodorowsky himself) traveling with his naked young son. They find a town whose citizens have been slaughtered and El Topo hunts down and kills the outlaws and their leader, a fat balding Colonel. El Topo abandons his son to the monks of the settlement's mission and rides off with a woman whom the Colonel and his outlaws had kept captive as a slave. The woman, whom El Topo names Mara, convinces him to defeat the four great gun masters to become the greatest gunman in the land. He duels each of them and during each duel, El Topo emerges victorious through trickery or luck.

After the first duel, an unnamed woman with a male voice finds the couple and offers to serve as a guide. Her involvement will prove El Topo's downfall. Ridden with guilt, El Topo destroys his own gun and revisits the places where he killed those masters. The unnamed woman then confronts El Topo and shoots him multiple times in the manner of stigmata. Mara then betrays him and rides off with the woman after shooting El Topo.

The second half of the movie takes place years later, after El Topo is rescued by a band of deformed outcasts. In their underground community he meditates on the "four lessons" and when he awakes, he is 'born again'. He decides to help the outcasts escape their subterranean prison and, together with a dwarf girl who becomes his lover, performs for the depraved cultists of the neighbouring town to raise money to buy dynamite for this cause.

At the same time, a mysterious monk arrives in town and becomes the new priest. It is revealed that the new priest is actually El Topo's own son. He threatens to kill El Topo, but decides to spare El Topo's life until he finishes digging the escape for the underground people. With the help of his girlfriend and son, El Topo digs an exit out of the cave. Just as the exit appears, the underground people flee the mountain and are massacred by the cultists.

El Topo helplessly witnesses his community being murdered by the cultists and is shot himself. He ignores his wounds and massacres the cultists in the town. After all are killed, El Topo takes an oil lamp and immolates himself. El Topo's son and girlfriend survive the massacre and make a grave for his remains, which becomes as much a beehive as the first gun master's grave. His dwarf girlfriend gives birth to their child at the same time as his death, and the son of El Topo, now dressed in his father's garments, the dwarf, and the child ride off on a horse in the same fashion that the Son of El Topo and El Topo had in the beginning of the film.

http://www.imdb.com/title/tt0067866/

Cries and Whispers (1972)

| Wednesday, December 3, 2003 | 0 comments |
AKA Viskningar och rop

Director:
Ingmar Bergman

Writer:
Ingmar Bergman

Cries and Whispers takes place in a lavish mansion in the 1800s, filled with red carpets and white statuary. It depicts the final days of Agnes (Harriet Andersson), who is near-death with cancer. Her sisters Maria (Liv Ullmann) and Karin (Ingrid Thulin) have returned to the family home to be with her. They remain distant and awkward, and struggle to comfort their sister, while dealing with shock and the fear of mortality her death is bringing to them. The deeply religious maid Anna (Kari Sylwan), whose own daughter died young, is able to comfort her. At length, Agnes dies, and a priest (Anders Ek) arrives at her death bed she returns to the living for a short moment. In a dream-like sequence she asks her family for love and care. For a moment Karin, Maria and the dead Agnes are getting closer to each other, only to be even more distant shortly afterwards. Only Anna is able to embrace and mourn the dead. The film is characterized by flashbacks that return to the life of the protagonists and their memories, tracing each woman's personality to the childhood they spent together. Maria remembers her failed marriage; Agnes remembers her unrequited devotion to their distant mother; Karin struggles with self-harm.

The last flashback, from the deceased Agnes' point of view, is narrated with her diary, and shows her sisters descending upon the house clad in white, like angels. The last words are Agnes whispering "Come what may, this is happiness. I cannot wish for anything better. Now, for a few minutes, I can experience perfection. And I feel profoundly grateful to my life, which gives me so much."

http://www.imdb.com/title/tt0069467/

A City of Sadness (1989)

| Tuesday, November 4, 2003 | 0 comments |
AKA 悲情城市 (bēiqíng chéngshì)

Directed by
Hsiao-hsien Hou

Writing credits
T'ien-wen Chu
Nien-Jen Wu



The film depicts the Lin family's experiences during the White Terror. The eldest brother Wen-Heung (Sung Young Chen) is murdered by a Shanghai mafia boss, the middle brother Wen-Leung (Jack Kao) suffers a traumatic brain injury in a KMT jailhouse, and the youngest brother Wen-Ching (Tony Leung Chiu Wai), who is both deaf and mute, hopes to flee to the mountains with his friend to fight in the anti-KMT resistance movement. By the end of the film even the photographer Wen-Ching has been arrested by the authorities, leaving only his wife to tell the story of the family's destruction.

Wen-Ching's deafness began as an expedient to disguise Tony Leung's inability to speak Taiwanese (or Japanese - the language taught in Taiwan's schools during the 51 year occupation), but wound up being an effective means to demonstrate the brutal insensitivity of Chen Yi's ROC administration.

http://www.imdb.com/title/tt0096908/

The Man Without a Past (2002)

| Friday, October 31, 2003 | 0 comments |
AKA Mies vailla menneisyyttä

Directed by
Aki Kaurismäki

Writing credits
Aki Kaurismäki



The film begins with an unnamed man arriving by train to Helsinki. After falling asleep in Kaisaniemi park, he is mugged and beaten by hoodlums and is severely injured in the head, losing consciousness. He awakes and wanders back to the train station and collapses in its bathroom. He awakes the second time in a hospital and finds that he has lost his memory. He starts his life from scratch, living in container dwellings, finding clothes with help from the Salvation Army and making friends with the poor.

http://www.imdb.com/title/tt0311519/

Buffalo '66 (1998)

| Monday, September 1, 2003 | 0 comments |
Directed by
Vincent Gallo

Writing credits
Vincent Gallo


Having just served five years in prison for a crime he did not commit, Billy Brown (Vincent Gallo) kidnaps a young tap dancer named Layla (Christina Ricci) and forces her to pretend to be his wife. Layla allows herself to be kidnapped and it is clear she is romantically attracted to Billy from the start, but Billy all the while is compelled to deal with his own demons, his loneliness and his depression.


The subplot of Billy seeking revenge on the man indirectly responsible for his imprisonment, Scott Wood, is a reference to a former Buffalo Bills kicker, Scott Norwood, who missed the game-winning field goal in Super Bowl XXV against the New York Giants in 1991.

Rashomon (1950)

| Saturday, August 9, 2003 | 0 comments |
AKA Rashômon

Directed by
Akira Kurosawa        

Writing credits
Ryûnosuke Akutagawa (stories Rashomon and In a Grove)
Shinobu Hashimoto
Akira Kurosawa


 
The film depicts the rape of a woman and the murder of her samurai husband, through the widely differing accounts of four witnesses, including the bandit/rapist, the wife, the dead man speaking through a medium (Fumiko Honma), and lastly the narrator, the one witness that seems the most objective and least biased. While the stories are mutually contradictory only the final version is unmotivated by other factors. Accepting the final version as the truth (the now common technique of film and TV of only explaining the truth last was not a universal approach at that time) explains why in each other version "the truth" was worse than admitting to the killing, and it is precisely this assessment which gives the film its power, and this theme which is echoed in other works.

The story unfolds in flashback as the four characters—the bandit Tajōmaru (Toshirō Mifune), the samurai's wife (Machiko Kyō), the murdered samurai (Masayuki Mori), and the nameless woodcutter (Takashi Shimura)—recount the events of one afternoon in a grove. The first three versions are told by the priest (Minoru Chiaki), who was present at the trial as a witness, having bumped into the couple on the road just prior to the events. Each of these versions has a response of "lies" from the woodcutter. The final version comes direct from the woodcutter, as the only witness (but he did not admit this to the court). All versions are told to a ribald commoner (Kichijiro Ueda) as they wait out a rainstorm in a ruined gatehouse identified by a sign as Rashōmon.

http://www.imdb.com/title/tt0042876/