Solaris (1972)

| Sunday, December 24, 2000 | 0 comments |
 AKA Солярис

Directed by
Andrey Tarkovskiy       

Writing credits
Stanislaw Lem (novel "Solaris")
Fridrikh Gorenshtein
Andrey Tarkovskiy




Psychologist Kris Kelvin (Donatas Banionis) spends his last day on Earth reflecting on his life while walking by a lake near his childhood home where his elderly father still lives. Kelvin is about to embark on an interstellar journey to a space station orbiting the remote oceanic planet Solaris. After decades of study, the scientific mission at the space station has barely progressed in its goal of understanding the planet. To make matters worse, most of the crew has succumbed to a series of emotional crises. Kelvin is dispatched to evaluate the situation aboard ship and determine whether the venture should continue.

Henri Burton (Vladislav Dvorzhetsky), a former space pilot, visits Kelvin. They watch film footage of Burton's own testimony years before of seeing an over-sized child on the ocean surface of Solaris while searching for two lost scientists. However, the cameras of his craft recorded only clouds and the flat ocean surface; Burton's report was dismissed as hallucinations. After failing to convince Kelvin of the truth of his experience, Burton leaves angrily only to later call Kelvin. He explains that he met the child of a scientist lost in that mission, and the child was reminiscent of the one he saw on Solaris.

Before departing Earth for Solaris, Kelvin destroys most of his personal mementos in a bonfire, noting the volume of keepsakes he has accumulated. In Kelvin's last conversation with his father (Nikolai Grinko), they realize that the father will not live to see Kelvin return. Although he readily accepted the mission, it is a choice that weighs heavily upon Kelvin's conscience.

Upon arrival at the Solaris space station, none of the three remaining scientists meet Kelvin, who finds the disarrayed space station dangerously neglected. He soon learns that his friend among the scientists, Dr. Gibarian (Sos Sargsyan), has mysteriously died. The two surviving crewmen are unhelpful, and give contradicting and confusing information. Shortly thereafter, Dr. Snaut (Jüri Järvet) warns Kelvin not to overreact if he sees anything “unusual” on board the station. However, Kelvin soon glimpses other people aboard the station. While Kelvin sends news of the chaos on board the station, the oceans of Solaris begin swirling on the planet's surface.

Waking exhausted from a restless sleep, Kelvin finds a woman with him in his quarters despite the barricaded door. To his surprise, it is Hari (Natalya Bondarchuk), his late wife who committed suicide some years before. However, she is mysteriously unaware of having committed suicide on Earth, and she is equally puzzled as to her presence in Kelvin's quarters. Grasping that she is a psychological construct brought on by the mysterious effects of Solaris, he lures her to a spacecraft and launches the illusion of his wife into outer space. In his haste to be rid of her, he is burned by the rocket’s blast. Dr. Snaut tends his burns and explains that the “visitors” began appearing after the scientists attracted the attention of Solaris, seemingly a sentient entity.

That evening, Hari reappears in his quarters. This time calm, Kelvin embraces Hari through the night. Later, Kelvin causes her to panic when she discovers the clothes of the first apparition and tries to leave the room. She beats her way through the room’s metal door, severely cutting herself. Kelvin carries her back to his bed, where her injuries heal before his eyes. Dr. Sartorius (Anatoli Solonitsyn) calls for a meeting, and Kelvin introduces Hari as his wife, insisting they treat her respectfully. In their symposium, the scientists begin to understand that Solaris created Hari from Kelvin’s memories of his dead wife. The Hari present among them, though not human, thinks and feels as though she were. Sartorius theorizes the visitors are composed of neutrinos and that it might be possible to destroy them.

Kelvin shows Hari films of himself and his parents when he was a boy and, later, of his wife. While she is asleep, Snaut proposes beaming Kelvin’s brainwave patterns at Solaris in hopes that it will understand them and stop the disturbing apparitions as communication. However, Sartorius suggests a radical attack of heavy radiation bombardment. In time, Hari becomes independent and is able to exist beyond Kelvin’s sight. She learns from Sartorius that the original Hari had committed suicide ten years earlier, and Kelvin is forced to tell her the entire story. Distressed, Hari kills herself again by drinking liquid oxygen, only to painfully, spasmodically resurrect a few minutes later. On the surface of Solaris, the ocean is moving even faster.

In a fevered sleep, Kelvin dreams of his mother and of many Haris walking about his quarters. When he awakens, Hari is gone, and Snaut reads him the good-bye note she wrote him. The note indicates that Hari asked the scientists to kill her. Snaut tells Kelvin that since they broadcast Kelvin’s brainwaves at Solaris, the visitors stopped appearing, and islands began forming on the planet's surface. Kelvin debates whether or not to return to Earth or to descend to Solaris in hope of reconnecting with everything he has loved and lost.

Again at the shore of the frozen lake, Kelvin finds himself at his father's house. His dog runs to him, and he happily walks towards it. He realizes something is wrong when he sees water is falling inside the house but is unnoticed by his father, who appears in the house. Father and son embrace on the front step of the lakeside house, on an island in the middle of an ocean on Solaris.

http://www.imdb.com/title/tt0069293/

Wild Strawberries (1957)

| Thursday, November 2, 2000 | 0 comments |
AKA Smultronstället

Director:
Ingmar Bergman

Writer:
Ingmar Bergman

 

Eberhard Isak Borg (Victor Sjöström) is an elderly physician. His medical and scientific specialty was bacteriology according to the script. Before specializing he served as general practitioner in rural Sweden. He drives 400 miles, with his daughter-in-law Marianne (Ingrid Thulin) from Stockholm to Lund to receive the honorary degree Doctor Jubilaris 50 years after graduating from Lund University. During the trip, he is forced by nightmares, daydreams, his old age, and his impending death to reevaluate his life. He meets a variety of people on the road, from Sara, a female hitchhiker traveling with her fiancé and escort, to a quarreling married couple who remind Isak of his own life and unhappy marriage. He reminisces about his childhood in the seaside, his sweetheart Sara (played by Bibi Andersson, who also plays the other Sara). He is confronted by his loneliness and aloofness, recognizing these traits both in his ancient mother and in his middle age physician son, and gradually advances towards acceptance of himself, his past, his present, and his soon-to-occur death.

http://www.imdb.com/title/tt0050986/

Winter Light (1962)

| Thursday, October 5, 2000 | 0 comments |
AKA Nattvardsgästerna

Director:
Ingmar Bergman

Writer:
Ingmar Bergman




The film opens with the final moments of Tomas's noon service. In attendance are only a handful of people, including fisherman Jonas Persson and his wife Karin (von Sydow and Gunnel Lindblom), and Tomas's ex-mistress, the atheistic Märta (Ingrid Thulin). After the service, Tomas, though coming down with a cold, prepares for his 3 o'clock service in another town.

Before he leaves, however, the Perssons arrive to speak to him. Jonas has become morose after hearing that China is developing an atomic bomb. Tomas speaks to the man briefly, but asks Jonas to return after taking his wife home. No sooner have the Perssons left than Märta enters, attempts to comfort the miserable Tomas, and asks if he's read the letter she wrote to him (he hasn't). Tomas tells her of his failure to help Jonas, and wonders if he will have anything to say, since he is without hope as well. Märta states her love for Tomas, but also her belief that he doesn't love her. She leaves, and Tomas reads her letter.

In an unbroken shot lasting almost six minutes, Bergman has Märta face the camera and speak the contents of the letter. In it, she coldly attacks Tomas for his neglect of her, relating a story of how a rash that disfigured her body repulsed him, and neither his faith nor his prayers did anything to help her. Tomas finishes the letter, and falls asleep. Awakened by the return of Jonas, Tomas clumsily tries to provide counsel, before finally admitting that he has no faith as well. He tells the depressed man that his (Tomas's) faith was an egotistical one — God loved humanity, but Tomas most of all. Serving in Lisbon during the Spanish civil war, Tomas could not reconcile his loving God with the atrocities being committed, so he ignored them. Tomas finally tells Jonas that things make more sense if we deny the existence of God, because then man's cruelty needs no explanation. Jonas leaves, and Tomas faces the crucifix and declares himself finally free.

Märta, who has been lurking in the chapel, is overjoyed to hear this, and embraces Tomas (who again does not respond to her affections). They are interrupted by the widow Magdalena, who tells them that Jonas has just committed suicide with a rifle. Tomas drives, alone, to the scene. Shot in an awkward, distant style (as contrasted with the claustrophobic close-ups of the rest of the film), Tomas stoically helps the police cover Jonas's body with a tarp, then stands guard while waiting for the "van" to collect the body, which arrives shortly. Märta arrives on foot, and she and Tomas drive off to her home, where she invites him in to take some medicine for his cold.

Waiting in the classroom attached to her house (Märta is a substitute teacher), Tomas finally lashes out at her, telling her first that he rejected her because he was tired of the gossip about them. When that fails to deter her affections, Tomas then tells her that he was tired of her constant talking, and that Märta could never measure up to his late wife, the only woman he has ever loved. Though shocked by the attack, Märta agrees to drive with him to the Persson house. Informed of Jonas's suicide, Karin collapses onto the stairs and wonders how she and her children will go on. Tomas makes a perfunctory offer of help, and leaves.

Arriving for the 3 o'clock service at the second church, Tomas and Märta find the building empty except for Algot, the hunchbacked sexton, and Fredrik, the organist (who arrives late and slightly inebriated). Fredrik tells Märta that she should leave the small town and Tomas and live her life, rather than stay and have her dreams crushed like the rest of them. Meanwhile in the vestry, Algot questions Tomas about the Passion. Algot wonders why so much emphasis was placed on the physical suffering of Jesus, which was brief, versus the many betrayals he faced from his disciples (who denied him, did not understand his message, and did not follow his commands) and finally from God, who did not answer him on the cross. Wasn't God's silence worse, he asks. Tomas, who has been listening silently, answers "yes". Fredrik and Algot wonder if they should have a service since no one showed up, but Tomas replies that someone has shown up: Märta. Tomas speaks the first lines of the service as the film ends.

http://www.imdb.com/title/tt0057358/

Red Desert (1964)

| Saturday, September 9, 2000 | 0 comments |
AKA Il deserto rosso

Director:
Michelangelo Antonioni

Writers:
Michelangelo Antonioni
Tonino Guerra

As the film opens, Giuliana (Vitti) has been released from the hospital after having attempted suicide. She lives with her husband Ugo (Carlo Chionetti), director of a nationalized plant which is going through a strike, along with their young son. Giuliana feels estranged from her family and disconnected from the world. Ugo's friend Zeller (Richard Harris) comes to Ravenna to make a business deal and is drawn to her. Zeller may understand her troubles more than Ugo does, but this is not enough to sway Giuliana from her worries.

http://www.imdb.com/title/tt0058003/

Fando y Lis (1967)

| Thursday, August 10, 2000 | 0 comments |
Directed by
Alejandro Jodorowsky

Writing credits
Fernando Arrabal (play)
Alejandro Jodorowsky


The film follows Fando (Sergio Klainer) and his paraplegic girlfriend Lis (Diana Mariscal) through a barren, post-apocalyptic wasteland in search of the mythical city of Tar, where legend has it all wishes come true. The film is divided into four acts:

Act I

This first part begins with a flashback of young Fando hanging around with his father. The father says that when he dies, his skin would make a beautiful drum, and that, if ever Fando should ever feel lonely, he should go to the wonderful city of Tar. Fando and Lis begin their journey in a destroyed city (Fando drives Lis in a small wooden cart, which also carries Fando's drum and Lis' phonograph), where they meet a group of aristocrats having a ball in the midst of the destruction. Fando is lured away by a group of seductresses into a junkyard, where he is blinded and made to chase after them. In the end he is tricked into kissing a man and paid for amusing them. Meanwhile, Lis is surrounded by the arisocrats and a flashback occurs, where we see young Lis being lured backstage by a puppeteer (played by Jodorowsky) and being harassed by the artists yonder. Fando throws the money away and goes back to get Lis and leave the city. They hang around in a cemetery: Lis sings "I shall die, and no-one shall remember me..." and Fando reassures her that he will remember her and will visit her grave bringing a flower and a dog. A musical sequence follows, "Qué bonito es un entierro" (how beautiful is a funeral), during which the couple play dead and cavort around the cemetery.

Act II

Fando and Lis pull into what appears to be a dead end until they are guided out by the Pope, who also signals the road to Tar. He also advises them against the coming of the night, which is signaled by the beating of drums, "for those who are asleep become awake". Shortly afterwards the couple come across a marsh in which the bodies of men and women lie asleep. As they approach, they wake up and bathe in mud. Fando leaves Lis behind, planting her in the muddy swamp, much to her chagrin, but changes his mind and rescues her shortly after. Not long afterwards, however, he becomes tired of Lis and mistreats her, dragging her across the desert and abandoning her at the bottom of a spiraling canyon. Fando runs away and upon reaching a mountain top witnesses a card game between three old ladies, playing for the right to suck fruit pulp off a young man's mouth. Fando runs away from the scene and into an ambush composed of desert women armed with bowling balls and a scantily clad woman with a whip. The group chases Fando and sends him tumbling down a hill and right next to the grave of his father, who proceeds to come back to life and send his son into the tomb. Fando eventually goes back to Lis and the two leave. He promises never to hurt her again.

Act III

A sequence of scantily-clothed Fando and Lis follows, painting each others' names in black in a room and proceeding to throw buckets of paint at the walls and at each other. Back in the desert, the couple come across an array of different characters: a man and his blind son begging for blood (which they extract from Lis but the father drinks and leaves nothing for his son), a party of transvestites (who cross-dress Fando and Lis) and an apparition of Fando's mother (who is then shown in a flashback along young Fando, in which we see her death and how she taunted Fando's father - her servants are the young women from Act II), now begging to be killed. Fando subsequently strangles her with her own hair and walks her to her grave.

Act IV

Yet again, Fando becomes tired of Lis, and tearing her clothes apart, chains her up to the cart and hides nearby. He leaves her to the mercy of three men (the clowns from the circus flashback of Lis' childhood)) who slowly approach the scene. Fando reappears and encourages the men to look at her and feel her and kiss her. They do so, but shyly walk away after Fando proudly claims she is his girlfriend. The couple drifts some more but constantly reaches the same barren spot between the mountains. Lis points it out and a frustrated Fando charges against the hills, but to no avail. He then proceeds to handcuff Lis and torture her once more. In retaliation, she throws Fando's treasured drum away, breaking it. An enraged Fando beats Lis up, killing her. Lis is taken away by a mob, who puts her in a coffin and cannibalize parts of her skin. Fando interrupts the ceremony to retrieve Lis' body and eventually bury her. In the film's last scene, Fando visits Lis' grave as promised with a flower and a dog. Calling her name, he lies down by the grave and is covered by crawling ivy. Then, we see a naked Lis rising from the grave, spotting an also naked Fando, and the couple running off into the woods. But we cut back to Fando, lying by Lis' grave, calling her name in dreams, wrapped in ivy.

http://www.imdb.com/title/tt0061643/

Late Autumn (1960)

| Monday, July 3, 2000 | 0 comments |
AKA Akibiyori

Directed by
Yasujirô Ozu        

Writing credits
Ton Satomi (novel)
Kôgo Noda
Yasujirô Ozu


 

Three middle-aged friends and former college mates – Mamiya (Shin Saburi), Taguchi (Nobuo Nakamura) and Hirayama (Ryuji Kita) – meet up for the 7th memorial service of a late college friend, Miwa. Miwa's widow Akiko (Setsuko Hara) and 24-year-old daughter Ayako (Yôko Tsukasa) are also present. The three friends remark amongst themselves how good Akiko looks despite being in her forties.

The party chats and thinks that it is time for Ayako to get married. Taguchi tells them he has a prospective suitor for Ayako, but it later turns out the man already has a fiancée. Mamiya instead offers his employee, Goto (Keiji Sada), as another match, but Ayako confides privately in Akiko that she has no wish of getting married. Ayako, who lives alone with Akiko, is close to her mother, who teaches dressmaking.

Ayako meets Goto one day at Mamiya's office. Later, after a hiking trip, a fellow colleague offers to introduce him to Ayako again. Ayako and Goto rapidly progress to be a couple, but Ayako is unwilling to get married because that will mean Akiko will live all alone. Ayako puts forward to Mamiya her theory that "romance and marriage could be separate". The three friends think that all this is an excuse and begin to speculate that Ayako will marry if Akiko remarry. The other two offer Hirayama, a widower, as Akiko's prospective remarriage partner. Hirayama warns them not to go ahead with their plan, but after privately obtaining permission from his son to remarry, changes his mind.

Hirayama now approaches Taguchi and Mamiya for help. Before they can break the subject to Akiko, however, Mamiya tactlessly lets Ayako know about their plan. Thinking that her mother has known about this, an unhappy Ayako goes home to question her and then leaves for her colleague and friend Yukiko's (Mariko Okada) place in a huff. Yukiko however approves of Akiko's remarriage. She persuades Ayako not to be so selfish, which gains Ayako's displeasure.

Displeased, Yukiko confronts the three friends, and finds out the truth from them. Mamiya apologizes for their mishap; however, seeing their cause, Yukiko decides to help Hirayama. Unfortunately, when Akiko and Ayako go for their last trip together, Akiko tells her daughter she has decided not to marry. She urges Ayako not to worry about her. With her assurance, Ayako successfully marries Goto, leaving her mother to live all alone in her apartment.

http://www.imdb.com/title/tt0053579/

Hour of the Wolf (1968)

| Thursday, June 22, 2000 | 1 comments |
AKA Vargtimmen

Director:
Ingmar Bergman

Writer:
Ingmar Bergman


The film is framed through the account of Alma (Liv Ullman), who addresses the audience directly while sitting at a picnic table. She tells of her husband's disappearance, which is explored in a flashback constructed of his diaries and her words.

Johan Borg (von Sydow) is a painter who is regularly approached by odd and suspicious people. He confides to his young, pregnant wife Alma (Ullman) that he believes them to be demons, and that his insomnia is growing worse. On the nights when Johan can't sleep, Alma stays awake by his side through the nights, especially during the vargtimmen ("The Hour of the Wolf"), during which, Johan says, most births and deaths occur. Johan begins to give names to the figures who approach him, including the Bird-Man, the Insects, the Meat-Eaters, the Schoolmaster (with pointers in his trousers), and The Lady With a Hat. Throughout the film, Alma expresses her belief that two people who love each other, and spend their lives with each other, will eventually become alike. (See Persona.)

It is implied to the audience that these figures represent Johan's shames, traumas, and vices. Johan's wife talks about wanting to grow old with him, and that night, a 216-year-old woman approaches him, taunting him about age. In one scene, he recounts to his wife meeting a small boy tanning himself on a rock. As the nude boy approached Johan, he "realized" it was a demon representing homosexuality (and sexual experimentation in his youth), and violently smashed the child's face against a stone before tossing him into the ocean to drown. Alma reacts to the story with shock, and sinks into despair. Johan tries to persuade her to leave so he might kill himself, but the couple are approached by a baron, von Merkens (Josephson), who lives in a nearby castle. The painter and his wife visit them and their surreal household: a castle, where Johan's ex-girlfriend Veronica lies waiting on a table. Swarms of men dress Johan in make-up and women's clothing in preparation for a sexual encounter with her, while Veronica hands Alma her husband's diary and tells her "I have bought myself a sizeable stake in your husband." Veronica taunts her by showing her bruises on her pelvis, "perpetual sources of reinvogarated enthusiasm".

Johan panics, and flees into underbrush. In the last act of the film, Alma searches the forest for her husband, only to find his mangled body. In the final moments, she addresses the camera, "Is it true that a woman who lives a long time with a man eventually winds up being like that man? I mean, she loves him, and tries to think like him, and see like him? They say it can change a person. I mean to say, if I had loved him much less, and not bothered so of everything about him, could I have protected him better?", believing that her love of Johan spread his demons to her, so that she could not protect him.

http://www.imdb.com/title/tt0063759/

Tokyo Story (1953)

| Saturday, May 27, 2000 | 0 comments |
AKA Tôkyô monogatari

Director:
Yasujirô Ozu

Writers:
Kôgo Noda
Yasujirô Ozu


Two elderly parents Shukichi (Chishu Ryu) and Tomi Hirayama (Chieko Higashiyama), from the small seaside town of Onomichi in southwest Japan, pay a visit to their busy children in Tokyo and Osaka. Only their youngest unmarried daughter lives with them: Kyoko (Kyoko Kagawa), a schoolteacher.

Upon arriving in Tokyo (before the advent of the bullet train, almost a day's journey), they find themselves neglected by their children. Their eldest son, Koichi (So Yamamura), is a district pediatrician with two boys. Their eldest daughter, Shige (Haruko Sugimura), is a hairdresser. The children wish to spend time with their parents, and do, to an extent; but, as they have lives, work and families of their own, they find it difficult to maintain a balance between the two. Only the couple's widowed daughter-in-law Noriko (Setsuko Hara) goes out of her way to entertain them. She takes them on a sightseeing tour of metropolitan Tokyo.

Koichi and Shige pay for their parents' cheap stay at the hot spring spa at Atami, but the parents return because the busy nightlife at the hotel interrupts their sleep. Shukichi stays with Shige and visits some old friends, while Tomi goes to visit Noriko. At Noriko's, Tomi advises Noriko to remarry as her husband, the couple's son, died eight years ago in the war.

The couple, seeing that their children are too busy, leave for home. They stop at their youngest son Keizo's (Shiro Osaka) place at Osaka, but during the ensuing train journey Tomi is taken ill. When they reach Onomichi, Tomi becomes critically ill. Koichi, Shige and Noriko rush to Onomichi, on receiving telegrams, to see Tomi, who dies shortly afterwards. Keizo arrives late as he is outstationed.

After the funeral, Koichi, Shige and Keizo decide to leave immediately as they have their work at Osaka and Tokyo, leaving only Noriko to keep their father company. After they leave, Kyoko complains to Noriko that they are selfish and inconsiderate, but Noriko explains that everyone has their own lives to lead and that the drift between parents and children is inevitable.

After Kyoko leaves for school, Noriko informs her father-in-law that she must return to Tokyo that afternoon. Shukichi notes ironically that it is she, a daughter-in-law who has no blood relation with them, who has treated them best during their Tokyo visit. He gives her a watch from the late Tomi as a memento, and advises her to remarry. At the end, the train with Noriko speeds from Onomichi back to Tokyo, leaving behind Kyoko and Shukichi.

http://www.imdb.com/title/tt0046438/

The Silence (1963)

| Friday, April 7, 2000 | 0 comments |
AKA Tystnaden

Director:
Ingmar Bergman

Writer:
Ingmar Bergman

 

After a nightly train journey through desolate countryside, two emotionally estranged sisters stop at a once-grandiose hotel in an unidentified Central European country on the brink of war or insurrection, in the middle of a heatwave. The older, more cultured sister, Ester (Ingrid Thulin), who is a literary translator, is taken seriously ill, which seems to be terminal. Her fear of death, as well as long-standing rivalry and need for control, cloud her relationship with her younger sister Anna (Gunnel Lindblom). The sisters are depicted as a spirit/flesh dichotomy, with Ester representing the heart and mind, and Anna representing the body and soul.

Upon arriving to the hotel, Anna's son, Johan (Jörgen Lindström), a boy of 8 or so, wanders around the seemingly empty hallways, encountering a friendly old man and a group of Spanish midgets who are part of a travelling circus. Meanwhile, Ester wastes away in her room, attempting to work on her translations, and Anna ventures into the city, eventually having a one-night-stand with a stranger, which infuriates Ester.

By the end of the film, Anna and Johan leave the hotel, and Johan reads a note given to him by Ester while boarding the train. The note reads: "To Johan- words in a foreign language". Anna, seemingly unaffected by it, opens the window and cools herself with the outside rain. It is implied that Ester dies at the hotel, alone.

The theme of 'silence' is repeated throughout the film: God has been silent to Anna over her life, and is now silent in Ester as she dies; in addition, none of the characters speak the language of the country, causing disorientation and confusion; and the two sisters constantly misinterpret the others' words, making communication difficult or impossible.

http://www.imdb.com/title/tt0057611/

Late Spring (1949)

| Tuesday, March 7, 2000 | 0 comments |
AKA Banshun

Directed by
Yasujirô Ozu

Writing credits
Kazuo Hirotsu (based on the novel "Chichi to musume" by)
Kôgo Noda (screenplay)
Yasujirô Ozu (screenplay)


Professor Shukichi Somiya (Chishu Ryu) has only one child, a twenty-seven-year-old unmarried daughter, Noriko (Setsuko Hara), who takes care of his everyday needs. However, a meeting with his sister Masa (Haruko Sugimura) convinces him that she is now of marriageable age. Noriko is close to his assistant, Hattori (Jun Usami), and Masa asks Somiya to question Noriko if Hattori is interested in her. However it turns out that Hattori already has a fiancée he is about to marry.

A Kyoto friend of Somiya, Professor Onodera, pays a visit to the Somiyas. Noriko learns that Onodera, a widower, has remarried, and she tells Onodera that she finds the idea distasteful - filthy even. Onodera teases her endlessly for harboring such thoughts. Meanwhile, Masa keeps pressurizing Noriko to go for a matchmaking session to see a prospective match who resembles Gary Cooper. Noriko declines, stating that she does not want to marry because of her father. Marrying will leave him alone and helpless. Masa declares that she plans to matchmake her father and Mrs Miwa, a widow, which will mean someone will take care of him.

At a Noh performance, Somiya nods to Mrs Miwa, which triggers a pang of jealousy in Noriko. When her father tries to talk her into going for the matchmaking session, he tells her that he is going to marry Mrs Miwa. Devastated, Noriko decides to go to see the match. To her surprise, she has pleasant impression of him. Masa talks to her if she will marry. Spurred by thoughts of her father remarrying, Noriko gives in to her aunt and agrees.

The Somiyas go for their last trip together, to Kyoto, where they meet Onodera and his family. Noriko reverses her attitude towards Onodera's remarriage when she finds his new wife a pleasant lady. While packing luggages for their way home, Noriko asks Somiya why can't they stay as they are now – she is happy with her father and marriage certainly can't make her any happier. Somiya admonishes her and gives her a short talk asking her to strive for marital happiness together with her husband, something that will take time and effort. Noriko apologizes for her earlier thoughts and agrees to wed.

Noriko finally leaves on her wedding day. Noriko's divorced friend Aya (Yumeji Tsukioka) stays with Somiya in a bar, long enough to hear him confess his supposed "remarriage" to Mrs Miwa is all a ploy to get Noriko married. Aya is touched by his sacrifice and promises to come and visit him often, but Somiya must go back and face the quiet night all alone in his apartment.

http://www.imdb.com/title/tt0041154/

A Story of Floating Weeds (1934)

| Friday, February 11, 2000 | 0 comments |
AKA Ukikusa monogatari

Director:
Yasujirô Ozu

Writers:
Tadao Ikeda
Yasujirô Ozu (story)



The film starts with a travelling kabuki troupe arriving by train at a provincial seaside town. Kihachi Ichikawa (Takeshi Sakamoto), the head of the troupe, is a very popular actor. He takes time off to visit a former mistress Otsune (Chouko Iida), with whom he had a son years before. His son, now a student, does not know that Kihachi is his father, thinking him an uncle. Kihachi and his son, Shinkichi, spend a fruitful afternoon fishing for dace in a nearby river.

When the troupe's performance tour is postponed by the constant downpour around the region, one of the members of the troupe unwittingly reveals a secret: that Kihachi is seeing a woman every day. Otaka (Rieko Yagumo), one of Kihachi’s actresses and his present mistress, decides to pay a visit to Otsune's watering-hole with fellow actress Otoki (Yoshiko Tsubouchi). Kihachi becomes enraged, warns Otaka never to come and harass the mother and son again, and breaks off his relationship with her.

To get back at Otsune and Kihachi, Otaka suggests to Otoki to try to seduce Shinkichi and offers her some money. Otoki waits for Shinkichi at a tree by the road one day and offers to meet after her performance at the same place. Shinkichi agrees to the meeting, and the two start a clandestine love affair.

As time goes by, Otoki realizes she has fallen for Shinkichi. She tells Shinkichi to forget her because she is merely a traveling actress. Kihachi discovers their affair, confronts Otoki and slaps her, demanding to know what she wants. Otoki reveals Otaka's setup, but tells him she now loves Shinkichi and is not doing this for money. Kihachi then beats up Otaka, but realizes he no longer has any control over the affair.

Kihachi decides to disband the troupe, selling all their costumes and props. The kabuki actors have one last night together. Kihachi visits Otsune, and tells her of his troupe's break-up. She invites him to stay with her for good, and they decide to tell Shinkichi of his paternity secret. Shinkichi and Otoki return, but Shinkichi and Kihachi get into a violent quarrel when Kihachi hits Otoki repeatedly.

Otsune now tells Shinkichi that Kihachi is his father, but Kihachi refuses to acknowledge him for abandoning them. Otsune reasons that Kihachi doesn't want Shinkichi to become a traveling actor like him. Shinkichi leaves for his room in a huff. Kihachi decides to restart another troupe, realizing he cannot stay. Otoki asks to join him, but Kihachi leaves her in Otsune's care and asks Otoki to help his son be a great man.

Shinkichi comes down to look for his father but he has gone on the road. At the railway station, Kihachi meets Otoki who helps light his cigarette with matches. He invites her to start a new traveling troupe with him at Kamisuwa. Otaka goes to buy an extra ticket to accompany him. The film ends with a shot of a train traveling toward Kamisuwa.

http://www.imdb.com/title/tt0025929/

Un Chien Andalou (1929)

| Saturday, January 1, 2000 | 0 comments |
Director:
Luis Buñuel

Writers:
Salvador Dalí
Luis Buñuel

The film opens with a title card reading "Once upon a time". What may be the film's conclusion unfolds; a middle-aged man (played by Buñuel) sharpens his razor at his balcony door and tests the razor on his thumb. He then opens the door, and idly fingers the razor while gazing at the moon, about to be engulfed by a thin cloud, from his balcony. There is a cut to a close-up of a young woman (Simone Mareuil) being held by the man as she calmly stares straight ahead. Another cut occurs to the moon being overcome by the cloud as the man slits the woman's eye with the razor, and the vitreous humour spills out from it.

The subsequent title card reads "eight years later". A slim young man (Pierre Batcheff) bicycles down a calm urban street wearing what appears to be a nun's habit and a locked box with a strap around his neck. A cut occurs to the young woman from the first scene, who has been reading anxiously in a sparingly furnished upstairs apartment, and she hears the young man approaching on his bicycle. She promptly throws aside the book she was reading (revealing a reproduction of Vermeer's The Lacemaker) and goes to the window. She emerges from the building and attempts to revive the young man after witnessing him collapse from the bicycle.

Later, the young woman assembles pieces of the young man's clothing on a bed in the upstairs room, and seemingly through concentrating on the clothing causes the young man to appear near the door. The young man and the young woman stare at his hand, which has a hole in the palm from which ants emerge. A slow transition occurs focusing on the armpit hair of an unknown figure and a sea urchin at a sandy location. An androgynous young woman appears in the street below the apartment, poking at a severed hand with a cane while surrounded by an angry crowd and police.

The crowd clears when the police place the hand in the box previously carried by the young man, and the androgynous young woman contemplates something happily while standing perilously in the middle of the now busy street, clutching the box. She is then run over by a car and a few bystanders gather around her. The young man and the young woman watch these events unfold from the apartment window. The young man seems to take sadistic pleasure in the androgynous young woman's danger and subsequent death, and as he gestures at the shocked young woman in the room with him, he leers at her and grasps her bosom. The young woman resists him at first, but then allows him to touch her as he imagines her nude from the front and the rear. The young woman pushes him away as he drifts off and she attempts to escape by running to the other side of the room. The young man corners her as she reaches for a racket in self-defense, but he suddenly picks up two ropes and drags two grand pianos containing dead and rotting donkeys, stone tablets containing the Ten Commandments, and two rather bewildered priests (played by Jaime Miravitilles and Salvador Dalí) who are attached by ropes. As he is unable to move, the young woman escapes the room. She finds the young man in the next room, dressed in his nun's garb in the bed.


The subsequent title card reads "around three in the morning". The young man is roused from his bed by the sound of a doorbell (represented visually by a martini shaker being shaken by a set of arms through two holes in a wall). The young woman goes to answer the door and does not return. Another young man dressed in lighter clothing (also played by Pierre Batcheff) angrily arrives in the apartment, possibly to punish the other young man for his lecherous actions against the young woman. The second young man forces the first one to throw away his nun's clothing and then makes him stand against a wall.

The subsequent title card reads "Sixteen years ago." We see the second young man from the front for the first time as he admires the art supplies and books on the table near the wall and forces the first young man to hold two of the books as he stares at the wall. The first young man eventually shoots the second young man when the books abruptly turn into pistols. The second young man, now in a meadow, dies while swiping at a nude figure which suddenly disappears into thin air. A group of men come and carry his corpse away.

The young woman comes into the apartment to possibly confront the first young man and sees a death head moth. The first young man sneers at her as she retreats and wipes his mouth off his face with his hand. Subsequently the first young man makes the young woman's armpit hair attach itself to where his mouth would be on his face through gestures. The young woman looks at the first young man with disgust, and leaves the apartment sticking her tongue out at him.

As she exits her apartment, the street is replaced by a coastal beach, where the young woman meets a third man with whom she walks arm in arm. He shows her the time on his watch and they walk near the rocks, where they find the remnants of the first young man's nun's clothing and the box. They seem to walk away clutching each other happily and make romantic gestures in a long tracking shot. However, the film abruptly cuts to the final shot with a title card reading "In Spring," showing the couple buried in sand up to their elbows, presumably dead, possibly bringing the film full-circle to a time after the unknown events of the opening scene.

http://www.imdb.com/title/tt0020530/