Posted by Kimberly Lindbergs on February 16, 2017
“Beat” Takeshi Kitano has been making headlines recently. Late last year the 70-year-old Japanese filmmaker, actor, author and entertainer was awarded France’s coveted Legion of Honor for his contribution to contemporary arts while film retrospectives in New York and Rio de Janeiro, along with a spate of fresh Blu-ray releases from Film Movement and Third Window Films, have spawned renewed interest in his work. Kitano is also wrapping up production on his latest directorial effort, the third film in his lauded crime trilogy Outrage: Final Chapter (2017), and we can look forward to seeing him in the highly anticipated live-action adaptation of Ghost in the Shell (2017) soon. As a longtime admirer, it has been a joy to see the arc of his career take shape from popular television comedian to celebrated film auteur and beloved cultural figure.
Through April 28, FilmStruck subscribers have access to four of Takeshi Kitano’s earliest films including Boiling Point (1990), Sonatine (1993), The Blind Swordsman: Zatoichi (2003) and my personal favorite of the bunch, Violent Cop (1989). Violent Cop was the first feature film Kitano directed and its impact should not be underestimated. As he continues to gain new admirers around the world, I thought I would revisit the movie that launched Kitano’s filmmaking career and transformed his public persona from a fun-loving clown into a cinematic powerhouse in Japan and abroad.
Posted by Nathaniel Thompson on February 15, 2017
Now that another Valentine’s Day has passed, it’s time to focus on other emotions out there… like stark terror! Pretty much impossible for American audiences to see until 2012 apart from its very minimal English-language theatrical release in 1969, the terrific spook show The Living Skeleton (1968) is just the kind of thing to watch late at night when you want a few nice shivers with a rich vein of pulp fun. [...MORE]
Posted by R. Emmet Sweeney on February 14, 2017
Next month Disney will release their live action adaptation of Beauty and the Beast, starring Emma Watson and Dan Stevens. It is sure to be sumptuous and well-appointed and all that, but it’s unlikely to approach the carnal magic of Jean Cocteau’s 1946 version (streaming on The Criterion Channel of FilmStruck), ideal viewing for this Valentine’s Day. Made soon after the close of WWII, with France still lacking many basic supplies, Cocteau’s Beauty and the Beast conjured the uncanny out of odds and ends: busted cameras, cracked lenses, unstable film stock. Somehow DP Henri Alekan captured the look Cocteau sought, the ““soft gleam of hand-polished old silver.” The fable unspools in this soft gleam, with the elusiveness of a dream you try to remember upon waking. Cocteau wrote in his production diary that, “My method is simple: not to aim at poetry. That must come of its own accord. The mere whispered mention of its name frightens it away. I shall try to build a table. It will be up to you then to eat at it, to examine it or to chop it up for firewood.” For generations audiences have been examining his handmade table, and finding it to be more surreal and darkly romantic every year.
Posted by Susan Doll on February 13, 2017
I am teaching a section on mise-en-scene later this semester, and I am going to use stills and clips from the 1936 sci-fi classic Things to Come, which is adapted from H.G. Wells’ The Shape of Things to Come. While it is tailor-made for art and film students, any recommendation for others comes with a warning. I don’t want to discourage anyone from watching Things to Come, which is streaming on The Criterion Channel of FimStruck, but brace yourself for the wooden, two-dimensional characters, pretentious ideas and ponderous speechifying that tends to bring scenes to a screeching halt.
Posted by Greg Ferrara on February 12, 2017
Did you know that the energy harnessed by orgasm is the same energy responsible for the Northern Lights? No? Well, perhaps you are unfamiliar with the Orgone, an energy that exists everywhere and in all of us. It can be harnessed in an Orgone Accumulator, a wooden/metal box created by Austrian psychologist Wilhelm Reich in the 1930′s, that one sits in to accumulate Orgone energy. Once inside, the good energies build up within the subject, breaking through their “body armor,” as he called it, meaning their collective neuroses, and the good feelings begin to flow. For the rest of us, the bathroom works just fine. In 1971, Serbian director Dušan Makavejev, fascinated by Reich and his energy accumulating cabinet of curiosity, put together a movie, WR: Mysteries of the Organism, part documentary, part fictional narrative, part satirical, part propaganda. What makes it work so hypnotically well, is that all of those parts overlap with each other without a care or concern as to linear narrative or even functional argument.
Posted by Jill Blake on February 11, 2017
When I decided to write about Billy Wilder’s Irma La Douce (1963) for this week’s StreamLine piece, I originally intended to argue on the film’s behalf. In discussions of “lesser Wilder films” Irma La Douce is guaranteed to be on the list, arguably one of Wilder’s most baffling creations, along with The Spirit of St. Louis (1957), which I’m convinced Wilder made solely so he could direct James Stewart in something. Not that I blame him one bit. As an aside, I’d like to note that Wilder made three films in 1957: the aforementioned biopic with Stewart, Love in the Afternoon with Gary Cooper and Audrey Hepburn and Witness for the Prosecution with Marlene Dietrich, Tyrone Power and Charles Laughton. An incredible feat, even for a master like Billy Wilder. But back to Irma La Douce: I’ve staunchly defended the film on more than one occasion, having mainly fond memories of the zany, haphazard plot. I’m a huge fan of Wilder’s Kiss Me, Stupid (1964) and I ride-or-die for the much-maligned Avanti! (1972). Irma La Douce has always fit nicely alongside the two in the “Billy Wilder films that Jill loves for some insane reason” category. I recently revisited all three, hoping to come away with renewed appreciation so I can continue to fight on their behalf with my fellow impassioned film obsessives. While Kiss Me, Stupid and Avanti! retained their delightful magic, Irma La Douce disappointingly fell short. Very, very short. The film is a belabored, confusing collection of all the things that should work, but don’t. Oh how it pains me to finally admit it. And yet, I still find myself making excuses for this fiery train wreck of drunken Maltese pups, emerald green stockings and bad British accents.
Posted by Greg Ferrara on February 10, 2017
Last week, I delved into documentaries and asked how much was real and how much was fiction. Specifically, I was looking for the appearance of reality and wondering if documentaries and their overlap with fiction was a problem at all or just something to be expected when watching someone’s account of what happened. All of this led me to ponder a movie I have long considered a fictional documentary, My Dinner with Andre (1981), which is currently streaming under the Food for Thought theme in FilmStruck. The movie itself has become the butt of jokes from The Simpsons (Martin Prince plays the My Dinner with Andre game in an arcade) to movies like Waiting for Guffman (where Corky sells My Dinner with Andre action figures). Both of those jokes play well but let’s be honest, it’s pretty damn easy to parody a movie that is almost entirely two men sitting at a table, talking. The fact that such an undertaking not only had a director (instead of simply a cameraman saying, “Okay, I think we’re ready… I mean, action!”) but the internationally famous, highly acclaimed director Louis Malle, is a miracle in and of itself. Surely Malle saw this decidedly uncinematic scenario as an irresistible challenge as a filmmaker and set out to see what he could do with two men at a table talking. So what did he do? And what is the point of all of this anyway?
Posted by Kimberly Lindbergs on February 9, 2017
Love is complicated. Some see it as a priceless gift or blessing while others describe it as an unshakeable disease. It can be comforting, enriching, elevating, thrilling and divine. It can also be messy, unruly, feral, ferocious and cruel, particularly if you are suffering from acute depression. In Dans Paris aka In Paris (2006), French filmmaker Christophe Honoré (Ma mère aka My Mother , Les chansons d’amour aka Love Songs , Les Bien-Aimés aka Beloved ) introduces us to a family in the throes of a profound depression although this fact is kept hidden from viewers throughout most of the film’s 90-minute runtime. Instead of focusing on the hows, whys and what fors of the situation, Honoré shows us how each family member is trying to cope and for better or worse, their drug of choice is love. With Valentine’s Day looming on the horizon, I thought it would be a good time to revisit Dans Paris, one of my favorite French films of the past 20 years, which is currently streaming on FilmStruck. Honoré’s delightful, difficult and bittersweet romantic drama is part of their holiday appropriate “City of Love” theme featuring films set in Paris, a city that’s mere name conjures up scenes of romance and passion.
Posted by Nathaniel Thompson on February 8, 2017
Do you have a film you love even though you can’t point to a specific reason why? A title that just seems to envelop you from the opening frames and keeps you enthralled without doing anything showy? One example I like to point to is Le Bonheur (1965), a superb pastoral drama that puts the story of domestic instability against a backdrop of some of the most eye-popping colors you’ve ever seen. [...MORE]
Posted by R. Emmet Sweeney on February 7, 2017
With La La Land nominated for fourteen Academy Award nominations and likely to dominate movie chatter in the coming weeks, I wanted to track down some lesser known uses of jazz on film, for those seeking alternatives. Looking through FilmStruck, I came upon Koreyoshi Kurahara’s Black Sun (1964) on the Criterion Channel, which is about a jazz-mad squatter living in the rubble of post-war Japan, with a score performed by the Max Roach Quartet. The Roach Quartet is playing squalling compositions by Toshiro Mayuzumi, indicative of how East and West headbutt each other throughout the feature. The Japan as shown in the film is still in ruins after WWII, a ghostly, emptied out space filled with rubble and sewage.
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