film

Old School Review: “Throne of Blood” (1957)

Written by Hideo Oguni, Shinobu Hashimoto, Ryûzô Kikushima, Akira Kurosawa, and directed by Kurosawa, “Throne of Blood” is an adaption of Shakespeare’s “Macbeth” set within feudal Japan, the film would lay the groundwork for Kurosawa’s later historical epics “Kagemusha” and “Ran” specifically. Here, once again, we have one of Kurosawa’s favorite leading men in Toshiro Mifune as Washizu, the titular Macbeth. After a successful battle, both Washizu and Miki (Minoru Chiaki), warriors and friends under Lord Tsuzuki (Takamaru Sasaki), return to his castle in ‘Spider’s Web’ Forest. On their way there, they encounter a ghostly spirit who tells them their future, Miki will be made commander of the first fortress and that Washizu will be named Lord of the Northern Garrison that same day. The spirit also tells them that Washizu will eventually become the Lord of Spider’s Web Castle itself! Though, she also foretells that Miki’s son will be the next Lord of Spider’s Web Castle after Washizu.

After they return to the castle, both men are shocked when the spirit’s predictions come true and each are given their new titles. Later when Washizu tells his wife, Lady Asaji (Lady Macbeth here portrayed by Isuzu Yamada), she convinces him to hasten the second part of the witch’s prediction and kill Lord Tsuzuki himself when he next arrives. After some debate they agree and Lady Asaji helps to drug the Lord’s guards during a visitation while Washizu kills his superior in the night. They quickly frame and kill one of the guards, and Washizu is moved up the ladder for his deed in killing the Lord’s assailant. The rest of the film is a quagmire of beautifully orchestrated paranoia and guilt built upon Washizu’s acts and lies, especially once the power couple consider the other part of the prediction- that Miki’s son would follow Washizu as the ruler of ‘Spider’s Web’ Forest Castle. Eventually Washizu seeks out the spirit of the woods once more for assurance as the suspicions and sleeplessness build upon themselves, and it expertly leads into the end sequence in which Washizu’s forces feed on his paranoia and end up killing him by a legion of arrows- his men had begun to harbor suspicions that Washizu himself was Lord Tsuzuki’s killer as well.

When it comes to Shakespeare, admittedly, I enjoy the themes and story structure of his stories (particularly the tragedies) but never from the actual source material itself. This is more of a personal taste issue, but the Olde English is deafening and cumbersome. I recently tried to watch “Henry V” from 1944 directed by Laurence Olivier, but I simply couldn’t get through it. So, I was looking forward to another adaption by Akira Kurosawa. Granted I watched both of his adaptions in “Ran” and “Throne of Blood” out of order, and that may have been a mistake on my part because while I certainly appreciated this film, I was never astonished or transported by the magic of cinema with this film. Thinking back on it, it’s a great adaption, especially with the great Toshiro Mifune in the lead role, but it wasn’t enough for me to Love it wholeheartedly as I did with “Ran”. This may also lie in the nature of this adaption and my taste in general. It’s a moody, atmospheric, tragedy littered with the themes of the source material of greed, political ambition, paranoia, and shame. It’s a damn fine film though and my own taste shouldn’t drive you away from a viewing.

Final Score: Dozens of Arrows!

*Here’s a link to a piece that Roger Ebert wrote about Akira Kurosawa shortly after his death in 1998, while it doesn’t have to do explicitly with “Throne of Blood”, it’s a good piece on the legendary filmmaker as a whole, and if you’ve come to appreciate Kurosawa’s work as I have, give it a read:

https://www.rogerebert.com/interviews/akira-kurosawa-focused-on-individual-ethical-dilemmas

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Old School Review: “Ran” (1985)

Written by Hideo Oguni, Masato Ide, and Akira Kurosawa, and directed by Kurosawa, “Ran” is an adaption of Shakespeare’s “King Lear” set during Japan’s medieval era in which an elder Japanese warlord seeks peace by dividing his kingdom among his three grown sons. Lord Hidetora Ichimonji (Tatsuya Nakadai) awakens from a vision after a hunt with his three sons and subordinate clan representatives, to which he decrees his own abdication from the throne. Stunned by the announcement, Hidetora’s three sons each react differently. Taro (Akira Terao), the eldest garbed in yellow, is set to be given the first castle while Jiro (Jinpachi Nezu) in red, and Saburo (Daisuke Ryû) in blue, are to be given the second and third castles in order of age and support Taro as the head of the Ichimonji clan. Taro, doesn’t even want the throne, while Jiro seeks it, and Saburo rejects the whole plan as one destined for failure. For his subversive outburst, Lord Hidetora banishes Saburo, and Tango (Masayuki Yui) the lord’s adviser, when he openly supports Saburo’s frankness.

I’ve been working through Akira Kurosawa’s filmography lately, and recently the Criterion Channel (The collection’s streaming service) added the legendary filmmaker’s late-in-career masterpiece to their ranks, and I figured I’d give it a shot. Knowing nothing about the film except that it was an adaption of “King Lear” proved to be a bountiful fortune going into the near three hour film. Of the seven, or so, films of Kurosawa’s that I have seen, this may be my favorite of the bunch so far- and that’s saying something with “Ikiru”, “Seven Samurai”, and “Yojimbo/Sanjuro” in that bunch! In doing some (very) light research before writing this review, I was surprised to find that Akira Kurosawa had trouble securing funding for this film for roughly a decade before it was finally released. Apparently Kurosawa had been going through a period akin to (but nowhere near as creatively apocalyptic) what Orson Welles went through after making “Citizen Kane”. After teaming with a French producer in Serge Silberman, the film found it’s foundation, and began winding towards one of the most engaging epics set within medieval Japan.

Having acquired most of his kingdom through brutal and ruthless tactics, this story is almost entirely about the consequences of Lord Hidetora’s actions and the ripple effect throughout his family as a result. After Saburo’s (and Tango’s) banishment things quickly go downhill for Lord Hidetora. As he moves into the smaller keep of the first castle he finds that Taro is being manipulated by his wife, Lady Kaede (Mieko Harada), into usurping Lord Hidetora after the transition of power to control the whole Ichimonji clan. Considering this an affront and needlessly offensive, Lord Hidetora takes leave of the first castle and heads to Jiro at the second Castle. There he finds himself to be more of a pawn in Jiro’s scheming than anything else. Broken by the betrayal of his sons, Lord Hidetora wanders off with his mercenaries and his fool Kyoami (Pîtâ) with no clear direction. Eventually Tango reappears with provisions to help the wandering party, but when he tells them of Taro’s new decree ‘to kill anyone found helping his father‘, they make a last ditch effort to take Saburo’s castle and fortify themselves there. Saburo’s men happen to be leaving as the group arrives anyways, and it isn’t long before both elder sons come to siege the castle and usurp their father from power through death or submission.

The rest of the film plays out like a season of ‘Game of Thrones’. The siege of the third castle in particular is brutal and impeccably staged. Kurosawa’s use of extras as the armies of Taro and Jiro clash with their father’s skilled warriors is beautifully organized. The chaos and bloodshed feel epic all while Lord Hidetora’s mind is blended, madness ensuing from the shock of all that has come from his abdication of power. The layers of history and karma striking back at the Ichimonji clan from within are glorious and well designed. I won’t divulge all of the details of the plot here, but its just so damn good! The way the story keeps digging at Hidetora’s past and forcing guilt and shame upon him for all that he has done is exemplary- just when you think it can’t get worse, it does! I found everything about this film to be just magnificent. From the score to the pacing, to the scheming and manipulative power moves, and revenge against the entire Ichimonji clan were just perfect in execution!

Seriously, if you enjoy film- this is one of the all time greats and I highly encourage anyone and everyone to give this film a shot. I can’t give this film enough praise, and I honestly need another rewatch to fully indulge in all of the film’s nuances and complexities. It may be a long watch, but it’s more than worth the two hours and forty-two minute runtime.

Final Score: Three sons and countless regrets

*Below is a link to Roger Ebert’s review of “ran” and a video essay by the “Every frame a painting” YouTube channel discussing Akira Kurosawa’s use of movement in his films. Both are simply great and give more depth to the film at hand, enjoy!

https://www.rogerebert.com/reviews/great-movie-ran-1985

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Review: Godzilla King of The Monsters (2019)

Written by Zach Shields, Max Borenstein, and Michael Dougherty, and directed by Dougherty, “Godzilla: King of the Monsters” is the sequel to the 2014 American reboot of the Godzilla property and the third movie in Legendary’s Monsterverse (Which includes Kong: Skull Island). Fast forward five years after the events of the first film, in which San Francisco was obliterated by Godzilla’s fight with the MUTOs, and we have the MONARCH organization keeping tabs on all potential “Titans” both known, and unknown. Returning are the MONARCH agents Dr. Vivienne Graham (Sally Hawkins) and Dr. Ishiro Serizawa (Ken Watanabe), but the focus this time around is on the Russell family. Dr. Emma Russell (Vera Farmiga) a leading MONARCH scientist, Mark Russell (Kyle Chandler) her separated and disillusioned husband, and Madison (Millie Bobby Brown) their daughter.

Now, to be completely clear, I am one hundred percent biased in this review. The Toho Godzilla movie series is a beloved thing in my household, even though there are a few misses in it’s sixty-five year history (I’m looking at you “Son of Godzilla”). From the 1954 original down through the goofy “Showa” series, and my personal favorite era; the Heisei films released in the mid 80’s through the mid 90’s, the big G has been many things to many people. Destroyer, savior, hero, or villain, Godzilla has always been entertaining, and never one to be trifled with. The practical effects and sci-fi B-movie goodness of these movies have always held a special place in my movie loving heart. Which is why this newest entry in the longest running film series had me excited for it’s potential Monster mash-up goodness. Though to be fair, I was wary coming into this film, the previous film in this latest American reboot of the property was more frustrating than anything else. There were some good things in Godzilla (2014) for sure, but I honestly couldn’t stand the lead character portrayed by Aaron Taylor-Johnson. He was so wooden and seemingly unaffected by everything happening around him, he had no sense of wonder, or terror, fear, joy etc, he felt muted and blank. Which was in stark contrast to Bryan Cranston’s character who was animated and motivated, propelled by heart and determination. Clearly, they had killed off the wrong character in my opinion. Those character choices combined with the head scratching decision to cut away from almost all of the Monster action left me in a daze walking out of the theater in 2014- everyone around me was proclaiming how great this new Godzilla movie was, but I felt none of their joy. Was I just getting too old for these things? Had I fallen out of touch with what made a good monster movie? What happened?

Which brings me back to “King of the Monsters”. This movie is an extreme departure from it’s predecessor, and it is a very welcome departure indeed. This is wholeheartedly a true Godzilla movie in every sense. Is it perfect? No, no it definitely is not- but did I have a great time watching it? Yes, I loved this film and it’s the only legitimately great American Godzilla movie in my opinion. This is clearly a movie made by people that love and respect the source material. Okay, so what makes it a great monster movie? Let’s break it down:

The Redesign of Godzilla

“King of the Monsters” came with a few changes to Godzilla, and they were all a move in the right direction. Not only was Godzilla slimmer for the sequel, but his spines that run along his back and tail were reverted back to the traditional shape that defined his look since the original. His spines now sport grooves that illuminate like the veins of a leaf before he bellows out his iconic blue beam of irradiated fire. However, most importantly, he sounded much closer to what he’s consistently sounded like for decades.

The Sound Design

Godzilla’s iconic roar may not have been as direct a translation to his Toho past as say “Shin Godzilla” was, but the filmmakers here clearly tried to infuse the roar that he had in the 2014 version with a more classic sounding undertone. In fact all of the main Toho monsters making appearances here sounded exactly like, if not very close to, their traditional sounds. Rodan’s titanic squawks were familiar, but Mothra’s chirps were pitch perfect and instantly recognizable. King Ghidorah’s gravity beams may not have had their static-y tones exactly, but everything else about his design and depiction was so good that it was easy to miss and forgive. The best aspect of the sound design and scoring of the film, in my opinion though, were the themes of each monster. Mothra’s theme was reassuring and gratifying, but the cream of the crop was Godzilla’s theme. Granted, it was the composer’s spin on his theme, but I was amazed we got that to be honest and it took place during the best rallying point in the movie- all was forgiven for that scene alone.

The Monsters and their Personalities

These giant beings have certain personalities attached to their grandeur, and the fact that each depiction of the four main Kaiju, err.. I mean Titans, was consistent with Toho’s canon was a dream come true. Godzilla’s dominance, King Ghidorah’s (or Monster Zero if you prefer, both titles are in the film) intense ferocity, Rodan’s eternal frenemy status with Godzilla, and Mothra’s divine benevolence all felt familiar and true to their usual character. All four Monsters were designed and showcased in grand fashion, and I’d be willing to bet that the latest renditions of these characters will be fondly remembered and beloved for some time.

The MONARCH organization Redesign and human cast in general

In the five years since the devastation of San Francisco, MONARCH must have been given a blank check from the government because they now have a multitude of worldwide bases and installations. They even have a giant airship that’s a combination between the imagery of the infamous US stealth bomber and the functionality of the “Super X” aircraft used in “Godzilla: 1985”. As for the human cast, they’re leagues above the last film. Dr. Serizawa has more to do in this film, notably I adored the fact that this film mirrors his actions in the original 1954 film, which both include the oxygen destroyer. Vera Farmiga’s wide-eyed desperation is serviceable and Kyle Chandler’s reserved hammy deliberations were appreciated- though I would have had him notch it up a peg or two. Admittedly Millie Bobby Brown’s character didn’t have anything particularly important to do other than be the emotional motivator for her parents and the rational actor in several scenes, but it wasn’t offputting either- just a bit underwhelming. My favorite human character (besides Serizawa) was Bradley Whitford’s Dr. Rick Stanton. Whitford’s dialogue was extremely hammy and it could most definitely be classified as overacting, but I loved every second of it. Some of you may deem it cringe-worthy, but in a giant monster movie- it works! I also thoroughly enjoyed Charles Dance’s no nonsense militarized villain of the film, he raised the threat level of every scene he was in- which is impressive given that he’s in a Godzilla movie.

So, if I had any drawbacks in the film, they would pale in comparison to the good things I have to say about it. For example, Rodan’s entrance in the movie is an exhilarating edge-of-your-seat sequence. His wings cause city destroying blasts of wind, he screams across the sky with his lava tipped wings grazing the ocean and destroys a multitude of military aircraft. Later in the film however, his power levels seem to be lowered, and he doesn’t feel as much of a threat as when he erupted out of a volcano. To be honest though, there’s not a lot of negative things I have to say about the movie. This film won’t be for everyone, and that’s okay, but if you enjoy big, loud, and fun summer blockbusters- then I’d be willing to bet you’ll have some fun with this one. I, for one, am amazed that this sort of film had a budget this size and was fairly true to the source material. Great job!

Final Score: 1 King to rule them all!

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Old School Review: “Good Morning” (1959)

Written by Kôgo Noda and Yasujirô Ozu and directed by Ozu, “Good Morning” is a comedic drama following two young boys who wage a war of silence against their parents to persuade them to buy a Television set so they can watch Sumo wrestling. This is the most charming of Ozu’s films that I have seen thus far (three and counting), and still yet the film manages to insert powerful, but subtle, musings on the intricacies of communication and intent. The film is focused on a small Tokyo suburb of families living in close proximity with each other and it cleverly bounces between the language barriers and misunderstandings of a few groups of the residents. First, and most focused on, are the two brothers Isamu (Masahiko Shimazu) and Minoru (Sitara Koji). On their morning walks to school they and a few other boys from the neighborhood have perfected a game in which they press a finger against each other’s forehead to instigate a fart, which gives way to laughter and affirmation in the group. Funnily enough, one poor kid keeps failing this intestinal test and, well, he begins and ends the film with a walk of shame back to his parents to get a change of pants.

The mothers and wives of the suburb turn a simple misunderstanding into a series of gossip and rumors because their collective dues haven’t been paid accordingly. They all attest to have paid on time, surely, there was a simple issue along the way, but on the other hand the chairwoman, Mrs Haraguchi (Haruko Sugimura) who collects the dues, has just bought a new washing machine. As the film progresses, Mrs Hayashi (Kuniko Miyake) the mother of Isamu and Minoru, wanted to solve the issue quickly- she seems to be easily put on edge by financial stress– but Mrs Haraguchi hears about the allegation of a new washing machine bought illegally with the dues and confronts Mrs Hayashi (who didn’t even start the rumor) to assure her that this did not happen. Ironically, later when Isamu and Minoru go on a strike of silence to get their parents to buy a TV, they apply this silence to all adults and Mrs Haraguchi assumes this slight was instigated by Mrs Hayashi for the misunderstanding, and quickly informs the other women that Mrs Hayashi holds grudges. This whole incident, by the way, is finally uncovered when Mrs Haraguchi discovers that the dues were given to her mother (Eiko Miyoshi), a comedic old woman who had simply forgotten about receiving them. The grandmother is often found praying, and blatantly complaining about her ingrate of a daughter- yet another Ozu familiarity in the comedy and tragedy of generational family affairs.

The fathers and husbands of the suburb also have their own issues with communication as well. The father of Isamu and Minoru (Chishū Ryū) must mediate and absolve his sons squabbling, after they loudly resist he bellows that “You talk too much for boys your age”. Minoru (the eldest) responds that adults are even worse because adults always engage in pointless niceties like “good morning”, “good evening” and refuse to say exactly what they mean. Which is how Isamu and Minoru come to their silent strike. Their father also has a scene with an older acquaintance in a bar who had found no solace in retirement, only the slow walk toward death. They try to communicate between one’s drunken rambling and the other’s botched attempt to cheer him up- but in doing so realizes his own encroaching retirement. It is this acquaintance, happier with a new job near the end of the film selling electronics, that Isamu and Minoru’s parents buy a TV from to celebrate his new job- to the joy of the silent little warriors.

Final Score: 2 brothers and a few rumors

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Old School Review: “The Bad Sleep Well” (1960)

Written by Hideo Oguni, Eijirô Hisaita, Ryûzô Kikushima, Shinobu Hashimoto, and Akira Kurosawa and directed by Kurosawa, “The Bad Sleep Well” is a scintillating and scathing rebuke of the cut-throat, corrupt, climate that plagued Japan’s post-war corporations. Most of Akira Kurosawa’s films seem to fit into one of two categories, either his films take place in feudal Japan where Samurai and warring city-states engage in bloody battles, or they’re in the modern day Japan of it’s time and focus on the issues of the day, usually placing a heavy hand on the scale of morality. “The Bad Sleep Well” falls in the latter category and pulls a lot of it’s imagery and style from the American Noir crime genre. This time around, Kurosawa plays with a loose adaption of Hamlet set against the shadowy world of corporate espionage.

Though he may be mute for the first half hour, we’re eventually introduced to our lead in Kurosawa’s frequent collaborator, Toshirô Mifune as Kôichi Nishi. Mifune enters here with less swagger than Sanjuro or Yojimbo, but trade his usual aloofness for a pure and focused sense of revenge and Mifune’s Nishi transforms into a modern day, clean-shaven, Ronin in a three piece suit. His quest is to avenge his late father, who was forced to jump out of a window of the corporation building he worked in to safeguard his superiors and make it look as though he had committed suicide. The film opens with Nishi’s wedding with the daughter of the vice president of that same company, an unwitting innocent of collateral damage in Nishi’s shadow war against the powerful. In the wedding we’re introduced to the majority of the supporting players of the film as Nishi’s well researched scheme come to bits of fruition. Several potent accusations against leading members of the company (which lures the ravenous media to follow the high profile wedding), leads to the police arriving to take several high ranking board members in for questioning- but there’s also a large wedding cake brought in that’s an exact model of their corporate building, with a rose in the window that Nishi’s father was forced from. A perfect storm of shame and attempts at saving face for the company, which is played for comedic effect in brilliant form by Kurosawa.

It’s a good note to start out on considering the dour realities of the third act. In fact, until about the last twenty minutes of the film, it seems as though Nishi’s carefully calculated plans will have won the day. But I’m getting ahead of myself, the majority of the film is spent with three figures of the Dairyu company reacting to the scandals erupting around them as they act to diffuse and smother the growing ramifications of their destructive deeds. After the wedding, Tomoko Wada (Kin Sugai) returns from weeks of questioning by the police only to be given orders from his superiors to jump into the nearby volcano and resolve them of his misfortune, but Nishi stops him, and converts him to the side of justice. With Wada’s help, and his covert partner Itakura (Takeshi Katô), the three set forth a plan of attack consisting mostly of using the ghost of Wada to horrify and panic Shirai (Kô Nishimura), the official that held the most sensitive secret information. The next rung up on the corporate ladder belongs to administrative officer Moriyama (Takashi Shimura) a more unflappable and calculating underling of vice president Iwabuchi (Masayuki Mori), the major player of the film. Who just so happens to have Nishi as his ever present assistant, plotting the downfall of the Dairyu executives that organized his father’s killing.

Eventually, Moriyama deduces that the only factor relating to all of their troubles is Furuya, Nishi’s father. Further digging reveals Nishi’s true parentage, and while Nishi captures Moriyama for a time in the ruins of a bombed out factory from World War Two, it is too late- Moriyama had already informed Iwabuchi before being captured. There’s a bit more to the story, but that’s the essential facts of it. Nishi’s found out and killed off-screen before we even know what’s happened, and Iwabuchi restores order to the Dairyu corporation- even if it means the death of his daughter, and his own son’s rejection after discovering the truth. It is a cold reminder that fighting against the machine can be frought with peril, and sometimes, people get caught in the grinding gears. With a pensive and sobering tone, one of Nishi’s last lines after discovering his true lack of progress against the corporation was, “I guess I don’t hate them enough“…

Final Score: A 7-story plummet

*Linked below are two more sources on the subject, the first is the YouTube channel, “Every Frame a Painting”s video analysis of Kurosawa’s use of geometry concerning the blocking of Actors in the film. The second is a piece of well written analysis of the film from the Criterion Collection. Enjoy!

https://www.criterion.com/current/posts/409-the-bad-sleep-well-the-higher-depths

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Review: John Wick Chapter 3: Parabellum

Warning: Spoilers for “Chapter 2”, but not “Chapter 3”

Written by Derek Kolstad, Chris Collins, Marc Abrams, and Shay Hatten and directed by Chad Stahelski “John Wick Chapter 3: Parabellum” is the third entry in the John Wick series which finds the titular Wick (Keanu Reeves) right where we left him at the end of the last film; which is to say, running for his life with his dog at his side. For those needing a refresher, the second film established the world only hinted at in the first film, wherein there are rules for the initiated- and those rules are taken with a deadly seriousness. The first rule, is that you may not conduct “business” on continental grounds. The Continental, being the internationally recognized hotel for assassins. The second rule is that once bound to a marker, you must oblige the bearer of any request they make. Markers are circular discs that open to two halves, one side is red with the blood of the needing, and the other is only imprinted with the blood of the subservient once the request has been completed. Once you ask someone for help with a marker, and they accept, you must know that you will have to repay them eventually. “Chapter 2” establishes the severity of not adhering to the will of a bearer with a marker binding you to them. Wick is forced into assisting a bearer in “Chapter 2” and seeks retribution once the task is completed- but kills the bearer on continental grounds and thus labeled Excommunicado with a heavy bounty placed on his head, though the Continental’s manager Winston (Ian McShane) gives Wick a one hour grace period before the contract is open to all known assassins.

You can’t see the dog from the last film here, but trust me, he’s there.

With a $14 Million price tag on his head, Wick scrambles to make it out of the city, but also by getting his dog to the continental where he knows they will take care of him. The first twenty minutes of this film have some of the most inventive and rollicking great action sequences since “The Raid: Redemption” took the action genre by storm eight years ago. Speaking of that film, there are a handful of actors that make the jump to this series for a few particularly formidable foes that Wick must tango with. In fact, one of the best aspects of this film, aside from the crazy-violent and gut-wrenching action scenes, are the multitude of cameos from a variety of sources. The first fight in the film is between Wick and “Ernest”, the 7 ft 3 in tall assassin played by Serbian NBA player Boban Marjanovic, in the New York Public Library. It’s an excellent fight to kick the movie off, it may have been a little short, but wow- I didn’t know you could do THAT to someone with a book! We also get cameos from Jerome Flynn (famously played Bronn in Game of Thrones) and Jason Mantzoukas (He played Rafi from “The League”) as one of the many homeless citizens in league [ba dum tss- I’ll see myself out] with The Bowery King once again played magnanimously by Laurence Fishburne. Of course I’d be negligent in my reviewing duties if I forgot to mention Tiger Hu Chen. Not only has he previously starred as the lead in the only film that Keanu’s directed himself in “Man of Tai Chi” (check it out, it’s fun!) but he also has the goriest death in this film, in my humble opinion.

As with the previous two films, the action in this series is increasingly inventive. If you’ve ever read or seen an interview with the director, Chad Stahelski, you’ll see that he has a deep love of the action genre and cinema as a whole. In both “Chapter 2” and this film the opening scenes pay respect to Buster Keaton in homage to his legendary stunt work in the 1920’s, by playing his work projected on the side of a building and on one of the many large screens in Times Square. Stahelski has thrown in a multitude of nods and winks to cinema’s past and many eagle-eyed, and knowledgeable, fans will catch them. A particularly fun one is when Wick breaks into an old antique gun shop and has to modify two guns into one quickly enough to get one shot off as his pursuers break the door down. The director himself has stated that that shot was a direct callback to “The Good, The Bad, and The Ugly” with Eli Wallach, putting a pistol together in the gun shop.

While the plot in films like these isn’t always the primary concern, this series knocks that notion off it’s feet by continually expanding on the lore and mythology behind the assassin’s organization by examining how it works, it’s many hidden layers, and who controls whom. I don’t want to get into too many spoilers since the film’s still in its opening week, but admittedly, this one does a great job at giving us morsels of information, like John Wick’s real name for example, and some understanding of where he came from and how he was molded into The Baba Yaga.

This is another excellent entry in the franchise and personally I had a great time with it! The action was superb, satisfying, and mystifying! The cast was well rounded and precise given the runtime, no one felt wasted! However the very best news that this film could give, was that there’s even more Baba Yaga to come! The fourth film has already been greenlit and given a May 2021 release date according to several movie news outlets, and nothing could have made this action fan happier to hear!

Final Score: 7 cuts!

*Here’s a fun interview with the director on the stunt work in the film (though it does contain spoilers!):

https://www.polygon.com/entertainment/2019/5/18/18627988/john-wick-3-fight-scenes-how-they-did-horse-dog-shootout-continental-breakdown

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Old School Review: “Floating Weeds” (1959)

Written by Kôgo Noda and Yasujirô Ozu and directed by Ozu, “Floating Weeds” is a remake of Ozu’s own black-and-white silent film “A Story of Floating Weeds” made in 1934. This film follows a traveling troupe of actors performing Kabuki theatre around the provinces (“floating weeds” is a Japanese term for itinerent actors). In the opening we’re introduced to the sleepy fishing village that will house the story to come as a few random dock workers muse about the heat of the day and the novelty of the incoming troupe. The troupe arrives by boat and parades into town handing out flyers and talking up the locals as they make their way towards their new temporary home while in town, the theatre. While there are some delightful and fun side stories with several members of the theatre crew, the plot’s main focus is on Komajuro Arashi (Ganjirô Nakamura) the leader of the operation, and lead actor. After settling in Komajuro heads off to a Saki bar run by Oyoshi (Haruko Sugimura, his former mistress) to visit and go fishing with Kiyoshi (Hiroshi Kawaguchi) their grown son who is unaware of his true father’s identity, knowing Komajuro only as “Uncle”.

As you might guess, it isn’t long until Sumiko learns of Komajuro’s ulterior motives in choosing this town for their next round of performances. Which doesn’t go well for Komajuro, as Sumiko’s the jealous type. After she discovers this affront and sees Oyoshi in attendance at one of their shows, she goes to Oyoshi’s Saki bar and aggressively confronts her when she catches Komajuro there playing Go with Kiyoshi one afternoon. Despite Komajuro’s shock and dismay at Sumiko’s transgression he bans her from the Saki bar and breaks it off with her in a powerful argument in the rain. Later on Sumiko offers one of the younger actresses some side money to go and seduce Kiyoshi at his job. While reluctant at first Kayo (Ayako Wakao) eventually accepts without knowing Sumiko’s reasoning for the request. Despite the origins of their relationship, Kiyoshi and Kayo end up falling in love. Shortly after this development Komajuro stumbles upon the two embracing in an alley and finds himself in a conundrum- how can he exercise his authority over Kiyoshi without revealing his true identity to him?

Komajuro had high hopes for his son, Kiyoshi had been saving for college and had plans to support his mother when he could. Before Komajuro can sort out the situation though, Kiyoshi and Kayo elope just as the theatre troupe had begun to fall apart. The financial manager absconded with their funds and several members considered leaving before they become too desperate. Dwindling crowds paired with mismanagement spelled the beginning of the end for the troupe. Eventually Kiyoshi and Kayo head back to town at Kayo’s pressuring- but Kiyoshi and Komajuro clash at the Saki bar when Oyoshi reveals Kiyoshi’s true parentage in an attempt to diffuse the scuffle. Kiyoshi discards Komajuro and leaves in a huff while Komajuro sits in amazement at the series of baffling failures set at his feet. He decides to move on after a cheerful long goodbye to the troupe, ironically riding out of town on a train with Sumiko tending to him- begrudgingly accepting his enemy’s re-established loyalty.

Ozu’s works, of the two I’ve seen so far, have this unique serenity to them. Maybe it’s the leisurely pace, the shots of gentle locations giving the world of his stories a sense of the oft quoted “lived-in” space, or simply that the content of his films are universal to the modern human experience. His films evoke a powerful catharsis felt just as strongly sixty years later. Obviously, not every film will work for every person, but I’m willing to bet that if you gave any of his films a chance you might find yourself quizzically enraptured not just by the drama of common themes across his filmography, but also by the meditative cinematography of his infamous “pillow shots” that melt in-between scenes asking you to pause and digest, relax and breathe. There is something powerful in his depiction of the joy, sadness, humor, and tragedy of everyday life that makes his characters seem familiar and his plots reminiscent of truth.

It wouldn’t be an Ozu film (as I’ve come to notice in my intense search for information on the filmmaker) without a particularly precise composition for every shot in his films. Ozu would typically put the composition of his frame above all else, ignoring the continuity of props and eye-lines for the purity of his images. Which is doubly true for his foray into color filmmaking near the end of his career. His warm pastel coloration for “Floating Weeds” adds another layer of texture to the small seaside village the story takes place in. Between the visible mugginess of the hot summer and the cleansing, humidifying, rain that comes at night and in-between heated arguments, there is a unifying sense of place not only with the “pillow shots” of nature and architecture but in all variables of the filmmaking process. Particularly pleasing was the soundtrack, evocative of popular video game scores (which were probably inspired by films such as this) like “The Legend of Zelda: Wind Waker” and “Animal Crossing”, it was perfectly set for a small seaside village in the heat of summer. I doubt there could have been a more perfect fit than what we got. The recurring theme gave way to the notion of music belonging to a particular place in its essence, these melodies molded to fit this time and this place. All of these things combine to craft a beautiful and atmospheric stage for Ozu’s story to play out, and it does so with a grace and humility like no other.

While maybe not quite as emotionally impactful as “Tokyo Story”, Ozu’s remake here is a more diverse picture in terms of emotional balance. This is purely my commentary and I can only speak to my experience with the film, but this film held a greater variety of emotional resonance. I was legitimately shocked when Sumiko directly confronted Oyoshi in her Saki bar. The following heated debate in the rain between Sumiko and Komajuro was incendiary and raw. The anger, regret, shock, and disgust thrown at each other was palpable and moving. While earlier, in less fierce scenes, I was tickled by the three bachelors of the troupe and their antics in trying to pair up with the women of the town. This film is a rarity among cinema, as was Ozu himself, and it’s worth your while to experience something new in the pantheon of film, even though this film is sixty years old- it’s still a charming story with universal and relatable characters and themes. Give it a shot!

Final Score: 3 bachelors, 1 lead actor, and 2 mistresses