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no need to bring it in but i was still amazed at a contemporary film shot during wwii but without any reference to the war or the looming war laurence olivier had not yet made it big as he appears in the titles only after leslie banks who was established as a movie actor and vivien leigh who had only a year previously made such a smash as scarlett o hara in gone with the wind and this film did not do anything to advance his career he does a serviceable job but i can t say that he does much more than that basic plot is as follows larry keith s younger and somewhat ne er do well brother is involved with wanda it turns out that wanda has a husband she thought he was dead who is a rather brutish man when larry and wanda find the husband in wanda s flat and he demands money and then attacks wanda he and larry struggle and the husband falls down dead larry takes the body outside and props it up in a somewhat deserted corner of the deserted street he happens to meet an old bum who had been a clergyman and he begins to chat with him later when the police discover the body they assume that the bum has committed the murder keith is a prominent barrister in london who is likely to be elevated to the judgeship if larry s altercation with the dead man should come out it will derail his plans he tries to get larry to let the trial play out arguing that the evidence is weak and circumstantial against the bum who will likely be let go during this time larry and wanda try to squeeze a lifetime together into 21 days at the end of which the trial should be over and the verdict delivered if the bum is not freed larry will turn himself in as it turns out of course that proves unnecessary in the end the acting in the film is nothing remarkable banks has a stagey quality and olivier was still primarily a stage actor and keeps some of his mannerisms which seem a bit affected on the big screen leigh s acting is less stagy but the most compelling film performance in this production was that of francis l sullivan as the now derelict clergyman i have to say that what i found fascinating though was a scene at keith s club where he and fellow judges and barristers were discussing his promising career at one point each of the judges and barristers tells of one illegal thing they did e g didn t pay fare on a bus or the like and the result a comic comeuppance showing that crime does not pay during this scene as the torch was passed around the table from one judge to another the camera did a pan the way the camera panned though it seemed to me that the camera was atop the table and that it wasn t panning so much as that the table was spinning to the next raconteur it was a bit contrived but it was a nice effect i also liked the final day larry and wanda spent together they go to the sea on a boat and spend a day at the carnival the boat trip and some of the scenes by the seashore were clearly shot on location and not in a studio and i m always happy when we get out of the studio and into the streets in one scene larry and wanda ride the roller coaster together and the camera is affixed to the front of the coaster turned back towards larry and wanda this was before there were steadicams so far as i know but the camera itself doesn t jump but we get the sense of the ups and downs of a coaster again this was filmed on location which means even greater kudos to the dp leave a comment once more into the breach posted in uncategorized with tags 47 ronin action historical drama japanese films on 6 july 2016 by bdnm 47 ronin shijûshichinin no shikaku 1994 dir kon ichikawa w ken takakura oishi kiichi nakai irobe rie miyazawa karu ryudo uzaki yasubei horibe ko nishimura kira jun hashizume asano kon ichikawa broke the international scene in the 1950s with his two anti war films the burmese harp and fires on the plain this soon put him into the upper ranks of japanese directors such as ozu and kurosawa he remained active into the early 2000s when he was in his 90s he is also known for having directed the documentary tokyo olympiad on the olympic games held in tokyo in 1964 this film has an 18 rating the equivalent of an x rating presumably because of the violence but the film doesn t wallow in violence like sam peckinpah s films seem to with one exception the killing of kira at the end of the film seemed intent in visualizing lady macbeth s nightmare yet who would have thought the old man to have had so much blood in him other than that there was little direct violence shown the film had some beautiful shots the 47 ronin racing in the snow to attack kira s castle was especially remarkable as was a scene where oishi was carving a bamboo whistle in the middle of a bamboo forest but even the studio shots were very well composed this film begins as the samurai are making plans on how to take kira in his new digs which have much greater defenses and there are flashbacks to the incident where asano attacks kira it is interesting as we get very little information in this version as to why asano attacks kira and kira himself seems quite puzzled by the reaction against him though kira is shown to be a coward this version gives no adequate explanation for asano s attack on him in this film we also get more of kira s defense preparations made by one of his chamberlains irobe for his performance as kiichi nakai won awards in japan as best supporting actor of 1994 irobe seems an honorable man wanting to do right by his lord kira which makes the whole matter of the 47 s attack seem to need more justification than we get when kira is confronted by oishi at the end of the film kira seems still not to know why he is being attacked there is much more a sense of oishi and irobe s cleverness in their preparations like two chess players oishi uses money to pay people to spread rumors about kira in edo we never learn what these rumors are but the rumor campaign does weaken kira s position in the court and he is in effect let go we get the sense that asano was not allowed to offer any defense and that his retainers are returning the favor by spreading rumors about kira as rumors cannot be easily answered and kira s people make use of spies to learn as much as they can about oishi and his plans in other accounts oishi is shown playing the drunk to put kira s people off the scent here we get none of that he remains sober throughout though he does fall for a young woman karu who becomes his love interest apparently genuine after his wife goes away as the cover story that oishi has given in to drunkenness is such a key element in other versions its absence here seems peculiar equally peculiar is oishi s attack on kira in other versions kira is captured and given the choice of committing seppuku but he cannot bring himself to do it here oishi attacks him runs him through and then cuts off his head in fact he attacks him as kira seems on the point of revealing something about the incident though it ultimately doesn t matter why asano attacked kira one would think that oishi who is so careful about the clan s finances would want to know to settle the books the film ends with the death of kira we get no victory parade but a text scroll indicating what will happen from this point on one of the things i thought as i was watching this film was that the portrayal of oishi here had something of clint eastwood s stoic presence and i later learned that takakura has the nickname of the japanese clint eastwood leave a comment silent and short chushingura posted in uncategorized on 6 july 2016 by bdnm chukon giretsu jitsuroku chushingura chushingura truth 1928 dir shozo makino watched on youtube go to https www youtube com watch v dbf3adtavpc to watch the film yourself i noticed that there were some versions of the story on youtube one that intrigued me was a silent version done in 1928 it is one of a few silent version japan was the last country to go to sound film in 1936 because japanese silent film houses employed benshi men who read the titles and provided dialogue and commentary in the image portions of the film these benshi were unionized and were very popular and as the sound quality of early sound films was often terrible japan held back preferring to keep the benshi employed and the audiences happy well i was intrigued by this version because it had no subtitles in other words all i was going to see were kanji titles and nothing to help me figure out the story so first i decided to wait and look at the silent version without help of titles only after i had seen a few versions of the story hoping that my familiarity would help me figure out what was going on and this particular version on youtube had a recorded benshi providing the narration commentary this was in japanese so it didn t help me with the specifics of the story but gave me some sense of what benshi added to the experience and i found i could follow the story which sped right along we have the insults of kira and the attack by asano and asano s seppuku and the reaction back at asano s castle in ako his wife and his brother horrified by what asano has done to the clan it had large assembly of retainers called to decide their next action with much animated back and forth between the two groups fight v surrender and follow the law it had oishi s pretended sink into drunkenness even the game of blind man s bluff he plays with the geisha girls that i had seen in the other films and it had the attack in the snow of kira s castle with the search lights apparently they made lanterns out of something like deep kettle drums coated with highly reflective material to serve as an earlier version of a floodlight to find the hidden kira in the castle i was amazed that i was able to figure out what as what only based on my familiarity with the story from other versions as i had no written or spoken clue i could use of course at a little more than 1 hour there was a lot to cover that short time was further shortened by extremely long title sequences before we get our first image we have about 5 minutes of text some of it no doubt credits over about a dozen title cards and then after a minute or so of visual we get another minute or so of title cards given that western titlles are kept to a minimum this came as something of a shock to me i was amused though by the titles of the characters when the characters were especially animated when asano attacks kira the script is tilted on its side about 45 degrees and the carefully drawn titles get all crazy looking in addition we have exclamation points and we have the benshi himself becoming shrill it was fun to watch and to listen to it was also fun to listen to the benshi do different voices as in the debate over whether to fight or not we get shrill voices pleading and gruff voices dismissing the opposing views i had no idea what they were saying but it was music to my ears leave a comment choo choo chushingura posted in uncategorized on 6 july 2016 by bdnm chushingura 47 samurai 1962 dir hiroshi inagaki w yuzo kayama asano hiroshi koizumi gengo tasuya mihashi horibe chusha ichikawa kira toshiro mifune tararaboshi kenji sahawa isogai hisaya ito oishi watched on dvd this film at 3 1 2 hours is roughly the length of mizoguchi s two film treatment of the story and it is broken into two parts blossom and snow the first part of the film which is about 2 hours long is roughly equivalent to mizoguchi s first film which runs less than 2 hours it covers the period from the hosting of the imperial envoys and asano s attack on kira through the rejection of the appeal to restore the house under lord daigaku asano s brother and the departure of oishi s wife and children which leaves him free to launch the attack that attack and its preparation take the last 1 1 2 hours of the film this film gives us a lot more detail than the other versions so far we learn that kira already knows asano and that he is angry at asano not only for not bribing him as was the expected practice but for not respecting his servants whom kira sent to get information about how asano had become so successful in harvesting salt the shogun s chamberlain is likewise surprised about asano s refusal to play ball and instructs kira to teach him a lesson kira is quite a greedy and vain fellow and does not take asano s refusal to bribe him and flatter him well though kira is as repulsive here as in other versions asano s intransigence here seems less like a virtue it s commendable that he doesn t want to engage in bribery which runs counter to the samurai code it s less understandable that asano demonstrates his contempt for kira and then expects kira to give him proper training in court etiquette kira gives mixed messages to asano first telling him there is no need to change any of the tatami mats and later a day before the envoys are to arrive informing him that such mats are unacceptable kira apparently is willing to let the mats go for a price which asano refuses to pay one of asano s retainers gengo is able to get all the mat makers in edo to work through the night to make the 500 mats required gengo also rises to the occasion in having two outfits ready for the formal ceremony so that the master can wear the right one at the right time kira keeps on insulting asano until asano explodes and attacks him much is made of the blood on the tatami mats and on the shogun himself the wounded kira bleeds over the shogun s silk robes but the investigation is handled in such a way that asano is not allowed an opportunity to explain his actions he refuses to admit temporary insanity but when one judge presses him for an answer the other forbids any further talk from asano and asano s seppuku is rushed forward the one judge is very much bothered by this and makes his displeasure known to oishi and the asano clan inagaki has some personal even humorous touches in the film we see that the shogun s pet dog has his own sedan chair and that the shogun a dog lover has posted directions that people are to rescue strays and that people who harm dogs will be punished by death and when gengo goes to the mat makers they state plainly that what he asks is impossible but gengo threatens to commit seppuku in their shop and they all get to work when one of asano s retainers a man who likes to drink is needed to help with the making of mats he knows how to do so one of the samurai horibe has to take his place in a drinking contest against mufune s tararaboshi a great big fellow with a big lance and a big appetite for drink tararaboshi reappears later when horibe has to beg off another drinking contest as they are getting ready to launch their attack it is unclear whether tararaboshi will put in with kira who s offered him money to become his bodyguard or not the gathering of the ronin on the night of the attack is given a fair amount of screen time it is a long process when the evening starts attack will commence at 4a there are only 30 present one by one others come ...