Archive for the 'Classic' Category

02
Nov
17

The African Queen

Like many of the films I see for my New Year’s Resolution Old Movie Challenge, The African Queen (1951) with Katharine Hepburn and Humphrey Bogart is a film I’d never seen. I knew the basics that Hepburn played Rose Sayer, a straight-laced missionary and Bogart, a salty, undomesticated sailor, but I had no idea why they’d be on a journey together.

So it was news to me that Hepburn was a missionary, working in Africa with her brother who dies as a result of an attack by the Germans in WWI. The Germans burn the village down and her missionary brother goes crazy and dies from the effect. Bogart plays Mr. Allnut, who travels in a rusty boat known ironically as the African Queen, bringing mail and supplies to miners and the mission. Mr. Allnut is rough around the edges, but always polite to Rose, whom he always addresses as “Miss.” (It isn’t till halfway through the film that they find out each other’s first names.)

When Allnut sees that Miss is all alone, and vulnerable when the Germans invariably return, he takes her on to his rust bucket, the African Queen. He expects to take her to safety somehow and is shocked by her cockamamie idea that they should go along an impossibly dangerous route till they come to the lake where a German war ship is. Then she figures they can rig up some DIY torpedoes and ram the African Queen into the German ship to fight for her country, Great Britain. They’ll jump overboard at just the right moment and swim to safety.

Allnut has the sense to see the lunacy of her plan, but lacks the rhetorical skills to convince her of the futility. Has any Hepburn character ever been convinced to follow someone else’s plan?

Thus onward they go, and along the way they get drenched, barely survive the rapids and, as you’d expect, fall in love.

The film pulled me in, though at first I thought this particular pair of opposites might not attract. What I liked is that Allnut really respected Rose and that the film wasn’t a mere series of scenes where the opposites bicker. Once they’d overcome the initial obstacles, and saw each others’ strengths, they formed a real team. The main conflict was the arduous journey and finally the Germans. At times luck, rather than pluck got them through, but as Rose was a missionary, the Hand of God ought to be a force in the story.

Note:

  • Hepburn insisted the film be shot in Africa and as a result the crew endured hardship after hardship just like the characters did. See this post.
  • Someone’s bought and restored the African Queen used in the movie and you can arrange a canal or dinner cruise on it.

 

 

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23
Oct
17

The Nights of Cabiria

I just loved this film! Fellini’s Nights of Cabiria (1957) begins with a man who shoves Cabiria into a river and grabs her purse and runs off never to return. Cabiria’s furious, but this attack, like all the other misfortune that Cabiria encounters won’t stop her.

Played by Giulietta Masina, who’s clearly inspired by Charlie Chaplin’s Tramp, Cabiria is a streetwalker, usually picks up business in a park where her pals gather. On the surface, the gang seems happy-go-lucky, just as Cabiria is, but all of them lead vulnerable lives and have great needs.

Proud and unstoppable, Cabiria winds up in the upper crust’s part of town, where she’s invited into a movie star’s apartment. He’s just argued with his platinum blonde girlfriend. This is the first of several unexpected encounters Cabiria experiences. It’s not all fun and games. Time and again we see Cabiria getting ditched or used and brushing herself off time after time winning us over.

Cabiria’s Odyssey takes us from upscale night clubs with exotic dancers, to religious shrines where miracle cures are purported to occur, to a Vaudeville like theater where a hypnotist shows Cabrira’s sweetest side, to the edge of a cliff.

Yet the end surprises and makes us wonder what will happen to Cabiria. Is she really unsinkable? I’ve thought about this film every day for a week and this character is one who’ll always stick with me.

12
Sep
17

Crazed Fruit

crazed_fruit

When I picked Crazed Fruit (1956) out at the library, I had no idea what it was about our who the director, Ko Nakahira was. Until recently, the only directors I knew were Ozu and Kurosawa. I’ve learned Japan has produced many masterful filmmakers.

Crazed Fruit takes place in the late 1950s when Japan is getting prosperous, at least the elite are. The main characters are two brothers from a wealthy family. The brothers, Natsuhisha and Haruji, spend their summer with their fellow rich kids gambling, smoking, drinking, fighting and going after girls. Another occupation is complaining about how their college professors know nothing and how their futures are meaningless. While it’s becoming an economic wonder, Japan doesn’t offer any outlet for their passions.

When the brothers arrive at the train station en route to their pal’s summer house, they see Eri, a beautiful, alluring young woman. Haruji, who’s the young, innocent brother, is smitten, but his brother, who’s quite the lover boy, pulls him away so they can hurry over to their friends.

The next day while out on a boat, they notice a girl in the water. It turns out to be Eri. Soon both boys are smitten and don’t really care or, in the case of Haruji, know, that Eri’s married to a much older, prosperous Western man.

Haruji innocently courts Eri, who always has an excuse why she can’t be picked up at home. The scenes with Haruji and Eri are tastefully sensual. The camera captures their desire as they lie next to each other sunbathing on the rocks by the sea in a way that’s exquisite. It’s a much more compelling than any sex scene I’ve seen in 10 years or more. Nakahira is a master, who deserves to be studies by every filmmaker and film lover.

Soon Natsuhisha becomes obsessed with Eri. He finds her house and sees her husband. He promises to keep her Western husband a secret from Haruji if Eri will have sex with him. She agrees. Eri’s character is hinted at rather than well defined. She’s a mystery and unlike other characters. She’s insulted and angry, but also willing. Natsuhisha exudes animal chemistry and she finds him more than satisfying in the bedroom. Eri seems to want to keep her three men, to keep those relationships separate, but to keep them. Of course, this is impossible

The film, which is based on a novel by Ishihara, broke new ground in depicting sensuality and the abandonment of traditional morality among rich youth. At the time, though people’s own mores had changed, film had not. Japanese films tended to uphold traditional morals. While the tragic ending in Crazed Fruit certainly doesn’t promote the lifestyle or choices of the idle rich, it did shock the elders at the cinema.

Crazed Fruit was conceived and produced to be a low budget, teen flick that would cash in at the box office. The story, in Nakahira’s hands, is a beautiful classic.

The Criterion Collection offers two thoughtful essays on Crazed Fruit. The commentary by Japan film expert Donald Richie greatly enhances the film as he explains the social context and context of this film within Japanese filmmaking.

 

08
Aug
17

The Soft Skin

Truffaut offers a realistic look at infidelity in The Soft Skin (1964) where Pierre Lachenay, a publisher and scholar known from his TV appearances, gets obsessed with Nicole, a flight attendant, and starts an affair with her. Pierre has a sort of budding butterball look. He could be the Pillsbury Doughboy’s French father. He is smart, yet bland. He’s married to an attractive woman and they have a young daughter whom he dotes on. He doesn’t hate his life, but when he sees Nicole on a flight, he becomes smitten.

He later sees her at a hotel and follows her to find out her room. It’s a bit stalker-ish, but not quite. Nicole who’s probably half Pierre’s age is interested. She hasn’t experience romantic love and is in awe of Pierre’s success.

Throughout the film Pierre and Nicole have difficulty meeting up. Their rendezvous always go awry. Perhaps an old friend meets Pierre and asks to go for a drink. He’ll respond that he must drive back to Paris and the friend will say that’s where he wants to go and figures they can drive together. All the while Nicole’s twiddling her fingers back at the hotel where they’re staying. Such obstacles crop up again and again. Ever nervous, Pierre bungles along with his poor plans and lies. Yes, Nicole is young, beautiful and energetic, but having the affair is offset by the stress of lies and running around only to be thwarted.

Eventually Franca Pierre’s wife realizes something’s off. After awhile Franca gives up on the marriage and asks for a divorce. Freed, Pierre agrees, but he soon finds that breaking with Franca does not lead to bliss in a new posh apartment with Nicole.

The film is beautiful and Truffaut’s direction is sophisticated and engaging. He films intimacy in such a classy, real way. He shows affairs as they really are, not all romance, not all due to a horrible spouse. Infidelity certainly doesn’t lead to a blissful new romance and a break with past problems.

30
Jul
17

The Rules of the Game

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I had to watch The Rules of the Game under strange circumstances. My DVD only would play the film with the commentary going. Thus I read the subtitles and once in a while got a snippet of dialog without English commentary. I prefer first viewings without the expert’s take, but perhaps in this complex film the commentary was best.

Jean Renoir’s The Rules of the Game depicts two parallel classes, the upper middle class and the servant class. From the bourgeois Christine, Robert’s Austrian wife has disappointed her would-be lover Andre, an aviator who’s just completed a round the world journey. Andre gets no satisfaction from the clamoring crowd or the inquisitive press. Christine didn’t come so the whole flight was for nought.

Christine’s been in her Parisian home with her husband Robert and her maid Lisette. Robert’s tiring of his lover Genevieve and Lisette’s tired of her husband Schumacher. All are leaving for the countryside where a web of relationships will tangle creating a fine mess pulling the film from farce to tragedy with a surprise ending.

Renoir saw WWII coming. He also saw his society drunk on frivolity, careening over an edge. The Rules of the Game is a rare film that begins with light-hearted, harmless fun, but ends with broken hearts and a tragic death. The characters who all play at love see the consequence of their erroneous worldview.

The film is beautiful and many scenes are complex dances. Renoir was ambitious to offer such sophistication and it wasn’t till decades after it was made that The Rules of the Game was considered a masterpiece, one of the finest movies of all time.

If you think you’ve seen the actor playing Robert before, you have. He was ran the roulette table at Rick’s Café in Casablanca.

I’ll definitely watch this one again.

13
Jul
17

The Bad Sleep Well

Kurosawa’s The Bad Sleep Well blew me away. It’s not one of his most famous films, but it’s packed with power. I learned of The Bad Sleep Well via Tony Zhou’s Every Frame a Picture channel where Zhou analyzes Kurosawa’s effective placement of actors.

The film opens with reporters and detectives invading the wedding between the handsome apparently straight as an arrow Nishi to Yoshiko, the pretty and disabled daughter of CEO Iwabuchi, whose corrupt deals caused Nishi’s father’s suicide. Nishi has positioned himself in Iwabuchi’s corporation as his assistant and married into the clan to exact revenge for his father’s death.

Disrupted by the appearance of a wedding cake that looks like the building Nishi’s father killed himself and by the arrest of a loyal, timid employee indicate the disaster of the marriage. Nishi has spent five years trying to get into Iwabuchi’s inner circle to expose the kickbacks and violence that fueled the success of Public Corporation. Iwabuchi and his colleagues are cold blooded, willing to goad their employees to suicide if it helps them keep their dirty cash flowing in.

While the film differs from hamlet, there are many intended parallels. Nishi’s obsessed with his father’s death. Yoshiko is very much like Ophelia and she meets no better end. While Nishi’s mother never married, Kurosawa uses gray flannel ghosts to freak out his characters.

The evils of corporate greed have bene a common theme in modern film Somehow Kurosawa, while showing blatant, unrepentant evil, doesn’t seem to have exaggerated. The executives and their conniving seem all too real.

Every scene had me riveted and the ending was a complete surprise, though it was perfect. It’s a film the I won’t soon forget.

13
Jun
17

The Last Emperor

I know I saw Bernardo Bertolucci’s The Last Emperor when it first came out, but now that I’m in China and know more of its history, I couldn’t pass up a friend’s offer to lend it to me.

The story is told in flashbacks as Puyi, China’s last emperor, reflects on his life now that he’s imprisoned by the Communists. He symbolizes all they hate about old China, but Puyi can’t really help that.

I vividly remembered Puyi, the tot who became emperor when his father was killed, getting taken from his home to the palace. I wonder why his mother didn’t live at the palace since her husband was the emperor. I’ll have to look that up. The film than continues by showing the folly of having a young boy assume the emperor’s throne. Now I’m sure someone else, like the Lord Chancellor was actually calling the shots, but that wasn’t in the film.

Since no one can correct the emperor, even when he’s 3 or 4, Puyi soon becomes a brat. He’s never able to leave the vast grounds. It isn’t until he’s seven that he’s able to see his brother, one of the few people who will talk straight with him. It’s quite bizarre to see this boy treated with such deference by hundreds of grown eunuchs, who indulge his every whim.

In 1912, China became the Republic of China led by Sun Yet Sen, yet we stay with Puyi, who’s shocked to learn that he’s no longer the emperor of China, he’s just the emperor of the Forbidden City and he can’t leave. I don’t fault the film with sticking with Puyi’s biography, but the events in his life made me curious about the wider history of China, which I know in outlines.

Throughout his life, Puyi seemed to be a puppet. Though he was allowed to have his way in trivial matters around the palace, he never governed. He talked of wanting to choose a wife who spoke English and French, but the dowager chose for him. In the film he seemed to get on well with is wife and his concubine, but according to an article in The Guardian, Puyi was pretty asexual and certainly not a big family man.

I found the parts with Mr. Johnston, the emperor’s tutor, played by Peter O’Toole, who can perform such a role with the needed aplomb, most interesting as Mr. Johnston was the only character with any force, the only one to question or challenge the emperor. He did so tactfully, but most kowtowed as they wanted the emperor to have his way, while they feathered their nests with goodies from the imperial storehouses and coffers. How that money and the opulence of the majestic lifestyle continued after the Republic took over mystifies me.

When the Communists arrest and interrogate Puyi, he had my sympathy, but I still yearned for a hero who would take action. .I wondered why he never left China. He seemed to have been conditioned early on to never go beyond the familiar.

He did flee the Forbidden City and lived in the Japanese legation and later Manchuria, where he thought he’d actually rule, but he was just a puppet for the Japanese. To me it was clear that once Japan surrendered he needed to leave. he was inert, either unwise or paralyzed to take action. The film with its majestic setting and costumes cries out for an epic hero. There’s a tension in this film that Puyi never was that sort of hero. And he suffered for that.




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