Posts Tagged ‘Marriage

22
Jul
17

The Black River

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Mask Kobayashi paints a bleak picture of Tokyo during the 1950s in The Black River. Set in a neighborhood beside a U.S. Army base, Kobayashi shows how Japan’s become corrupt. When Nishida, an upright student/bookseller, moves into a decrepit apartment building that’s more of a shanty than a building, we meet a motley crew consisting of parasites, prostitutes and a couple good guys who don’t stand a chance of fighting city hall given that most of their neighbors would sell out their own mother given the chance.

Soon both Nishida and Killer Joe, a Japanese low level gangster, fall for Shizuko, a lovely, innocent young woman. Joe shows his colors early on by ordering his hoodlum pals to attack Shizuko. It seems they’re going to rape her, but Joe happens by and fights them off. He professes his love and while Shizuko is briefly wooed, Joe then forces himself on her and she’s reviled. The next day Shizuko visits Joe to tell him she was going to report him to the police, but decided she’d be willing to marry him to salvage her reputation. What a sacrifice! It’s hard to believe that a woman would even have to consider such an option, but in some times and places that’s how people thought.

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Meanwhile Joe’s plotting with the greedy landlady to evict the residents of the shanty. Both will make out like bandits if they can get the not-so-beautiful losers out of the place.

The film then criticizes the greed, pettiness and lack of morality in society without blaming the problems on the American Army.The Black River shows how the characters contribute to their own troubles. Certainly, Shizuko was a victim in many ways, but she winds up but her choices also lead to an end where I saw no happily ever after for her.

19
Jan
17

Certified Copy

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Certified Copy intrigues and perplexes as it shows us a man, who’s a writer, and a woman, who’s an art dealer, who look at life and marriage in very different ways. I can’t say it tells a story because the film breaks with the fundamental conventions of storytelling. By the end, you’re unsure whether the characters are married or not. Most of what you’re told about them, about what they say about themselves, proves to be untrue or questionable.

Yet because the director switches things up as the woman, who’s unnamed, and James Miller, the hero, spend a day flirting and testing each other. Throughout the film I was intrigued and its one that still makes me think about life and films.

This trailer is misleading. It promises a flirtatious romance, but Certified Copy is a challenging look at expectations and relationships.

If you can’t take a film that plays with your mind, that gets curiouser and curiouser or deviates from the well worn path of story structure as set in stone by Hollywood, Certified Copy isn’t for you. But if you like to be intrigued or enjoy compelling performances, it just may be.

13
Oct
16

Brooklyn

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Based on a novel, Brooklyn tells the story of an Irish woman, Eilis, who leaves the Emerald Isle where there are no jobs or eligible young men, to make a life in Brooklyn. While fitting in isn’t easy, she does find a boyfriend and succeed in bookkeeping at night school so that she puts down roots. She soon marries her Italian boyfriend in secret.

Life takes a turn when her sister suddenly dies. Eilis returns to Ireland to help her mother who’s all alone. It’s intended to be a short trip, but then Eilis decides to stay for her good friend’s wedding and then someone finds her a temporary accounting job that she excels at and then she meets terrific young man. It seems that Eilis has found the life she always wanted in Ireland.

SPOILER ALERT

Continue reading ‘Brooklyn’

27
Jul
15

Thirst

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Call me a philistine but Thirst (1949) is the first Ingmar Berman film I’ve seen. Hmm. I can’t say I liked it, though there were shots that were captivating like when two young dancers are seen in a dressing room mirror and their grouchy teacher’s seen in the mirror beside it.

However, this film about a married couple and their previous lovers didn’t do much for me. I was put off by their intense “go for the throat” arguments. The heroine, a young dancer who’s career’s ended, was egotistical, selfish and mean. No doubt Bergman wanted to show intense feeling when you want to kill or tell your partner to go to hell, but do we need 100 minutes of this? All the characters seemed both sadistic and masochistic. I suppose the raw emotion and language was modern for the 1940s, but it didn’t do anything for me, except make me not want to visit Sweden.

Seeing that last week I saw and enjoyed Passing Fancy, which I grant is a comedy so not comparable, it was perhaps harder to appreciate Thirst. In Passing Fancy we also see characters who’ve had it with each other, who tell each other they hate them, but the storm passes and other emotions exist. In Thirst when a couple reconciles a bit you believe they still want their partner to die and go to hell. Lovely. Charming.

Actually, Thirst seemed like a bit of hell on earth.

I won’t swear off Bergman, but I’m not in a hurry to see more.

I think I need to see more Poldark and Ozu to counteract the Bergman effect.

02
Jun
15

Made for Each Other

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With Carole Lombard and Jimmy Stewart, Made for Each other has been described as the “serious side of the screwball comedy.” I saw it on YouTube for the MOOC I’m taking on Marriage and Movies. We’re only in week 2 so if you’re interested, sigh up.

Young attorney, John Mason (Stewart) meets Jane (Lombard) by chance on a business trip to Boston. He surprises everyone by returning to New York with a new wife. Most surprised of all is his mother, with whom he lives (which wasn’t as unusual as it is today). Both the mother and John’s boss, a crotchety, hard of hearing lawyer played by Charles Coburn (later known as Uncle Joe on Pettycoat Junction) think such haste is insanity, yet both Jane and John are so sensible and good looking that the audience buys their union. Surely, love will prevail. Or will it

The only problem I had with the film was the continual use of “the baby” rather than the child’s name, Johnny. It’s a bit of a deus ex machina ending, but I bought it.

Yet as the first years of their marriage progress, life hits them hard. John is passed over at work and money is tight, extremely tight after their baby is born. John’s mother and wife bicker as they share a small apartment. Everyone seems to be pulled to the brink and despite their sensibility and earnest attempts to persevere, the marriage is in jeopardy.

Made for Each Other held my interest because it was so original, so different from the screwball fare of couples meeting and bickering until they make it to the altar. It’s a rare look at what happens after people say, “I do.”

06
Apr
14

Sea of Grass

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Kathryn Hepburn plays Lutie, a St. Louis woman who falls for Spencer Tracy, an older rancher named Jim. She marries him despite warnings that life on the prairie won’t be easy, nor will living with Jim may be hell. Tracy’s character is a real so and so. He drives homesteaders off government land. He owns plots that dot the area and wants his cattle to graze wherever. The town folk consider him irascible and bull headed. His cattle hands and cook seem deeply loyal. Marriage to this taciturn loner soon gets hard. While Jim occasionally gives in to Lutie’s requests, his indifference to their suffering neighbors and his schemes to keep homesteaders out, is at odds with Lutie’s beliefs. Besides there’s little for her to do and no one to talk to on the ranch. She loses her one friend due to Jim’s hard hardheartedness.

Eventually, Lutie gives in to temptation and has romantic encounter with a sympathetic lawyer who’d warned her about Jim. She gets pregnant and has a son. Her infidelity becomes public knowledge.

I liked the film as it offers a different look at life out West. The ranch is pretty comfortable and Jim gets Lutie a piano and gets the furnishings she’s used to. The challenge isn’t the tough living quarters or manual labor (Lutie does none), but rather the barren emotional life. The way infidelity and illegitimacy are handled seemed novel, even by today’s standards.

I wouldn’t say this is a “must see,” but it is compelling and held my interest. Hepburn and Tracy always do though, don’t they?

18
Jan
14

I Was a Male War Bride

I Was A Male War Bride 1

The “old” movie I watched this week as part of my 2014 New Year’s resolution was I Was a Male War Bride starring Cary Grant and Ann Sheridan. Grant plays Henri, a French army officer, who must go on a mission with Catherine, an American officer. In true 1940s romantic comedy fashion, neither wants to go with the other and as they travel to find a German lens maker in a small town, they bicker continually, yet wittily, while encountering one mishap after another. In time they admit that their conflict is simply pent up sexual chemistry with a healthy dash of love, they decide to marry.

In occupied Germany after WWII, the newly married couple face a series of wacky bureaucratic problems when they set off for America on army transport. Theirs was a horrible and comical wedding night and honeymoon.

The film was rather dated and contrived. The actors did what could be done with the stilted story and I guess they were assigned by the studio to do this so so movie in a pre-TV era when new content had to be cranked out.




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