“It is really inelegant for a man to let himself grow old.” A late film to be sure, an old man looking back at his debut from 70 years ago, remembering his young life. How was anyone supposed to know that Oliveira, in his 90s, would make ten more features after this?
Sometimes it’s a fun story of artistic discovery, but there’s a rueful thread of disappointment since all these good times took place with his friends, all artists, exiled and dead. Some old film clips and photographs, as expected. The movie centers around a series of real-time scenes: an opening overture with the camera behind the conductor… a drive through the streets at night… a poem… a song.
Rewatched with Katy on Criterion Channel. I guess we’d last seen it before I started the blog, and there’s a particular reason we had to rewatch it now, but since I’m not going to elucidate, and since I didn’t get any screenshots from streaming, I’ll just link to Eric Hynes’s great writeup.
After an accident, Hiroshi (Tadanobu Asano of the Thor movies, star of Bright Future and Ichi the Killer) wakes up uncommunicative, barely knowing who he is. He returns to med school and begins a four-month class where he dissects the body of his girlfriend Ryoko who died in the crash, while he experiences lucid dreams (or returning memories, or a split consciousness) in which he spends time with Ryoko.
So it’s another trauma movie from Tsukamoto, about pain and memory and body horror – though this is a quiet and restrained movie, and we hardly see any surgery, so it’s not so much a horror movie as the poster would have us believe. This was made before two of my faves, Haze and Nightmare Detective. Employing crossfades and slow zooms into splotchy patterened walls, it effectively represents Hiroshi’s dark, blurry mindset without going into the usual Tsukamoto shaky-cam histrionics.
Hiroshi’s own parents had apparently given up on his future before the crash and are warily glad that he’s back in med school – dad is Kazuyoshi Kushida of Oshima’s Sing a Song of Sex, and mom is Lily of Oshima’s Dear Summer Sister. Hiroshi makes the odd decision to contact the girlfriend’s parents and let them know that he’s cutting her up. They take this news better than I would’ve figured, and as the mom (the cinematically named Hana Kino of Ôbayashi’s Beijing Watermelon) is dying of cancer, dad (Jun Kunimura: the unlaughing lord in Scabbard Samurai, lead gangster of Why Don’t You Play In Hell?) seems to appreciate Hiroshi’s company. There’s also another emotionally disturbed med student, Ikumi, who blames herself for a professor’s suicide, and seems to exist in the movie mostly as an audience surrogate to stare in disgusted wonder at Hiroshi as the other students slowly abandon him.
A mutating fiction containing documentary-like scenes – unlike his other films, which sometimes have people playing versions of themselves but would never be confused for docs – the fictional part being written by the doc participants as the movie goes along. There is a teacher named Dogfahr, a crippled alien boy, and lots of transformations.
The woman who gives the film its title:
The last major work I’d never seen by A.W., unless anyone wants to argue for The Adventures of Iron Pussy. It’s unique, but not one of my faves. Why do the closing credits appear 10 minutes before the end of the movie, then just shots of young kids playing? “The woman turned into a tiger”, a precursor to Tropical Malady?
Dennis Lim for Criterion:
Mysterious Object at Noon revels in the myriad ways a story can be transmitted. A performance troupe acts out its segment in a traditional song-and-dance routine. A pair of deaf girls use sign language. Sometimes we watch and listen to the narrators as they concoct new installments; sometimes we see their fabulations dramatized, occasionally with voice-over or intertitles to move things along. The scenario grows at once darker and more absurd as it progresses, its lurid developments living up to the film’s pulpy Thai title, Dogfahr in the Devil’s Hand.
Katy hated this, and sure it’s not one of the better or even more memorable movies we’ve watched this summer, but when I heard that Johnnie To made a movie starring Andy Lau as a monk/stripper/strongman in a rubber muscle suit, I knew I had to watch it right away, and I regret nothing. Guess I’m on my own for Johnnie To’s comedy Love on a Diet starring Andy Lau in a fat suit…
This movie starts out crazy enough, with bodybuilder Lau making a nude getaway while a more serious crime is being committed, running into a cop and seeing a vision of her future. They team up and fight crime… but then Andy retreats to a mountain for years, battles his past self, and captures a reclusive killer… and we sense that they either filmed a three-hour epic then cut it to ninety minutes, or everyone was making it up as they went along. The staging of even simple scenes is better than it needs to be, the movie’s never boring, it features some villains straight out of the comics, and it follows through on its promise to kill Andy’s romantic interest (the cop, Cecilia Cheung of The Promise and Zu Warriors), so I admire it despite the parts that never really work (the editing, the muscle suit).
I love the convenience and the selection of the Criterion Channel… and the quality, and the extras, but it’s tough to take screenshots, which ruins my blog flow. This was presented with Biller’s The Love Witch, which I was sorely tempted to watch a third time, but thought I’d better check out her debut while it’s online. Set in the early 1970s, it’s more campy than Love Witch, with self consciously horrible dialogue, shot like a cross between a sitcom and an advertisement. These aren’t complaints necessarily. Of the actors, I only recognized Sheila’s horrible husband Mark, who led the ren-fest scene in Love Witch.
Anna plays Barbi, whose husband Rick leaves her for weeks at a time. Anna and her friend Sheila decide home life is dull, so they sneak off to a modeling agency and get jobs as call girls. Anna as “Viva” meets a nudist musician, a hot girl named Agnes, and a big-deal artist… stars in a few musical numbers and a psychedelic animated fantasy. On one hand, as Viva she becomes a glorious sex goddess, but still everyone she meets is abusing her.
The end of a week catching up with True/False films, beginning with Black Mother. I watched most of this at the airport – inconvenient since I kept having to lift my jaw off the dirty floor. Very happy to learn that Mads has a new shit-stirring movie and we’ll be seeing it next week in Columbia.
“Comedy is the soft spot of all dictatorships.” A group of antifascist subversive Danish comedians takes an official visit to to North Korea with the stated goal of playing Wonderwall with local kids as a cultural exchange. Their purposely terrible musical-comedy act is hijacked by a local cultural director, who “surgically removes” anything cultural and changes their entire act into something just as unfunny but somehow more politically palatable. Meanwhile, Mads has come as a spy, to shine a light on a hated, repressive system. His secret weapon is Jacob, whose physical disability makes his Danish impossible to understand by the censors and translators, but Jacob becomes tormented by all the duplicity. They end up in a parade on national TV cursing the U.S. imperialists, manage to play Wonderwall once, then get the hell out of there.
I mostly know Fessenden from his roles in Kelly Reichardt movies… only previously seen his Habit, the other mid-90’s heroin/vampire movie – know I didn’t like it much but I don’t recall anything about it and don’t trust my 1996 self’s opinions, since 1996 Self loved From Dusk Till Dawn and Happy Gilmore.
I guess this is The Thing meets The Happening meets The Screwfly Solution, an “eco-thriller” in which the environment fights back against an arctic oil team who already had their own inter-personal drama and now have to contend with people turning suicidal/homicical after seeing snowy ghosts. Throw in an evil corporation covering up climate-change evidence, Ron Perlman and Connie Britton, and remarkably good plane-crash effects, and it’s a solid little apocalyptic movie.
Connie and Ronnie:
Maxwell (Connie’s Friday Night Lights costar) is first to die naked in the snow, Jamie Harrold (Kingdom Hospital) just nosebleeds to death in his sleep, and a couple people get taken out when the “rescue” plane crashes into their base. Perlman and his rival, Phantasm II star James Le Gros, end up stranded in the snow with approaching ghost-deers, while back home, Connie kills Joanne Shenandoah for smothering Kevin Corrigan (the not-bright, cleaner-spraying guy in Infinity Baby).
There’s a new Puppet Master movie out this year, so I am falling behind – decided to watch the last of the “classic” series. It’s the Puppet Master clip show, featuring scenes from the other movies in roughly chronological order, with a framing story of an anti-Toulon woman reading a giant book, presumably the official novelization of Puppet Masters 1-7, then trying to get the secret of eternal puppet life out of some vaguely Toulon-looking guy (Jacob Witkin of the Evil Bong trilogy). She’s an assassin, who conveniently claims to have killed the survivors of previous movies, so no more sequels I guess.
We start with the Greg Sestero movie, go through the nazi era to parts one and two, then the laser tag sequels. With all these craptastic movies crammed into one hour, the few decent performances stand out: Guy Rolfe, and surprisingly Cameron, the asshole computer rival in part four. I thought the flashbacks would be a “best of Puppet Master,” so a montage of murder scenes, but the writer/directors (ashamed, working under pseudonyms) assume we watch these movies because we care about the fleshed-out history of original puppetmaster Andre Toulon, so it’s all the mythology stuff (with some good murders mixed in). As a result, this is probably the best Puppet Master movie – but if you’re some kind of idiot who watched the previous seven of these, then there’s no need for it, unless we’re gonna need all this recapping in order to follow Puppet Master vs. Demonic Toys.