Pre-Modern Times ironic drama equating schools and assembly-line workplaces with prisons. Henri Marchand gets out of prison and looks up his cellmate-escapee Raymond Cordy (Wooden Crosses) who now runs a phonograph factory.
Now being chased by both criminals and cops, the two guys weigh their options: friendship, money, status, escape – and come to the correct conclusion.
I love 45 minute movies, make more please. This is peak creepy K.Kurosawa. In my current state of mind the knife murders felt pretty normal, the real horror was when chef Mutsuo Yoshioka (who had small parts in Foreboding and Onoda) embarrassingly blew a job interview. I can’t tell if his wife (Tomoko Tabata of The Hidden Blade) is also affected or if she’s just obsessively Japanese. After the chef’s student commits suicide in class, the chef kills another student (Takashi Shimizu, whose previous movie Sana was also a horror about people hearing a weird sound). Comes to no real conclusion as to what is happening or why. Made with a new DP and Hamaguchi’s editor.
Adam Nayman in Film Comment:
A sudden act of violence that passes the narrative baton from Tashiro to his middle-aged instructor Takuji is staged with the same slow, inexorable inexplicability as the murders in Cure (Kurosawa doesn’t so much avoid jump scares as invert their affect; his set pieces are drenched in the numb, hypnotic dread of sleep paralysis). In lieu of a sociopathic Dr. Mesmer figure puppet-mastering the action, Chime dispenses with an antagonist — and a hero — altogether, and simply offers glimpses at a society in the throes of some profound, collective malfunction. To invert the title of a film by one of Kurosawa’s former students, the film unfolds in a space where evil does, indeed, exist.
Plays outwardly like a spy drama – armed cyborgs in sunglasses travel to exotic places trading data to rebels – but everyone here is terrible at spying, repeatedly saying all their motivations to each other. Even when alone, this guy speaks his thoughts out loud, to the delight of the bosses who’ve bugged his nervous system Innerspace-style. But delight is the wrong word – everyone is using their direct-to-video serious-voice, with the only fun coming from the cool prosthetic effects. Brion James shows up, since this is a wannabe Blade Runner, and you think finally some class in this joint, then he plays his whole part in a German accent.
After a fun gun-shootin’ waterslide Alex is saved by a little creeper who then knocks him out (Merle Kennedy of Night of the Demons 2, she later gets to bazooka Brion). I paid attention to the wrong side characters, was looking up some guy (Shang Tsung in Mortal Kombat) who only lived about one minute, and missed Jackie Earle Haley and Thomas Jane. The lead baddie is Jack Deth of Trancers, a cyborg who replaced the police commissioner I think. Nude Girl Cyborg Julian was Deborah Shelton, who got drill-killed in Body Double. I idly wondered if Pyun cast a French-accented kickboxer as the lead (“Alex”) to rip off JCVD’s Cyborg… but Pyun made Cyborg too. The movie does have three guys at once jumping out windows whilst firing machine guns, so, no complaints.
The Big Movie Series #2. This is my third show in a row (after Nemesis and I’m a Virgo) where a lead character belatedly realizes they’ve been doing damage not out of righteousness but as a tool of capitalism. Lee Van Cleef is a ruthless lawman chasing escape artist Cuchillo because corrupt rich guys say he’s a criminal. Lee is as badass as you could hope for, but Cuchillo (Tomas Milian of Identification of a Woman and Four of the Apocalypse) still runs off with the movie. All I knew about this previously was the Morricone score – he and the writer and producer followed up with Once Upon a Time in the West, while Sollima went on to make a reportedly-great Charles Bronson revenge flick.
Just some doomed outlaws:
Our guys:
Hotwife Manolita Barroso:
I got a new dumb idea: to watch a bunch of movies called The Big ____ and call it The Big Movie Series. Not planning to rewatch The Big Heat (Lang) or The Big Boss or The Big Sky or The Big City or The Big Short or The Big Shave or The Big Snit or The Big Sick or The Big Picture… maybe The Big Lebowski or The Big Sleep… and I wonder if there’s an HD version of the extended The Big Red One yet.
our boys:
Idle rich pretty boy Jim (John Gilbert, star of The Merry Widow the same year) surprises everyone by enlisting in the army during WWI, teaming up with slack-jawed steelworker Slim (Karl Dane of fellow big movie The Big House) and officer/bartender Bull. At this point I got tired of hearing “You’re In the Army Now” on the blu-ray soundtrack so I put on Jason Moran’s album of WWI music, and loved how the slide-whistle song synched up with the Three Stooges-ass scene when Jim is walking with a barrel on his head. This is while they’re in France before the fighting starts, and Jim is falling for a pretty local (Renée Adorée, also Gilbert’s costar in Tod Browning’s The Show).
french girl:
Once they’re in the trenches, each gets his chance for heroism and revenge and death. WWI battle tactics are depicted as: walking in a straight line towards machine gun and cannon fire like robots until some yokel has the idea of throwing a grenade at the enemy. Only the rich guy gets to live, and back home his girlfriend and his brother try to pretend they haven’t fallen in love with each other while he was away, but he could care less, he hobbles back to France as if his beloved farmgirl really needs a yank with a wooden leg. But I kid, it’s a beautiful scene, made that much better by the Dirty Three album I put on after running out of Jason Moran songs.
my new motto:
A strange one, a noirish story-in-a-story about a bagman who gets friendly with the young girl he’s driving around, the narrators possibly making up the story as they go. It all leads to kidnapping and murder and suicide and mermaids. I chose this one because the director (who also made Saturday Fiction with Gong Li and Purple Butterfly with Zhang Ziyi) had a new film at Cannes, which unfortunately nobody liked. The bagman also starred in Wang Xiaoshuai’s Frozen, and Zhou Xun (who played the girl and the other girl) was in Wang’s Beijing Bicycle and also Tsui Hark’s Dragon Inn sequel (not his Dragon Inn remake).
The bagman and his charge:
The narrator’s girlfriend:
At a movie theater with birds flying around, a man talks with the police stationed behind the screen and with the Chileans in a club accessible through the ladies room. Not exactly an adaptation of the 1600’s Spanish play, but our man has used the play as a mnemonic device to memorize (then forget) the names of 15,000 Chilean revolutionaries, and the film apparently includes footage of Ruiz’s prior staging of the play. Life may be a dream, or a movie, as the man tries to re-remember the list of names while the story blends dreamily with the genre films playing at the timeless theater. Variations on themes and images I’ve seen before, and then there’s this:
Lesley Stern wrote about it, reprinted in Rouge.
Maybe too complex for me, but hopefully we’ll get a restoration some day and I can get lost in it again.
Starts out full of small-town problems: Kristen Stewart’s sister Jena Malone is being beaten by mustache husband Dave Franco who’s been screwing homeless bodybuilder Katy O’Brien who just applied for a job at the husband’s workplace, a gun range run by Ed Harris, who also smuggles guns into Mexico. Kristen falls for Katy, gets her into steroids, and Katy goes to Dave’s house and hella kills him in a roid rage, justifying the Clint Mansell soundtrack.
I was thinking about Lost Highway‘s domestic fatal head injury when I read Michael Sicinski making other Lynchian connections, and giving it up for:
Glass’ genuine feel for neo-noir as a collision course of tangled motivations, some of which the characters themselves don’t entirely understand. It’s fairly easy to make films about duplicity, where people lie and cheat and manipulate one another. It’s much harder to produce figures so damaged that they essentially sabotage themselves, failing to really grasp why everything has gone so terribly wrong.
I realized that Tsui Hark wrote/produced this Dragon Inn remake between Once Upon a Time in China movies, and I proceeded to watch it with the wrong soundtrack selected, wondering why everyone was so badly dubbed, damn it. Beautiful action film, with more people twirling through the air holding swords than I’ve ever seen in a movie before.
Tall Tony 2 is protecting the children of his late superior from the power-mad evil eunuch’s forces. He meets up with fellow fighter/girlfriend Brigitte Lin at the desert inn run by Maggie Cheung, a mercenary whose chef serves previous guests for dinner. They spend half the movie looking for the secret exit door and when they finally escape through it after defending a massive attack on the inn, they only get a three second head start over president eunuch Donnie Yen due to a scarf mishap – they might as well have walked out the damn door. Maggie and her chef choose the righteous side and help the others defeat Donnie during a sandstorm. I saw Iron Vest in there somewhere, guess he did not survive.
Mouseover to see what happens when you hold your battle pose for too long:
