by ·Comments Off on The Roaring Twenties (1939, Raoul Walsh)

Felt like following the early-30s gangster movie with a late-30s one. Apologies to Hawks, but this one’s much better, despite the shouty narrator explaining very recent history to the audience. Auto mechanic Cagney, bartender Bogart, and posh law student Jeffrey Lynn (Whiplash) are thrown together during WWI, then after the war Cagney can’t find work and turns to bootlegging with backing from new friend Gladys George (who’s also in postwar drama The Best Years of Our Lives). Schoolgirl Priscilla Lane who’d written him letters during the war is now a grown hottie and aspiring singer, so Cagney uses his power to get her nightclub gigs.

Things are looking good, then they bring on Bogart, who has no morals and starts killing people and getting them in trouble with the cops and rival gang led by sharp-chinned Paul Kelly (Adventure in Sahara). When Cagney calls a meeting for an all-gangster alliance Kelly doesn’t show, drops off the body of their man Frank McHugh instead. Nothing left but for the girl Cagney loves and the girl who loves him to watch his downward spiral ending in a hail of bullets – but belatedly. First Bogart takes over the business, years pass, Cagney becomes a drunken cabbie, the hottie marries the lawyer, old grudges resurface, hail of bullets.

by ·Comments Off on Scarface (1932, Howard Hawks)

Guess I watched an old disc when the 4k remaster is right around the corner, oops. Big showy camera moves in an early sound film, impressive. A good start towards dialogue based cinema, also a cavalcade of atrocious accents. It’s the Ferrari Theory, or just typically Italian: the accents can be as random as you want if the picture is on point. Ben Hecht (and maybe an uncredited Hawks) had written one of the great silent gangster movies Underworld, then after Little Caesar and Public Enemy started a craze, they came back to claim their throne.

Rich party thrower Louis is shot dead, Paul “Scarface” Muni was supposed to be his bodyguard. Scarf’s new boss is Johnny Lobo (Osgood Perkins, grandfather/namesake of the Longlegs director). During Johnny’s rise to the top, Scarface kills all their competition except dapper Boris Karloff, then comes for him too, then kills his own boss and steals his girl Karen Morley. But Scarf is also overprotective of his sister Ann Dvorak, and after he catches her with his prize henchman George Raft, the siblings have got nobody left but each other, and go out in a hail of bullets.

Scarfie having a moment with his sister:

Mabel has parrots:

by ·Comments Off on Eyes of the Spider (1998, Kiyoshi Kurosawa)

Same idea as Serpent’s Path – this time Sho Aikawa’s daughter is the victim, and he dispatches some guy he assumes to be the killer within ten minutes of movie time. Now what?

A guy who looks suspiciously like Creepy but is another actor – somebody Sho presumably killed horribly in Dead or Alive, and the star of Kitano’s Getting Any? – offers the directionless Sho a job at his “import/export” company. The business of this company involves Sho stamping an endless pile of documents in a shabby office while the other guys have some kinda shakedown/blackmail/hitman thing going on. These guys appear small-time, so the boss gets involved, and the boss’s boss, and they want to recruit Sho and put down the others, but they don’t go down so easy. Similar look and tone to the other movie, but goes in a more traditionally yakuza direction.

In here somewhere is Chief Ren Osugi of Nightmare Detective… Ren’s Sonatine and Fireworks costar Susumu Terajima… Kill Bill boss Shun Sugata… but I didn’t catch character names, so I’ll sort it out during the next Kitano or Miike binge.

Kurosawa is a White Dog fan:

Great writeup by John Lehtonen. A small piece:

Eyes of the Spider is a film of emptiness, its protagonist hollowed at the outset. Empty time and empty people, and what is projected onto and, eventually, out of this emptiness. Tonally and generically dynamic, it moves its cipher hero (and Aikawa’s iconographic image) through a variety of generic scenarios and roles: the husband, the salaryman, the yakuza.

by ·Comments Off on Serpent’s Path (1997, Kiyoshi Kurosawa)

I had watched either Serpent’s Path or Eyes of the Spider (I forget which one) in the pre-blog era on VCD so after enjoying Chime (and before this year’s Serpent’s Path remake) it’s time to re/watch these in HD. They both hinge on a kid’s abduction/murder, and each main character’s plot spirals out of control, in very different ways.

Creepy Teruyuki Kagawa kidnaps gangster Yûrei Yanagi (Boiling Point) with the help of Creepy’s math professor friend Sho(w) Aikawa. But the gangster says another guy did the crime, and they have to keep kidnapping gangsters. The second guy (the husband in Door) fingers a third guy (a minor player in early Miike films), who takes them to the room where they’ve made torture videos for profit (these rooms were common in late 90s/early 00s horror).

Sho and Creepy:

Why is Professor Sho capably handling all the details and abductions here, what’s his deal? And why is he privately coaching the abductees on what to say? I guess he’s just trying to help kill as many members of this organization as possible – including Creepy, who it’s revealed used to work in their organization and therefore thought his own family would be exempt from the business. Darkest subject matter given a matter-of-fact tone with an absurd edge.

Michael Sicinski:

Formally, we can already see Kurosawa’s primary style taking shape; the clinical viewpoint and tendency toward long shots emphasize both an objective, godlike perspective as well as a sense that the film frame is a container, trapping its characters in culture and history. If the overt narrative of Serpent’s Path is somewhat vague, Kurosawa fills in all the crevices with a pervasive dread. Considering Kurosawa’s earliest work was purely genre based, here we see him breaking away from those strictures in a fairly dramatic fashion.

by ·Comments Off on Shinjuku Triad Society (1995, Takashi Miike)

Everyone wants to fuck the knife boy. Gangster Wang (Tomorowo Taguchi, star of Tetsuo I and II) is mad that gangster Ishi fucked the knife boy in exchange for a new knife, so he destroys Ishi’s gang. Kippei Shiina (Outrage) is the lead detective in this typical cops-vs-criminals story, tormented that his brother Shinsuke Izutsu is working for the other side of the law. But Miike is attracted to excess, so the violence is particularly brutal, the gang’s business (organ trading) especially sordid, and the craziest actor (in this case wide-eyed Wang) runs off with the movie. It all leads where it must: the brothers beating the shit out of each other in a decrepit room, the cop pumping how many bullets into Wang, then some narrator (the knife boy?) informing us that the cop will turn up dead a month later.

Feuding brothers and their clueless parents:

Wide-Eyed Wang:

by ·Comments Off on Assault on Precinct 13 (1976, John Carpenter)

Starts as a decent movie with great music, then a bereft revenge dad comes into the defunct police station pursued by a gang of killers, their initial attack kills the lesser actors, and the second half of the film is nothing but perfection.

That first attack: seemingly infinite guys getting blown away trying to climb through windows, like a zombie invasion. When the cops start tossing guns to their prisoners to help defend the station, you know Carpenter means business. Afterwards, the gang hides the bodies outside and lays low waiting for the next wave, while passing patrol cars get reports of gunfire but can’t see anything. Prison transporter Starker is among the dead, and the sick prisoner, and a police secretary – we’re left with her coworker Leigh, Death Row Wilson, Lt. Bishop, and Prisoner Wells, who makes it underground to a getaway car but gets blown away by thugs hiding within. The other three, low on ammo, hold off the second attack with the help of a mobile barricade and some explosives.

Remade, reportedly not very well, with Laurence Fishburne and Ethan Hawke in the 2000s. The late Starker was rewarded for his service with roles in three more Carpenter pictures. Leigh starred in a Jean Eustache movie of all things, then disappeared so hard that there was a documentary about the attempt to locate her. Wilson was a TV non-regular with a small part in Eraserhead. Wells became a regular in the Rocky franchise the same year. And I hope Bishop had a fine theater career because his other movies looked terrible, until 40+ years later when Carpenter fan Rob Zombie cast him in 3 From Hell.

by ·Comments Off on The Untouchables (1987, Brian De Palma)

Ness/Costner, a true believer, says “let’s do some good” before busting up a joint he falsely heard is importing liquor, then the others make fun of him for the action-movie quip. He puts a team together in honest cop Sean Connery, sharpshooter Andy Garcia, and accountant Charles Stone (future director of Air Bud) to go after Al “De Niro” Capone for tax evasion since they can’t get him for anything else, and do-gooder Ness learns that he can’t stay clean when everyone else plays dirty.

Towards the end of this movie I wrote that it’s “THE 1987 movie” – not the best or most popular, but it’s the movie, and I wondered if I could find the movie for every other year – but the next morning I wasn’t sure what I meant by that.

It is hilarious that Connery won a supporting oscar for his Highlander II-ass performance instead of… I dunno, John Goodman in Raising Arizona, or The Cowboy in Innerspace, or Alice Cooper in Prince of Darkness, or That 70’s Dad in RoboCop.

De Palma makes a theme of child endangerment leading up to his stairway setpiece:

by ·Comments Off on Silent Night (2023, John Woo)

Speaking of John Woo… it would appear that he’s back. Slick transitions between scenes, locations, time periods as he sets up the dialogue-free story of Joel “kill-a-man” Kinnaman getting revenge for the death of his son. Half the movie is a training montage, as the sweater-wearing family man practices shooting and stunt driving and knives, and he’s still unprepared, as the first guy he kidnaps proves to be dangerously tough. Joel finds time for some normal vigilante work, gets his first couple of kills. Then he starts a Christmastime gang war and assaults the HQ of the head-tattooed supervillain. Gets very videogamey in the final assault, and Joel is belatedly joined by cop Kid Cudi. Tattooed guy was in a Liam Neeson disabled-guy revenge movie the year before, and Kinnaman played Neeson’s endangered son in Run All Night, so Neeson is the godfather of all revenge films now.

by ·Comments Off on Drunken Angel (1948, Akira Kurosawa)

Doctor Takashi Shimura (lead of Ikiru just four years later) is a drunken gruff pain in the ass, treating ingrate criminals and helpless local youths who won’t stop drinking the swamp water. He tries convincing young gangster Toshiro Mifune (in his first AK film) that his TB diagnosis is serious and to keep himself healthy. As an American viewer it takes a while to realize that both the doc and gangster are blunt and rough in an un-Japanese way.

AK didn’t have his regulars yet, so he borrows a Mizoguchi actor as the doc’s sober schoolmate who runs a respectable practice, and a Naruse actress as the doc’s assistant, hiding out from the gangster she used to be involved with. When that gangster returns to town, he gets his own theme song. Extremely anti-yakuza overall – wonder if the studio got threats. With the stagey acting from the doctor and rough condition of the film print, it feels a decade older than it is, but probably belongs in the pantheon, unlike the last classic Criterion disc I watched.