"A flower once bloomed will hold to the vine, while a bud will fall."

Kurosawa Akira worked on this script but didn't live to film the story. The Sea Is Watching seemed far from his usual comfort zone as it was woman centric and heavy on romance. You'd have to go back to just after WWII to see him tread so heavily into romantic territory. Director Kumai Kei picked up his mantel and made the film, but it felt far from the Kurosawa films most of us are familiar with.

The film centers around a brothel and a young prostitute named Oshin. She has a big heart and a bad habit of giving it away to the wrong men. Kikuno is an older prostitute with an older suitor who wants her to come live with him. Stopping her is a violent yakuza lover who thinks he owns her and uses her earnings to pay off bad debts. The young women stick together and support one another through their ups and downs. After a bad romance, Oshin falls hard for a destitute man who is ready to end his life. He will play a key role when a torrential storm churns up the sea and the nearby river sending flood waters toward the town.

The cinematography and sets were beautiful and the colorful kimonos stunning. The acting seemed overwrought at times as the younger thespians weren't as polished as the more experienced actors. Shimizu Misa grounded the young oiran with a more reserved performance.

This film played like a melodramatic slice of life on the wrong side of the bridge as the women dealt with the caste system, love, heartache and dangerous clients. The middle bogged down making an already long film feel longer. However, the ending gave the film the emotional weight it desperately needed when one person showed the true samurai spirit in a moment of love and sacrifice with the pure-heart of a warrior.

9/9/23

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Sometimes brave people can bring about change

As the Tibetan antelope numbers rapidly decreased from one million to around 10,000 in the 1990's, men from the Kekexili area formed the Mountain Patrol to deter poachers from the area. Based on a true story, in the nearly lawless, desolate land the patrol had no one to rely on but themselves. Outmanned and outgunned by the ruthless poachers they would have to be resolute in their convictions in the unforgiving terrain to save the endangered animals…and themselves.

A Beijing journalist with a Tibetan father, Gu Ya, succeeds in imbedding himself with the Mountain Patrol. Their leader, battle hardened Ri Tae, accepts him with the hope a story could bring more help to their cause. The patrol is mourning the loss of one of their own who was murdered recently by the poachers. Gu Ya scarcely has time to unpack his bag before the men head out on patrol to track down the murderers. Along the way they cover barren desert and forbidding mountains. Gu Ya discovers how harshly they interrogate witnesses and suspects, especially after they come across nearly 500 hundred dead and peltless antelope. The patrol reverently stacks the carcasses and burns them with a funeral rite. The small band of men have to resort to selling the pelts they discover to pay for medical care and supplies.

The patrol was decimated by illness and death. The earth reminded them that despite their noble cause, they were vulnerable in spaces without food and water, where snowstorms could erupt in a moment, and quicksand could swallow a man in a matter of seconds. The desert and blizzard winds mercilessly erased all traces that a person had ever been there. Ri Tae was a man possessed with catching the murdering poachers which endangered not only himself but also his men as they ran low on food and fuel. Tibetan actor Duo Bu Jie was perfect as the patrol leader who was relentless in his pursuit of his enemy and also loved his men and the land.

Mountain Patrol could be disturbing with scenes of animals being butchered with numerous carcasses and bullet ridden pelts. Yet it also featured beautiful and stark landscapes. Director Lu Chuan filmed on location where the events were said to have happened in a land so remote a person's steps could be the first footsteps there since the dawn of time. The soundtrack was emotionally haunting, perfectly accenting a scene without intruding. The story was gut wrenching as the men with "dirty hands and pure hearts" suffered devastating losses. Yet their losses for a cause they believed in did bring about change. After their stories became published the government designated the land a natural preserve and the antelope population has steadily increased. Lu Chuan never fully answered what compelled these men to risk their lives in service to the graceful animals, but the world is a slightly better place because they did.

9/1/23

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"Beauty co-exists with its wounds"

If a person wrote a love letter to Taiwan extolling its people, land, food, and history it might look like A Thousand Goodnights. An adopted daughter sought to finish her father's rail trip of exploration and found an unfinished story needing reconciliation. Later in the drama the journey diverted off the main itinerary into melodramatic territory stranding passengers hoping for more scenic destinations yet still continued the search for meaning between generations and what constituted home.

Kindly Station Master Tai Chia He took an abandoned little girl, Tai Tien Ching, home and raised her as his own along with his daughter, Tai Tien Yu. On the day of his retirement, Cheng No, a young man he had corresponded with through the years returned to Taiwan. Chia He set out the next day on his long awaited rail journey complete with itinerary in hand. When Chia He unexpectedly died Tien Ching and Cheng No decided to finish his trip for him. Along the way they discovered relationships that needed healing-a first love, a birding club, an old friend's birthday party gathering, and a child who needed a family and desired to be a station master.

New friends were made and new family members discovered and romance blossomed along the way. The drama dealt with healing the sins of the past and the problems of the present. It covered a multitude of issues-infidelity, lost parents, dementia, plagiarism, gambling and the trials of becoming an idol. The older generation learned from the younger generation as the younger generation learned from the older generation.

I loved seeing the beauty of Taiwan and learning about some of its history. The rail travels were my favorite part. The healing message and reconciliations were heartwarming if a little too simple. As one character said, "I really miss those days when we traveled together." Me, too, buddy. The story lost some of its magic when it veered off course.

The biggest problem I had was the female lead, Tien Ching. As one character asked her, "Were you born to be exploited?" She was terribly bland and being an artist could not be used as a substitute for actual interesting characteristics. She mumbled quite often and had trouble standing up for herself which led to people taking advantage of her. The actress who played her was limited to pursing her lips and darting her eyes around to convey emotion. Her every movement looked staged and awkward and very rigid in comparison to some of the more natural performances around her.

Overall, A Thousand Goodnights conveyed the value of handing down our stories from generation to generation as well as expanding the friendships to the next generation. Most family and friendship problems were handled respectfully and with compassion. The characters also found the value in home and family and not letting past family heartaches determine how they would treat each other in the present. This charming drama showed not only the beauty of Taiwan and her people, but also how we are all tied to the earth and to each other.

5/31/23

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Wong Fei Hung once again fights opium dealers, this time in Heroes of Heroes, with a little help from Beggar So. An evil opium smoking and opium dealing prince found himself overextended when he managed to make enemies of both men even with the vicious Red Lotus gang backing him up.

Special Commissioner Lin asks for Wong Fei Hung's help in cleaning up the city when the Emperor declares an opium ban. So Chai from the wealthy So family is bamboozled by Prince Barac into siding with him on the opium issue. The Prince is not only addicted to opium but stands to lose a fortune if its banned. When the prince hooks the young So on opium, Wong Fei Hung steps in to rescue the promising fighter. The two kung fu legends will have to work together to bring down the prince and free the city from the grip of opium addiction and dealers.

The first fifty minutes of this film were narratively scattered and filled with slapstick comedy. I found it tedious and underwhelming. When the secondary characters stopped hogging the limelight and So and WFH stepped up with their fists and kicks in the second half the movie turned for the better.

Wang Jue made for a very bland Wong Fei Hung. Donnie Yen was much more interesting as the young Beggar So discovering his destiny. Hung Yan Yan/Xiong XinXin succeeded in making the sinister Prince someone who was difficult to defeat. Fennie Yuen started out as the intrepid princess reporter with her camera, but quickly became a damsel in distress. Ng Man Tat and Sheila Chan were mainly used as comic relief, really bad comic relief.

The fights, especially in the second half were entertaining. There was a lot of wire-work and sped up camera action, but also some nice hand and foot work. Donnie was young, fast, and limber. I always enjoy watching him fight. The Yuen clan choreographed interesting fights using weapons, scenery, tiger, crane, and drunken fist styles of kung fu.

If you love 1990's slapstick comedy complete with goofy prosthetic teeth, you're in for a treat. If you're like me and just don't get it, but do enjoy old kung fu movies, be patient and wait until around the 50-minute mark and the fun will begin.

8/27/23

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The Blob moved quicker than this slow paced movie

H-Man, in this case H-Men, was another film cautioning against the use of atomic weapons. Similar to The Blob, slow moving ooey-gooey creatures that can also glow green dissolve anyone in their path.

The film begins with a drug heist gone wrong when the chief gangster disappears leaving his clothes behind. Enter an earnest young scientist who tries to convince the police that the gangster didn't run away---he was dissolved. The police refuse to believe him and concentrate on tailing the gangster's lover who is a singer in a club. After the dissolved bodies start puddling all over town, they realize they are dealing with the consequences of radioactive experiments.

The sci-fi part of the movie was well done for a story about giant molasses-moving blobs of radioactive goo that dissolve people but not their clothes. The tedious gangster part of the film about finding a block of missing heroin slowed the movie down making the blobs seem quick in comparison. As with some Godzilla movies, the monstrous blobs had most of their screen time in the last segment of the movie leaving the rest to the boring humans.

I enjoy a good creature feature, but the movie needs to feature the creature and not women in skimpy outfits singing in a club or cardboard characters wandering around aimlessly looking for gangsters or puddles of goo. Green Glowing Blobby-7.5/10 Bland Gangster Noir-4/10

8/24/23

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Until death do us part...

This drama special had the potential to be a satisfying romance and murder mystery. There wasn't just one secret, there were several. A construction worker paid for a wife from Vietnam, but his own insecurities created problems that turned deadly.

Mail order bride stories tend to be problematic in real life. They are often rife with scams and human trafficking issues. In this story, a rough construction worker buys a Vietnamese wife. He has little trust in her and hides her foreign registration card and passport. She diligently works taking care of his shoddy home, assisting his invalid mother, learning Korean, and eventually finding jobs to help support their little family. He drinks at night, falls asleep, and goes to work, leaving little time for conversation. Eventually, they have a child together. Despite her loyalty he refuses to help her gain Korean citizenship, fearing that she will leave. She patiently hopes that one day he will see the love she has for him. The special opens with her being interrogated by the police for his brutal murder, so spoiler alert, there's not a happy ending for this couple.

This drama special had great potential but the writers decided to sabotage the relationship, not with a secret but with physical abuse. On separate occasions he hit her in public repeatedly. If she killed him, I was ready to be a witness for the defense. She constantly displayed saintly long suffering with his silences, distrust, jealousy, and physical abuse. Nothing she did seemed to penetrate his insecurities. He may have shown kindness towards her a few times, but I can't get past him hitting her and leaving her vulnerable without her foreign registration card. At first, he may have been cautious with a stranger in his house but some of his actions could be perceived as him treating her as less than because she was foreign or even worse because she was a commodity he had paid for. Because he refused to communicate with her and treat her as a real wife, he set up the dominoes to be knocked over leading to his death and financial ruin. Secret had many secrets but the biggest was why the writers thought an abusive male lead was ever going to be seen as sympathetic.

8/21/23

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"If you keep disturbing me, you'll get me angry"

King Hu's Dragon Inn was one of the bar setting martial arts films in the 1960's. Set in Taiwan, King made full use of the stunning scenery, capturing it lovingly on film. Polly Shang Kuan Ling Feng, Shih Chun, Miao Tian, Tsao Chien and Hsieh Han shone as the primary participants in the battle at the inn on the edge of civilization.

It was the time in martial arts lore when the ruthless Eunuch Tsao Shao Chin was massing wealth and power and crushing his enemies. He had loyal and ethical defense minister Yu beheaded and exiled his family to the outpost at Dragon Gate Inn. And because he was the bad guy he sent members from the East Agency to murder the children. The first attempt failed because Hsieh Han, in a rare good guy role, stepped in with his sword and protected the small entourage. Tsao sent Pi Shao Tung (Miao Tian) and nearly 30 men to intercept the surviving Yu family at the Inn.

The Inn is where the action truly begins and rarely slows down. Shih Chun's Hsiao Shao Tzu arrives after Pi and his men settled into the inn. Ostensibly he was there to see his old friend Wu Ning, the owner of the Inn and General Yu's former lieutenant. Pi's men attempt to take Hsiao out which results in several dead agents and a tenuous détente. Hsieh Han and Polly make their way to the crowded Inn forcefully insisting on accommodations. They also have to demonstrate that they are not to be trifled with. When finally the Yu children appear the sword-fights begin in earnest and the arrows start flying. Not to be left out, the deadly Eunuch Tsao makes a grand entrance with more men.

Dragon Inn kept the story straightforward, no secret lists, no secret kung fu books, or double-double crosses, just the goal of wiping out a good man's family and the loyal subjects who stood up for what was right. King would make the iconic A Touch of Zen in 1971 which had a richer story, Dragon Inn let its swords do the talking for the most part. Swordsman Hsiao injected humor into the lethal fights with Tsao, mercilessly taunting a man who was not used to being disrespected. Due to the large cast and near constant action, character growth was given short shrift.

Polly often played a hot-headed swordswoman, this time she was the cooler, faster blade and her brother played by Hsieh Han was the volatile stab first ask questions later swordsman. With a dancer's agility she moved quickly and gracefully. Shih Chun came across rather stilted to me, though he performed well in the fights. Miao Tian was a charismatic and daunting bad guy, I really enjoyed his performance in this film. As evil eunuchs often were, Pai Ying's Tsao was over the top---an asthmatic, blond-haired master of kung fu and sword fighting he made for quite the spectacle. Hsu Feng, who would later star in A Touch of Zen played the bit part of the young daughter on the run in this film.

The fights were more operatic than realistic, but not of the poorly done swipe and die choreography used in some films. Han Ying Chieh was the martial arts director and an imposing Lieutenant for the East Agency. There was judicious use of trampolines and wire work and on a couple of occasions sped up camera work. The fight at the inn introducing Hsiao made creative use of every day items. Instead of being relegated to the background, Polly was allowed to fiercely fight Tsao, Pi, and Ying Chieh's Lt. The final gruesome fight was well coordinated and showed how determined and unafraid of death each combatant was. Unlike some of the cheaper Taiwanese martial arts films that were grainy and shot amongst the trees, King made grand use of the scenery as backdrops for the bloody clashes. The desolate, rocky desert and lush forested mountains often stole the scenes as the battles played out in nature.

Dragon Inn was a child of the 60's and reflected the acting and fight choreography of the era. When comparing it to other martial arts films of the time it displayed a greater elegance and cohesiveness. Not a perfect film, but for old martial arts movie fans, certainly an entertaining one.

8/16/23

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"Don't avoid the truth!"

The Tale of the Bookworm is a drama special book lovers can appreciate. In a little over one hour, it covered as much story ground as most dramas cover in 16 bloated episodes. The only copy of Heo Gyun's book "The Tale of Hong Gildong" aka "The Biography of Hong Gildong" has been stolen and an awkward bookworm must use what he's learned from reading to solve the case. The drama incorporates the usual political intrigue, a loyal bookpig, a hint of romance, a bromance, self-sacrifice, a bookwolf, and the determined bookworm who is willing to risk his life to find the missing treasure.

Low born bookworm Jang Suh Wan is accused of a murder that occurred at the same time as the theft of Heo's book where Jang regularly "borrows" books to copy. He and Capt. Lee are charged by the sinister Minister Lee with finding the radical book or face the consequences. Along the way, Jang meets a book loving concubine and a book obsessed prince. He's also kidnapped a couple of times and threatened with torture, the worst torture was having a book's ending spoiled for him! The horror! It would make any self-professed book lover crack! While there were comedic and fun bromance moments there were also blood spewing and blood pooling deaths.

Han Joo Wan made for a sweet bookworm with Sherlock Holmes abilities. Choi Dae Chul as Capt. Lee had great chemistry with the bookworm and was easy on the eyes. You can always count on Lee Dae Yeon to make for a proper Joseon schemer, he could do this role in his sleep. And Ahn Nae Sang brought the right amount of moral ambiguity to the famous writer. The special looked low budget, but the cast's charisma covered over most of the cinematographic cracks.

Heo Gyun is historically credited with writing The Tale of Hong Gildong, though authorship has come into dispute. In the drama, Jang's hero may not have been what the bookworm had hoped for but the power of the written word was more important and life altering. It was fun learning a bit about this progressive and subversive for the time writer and Hong Gildong, one of the most influential early writings in Korea. The Tale of the Bookworm was simply done but effective and entertaining as it reminded us of the power of books to change minds and the world.

8/3/23

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"What's immoral about a man and woman falling in love?"

Director Mizoguchi Kenji precariously balanced The Life of Oharu on the edge of a knife, while touching on melodrama, never slipped off into base sentimentality. His heroine, Oharu, faced degradation after degradation as a woman during the Edo period of Japan. Bound by tradition and gender, with little autonomy, her life was one of hardship created by roles she could not break out of.

Teenage Oharu was in love with a young retainer played by Mifune Toshiro. Katsunosuke refuses to give up on her because of his lower class, believing rank and money don't mean happiness, one has to marry for love. When they are caught in flagrante delicto, she and her parents are banished from Kyoto and the court, a far easier punishment than the lowly man who loved her. As fate would have it in Edo, Lord Matsudaira needs a concubine because his wife is barren. Without a second thought for Oharu, her father sells her to the lord. She blesses the lord with a son, but when the ruler is deemed as becoming weaker for spending too much time in bed with her, she is shown the door with basically the clothes on her back.

Her father sells her to a courtesan house where her attitude gets her thrown out. He then sells her as a maid to a couple, but when they discover her background, the wife becomes jealous and the husband wants "favors." After leaving that household, her parents find her a husband who doesn't care about her background and for a brief time she is happy. But that happiness turns to tragedy and once again she is on the street even lower than before. A group of old prostitutes take her in and set her up as a common prostitute, not an easy or profitable proposition at her age. When fate seems to smile on her it is only to turn the knife. But this cruel last twist strangely leads to a path that brings her peace.

Tanaka Kinuyo at the age of 43 took part in the grand tradition of actresses too old for their role playing a teenager. Her father was played by Sugai Ichiro and her mother who was played by Matsuura Tsukie were both only two years older than she was in real life! The role took her well into middle age, with the prostitutes complaining that you can't make a fifty-year-old woman look twenty. Tanaka may not have had a teenager's youth but she still brought a resiliency and grace to the role even as Oharu's life deteriorated. Mifune Toshiro's role as the retainer in love with her was brief and filled with criticism of classism and advocation for personal choice in something as important as marriage.

Mizoguchi often focused on the plight of women in his pictures. When he was young, his sister was sold to a geisha house because his father had gone into debt. That same sister would later take he and his brother in and pay for their schooling and help him find jobs. His criticism of women being sold and the damage it did to their lives was stinging.

Oharu made one choice for herself, the love for the young retainer and that ended in utter disaster because such a union was unacceptable to society. After that, her life choices were determined by others, for their desires and benefits. When it was found out she had been a courtesan, it meant she was fair game and men took advantage of that. When she was dismissed by the daimyo, there was no compensation for her loss of status, nor when her husband died did she receive anything, it went to his family. She was a woman without power, without status, and without her own agency. Her father sold her three times, as a concubine, a courtesan, and then as a maid. With the brief exceptions of Katsunosuke and her husband, Oharu's dignity and happiness held little to no value to the men who came into her life. There was no guilt in selling her or casting her callously aside. Mizoguchi didn't dwell on the vile acts, he simply pointed them out---repeatedly. Men were the only ones who truly mattered, especially men of power, and they were myopically and self-centeredly exercising their rights. Oharu never wailed at her fate, she simply kept as much dignity as she could as she faced torment after torment. Only at the end, when she made a choice that kept her in control of her own body did she came into her own. What might have been seen as a loss by others, actually freed her for the first time and let her spirit sore.

Mizoguchi resisted an emotionally manipulative, overwrought soundtrack for this sorrowful story. Instead of a swelling impassioned score to highlight the current emotional crisis at hand, stark, traditional Japanese tunes were used, whether it was background music, Buddhist chants, or a beggar on the street playing. He often distanced the audience from Oharu's pain by having her partially cover her face. The beleaguered woman was also recurrently shown from the back so that we didn't see the wounded emotions on her face. The story enacted around her told us of her shame, grief, and anger. Oharu's circumstances were also hidden from other characters in the film. The people who derided her were blind to the depth of her pain and her despair at being powerless to fight the system that held no compassion for her.

The Life of Oharu could be repetitive but also contained an element of truth. In the 17th century, a woman once "ruined", lost her status and value making her vulnerable and leaving her with few alternatives. Oharu's real courage was in surviving and ultimately finding an escape route that freed her from the cruel cage society and family had trapped her in.

7/26/23

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"Everyday is Sunday for me"

I Graduated But... is a film fragment and all that is left of Ozu's 100-minute original film. Sadly, the majority of Japanese films from this era were lost or destroyed. Interestingly enough the basic framework of the story survived and was shown here in just eleven minutes.

Noboko has graduated and the only job he is offered is as a receptionist. Feeling the job is beneath him he turns it down but lies to his mother and fiancée saying that he is now employed. His mother visits with his fiancée in tow and evidently he and Machiko married soon thereafter. He finally has to admit to his wife that he is unemployed and spends his time playing with kids in an empty lot. Not long after he asks his wife where she has been all day and she admits she took a job at a bar so that they could make ends meet. Seeing her work and how men react to her, he strikes out again to find employment. He returns to accept the job as receptionist, willing to take any job offered. "Evidently, you have discovered the realities of life."

This film showed the nascent style Ozu would become famous for including shooting from the mat. Despite its short length the story encapsulated a complete tale. Whether the theme was difficulty finding a job as in other Ozu films from this time or difficulties between a mother and son or the lies about employment the spouses told each other, the film promised an engaging peek into one couple's marriage. The story had a nice symmetry to it with the beginning and the ending occurring at a job interview for the same company. The film tantalized me and also saddened me because the other 89 minutes are lost. I quite enjoyed the positive vibe to the film and would have liked to have seen the story fleshed out. I Graduated But... might whet your appetite for a full meal leaving you frustrated, but I'm grateful we had this delicious amuse bouche to savor.

6/19/23

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"How many deaths are enough?"

The Lost Bladesman followed part of Guan Yun's epic journey from being Chancellor Cao Cao's prisoner to making his way back to Liu Bei while taking down numerous generals and assassins. I can't judge the film on historical or legendary correctness, only on its entertainment value. The film looked amazing, had several creative and well-choreographed fight scenes featuring Donnie Yen and included Jiang Wen's nuanced portrayal of the inscrutable Cao Cao. Those things were more than enough to keep my attention throughout the film.

The film opens with Guan Yun being held prisoner and aiding his injured men. Cao Cao admires Guan's military prowess and seeks to convert him to his side. A man of immense integrity, compassion, and loyalty, Guan Yun largely refused. Guan's only goal was to return Liu Bei's concubine to him who was being held hostage and support his sworn brother. Cao Cao releases him, but his men call upon just about every swordsman in the land to execute Guan on sight. The movie really gets going at this point.

The story was not terribly complex, but a cursory glance at history did help explain a few things that were glossed over for an audience familiar with the tale and characters. I've heard complaints that Donnie Yen didn't look the part. Guan Yun's legend stated that he wielded a 49kg/108lb Green Dragon Crescent Blade, that's like swinging a large child holding an enormous broadsword in battle, not sure who they were going to find who would fit that description. I'm certainly not in the place to judge how a revered legendary character stood up to cultural expectations. I can only offer my opinion how the movie came across as entertainment in my neck of the woods. As the movie played out with numerous fight scenes, Yen did what he does best---fight. His Guan was compassionate and benevolent but he kept being drawn back into bloodshed as he reluctantly faced down the six generals ordered to kill him. Jiang Wen did what he does best---bring a complex character who was thinly written to life. His Cao Cao was the mesmerizing power behind the throne who tried to appear benevolent though many of his actions would say otherwise. Yen and Jiang had great chemistry in their politely adversarial relationship. A half-hearted love story thrown in did not enhance the narrative. The cinematography was nicely done as well as the sets and costumes giving a feeling of authenticity.

If you are looking for historical and mythical accuracy, this may not be the film for you. If you are looking for an entertaining martial arts film with some good performances and a little history added to the mix, this might be for you. I enjoyed The Lost Bladesman more for the fight choreography than for the story. There were several scenes including one in an alley with a reluctant Guan not wanting to kill anyone off the battlefield that were quite exciting. The film did a fairly good job of portraying the man who was a lamb in wolf's clothes and another man who would rather be wrong than be wronged. Both wanted peace, but took different paths to try and reach that unreachable destination. "How many deaths are enough?" History would tell us way too many.

6/16/23

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"Man is too small when faced with the vastness of nature"

Dersu Uzala was based on the real lives and friendship of Dersu Uzala and Vladimir Arsenyev in the Siberian wilderness during the early 1900's. The impressive film about friendship won an Academy Award for Best Foreign Language Film in 1976. Aside from its famous director, Kurosawa Akira, you aren't likely to recognize any of the names in this Soviet-Japanese film, but don't let that deter you as the performances were all first rate.

The film begins with Capt. Arsenyev and his men doing a topographical study of the Ussuri Region. Local hunter, Dersu, enters their camp having followed them for much of the day. The next thing he knows he has become their guide. Dersu is wise, kind, and generous as well as being a skilled hunter. The soldiers are largely unaware of the world he sees and hears around them. "Got eyes but don't see." At first the men are amused at his views, such as fire, wind, and water being alive and "strong men" to be wary of. It doesn't take long for them to come to respect him and trust his guidance. He also teaches them compassion for people and animals in ways they had not thought of in his special lessons on wilderness etiquette.

Arsenyev learns the hard way what disregarding Dersu's advice means in the life and death world of winter in the dangerous world. The two men slowly build on their trust and respect to develop a deep and abiding friendship. The movie could have comfortably ended at the 70-minute mark, and I did find the first half more compelling. When Arsenyev returns to the wilderness he finds his friend older, but largely unchanged. They race to each other and embrace as if soul mates and maybe in some ways they were. Only after an incident with a tiger, do Dersu's facilities begin to decline. The aged tracker and hunter finally relents, acquiescing to his friend's invitation to come live with him in town. Dersu understandably struggles to adapt to the confinement of city living. The film hauntingly ends much as Arsenyev's 1923 memoir.

This film is one that will find itself with a divided audience. There was almost no conflict which could be a deterrent for many, especially with a 140-minute running time. The characters found themselves in few perilous moments or facing life altering events. At the same time, it was an expedition into the beautiful world of the Siberian taiga and the development of a devoted friendship. People from disparate places came to understand each other. The film could almost fall into a slice of life travel drama with its languid, graceful pace.

Kurosawa's signature style appeared throughout the film. An encounter with a tiger leads to a mystical moment for the tracker, a seemingly innocent encounter that had profound effects on his psyche which reminded me of other Kurosawa characters affected by surreal events. Kurosawa's own particular blood red sky and sun also reflected in the ice was used in several scenes, reminiscent of Dodesukaden's sky. A faint rainbow appeared at a hut in the misty woods as happened in several of his films. At times, Kurosawa's signature winds and fog obscured the scenery, heralding in moments of significant changes. The film was beautifully shot in the Russian wilderness and accompanied by an elegant musical score. Rivers, forests, snowy marshes, and a frozen lake shared the screen with actors trudging through and over them. Despite the exquisite landscapes and evolving seasons, Kurosawa kept the story focused on the two men. In one particular segment Dersu and Arsenyev become lost when returning from a frozen lake. At Dersu's bequest they desperately cut the tall marsh grasses in a blinding wind storm for a makeshift shelter in order to survive the bitterly cold night. This scene with few words was stunning and emotionally gripping.

George Lucas has eluded that Yoda may have been loosely based on Dersu. With Dersu's broken Russian and oneness with nature it would be an easy leap in logic. At one point when Dersu was in danger after saving the rest of the men, he had to orchestrate his own rescue advising the men how to accomplish it. While his abilities seemed almost magical to the city folk, his skills were honed over a lifetime living in the harsh conditions needing to always be aware of his surroundings to survive. I believe he would have agreed with Yoda, "Do or do not, there is no try."

Rather than a man against nature theme, the story advocated man living peacefully and reflectively with nature and other people. Nature may be unforgiving, but it was also possible to learn from her and receive her gifts. Kurosawa showed not only the best of humanity but also the cruel face of humanity as well in the way heartless men treated animals and other humans. Though he touched on several subjects the overriding core of the film and its main focus was the friendship of two men from different walks of life who bonded in the wilderness.

It would be hard to overstate the skill Kurosawa used in the making of this film. The raw, scenic landscapes seemed to have personalities of their own, much as Dersu believed. Though the story was simple it was not simplistic. The unbreakable friendship of Dersu and Arsenyev resonated deeply with me. Even at over 2 hours long, I would happily watch this film again.

6/6/23

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"Hope is within yourself"

Ilo Ilo is a domestic slice of life film played out in a middle-class family's time of challenges during the financial crisis of the 1990's in Singapore. When the mother hires a Filipino nanny to care for her mischievous son, the move only exasperates an already tenuous situation. The deceptively simple story hides layers of social and familial concerns augmented by a capable cast and an unsentimental approach.

Lim Keng Teck tries to hide the fact he was fired from his sales job and is now working as a security guard from his wife Hwee Leng, a clerical worker who spends much of her day typing up termination notices. Their son, Jiale, spends most of his time being disciplined at school which causes headaches for his mother. She decides to hire a Filipino nanny to watch over him with the hopes of him staying out of trouble. Hwee Leng doesn't hide the fact she is suspicious of her nanny, holding onto her passport, and thinks less of her due to her status and background, offering her only the plastic to cup to drink out of. Terry is prepared to deal with her employer's condescending attitude but is unwilling to be bullied by a 10-year-old child which she quickly makes clear to the impish and at times, cruel Jiale.

Hwee Leng could come across as difficult to like. However, upon further examination, she was a pregnant mom who worked long hours all while trying to raise a troubled son. Her jealousy of the nanny as Terry's relationship with Jiale became closer was understandable if not particularly admirable. No one was there to comfort her, and she struggled to give comfort to others. Keng Teck was guilt ridden after he squandered much of their savings in the failing stock market. Though he endured the henpecking of his wife affably most of the time, he did crack and explode as well under the strain. Terry had a baby back home she was trying to provide for by working in a foreign country where she was treated as less than. She was fully capable of deception in order to earn some money on the side, but at heart she was a kind woman who managed to break through Jiale's shell. And it was Jiale who was the crux of this family, the desire to give him a good life, to raise him, to reach him that compelled many of the characters. The little lottery obsessed boy who desperately needed to feel loved and seen, who missed his grandfather, was the emotional center of the story that everyone else orbited.

The financial crisis was manifested through the crashing stocks, a shyster financial guru, suicides, firings, and a general air of desperation around the populace. In this little microcosm we were shown the pressure it put on the family and their relationships to each other. The story skimmed over what appeared to be racial and class disparities, the kind not singular to Singapore. Hidden habits like smoking and drinking, secrets kept from spouses, and typical extended family issues were touched on as well during this time of financial downturn.

Yeo Yan Yan, Chen Tian Wen, and Angeli Bayani made for very believable adults adjusting and adapting to their positions, sometimes in a deeply flawed manner and other times with gentle humor. Koh Jia Ler as the naughty yet fiercely loyal Jiale brought a naturalness and vulnerability to the problematic child.

Despite the title Ilo Ilo, which was the province Terry was from, and despite Terry being one of the most sympathetic characters, the story was not told from her point of view. This was a slice of this family's life and much of her background was left unknown. We saw her struggles, yet in the end it was always going to be about whether this family could pull together during a crisis and overcome their anxieties and shortcomings.

Much as in real life, the mood of this film could swing from tears, to anger, to fear to laughter. I would have preferred for some of the elements of the story to have been expanded on and brought to a close but like many slice of life films, Ilo Ilo doesn't tell us how the story ends, we are left to figure that out for ourselves. We can hope the characters take what they have learned and grow as individuals and strengthen their familial bonds but that is up the viewer in the end to decide. If you are looking for a film about family with all the good and bad that comes along with it, this is a film worth trying.

5/31/23

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No good deed goes unpunished

Three Outlaw Samurai was an entertaining samurai film that supplied plenty of action and more than a few laughs. It felt like a smaller scale Seven Samurai with three samurai who come together to try and save impoverished peasants from a callous magistrate.

Shiba Sakon is a wandering samurai looking to find shelter for the night when he comes across a woman's hairpin in the road. An old mill is nearby and either weariness or curiosity compels him to go there. He finds three desperate peasants holding the local magistrate's daughter hostage. Suffering and dying because of recent crop failures, they want to force the magistrate to reduce their tax burden and help them out. Shiba gives them some hostage taking guidance and evens the playing field while they are in negotiation, or more accurately, fighting for their lives. The magistrate orders a samurai named Kikyo, who has been taking advantage of his food and lodging, to resolve the issue for him after his attempt to rescue his daughter and slaughter the peasants failed. Sakura Kyojuro, a vagabond samurai sitting in jail, is recruited by the magistrate along with three murderers to help Kikyo. Sakura grew up as a peasant farmer and quickly changes sides when he finds out what their real mission is. Kikyo, the "Freeloader" as Shiba dubs him, appears to do as little as he can in the distasteful situation.

After a time Shiba is able to reach a deal with the magistrate. He will take the peasants' punishment, 100 lashes, if the magistrate agrees to release him afterwards and spares the peasants. He makes the magistrate samurai pinky swear to uphold the agreement. The magistrate breaks the samurai code and starts having the peasants murdered and a post-torture Shiba thrown into a water dungeon. The local clan lord is arriving soon and the magistrate doesn't want him to know how incompetent he is and also doesn't want the peasant's petition to reach him. He unwisely sends killers after Kikyo which causes the high maintenance samurai to firmly change sides. Now the team is assembled.

This was director Gosha Hideo's first feature film and he nailed it. Narratively, the story flowed and he knew when to pause and when to set the fights in action. Betrayal, corruption, social class antagonism, and even a little redemption arch kept the pauses from being too slow. At its heart, the film was the ancient tale between good and evil and how much or any people are willing to sacrifice for justice. The cinematography, framing and editing all looked great.

The cast was strong with each samurai being his own man. Shiba and Kikyo shared their motivating influences in this exchange. Shiba told Kikyo, "You calculate the gains and losses too much." To which Kikyo responded, " You don't calculate enough." Sakura was a round deadly teddy bear. Though all ended up being likeable, they had their flaws. My biggest complaint is that the band took too long to get together. These actors had a very nice chemistry. Three Outlaw Samurai was a prequel for a tv drama series by the same name that the same actors would star in. My only other complaint would be that the women were portrayed poorly, most were clingy and/or flighty.

The fights tended to be quick and brutal. A number of people only seeking a better life and trying to do the right thing were cut down. A running fight scene was exhilarating and at one point I thought the guys were going to pull a Butch Cassidy and Sundance Kid stunt. After a betrayal and during a huge fight, a character tells Shiba, "You have to kill me!" Shiba sardonically replies, "I'm kind of busy at the moment." It's those moments of levity during a deadly fight against superior numbers that balances the mood of the film.

Despite the dynamic trios' efforts and good deeds-Shiba's torture, Kikyo's character growth, and Sakura's desire for redemption, and the small battles won, the intransigent nature of the corrupted caste system prevailed over justice. In the end, Shiba's idealism and swift sword were unable to cut through the status quo or embolden the peasants' courage. But at least he did not have to suffer his loss alone, he gained two friends to wander the path of the adventurous ronin. Three Outlaw Samurai was not a deeply layered story, but it was an entertaining and fast paced samurai film that fans of the genre might enjoy.

5/20/23

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"...it's a woman who never falls down."

New Women was a radically feminist movie for 1935 and a bit of a real-life revenge flick as well. Moreover, it was also silent film star Ruan Ling Yu's next to the last film with an ending reflecting her own. Though heartbreaking verging on melodramatic at times, New Women also strove to normalize working and independent women and call out the men who preyed on them.

In real life, Director Cai Chu Sheng was rumored to have had an affair with left wing actress and writer Ai Xia. When Ai Xia was savaged in the papers over her private life, she committed suicide. This film was said to be inspired by her struggles. The film also explored the new roles women were taking on in society prompting New Women to be promoted as a film about "the woman question."

Wei Ming (Ruan) is a beloved high school music teacher and aspiring writer. She has written for a local paper and submitted a book to a publisher. Though she is drawn to her book editor he gently turns her down while still supporting her at the publishing house. She is pursued by Mr. Wang, a wealthy married man, the husband of an old school friend. He sabotages her at the school hoping to force her to turn to him. An editor at the paper also tries to seduce her while promising her more work if she is cooperative. Even the local pimp states that with money you can always cop a feel.

Our beautiful heroine is behind in nearly all of her bills. After being paid at the paper she buys a wobble doll with a female worker on top of the globe. She tells the book editor he'd like it because the doll never falls down. Wei has a female friend, Li Aying, who works at a factory and also teaches the women workers to sing songs about being strong and independent. Aying is in a similar boat financially as Wei. To add to Wei Ming's woes, her sister informs her that her husband has died and she must bring Wei Ming's secret daughter to come live with her. Upon her arrival, the daughter is coughing, a sure sign in a Chinese film that the child is dying. The hospital staff informs Wei that the child's pneumonia can be easily cured with the new antibiotics but she must pay upfront for the treatment and the women have nowhere near enough money even after pawning most of what they own. To compound her discouragement, Wei Ming notices the wall of medications and the ward full of empty beds at the hospital ironically named Philanthropy Hospital.

After trying every legal way she can to cobble together the money for her daughter's treatment, Wei's landlady who works with the local pimp tells her that by agreeing to prostitute herself she could earn more than enough money in one night. Regarding a woman's plight, she tells the younger woman, "What other path is open to us?" Desperate to save her child, Wei Ming agrees only to find her wealthy client is the dastardly Mr. Wang. She refuses him and knows that if her child dies, she will follow her.

The film was set in the 1920's as women were beginning to enter the work force causing pushback from the males in charge. As in most countries, women were often paid less, discriminated against, sexually harassed and assaulted with little recourse. Li Aying stated that the new woman is born from hardship. There were different kinds of women presented in the story. Wei Ming was intelligent and focused on earning money with her talent, not her body but because of her beauty and physical fragility the men in charge sought to take what they wanted from her. They used the resources at their fingertips to bring her down and punish her for not acquiescing to their sexual demands. In a time when it had to seem rebellious to the standard quo, she equated marriage with slavery for a woman and felt like one night of slavery prostituting herself would be better than a lifetime. Aying was tough mentally and physically and believed in the Left's view of equality. One of the greatest movie moments in history was when she headbutted a despicable lech---twice! Mrs. Wang was unwilling to rock the boat and risk losing her status and wealth via her close proximity to Mr. Wang's power, thus turning a blind eye to his wandering proclivities.

Ruan Ling Yu gave an enchanting and heartrending performance in a role that not only mimicked Ai Xia's life, but hers as well. When the movie was screened, the press took great exception at being portrayed so negatively and forced the director to make numerous cuts to the film. In retaliation, they printed salacious stories about Ruan which in combination with an ex-lover's lawsuit, possibly instigated by the press, drove her to commit suicide a month after the film's opening.

The movie had some primitive sound effects and dubbing over the intertitles. In the copy I saw, the music became quite distorted at times. Overall, the quality of the cinematography worked well as the director utilized the different camera tricks he had at his disposal. The ravages of time had done some damage to the frames, but not enough to become a distraction.

New Women attempted to break new ground by calling out predatory men and a predatory press. It also sought to give hope to those who had been knocked down one too many times even with the film's heartbreaking ending. When Wei Ming decided she wanted revenge on the men who had brought her low, Aying told her, "…to continue living is without a doubt the prerequisite for doing anything at all!" New Women could feel a tad propagandistic at times but for the most part portrayed women's struggles in the world, especially those who attempted to follow a dream, in a fairly realistic manner. Even after the "Me, Too" movement many decades later, women are still seeking respect and equality at work and in society. When a film entertains and causes the viewer to think, that makes it successful in my book.

5/10/23

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