ardent-1 Reviews

If You Were Young: Rage (1970)

Optimistic cynicism ***SPOILERS***

[8/10 · 5 February 2005]

A great and wise director (whom shall remain nameless) once remarked A movie is dangerous if only for the mood it may evoke, and the choice of when to see a movie is just as important as the movie you choose to see. IF YOU WERE YOUNG, is the kind of movie that will definitely change your mood, no matter the mood you were in prior to viewing it. Fukusaku Kinji, the director of this wonderful lesson, has remarked that during the time of this film the Japanese Social System was concerned with encouraging the youth of the country to try and find a way for themselves, to NOT be so easily discouraged by failure and that failure in reality is a path to starting again. Fukusaku not only explores the potential possessed by youth but he also wades through the delicate subject of the criminal nature that exists in us all.

What starts out as a GROUP of friends eventually BOILS (literally) down to ONE. Only one friend remains standing at the end of this film and his remark to himself is that HE TOO WILL START OVER because after all there is always hope. Perhaps in a cheeky kind of way Mr. Fukusaku was being cynical in his portrayal of youth in this film.

For example: after spending a night in Jail the young men of youth are released, bounding with energy and full of Hope deciding to pool their monies to buy a truck. HERE Fukusaku shows us that JAIL for wayward youth can be a wonderful opportunity for self discovery. I doubt many youth would find that to be the case, Nevertheless this is where the story begins...EVENTUALLY each youth is lost---victims of crime, circumstance or missed opportunity after each of which Mr. Fukusaku would have us believe that underneath disappointment lies opportunity. Cynical? Perhaps. YET Fukusaku also shows us that YOUTH by it's very nature is NOT a time to RAGE (most likely because of how simple it is for disaster to strike) BUT a time for introspection, a time to TRY and challenge oneself--- to be something one may not believe one can be. Quite simply... there is always hope.

RAGE is a subtle bittersweet film. To be watched on an early rainy afternoon with the lights out and the curtains open. A film that is both cynical and optimistic. Perhaps in his end, Fukusaku Kinji realized, like that great director who lectured on whispers in film language, that films in themselves ARE moods, slaves to the Genre they must obey. Sure there may be many who will never consider RAGE to be one of the great directors best but in my humble opinion it is easily the most enlightening picture in his masterful oeuvre.

Gozu (2003)

A Japanese Review

[15 August 2004]

American film critics tend to intellectualize their film reviews, which is not necessarily a bad thing BUT I often wonder who are they writing for? and WHO are they trying to impress? The answer to both of these questions as one Japanese film goer once remarked to me, is themselves. Take GOZU for example, no more a popcorn film to Japanese society as say a film by PIXAR is to American society. SERIOUSLY!

However the critics here(In America) will write things like..."unmistakably David Lynchian..." which I suppose in someway is inevitable but nevertheless boring. THEN what usually follows this is a quick reference to the filmmakers other films. You know the one he did in(2001) and the ones he did in(2002) and (2003) I suppose this is a way to compare his films (TAKASHI MIIKE) to his other ones. Perhaps even a way of trying to define him, just in case he is trying to define his own self(something critics will also make reference to)

The plain old truth is GOZU is GOZU. Perhaps this might not sound like the intellectual stimulation you were looking for when you embarked on this COMMENT but it is it's own film, something most critics don't get. Like an artist painting a canvas. Sure there is a style the artist stays with but HOW you MUST ask IS each painting the same? They are not, just the same dynamic use of color is...SO how is this applied to film? Well let's just say Takashi Miike uses the Miike technique. Which in this film this technique is applied with the usual aplomb by the director.

By the way...when they review David Lynch films in Japan there is no mention of his work being "unmistakably Takashi Miikian..." then again perhaps there should be.

The Umbrellas of Cherbourg (1964)

A New Genre

[31 July 2004]

A wise man once said a great song becomes a picture in which you can imagine the words. Now imagine a visually created musical universe of individual thoughts, all created by the same words, the same song. I know that might sound a little heady but even a MUSICAL has dialogue; words.

Les Parapluies de Cherbourg, an unwise man once commented, WAS a musical, it is not! After a while of watching the film you forget the dialogue is entirely composed of song, and even though there were no songs that i went away humming from this picture, the images slowly became something other than film, and the songs became something other than song.

With Les Parapluies de Cherbourg, Jacques Demy created something entirely new, something no other film maker has been able to achieve with film and music. Sure the great silent films of cinema's early days were able to achieve an atmosphere of people worship to which the entire film making industry the world over still suffers and although there was no dialogue and very little music, sometimes accompanied live with the showing of the film, silent films were never as Magical as this, simply because i have watched a few... and we always knew we were watching a film no matter how impressionable we were...

Not only does Demy manage to create a world in which nothing is real seem real, he creates a place, love and a film along with A song that you wish were a part of. No!!! that isn't what I want to say...what I want to say is this... If you see this film it becomes a part of you and you will become a part of it. And as I like to think...in ALL the old cinema's and film festivals and private living rooms where this film could, can, and will be played... I know where ever it is showing it just isn't the same without me.

Les Parapluies de Cherbourg stands as the only film ever made that is its very own genre. Others may have tried...but what sense does any art make if it doesn't at least attempt to be something original?

Spartan (2004)

The Resolute

[30 July 2004]

David Mamet quite surprisingly has the uncanny ability to flip flop from mediocre to great. Make no mistake about it SPARTAN is a great film. While watching this film I felt the changes and twists were like a Bebop tune, some of the changes are hard to handle but you're a little happy after they've come. I won't write any spoilers and I won't mention the oft mentioned stylized dialogue, I didn't notice any of it, simply because every performance in this picture worked...and I can't help but think that when Mamet is ON his films hold a frenetic pace as if to say to the lesser yet more popular film makers---'catch me if you can'. Unfortunately Mamet is heralded more for his writing ability than his directing prowess. Fortunately for him and for US, This is a film in which he breaks through.

I think it would be very interesting to see a filmmaker like Mamet take a real chance by writing and directing something belonging to a more unconventional genre, with his ability i have no doubt in my mind it would be, it could be It would be a real rebirth of classic Cinema.

Stroszek (1977)

Cinema of truth

[17 November 2002]

A friend once commented to me that what made a painting more interesting than say, just the oil on the canvas, was the story behind the painting and the story behind the person who painted it. This works ideally when applied to this wonderfully, deeply affecting film. IF you've watched this film then you must know a little about the back story and if now read the twenty other reviews posted here. The truth is what makes this film great! The truth it takes to mix this film with fact and fiction, to script or not to script! To style or not to style. This is wondrous. Herzog is one of those film makers that only come along once in a very very long time, And of course you all know about the ending. It's fitting I suppose perhaps prophetic if you really think about it. Never How! Let the beauty of this film pass down from good friend to good friend. FIVE STARS!

Pixote (1980)

There is always hope.

[21 October 2002]

Upon viewing this film for the first time I was inspired to write a poem, on the second viewing I wept, and I am a man so it's never been easy for me to weep, but then this is no easy film. There is such a deep affecting beauty at the core of PIXOTE that the story and it's characters will remain with you, perhaps always. And though it is a truthful look at the poor I didn't find it horryfying in the least, as others have described it, Perhaps this is because I was once that poor too, right here in America. Now the thing is I never snatched purses or the like but numerous other things that PIXOTE and his crew were invoved in were a part of my environment. This is why to me PIXOTE is a BEAUTIFUL, SWEET film. And each time I watch, there is a point when a smile breaks over my face, the scene of PiXOTE and LILICA at the beach and CHICO commets on how he wishes ROBERTO, PEG LEG were there, this is a part of my childhood this is a part of me because what Hector Babenco communicated to me through this film wasn't LOOK AT THE PLIGHT OF THESE CHILDREN but LOOK AT THE PLIGHT OF HUMANITY, US! This should be required viewing for everyone, for everyone who's always wanted what they couldn't have. Which is all of us.

Sanjuro (1962)

Mifune as Jester

[15 October 2002]

SPOILERS

There is a poetic story at play within the obvious structure of the story Kurosawa and his conspirators tell. I say conspirators because what WE have in the story of SANJURO is a story about POLITICS. The reluctant POLITICIAN(SANJURO) must lead the idiot masses (nine Samurai) out of not only immenent death but possibly into wisdom. There is a scene at the very end when the Greatful nine attempt, almost like little puppies, to follow the big dog, SANJURO and he sais to the effect 'go away or i'll kill you' This however was a very bad translation because what he actually sais is, and with more than a hint of self pity is, 'Go away or I am liable to kill you too' This comment changes the entire movie. For what we have is not only reluctance to lead but in his heart he has killed men for the greater good. And even in doing so he has still KILLED and is quite regretful. On the other hand of the story we have the other POLITICIANS who thurst for power and who kidnap the Chamberlain. The Superintendant, who is looked at as being good, is truly the evil one, but his evility is not as easily detected because of his more attractive looks than the chamberlain. Is this not relevant even in out own time here in this new world? Looks mean everything and if you have them you can achieve everything most of all real power. The only fault I found with this film was in the editing. Being a film maker myself, I thought the scene where TAKEBAYASHI realizes they were duped about the KOMYO temple having two stories really should have preceded the scene where MUROTO confronts SANJURO with an unsheathed sword. I felt at this point MUROTO'S actions did not warrant his suspicions which at this point we didn't know he had any. Which ideally would have been preceded by the one of the nine watching the stream waiting for the signal then the revelation then the confrontation then perhaps Takebayashi and the other men telling Muroto to hurry and go and collect the superintendant who insisted on going himself. Think about this too...A Saturday afternoon it's raining and you turn on the television and SANJURO is on. What do you do? Better yet it is just about to begin. What do you do? Me, I laugh, with a laugh reminiscent of SANJURO'S at the very begining, and kick back and confess yes there is a patron god of the cinema, like the god of war and the god of the sea and the goddess of love and...well his name is KUROSAWA and he once lived! and he lives on and on and on...

Red Beard (1965)

Akira's End

[14 October 2002]

It is common knowledge that many things changed for Kurosawa after this film. A breakdown, the loss of working friendship with Mifune, funding difficulties...etc...but with all the changes that followed the completion of Red Beard, while watching I couldn't help notice that everything was ironically in bloom. Akira Kurosawa's direction was never better, Mifune never acted better and at it's core Red Beard tells a story borrowed heavily form Dostoevsky, thus making this a labour of love. This film is flawless in many respects, if you're a film student, such as myself, you can take everything and pick it apart and find...The story is a simple one, a wise and determined doctor impresses a young ambitious doctor into learning what humanity is and how it exists all around us and that without it we are nothing. It tells of humanity through children and adults and the lowest depths of human existence. Some have argued the subject was a little too heavy handed but Kurosawa has always maintained that sometimes heavy handedness is needed especially for those who don't get it with a slap. In my opinion, there are periods in every artists career when they are at their best. Miles Davis was at his best before his breakdown, but the breakdown was bound to happen after creating and giving so much. I feel this is what happened to Kurosawa, he gave all that he could give and with this film, if you truly study it and study it well, (the DVD version comes with an exceptional commentary) you will find that this is one of the most finely crafted films in cinematic history, in fact as far as direction goes, it is difficult for me to think of one better directed. Fellini's best, Ozu's best, Coppola's best, Welles' best, Antonioni, Visconti, De Sica, Goddard, Renoir, Melville, Erice, you name it, watch their best with the sound off take note of the direction then compare it with RED BEARD. You will be left breathless. Kurosawa is a GREAT among the GREATS. This is visual poetry. Kurosawa's great directorial swan song. Bittersweet, for after RED BEARD something within Akira profoundly changed.

A.I. Artificial Intelligence (2001)

Spielberg's Revenge, Kubrick's Failure

[12 October 2002]

Although Mr. Spielberg had no REAL hand in creating this film, i.e. the story... I was left confounded as to how a director so revered for his excellent storytelling style and direction could allow such a misguided story to get the better of him. I do not know the inner workings of Hollywood but are these men and women who produce movies so wrapped up in making money (by banking on their name)and so capable, that all the other men and women around them just go along with whatever they say? This is a terrible FILM and it is terrible probably because everyone, i suppose because of Mr. Spielbergs track record, quite casually agreed that his ideas for this film were solid and innovative, everything Kubrick may have wanted. THIS IS PAINFULLY NOT TRUE. The story dies within the first ten minutes. NOW As a screenwriter I have decided to re-write A.I. because it is far too fascinating A SUBJECT TO LET DIE BY THE HANDS OF Mr. Hollywood himself. If Kubrick had been alive I am sure his vision would have been far greater than Mr. Spielbergs but this is only because as Spieberg has said: "I am only interested in doing things that challenge me at this point in my career." Well Steven as you can now see, To be challenged is far greater a task and risk than just making money and you can make all the money in the world but at the end of the day when you go home and sit on your 2.3 billion dollar nest egg you just don't feel fulfilled because you've thought about everything, except making a superior artistic film. This one should never have been made, and STEVEN needs to fire some of those YES people he has feeding off of him. His career is on a downturn not because he's losing his creative edge but because those around him have no creative edge. TO ALL THOSE WHO HAVEN'T SEEN THIS ONE. SKIP IT! There is nothing here. Then again if Spielberg is as aware as he is notoriously known to be when it comes to even the many minor details concerning his films...then perhaps he knew exactly what he was doing, and if that's so perhaps it is true as NIETZSCHE has said: there is a jealousy in hating too, for we want to have our enemy for ourselves. I know that might sound ridiculous but Kubrick would never have released this film and his name being attached to it the way it was does his legacy a disservice.

Kikujiro (1999)

Impressionist direction

[10 October 2002]

There is a THICK line between fine art and Cinema, Beat Takeshi somehow manages to blur that line. In a story, which incidentally if Miyazaki(Princess Mononoke, Spirited Away) were to have directed, HE too would have chosen a child as the center point. This is a film about a violent man doing a SWEET deed if you will, Sentenced by his take charge wife to take the boy to see his mother who has abandoned him for a new life in the country...THAT is pretty much the story. That and the adventures that follow. BUT the beauty of Mr. Kitano is his direction, I see equal parts Antonioni, Oshima, and Kurosawa in his direction and of course his own personal style. This is a long movie but you WILL find yourself swept into by it's poetic violence. Incidentally Jo Hisaishi who has scored a few of Mr. Kitano's films and Most if not all of Miyazaki's films, didn't score this one, and although the music in this film is great for the film I did wonder what feeling a Hisaishi score might evoke. I do hope that one day Mr. Kitano might acknowledge his influences more enthusiastically, then and only then will WE allow his artistic vision to recieve the praise it so justly deserves.

Dark City (1998)

Matisse vs. Rockwell

[10 October 2002]

In no way am I comparing Alex Proyas(director of Dark City) to painter Henri Matisse nor am I comparing the Wachiowski brothers(directors of the MATRIX)to Norman Rockwell, however it is a bit confounding that most people missed the fact that the Matrix was an attempt by the brothers to recreate a work of art set before them by such a spectacular film. Like Rockwell, who longed to be taken seriously as a 'real painter' i.e. Matisse, The Matrix directors have only proven that plagiarism sometimes elevates that which has been plagiarized to the level of SUPERIORITY. Dark city is a superior work. If you like the Matrix you probably WILL NOT like dark city because let's face it, if you like Rockwell you've probably never even heard of Matisse. But whom do you think aspired to be whom? SEE DARK CITY. If only all films were this original!

Porco Rosso (1992)

Exupery

[9 October 2002]

This was truly an emotional and unexpected experience. Having known Miyazaki has been influenced by Exupery(author of the little prince)I watched this film with a lump in my throat. A story of a PIG no less destined to live out his days in the sky, where his heart IS purified by the heavens above and the sea below. A beautiful film a love poem to Exupery and all the brave fliers who've come and gone.

The Double Life of Véronique (1991)

A tale like no other ***Spoilers***

[10/10 · 9 October 2002]

Cinema--it is said or more accurately theorized--was originally intended as a way to create an experience that can be shared by all. However, while watching this film for the first time, and the many times i've experienced it since, i've felt, like almost all the characters in this picture, a profound sense of loss and loneliness.

An absolute magical exploration on the duality and also the polarity of identical strangers, The double life of Veronique is a film you MUST watch very closely and pay strict attention to. Every scene of this film, in some respect, matches other scenes to come. You'll have to pay attention to subtle clues and details as well as the metaphorical film language to notice them. Fear not! THIS isn't some kind of intellectual thinking persons picture. HOWEVER some profound questions are raised here about the very existence of SELF as well as the definition or what we define as human experience.

There isn't much you can say about this film that hasn't already been said and if you've never heard it said please allow me to say it: This is one of the greatest films ever made and I strongly recommend watching this film alone. Why alone? Perhaps this is odd to say but the loneliness that haunts this film is surprisingly comforting. Only the magician (Krystoff Keislowski, Director) knows what he intended for the viewer when he made this. For the true answer go ahead and drift into the unique world that this film offers and allow yourself to be a part of cinema's greatest lullaby.