Archive for February, 2010
February 28, 2010
Not very successful film about a Muslim community in India. A suicide bomber has blown up a marketplace and the Indian authorities respond using force against other Muslims, detaining them for two weeks without trial. Tired of being blamed for the actions of one man, the local leader calls for a general strike, whereby each shop owners will close his store until the unjustly incarcerated men are set free. Our protagonist, an auto mechanic, is given an important job to do by governmental engineers on the day before the strike is to commence. An 1940s Ford engine is brought to his shop by official looking people who need him to fix it. It seems that the final urn of Mahatma Gandhi’s ashes was recently found in a bank vault and the government is getting prepared to drive the ashes to the final Indian river using the exact same truck that carried them after his death. This is a huge honor to be picked to fix this engine, but if he keeps his shop open to do the work, his fellow Muslim businessmen will think that he’s disloyal. He will try to speak to the community leaders, but they won’t listen. He’ll be assaulted by the thuggy Muslim youth for going against orders. He’ll try and try to point out that Gandhi may have been murdered for being sympathetic to the plight of Muslim Indians. He’ll lose sleep and rely on his closest friend, a doctor who will tell him to stop stressing.
And what will the women say? We have no idea because there are only two women who appear on screen, only one of whom has a line of dialogue. There is a funeral scene which involves only men.
By the time the film ends, all warring parties will come together in a show of support that the Mahatma would have wanted to see. There is really no surprise here.
Simplistic and boring and overacted. There are some Bollywood type songs that you can bob your head to. I suppose we don’t see many films about the Muslim population of India. However, just last year at Cinequest Firaaq played, which told the story of race relations in India with much more heft.
6.9 IMDB [25 votes]
ROAD TO SANGAM
Tags: Amit Rai
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February 28, 2010
I don’t need plot or the camera to move or dialogue or sex or violence or fast pacing to keep me interested. But Holy Toledo was this thing slow. I was sitting with a full cup of coffee, it was my first film of the day, and I’ll be damned if I could stay awake.
In the Yanaka neighborhood of Tokyo are a whole bunch of Buddhist temples and old-timers. And a huge, five-story pagoda used to stand over all of it. The children played around it, and it made the neighborhood happy to have it. Everyone alive at the time agrees that it burned to the ground in 1957, though how it caught on fire has two story versions. Either a crazy homeless man did it, or two lovers killed themselves by lighting it on fire while they were inside. Either way, the burning of this structure has deeply wounded the neighborhood and a student film society sets about interviewing people about it. They are also after the holy grail of filmed footage of the fire itself.
Two characters discuss how important it is to make the elderly interview subjects comfortable before asking them painful questions about the burning. This is supposed to help us in the audience go along with film maker’s pacing, which involves slow, static shots of this temple and that. Of a blind woman scrubbing tombstones. Of various ceremonies for the dead. There is also footage of the young people from the film society (actors, I think), interviewing people with memories of the pagoda (real-life citizens, I think). These stories meander until we end up learning about why the neighborhood isn’t as good as it used to be when the pagoda stood sentry. Some of the interview subjects lament that no one worships dead relatives anymore. Another doesn’t like the crime that’s moved in. Others talk about the beauty of the structure itself and how the designer went against the convention of the time and hung off the edges of the immense structure without ropes.
It is filmed mostly in Black and White, though there are rare shots of color and a few in sepia. The mixture of real neighborhood residents, a real historic fire, and actors working around them is mostly successful. The shots are uniformly beautiful, even while watching someone sweep for five minutes. But oh my goodness is it slow. And dark. And quiet.
Slow, static shots…temple after temple…some young people are collecting film from old-timers…a five-story pagoda built in 1600s, then destroyed, then rebuilt in the 1800s, and burned in the 1950s…old-timers reminisce about what the huge structure meant to the town..
DEEP IN THE VALLEY
Tags: Atsushi Funahashi
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February 27, 2010
Norwegian / Polish / English
Terrific film about the nature of fate. And love, of course. Axel is an advertising executive in his 20s with a completely dicky demeanor. He is Asian, but was adopted at a young age by a Norwegian couple. He treats women poorly, is reckless and handsome and snobby. His adoptive parents live in a large, expensive house, and it’s clear he’s the most important thing to him. His family hires a new maid, Maria, a sexy woman from Poland, whose own son lives with her mother back in her home country. They are immediately attracted to each other, though when not having sex, he treats her as if she were his family’s maid–which, of course, she is. Maria works a second job washing dishes at an Asian restaurant in a not-so-great part of town. A co-worker, Anne, is quiet and thoughtful and was also adopted by a Norwegian, though her mother has a blue collar job working as a coat check woman in a hotel lounge. Rounding out the cast is a blond farm boy named Per, just back from the Gulf War, after being photographed brandishing a rifle in the face of a small Afghan boy. The publicity from the photo resulted in his being discharged from the army, and sent back home where he is anxious to begin his college studies. His first apartment is across the street from the restaurant. The four will become two couples.
There are several things going on in this film and not all of those things work. The film opens with night vision shots of a war zone, but Per’s military story is by far the least compelling one. He has an embedded photo-journalist (a hot one, to boot) follow him around as he goes about his army business. A car speeds through a roadblock, he kills the driver and screams at the kids in the back seat to get out. A photo is taken and he becomes a scapegoat. He has trouble sleeping afterward, but is polite and smart and ready for college.
The more successful theme is one of class distinction. Axel is spoiled and wealthy and handsome and entitled and works in a high-priced ad agency. Anne is beautiful and sweet and is a waitress at a local restaurant. Maria is in Norway on a worker’s permit, lives in a different country than her son, is both a maid and a dishwasher. That’s our hierarchy. But what caused them to reach the class level they’ve reached? Maria came to Norway looking for a better life. Axel and Anne were adopted as children from their homeland by two vastly different families. One a single mother working in a hotel, the other a well-to-do couple who throw lavish parties, support liberal causes, and think nothing of their mid-20s son coming home to live after a work suspension (for inappropriate language towards a female, of course).
Add to this the relationship that Maria and Axel enter into–she is employed by his family, how can any love affair be equal? When he’s mean to her, his barbs are always aiming towards her domestic servant status.
What if the situation were different? The girl was adopted by the wealthy couple and given all the advantages that Axel now enjoys.
I must say that as someone who was adopted as an infant, this sort of what if discussion is never far from my mind. What if the family before the one I ended up with had decided to take me? How would everything have been different–or the same? Biological children probably don’t go through this, but we “chosen babies” do. So this film hit quite close to home.
Beyond the plot, the film is populated by good looking people of various backgrounds. Axel walks around completely nude–and why shouldn’t he with that body. Anne is striking in her poise and posture and quietness. She has a first kiss that will make you swoon. Maria is louder and demonstrative and sexy. And Per is buff and handsome and as Norwegian as apple pie. Each does a fabulous job with their characters. The music and photography is great.
If you forget about an incredible coincidence for a moment and just let it wash over you, you’ll be in for a great film experience.
Coincidence aside, fabulous story of siblings, adopted from Asia to Norway…the son is an affluent advertising creative type who is just an asshole to everyone he meets…his adopted family is beyond wealthy…clearly he’s had everything he’s ever wanted…we see him as the film opens paying his buddy to sleep with his girlfriend, thus proving her unworthiness–it’s a loyalty test she fails…sent home on a semi-suspension (for inappropriate language), Axel meets his family’s new maid, a Polish hottie who he treats like trash…Maria also works as a dishwasher at the Vietnamese restaurant where her best friend Anne works. Anne was also adopted from Vietnam, but her mother is a coat checker at a posh hotel…An ex-soldier, who becomes infamous for a photo of him aiming a machine gun in an Afghan boy’s face, moves into Maria’s low-rent building to being his college studies…the soldier finds comfort in the restaurant and the advertising exec finds comfort in the maid…there are some interesting things being said about the luck of life’s draw…both Vietnamese young people seem smart, one was adopted by affluent parents, the other by a working-class woman…how does this adoption lottery affect those involved…the cast is magnificent, and the Norway we see is less fancy, clean, and healthy than divided, racist, and full of class divisions…not sure if the soldier’s story is as compelling as the others…the scenes of war seem a bit out of place…they are good, but the vibe is different…the film is all about how big events can affect everything that follows, whether it be an international adoption, a child left in another country, or an act during wartime…
, Sara Johnsen
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February 25, 2010
A crowd-pleaser that left me sort of cold. Two bumbling thieves walk the countryside until they arrive at a village which is full of idiots. They claim to be hunters desiring water, but it quickly becomes clear that they are after any valuables the villagers have. One of the robbers has an incredible likeness to Toshiro Mifune, but a bit more chubby, and this bumblier of the bumbling duo takes a liking to the daughter of the man they first rob. Before they can get away, some soldiers show up, abuse the villagers in minor ways, then begin to abuse the daughter in much more serious ways. As the rape is taking place (though this rape is mostly played for laughs), the robber with the crush stabs the soldier, which begins a full-on samurai fight with four soldiers vs. two robbers.
This is when the film takes off into supercool territory. The soundtrack is “300-esque”, full of speed metal riffs that have nothing to do with authenticity, but just sound bitchin. As the men are running around and stabbing each other and shooting arrows into each other, the blood spurts, the villagers recoil in horror, and the soundtrack thumps on.
But as soon as there is life in the film, it begins running out of gas. Instead of thanking the robbers for saving a young maiden from her soiled fate, the village elder gets the rest of the men in town to take the two men prisoner. This will happen several more times in the course of the film. The men will save the asses of the village, the dim-witted mayor and his even more dimwitted townspeople will tie up the two men, and they’ll find any number of ways to get out of their control. On one occasion, one fakes the need to pee–in another, a sympathetic (and sexy) butcher-badass leaves one of her knives within reach so they can cut their way out.
But it’s ponderous when the same plot happens over and over. The mayor fakes paralysis in order to sneak away on a donkey to tell the army what the robbers have done with their comrades.
The film is bookended with scenes of an ancient man and woman and their crazy kid who stop for water at a village full of scared people.
The music is cool, but the film is ridiculous. I suppose if you have a soft spot for slapstick, this one might do the trick. And apparently dick jokes translate into any language and dynastic era.
, Shu-Peng Yang
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February 7, 2010
Netflix Criterion DVD
Sort of a “Rebel Without A Cause” for Japan. It’s the 1950s and the beach kids in Japan are too bored to be rebelling against anything. They are well-to-do and spend their summer at jazz clubs, playing cards, and accumulating female conquests. They wear Hawaiian shirts and strum ukuleles and hang out at their wealthy friend’s house most of the time. They are in college, but school is the last thing on their minds. If the Hamptons had a boardwalk with amusements, it’d look a lot like the place depicted. There are sailboats and powerboats and sports cars available whenever these boys want them.
Brothers Haruji (younger, innocent, naive, angsty) and Natsuhisa (older, smoker, mistreater of women, deceiver) spend their days waterskiing and tanning and lamenting their existence. Haruji, who has apparently never mentioned a girl before, becomes smitten with someone he sees at the train station. Her name is Eri and he goes slow with her, teaching her to waterski, swimming with her, and laying out on rocks where their legs _almost_ touch. A party is held whereby each boy is to bring three girls and the one with the best “hand” wins. When Haruji and Eri walk in, the contest is over. She is poised and beautiful and bejeweled, acts innocent, but doesn’t push away her dance partners when they pull her close.
Brother will betray brother, feelings will be hurt, and Eri will turn out to be anything but the giggly schoolgirl she purports to be.
CRAZED FRUIT (what kind of stupid Anglicized title is that, anyway) is pretty frank in its depiction of sex, especially for 1950s Japan. A woman who was “passed around last night” has a conversation with virginal Haruji while they wait for his brother–she’s wearing a nightgown. A girl pulls a boy’s hand to her breast, a skirt is torn open in a moment of passion, a knowing glance turns to an embrace.
The soundtrack is full of Hawaiian music while the boys lounge in the beach house during the hot parts of the day, and jazz is loud at night. The nonchalance of their casual hookups with women must have been shocking to middle-aged moviegoers back in the day. It leaves the modern viewer with a “not much has changed” attitude.
Crazed Fruit @ Amazon
, Ko Nakahira
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