The other one is the more well-known Sansho the Bailiff, a film many viewers find to be an intensely emotional experience. Coming Soon. They won't be able to see your review if you only submit your rating. This 1954 melodrama tracks Iskander (A.N. Alcaff, Raquel Revuelta, Eslinda Núñez, Adela Legrá, Robert Liensol, Parviz Fanizadeh, Parvaneh Massoumi, Fernando Ramos da Silva, Marília Pêra Director: Juan Bustillo Oro, Usmar Ismail, Humberto Solás, Med Hondo, Bahram Beyzaie, Héctor Babenco Screenwriter: Juan Bustillo Oro, José Manuel Cordero, Asrul Sani, Humberto Solás, Julio García Espinosa, Nelson Rodríguez, Med Hondo, Bahram Beyzaie, Héctor Babenco, Jorge Durán Distributor: The Criterion Collection Running Time: 698 min Rating: NR Year: 1934 - 1980 Release Date: September 29, 2020 Buy: Video. The films he made up to and including his 10th feature film, Pierrot le Fou, and perhaps the two or three things thereafter, pit insurgency against insouciance, foreboding against frivolity. But you may see it in art houses like I did. The Crucified Lovers) is an exquisitely moving tale of forbidden love struggling to survive in the face of persecution. He highlights the importance of Helmut Käutner’s films in West Germany in the mid-20th century and traces the rise and fall of the Heimatfilm, which eventually led to a resurgence of crime films like Black Gravel in the late 1950s and early ‘60s. When her bumbling brother desperately needs money, Osan teams up with Ishun's employee, Mohei (Kazuo Hasegawa), and steals the sum from her husband. The Hit is an enigmatic, existential fable about crime and punishment. Yet it’s the venality of ancient Kyoto that most commands Mizoguchi’s imagination here, and audiences may weirdly miss its extraordinary aura of everyday evil. Shot 4: same as shot 1 but we now see the two women from the back since they have turned around. It also analyzes reviews to verify trustworthiness. The photography is extraordinarily ravishing and evocative, with Mizoguchi's masterful fluid camera. Thing is, both camps are sort of right. Wives who took on male lovers (married or single) were deemed to have committed adultery. Lynch imbues the film with a wrenching matter-of-fact quality that honors Merrick and his efforts to be an upper-crust English gentleman, who wears nice suits and takes tea with friends. Criterion provides Godard’s freewheeling ode to amour and its ineluctable betrayal with a spiffy new 2K upgrade. Clint Mansell discusses moving to New York, meeting Aronofsky, working on Pi, and the genre influences and disparate sonic elements of his score for Requiem for a Dream. Brute Force is set in a corrupt and vicious ecosystem that’s best redeemed, if at all, by revolution, while the police of The Naked City are shown to be a reliable means to a justified end. The famed columnist turned producer most memorably identifies different neighborhoods and their interlocking relationships, his voiceover complementing anecdotes that suggest the typical lifecycle of the city before a more traditional plot kicks in. Unlike Shakespeare who continues to inspire a steady flow of film, Chikamatsu's name has been largely neglected however; there is this, and films by Uchida, Shinoda, and Yasuzo Masumura, 'shunji'/double-suicide stories that were Chikamatsu's forte, each enlivened in its own way by the intensity of vibrant artifice and a story of forbidden passions cleansed by death. It shows us the randomness of events which may cause everything to suddenly change in one's life; as the wife puts it at one point, "Nothing is more unpredictable than a person's fate. All Critics (7) The film’s conclusion suggests that Parker has attained his hard-won resignation only by envisioning a timeline. of a playwright who created puppet dramas but is probably best remembered for his domestic plays of love and suicides written in the early 18th Century that seemed to cater to women audiences. The camera adjusts to O-San as described above. In both cases, although the murder was unintentional, the attempts to escape blame and consequences are very much deliberate. Mizoguchi casually establishes the fear of judgment that governs this society, which enslaves its citizens in catastrophic debt while punishing mid-level businessman for usury so as to enslave them in said debt as well, after they’ve performed their own suppressive duties. Image clarity is also very good, as there are no signs of motion-blurring during the constant, rapid movements during the film’s boxing matches. I can think of worse ways to begin. Of course, it's just as rich. Journalist J.B. Kristano discusses the difficulties of studying Indonesian cinema when there’s hardly a single book on its history. Cronenberg’s root metaphor of the parasites as libidinal motivators flips the script on traditional notions of good and evil, the individual and the collective, and sex and death. Not only that, but his books serve as plot points both major, providing the existential and metaphysical themes that crop up later in the film, and minor, as in his extensive collection of books, which come in handy as projectiles in an early scene where a gang of youths attempt to abduct him. It takes place in 18th century Japan, and it unfolds from the social phenomenon its second title refers to: the crucifixion of adulterers, and the conventions and balances of power associated with it. (And a modern transfer does nothing to dispel the power of the film’s make-up effects.) If A Story from Chikamatsu lacks the supple majesty of Ugetsu and Sansho the Bailiff, it’s because the former’s sense of exterior space isn’t quite as inspired as that of the other films. We soon learn, though, that Dave isn’t much of a hero and all that commotion was part of a scam cooked up by Roff and his manager (Wheeler Oakman) to sucker locals into betting their drinking money on Dave, who’s been paid off to take a dive in the second round of an upcoming match with Roff. He sets the scenario in feudal Japan, which leaves the viewer at the end with the partially right exclamation: "boy, does feudalism suck, I'm glad that it is over...". Mizoguchi did both types of shot with equal elegance, and _A Story from Chikamatsu_ provides ample proof. The screenplay is skillfully worked from the original story, which depends a lot of some pretty unlikely coincidences. There are sweeping camera movements through space and plot strands with a precision that allows for intimacy, and also an expansive look at this town. Utilizing an entire stable of visual tricks, from split-screens to slow- and fast-motion to rhythmically repeated inserts, these early moments are an exciting and purely cinematic experience. Alienated from Nicholas’s affections, Janine seeks solace from her next-door BFF, Betts (Barbara Steele), in an encounter that soon turns very intimate indeed. It’s both less mystical than the more frequently canonized Sansho the Bailiff and Ugetsu, and more high-concept than films like The Story of the Last Chrysanthemums. It’s an injustice, and one that sadly is seemingly not that uncommon in this time and place. In a cut to a close-up of Dave, Wyler highlights the conflicted nature of his protagonist’s reaction, finding him simultaneously horrified and proud that the boy is already so streetwise at such a young age. The film’s freak show ringleader, Mr. Bytes (Freddie Jones), is a drunken tyrant out of a fairy tale, while Merrick (John Hurt) is a holy innocent who coaxes the best out of mostly the upper class. Overall, this is a minor Mizoguchi: beautiful and haunting at times, but inferior to his renowned masterpieces. In other words, Lynch adopts the lucid point of view of Treves, tenderly regarding a cursed man who nevertheless savored beauty. Criterion has outfitted this seminal but somewhat outdated crime film with a beautiful transfer. David Lynch’s The Elephant Man may be a comparatively “straight” entry in the surrealist’s filmography, but it’s nevertheless a rapturously beautiful and moving art object. A Story from Chikamatsu, also known as The Crucified Lovers, is one of two films released in 1954 from director Kenji Mizoguchi. He also demonstrates how one of the slug props (which he says looks more like a penis than a turd) was operated with a length of wire and two wooden paddles. It was a rigid society divided by class and gender. It is a beautiful, haunting, and emotionally involving study of forbidden love between a rigid merchant's wife, Osan, and her devoted servant, Mohei, in 17th century Kyoto. Finally, instead of an accompanying interview for Lucía, Criterion has included Humberto & Lucía, a 2020 documentary short by Carlos Barba Salva about the film’s production and reception. But what’s really enthralling are the myriad characters, subplots, and dynamics within this community, something Mizoguchi never loses sight of.
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