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It’s Not the Time of My Life

It’s Not the Time of My Life focuses on a married Hungarian couple whose son, Bruno is a little devil and not in a cute Dennis-the-Menace sort of way. Young Bruno’s obnoxious, anti-social and at times violent behavior is dividing the couple. As the wife E observes, they were able to be a good twosome, but as a family of three, they’re failing. Eszter is lenient and loving believing that employing the right contemporary child psychology is best for Bruno. Farkas, her husband, is going nuts with Bruno and believes some old school discipline is needed before Bruno grows into a teen who’s spending time in and out of jail. (I tended to agree with the dad.)

As if this weren’t enough, late one night,Eszter’s sister, Ernella, and brother in law Albert and their daughter Laura surprise them with an open-ended stay. They’d been living in Scotland and left so now they need a place to stay. E and Albert are unsuccessful and nomadic. They seem to go from failure to failure and often need money.

Both couples are questioning where their marriages are going and reflecting on how life has changed them.

The film is smart, emotional and at times intense at times depicting realistic couples questioning and confronting their problems. A lot is packed into the film, which makes for a steady pace. I also appreciated seeing a film set in modern Hungary. I’m afraid when I think of Hungry I think of the Cold War and poverty rather than yuppies barely coping with a boy who’d think nothing of burning the house down or one that’s discovered their sullen 10 year-old daughter has stolen as an attempt to help with the family’s money problems. The tone and look of the film is very natural and real making it very compelling.

What’s even more surprising is that the director stars as Farkas, he used his own apartment and family members for the film.

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My Tomorrow, Your Yesterday

On my way back to the US in June, I saw the 2016 film, My Tomorrow, Your Yesterday, which has a very curious plot. The story is about time and how one character’s future is the other’s past. I’ve never seen this premise before and it did make my head spin, but the actors’ charm kept me engaged.

The story is about a young woman and man who meet once every five years. When she was 5, he was 35 and he saved her from drowning. Most of the film is about their brief encounter when they’re both 20. They fall for each other, but he’s headed to the past and she’s headed to the future. It’s the ultimate impossible romance. Their memories are completely out of sync and as time passes they both grow melancholy as they realize why they’re made for each other, but can never be together. As the film progresses, he’ll remember that she suddenly cried as they were having a great time by the riverside. Later he realizes that she cried because she realized the passing of time. At first she knows what’s going on and later he catches on.

It’s all very weird and I kept trying to figure out if or how they were breaking the rules of physics. Yet I was entertained. If you have patience for a plot that’s like no other, check out My Tomorrow, Your Yesterday.

Crazed Fruit

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When I picked Crazed Fruit (1956) out at the library, I had no idea what it was about our who the director, Ko Nakahira was. Until recently, the only directors I knew were Ozu and Kurosawa. I’ve learned Japan has produced many masterful filmmakers.

Crazed Fruit takes place in the late 1950s when Japan is getting prosperous, at least the elite are. The main characters are two brothers from a wealthy family. The brothers, Natsuhisha and Haruji, spend their summer with their fellow rich kids gambling, smoking, drinking, fighting and going after girls. Another occupation is complaining about how their college professors know nothing and how their futures are meaningless. While it’s becoming an economic wonder, Japan doesn’t offer any outlet for their passions.

When the brothers arrive at the train station en route to their pal’s summer house, they see Eri, a beautiful, alluring young woman. Haruji, who’s the young, innocent brother, is smitten, but his brother, who’s quite the lover boy, pulls him away so they can hurry over to their friends.

The next day while out on a boat, they notice a girl in the water. It turns out to be Eri. Soon both boys are smitten and don’t really care or, in the case of Haruji, know, that Eri’s married to a much older, prosperous Western man.

Haruji innocently courts Eri, who always has an excuse why she can’t be picked up at home. The scenes with Haruji and Eri are tastefully sensual. The camera captures their desire as they lie next to each other sunbathing on the rocks by the sea in a way that’s exquisite. It’s a much more compelling than any sex scene I’ve seen in 10 years or more. Nakahira is a master, who deserves to be studies by every filmmaker and film lover.

Soon Natsuhisha becomes obsessed with Eri. He finds her house and sees her husband. He promises to keep her Western husband a secret from Haruji if Eri will have sex with him. She agrees. Eri’s character is hinted at rather than well defined. She’s a mystery and unlike other characters. She’s insulted and angry, but also willing. Natsuhisha exudes animal chemistry and she finds him more than satisfying in the bedroom. Eri seems to want to keep her three men, to keep those relationships separate, but to keep them. Of course, this is impossible

The film, which is based on a novel by Ishihara, broke new ground in depicting sensuality and the abandonment of traditional morality among rich youth. At the time, though people’s own mores had changed, film had not. Japanese films tended to uphold traditional morals. While the tragic ending in Crazed Fruit certainly doesn’t promote the lifestyle or choices of the idle rich, it did shock the elders at the cinema.

Crazed Fruit was conceived and produced to be a low budget, teen flick that would cash in at the box office. The story, in Nakahira’s hands, is a beautiful classic.

The Criterion Collection offers two thoughtful essays on Crazed Fruit. The commentary by Japan film expert Donald Richie greatly enhances the film as he explains the social context and context of this film within Japanese filmmaking.

 

In a Lonely Place

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Dix and Mildred

Starring Humphrey Bogart as Dixon Steele (what a name!) a petulant, yet witty screenwriter who’s seen more profitable days and Gloria Graham as his gorgeous neighbor, Laurel Gray, In a Lonely Place is straight up classic film noir with a strong performance. “Dix” hasn’t written a successful script for years. In a Hollywood watering hole, Dix’s agent tries to persuade him to adapt a best seller. Dix isn’t interested, but his lack of money forces him to lower his standards. He invites Mildred, the coat check girl, who’s read the novel, back to his place to tell him all about the story.

Excited to be part of the film world even in this tiny way, and no doubt flattered to catch Dix’s eye, Mildred breaks her date and goes to Dix’s place. They chat and she goes on and on about the banal novel. Tired, Dix sends her home.

Dix meets his gorgeous upstairs neighbor Laurel and they hit it off and love blooms.

The next day Mildred’s found dead and Dix is the prime suspect. During the rest of the film, Dix is suspected of the murder. As the story progresses we see Dix starting fist fights, blowing up when he encounters rather small problems so we come to doubt his innocence.

With the snappy dialog and unusual plot, In a Lonely Place will entertain.

 

Casque D’or

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I didn’t know what to expect when I borrowed Casque D’or from the library. One surprise was that the heroine, Marie, was played by Simone Signoret, who gave a forceful performance in Army of Shadows. Marie is a a gangster’s moll and outshines her friends, not only with her cascading blonde hair, but with her vivacious spirit. The film opens with scenes that come right out of a Renoir painting. A party of young lovers rowing along a river followed by a lively dance hall scene. Marie stands out as she is the only woman who’s rowing a boat and she stands up to her boorish, abusive boyfriend.

(It was hard to believe that Marie, who’s so self-assured, would give such a churl the time of day, but the plot requires that.)

In the dance hall we first see a dozen or so upper class men and women enter to take a good look at their “inferiors.” From their comments it’s clear that they’re hear for the entertainment of watching how people who aren’t dripping in diamonds behave.

Soon the attention turns to Marie’s friends, the gangsters and their girls. Ever petulant, Marie’s boyfriend Roland takes an immediate dislike to Manda a carpenter who catches Marie’s eye. Manda is a friend of one of the gangsters and introduces himself to Marie’s set and holds his head high as they mock him because he’s a carpenter. He is confident enough to let their jokes roll of his back and he accepts Marie’s offer of a dance.

Hothead, Roland is furious and a fight with Manda ensues. Overseen by the gang’s boss, Felix, who also has a thing for Marie, Roland and Manda fight in a way I’ve never seen in a film. First both men are searched and any weapons are confiscated. The two men are spit far apart and Felix tosses a knife to the ground and the first man to get it,can use it on his opponent. Roland gets the knife. The fight is deftly shot with many close ups and felt realer than any I’ve seen. In the end Manda kills Roland, which sets up the story.

Banda must flee, but Marie pursues him and while Manda hides out Marie is with him and their romance grows. Smitten with spunky Marie, Felix plots to get Felix arrested and sacrifices one of his own men to lure Manda into captivity. The ending is bold and theme of loyalty and Marie’s life-giving spirit make this a must-see.

Hopscotch

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Starring Walter Matthau, Glenda Jackson, Sam Waterson and Ned Beatty, Hopscotch (1980) entertains with wry, sometimes corny humor and a clever cat and mouse plot. Matthau plays Kendig, a top CIA operative who bugs the big boss and plays by his own rules. Beatty plays the big boss who intends to place Kendig in a desk job till he retires. Kendig won’t have it. He shreds his personnel file and goes on the run. His first stop is to meet Isobel, his lover from way back when. There’s plenty of witty repartee between them. Isobel often plays the mother to Kendig’s naughty boy, but underneath her stern façade Isobel thoroughly enjoys Kendig’s antics.

Beatty plays Myerson, the consummate manager, who has no imagination and follows everything by the book. He’s certainly a stereotype, but as the movie hops along and a good clip, I didn’t mind. The film’s aim is to entertain, nothing more.

Sam Waterson plays Cutter, a fan of Kendig, who’ll take his mentor’s job and who’s sent to track down Kendig. Cutter admires Kendig and doesn’t feel Kendig deserves a desk, but he follows orders and hops around Europe and the U.S. trying to catch Kendig.

The ending provides a nice surprise, and though some of the dialog now seems stilted. It’s a shock that a few decades ago Hopscotch got an R rating. Now you’d hear the few profanities and see the little love scenes on TV during what was the “Family Hour.”

I liked how Kendig represented the experienced, skilled older professional who’s value is undervalued.

Army of Shadows

An amazingly powerful film, Army of Shadows shows the ordinary people joined the French Resistance and courageously opposed the Germans during WWII.

From the solemn beginning with German soldiers goose-stepping in front of the Arc de Triomphe to the bitter end, when . . . oh, I won’t say, Army of Shadows grabbed me.

After the opening sequence, we meet Gerbier, who’s sitting in the back of a German truck getting transported to a prison camp. Scenes of ordinariness follow. The truck driver makes a stop to pick up provisions from a farmer. Gerbier’s guard makes small talk to let Gerbier know he’s going to a “good” prison camp. At the camp, Gerbier is housed with two groups of prisoners, the first three amuse themselves with dominos and chit chat and seem to be and to have been men who just go with the flow. The other two prisoners are a young communist and a dying Catholic teacher. The division reflects French society, two groups, one that’s earnest and sickly and the other that’s lively, but superficial. Neither one gets much accomplished. Thus Gerbier sets his own course and doesn’t join either “side.” He’s the lone, strong, sensible man.

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Gerbier is transported to the Nazi headquarters and manages to escape. Then as he meets the other members of the Resistance, we watch as Gerbier leads a plot to abduct and kill the young man, who betrayed the Resistance. ordinary people plan and organize what would be criminal acts they’d never undertake in ordinary circumstances.

All the actors deliver compelling performances. The story presents a fascinating look at history and was quite controversial when it was released in France in 1969. Critics were divided on the film because of its controversial portrayal of the Resistance fighters, who sometimes act like very intelligent gangsters.

What’s amazing about the film is how little action it contains. In certain instances there are chases and attacks, but that’s subordinate to the characters’ thinking, sacrifice and courage.

This film was so compelling that after I finished watching I started watching again, this time with the commentary running.

I Will Buy You

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Kishimoto and the player’s girlfriend

A social critique of post WWII Japan, I Will Buy You shows how baseball became corrupted and how athletes became commodities in the 1950s. Directed by Masaki Kobayashi, I Will Buy You shows the machinations surrounding a college baseball superstar’s entry to pro sports. The story focuses on Kishimoto, a driven scout who’s hellbent on signing Kurita, a hot college hitter. To do this he needs to woo Kurita’s greedy family, his girlfriend who’s leery of the materialism that’s taken over Japan and finally his deceptive, self-centered mentor.

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Kishimoto (right) with his boss

I Will Buy You is in the shomin-geki genre, which consists of dramas about the problems of ordinary society. Here Kobayashi takes on the world of Japan’s most cherished sport, baseball. (I had a student who insisted that the Japanese invented baseball.) Kobayashi brilliantly challenges viewers to see how calculating, conniving and avaricious it’s become.

People think the Japanese are oblique and indirect, but in I Will Buy You characters are explicit in what they want and how they feel about Kurita, who’s rarely on screen and he’s objectified like no other film character I can think of.

The film had a compelling story and covered sports in a way an American film wouldn’t. The end surprised me. With so many characters standing in the shadows, the masterful cinematography reminded me of film noir minus the murder or crime.

March Comes in Like a Lion

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Based on a popular manga series, March Comes in Like a Lion and it’s sequel March Goes Out Like a Lamb takes viewers inside the world of shoji, Japanese chess.

Orphaned at 8 years old when a car accident kills his parents and sister, Rei Kiriyama is adopted by his father’s friend, who’s a competitive shoji player. The only way to get love or at least attention in the house is through shoji. Red soon proves to have a knack for the game, which is a mixed blessing because his adoptive sister and brother become hostile towards him when he beats them and they can’t take it.

Rei’s talent leads to his winning and becoming pro before he graduates high school. With his winnings he’s able to support himself and move out. Yet his evil step sister hounds him like a vicious ghost who won’t go away no matter where Rei tries to run.

Rei is soon taken in by three sisters who’ve lost their parents. The girls and their grandfather run a traditional sweet shop and provide the warm family life Rei craves.

The story does not require knowledge of the rules or ins and outs of shoji.I know nothing of the game, but did get caught up in the competition as Rei strives to dethrone the champion, an adulterous egotist that his stepsister has been dating.

The Founder

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In The Founder, Michael Keaton plays Ray Kroc, who propelled McDonald’s to worldwide expansion. The film shows how a mediocre milk shake machine salesman discovered the McDonald brothers in California and coaxed them into teaming up with him after he saw their unique hamburger shop.

In the days of drive-ins, you’d have to wait and wait to to get your order. But the scientific McDonald brothers figured out how to choreograph flipping burgers so that you could get yours in minutes.

When Ray Kroc received an incredibly big order for his milkshake machines from the McDonald’s, he had to drive out to see what they were doing. Impressed, he cajoles them to let him sell franchises.

As he goes from one his first franchise in Des Plaines, Illinois, to selling billions of burgers, Kroc seems insecure propelled by canned optimism he’s memorized from Dale Carnegie’s books. From the start of the partnership, Kroc follows his own ideas even if it means going behind the McDonald’s backs. His prior failures made him pathetic but his disrespect for the McDonald’s brothers’ views made him unlikeable.

Since McDonald’s is synonymous with America, it’s a film worth seeing.

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