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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.

 

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In a Lonely Place

Annex - Bogart, Humphrey (In a Lonely Place)_NRFPT_01

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.

The Soft Skin

Truffaut offers a realistic look at infidelity in The Soft Skin (1964) where Pierre Lachenay, a publisher and scholar known from his TV appearances, gets obsessed with Nicole, a flight attendant, and starts an affair with her. Pierre has a sort of budding butterball look. He could be the Pillsbury Doughboy’s French father. He is smart, yet bland. He’s married to an attractive woman and they have a young daughter whom he dotes on. He doesn’t hate his life, but when he sees Nicole on a flight, he becomes smitten.

He later sees her at a hotel and follows her to find out her room. It’s a bit stalker-ish, but not quite. Nicole who’s probably half Pierre’s age is interested. She hasn’t experience romantic love and is in awe of Pierre’s success.

Throughout the film Pierre and Nicole have difficulty meeting up. Their rendezvous always go awry. Perhaps an old friend meets Pierre and asks to go for a drink. He’ll respond that he must drive back to Paris and the friend will say that’s where he wants to go and figures they can drive together. All the while Nicole’s twiddling her fingers back at the hotel where they’re staying. Such obstacles crop up again and again. Ever nervous, Pierre bungles along with his poor plans and lies. Yes, Nicole is young, beautiful and energetic, but having the affair is offset by the stress of lies and running around only to be thwarted.

Eventually Franca Pierre’s wife realizes something’s off. After awhile Franca gives up on the marriage and asks for a divorce. Freed, Pierre agrees, but he soon finds that breaking with Franca does not lead to bliss in a new posh apartment with Nicole.

The film is beautiful and Truffaut’s direction is sophisticated and engaging. He films intimacy in such a classy, real way. He shows affairs as they really are, not all romance, not all due to a horrible spouse. Infidelity certainly doesn’t lead to a blissful new romance and a break with past problems.

The Rules of the Game

Rules

I had to watch The Rules of the Game under strange circumstances. My DVD only would play the film with the commentary going. Thus I read the subtitles and once in a while got a snippet of dialog without English commentary. I prefer first viewings without the expert’s take, but perhaps in this complex film the commentary was best.

 

Jean Renoir’s The Rules of the Game depicts two parallel classes, the upper middle class and the servant class. From the bourgeois Christine, Robert’s Austrian wife has disappointed her would-be lover Andre, an aviator who’s just completed a round the world journey. Andre gets no satisfaction from the clamoring crowd or the inquisitive press. Christine didn’t come so the whole flight was for nought.

Christine’s been in her Parisian home with her husband Robert and her maid Lisette. Robert’s tiring of his lover Genevieve and Lisette’s tired of her husband Schumacher. All are leaving for the countryside where a web of relationships will tangle creating a fine mess pulling the film from farce to tragedy with a surprise ending.

Renoir saw WWII coming. He also saw his society drunk on frivolity, careening over an edge. The Rules of the Game is a rare film that begins with light-hearted, harmless fun, but ends with broken hearts and a tragic death. The characters who all play at love see the consequence of their erroneous worldview.

The film is beautiful and many scenes are complex dances. Renoir was ambitious to offer such sophistication and it wasn’t till decades after it was made that The Rules of the Game was considered a masterpiece, one of the finest movies of all time.

If you think you’ve seen the actor playing Robert before, you have. He was ran the roulette table at Rick’s Café in Casablanca.

I’ll definitely watch this one again.

The Black River

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Mask Kobayashi paints a bleak picture of Tokyo during the 1950s in The Black River. Set in a neighborhood beside a U.S. Army base, Kobayashi shows how Japan’s become corrupt. When Nishida, an upright student/bookseller, moves into a decrepit apartment building that’s more of a shanty than a building, we meet a motley crew consisting of parasites, prostitutes and a couple good guys who don’t stand a chance of fighting city hall given that most of their neighbors would sell out their own mother given the chance.

Soon both Nishida and Killer Joe, a Japanese low level gangster, fall for Shizuko, a lovely, innocent young woman. Joe shows his colors early on by ordering his hoodlum pals to attack Shizuko. It seems they’re going to rape her, but Joe happens by and fights them off. He professes his love and while Shizuko is briefly wooed, Joe then forces himself on her and she’s reviled. The next day Shizuko visits Joe to tell him she was going to report him to the police, but decided she’d be willing to marry him to salvage her reputation. What a sacrifice! It’s hard to believe that a woman would even have to consider such an option, but in some times and places that’s how people thought.

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Meanwhile Joe’s plotting with the greedy landlady to evict the residents of the shanty. Both will make out like bandits if they can get the not-so-beautiful losers out of the place.

The film then criticizes the greed, pettiness and lack of morality in society without blaming the problems on the American Army.The Black River shows how the characters contribute to their own troubles. Certainly, Shizuko was a victim in many ways, but she winds up but her choices also lead to an end where I saw no happily ever after for her.

The Bad Sleep Well

Kurosawa’s The Bad Sleep Well blew me away. It’s not one of his most famous films, but it’s packed with power. I learned of The Bad Sleep Well via Tony Zhou’s Every Frame a Picture channel where Zhou analyzes Kurosawa’s effective placement of actors.

The film opens with reporters and detectives invading the wedding between the handsome apparently straight as an arrow Nishi to Yoshiko, the pretty and disabled daughter of CEO Iwabuchi, whose corrupt deals caused Nishi’s father’s suicide. Nishi has positioned himself in Iwabuchi’s corporation as his assistant and married into the clan to exact revenge for his father’s death.

Disrupted by the appearance of a wedding cake that looks like the building Nishi’s father killed himself and by the arrest of a loyal, timid employee indicate the disaster of the marriage. Nishi has spent five years trying to get into Iwabuchi’s inner circle to expose the kickbacks and violence that fueled the success of Public Corporation. Iwabuchi and his colleagues are cold blooded, willing to goad their employees to suicide if it helps them keep their dirty cash flowing in.

While the film differs from hamlet, there are many intended parallels. Nishi’s obsessed with his father’s death. Yoshiko is very much like Ophelia and she meets no better end. While Nishi’s mother never married, Kurosawa uses gray flannel ghosts to freak out his characters.

The evils of corporate greed have bene a common theme in modern film Somehow Kurosawa, while showing blatant, unrepentant evil, doesn’t seem to have exaggerated. The executives and their conniving seem all too real.

Every scene had me riveted and the ending was a complete surprise, though it was perfect. It’s a film the I won’t soon forget.

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