28 Mar 2017
in classic film, expat life, film, Film Review, New Year's Resolution Old Movie Challenge
Tags: Alec Guinness, Japan, Thailand, The Bridge over the River Kwai, war film, William Holden, WWII
How did I miss this one? I just finished watching the classic The Bridge over the River Kwai starring William Holden and Alec Guinness. I’m blown away. Every scene was perfect in this story of Holden’s Shale, a jaded American officer who’s at odds with Guinness’ a British commander’s absolute, unstinting adoration of following codes and rules.
I remember the whistling and the powerful ending from my childhood. I was no more than 6 and annoyed at a family party where all the adults were enthralled by this film. Now I appreciate why as Holden and Guinness deliver perfect performances in these two characters, who couldn’t be more different. They’re conflicts aren’t direct as they’re rarely in the same scenes, but they’re central to the film’s theme.
Both characters are prisoners of war in a Japanese camp run by the brutal Satoo who must get a bridge built in a few weeks. The work is far behind schedule. Satoo operates on the Japanese ancient military code of Bushidoo. which runs contrary to the Geneva Convention, which Guinness insists upon. Guinness shows his dedication to duty when he refuses to let his officers work on the bridge. He’s willing to spend days in a metal box, called the “Oven” to stand up for this belief. You have to admire his courage.
Holden’s Shale looks for short cuts and sees the futility of the war. He has his points, but neither character is clearly right or wrong, which is the key to why the film is so absorbing.
(I wonder how my students would view this film which shows the Japanese as cruel not just to the Chinese, but to the Allied soldiers. I wouldn’t show it because I don’t want to spread anti-Japanese sentiment, which made sense in the early part of the 20th century, but is outmoded now.)
28 Mar 2017
in classic film, expat life, Film Review, New Year's Resolution Old Movie Challenge
Tags: comedy, cute, Frank Sinatra, Gene Kelly, light entertainment, musical, navy, WWII
If you want some light entertainment, Anchor’s Away with Gene Kelly and Frank Sinatra is a good choice. Anchors Away is the story of two navy officers who’ve earned a weekend pass for their bravery. Kelly, suave and urbane, boasts of his girl Lola, while Sinatra’s more inexperienced and wants some coaching from Kelly, whose plans for meeting up with Lola are soon sidelined when the two officers are roped in by the local police who need help getting a little boy back home. Since the boy who’s around 6 is in awe of the navy, these two sailors who pass by are just the role models to help.
Once they take the boy home, they find his guardian, a young aunt is out. They stick around to reprimand her. Of course, she turns out to be a beautiful young woman who aspires to be a famous singers. Before you know it, Kelly has assured her that his friend’s pal, a famous conductor will give her an audition. Of course, this is a lie. As usual in the genre misunderstandings and outrageous attempts to prevent the truth from coming out ensue. All along the way are catchy tunes and fantastic dancing including a number where Kelly dances with Jerry from Tom & Jerry fame.
While the film was from a gone by era and had no lasting message, the music and dancing stayed with me, unlike that of La La Land. A musical needs to win me over with its music. It’s fundamental.
06 Feb 2016
in classic film, film, Japan
Tags: animation, anime, delight, history, imagination, Japanese, love, love at first sight, Satoshi Kon, WWII
I learned about this amazing animated film from Every Frame a Picture (below). Created by Satoshi Kon, Millennium Actress is a unique, dreamy film that tells the story of Chiyoko, an old woman who looks back on her life when a documentary filmmaker, Tachibara, finally convinces her to agree to being interviewed. Tachibara, who was always sweet on Chiyoko, presents Chiyoko with a long lost key, which like Marcel in In Search of Lost Time opens up a storehouse of memories. Then the story goes back in time in an incredibly imaginative way mixing flashbacks, dreams and daydreams to show why Chiyoko went against her mother to become an actress during WWII.
The story skips back in time to various times in Chiyoko’s life and further goes back to various periods in history which her films were set in. There are a few political messages, which like Kurosawa’s No Regrets for our Youth, criticise how Japan imprisoned those who disagreed with the war. Because Kon’s techniques are so innovative in how they harken back to the shape-shifting that’s a frequent feature of Japanese folktales (but you don’t need to know that to enjoy the film), the film constantly surprised and delighted me. Throughout the film, the current day filmmakers were present in the past and that technique was particularly intriguing and innovative — at least to me, a novice in the anime world.
This video by Tony Zhou is incredible and made me want to see Millennium Actress.
18 Jan 2016
in film, Film Review, modern, New Year's Resolution Old Movie Challenge
Tags: academic freedom, free speech, heroism, Japan, Japanese film, Kurosawa, Post WWII, war, WWII
Directed by Kurosawa, No Regrets for Our Youth surprised me as it’s the story of a young woman by a director whose prolific body of work otherwise emphasised male characters. The heroine Yukie is carefree and playful at the start of the film. She has no use for anything serious. The film opens with Yukie strolling through the mountains with her father’s university students. When they come to a shallow creek, she halts and waits for someone to rescue her.
Noge, a very political, man of action carries her across the water that seems about three inches deep. On the sidelines looking awkward is his friend Itokawa who has feelings for Yukie, but is too shy and unsure of himself to do anything. Yukie likes teasing men more than anything and plays Noge and Itokawa off each other.
As political tensions rise in Japan leading up to WWII, Yukie’s father is fired by the government because he’s spoken out against military aggression. Made after the war No Regrets for Our Youth, contains several scenes with characters discussing the importance of academic freedom, free speech and the importance of self sacrifice when working towards a greater good. Both Yukie’s father and Noge, who is arrested and imprisoned pay for their ideals.
After seven years, Yukie leaves her hometown Kyoto, to work in Tokyo. Here she bumps into Itokawa who’s continued to play it safe. He’s a lawyer and is married. He’s kept in touch with Noge, who’s just been released. Now Yukie’s matured somewhat and when she sees Noge again she’s willing to give up a conventional life to risk life with a rebel.
Soon Noge is arrested and she’s imprisoned, questioned and eventually released. We’re not entirely sure of what Noge did with his underground work but he says that in 10 years the Japanese will thank him and Yukie. From then on Yukie’s life is full of hardship, hardship she voluntarily takes on despite protests from her parents and Noge’s parents. It’s amazing to see someone who was such a flibbertigibbet turn into an honest to goodness heroine.
While the film was made early in Kurosawa’s career and lacks the mastery of later films, No Regrets of Our Youth tells a compelling story and enlightened me on anti-war protests in Japan prior to and during WWII. Also, I wish this Criterion Collection DVD featured more commentary or background information.
27 Feb 2015
in media, Review, television
Tags: Amanda, Anglophile, British drama, countryside, detective, England, Gordie, Grantchester, James Norton, murder, Post WWII, Romance, Sidney Chambers, unrequited love, vicar, WWII
When it first was broadcast, I didn’t bother with Grantchester. I’m not a fan on the Father Brown series and I thought it might be of the same ilk. (Also, I’ve been watching Downton Abbey at my aunt’s rehab center. Visitors must leave at 9pm.)
I’ve seen the lead actor in Happy Valley, where he plays a rapist, kidnapper, drug user and murderer. So seeing James Norton as a vicar, even a vicar who drinks and is quite a stretch.
But I’ve seen 4 episodes so far and I like this show. It’s not a top of the line must-see series, but it’s better than most and watching the young vicar grapple with war memories and pine for his true love, while trying to do the right thing by Hildegard, a lovely widow whom he’s dating does capture my interest.
The big problem with a detective series set in the country, and not the drug infested modern country town we see in Happy Valley, is how many murders do you expect occur in such a place? In the town I grew up in there was one. One murder in 30 years. In the town I’m in now I don’t think there’s been even that. Still so far the show has managed to be convincing and one of the cases took place in London and was plausible in why the vicar would have to solve it.
After getting hooked on Downton Abbey, The Paradise and Mr. Selfridge, I’ve gotten to a point where I think post-WWII is quite modern. Almost too modern for my liking, still Grantchester has been well worth watching.
I wonder if Amanda will call off her wedding or if Sidney will declare his love for her. I think Sunday’s episode is the finale.
23 Feb 2015
in film, History, movies, New Year's Resolution Old Movie Challenge
Tags: 1952, Academy Award, bombing, Brigitte Fossey, Cannes, childhood, classic film, drama, Forbidden Games, French, orphan, postaday, postaweek, René Clément, trauma, Venice Film Festival Award Winner, WWII
Such a powerful film!
Set in WWII, Jeux Inderdict (Forbidden Games) follows Paulette, a girl of maybe 5, who’s fleeing Paris with her parents. Refugees run along a country road as I suppose they do now in the Middle East. As war planes bomb a bridge, refugees seek cover. Paulette gets separated from her parents as she runs after her little dog. Soon, both parents and her dog are killed by German bullets. Paulette’s left to wander amongst the refugees.
Eventually, Paulette crosses paths with Michel Dollé, an older farm boy who’s searching for a cow that’s scared by the bombs and shooting. Michel brings Paulette to his poor family and they take her in. There’s no other place for her to go, other than to the neighbors, whom they view as snobs. The father does not want the neighbors to get a good write up in the local paper for taking in a war orphan.
Though he’s probably about 9 or 10, Michel’s the most educated of his family. He knows all the prayers by heart and regales Paulette with facts about animals and religion.
Paulette’s been carrying around her dead puppy and Michel convinces her to bury it. When Paulette sees a cross in the Dollé’s house, she’s curious. She never knew what they were for. Thus Michel leads Paulette to build their own private cemetery in a deserted mill and they begin to steal crosses from wherever they can get them–graves, churches, hearses.
The adults can’t understand who’s taking the crosses and the rivalry between the neighbors grows.
All in all, Forbidden Games is a natural, haunting film that mixes innocence, war, poverty, generosity and faith. It’s a simple, yet profound film, one I doubt anyone could make today.
N.B. French with English subtitles
25 Jan 2015
in Europe, film, History, movies, New Year's Resolution Old Movie Challenge, opinion
Tags: 1967, Alain Cohen, Anti-Semitism, Claude Berri, drama, France, French film, Michel Simon, moving, old, touching, World War I, WWII, young
C’est magnifique film!
Claude Berri’s autobiographical, The Two of Us is a gem set during WWI in France. It opens with Claude, a mischievous boy, stealing a toy tank from a toy store getting chased all around. Claude finds trouble at every turn driving his father to distraction. Because since they’re Jewish, the safest path for the family is to lay low, but Claude constantly calls attention to himself with his troublemaking. A family friend arranges for Claude to go live with her Catholic parents.
The problem is that “Grampa” is quite a bigot and spouts all sorts of anti-Semitic slurs. Claude’s parents coach him to hide is religion so he’ll be safe in the countryside, but there are some close calls, which give the story suspense. Nonetheless, he’s mercilessly bullied for being the new kid from Paris. You just can’t win.
Based on the director’s own childhood experience, there’s a sophisticated treatment of a close relationship that grows in spite of prejudice. Played masterfully by Michel Simon, Grampa loves this boy and takes him under his wing, dealing with his troublemaking with patience Claude’s father couldn’t muster. Berri chose Cohen to play Claude while visiting a Jewish school and seeing him getting into trouble in class and later hiding from the principal behind some curtains. His shoes poking out from under the curtains gave him away. A natural actor, Cohen brings a realism to his understated performance.
The Two of Us, as Truffaut commented, shows how most French people lived during the war, those who weren’t in the Resistance or collaborating with the Germans. People just going about their business; people who could be both kind, loving, and yet be hindered by ugly beliefs. It’s a deft film that can portray bigotry without supporting it, all the while showing the goodness mixed in with the prejudice. The film masterfully captures the truth of this experience.
The Criterion Collection’s DVD, as usual, includes insightful short interviews that deepen one’s understanding of the film.
If you liked Claude Berry’s later films, Jean de Floret or Manon of the Spring, you’ll love The Two of Us.
15 Oct 2014
in film, New Year's Resolution Old Movie Challenge, Review
Tags: 1940s, black and white, film, London, mental institution, Nazi, Nazis, paranoia, Ray Milland, Stephen Neale, suspense, WWII
Stephen Neale (Ray Milland) gets released from a mental institution where he’s lived since he was charged with euthanasia of his sickly wife. His train makes a stop in a country town and at the urging of a kind conductor he steps out and goes over to the nearby country fair. He sees a fortune teller and wins a cake. This leads him to getting in trouble with Nazi’s who chase him and frame him with murder. He can’t trust anyone as everyone he meets — even a pretty, warm-hearted woman who runs a charity for widows and orphans with her brother — seems ready to turn him in.
Set during WWII Franz Lang’s Ministry of Fear (1944) is brimming with tension and suspense. The plot moves quickly and takes Neal to one creepy, yet sophisticated experience after another. Nothing is what it seems. While I read that Lang wanted to make an overtly anti-Nazi movie, the script writer didn’t provide him with the sort of horrible Nazi he could rail against. Based on a Graham Green novel, I found the film compelling. Green wouldn’t agree, I’ve learned. He thought it was awful, but then Green’s a perfectionist and master.
10 Sep 2014
in film, opinion, Review
Tags: all ages, drama, family movie, France, Jews, Nazis, WWII
Because six year old Sébastien is himself abandoned, he’s the only person in the village to give Belle, a mangy dog a chance. Sebastian lives with an old, often drunk man and his family in the mountains of France. He doesn’t go to school, but learns about life and nature from the man. Belle is a dirty gray dog everyone fears. Only Sebastian gives the dog a chance and a good bath. After the bath, the dog is snow white and comes to the aid of Sebastian.
Later when Sebastian’s unofficial adoptive family helps Jews escape the Nazi’s everyone sees that Belle is a wonderful dog. The film is suspenseful and the characters real. Their plight rings true and the story compels. It’s fitting for older kids, who can understand the history, and adults.
03 Jul 2014
in culture, film, History, Japan, movies, opinion
Tags: Burma, historical fiction, history, Japan, Japanese film, soldiers, World War II, WWII
I’m catching up on my blogging. I saw this movie before I left China and haven’t had time to blog.
Another Criterion Collection DVD, this one based on a popular Japanese novel, The Burmese Harp is set as WWII ends. A company of Japanese soldiers is in Burma, on the look out for British soldiers. Their captain is very musical and has used singing to build espirit de corps and to trick the Brits, or try to. When they hear the British soldiers approaching their camp, the captain urges his company to laugh and sing to give the impression that they’re goofing off though they’re on their guard. When they start singing a song with the same tune as “Home Sweet Home,” the Brits echo back. Soon the Japanese learn that their side has surrendered.
Yet there’s another Japanese company up in the mountains, a fervent nationalistic group that’s still fighting. Mizushima, a soldier who’s learned to play the Burmese harp, volunteers to go up the mountain and tell these soldiers the war’s over. He’s given 30 minutes to get these hold outs to surrender. No matter what he says, they refuse. They don’t believe Mizushima and feel their duty is to fight to the death no matter what.
After 30 minutes, true to their word, the British start attacking. Most of the hold outs get killed. Mizushima survives, but is shocked. His world’s been shattered and he can’t return to his unit. He steals a Buddhist monk’s robes and wanders the countryside as a monk.
His unit search for him and don’t want to return to Japan without him. At one point they think they’ve passed him on the road, but Mizushima doesn’t acknowledge them. He’s too shattered and lost to return to his old life.
The Burmese Harp doesn’t address the atrocities the Japanese committed, but it does show the horrors and effects of war. Most of the civilian Japanese had no idea what their soldiers did overseas so it wasn’t part of the original novel, or something the director, who broke out with this film, knew of.
The Burmese Harp presents an interesting view of WWII, one that I’d never considered. It also depicts Japanese culture with nuance.