The Burmese Harp (rewatch)

I still think this is a moving and accomplished film, but on the second viewing it struck me that far too much time is wasted on Mizushima’s unit wondering where he is and getting into this repetitive “is he or isn’t he?” discussion about the mysterious monk (to which the audience already knows the answer).  This time would have been better spent exploring Mizushima’s spiritual transformation.  I will also say, once again, that what we really need is a Region 1 DVD release of Ichikawa’s masterpiece An Actor’s Revenge.  Rating: 8

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The New World

Hauntingly beautiful film about not just the worlds to be discovered geographically, but also the worlds in each other, waiting to be explored.  I have said that Days of Heaven is visual poetry, and that’s also the case here.  Each image is enchanting, it seems that there are no superfluous or ordinary shots.  The tone set by the marvelous cinematography, where the camera is very much a participant in the action, is complemented by James Horner’s exquisite, evocative score.  The plot is not especially original or compelling, but the interplay between characters and their worlds is compelling, climaxing in an ending that I found quite moving.  The performances are really nothing special (they don’t come any more overrated than Colin Farrell and Christian Bale) and the voice-over (which worked so well in Days of Heaven) often gets too florid.  I’d also say the battle sequence was unnecessarily lengthy.  But these quibbles are easily ignored in favor of the film’s astonishing sense of mood and wonder.  Rating: 9

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Matango

Don’t go into this expecting a typical monster movie, because there’s not much of it here.  The bulk of the film explores the group dynamics among the 7 shipwrecked characters, and how greed and desperation begin to turn them against each other.  There’s a little hammy bit at the end where the situation is compared to modern civilized society, but points for effort, I guess.  There’s other minor thematic pieces as well — class differences, radiation fear, psychedelic drugs — but they’re not delved into too deeply.  Despite the overall lack of monster-y goodness, they are pretty creepy when you finally see them, and the set design is done really well and shot nicely.  Rating: 7

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Snoopy Come Home (rewatch)

Reliving some childhood memories.  I’d forgotten how many songs were in this, but as I soon as I heard them again they were quite familiar.  However, they’re not that great and one longs instead for the classic Vince Guaraldi themes.  I was really touched by this movie as a kid… now, not so much.  It is awfully melancholy for children’s fare, though.  Pretty dull at times, and not exactly the trip down nostalgia lane that I’d hoped for, but it’s okay.  Rating: 6

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The Devil and Daniel Johnston

I’ve been aware of Daniel Johnston since 1989, and although I’ve never considered him a “genius” on any level, he is a fascinating character and a unique artistic voice.  The documentary is entertaining and more innovative than Feuerzeig’s previous film, Half Japanese: The Band That Would Be King.  It manages to be both reverent (perhaps too reverent at times) about his work and critical of his behavior.  There is a perception out there of Johnston as a lovable harmless kook, and it’s good to see his darker, dangerous side exposed here.  The film does trail off a bit at the end, because let’s face it… Johnston (mostly) stable on medication is less interesting than Johnston nearly crashing a plane.  Also: there’s a scene in the extra material on the DVD where the filmmakers reintroduce Johnston to the great obsession of his life, Laurie, after 26 years.  I found this to be highly irresponsible, exploitative, and to a degree, even cruel.  Rating: 8

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All About My Mother

An absolute gem.  Almodovar achieves a profound bittersweetness, depth and honesty similar to Kieslowski.  Among the themes are motherhood, surrogate families, the roles women play in each other’s lives and gender identity.  Intensely warm and moving, sorrowful but with marvelous splashes of humor.  The actresses are uniformly excellent, and none more so than Cecilia Roth in the lead.  Furthermore, the photography is gorgeous and it’s got an exquisite score, somewhat reminiscent of Angelo Baladamenti’s work.  I loved this movie.  Rating: 10

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Tom Yum Goong (The Protector)

The plot is merely insane little bits that attempt to add up to a story, but make almost no sense and contain no narrative flow from one scene to the next.  I agree with a comment I read online: it’s like a musical or a porno, where the “plot” is simply the connecting tissue between the scenes you REALLY care about… the action.  And the action is spectacular, much better and more fun than Ong Bak.  The unbroken take of Jaa fighting his way up the tower is astonishing, and approximately 247 times cooler than that stupid hammer scene from Oldboy.  The climax battle is hilariously over-the-top, with its endless henchmen streaming in to be maimed by Jaa, bone-crunching sound effects galore.  Of course, some of the enemies are fairly ridiculous: there’s one guy who seems entirely fashioned on Eddie Gordo from Tekken.  Again, it’d be nice if there was a better script, and Jaa desperately needs to develop some charisma, but there’s hope for him yet.  Rating: 7

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When a Woman Ascends the Stairs

So I’m starting to see certain commonalities in Naruse’s work: a focus on women (like Mizoguchi), especially those struggling to either achieve or maintain independence; a fixation on financial problems; a restrained camera style somewhat like Ozu but less formal.  This one is a very good movie: excellent acting, constructed well, intriguing and nuanced characters, a refreshing sense of honesty.  But I have to say, although I like his work, it hasn’t grabbed me like Kurosawa or Mizoguchi, or possibly even Ozu.  Perhaps this makes me kind of a typical Westerner, preferring a grand emotional sweep or dramatic flair.  But I can’t help it.  I’ve enjoyed Naruse’s films a lot, but have no compulsion to revisit them… even though part of me recognizes that there’s more to be gained from them.  I still very much want to see Floating Clouds, though.  Rating: 8 

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Shattered Glass (rewatch)

Whenever this is on TV, I’ve got to watch it, I can’t help myself.  It’s certainly not a work of cinematic genius, at best you could call it “solid”.  I just love watching Glass getting destroyed by his own lies, squirming as he gets called on his bullshit.  Maybe I have a soft spot for films where integrity wins out, where right triumphs over wrong so satisfyingly.  Rating: 8

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Lola

Lovely.  The film has an intriguing new wave-iness about it, I believe in great part because of cinematographer Raoul Coutard (who worked on many of the landmark movies by Godard and Truffaut).  You never quite know where the story is going to go next.  The fact that it was originally supposed to be a musical, and the heavy interconnectedness of the characters, makes this a precursor to Young Girls of Rochefort, although I actually prefer Lola.  Funny, sad, gentle and real.  The fair scene in particular is magnificent, reminiscent of 400 Blows.  One bummer though: I think the Wellspring DVD got the aspect ratio slightly wrong.  It’s supposed to be 2.35, and it’s stretched out to look more like maybe 2.20… the actors all appear too thin.  Not a big deal, but annoying.  Rating: 9

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