Night and Fog in Japan (1960)

Night and Fog in Japan (1960)

Comments 1 comment

“It’s the world-wide, peace-loving Americanism that is gaining in strength and oppressing the lives of us Japanese, and making the lives of our youth hopeless.”

Synopsis:
During a wedding, former revolutionaries in Japan reflect on love and betrayal during their years as students.

Genres, Themes, Actors, and Directors:

  • Flashback Films
  • Japanese Films
  • Nagisa Oshima Films
  • Revolutionaries

Review:
This deeply personal, highly politicized film by Japanese director Nagisa Oshima is a difficult film for Western viewers to grasp. It plunges us immediately into a period of Japanese history most will be unfamiliar with, and the back-and-forth storyline makes it hard to keep track of (or care much about) any of the individual characters. Although we quickly understand the basic gist of the film — former revolutionaries accuse one another in an attempt to solve the mystery of a tragic in-group death — ultimately Oshima keeps things too stylized (and talky) to generate much dramatic interest. Those curious about mid-century Japanese political movements will certainly want to check this one out; all others should be forewarned.

Redeeming Qualities and Moments:

  • A sincere, sometimes powerful attempt to portray post-revolutionary guilt

Must See?
No; avoid watching it as your first Oshima experience.

Links:

Tenant, The (1976)

Tenant, The (1976)

Comments 1 comment

“These days, relationships with neighbors can get very complicated.”

Synopsis:
In Paris, a nebbishy Polish man (Roman Polanski) rents the apartment of a woman who has recently committed suicide. Soon he becomes convinced that his neighbors are trying to turn him into the dead woman.

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Downward Spiral
  • Living Nightmare
  • Melvyn Douglas Films
  • Mental Illness
  • Psychological Horror
  • Roman Polanski Films
  • Shelley Winters Films

Response to Peary’s Review:
As Peary notes, this “disturbing psychological horror film” (directed by and starring Roman Polanski) is much more interesting during its first half, as we watch “Polanski’s paranoia regarding [his] neighbors” intensifying, and witness his profound sense of persecution as an ethnic “outsider” in France. Unfortunately, the second half of the film turns into an “unsettling and ridiculous” exploration of Polanski’s descent into madness; as Peary notes, the “transition is too quick” once Polanski suddenly starts dressing like a woman, and we lose interest because — now that Polanski’s character is clearly mentally unstable — we start to question the veracity of the entire story. Indeed, fans on IMDb have engaged in countless debates over what’s “real” or not in the story — and though this kind of narrative ambiguity sometimes works in a film’s favor, here I found it more frustrating than enjoyable. As always, Polanski’s production values are excellent, and he elicits wonderfully quirky performances from his cast of supporting actors; it’s too bad their voices are horribly dubbed.

Redeeming Qualities and Moments:

  • Isabelle Adjani as Stella, a friend of the deceased tenant
  • Shelley Winters in a bit role as The Concierge
  • Sven Nykvist’s cinematography

Must See?
Yes, simply for its cult status.

Categories

  • Cult Movie

Links:

Chan is Missing (1982)

Chan is Missing (1982)

Comments 1 comment

“This mystery is appropriately Chinese: what’s not there seems to have just as much as meaning as what is there.”

Synopsis:
Two taxi drivers — middle-aged Jo (Wood Moy) and young Steve (Marc Hayashi) — search San Francisco’s Chinatown for a fellow cabbie who has disappeared with their money.

Genres, Themes, Actors, and Directors:

  • Amateur Sleuths
  • Asian-Americans
  • Generation Gap
  • Mysterious Disappearance
  • Search

Response to Peary’s Review:
As Peary notes, Chan is Missing — the “first film made by and starring Asian Americans” — is an “impressive, offbeat social satire” which “give[s] its people the voice they have been denied in American films.” The lead actors — Moy and Hayashi — are an amusing cross-generational duo, effectively representing two “types” of Chinese Americans while remaining unique individuals. (Why didn’t their careers go further?) While Jo and Steve’s search for Chan is a bit hard to follow at times, the broader point being made by writer/director Wayne Wang — that Chan is perceived as a different person by everyone who knew him — is a poignant one; it’s not often that the identity politics of minorities in America are so explicitly valorized in a feature film.

Redeeming Qualities and Moments:

  • Wood Moy as Jo
  • Marc Hayashi as Steve
  • Jo and Steve reacting with bewilderment while listening to a linguist explain the cross-cultural intricacies of Chan’s court case
  • A fascinating, documentary-like look at San Francisco’s Chinatown

Must See?
Yes. This enjoyable, historically important movie — which was selected to be part of the National Film Registry at the Library of Congress — should be seen by all film fanatics.

Categories

  • Historically Relevant

Links:

Boy With Green Hair, The (1948)

Boy With Green Hair, The (1948)

Comments 1 comment

“Green is the color of spring… It means hope, a promise of new life to come.”

Synopsis:
A young war orphan (Dean Stockwell) living with a kind older man (Pat O’Brien) wakes up one morning to discover that his hair has turned green. Though ostracized by his friends and neighbors, he remains convinced that his hair serves a larger purpose.

Genres, Themes, Actors, and Directors:

  • Barbara Hale Films
  • Dean Stockwell Films
  • Fantasy
  • Flashback Films
  • Joseph Losey Films
  • Misfits
  • “No One Believes Me!”
  • Orphans
  • Pat O’Brien Films
  • Robert Ryan Films

Response to Peary’s Review:
Peary and many other critics (see links below) find this fable-like fantasy by Joseph Losey “too simplistic and moralistic”, but I’ll admit to a special fondness for it. Dean Stockwell is sympathetic in the lead role as a young boy struggling to adjust to the loss of his parents; he’s a remarkably natural child actor, and his performance is never cloying. His initial interactions with “Gramp” (sweetly played by O’Brien) are heartwarming; I love the moment when Peter (Stockwell) intentionally breaks a vase, and, after a brief pause, O’Brien responds, “I know what you mean”. Because Peter’s hair doesn’t turn green until about halfway through the film, by this point we’ve grown to care about him, and understand the depth of his frustration and loneliness. Though ostensibly serving a larger purpose, Peter’s green hair ultimately signals his own coming-of-age: he must learn to trust his instincts and do what he feels is right rather than give in to the pressures of society. Thankfully, nothing is easily resolved by the end of the film; what’s important is that Peter has gotten to tell his story the way he sees it.

Redeeming Qualities and Moments:

  • Dean Stockwell as Peter
  • Pat O’Brien as “Gramp”
  • A creative story about post-war trauma

Must See?
Yes. All film fanatics should be curious to see this most unusual little film.

Categories

  • Good Show

Links:

Last Days of Pompeii, The (1935)

Last Days of Pompeii, The (1935)

Comments 1 comment

“Money is easy to get… All you have to do is kill!”

Synopsis:
After the accidental death of his wife (Gloria Shea) and infant son, a poor but happy blacksmith (Preston Foster) in Pompeii reluctantly becomes a gladiator. Out of guilt, he adopts the son (David Holt) of an opponent he has killed, and soon becomes a prosperous horse trader. Years later, his grown son (John Wood) is more interested in freeing slaves than in inheriting his father’s wealth and status.

Genres, Themes, Actors, and Directors:

  • Alan Hale Films
  • Ancient Greece and Rome
  • Basil Rathbone Films
  • Character Arc
  • Disaster Flicks
  • Father and Child
  • Historical Drama
  • Louis Calhern Films
  • Preston Foster Films
  • Slavery

Review:
Loosely inspired by Edward Bulwer-Lytton’s 1834 novel of the same name, this historical epic by the producers of King Kong (1933) is primarily notable for its depiction of Mount Vesuvius erupting onto Pompeii. However, these final scenes — while impressive — play second fiddle to the bulk of the film, which tells a surprisingly heartfelt story of fatherly devotion. Preston Foster does a fine job depicting Marcus’s transformation from a gentle blacksmith to an ambitious horse trader, and is believable as an older man. Basil Rathbone is equally impressive — and appropriately regal — in his brief scenes as Pontius Pilate. Unfortunately, the film is marred by Roy Webb’s generic score, which makes no attempt to transport viewers into ancient times; we eventually believe in this world despite the soundtrack, not because of it.

Redeeming Qualities and Moments:

  • Preston Foster as Marcus
  • David Holt as young Flavius
  • Basil Rathbone as Pontius Pilate
  • Impressive set designs
  • A reasonably accurate depiction of ancient Roman life

Must See?
No. While it holds some historical interest and is enjoyable to watch, this is ultimately not must-see viewing.

Links:

Beachcomber, The / Vessel of Wrath (1938)

Beachcomber, The / Vessel of Wrath (1938)

Comments 1 comment

“I suppose I’m jealous of the reckless way he squanders the precious treasure of life.”

Synopsis:
A naive missionary (Elsa Lanchester) tries to reform an inveterate beach bum (Charles Laughton), and soon finds herself smitten.

Genres, Themes, Actors, and Directors:

  • Character Arc
  • Charles Laughton Films
  • Elsa Lanchester Films
  • Missionaries and Revivalists
  • Morality Police
  • Robert Newton Films
  • Romantic Comedy
  • South Sea Islands

Response to Peary’s Review:
Based on a W. Somerset Maugham short story, this “gently paced” tale of a “slovenly, perpetually drunk woman-chasing beach bum” and a “sheltered, naive missionary” features delightful performances by real-life couple Laughton and Lanchester. The story strains credibility and comfort during the first half, as we watch the less-than-handsome Laughton inexplicably attracting adoring native women like flies, and are forced to watch generically brown-skinned islanders patronized like children. It’s not until about halfway through the film — when Lanchester and Laughton unintentionally spend the night together on a deserted island — that things start to get more interesting; in a particularly delightful sequence, we see Lanchester relaxing as she slowly realizes that her “virtue” is not at risk around Laughton. Indeed, Lanchester’s performance is particularly noteworthy here: she remains consistently sympathetic despite her high-handed morality, and literally glows whenever she’s on the screen; she’s never been more beautiful.

Redeeming Qualities and Moments:

  • Charles Laughton (who Peary nominates for an Alternate Oscar as best actor of the year) as slovenly “Ginger”
  • Beautiful Elsa Lanchester as the determined missionary

Must See?
No, but it’s recommended simply for the lead performances — which, as Peary notes, “retain tremendous charm”.

Links:

Cobra Woman (1944)

Cobra Woman (1944)

Comments 1 comment

“You shall see for yourself the cruel barbarism by which Naja holds our people… Fear has made them religious fanatics!”

Synopsis:
When his fiancee Tollea (Maria Montez) is kidnapped, Ramu (Jon Hall) and his friend Kado (Sabu) follow her to an enchanted island ruled by Tollea’s evil twin, Naja (also Montez).

Genres, Themes, Actors, and Directors:

  • Fantasy
  • Kidnapping
  • Lon Chaney, Jr. Films
  • Robert Siodmak Films
  • Sabu Films
  • South Sea Islands
  • Twins

Response to Peary’s Review:
Peary begins his review of Cobra Woman by labeling it a “Kitsch Klassic”, noting that “the dialogue is enjoyably trite, the decor is ornate, the stars are sexy, the volcano is bubbly, [and] the picture is colorful.” While Dominican actress Maria Montez remains largely unfamiliar to modern audiences, she is, as noted by Peary, “as significant to film history as Carmen Miranda”, and her dual roles here are likely “her definitive performance”. Indeed, it is Montez’s portrayal of both the meek Tollea and the vicious Naja which give this film its delightful air of campiness: Montez takes herself so seriously — and dresses in such outlandishly colorful costumes — that it’s easy to ignore the ridiculous story (which in itself is relatively unimportant). Surprisingly, this camp classic was helmed by noir director Robert Siodmak, who would return to the theme of good-and-evil twins in The Dark Mirror (1946) starring Olivia De Havilland.

Redeeming Qualities and Moments:

  • The outlandish technicolor costumes and over-the-top headdresses
  • Countless campy moments, such as when Naja dances while selecting victims for the island’s angry volcano god

Must See?
Yes, simply for its status as a campy cult classic.

Categories

  • Cult Movie

Links:

Champagne Murders, The (1967)

Champagne Murders, The (1967)

Comments 1 comment

“I thought I was cured… But instead, it’s getting worse!”

Synopsis:
The opportunistic owner (Yvonne Furneaux) of a champagne factory enlists the help of her husband (Anthony Perkins) in convincing her mentally unstable business partner (Maurice Ronet) to sell the rights to his famous last name. Soon a mysterious rash of murders occurs, with Ronet the prime suspect.

Genres, Themes, Actors, and Directors:

  • Anthony Perkins Films
  • Claude Chabrol Films
  • French Films
  • Mental Illness
  • Murder Mystery

Review:
This mess of a murder mystery by French director Claude Chabrol aspires towards Hitchcockian thrills, but comes across as a lame, ineffectual satire instead. The acting by everyone involved is either over-the-top (Furneaux, Ronet):

… and/or cliched (Perkins):

None of the characters are likeable; and the script makes no sense from beginning to end. Although the final resolution of “whodunit” comes as a surprise, this can’t make up for the remainder of the insipid story, which is eminently unwatchable. A major disappointment.

Redeeming Qualities and Moments:

  • Fine cinematography and sets

Must See?
No. While it’s inexplicably listed as a Personal Recommendation in the back of Peary’s book, this is a disappointing entry in Chabrol’s oeuvre, and definitely not must-see viewing.

Links:

Woman on the Beach, The (1947)

Woman on the Beach, The (1947)

Comments 1 comment

“If I could prove to you that Tod wasn’t really blind, would you leave him?”

Synopsis:
A shell-shocked veteran (Robert Ryan) engaged to a local girl (Nan Leslie) falls for the seductive wife (Joan Bennett) of a recently blinded painter (Charles Bickford). Soon Ryan becomes convinced that Bickford isn’t really blind, and sets out to prove this to Bennett.

Genres, Themes, Actors, and Directors:

  • Blindness
  • Charles Bickford Films
  • Femmes Fatales
  • Jean Renoir Films
  • Joan Bennett Films
  • Love Triangle
  • Robert Ryan Films

Review:
Jean Renoir was forced to drastically edit Woman on the Beach, his final American film; the result is an atmospheric yet narratively flawed noir romance. As many have noted, there’s (sadly) potential here for something much greater, with Bennett and Ryan giving particularly noteworthy performances as the would-be lovers; but the script fails them (and us) by neglecting to elaborate upon either’s motivations. With that said, Renoir’s unique directorial touch remains a pleasure to watch, and there are several powerful moments scattered throughout the film: Ryan leading Bickford along the cliffs in an attempt to prove that he isn’t really blind; Ryan and Bennett viewing Bickford’s approach through the porthole of an abandoned ship; Bickford and Bennett discussing their enduring — if dysfunctional — love for each other. It’s too bad that none of the edited footage from this overly-short 70-minute film remains, because a reconstruction of Renoir’s original vision seems in order.

Redeeming Qualities and Moments:

  • Joan Bennett as the seductive femme fatale
  • Robert Ryan as the smitten veteran
  • Creative direction, heightening the love triangle tensions

Must See?
No, but it’s recommended for noir fans.

Links:

What? (1972)

What? (1972)

Comments 1 comment

“First I lost my bags, then my room, and now my trousers!”

Synopsis:
A naive American hitchhiker (Sydne Rome) is sexually humiliated by the denizens of a warped Italian villa, including an ex-pimp (Marcello Mastroianni) and a dying millionaire (Hugh Griffith).

Genres, Themes, Actors, and Directors:

  • Black Comedy
  • Dumb Blondes
  • Hugh Griffith Films
  • Living Nightmare
  • Marcello Mastroianni Films
  • Roman Polanski Films

Review:
This hideously awful “black comedy” by Roman Polanski possesses almost no redeeming qualities: it’s sexist, dull, offensive, and poorly acted. Although some have described What? as a variant on “Alice in Wonderland”, the comparison is unmerited: while Carroll’s pre-pubescent Alice experiences humorously bizarre encounters with creatures from alternate universes, Rome is simply preyed upon by countless lechers; but, since she’s a prototypical “dumb blonde” hippie, she gives in rather than fighting back, and thus we have almost no sympathy for her. When she inexplicably starts experiencing “deja vu” — and we’re forced to watch some of the same exact scenarios all over again — it’s literally painful. Perhaps most upsetting of all is how gorgeous Polanski’s production values and settings are, as always — what a waste!

Redeeming Qualities and Moments:

  • The beautiful Italian setting

Must See?
No. Film fanatics shouldn’t have to suffer through Polanski’s mistakes.

Links: