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| Animation, Adventure, Comedy, Family, Science Fiction | 2020-10-14
📥 Connected 2020
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124 Minutes | Drama | 2019-10-31
📥 Vitalina Varela 2019
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103 Minutes | Documentary | 2018-12-07
📥 Be Natural: The Untold Story of Alice Guy-Blaché 2018
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99 Minutes | Drama, Romance | 2000-05-22
📥 In the Mood for Love 2000
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88 Minutes | Crime, Drama, Mystery | 1950-08-26
📥 Rashomon 1950
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Rashomon beguiles through the torrential downpour of fabrication. “It’s human to lie. Most of the time we can’t even be honest with ourselves”. Honesty. Deceit. Contradiction. A crucial part of human preservation is the requirement to lie. Intentional or accidental, it’s within our ancestral blood. The unprejudiced can succumb to the immoral values of deceit, either through meticulous storytelling or scattershot deception. Even the truth can be distorted by one’s self-absorbed ego. The mutually contradictory stories of a bandit, Samurai and his wife, during a police questioning of an ambush, rape and murder, provides Kurosawa with the leverage to thematically explore the depths of human duplicity. A narrative conveyed through the perspective of four individuals, each telling a variation of the same event and asserting it as the truth. Yet who is moral? Who is verifiable?
The answer lies within the embellishments of mankind. The egotistical residue enveloping the desires for personal gain. The bandit, openly admitting to the events in question, proud of his barbaric conquest. The wife, subjecting herself to sorrow and helplessness, innocently scarred from the visceral crime. The Samurai, communicating through a spiritual medium, self-gratifying his noble demise. And the distant woodcutter, examining the various preceding stories, acting as the fragile bystander solidifying his story as the whole truth. But when characters reside in a downbeat world where “you just can’t live unless you’re what you call selfish”, is anyone’s depiction correct? Is lying for personal gain and visibly stealing an abandoned baby’s clothing the same selfish endeavour? Variational stories so similar yet so different in tone. It all comes down to the genius that is Kurosawa.
Depicting egoism through embellishment, not just through the verbal tales of the living, but also beyond the grave. Signifying the requirement for flattering falsehood, even when life has been fully exerted. It is the impossibility of human nature that provokes us into fabricating the most obvious details. Never has such an influential film, shrouded in its own classicism, infiltrated my soul through its thematic examination of human psychology as much as this did. Every word. Every detail. Every deadpan look into the camera. Every tracking shot that showcases the glistening sun of truth through the obscurities of darkened natural foliage. It’s perfect.
The imperfect gender politics of feudal Japan (“women are naturally weak”) delicately inverted to portray the weakness of humanity, regardless of gender. Utilising the subjectivity of the woodcutter’s perspective, and regarding it as the most truthful conclusive narrative, mankind is objectively weak. And it’s only through our own digressions that we manufacture the strength of the soul. Kurosawa’s symbolic attentiveness never deviated from this examination. His rampart artistry poetically manifesting the beauty of mystery. Invoking the investigative mind of human psychology. And once that overcast storm dissipates, revealing the warm beating rays of honesty, the overwhelming sensation of enlightenment will seep through.
A synergistic vitality equalling that of Mifune’s energetic quadruple performance. Each tale altering the personality of his bandit blood. Hysterically laughing at the face of adversity, to unbearably breathing from profuse fear and sin. The nuances are not exhumed just from the enigmatic cast. Kurosawa himself orchestrated a tantalising, influential and innovative mystery that combats the perception of regressive culture. It’s never retrograde nor unprogressive. It is however, and I can utter this with adorned confidence, perfect.
Short, sharp and sensational. Relatable on a thematic and personal level that transcends the discourse of time. Apt now as it was back then, only proving that humanity is cemented in deceit and acts of selfishness. As with any Kurosawa feature, the mind must be prepared for allegorical beauty. Rashomon is no different. Rashomon is painted with silky smooth brushes, illustrating an unconventional technique of storytelling through visceral imagery. Rashomon quite simply acquires the perfect rating. An undisputed classic that justifiably conceived, what is now commonly known as, “The Rashomon Effect”.
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114 Minutes | Adventure, Comedy, Family | 1985-06-07
📥 The Goonies 1985
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Ah, kids adventure films, how fondly we remember.
In an effort to ward off property developers and save the Walsh's from having to move away. Mikey Walsh, Brand Walsh and their intrepid friends, set off to look for pirate treasure they believe exists after the discovery of a dust covered map.
Fun fun fun! Treasure, pirates, booby traps, crooks, weird cellar dwelling humans, water slides, wishing wells and budding teenager romances, The Goonies has it all.
Directed by Richard Donner and written by Steven Spielberg and Christopher Columbus, The Goonies is one of those rare animals that thrills the children and bewitches the adults in equal measure. Romping along at a fair old click, the film never stops to pause for breath, thus dragging the viewers along for the ride.
There is no expense spared with the production (the sets are delightful) and the cast are mostly engaging. There's some minor annoyances, such as the girls being adventure caricatures, but itches are easy to scratch if you have engaged from the off with its fantastical charms.
It's a film that once loved in childhood should hopefully stay far beyond into your adult years. A junior Raiders Of The Lost Ark perhaps? Maybe not, but still one wholly satisfying action adventure experience, one that's standing the test of time for many of us with our fondly nostalgic glasses perched delicately on the end of the nose. 8/10
Such a classic!
Glad they shown this at the cinema when it reopened - it looked amazing in the big screen!
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108 Minutes | Crime, Drama, Mystery, Thriller | 1944-06-14
📥 Double Indemnity 1944
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It's definitely hard to pin down a personal favourite Wilder film, though I tend towards his earlier masterworks such as 'The Lost Weekend', 'Sunset Boulevard'...and THIS. He was one of the finest at getting straight through the bullshit and to the heart of all things noir (as the immortal Jean-Luc Godard stated, 'All I need to make a film is a man, a girl and a gun').
Barbara Stanwyck is one of my favourite actresses of the period, and is a classic 'femme fatale'. I've never been a huge fan of Fred MacMurray, but his 'nice guy' persona is used to sheer advantage by Wilder, and he end up both doing his finest work for Wilder (here and in 'The Apartment') and being the ultimate noir male protagonist. Interestingly, one of my favourite actors, Edward G. Robinson, thought so much of the script that he opted out of his demand of never doing a supporting role. Many people admire Wilder the director, but as a writer (or co-writer) he's just as cinematically important and influential.
Like any other film of his, at least that I've had the pleasure to see, it's worth a purchase and re-watches. The dialogue, especially, is simply fantastic. I'd take just one of his early works over a hundred of the films Hollywood churns out nowadays. They're simply that better and intrinsically satisfying. Immortal cinema.
A banner movie from film noir's classic era.
Double Indemnity is directed by Billy Wilder and Wilder co-adapts the screenplay with Raymond Chandler from the novella written by James M. Cain. It stars Fred MacMurray, Barbara Stanwyck and Edward G. Robinson. Music is by Miklos Rozsa and cinematography by John F. Seitz.
For a film lover such as myself it feels redundant writing a review for Double Indemnity, because quite simply there's nothing to say that hasn't been said already. The esteem it is held in is justified, it's a razor sharp noir across the board and can be put up as one of the classic noir era pictures that got lovers of the form interested in the first place.
Based around the infamous Snyder/Gray case of 1927, Wilder and Chandler fill the story with a sinister cynicism that is palpable in the extreme. With a script positively pumped with hard boiled dialogue, a simple case of murder becomes so much more, a labyrinth of devious cunning and foolishness, with a trio of top performances crowning this topper.
Technically via aural and visual work the story gains extra spice. Rosza provides a score that frays the nerves, imbuing the sense of doom and edginess required for plotting. Seitz excels, the photography a trademark for noir, heavy shadows, abrupt camera angles and menacing shards of light come to the fore.
And to top it all off, it gets away with so much, a real censorship baiter. The story takes a journey to the dark side of morality, and the makers, bless them for they know what they do, gleefully tease the production code to give film noir fans a reason to rejoice.
Quintessential stuff. 10/10