Random Clip 04/04/2012

The Japanese animated Metropolis (2001) continues to impress me as time passes. Based off the series from Osamu Tezuka, the godfather of manga, whom took inspiration from a poster from Fritz Lang’s classic film Metropolis (1927), with a script from the famed creator of Akira Katsuhiro Otumo and directed by Shigeyuki Hayashi this is basically the project of a super group. Otumo loosely basis the film from Tezuka’s manga and draws from many of the themes and inspiration of Lang’s film, as well. I actually believe this anime is superior from a narrative standpoint over the original film going further into questions of class, humanity, love, identity and the many other issues about robotics in a futuristic world. It also follows themes shared between Tezuka’s famous series Astro Boy and to an extent Pinocchio .

Like the groundbreaking anime Akira (1988) the anime is gorgeous and the character designs from Tezuka’s classic cast lend themselves well to the many subtle expressions in this film. I have linked the opening sequence of Metropolis as an introduction to the exuberant animation and world of this science fiction story. Similar to the Fritz Lang version, there is an underground society where the metropolitan/cosmopolitan city is built upon. But the film deals more with servitude through robotics and the unemployment of human civilians because of this outsourcing. Much of the imagery follows a cyberpunk dystopia/utopia dichotomy both in the world design and social unrest.

But aside from the great artwork and animation, it is the characters that really draw the viewer in. The plucky protagonist Kenichi, his detective uncle Shunsaku Ban, the mogul Duke Red, his troubled son Rock, and the android Timi. These characters function as ciphers for the colorful inhabitants of this world and their interactions, misunderstandings, and bonds with each other provide the emotional center and humanity that is often criticized as lacking in much of science fiction. This is a gorgeous animated film to watch and wonder upon and has some very deep emotional moments that really connect in unexpected ways. Also, it is one of the better English dubbings I have come across to boot.

Random Clip 04/02/2012

Tod Browning’s Freaks is one of the most unsettling and effective films I’ve ever seen, and definitely one of my favorites. Like many of the best horror films made during this period prior to the implementation of the Motion Picture Production Code, the film was able to hire actual “sideshow freaks” to comprise the majority of its cast. While Browning wisely follows a more human and compassionate angle with these characters, the big payoff of course are the consequences once you cross them.

This is one of the most infamous scenes of Freaks where the troupe initiation of of the circus members into their own. It is definitely demented and has been parodied on numerous occasions; the most recent that comes to memory has been South Park. There are a number of humorous and disturbing scenes in this film. One in particular that stands out to me is the torso man rolling on the ground with a knife is his mouth to attack Cleopatra, who is ostensibly the film’s villain. While I view it to be darkly humorous, I am sure it was and is still terrifying for many viewers today.

Tod Browning is probably most well known for his work with Bela Lugosi and the number of Dracula films the two had produced during the 1930s. But he was quite the versatile director successfully making the transition from silent to sound film tackling numerous genre. If you ever take a film genre class, you can be certain to tackle the works and importance of the evolution of early Hollywood cinema and the hand Tod Browning had in producing some of the most classic genre films of the period.

Random Clip 03/30/2012

I had the good fortune of seeing Werner Herzog’s Stroszek (1977) screened using a film print and a very pleasant Q&A with the director afterwords. It was my introduction to the German New Wave filmmaker and what a wonderful film to be my first encounter with Herzog. Sadly, I don’t recall the director’s exact comment on this scene. But I do remember how the discovery of this dancing chicken was fate. It just so happened to catch his fascination when he arrived at the filming location to find this coin operated music box to incite this dancing chicken.

Stroszek follows Berlin street performer Bruno, who is a deeply flawed individual. Many critics have commented on the film’s oddness of subject matter and narrative. But Bruno functions as the axis to tie the random events into a cohesive experience. This downtrodden cannot catch a break and is compelled to return to a life a crime. In the final sequence this dancing chicken makes an appearance. On the DVD commentary, Herzog states that the dancing chicken functions as a “great metaphor.” For what–he is not sure. It is clear the chicken reflects the final fate of Bruno in the film as he continuously rides on a ski lift after having just robbed a barbershop.

It is not a stretch to believe that Bruno wants to return to the confines of incarceration. The harsh and oppressive realities of society has not been kind to him and the prospect of going back to prison is a reasonable alternative. The dancing chicken is an odd and melancholy humorous aside. Could this be a metaphor about our own lives and not just Bruno? Are we merely on a constant circular path pleasing constructs or figures that control our will? Who knows? But we are compelled to watch this chicken regardless how absurd and vexing this amusement is. Watching the film is not like the fascination to investigate a car wreck. It is a compulsion due to our curiosity and bewilderment. And yet we are emotionally touched by Bruno’s plight and oddly engaged to speculate what we are seeing on screen.

Random Clip 03/28/2012

A fellow cohort commented that the failure of any critical discussion over the Wachowski’s Speed Racer (2008) illustrates a failure in film academia. I could not agree more as the film was one of my favorites released that year. My associate went on to say that Speed Racer is everything the Wachowskis wanted The Matrix to be. While I would not go as far to fully support that statement, Speed Racer is the realization of the anime influence the two directors wanted to bring to cinema.

It is not difficult to describe this film as a kaleidoscopic of anime aesthetics. From the color to the editing to panning to the framing, Speed Racer wears its Japanese heritage on its sleeve. A more interesting angle is the film wears its heritage as an import, as well. This movie is unabashedly in love with its animated aesthetics and that is clearly seen at the offset of the film’s first shot. It is full of energy and adulation with the 1960s cartoon import one cannot help but fall in love or resist in disgust with its hyperkinetic and hypercolored universe. Not only this, but it maintains its foreign exoticism and melodrama that is often identified with Japanese media imported into the United States.

I still believe Speed Racer is a wonderful product of postmodern cinema as the Wachowskis attempt to translate the franchise’s retro aesthetic with modern sensibilities or at least modern filming techniques. It repackages the nostalgia with such adornment the movie becomes lost in its own indulgences. The Wachowskis are fond of their influences and eagerly willing to present this on screen; even lifting directly almost at a 1:1 manner. The Matrix attempted to utilize filmic techniques from Asian cinema to the extent that they hired industry talent. However, Speed Racer feels like a genuine product out of this heritage and tradition of Asian cinema. In that sense, Speed Racer is the movie that The Matrix wanted to be.

Random Clip 03/26/2012

One of my favorite films is Wong Kar-Wai’s haunting In The Mood For Love (2000). There are many elements to adore in this film, but by far one of my favorite moments of film editing is this dinner sequence. In this clip, Maggie Cheung and Tony Leung play out the roles of their significant others in a ruse to recreate the affair each other’s respective husband and wife is having. They too are falling in love, but cannot act upon their desires to become as unfaithful as their partners.

What I love about this sequence aside from the wonderful soundtrack, distant but effecting acting, and beautiful cinematography is how this sequence is constructed. Scenes are repeated and replayed to the audience, but look closely at the change of costuming by the dresses Maggie Cheung is wearing. While the order of scenes follows a tradition of immediate linear editing, with closer inspection this is not the case. Days, weeks, or months may have passed as this couple repeatedly continues this routine. Their relationship grows towards intense intimacy in the span of minutes on screen which we can speculate is actually much longer within the reality of the film.

Wong Kay-Wai often plays with time in his films such as the interweaving stories in Chungking Express, the jumping timelines in 2046, or narrative ellipses and flashbacks in Happy Together. Here, we see repetition function as a ritual in an attempt for these characters to cope. But it is also a facade for human intimacy while denying their own desires. It’s a wonderful act of embodying an other to be to channel one’s self.

Eclipse 01: Early Bergman | Torment

Criterion Synopsis: Ingmar Bergman’s first produced screenplay was for the great Swedish filmmaker Alf Sjöberg’s Torment, a dark coming-of-age drama about a boarding-school senior, Widgren, terrorized by his sadistic Latin teacher. When Widgren falls for a troubled local girl, Bertha, he finds himself caught up even further in a web of emotional mind games.

2012: Criterion Collection: Eclipse Series

I've made a huge mistake...

A few months ago against my better judgement and decided to invest an unreasonable amount of money to purchase all of the Criterion Collection DVDs available from their Eclipse line. This included discs out of print from their sixth entry in the series. Suffice to say, I will probably be keeping up with this series of DVDs as future releases come out. Already, I have my eyes set on the three pending boxed sets that need to make it into my collection.

Everything is broken: SNES International Super Star Soccer

Soccer in its purist form. GOOOOOAAAAALLLLL!!!!!!! Note: “Realistic” soccer begins @ 7:22

Where is Rivette?!?!

As many of the 1960s French New Wave directors are getting up in the years and, unfortunately, passing away into the next world it came to my attention that there is not a single film from Jacques Rivette released by the Criterion Collection. What the hell?!

Castlevania: Age of Regression

It is likely that I have logged in well over 20 hours of game play into Castlevania: Harmony of Despair; and it is likely that I will not touch the game again in quite some time. Stick a fork in me. I am done. This may give you the impression that I whole-heartedly enjoy the game. Nothing can be farther from the truth. But I am infatuated with its core concept and execution. Is this game merely an easy cash-in or is it an ingenious product of remix culture?