Archive for Lone Wolf and Cub: Sword of Vengeance

Testament

Posted in Comics, FILM with tags , , , , on June 21, 2016 by dcairns

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A busy few days, which explains light blogging here —

Introduced TINTIN AND THE MYSTERY OF THE GOLDEN FLEECE, which has a remarkable turn by Georges Wilson as Captain Haddock, wearing a beard that seems to be spreading over his entire face. Everybody always remembers Jean-Pierre Talbot’s quiff as being weirdly plastinated, but in fact it’s quite natural — subsequent actors in the role haven’t looked as credible.

Introduced LONE WOLF AND CUB: SWORD OF VENGEANCE, in a stunning 35mm print, whose strange soundtrack necessitated the reconstruction of Filmhouse’s projector between shows. Soldering was going on. And it worked! The perfect Father’s Day treat.

Introduced GOLGO 13, accompanied by my co-curator, the mastermind behind POW!!!, Niall Fulton.

Have finished a chapter on Howard Hawks (about five minutes ago) for a forthcoming book.

Am writing an essay for Criterion.

Am editing a video essay for Masters of Cinema.

And we laid Roddy to rest yesterday in a moving ceremony organized with love and imagination by his little sister, my wonderful wife, Fiona.

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Without a Sound

Posted in FILM with tags , , , , , , , , , , on January 3, 2016 by dcairns

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Looking at LONE WOLF AND CUB: SWORD OF VENGEANCE and SAMURAI WOLF, and am blow away by the use of sound in these 60s and 70s Japanese samurai flicks. What’s impressive is not so much the steely clashes as the silence around them.

SWORD OF VENGEANCE director Kanji Misumi uses one particularly lucid technique to heighten his swordplay. Much of the film consists of flashbacks depicting how jowly protagonist Tomisaburo Wakayama became a masterless ronin. These flashbacks tend to feature water — rain, a rushing weir. But the water makes no sound. An eeriness is created, from which the shrill clang of blades emerges with alarming clarity. There’s basically no atmos whatsoever, so that the sound mixer’s golden rule — always be having something going on — is abandoned. The audience is always quieter when the film is quiet. We fear our movements will give us away, revealing our position to potential enemies elsewhere in the auditorium, or to the giant, godlike figures on the screen. Heaven help you if you attract their attention.

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Of course, Misumi’s choice also helps distinguish flashbacks from present tense.

Hideo Gosha’s slick SAMURAI WOLF uses silence as the sound of death. Normal sound is cut off with the swipe of a sword — we lose the whistling wind sound, the cries of the dying victim continue for a second, and then get flicked off as with the throw of a switch — this seems to follow the advent of slomo, as a kind of delayed after-effect. As with Kurosawa (THE SEVEN SAMURAI) and Peckinpah after him (THE WILD BUNCH) slomo is the speed of the dying man, that adrenalin shot of death-trauma putting your last moments into a slurred timescape, a last chance to put your thoughts in order before oblivion reels you in. And with no sounds to distract you — how thoughtful of someone.

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The last great repository of silence may be the anime, where, since every sound is added afterwards anyway, Japanese filmmakers still occasionally withhold an effect. Miyazaki does neat things with the SIZE of sounds too — in TOTORRO, the titular nature spirit is big and noisy, but in an extreme long shot he can alight with a comical PLOP, like a fat raindrop. In Otomo’s AKIRA, Tokyo blows up in the opening shot, a black bubble of destruction which spreads and bursts without a single sound, the audio vacuum somehow suggesting a roar too great for any cinema’s speakers.