Archive for Masaki Kobayashi

12 Hungry Films

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 24, 2008 by dcairns

Another one I should have listed in the previous post: Kurosawa’s MADADAYO. His final film as director. I loudly bemoaned the fact that it didn’t get a UK release at the time it was made, nor even after A.K.’s death. I was thrilled to finally get a copy. Then I failed to watch it. I look forward to getting Fellini’s last film, VOICE OF THE MOON, also denied a UK release, so I can fail to watch that too.

Here’s my list of films I’m aching to see (although whether I’ll watch them if I find them is apparently doubtful) —

1. THE DIARIES OF MAJOR THOMPSON. Preston Sturges’ last movie, described as “almost defiantly unfunny” by one biographer. But it’s hard to find anybody with a kind word for THE BEAUTIFUL BLONDE FROM BASHFUL BEND either, and that one, though not prime Sturges by the furthest stretch of hyperbole, has a fair few laughs.

2. There are lots of Julien Duvivier films unavailable, or unavailable with subtitles. LA BELLE EQUIPE may be the most historically important one. And it’s got Jean Gabin in it.

3. L’AMORE. I’ve yet to really get into Rossellini, so this interests me more for the presence of Cocteau and Fellini as writers, and Fellini as actor. Maybe it would help me appreciate Roberto R.

4. A GIRL IN EVERY PORT. I know Howard Hawks is considered to have really come into his own in the sound era, and especially once the grammar of Hollywood talkies had formalised into the Golden Age of the late thirties and forties, but shouldn’t SOME of his silent work be worth seeing? Particularly this one, which features Louise Brooks as a prototypical Hawksian dame.

5. DANCE OF THE SEVEN VEILS. Ken Russell’s Richard Strauss film, suppressed by the Strauss estate. Reportedly the most extreme of Mad Ken’s TV films. Soon to be available in the US in a box set of the Great Masturbator’s BBC works. But I probably won’t be able to afford it. NB There are lots of other TV works by the Mastur which I haven’t managed to see either.

(STOP PRESS — apparently it isn’t in the set, despite being listed on Amazon.)

6. PHANTOM. This early Murnau classic is available from Kino, but I can never afford it (or when I can, the prospect of three other films for the same price as this single one always tempts me) and has aired on TCM a few times, but I’ve never managed to get a stateside correspondent to record it. The clips I’ve seen are truly mouth/eye-watering. They turn my eyes into salivating little mouths, is what I mean.

7. I was going to put Victor Sjostrom’s THE OUTLAW AND HIS WIFE, but remembered that I have a fuzzy off-air NTSC VHS of that, so it really belongs on the previous list. Big Victor directed my all-time favourite film, HE WHO GETS SLAPPED. So, in the wake of David Bordwell’s brilliant piece on it, I choose INGEBORG HOLM from way back in 1913.

8. If Duvivier’s availability suffers from an unjustified downgrading of his reputation (as I believe), Robert Siodmak’s obscurity is a mystery. His Hollywood output is mostly obtainable with varying degrees of effort, but the only pre-American work out there appears to be PEOPLE ON SUNDAY and PIEGES, which isn’t exactly “available” but can be had if you know the right people. PIEGES is a dream of a film, a slick thriller that prefigures the American noirs and would be essential to an understanding of the man’s oeuvre. So who knows what else is required viewing? And the post-American period is almost equally underrepresented. I managed to see NIGHTS, WHEN THE DEVIL CAME, and was bowled over by it (a serial killer in Nazi Germany… some subjects may be too striking to actually do badly). DIE RATTEN is considered an important part of post-war German cinema, but you can’t see it. I’d like to.

9. INN OF EVIL. Of course my shame at not having watched THE HUMAN CONDITION yet should preclude my mentioning more Masaki Kobayashi, but this one sounds too enticing. The fact that there are IMDb reviews suggests it is possible to see the thing.

10. THE DAY THE CLOWN CRIED. I can’t believe there isn’t a thriving black market trade in copies of this one. Jerry Lewis’s Holocaust movie is something of a legend, its release forestalled by legal disputes, its reputation as the ultimate bad-taste artistic folly fuelled by only rumour and a few witness reports (I like Dan Castellanata as an actor but I don’t necessarily trust him as a film critic). Some of Lewis’s later films are problematic enough even without death camps, but this demands to be seen.

11. Anything at all by Alessandro Blasetti? Or any of the countless Riccardo Freda films that can’t be seen? Mario Bava’s last work, the TV film VENUS OF ILE? The unseen early works of Max Ophüls? There are too many candidates for this penultimate slot.

12. A note of optimism — I’ve longed to see Nick Ray’s films for a very long time, as it’s measured in Scotland. And finally it seems like WE CAN’T GO HOME AGAIN and THE JANITOR are on their way into my feverish clutches, to join the heaps of the great unwatched in my living room.

12 Angry Films

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 23, 2008 by dcairns

There’s a mutating meme coursing across the interweb — bloggers challenging each other to name twelve films they haven’t seen. The task varies from blog to blog, sometimes amounting to a confession of what well-known or important movies the author hasn’t caught up with, sometimes tending towards a list of extreme rarities that nobody can find.

I think both lists have value. Maybe somebody out there will be able to help me out with the films I want to get my mitts on. And maybe naming the films I haven’t seen will shame me into watching them. I also like the Self-Styled Siren’s approach, which involves listing twelve films in her collection which she hasn’t gotten around to running yet (including LA FIN DU JOUR!).

So my first list will be twelve rare films that I went to considerable effort to get, then didn’t watch.

1. THE POWER AND THE GLORY. An early Preston Sturges screenplay. Looked for this for AGES, finally got it a couple months ago. Haven’t even peeked at it. What a maroon!

2. Early Hitchcock. I’ve seen most of the thrillers, but odd things like RICH AND STRANGE are sitting neglected. Nice quality, from the recent box set of early Hitch… I’m contemplating spending a whole week running all the Hitch I haven’t seen. Yep, I’m CONTEMPLATING it…

3. Murnau’s TARTUFFE. Bought the Kino edition from America. I keep putting it on, then getting distracted. It may not be major Murnau, but it certainly has inspired bits (I love the style of the modern framing story more than the actual Moliere adaptation), and if I watched it properly who knows what I’d get out of it?

4. Michael Powell’s quota quickies. A fascinating glimpse into the creative process: watch Powell slowly spread his wings and try things out and gain confidence, on threadbare budgets and schedules so brief the Kleig lights barely have time to warm up. I have a number of these, all more or less unwatched. Let CROWN VS STEVENS stand for them all.

5. UN REVENANT. A fog-bound Parisian gangster film in the poetic realist vein, directed by Christian-Jaque and starring the mighty Louis Jouvet. I paid good money for a fine copy of this. So why haven’t I watched it, two years later? BECAUSE I AM AN ARSE.

6. Resnais’s MURIEL. Got very excited about seeing this, bought it, watched ten minutes, was intrigued, got interrupted, never went back. I’m dreadful. A failure as a man, and as an assemblage of molecules.

7. LES ORGEILLEUX. Gerard Philipe gives an astonishing performance (I peeked) in Yves Allegret and Rafael E Portas’ sensational drama. An unusually articulate IMDb reviewer calls it “one of the greatest films I’ve ever seen”. It may be one of the greatest films I haven’t seen. How would I know?

8. THE HUMAN CONDITION. Masaki Kobayashi’s nine-hour three-film extravaganza, released by Criterion but now out of print. Miraculously got a copy via Mark Cousins, then failed to watch it. Kobayashi is one Fiona’s very favourite filmmakers, but I think the phrase “nine hours” is putting her off.

9. MARILYN. Wolf Rilla (VILLAGE OF THE DAMNED) directs this British B-movie answer to THE POSTMAN ALWAYS RINGS TWICE. Got a surprise TV airing this year, I recorded it. Then kind of set it to one side. We met Wolf Rilla’s son once, Nico Rilla. He recommended a Rilla movie with a terrific title: THE WORLD TEN TIMES OVER.

10. THE HONEYMOON KILLERS. Perfectly nice pre-record boxed DVD of this lying on the living room floor amid a heap. And yes, I know Scorsese directed part of it, I know the story behind his firing, and I was able to use that information to work out which bits he directed. And I’ve watched those bits. But I need to watch the whole thing!

11. LE TROU. I have this Jacques Becker crime yarn in a beautiful Criterion Collection edition, (and TOUCHEZ PAS AU GRISBI too). I loan it to people. They watch it. I don’t. And yet I liked CASQUE D’OR quite a bit.

12. UNDERWORLD BEAUTY. I do like a Seijun Suzuki yakuza flick. I’ve watched BRANDED TO KILL numerous times (I still get utterly confused). And yet this one remains unwatched. I am an idiot!

Of course, I’ve barely scratched the surface…

One cappuccino, one latte, one black

Posted in FILM with tags , , , , , , , , , on June 5, 2008 by dcairns

MC Charmer

Coffee with Fiona and the ever-charming Mark Cousins. He was fresh from prostrating himself at the feet of Terence Davies in Cannes, where Davies’ new documentary, OF TIME AND THE CITY, had reduced him to tears. He says he’s found himself tearing up almost every time he’s tried to discuss the film since. He and Guardian film critic Peter Bradshaw were chatting about it after the screening and neither could hold back their tears. That must have been quite a scene. But I bet it has the same effect when it plays Edinburgh.

Apparently both Davies’ unmade drama projects now have a bit of heat again, after his Cannes success. Even French critics who were not overly familiar with Davies were blown away by it.

I’m reminded of Mitchell Leisen’s TO EACH HIS OWN. It ends abruptly at its emotional peak, and audiences were staggering from the cinema, blinded with tears, crashing into the walls and each other and generally gashing their heads and knees. Cinema proprietors contacted Leisen and begged him to add thirty seconds of nothingness, chatter or additional end credits to the film just to allow patrons to compose themselves. His response: “No.”

Mark is now well into the production of his eight-hour television version of The Story of Film. The book comes with a quote from Sean Connery. I remember reading it: “Mark Cousins is incapable of writing anything about cinema -” at which point I thought, “Hang on… That’s not very nice!” but the Great Man goes on, “- without making it fascinating.” I mentioned this to Mark one time and he said that when Connery dictated the quote over the phone, he actually paused at just that point. “The cheeky monkey.”

Hume Condish

My mercenary purpose in dragging Mark across town for this meeting was to extract from him copies of the rare and out-of-print THE HUMAN CONDITION trilogy by Shadowplay favourite Masaki Kobayashi, which I successfully did, so I’ll be writing about those beauties as soon as I’ve watched all nine hours.

Nine hours???!!!

Mark bought the films years ago on the advice of a friend who described them as the greatest film/s ever. The fact that Volumes 2 and 3 of Mark’s set are still shrink-wrapped strongly suggests that Mark did not share this view…

But he very kindly encouraged me to take my blogging skills, whatever they may be, into the more lucrative world of the printed page, and advised me on whom to approach. So, now I need to think about what kind of film book I would write. Any suggestions?