Archive for Ozu

Ohayo!

Posted in FILM with tags , , , , , on May 25, 2017 by dcairns

Just got my complimentary copies of GOOD MORNING from Criterion. I’ve made a video essay for the disc, entitled Transcendental Style and Farting, about Ozu’s use of humour. Stephen Horne edited it and Danny Carr did the special effects — yes, special effects! We’ve worked together on a few extras and Danny also did the bulk of the FX work on THE NORTHLEACH HORROR. He is Scotland’s leading compositing genius.

I was fascinated — as how can you not be? — by Ozu’d gridlike living spaces, and his empty frames which linger after the characters have shuffled out of shot. I suggested to Danny he could disassemble the rooms into sliding panels, just for fun. A very fifties effect — think Saul Bass title sequences as in SEVEN YEAR ITCH. It made for a very nice set of interstitial bits, that draw attention playfully to Ozu’s compositional tropes.

Danny’s rendition of this surpassed all expectations — one of those things that just instantly WORKED, no fine-tuning required.

GOOD MORNING is available now. When you press PLAY these rooms will magically fill up with people!

 

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Three floral arrangements and a Sunday Intertitle

Posted in FILM with tags , , , , , , , on January 22, 2017 by dcairns

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(1) WOMAN IN THE MOON (Fritz Lang)

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(2) PASSING FANCY (Yasujirô Ozu)

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(3) ERASERHEAD (David Lynch)

The necessary background: arrangement one has been destroyed, absent-mindedly, by a distraught would-be astronaut during a telephone call; arrangement two has been destroyed very deliberately by a distraught schoolboy in a horticultural tantrum; arrangement three has not been destroyed. That’s as good as it was ever meant to look.

I touched base with the Lynch again when discussing sound design with students, re-watched the Lang for an upcoming project (Fiona, to my surprise, had never seen it) and the Ozu is part of a programme of viewing designed to make me fit for yet another project. Let’s talk about the Lang a little.

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The colossal, industry-busting size of METROPOLIS must have left the Lang-Von Harbou team in a bit of a bind. They wouldn’t want their next film to be an anticlimax, but they couldn’t realistically top what had gone before. Their eventual follow-up sprang from an abandoned idea for the previous super-epic’s climax in which the heroes would finally blast off into space (THINGS TO COME would eventually follow a comparable structure) and allowed them to make a slightly more modest film with a spectacular vertical ascent. So it was something different anyway. The advent of sound would allow the team to take M in an entirely different direction and not worry about gigantism as a goal.

While some compliment WOMAN IN THE MOON for inventing the countdown, I say it deserves more praise for correctly predicting that the first interplanetary travelers would walk the lunar surface wearing chunky knitwear and jodhpurs.

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Whatever that weird experiment was that Lang was performing with his actors in METROP — a range of emotion starting in a kind of feverish hysteria and ending in complete meltdown — he’s abandoned it in favour of a lighter tone and somewhat more naturalistic perfs. Though Fritz Rasp can never be adequately captured by a word like naturalistic. Germany’s leading Backpfeifengesicht, he seems to really exult in being repellent, this time perfecting his gloating smirk from beneath an askew smear of oily Hitler-hair that seems to have been poured onto his scalp like syrup. A pre-echo of Gary Oldman in THE FIFTH ELEMENT.

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Rasp and his hair

The first section of the film has more sweetness than any other Lang of its era, with sentimental sympathy for its outcast rocket scientist and his devoted young chum. (The scientist is introduced hurling an interloper downstairs, just like Professor Challenger in Doyle’s The Lost World.) Then a kind of Mabuseian paranoia takes hold as Rasp and his cohort of shadowy industrialists force their way into the moon mission.

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Complicated intertitular thing: the announcer in the upper left is live action, the rest of the frame is a still image, and the words are animated, flying out from the announcer to vanish bottom of frame: “The spaceship (weltraumschiff) has reached the launch pad.”

Then there’s the launch and the journey — the intentionally juvenile aspect of the story is clinched by the presence of a schoolboy stowaway.

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Then the stuff on the moon, where the team is beset with treachery, cowardice and, yes, lunacy, as well as a violently unstable romantic triangle. Though I’ll never stop boosting METROPOLIS, in its restored version, as a gripping story as well as a historically important epic, a case could be made for FRAU IM MOND as an easier sell if you’re thinking of introducing students or anyone else to German silent cinema.

“How dare you make a face!”

Posted in FILM with tags , on January 8, 2017 by dcairns

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That’s what it says, apparently. Burying myself in Ozu. Can’t tell you why yet. Also — Borowczyk! So you can’t say things aren’t varied. Oh, and a bit of Ashby, a dash of Etaix. I can say no more.