June 29, 2017 § Leave a comment
“Funeral Parade of Roses,” by the late Toshio Matsumoto, premiered in Japan in 1969 but was not seen in the United States until 1970, probably because of its depictions of gay sex, drug use and violence. Matsumoto, who for most of his career was an academic and an experimental filmmaker, sets his story in the demimonde of Tokyo’s Shinjuku district. His characters are gangsters, filmmakers, student rioters and trans women. Most of the action takes place in a gay club whose gangster owner, Gonda (Yoshio Tsuchiya), is pitting Leda, the “mama” (Osamu Ogasawara), against a younger rival, Eddie (Peter), who aspires to succeed her as the hostess. As the lover of both Leda and Eddie, Gonda sets in motion a tragedy of Greek proportions.
“Funeral Parade of Roses” is at once an art film, a black comedy, a feature film, soft core porn, a film-within-a-film, a horror flick, a political commentary and a retelling of “Odeipus Rex”–and I’ve probably missed a few genres. It references Man Ray’s photographs and French Cinema, and is beautiful, messy and brilliant. The film was a major influence on Stanley Kubrick, who borrowed from it in “A Clockwork Orange” and “Eyes Wide Shut.” Despite being nearly fifty years old, “Funeral Parade of Roses” received a wildly enthusiastic reception from a mostly young audience at Cinefamily the night I saw it. It will be released on DVD and deserves its praise.
“Oh, Lucy” directed and co-written by Atsuko Hirayanagi, was well received at Cannes this year. The story of a 55-year-old single woman in Tokyo who unexpectedly changes her life, the film deals in Japanese themes (suicide by train, office ladies, yakuza) as well as universal ones (workplace politics, alienation and family relationships).
Setsuko (Shinobu Terajima) is a hoarder and office drone who witnesses a suicide off the tracks on her way home one evening–in fact, the man bids her goodbye before jumping. Soon afterwards, her niece Mika persuades Setsuko to buy a package of English lessons from her. Despite having no interest in learning English, Setsuko hands over the money and goes to the class which, oddly, is held in a yakuza establishment in Shinjuku.
“I’m a hugger,” says the American teacher, John (Josh Hartnett). He promptly wraps her in an embrace, christens her Lucy and makes her wear a blonde wig, all of which he claims will help her to learn English. Galvanized by his method, Lucy develops a crush on John as well as a tentative friendship with a fellow student, Tom (Koji Yakusho). When John abruptly disappears along with Mika, Lucy wastes no time in flying to Los Angeles to find him, accompanied by her estranged sister Ayako, Mika’s mother. Once they find John, they set out on a road trip to San Diego in search of Mika. There, liberated and unmoored, Lucy wreaks havoc on everyone around her. A black comedy that gets progressively darker before its hopeful ending, “Oh, Lucy” is as unpredictable and indelible as its heroine. It’s well worth seeing.
October 26, 2016 § Leave a comment
Unfortunately I could attend only the last night’s films. Both were excellent and shared a theme: social isolation in contemporary life.
In “Wild,” by writer/director Nicolette Krebitz, a solitary young IT worker named Ania (Lilith Stangenberg) is galvanized by the discovery of a large wolf in the park near her sterile apartment building. Soon she’s reading up on wolf hunting and constructing a perimeter of flags to trap the animal, which she tranquilizes, drags back to her apartment and, improbably, tames. As the wolf becomes domesticated, Ania becomes more feral, with dramatic consequences for everyone and everything around her. Stangenberg’s performance is astonishing, as is the wolf’s (apparently two animals played the role), and the ending is unforgettable.
Aloys (Georg Friedrich), the lonely protagonist of writer/director Tobias Nölle’s eponymous film, is a private detective whose misanthropy and profession have cut him off from normal human interaction. Filming and taping are Aloys’s means of expression as well as tools of his trade, and he pursues them constantly. At the start of the film, Aloys’s father and business partner has just died, leaving him completely companionless. After drinking himself into a stupor on a bus, the bereaved detective awakes to find his camera and latest videotapes gone. Soon he gets a call for ransom, which involves “telephone walking” with a mysterious woman. Through a conversational game, Aloys is gradually drawn out of his isolation and into a relationship with the thief, who turns out to be his suicidal neighbor.
Though neither “Aloys” nor “Wild” has U.S. theatrical distribution at this point, it’s likely that they will be available online in the near future. I recommend both films highly.
July 9, 2015 § Leave a comment
None of this was particularly on my mind when I got tickets to two films, one written and directed by a man and the other written and directed by a woman, at the recent LA Film Festival. But because they were like night and day in quality, I couldn’t help wondering how the two directors would fare in their next projects.
I’m not going to name the male-directed film, but it got a big, well-publicized screening at the festival, complete with a director Q & A, and featured some interesting actors. Also on the plus side, it was shot on film and boasted a number of long shots, which are increasingly rare now that everything is made with television in mind. Unfortunately, neither the director nor the DP really knew how to use film–or cameras, for that matter. The advantages of film weren’t evident on the screen, and there was some whipsawing, nauseating camerawork. There was also a glaring misuse of split-screen. As anyone who has ever seen a Doris Day-Rock Hudson movie knows, a split screen is called for when the characters are talking on the phone to each other or doing parallel activities in different locations. But here the director split the screen for two versions of the same shot: one taken from a great distance and one from relatively close by. It was baffling, and it didn’t work. Then there was the sound, which my viewing companion, a distributor, called terrible.
On to the script. There were long Tarantino-esque speeches without the wit, and bursts of David Lynch-ian mystery and violence without the inventiveness. Oddest of all was the lack of clothing on almost all the actresses, and not just the ones working in strip clubs. One woman not only answered the door to a total stranger while bottomless but proceeded to have a long, half-naked conversation with him. Afterwards I overheard a young woman in the ladies’ room sum up the moviegoing experience: “None of those girls had any pants on!”
Fortunately the second film couldn’t have been more different, both in its scope and execution. First-time director Emily Ting made a self-assured debut with “It’s Already Tomorrow in Hong Kong,” a love story reminiscent of “Before Midnight.” The story concerns two chance meetings between Ruby (Jamie Chung), a Chinese-American visitor to Hong Kong, and Josh (Bryan Greenberg), an American banker and longtime Hong Kong resident. During their first meeting, Josh escorts Ruby, who is lost, to her destination. The two strike up a flirtation as they walk and talk, but nothing comes of it because Josh has a serious girlfriend. The second chance meeting takes place a year later, when the two meet on the Star Ferry. Ruby, now living in Hong Kong, is engaged to be married, while Josh has quit his banking job to be a writer, a career change that has strained his relationship with his girlfriend.
Beyond the pitch-perfect script and the charm of the two leads, I was impressed by the technical aspects of the film, which was shot entirely at night in busy public places in Central and Kowloon. Because I was born in Hong Kong and have visited many times since, I know how challenging it was to shoot and record sound amid the omnipresent crowds. (Strangely, most Hong Kong movies and TV shows feature eerily empty public spaces, cleared of people and probably shot at dawn, to create an aspirational and unreal atmosphere.) Despite the many obstacles, everything was done beautifully, lit by neon and recorded by lavaliere mics. As for the script, Richard Linklater has nothing on Emily Ting. “It’s Already Tomorrow in Hong Kong” has some distribution in place, and I hope it gets the audience it deserves.
In comparing these two films, I’m not saying that men make big movies and women make small ones–Richard Linklater and Kathryn Bigelow, among other directors, prove that’s not the case. But I believe that if a woman director had made a movie with as many mistakes as the first one, it wouldn’t have been accepted by a major film festival, let alone been given a splashy premiere.
January 11, 2015 § Leave a comment
Because my days are mostly spent sitting in front of a computer, playing Words With Friends, going to the gym and running errands, I sometimes think Los Angeles is wasted on me, since all those things could be done as well (and in the case of errands, more easily) elsewhere. Then I remember what keeps me here: films. It’s not just the variety and number of movies that come out each week; it’s the fact that many of them will never run anywhere else in the United States but here and New York. Sure, most will eventually turn up on DVD or online, but by then they’ll be competing with a flood of new releases, both theatrical and online. With greater numbers of films released each year, keeping up is nearly impossible.
But in Los Angeles I can see a great new film from Poland or Estonia as soon as it arrives, and on a big screen. It’s something that I’ve never taken for granted, any more than I take for granted the state-of-the-art sound systems and screens at ArcLight Hollywood, my neighborhood theater. In other cities, even ones that pride themselves on their cultural offerings, the situation is quite different: the Bay Area, where I used to live, gets big studio releases one or two weeks later than Los Angeles, the same as most cities across the country, while independent and foreign ones films open even later, if at all.
There are other perks to being here, too. A couple of weeks ago I wrote about “Force Majeure,” Sweden’s entry for Best Foreign Film.
https://underthehollywoodsign.wordpress.com/2014/12/21/force-majeure-everything-wild-isnt-and-more/ Yesterday, at the American Cinematheque’s pre-symposium reception for the Golden Globe nominees, I was able to introduce myself to Ruben Ostlund, the director, and tell him how much I loved his film. Although he was gracious, it probably meant nothing to him. But to me it was a vivid reminder of why, twenty-five years after moving to Los Angeles, I’m still here.
September 4, 2014 § 2 Comments
Beyond the films and moving house, why did it take me so long? There isn’t any simple answer, but it’s clear that reading novels doesn’t teach one to write them. And writing novels doesn’t equal finishing them: a previous attempt ended in frustration. (Recently I learned that Joyce Carol Oates’s late husband left a novel–his only novel, chipped away at for decades–unfinished when he died. It was not reassuring.) From a practical standpoint, the work would have gone faster if I had revised printed drafts rather than doing it on my computer. Because the novel existed only virtually, a number of gaps and errors went unnoticed for too long. But the biggest setback came during the summer of 2013, when a Time-Warner technician cut the power and crashed my computer. (He had assured me that I could keep working while he ran new cable to the house.) When everything went black, I lost the draft I was working on, including a substantial part of the last section. Although I had saved a previous draft on Dropbox, I was never able to recover what had disappeared. Worse yet, I was afraid to look at the manuscript, much less work on it, for several months.
But eventually I did. This summer I knew I had to finish so I soldiered on, finally getting to the end on Labor Day. This month I’ll send the manuscript out to some friends who have kindly volunteered to be my first readers. After that, I’ll work on selling it. One way or another, it will be published. But let’s face it: we’re not living in the Age of the Novel and no one really cares. So why did I bother? Because, with the exception of my (easily fulfilled) goal of motherhood, all my ambitions have paled in comparison to my desire to write a novel: it’s a dream I’ve had since the age of twelve. Accomplishing it has taught me many things, one of which is to love the process, not just the result. And even if only my friends and family read it, my reward has come already: I’ll soon be starting two new projects, neither of which would have come my way if I hadn’t persevered on this one.
September 29, 2013 § 2 Comments
Confidential to Shane and Harvey: the time to make changes is after the festivals, not during the commercial run. This only makes you look desperate.
September 19, 2013 § 2 Comments
Reading and hearing the reviews of Shane Salerno’s misbegotten documentary “Salinger” has been more of a revelation than anything contained in the film. It’s not often you hear critics retching in print, but they do over “Salinger,” and it’s amazing to see. Here’s a roundup of reactions:
A.O. Scott, The New York Times: “…less a work of cinema than a byproduct of its own publicity campaign.”
Peter Travers, Rolling Stone: “…make sure you bring a barf bag when you watch this doc’s tacky re-enactments, hear its cheeseball score and endure literary posturings so florid they’d embarrass Baz Luhrmann of The Great Gatsby.”
Dana Stevens, Slate: “[Th mystery of J.D. Salinger] is certainly hardy enough to withstand the voyeuristic onslaught of this self-aggrandizing, lurid documentary, which leaves the viewer feeling that we’ve been given a tour of Salinger’s septic tank in hip waders….”
Julia Turner, Slate Culture Gabfest: “The single worst movie I’ve ever seen in my life.”
Turner’s remark was particularly striking, not because I think she’s exaggerating but because she obviously hasn’t been to enough film festivals. Festivals specialize in assaultive movies, and it’s not unheard of for viewers to faint or vomit during screenings. More commonly they walk out. Fortunately, the Palais des Festivals, the main theater of the Cannes Film Festival, offers an effective revenge on badly received films and their directors. Whenever someone leaves early, the unusually tight springs on the seat make a loud pop. A mass exodus sounds like gunfire.
I’ve walked out of a lot of bad films at festivals, but the Worst Movie I’ve Ever Seen in My Life is one I saw in a studio screening room in the late 90s. To protect the hapless director, I won’t mention its name but the film was shot on an island and involved a crime of some kind. (I’m foggy on the plot not because it was a long time ago, but because I didn’t understand it at the time.) As I recall, there was a lot of driving and an exploding car on a bridge. After the explosion the film abruptly stopped–not because it was over, but because the producers had run out of money and couldn’t afford an ending. I wanted to laugh but the director was sitting an arm’s length away, still hoping that the necessary funds would be forthcoming. They weren’t, and the film was never released. I don’t know what happened to the director, who had mortgaged his house to finance the project, but last I heard some of the footage was sold for stock.
Compared with this, “Salinger” is not half bad, though it certainly doesn’t deserve its high-octane release. It occurs to me that if the documentary makes money, Salerno might be encouraged to make another feverish literary tell-all, in which case Thomas Pynchon should lawyer up immediately.