Reviews

Beautiful and gentle

I absolutely loved this, and it gets better and I see more each time I re-watch (3 times now!). The story is very very simple, yet it is never boring as the young actors bring an incredible level of authentic feeling, expressed through both words and through the deliberately awkward pauses, laughter, facial expressions and gestures that are so well done. They really rose to the occasion here I felt, and credit must go to the Director and the helpers they had to achieve this result.
Overall, it felt like a very real and adorable scenario as two people meet and share various 'First times' with each other. It is left in a way that allows me to believe that they might have many more 'Firsts' together ahead of them, and I have to admit - I love a probably-happy ending!

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"Why hadn't I been kinder?"

Kurosawa Akira tackled Dostoyevsky when he gave his interpretation of the novel The Idiot. The story was a morality tale of what happened to an innocent lamb in a den of wolves, even when friendship and love had been professed by all.

Kameda had been accused of a war crime and was about to be executed when he received a reprieve. He was summarily acquitted, but the damage had been done. He developed what the film called epileptic dementia. Kameda was reborn a kind man with a pure spirit. He had developed the ability to look into people's eyes and see into their soul, their kindness, their sorrow, their rage. After spending time recuperating in an asylum, he chose to travel to his last known relative.

On the train to Hokkaido, Kameda made friends with Akama. Akama was as brutish as Kameda was serene but the rough man took a liking to the gentle one. Akama was on his way to Sapporo to marry Taeko, a sad, beautiful woman who had been Tohata's mistress since she was fourteen. Tohata had decided to dismiss her and was offering a 600,000 yen dowry to whoever would marry her. With the death of his overbearing father Akama had received an inheritance and he was prepared to pay to have Taeko be his. Kameda also had received and inheritance, but what he didn't know was his relatives had already taken possession of his property.

Kameda met Taeko and found a lost and kindred spirit. He saw a pure soul in her buried under the shame and suffering. Taeko's exterior was as frozen as the ice-covered statues outside, but melted when for once someone respected her and she fell immediately for Kameda. Akama burst onto the scene with 1 million yen and was not looking to take no for an answer. Taeko threw the money into the fireplace and chose Akama. She knew that if she went with Kameda she would ruin him, Akama was the kind of man that even if she ruined him, it would not matter. As Kameda would later observe, she destroyed everything good that came into her life.

Afterwards, Kameda and his relative's daughter, Ayako, began to see each other. Jealous and conflicted, Ayako oscillated between love and hate for Kameda and his friendship with Taeko. Akama suffered the same fate except with a hotter hate and jealousy toward both Kameda and Taeko. Akama turned abusive toward Taeko because he knew she didn't love him and he harbored murderous thoughts for his friend Kameda.

For nearly the whole film, blowing snow pelted the characters. Piles of snow flanked the sides of the road and covered the roofs. The dark, cold world perfectly fit the mood of this film. Eventually, the buried feelings would explode with the heat of the flickering fire in Akama's wood stove leading to a tense, emotional scene as Kurosawa marched them in circles ever closer and closer to the long-awaited culmination.

Akama and Kameda were like the devil and the angel on Taeko's shoulders whispering which way she should go. Kameda didn't have any business sense or desire for wealth. He did, however, face every person and problem with kindness and understanding which earned him the name Idiot. Though he had been in an asylum for treatment, other characters would display for more frightening madness than he ever could. He showed compassion, others showed deadly obsession, envy, and dangerous emotional swings.

Mori Masayuki gave Kameda an almost angelic bearing, a difficult character to play. Some scenes he was more successful than others in breathing life into Kameda. Mifune Toshiro and his animalistic energy surged against the calmness of Mori's performance. Hara Setsuko playing against type with her often sunny performances, plumbed the depth of the darkness of Taeko. The youngest of the love square, Kuga Yoshiko, did what she could with the complex character of manic Ayako whose emotions flipped back and forth almost in the same breath. Mori was 20 years older than Kuga in real life, who was only 20 years old when the movie came out, and they looked an odd age match, made even odder since she was a relative in the story.

At the beginning of the film there were dozens of characters, but only Kameda, Akama, Taeko, and Ayako truly mattered, the rest were simply the chorus explaining why people thought Kameda was an idiot and giving voice to their concerns about him and finally understanding that he was too beautiful for a cruel world.

The pacing could be odd at times. The use of intertitles was very disrupting but that was not Kurosawa's fault. Initially, the film was going to have two parts, with a run time over 260 minutes. The production company cut 100 minutes from the film and summed up some of the first act with the intertitles. In all honesty, it might have been for the best. I really don't see how this film could have remained remotely compelling at 4 ½ hours even with adding more fully developed backstories. Nearly three hours was enough for me.

The Idiot can require some patience with its slow, melodramatic journey through what felt like an eternal and unrelenting winter. The only warmth and light came from Kameda loving the unlovable, forgiving the unforgivable, and facing a cruel and treacherous world with an open heart. In the end, those who remained came to realize the real idiots were the ones whose love included hate.

He was a "…genuinely good man. It may seem ironic choosing a young idiot as his hero, but in this world, goodness and idiocy are often equated. This story tells of the destruction of a pure soul by a faithless world." (The Idiot intertitle)

2/28/23

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What is it with Zhou Xun starring with... Zhou Xun?

This is maybe the 4th time I've seen the amazing Zhou Xun co-starring with herself. I bet it's killing Meryl Streep it never occurred to her to do the same.

This film is a watch if you enjoy Zhou Xun. It's not her best, it's not her worst. It's pretty good. She's a pleasure to watch and so YAY if she plays two characters even. The shortcoming here is the story.

This Courtroom drama has a rushed feeling to it and we learn why 2/3rds of the way through when it concludes: there's an extra 35 minutes which reveals a handful of secrets. It's a GOTCHA surprise TWIST that, like all such gotchas makes you first say HUH? and the re-examine everything you just saw to understand it a 2nd way.

I've frankly grown weary of these type of stories because it's so tedious to re-examine EVERYTHING and see how the hidden story may have been there all along. Usually these type of stories come off as more contrived than clever and this one is unnecessarily confusing as well.

The twist reveal eats up so much of this tale, wasting time I'd rather see with Zhou Xun fleshing out 3 other characters.

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Spoiler-free review since there are no others and more people should watch this

What I liked:

1) The action scenes! They were phenomenal and amazing to watch. Kudos to the choreographer or the person who was coming up with the moves since the fighting scenes felt fresh and not over the top.

2) The comedy! I wasn't expecting this movie to make me laugh but it did. There were awesome situational jokes and also a few running gags and I loved all of them. "The emperor wants me to go buy him onions!" was one of my favourites (it doesn't make any sense but watch it and it will :D).

3) The detective trio! They were all strong and it was nice to see a sword-fighting woman in this. Also the case actually made a lot of sense as there were clues scattered throughut the movie.

4) The OST! Honestly, I wasn't paying much attention to the music but during the credits, there is a great catchy song that is supposed to be sung by the characters of the movie and is so much in their characters, I loved it.

What I disliked:

1) The CGI was... weird at the best, but it was only there for around ten seconds so all good (and on the other hand, the make-up effects were great!)

(Next paragraph is slightly spoiler-ish but nothing major about the plot, most of this happens within the first ten minutes of the movie.)

2) There was a female sect of really cool ladies at the beginning but they all died within the first five minutes. :/ Also the FL was a strong woman, who could protect herself, but her biggest motivation troughout the movie was to marry the ML so... I wish we could see more sides of her. And this is a nitpick but I think she was dubbed as she had this over the top pitchy and whiny voice.

***
This movie earned 8.5/10 rating from me and I hope for a sequel!

Fun fact: This movie first caught my attention due to its long title, not this offical one but one of the names of this movie is "The Brocade Mouse Royal Cat Nine Deep Blood Wolf". Yes, there are no commas. No, I have no idea where the the word "nine" comes from since the word "wolf" is singular and it makes no sense either if if belongs to the "Royal Cat".

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Technology is a scary factor

New Korean content on Netflix, Unlocked, is an interesting and thought provoking movie about being heavily consumed by smartphones these days. While this is not the first movie to tackle this subject, it did a good job in delivering a realistic wake up call about the dangers of social media without any sugarcoating.

The pacing was good and the story delivered an unexpected twist in the end. It was suspenseful, it was urgent, and it was generally well made. Si-wan as the antagonist was convincing, although I felt that the thrill could have been more given it's genre. If you’re looking for a thrilling watch instead of a bubbly rom-com this February, Unlocked is one to turn your attention to.



My Rating : 7/10

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Subtle parody of 'Samurai' films

Sanjuro is considered a sequel to 'Yojimbo', but their storylines are independent. The titular character Sanjuro, we presume, is the same in both. This is a great film, but it is strongly recommended to watch Yojimbo first. The experience of watching Sanjuro is also enhanced if one has watched many of the more 'serious' classic samurai films including ones by Akira Kurosawa. Sanjuro, both the character and film, take us on a comedic journey of the world of lord, lady, gentleman warrior, and an outcast savant warrior.

Compared to Yojimbo, Sanjuro's plot is less developed and achieved more quickly in pace and runtime. The main feast of the film is in the characters, mainly Sanjuro and the contrasting group of 9 men he, by serendipity, 'mentors' from the path of foolish death. To win in a socially ordered world of the samurai, one must think obliquely, act unruly even, to accomplish one's aims. The chamberlain, Mutsuta, the one with a long horse face, is another one of these people on the fringe of social acceptance, but is very clever in achieving aims through subtle strategy, and not the chivalrous wave a sword around methods. It seems Kurosawa is poking fun at socially ordered rules and brotherhoods.

Many of the role characters are terrific. The prisoner 'spy' adds much to the comedic presence of the main ensemble. The chamberlain's wife is full of witty dialogue and regard for this 'interesting' Sanjuro. The henchmen play their roles quite well. The plot exists, it seems, for Kurosawa to display the nuances and parodies of these familiar character types.

The music in the film is strong and includes some of the familiar music of Yojimbo. There is a heroic fanfare that is clearly a theme of parody/comedy. It's easily recognized.

This film is a treat for the veteran Kurosawa and/or classic Japanese cinema viewers.

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Series fans should watch for the ending

For those that enjoyed the original series, this is going to bring back memories but the movie also serves something brand new.

The Downsides:
1. The movie expects that you understand the relationship between the characters from watching the series and some of the scenes will only make sense if you have already watched the series.
2. Everything is condensed and a bit complex. The series gave you enough time to understand what was happening in a very detailed way. This is where the movie lacks. But when you do understand, it's enjoyable!
3. Mo Jun Jie doesn't have much of a role.

The Upsides:
1. Because it's explores new timelines, it won't feel like a summation of the series but builds upon the original concepts and is exciting.
2. The movie ending is what most fans needed to see with the original series. And it genuinely made me smile. It makes up for what the series lacked.

Although on it's own, it will feel incomplete and disconnected but after the series, it will be a trip down memory lane.

Some new songs were added to the original tracks but tbh, nothing beats the original.

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"Unrequited Love Takes Center Stage in Heartbreaking Romance 'My Love'"

"My Love" is a poignant and moving film that tells the story of a 15-year love affair between two individuals, Zhou Xiao Qi and You Yong Ci. The movie explores the themes of unrequited love, long-distance relationships, and the painful realities of growing apart. The plot is deeply relatable, as it reflects the experiences of many who have had to grapple with the complexities of love and heartbreak.

One of the most impressive aspects of the film is the stellar performances of the two lead actors. Zhang Rounan is particularly noteworthy in her portrayal of You Yong Ci, as she captures the character's delicate vulnerability and deep emotional complexity. The male lead, though less familiar, delivers a strong and authentic performance that perfectly complements Rounan's acting.

The film's soundtrack is another standout feature. Li Rong Hao's "No Regrets" is a beautifully composed piece that captures the bittersweet essence of the film's narrative. The other songs featured in the movie are equally impressive and add a layer of emotional depth to the story.

As someone who doesn't often rewatch films, "My Love" is a rare exception. The film's nuanced portrayal of love and heartache resonated deeply with me, and I would gladly watch it again. Overall, "My Love" is a well-crafted movie that is both heartbreaking and deeply rewarding.

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Marry your daughter quickly, time may run out!

An Autumn Afternoon (1962) was Ozu's final film. It can be watched as a stand-alone or first Ozu film, but it will be more enjoyable to have seen many of Ozu's predecessor films.

Ozu made so many films with seasonal themes he had to subdivide films not only by season but by time of day. Had he lived longer, we may have had an Autumn evening, an Autumn morning, etc. (I'm being playful). Yet again, we have variations on a theme by Ozu. If you've seen Ozu films and are turned off by the covering of similar plots, characters, character names, please reconsider. Amidst the similarities, there is still more ground for us to cover. Even the topic of arranged marriage, despite being presented in at least ten Ozu films, has something new for us to consider each film. We might feel rather certain that we're completely against such an antiquated practice only to wonder if it might end up being okay, for some folks, or in general. Perhaps it wouldn't suit us, we think, but then we live in a world where many marriages by choice don't work out.

There is nothing particularly new or novel with this film's plot. The increasing westernization of Japan is apparent in this film. Global products like Canada Dry can be seen. Japanese customers appear to have difficulty focusing on their meals at restaurants while taking in the local baseball game by television. Golf clubs are no longer a niche item; they now have a mature used-sale market. Refrigerators are upgraded so often that neighbors warn fellow neighbors 'Don't be in such a rush to buy a fridge; a better one will soon be on its way'.

The characters are familiar for those having experienced other Ozu films. Yet, the characters are quite enjoyable here. Chishu Ryu plays what I consider to be one of his more complex characters. He's yet again a father, widowed, and trying to set his daughter up with a marriage, but the variation here as well as subtle differences in his character are fully distinct enough to generate both new reflection and enjoyment. It's as if we've had chocolate chip cookies, then Ozu splashes in a hint of mango with the new variation. They're still chocolate cookies, but we consider what we're eating with newfound perception. Chishu is still SO familiar to his other roles that we feel his character is rather an extension or an accumulation of all prior 'fatherly' roles, but again, there's something new here in the character and acting to digest. He certainly enjoyed drinking in this film!

Okada Mariko and Sada Keiji play their roles in their 2nd consecutive Ozu film (the prior one being End of Summer) rather well. The support characters in An Autumn Afternoon are not as well-developed or convincing compared to End of Summer, but there are a few standouts. Shima Iwashita plays a background role in Late Autumn, but her entry into a starring role in an ozu film gifts us with a srong performance. She carries on the Ozu 'Noriko' spirit quite well as the daughter who won't say what they want and tirelessly take care of their father and family. The character, the "Gourd", wasn't particularly convincing, but a way to comment on what the 'father' figure would turn out to be if they didn't successfully marry off their 'daughter'. In most Ozu films, we see that the 'father' is successful in marrying off their daughters. The "Gourd" also is a tool to comment on social economic differences, and especially the awkwardness when juniors/students end up far more successful than the seniors/masters (Sensei).

Ozu gives us another one of his great ellipses/gaps in An Autumn Afternoon. After showing us the face of a potential groom, he doesn't satiate our curiosity with an image of the actual groom. We only see the bride and her immediate family.

Gender roles in society and family are well-explored in this film. And it is a bit more forward in examining WWII themes or themes of the 'soldier'. While not Ozu's best film, it was certainly a solid last film in the oeuvre.

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Rushed fantasy movie with a hint of romance

This is an ok movie. The storyline is quite simple.
Character wise we have an immortal (ML) who is suspected of stealing the Magic Lotus Lantern when in fact he was trying to prevent an intruder in doing so. He then throws himself into reincarnation in the mortal world in order to get the lantern back. Here he meets and falls in love with FL who is a strong woman with superior martial art skills.
Acting wise this is not top notch. Focus is on telling the story but they are trying to put in more than there is time for, so it feels rushed.
Anyway, if you like the fantasy genre, this is an ok watch - just don’t expect too much from the romance.

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Left up in the air!

A Chinese/Korean collaboration - interesting, and with LJG - it was a film firmly on my watch list. The film started off very well and captured my interest from the beginning but then somewhere along the way it lost its direction and it became a little confusing as to what was actually going on as there seemed to be chunks of information that the viewer was not provided with and we were left to draw our own conclusions about certain elements of the story , for example when did he tell the neighbour downstairs what was happening to him - did I blink and miss that? Was the whole company aware of his 'secret' except his girlfriend? As for the ending, I was left completely dumbstruck.. cheated.. couldn't work out whether he had really gone or he was suddenly going to turn up - "ta da!"

Lots of questions unanswered so sadly, despite LJG, and the potential the film had, disappointed.

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Could have just called it Momo and be done with marketing.

Anyone slightly familiar with creepy pastas will right away see the similarities between the supernatural being in Stare and the urban legend of Momo - long dark hair, slim long face, big and creepy eyes. You hear about her, she shoes up, you have a stare showdown, you die - that’s the movie.

I don’t think there was more to it to be honest. It had great potential to be great with better and slower directing. Stretch these starting into her eyes scenes longer, build that tension, but in the actual film it all passed way too quickly. The whole origin got messy, the importance of some characters forgotten, who was in on it, who just told the scary story thinking there is nothing more to it? All too blurry.

Acting was fine, so were the effects. I would appreciate less blowing up eyes, since that aspect was rather lackluster in presentation.

Overall, a decent watch when you feel like watching horror, but also want some simple and short entertainment.

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Almost unbearable to watch, gut-wrenching and splendidly acted...An important cinematographic work.

This movie starts with the arrival of a new art teacher at a school for hearing-impaired children where he uncovers some truly horrendous wrongdoings. The story told is based on a true case, making it even more horrific to follow. It is a very difficult watch, almost unbearable at some points given the level of violence exerted on some of the protagonists.

The level of acting of the ensemble cast is very high, especially the kids who are delivering beautiful performances. The main leads (Gong Yoo and Jung Yu Mi) are great and interact well with each other and the younger actors.

The production is really well done, some scenes are properly haunting and I was heart-broken more than once because of the tragic plot supported by some gut-wrenching directing choices. As the film approaches the topic of deafness, noises background, sound choices and even at some point music are also key to the well-executed story-telling.

It is not necessarily a film I would like to rewatch, as it is not an easy watch but it really left a deep and resounding impression on me as a viewer. Beyond question, it is an important and crucial cinematographic work touching on serious issues that need to be brought to light despite their darkness.

I would recommend this to people looking for a more serious watch splendidly acted. Be aware that this movie can be very triggering, so mind the warnings.

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