Undoubtedly one of Kurosawa’s stronger films, the central drama in Red Beard (named for Toshiro Mifune’s defining facial accoutrement, even if the film itself is in black-and-white) isn’t introduced with any big flourishes or self-aggrandising camerawork. The focus remains on the small events, inside a clinic where Mifune’s Dr Niide schools a cocky young intern (Yuzo Kayama as Dr Yasumoto) on what it means to be a compassionate doctor. Yasumoto’s journey towards caring about his fellow people is moved forward by a number of encounters with patients, which unfold slowly without any big setpieces (though Mifune dispatching a town of hooligans is the closest to that), just the riveting human drama of one man’s education. Fundamentally decent.
FILM REVIEW: Criterion Collection Director Akira Kurosawa | Writers Masato Ide, Ryuzo Kikushima, Akira Kurosawa and Hideo Oguni (based on the collection of short stories Akahige shinryotan by Shuguro Yamamoto) | Cinematographer Asakazu Nakai | Starring Toshiro Mifune, Yuzo Kayama | Length 185 minutes || Seen at a friend’s home (DVD), London, Sunday 4 June 2017
As far as documentaries about sports go, for all the experience I have of them (which, for the avoidance of doubt, is very little, though I have seen Riefenstahl’s one about Berlin 1936), this documentary on the 1964 Summer Olympics is very good. It has all the techniques we’ve become used to in modern sports coverage, but framed and edited to emphasise the human form, the endurance, the technique, rather than simply who won. There are plenty of beautiful shots, poetic inserts, crowd details and little bits other films wouldn’t bother with — like athletes hammering in their starting blocks, or the sand being levelled in a waterlogged long jump pit, stuff like that. It’s all beautifully done and even three hours passes quickly.
FILM REVIEW: Criterion Collection Director Kon Ichikawa | Writers Natto Wada, Yoshio Shirasaka, Shintaro Tanikawa and Kon Ichikawa | Cinematographers Shigeo Hayashida and Kazuo Miyagawa | Length 169 minutes || Seen at home (DVD), London, Monday 1 May 2017
An attractive film to look at admittedly, made with an all-too-self-consciously flamboyant camera in some sequences, this still manages to leave me cold. It may be Fellini’s masterpiece, though, if we consider him a stylist of characters in hectic motion, a carnival of oddity, feeling, spirits, nostalgia and feminine charms. The plot can’t really be summed up easily — it’s about Giulietta Masina’s eponymous title character and her feelings, to a certain extent about her husband’s fidelity, though even that seems slightly beside the point — and instead we get 135 or so minutes of great sets, costumes, hair, camerawork, and an almost babble of manic expressionist madness.
FILM REVIEW: Criterion Collection Director Federico Fellini | Writers Federico Fellini, Tullio Pinelli, Ennio Flaiano and Brunello Rondi | Cinematographer Gianni Di Venanzo | Starring Giulietta Masina | Length 137 minutes || Seen at home (DVD), London, Wednesday 12 April 2017
Ostensibly a film about, as the title suggests, a young blonde woman in love, there are a lot of turbulent emotional currents running through. Yes there’s love, but it’s never quite clear who feels love for whom, or whether that’s even something realistic. We start in a large group, as middle-aged soldiers court a small town’s young women — pathetically, at that. Then there’s a romantic pairing of two young people (including the title character, played by Hana Brejchová), then a section at his parents’ home which feels like a bitter rebuke to her (or to him) that things could ever work out. Or maybe they could, but no romantic feeling is uncomplicated or sentimentalised here.
FILM REVIEW: Criterion Collection Director Miloš Forman | Writers Miloš Forman and Jaroslav Papoušek | Cinematographer Miroslav Ondříček | Starring Hana Brejchová, Vladimír Pucholt | Length 90 minutes || Seen at a friend’s home (DVD), London, Sunday 19 February 2017
When the fascists come they’ll offer to let you take back one of those jobs the immigrants have ‘stolen’ but you won’t have to hurt anyone so you’ll probably go along with it. It might even lead to a bit of cross-cultural comedy of misunderstandings but you just want everyone to be fine and for things to be better, and the fascists seem tolerable enough. One of them might even be a family member. But when the fascists start taking names, passing laws, and packing people on transports out of town, by then it’ll be too late and there’s really nothing you can do except get drunk and watch it all go to hell.
FILM REVIEW: Criterion Collection Directors Ján Kadár and Elmar Klos | Writers Ladislav Grosman, Ján Kadár and Elmar Klos (based on the novel by Grosman) | Cinematographer Vladimír Novotný | Starring Jozef Kroner, Ida Kamińska | Length 125 minutes || Seen at a friend’s home (DVD), London, Sunday 16 October 2016
The title may reference a then-popular detective series starring American expatriate Eddie Constantine, but as per usual this is hardly a straightforward film from Jean-Luc Godard. It’s set in a retro-futurist Paris, though of course Godard didn’t have the budget to build any sets, but rather films amongst the modern 1960s architecture of the city, all glass lifts and big shiny lobbies, not to mention anonymous office corridors at the heart of the computer-controlled corporation that runs the city. It’s a film of alternately banal surfaces and fascinating faces (whether the pitted one of Constantine, or Godard’s muse of the time, the ravishing Anna Karina), matched to the raspy electronically-modulated voice of computer overlord Alpha 60. I can’t for a moment pretend to tell you what actually happens — there are elements of generic detective plot though Caution is fighting on behalf of individualism and free thought rather than anything more base, and Godard punctuates scenes with images of flashing lights and neon equations, presumably to symbolise Alpha 60’s reliance on logic. There’s a troubling relationship to women in Alphaville’s society — a theme that runs through a lot of Godard’s filmmaking — and it’s difficult to be sure whether that’s a function of the oppressive state or something more insidious. Needless to say, it’s a strange and fascinating movie whose images of a modern nighttime Paris have a dark romanticism to them, especially seen at a remove of what is now 50 years.
Criterion Extras: Certainly not all Criterion releases have extensive extras (though more recently they’ve tended to put the bare-bones stuff out on their Eclipse sub-label), but even by the thin standards of some others of this period, Alphaville is particularly negligible. There’s not even a trailer, so it comes down to the two slim pages written by Andrew Sarris on the inside of the booklet, and of course the quality of the transfer. A bit of context to this odd attempt at sci-fi futurism would have been nice, but at the very least the transfer is of excellent quality.
FILM REVIEW: Criterion Collection Director/Writer Jean-Luc Godard | Cinematographer Raoul Coutard | Starring Eddie Constantine, Anna Karina | Length 99 minutes || Seen at Paramount, Wellington, Tuesday 23 July 2002 (and earlier on VHS at the university library, Wellington, May 1998 and October 2000, and most recently on DVD at a friend’s home, London, Sunday 1 March 2015)