- 夜ごとの夢 (Every-Night Dreams)
8/10/24 (Fri)
Naruse’s 1933 melodrama, one of his final silent films, already picks up on his much-visited theme of a woman forced to support herself due to weak or duplicitous men. Here, it is the former. Continue reading
Author Archives: Sekenbanashi
Brighton Rock
- Brighton Rock
8/1/24 (Thurs)
John Boulton’s 1948 British film is clearly modeled on American gangster flicks; I almost expected the lead to break into a Cagney-like “You dirty rat.” A local gang of hoodlums in the beach town hunt down a reporter whose exposé brought their activities to light, killing him on a haunted house ride. One of the gang members is spotted by a waitress, Rose, as he is attempting a cover-up. That unnerves the gang leader Pinkie (what’s with the pink and rose?), who becomes intimate with Rose in an attempt to eliminate the potential threat. The waitress, not even aware of what she has witnessed, unwisely falls in love with him.
They have neglected another witness, however. A loud and often drunk entertainer named Ida who met the reporter just before his death is convinced that there has been foul play. She gets no help from the police, who have determined that the man died of a heart attack – despite the fact that he never reemerged from the haunted house. She decides to solve the mystery on her own.
Irma la Douce (film)
- Irma la Douce
7/26/24 (Fri)
Billy Wilder’s film of the long-running French musical, stripped of its music, about a happy hooker and a clumsy admirer who wants to keep her to himself. It reunites Jack Lemmon and Shirley MacLaine from The Apartment (after Marilyn Monroe, the original choice and Lemmon’s Some Like It Hot collaborator, passed away). The stage musical, which also had a healthy run on Broadway, was scored by one of Edith Piaf’s collaborators and has some great tunes, but Wilder kept them only as underscoring other than a brief snatch of “Dis-Donc”. The film had some impressive musical talent, including MacLaine and Bruce Yarnell (a terrific foil for Ethel Merman in the subsequent revival of Annie Get Your Gun), and some musical numbers were supposedly filmed. But Wilder evidently felt the songs slowed down the action and canned all the footage. Still, André Previn did a more-than-capable job of offsetting this. Wilder should have cut some of the protracted would-be comedy instead, especially involving the faux British guy. The film could easily lose half an hour from its 140-minute running time.
Theodora Goes Wild
- Theodora Goes Wild
7/3/24 (Wed), home
A would-be screwball comedy from 1936 that stretches its thin premise way too far. Continue reading
No Way Out
- No Way Out
6/28/24 (Fri), home, 8:00-9:45p
Joseph L. Mankiewicz’s 1950 “social issue” film deals with racial discrimination in a public hospital, giving Sydney Poitier his breakout role. Continue reading
Sorcerer
- Sorcerer
6/26/24 (Wed)
Friedkin’s exhilarating 1977 adaptation of the novel The Wages of Fear, which had already served as the source for a highly regarded French film back in 1953. I had assumed from the (terrible) English title that it must have some kind of supernatural element like the director’s The Exorcist, but that was happily not the case. For the record, it’s the name of one of the trucks used to transport the dynamite, but the name has absolutely nothing to do otherwise with this realistic suspense film.
Where the Sidewalk Ends
- Where the Sidewalk Ends
6/12/24 (Wed)
Otto Preminger’s 1950 noir has a great premise but fairly standard execution. Continue reading
A Look Back: Merrily We Roll Along
Sourly We Roll Along
The notorious 1981 musical flop Merrily We Roll Along, known mainly to now for putting an end to the remarkable decade-long partnership between songwriter Stephen Sondheim and director Harold Prince, finally achieved Broadway success this year in a much-lauded revival of a revival imported from London. But claims that the show itself has finally found its audience seem far-fetched. Continue reading
Lines in the sand
Britain and France drew lines. A century ago, there were no nations in the Ottoman Empire’s former Middle Eastern territories: not only no Israel, but no Syria, no Lebanon, no Iraq, no Jordan. All were conjured up after the Ottoman collapse by the British and French, who essentially sketched lines randomly in the sand. If you were a Kurd, say, tough luck; your people get separated into various entities with no say in their own fates. Other ethnic and religious groups were similarly bound together, however uncomfortably, at the whim of the colonial powers.
So the British and French drew lines. Cross one line today, and you get a European-level standard of living, broad ethnic diversity, property rights, gay pride parades, freedom of speech, freedom of religion, a free press, democratic elections, Nobel prizes, a fair and functioning judiciary, a thriving private sector. On the other side of the line, you get, well, the opposite. That doesn’t mean just the Palestinian territories – it includes 100% of the former Ottoman lands.
You’d think the governments of those nations would want to emulate Israel. Instead they’d rather destroy it. And just what kind of world would they leave behind? Continue reading
A Look Back: Germany and migrants
A piece that I posted some years back has gained new relevance with the horrific violence that has broken out across the UK. The German government had taken in over 1 million migrants in a single year, the overwhelming number of whom were young Middle Eastern males who effectively just walked across the border. That seemed a recipe for disaster. As I noted, the native population are “not there for the money or security; they’re there because that’s who they are”. Yet those people had no say in a massive demographic shift that would affect them profoundly. I mentioned that while controlled immigration is one thing, a flood of migrants on that scale was bound to have consequences. And so it has proved, albeit in the UK. I wondered what might happen “when an oppressed people rise up against their oppressors – those people being the German public, and the oppressors the German government (substitute the names of other European countries as appropriate)”. We’re now finding out.
Donald Trump and Bernie Sanders were at the time still vying to be their respective party’s nominee for that year’s presidential election. Otherwise, the references should be clear.
Air Doll (空気人形)
- 空気人形 (Air Doll)
6/30/24 (Sun)
Koreeda’s 2009 flick, an oddity in his ouevre, is on the surface about the life and death of a blowup sex doll. But it proves much more than that. (Air Doll is a literal translation of the Japanese title. Trivia: non-inflatable plastic sex dolls in Japan are known as Dutch wives, which my American friend never tired of mentioning to his Dutch wife.)
The Duke
- The Duke
6/7/24 (Fri)
Richard Michell’s 2020 comedy is a charmer. It’s based on the incredible true story of the theft in 1961 of a heralded Goya painting from London’s National Gallery just days after its acquisition. Writers Richard Bean and Clive Coleman delve into the circumstances behind the case. The painting had been purchased by the British state for a princely sum just weeks earlier to keep it in the UK after an American attempted to buy it, so its loss from the tightly guarded state-run museum was a national embarrassment.
The incident was apparently headline news at the time, coming unbelievably 50 years to the day – almost to the minute – of the more famous pilfering of the Mona Lisa from the Louvre. That coincidence and the apparent sophistication of the operation (based on the assumption that security was doing its job) led to widespread speculation that the robbery was carried out by an international syndicate; it featured in the first James Bond film, Dr. No a year later, where Bond does a double-take upon seeing the missing painting in the villain’s lair. The riddle remained when the painting was mysteriously returned in perfect condition in a train station locker four years later, but the museum became even more red-faced when the thief, turning himself in six weeks later after careless pub talk left him open to blackmail, proved to be an eccentric, disabled and overweight former bus driver with the odd name Kempton Bunton.
sekenbanashi 