Category Archives: Film

The Ghost of Yotsuya Parts 1 & 2 (新釈四谷怪談)

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  • 新釈四谷怪談 Parts 1 & 2 (The Ghost of Yotsuya)

1/11/25 (Thurs)

Kinoshita’s two-part 1949 work is one of more than two dozen film versions of the evergreen Kabuki classic Yotsuya Kaidan since the silent era. The first eight minutes or so of Part 2 simply repeat the final minutes of the first half, so I assume that this was originally intended as a single film, broken up either for excessive length or just to make an extra buck (the second one opened in theaters just two weeks after the first). The original Kabuki version was also split into two days, mixed with scenes from Chushingura (it was a spinoff of the latter), so I suppose it follows tradition in a sense. In any case, the film could and should be reedited into a single 2.5-hour film and should certainly be seen that way.

The Japanese title is literally “Yotsuya Ghost Story: A New Interpretation”. New is right – for one thing, the ghost story has no ghosts. Oiwa appears only as a figment of the guilt-ridden Iemon’s imagination rather than an actual spirit as in the play. The film cleverly has Tanaka Kinuya playing both Oiwa and Oiwa’s sister Osode, so that the latter represents for Iemon a haunting manifestation of Oiwa after her murder.

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What Ever Happened to Baby Jane?

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  • What Ever Happened to Baby Jane?

1/2/25 (Tues)

I’m not sure if this 1962 film was meant to be serious, but it’s fantastic high camp, a drag queen’s dream. Bette Davis gives a gothic portrayal of the demented former star in Sunset Boulevard mixed with the demented fan in Misery, while Joan Crawford plays the crippled sister with an irritating gentleness that reminded me of Olivia de Havilland (Crawford’s real-life sister) in Gone With the Wind. Never a dull moment from start to finish.

A former child star failed to shake off her sweet, curly-haired Baby Jane image as she grew, only to see her little sister Blanche surpass her as a major movie star. Unfortunately Blanche was left crippled at the peak of her stardom, reportedly run over by her drunk and bitter sister. She is now wheelchair-bound, living with the spinster Jane on the second floor of her home. Jane has never forgiven Blanche for snatching stardom from her and treats her abominably, which is where the camp comes in. Continue reading →

Miller’s Crossing

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  • Miller’s Crossing

12/28/24 (Sat)

The Coen Brothers’ third effort is fantastic in every way: a razor-sharp script, great acting all around, distinctive characters, a superb balance of humor, blood and emotion. If the story of a gangster who plays both sides against each other sounds like Yojimbo, it’s because both are supposedly inspired by the same novel (or novels) by Dashiell Hammett. Continue reading →

Destiny’s Son (斬る)

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  • 斬る (Destiny’s Son)

12/27/24 (Fri)

Misumi Kenji’s 1962 chambara flick inconveniently has the same Japanese title Kiru (meaning slash to death) as Okamoto Kihachi’s wild 1968 work, which managed to beat the earlier film to the obvious English choice Kill.

The film opens with a dynamic sequence in which a maidservant sneaks in and stabs the lord’s mistress to death “for the sake of the clan”. Skipping forward a year, we learn that the man chosen to execute her has fallen in love with her, and it is only after their son is born that he duly cuts her head off. He entrusts the child to a low-ranking samurai and becomes a monk, shutting himself off from the world entirely.

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The Conversation

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  • The Conversation

12/15/24 (Sat)

In Coppola’s 1974 film, free-lance wiretapper Harry Caul (Gene Hackman), a gruff loner considered the best in his field, is charged with tapping the conversations of a normal-looking couple. His intricate work involves several mikes and cameras placed in various spots, and his golden rule is to know as little as possible and never get personally involved in any information he acquires. The couple, aware that they could be under surveillance, wander around San Francisco’s Union Square speaking quietly to each other, but their words are all picked up by Harry. The problem comes when he hears remarks suggesting that they may be in danger, particularly the line, “He’d kill us if he got the chance” – or is it “He’d kill us if he got the chance,” implying something very different?

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Madame Butterfly (1915 silent film)

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  • Madame Butterfly (1915 silent film)

2/1/22 (Tues)

I realized after writing about the Fritz Lang Butterfly that I never posted this review of the older silent version of the opera. I found this film by chance online when doing research for my Kabuki version of Butterfly [which finally debuted in Dec 2024]. The only names I recognized were Mary Pickford in the title role and David Burton as a Japanese prince who wants to marry her – casting that wouldn’t go over well today.

The story is taken broadly from the opera but changed in significant ways. The biggest difference is that Butterfly is not a geisha for hire but the daughter of a well-to-do family, which changes the dynamics considerably. Continue reading →

Hero of the Red Light District (妖刀物語：花の吉原百人斬り)

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  • 妖刀物語：花の吉原百人斬り (Hero of the Red Light District)

12/6/24 (Fri)

Uchida Tomu’s 1960 film draws liberally from the much-revived Meiji-era Kabuki classic Kagotsurube (1888), the story of a lonely pockmarked man whose desperation to be loved makes him an easy mark for unscrupulous people, leading ultimately to tragedy. (The Kabuki was itself based on a real-life incident.) Uchida veers from the popular tale in significant ways that make for an interesting study. A more literal translation of the Japanese title would be something like, “The Story of the Haunted Sword: Glittering Yoshiwara and the Mass Slaying”. (Hyakunin-giri or “mass slaying” literally means slashing 100 persons but is simply meant to indicate a large number of people. The phrase is known for its unfortunate use as a killing contest during Japan’s invasion of China, about which the less said the better. More happily, it can also be a sexual term meaning to bed dozens of people.) The English title is lame: the guy is no hero, and the story involves a street prostitute thrown into the world of courtesans, not quite a red light district.

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Fritz Lang’s Harakiri / Madame Butterfly (1918 silent film)

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  • Fritz Lang’s Harakiri / Madame Butterfly 

11/24/24 (Sun)

I was surprised to find a foreign film called Harakiri at all given Kobayashi Masaki’s masterwork by the same English title, but this was in fact a silent German film made in 1918, when Europe was still in the midst of its Japonisme boom. On top of that, it’s based explicitly on Puccini’s Madame Butterfly, which debuted just a few years earlier (the US release used the opera title rather than the more sensational German title). It follows a US silent Butterfly film with Mary Pickford by just three years and is one of the earliest surviving works by the great Fritz Lang. I initially watched a poorly preserved hour-long version online but found a better 90-minute version the next day and re-watched it.

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High Sierra

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  • High Sierra

11/10/24 (Sun)

Raoul Walsh’s 1941 noir thriller gave Humphrey Bogart his first starring role. While the actor was second-billed here (to Ida Lupino), that wouldn’t last long, especially after his turn later that year in a true classic, The Maltese Falcon. This film, though a big success in its day, has not aged as well.

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The Goddess (神女)

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  • 神女 (The Goddess)

11/9/24 (Sat)

This masterful Shanghai-based silent movie of 1934 was amazingly the prolific Wu Yonggang’s debut work, setting a pretty high standard for his career. It’s impressive that he was able to pull this off at all given the censorship under Nationalist Guomintang rule, though it does have an (overly) explicit moral message that might have helped. It’s still considered one of China’s greatest films.

The title, The Goddess, was also used euphemistically to refer to prostitutes. Both meanings would apply to the unnamed heroine, played by the irreplaceable Ruan Lingyu. Continue reading →

Song of the South

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  • Song of the South

11/4/24 (Mon)

Disney has kept this 1946 children’s film out of circulation in the US for the past several decades – it was last released theatrically in 1986 and has never been available in the US on video or streaming – due to charges of racial insensitivity or worse. That made me all the more curious to see it, and the internet makes that easy enough. I vaguely recall watching it as a kid and, other than the animation, just remember a white boy and girl and black boy running around together and spending time with Uncle Remus.

As usual, the complaints have been blown far out of proportion. Continue reading →