The Spook Who Sat by the Door (Ivan Dixon, 1973)

The Spook Who Sat by the Door (Ivan Dixon, 1973)
Rating: 9.1

Appropriately named Dan Freeman becomes the first African American CIA operative. After putting up with rigorous training as well as passing numerous physical and academic tests on top of the racism and discrimination, he is relegated to a remedial desk job in order to showcase the employee integration. He leaves the CIA to begin leading a double life as a social worker in Chicago by day and the leader of an underground militant guerrilla group known as The Black Freedom Fighters. Things escalate when I cop shoots a junky in the ghetto and riots break out. The national guard occupies the ghetto and the Black Freedom Fighters declare war. It's a miracle this film ever was able to be produced as it must have been frightening for white America at the time of it's release. The trailer included on the DVD presented the film almost as if it were horror movie. I anticipated the film to have a real low budget rough look to it, but I was really impressed with how professional it looks and it was edited by Michael Kahn, one of Hollywood's most renowned editors who does Spielberg's films. This is an extremely revolutionary film based on the book by activist Sam Greenlee and it assumes an us vs. them mentality with whitey as the enemy, but quickly evolves into more of a with or against after they find themselves combating other African Americans. Such recourse is a bit drastic, but the film presents everything in a fairly plausible fashion. It's important to establish that the message is more about promoting a less passive and more aggressive attitude, community cooperation, and encourage change in order to obtain freedom and dignity through use of a fictionalized and radical scenario as allegory.

Ganja & Hess (Bill Gunn, 1973)

Ganja & Hess (Bill Gunn, 1973)
Rating: Holyfuckingshit

also known and recut as
Vampires of Harlem
Double Possession
Blood Couple
Black Vampire
Blackout: The Moment of Terror
Black Evil

Well, quite honestly I don't know what to do about this film. I'd never seen heard of it before and had no preconceived notions as I just decided to attend a Cinefamily screening on Holyfuckingshit themed Saturday at The Silent Theater. The film was introduced as an odd mixture of blaxploitation, horror, and African American art cinema about a archaeologist who is stabbed by an ancient knife and becomes addicted to blood. After his assistant commits suicide, the man falls in love and marries Ganja, the assistant's wife. I admire the dedication and ambition of the work. It's obvious this isn't an ordinary exploitation piece, but rather serves more as allegory with it's fractured narrative, and themes of spirituality, sexuality, identity, class, and race. That being said, the film seems clumsily directed, with a lot of unintentional hilarity, unprompted monologues and philosophizing and heavy handed religious imagery randomly spliced in. The soundtrack is great and for better or worse the imagery in the film is unforgettable. All in all I had a lot of fun with this...really there is only one word that can really some it up...Holyfuckingshit.

Jôi-uchi: Hairyô tsuma shimatsu (Masaki Kobayashi, 1967) aka Samurai Rebellion

Samurai Rebellion (Masaki Kobayashi, 1967)
Rating: 10

After recently watching 5 of Kobayashi's films he's quickly become one of my favorite directors. Formally he is a master of his craft. The editing, pacing, compositions, and lighting in all of his films are virtually flawless and I think he has an amazing knack for the use of dolly shots and cinematic rhythm. Samurai Rebellion is another humanistic story of a man standing up for authority and choosing to live his own life after 20 years of worrying about his social stature rather than living freely. The slow buildup is meticulously crafted and works perfectly for a thrilling finale.

The Connection (Shirley Clarke, 1962)

The Connection (Shirley Clarke, 1962)
Rating: 9.3

The Connection is one of the first low budget American underground films and an early documentary satire. It is based on a play of the same name which is a little too apparent at times seeing as it all takes place in a studio apartment and the characters take turns delivering long winded monologues. The film is about a documentary filmmaker attempting to capture a week in the lives of a group of junkies, most of which happen to also be jazz musicians and contribute to a great soundtrack. Jazz musician Jackie McLean who plays the sax in the film, battled an addiction to heroin himself. Clarke does an excellent job of distinguishing her film from the play and making it more free flowing and natural through stylistic intentionally sloppy camera work, jump cuts, and improvised dialogue, realizing the true potential of the medium. The film often appears to be in the form of cinema verite style even though it is carefully scripted as it captures the bebop counter culture much in the same way and perhaps better than Cassavettes's Shadows. The Connection takes a fairly objective stance on the subject, neither condoning nor glamorizing drug use. The film also comments on the nature of the filmmaking business as the documenter at first tries to force his own version of reality, paying Leach to keep the junkies high for a week, and insisting that they act naturally, yet directing them to philosophize or act as he'd seen them on previous occasions. The question is raised whether or not the filmmaker wants to document the activities for social commentary or just turn it into a freak show. Eventually the filmmaker partakes in the drug-use, taking his first hit or heroin, and subsequently succumbs to the drug as we gather from the opening title card. The film won the Critic's Prize at Cannes and was also banned for it's edgy subject matter and harsh depiction of drug use.

Kwaidan (Masaki Kobayashi, 1964)

Kwaidan (Masaki Kobayashi, 1964)
Rating: 9.3

Kobayashi directs an anthology of four Japanese folk tales and ghost stories that predate the J-horror phenomenon, but share many of it's elements including psychological tension rather than gore and an infatuation with the spirit world. Apparently at the time it was made Kwaidan was the most expensive film in the history of Japanese cinema. The lavish production is truly beautiful to look at, although I think the color photography and expressionistic sets both compliment and hinder the film in certain respects. The look lends a surreal supernatural fairy-tale feel, but on the other hand there is an obvious artificiality that takes me out of it at times, especially during exterior sequences. The cinematography and sound design are the two most impressive aspects of the film in my opinion. The music really sets the mood throughout, and the sound effects correlate with the pacing and rhythmic editing. Several instances employ an interesting technique where the diegetic sounds such as the screams of the characters and other foley are muted as eerie echoing sounds are put in place, representing the presence of the spirit. The four tales include "The Black Hair," "The Woman of the Snow," "Hoichi the Earless," and "In a Cup of Tea." "Hoichi The Earless" serves as the centerpiece and most elaborate with a duration almost double that of the other three. The opening montage juxtaposes images of painting of a sea battle with reenactments of it taking place. This sequence in particular reminded me of what graphic novel adapatations today like 300 are trying to do.

Gion no shimai (Kenji Mizoguchi, 1936) aka Sisters of the Gion

Sisters of the Gion (Kenji Mizoguchi, 1936)
Rating: 8.7

Perhaps Mizoguchi's most direct indictment against patriarchal society and the poor treatment of women, specifically geishas in this case. The story follows two sisters, Umekichi who abides by traditions of loyalty and obligation to her patron Mr. Furusawa even after his business goes bankrupt and the self-assertive Omocha who looks out only for herself, and believes in the pursuit of wealth rather than love. Omocha laments "why is there a such thing as geishas in the world" in the final scene.

Saikaku ichidai onna (Kenji Mizoguchi, 1952) aka The Life of Oharu

The Life of Oharu (Kenji Mizoguchi, 1952)
Rating: 10

A bleak, poetic, and compassionate portrait of an ill-fated woman who's purity is corrupted by society and her environment. Oharu reflects on her life of misery as she gradually falls further from grace as her misfortune continues to snowball. Mizoguchi's compositions, pacing, and camera work is as elegant and graceful as Oharu herself, yet the dark sky and gloomy clouds are always ominously lingering above. It's shocking that this doesn't have a proper DVD release here yet.

Shi gan (Ki-duk Kim, 2006) aka Time

Time (Ki-duk Kim, 2006)
Rating: 6.3

Naniwa erejî (Kenji Mizoguchi, 1936) aka Osaka Elegy

Osaka Elegy (Kenji Mizoguchi, 1936)
Rating: 10

A tragic story of a woman who brings shame to her family by helping them out of their financial jam by acting as her bosses mistress. The cinematography is incredibly beautiful and the Japanese master employs his trademark long takes and includes a self-relexive Kabuki scene. Isuzu Yamada stars as the strong minded woman and foil to the more weakly portrayed degenerate men. The film ends abruptly and without resolution as Ayako wanders the streets in confusion of what to do next after being outcast as a delinquent.

Zangiku monogatari (Kenji Mizoguchi, 1939) aka The Story of the Last Chrysanthemums

The Story of the Last Chrysanthemums (Kenji Mizoguchi, 1939)
Rating: 9.5

Mizoguchi, "the women's director" tells the tale of Otoku, a maid who falls in love with a kabuki actor from a prestigious family causing him to be disowned. Otoku becomes the actor's muse and sticks by him through 5 years of difficulties and poverty before he finally becomes a famous actor resulting from Otoku's sacrifices. The story wasn't particularly engaging for me, being a melodrama it was actually fairly predictable, however these themes being explored in prewar Japan were important and unconventional and the final images were chilling. In this film along with many others, Mizoguchi explores the roles of women in society and their plights, as well as the traditional Japanese family values, and celebration of the arts. Moreso than the themes and narrative itself, I was much more infatuated with Mizoguchi's unique and influential aesthetic. His choice of camera positions is often unique, sometimes placed behind railing or other obstructions, other times at very low angles, or vice versa. This film particularly utilizes a lot of wide master shots that run for long durations without cutting. He also employs some fantastic fluid camera work, chiaroscuro lighting, and meticulous pacing. The distant camera allows the viewer to more actively participate, scanning the frames for the important actions, yet also allowing the freedom to explore.

Wet Hot American Summer (David Wain, 2001)

Wet Hot American Summer (David Wain, 2001)
Rating: 7.2

I really didn't expect much out of this, but it turned out to be a genuinely hilarious spoof of 80s summer camp movies. Writers Michael Showalter and David Wain's sketch comedy sensibilities are apparent as many of the gags could play as individual sketches and are often over the top, but to their credit they work as a coherent whole to progress the story and to provide lots of laughs.

Tange Sazen yowa: Hyakuman ryo no tsubo (Sadao Yamanaka, 1935) aka Sazen Tange and the Pot Worth a Million Ryo

Sazen Tange and the Pot Worth a Million Ryo (Sadao Yamanaka, 1935)
Rating: 10

In his film Humanity and Paper Balloons, director Sadao Yamanaka deconstructs the jidai-geki genre, taking a more psychologically oriented approach. Here he does the same, but in a much different manor. Humanity and Paper Balloons explores the deeply tragic life of a masterless samurai. Sazen Tange and the Pot Worth a Million Ryo instead utilizes a genre based around reversal of expectations to do exactly that. The film begins with a classic setup for a traditional moral tale about greed vs. honor as we are quickly told of a pot that contains a map to the whereabout of a hidden fortune. We soon discover that the pot is more of a mcguffin than anything else, as the characters have other concerns and we are in fact watching a comedy. The original owner of the pot pretends to be in search of it while spending his days away from his wife shooting arrows and flirting with girls which is where he meets Sazen Tange, a popular figure who made many appearances in Japanese popular culture during this period. Sazen Tange was characterized as a ruthless one eyed, one armed swordsman, but Yamanaka humanizes his character as he cares for an orphaned child who just so happens to own the pot worth one million ryo.
Yamanaka's direction is almost flawless and the script is wonderful. The score and music pieces the mistress plays within the film are quite enjoyable. I was also impressed with how effectively editing is used to enhance the narrative and the comedy without any detrimental stylization. Throughout Yamanaka uses elliptical cuts for comic effect where character's say one thing and then do or allow the opposite to occur. There are also several brief montage transitional scenes, sound bridges, and other technical and formal devices that work very well. I found the film to be quite funny without resorting to slapstick and still maintaining the tradition of Japanese humanism and offering social commentary.

Hak se wui yi wo wai kwai (Johnny To, 2006) aka Election 2

Election 2 (Johnny To, 2006)
Rating: 5.8

Dull and fairly unoriginal with nothing significant to say.

Fong juk (Johnny To, 2006) aka Exiled

Exiled (Johnny To, 2006)
Rating: 8.5

Amazing direction from To in this highly stylized and even touching gun play buddy pic.

The Palm Beach Story (Preston Sturges, 1942)

The Palm Beach Story (Preston Sturges, 1942)
Rating: 8.3

Love battles wealth in another well scripted screwball comedy from Preston Sturges.

Hak se wui (Johnny To, 2005) aka Election

Election (Johnny To, 2005)
Rating: 7.4

Formally and stylistically I was very impressed with To's direction and the ending is particularly strong, however the story wasn't enthralling and the themes of modernity vs. tradition and loyalty were nothing new.

It Happened One Night (Frank Capra, 1934)

It Happened One Night (Frank Capra, 1934)
Rating: 8.4

2nd viewing:
Archetype for the romantic comedy...first film to win 5 major categories at the Academy Awards...great script...poor editing...interesting class and gender dynamics yada yada yada.

Unfaithfully Yours (Preston Sturges, 1948)

Unfaithfully Yours (Preston Sturges, 1948)
Rating: 9.7

Maybe Sturges' most polished and original work.

Bin-jip (Ki-duk Kim, 2004) aka 3-Iron

3-Iron (Ki-duk Kim, 2004)
Rating: 6.7

I liked the premise, but didn't like the direction Kim took it. 3-Iron hits on some interesting themes and does do a lot of things well, but I was annoyed by a lot of little things and overall I found the film to be a little too frivolous for my taste. I never quite understood a lot of the character's actions and motivations, but I didn't really care either. I did however enjoy how the 2 major characters never talked throughout. I realize that the interpretation is most likely meant to be open ended, but I think I was initially taking the film too literally. I think the film works better for me if I think of the young man as an entirely fabricated entity that the woman created as a coping mechanism for her abusive marriage or perhaps a ghost, but with this in mind, the story should have began the focus with her, rather than providing exposition from his perspective. I suppose the other interpretation would be that he was killed in prison by the guard and became a spirit living in the woman's home. As I said I really liked the general premise and even the idea of the characters as thematic embodiments, but I still think Kim is hit and miss with this. The film is "poetic" at times but often gets sidetracked, resorting to facile moments such as the repetition of scenes where character's are pelted with golf balls. Perhaps it's just a tonal issue for me, I really don't know. I think I'm mostly disappointed because I thought the film had so much more potential.

Ningen no joken III (Masaki Kobayashi, 1961) aka The Human Condition III: A Soldier's Prayer

The Human Condition III: A Soldier's Prayer (Masaki Kobayashi, 1961)
Rating: 10

The grueling journey for Kaji as well as the audience commences with Kaji realizing that socialism may be a better answer than fascism, but is still deeply flawed. All of his tireless efforts are futile in the end, suggesting perhaps humanity is doomed in the material world, but perhaps truly free in the afterlife. The combined trilogy is probably the greatest cinematic effort I've witnessed.