100 Films on a Cover August 30, 2008
Posted by badblokebob in : Editorials, Animation, Comedy, Action, James Bond, Drama, Thriller, Francis Ford Coppola, Steven Spielberg, Disney, Fantasy, Sci-fi, War, Akira Kurosawa, Martin Scorsese, Peter Jackson, Christopher Nolan, Crime, David Fincher, 2000s, adaptations, 1990s, 1980s, 1970s, 1960s, 1950s, Adventure, British films, Mystery, world cinema, extended/director's cut, Historical, superhero films , 1 comment so farEmpire, not content with conducting a ludicrously huge reader poll to find the 500 greatest films ever made, have also roped in 150 (as yet unnamed) “key directors and producers” and “the world’s most influential film critics” to have their say.
And Empire, not content with conducting a ludicrously huge reader poll and gathering the opinion of key directors, producers and critics to find the 500 greatest films ever made, have gone and created a “magazine milestone” — 100 different covers for the issue featuring the list! In fact, it’s 101, with the 101st being a subscriber-only cover that’s currently secret. I’m currently quite glad that Empire’s the only magazine I’ve bothered to keep up my subscription to.
I’m a bit of a collector and hoarder, but even I’m not made enough to fork out £150 to get all 100 covers. That said, at just £1.50 an issue it’s a pretty reasonable deal, all things considered, and certainly better than the one Total Film offered when they did their 21 different Bond covers a short while back. Nonetheless, I’ll surely try to get my hands on a few different ones, and here’s my current pick of the bunch — mainly, films I love that have especially cool covers, but also some that just look good.
Click to enlarge.
#33: Throne of Blood (1957) May 29, 2008
Posted by badblokebob in : Drama, Akira Kurosawa, 5 stars, adaptations, 1950s, 2008, world cinema, Historical, Shakespeare , 1 comment so far1957 | Akira Kurosawa | 105 mins | DVD | PG or 12
Kurosawa moves Macbeth from Scotland to 16th Century Japan in this retelling of Shakespeare’s infamous Scottish Play. I’ve heard this described as a loose adaptation — perhaps those reviewers have never read the play. Kurosawa sticks very closely to the structure of Shakespeare’s version of the story (though based on real events, Shakespeare changed key details), often choosing to adapt it scene-for-scene. It works well in the new setting, with some of the themes — honour, respect, betrayal — perhaps becoming more understandable when placed in samurai culture. Kurosawa changes other elements too — character names are understandably localised, there’s only one witch, there’s no version of the famous “Is this a dagger which I see before me?” monologue, and so on. It’s not all omissions however, as Kurosawa adds imagery and symbolism of his own. Again this helps to place the story in its new context, but also covers the loss of Shakespeare’s original language (a major sticking point for some critics).
Beyond the Shakespearean similarities (or lack of), there’s much to see in Throne of Blood — literally, thanks to the atmospheric cinematography. Most of the exteriors are doused in fog, and while this is sometimes over-done (an extended sequence of Washizu and Miki riding in and out of it goes on too long) it also makes for some amazing moments, such as when the trees of Cobweb Forest drift menacingly forward. The interior of the forest is suitably oppressive and scary too, the perfect location for encountering a witch. Kurosawa was inspired by Japanese Noh theatre in his construction of the film, so there are a lot of longer shots that allow the characters to be blocked as if on stage. It’s not overly theatrical, thankfully, and works suitably.
Cinematic techniques are not entirely abandoned however. The most memorable is the banquet scene, in which Washizu sees Miki’s ghost: we see Miki’s empty seat, the camera tracks forward to a shocked Washizu, then back to reveal the ghost of Miki sat at his place, before tracking and panning around the room to follow Mifune’s brilliant performance. It’s an infinitely more effective reveal than any amount of jiggery pokery with dissolves or CGI could provide. Similarly, Washizu’s iconic death scene — in which hundreds of arrows puncture him and the surrounding walls — is impressively achieved (using real arrows), including one seamless shot when an arrow pierces his neck.
Macbeth is my favourite Shakespeare play — it’s a great story, with great themes, imagery and language. Throne of Blood obviously loses some of this, but it doesn’t matter in the slightest — Kurosawa has constructed an excellent and well-conceived retelling with a few of his own flourishes.
A note on the classification: the UK DVD from the BFI is rated PG, classified in 1991. A few months after the DVD’s release in 2001, the film was re-submitted to the BBFC and received a 12. Quite way the rating was raised isn’t explained, and copies of the DVD still bear a PG on the cover.
#24: Rashomon (1950) May 5, 2008
Posted by badblokebob in : Akira Kurosawa, 5 stars, adaptations, 1950s, 2008, Mystery, world cinema, Historical , 2 comments1950 | Akira Kurosawa | 88 mins | DVD | 12 / PG-13
One has to wonder if Dr. Gregory House was exposed to Rashomon at a young age. House’s universal truth — “everyone lies” — is also the conclusion of Kurosawa’s much-lauded film, in which four witnesses tell different versions of the events surrounding a samurai’s murder.
The “Rashomon” of the title is one of two gates to Kyoto, built in 789 and in disrepair and disrepute by the film’s 12th Century setting, but thanks to this film the word has come to signify a narrative that retells the same event from multiple perspectives. Mentioning it seems unavoidable when writing about a film (or episode of TV, or novel, or…) with such a structure, as reviews of the recent Vantage Point would attest. However, most similar tales aren’t quite as radical as this ‘original’ (which is based on two short stories by Ryunosuke Akutagawa), in which the four tales differ wildly.
Justifiably, much has been written about Rashomon, both critically and analytically. As such I’m not going to dig too deeply here, but instead just highlight a couple of reasons why it’s so acclaimed. For one, it looks great. Kazuo Miyagawa’s cinematography is exemplary, producing gorgeous rain at the gate, wonderful shadows in the forest, and employing numerous inventive shots and moves, always effective rather than showy. Fumio Hayasaka’s music underscores proceedings beautifully, coming into its own during long dialogue-free sequences. The performances are also accomplished, especially Toshiro Mifune as laughing bandit Tajomaru, but also Masayuki Mori’s largely silent turn as the murdered samurai, and Fumiko Honma’s chillingly freaky medium.
As I said, there’s much more that could be (and has been) written about Rashomon — I’ve not even touched on the intricacies of the plot, the presentation of the courthouse scenes, the significance of the fights, and so on. Certain viewers might be put off by the subtitles, the black and white photography, the film’s age, and its occasional ‘arthouse’-ness — and, I confess, I’m one of the first people to get fed up with films like Tati’s Play Time or Ozu’s Tokyo Story — but, for me, Rashomon was an incredibly enjoyable first encounter with Kurosawa.
#22: Sunset Blvd. (1950) April 30, 2008
Posted by badblokebob in : Drama, Film Noir, Billy Wilder, 4 stars, 1950s, 2008, films about films , add a comment(aka Sunset Boulevard, of course. See here if you’re really interested.)
1950 | Billy Wilder | 106 mins | DVD | PG
Sunset Blvd. may not be the first movie about the movies, but for the amount of controversy it caused and the impact it’s had it may as well have been. It’s certainly a well respected film — I’m sure I could cite any number of Greatest Films Ever lists it’s turned up on, but everyone always disagrees about those.* Nonetheless, any film with such acclaim attached to it also has more than its fair share of expectation, with anything less than total brilliance liable to falter.
And, to my expectation-laden eyes, falter it does — not fatally, by any means, but enough to damage my opinion. William Holden makes for an effective enough lead, his dialogue and narration peppered with memorable quotes and observations. Gloria Swanson is fantastic as the deluded, pitiable faded star, especially when she sinks to her lowest in the final scenes. The opening is iconic for good reason, the final shot equally glorious, both meaningful and creepy. But the plot has a tendency to meander in the middle, sometimes latching on to half-introduced ideas and characters to vaguelly examine another facet of the industry. It certainly has a lot to say about the workings of Hollywood during the studio system and, viewing it 58 years on, what has or hasn’t changed since.
It’s by no means a bad film, just occasionally puzzling when its huge acclaim contrasts with the flaws I perceived. As such, it’s tempting to say Sunset Blvd. is overrated. But really that would be a slightly sensational way of saying I’m not entirely sure what to make of it. One day I’m likely to see it again with better-informed eyes, but for now…
* Incidentally, while I’m mentioning Greatest Films polls, I’ve just discovered The 1,000 Greatest Films, a list that compiles 1,604 different lists to create a ‘definitive’ one. Sunset Blvd. placed 31st on the 2007 update.
#35: The King and I (1956) April 2, 2007
Posted by badblokebob in : Musical, Romance, adaptations, 3 stars, 1950s, true stories, 2007, Historical , add a comment1956 | Walter Lang | 128 mins | DVD | U / G
To be fair to The King and I, I was a little sleepy through most of it, and, thanks to some slightly cheesy bits at the start, my mind was occasionally locked in a spoofing mode. However, there are some recognisable songs and an Oscar-winning performance from Yul Brynner, as well as truly sumptuous sets and costumes.
#12: South Pacific (1958) February 28, 2007
Posted by badblokebob in : Musical, War, Romance, adaptations, 3 stars, 1950s, 2007 , add a comment1958 | Joshua Logan | 151 mins | DVD | U
I like a good musical. I wouldn’t say I was a fan of the genre on the whole, but I do enjoy good ones. South Pacific, to my mind, is not one of the very best, but it has its moments (and its songs!) and there are some fair points underlining the plot. If you don’t like musicals this one probably won’t convert you; if you’re a musical fan… well, you’ve probably already seen it!