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Author Topic: Akira Kurosawa, François Truffaut and Satyajit Ray  (Read 48318 times)

MartinTeller

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Re: Satyajit Ray
« Reply #180 on: June 21, 2012, 12:05:19 PM »
The Apu Trilogy is a no-brainer for the Criterion treatment, but what about his Calcutta Trilogy as well? Somebody show this guy some respect.

I've been saying this for years.

1SO

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Re: Satyajit Ray
« Reply #181 on: June 21, 2012, 12:47:29 PM »
The Apu Trilogy is a no-brainer for the Criterion treatment, but what about his Calcutta Trilogy as well? Somebody show this guy some respect.

I've been saying this for years.

It must surprise you a little that now I'm saying it. I think you were hesitant about me doing this marathon because I might write a dozen reviews knocking one of your Top 5 All Time great directoirs. Even now you would say I under appreciated all of the films. When you included a link to this marathon in your Megathread, I took that as a sign of respect because I do appreciate Satyajit Ray a lot.

verbALs

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Re: Akira Kurosawa, François Truffaut and Satyajit Ray
« Reply #182 on: June 21, 2012, 12:53:35 PM »
I wouldn't want to watch a film as shoddily transferred as Mahanagar again. I could see a great film in there but even the subtitles looked slapped on as an after thought
I used to encourage everyone I knew to make art; I don't do that so much anymore. - Banksy

1SO

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Akira Kurosawa
« Reply #183 on: June 22, 2012, 12:37:20 AM »
Marathon Update



Dersu Uzala

Kurosawa's career heading in the direction raises so many questions. What brought him to this story? After such a highly theatrical work, why the desire to make a film that lives in the rhythm of nature? How much of this is driven by the filmmakers suicide attempt and the thought he may never make another film? In the end, Dersu Uzala is a rather simple story, an arthouse Forrest Gump with the simple man affecting those around him with his basic wisdom and uncynical attitude. This is the strangest entry in the Kurosawa filmography.

An explorer in a strange land comes upon a native who helps guide them through the region. Comparisons to The New World don't end there. It's something I though of now and again while watching Dersu Uzala and then the end of the film takes the same turn as Malick's film, placing a creature of nature inside the cradle of civilization only to learn animal needs to run wild.

The story comes together like a pair of short films, each with a centerpiece that's nail-bitingly tense even though the pulse barely raises above normal. That's what I can't grasp about the picture. The long pauses built into the fireside chats. (Bondo, this would be your most painful Kurosawa.) Kurosawa paces it like a filmmakers final project, and while I loved taking in the images and there's a lot of nice detail, there ultimately isn't enough substance to warrant such a laconic vibe. I did enjoy my visit with Dersu, but it's not one I'm likely to repeat with any enthusiasm.
RATING: * * *

MartinTeller

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Re: Akira Kurosawa
« Reply #184 on: June 22, 2012, 09:48:01 AM »
I really need to rewatch that one.  I totally "cheated" on it and watched it sped up.  :-[

I'm holding out for a better DVD, though.  As I recall, Kino's release is pretty crappy.

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Re: Akira Kurosawa
« Reply #185 on: June 22, 2012, 10:15:51 AM »
I'm holding out for a better DVD, though.  As I recall, Kino's release is pretty crappy.

This is why I'm hoping that some where down the road, Criterion inks a deal with Mosfilm. This film needs a remastering badly, plus it would also be great to see Criterion tackle Bondarchuk's War and Peace. For the film itself, I loved the methodical pacing of the film. I felt that it went with the time frame of the story and the characters lifestyle. I haven't seen it in about 10 years, but I'd happily do so, if a better DVD version becomes available.
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MartinTeller

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Re: Akira Kurosawa
« Reply #186 on: June 22, 2012, 10:34:50 AM »
it would also be great to see Criterion tackle Bondarchuk's War and Peace.

That would be a dream come true.  I really loved that film, and have considered it for my top 100.  But I can't bring myself to plop down good money on one of the subpar DVD releases.

1SO

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Re: Akira Kurosawa
« Reply #187 on: June 22, 2012, 01:03:31 PM »
I'm holding out for a better DVD, though.  As I recall, Kino's release is pretty crappy.

I watched the Kino DVD. After Dodes’ka-den, I was ready for some more great Kurosawa color. Thought for sure there was a Criterion version. Many shots looked about as polished as a Spaghetti Western. Oranges and red were really strong and completely washed out a couple of shots.

1SO

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François Truffaut
« Reply #188 on: June 30, 2012, 04:52:59 PM »
Marathon Update

The Man Who Loved Women

The Truffaut portion of the marathon is nearing its end, but before it does here is one more look at love, life and the desire to never be tied down. Like what I hear about Moonrise Kingdom, this is more of the same as well as perhaps the most direct version of the director's obsessions (including a trip to the movie theater.) It's different enough from Stolen Kisses and Two English Girls, and still a film delivered in the frothy, innocent style only Truffaut seems to be able to tap into.

The biggest difference here is a superficial one. Charles Denner (Bertrand) is a unusual physical presence for this kind of film. He's getting older and while not ugly, he isn't what I'd call handsome. The women in his life are also rather average or not much above that. I appreciate that we're not asked to believe this guy can get knockout models to fall for him, and that he gets by more on wit and charm than good looks. There's an appealing roguish aspect to his pursuit of anything with shaved legs. Per Truffaut formula, the film is mostly a series of semi-comic misadventures as Bertrand becomes immediately obsessed with a woman and goes to extraordinary lengths to pursue them. Like most obsessives it isn't just about sexual conquest, though that's always an option. (He usually likes to start with an invitation to drinks or dinner.)

Like with Love on the Run, this is a film of reflection and Truffaut focuses on the mortality of Bertrand (opening the film with his funeral) and a lot of discussion about the peak years being behind these characters. I really liked when Bertrand meets Hélène, who is like the female version of him and will only date younger men. It's nice to see another of Truffaut's rom-com journeys, though I kind of wish I had saved this one for some time down the road. There is a sameness this shares with other films in the marathon and aside from the mortal reflection, I think the bulk of the film will blur and melt in with his others. It's one of Truffaut's slightest films, but as always I enjoyed the magic.
RATING: * * *
« Last Edit: December 07, 2021, 08:13:34 AM by 1SO »

1SO

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Satyajit Ray
« Reply #189 on: July 02, 2012, 07:15:45 PM »
Marathon Update



The Chess Players

When MartinTeller ranked this as the lowest-rated Satyajit Ray in the Marathon I figured I wasn't going to end on a high note. The problems with The Chess Players are numerous and rather easy to spot, and so are the highlights.

My favorite small moments are during the power struggle between the British Governor General and the Indian ruler. I really liked Richard Attenborough's first scene. His reasoning for taking control of the land has a bit of arrogance, but a lot of logic. Later on the king gives a very long monologue about the situation, but I loved the visual symbolism Ray would invoke by cutting to the empty throne. The scene ends with a moment that's overdone, but I really liked the way it showed that this king was not going to roll over. That story, however is way too long, mostly because the bulk of Attenborough's dialogue is spoken twice, by him and then subtitled by a translator.

It also plays rather obvious because it's intercut with a humorous story of two upper-class chess fanatics, oblivious to the changes going on around them. Their story says much the same thing, but in a wonderfully indirect way, both in the characters and in their chess games. This section has problems as well. Some of the situations are at the level of a TV sit-com, and it's not funny or sly enough. Ray could've incorporated the outside world even better for a great satire on two people (and possibly an entire culture) who just want to fiddle while their traditions burn down around them.
RATING: * * 1/2

FINAL ANALYSIS: A very interesting exploration. I would call his films Very Good, but I would call him a Great director. I still plan to catch up with The Music Room, Company Limited and Days and Nights in the Forest when I can get my hands on them.