samurai movies and swords
Barry Begallo
used.
and it makes sense.
i bought myself a zatoichi sword and i couldn't slash it as fast as
zatoichi. what that guy used was probably a thinner lighter pseudo
sword.
do you know what they used?
but i heard kurosawa did use real swords in his movies.
David
>i bought myself a zatoichi sword and i couldn't slash it as fast as
>zatoichi.
Er ... slash .. what, Tony?
john...@comcast.net
Begallo) wrote:
Not sure of the entire story but some guy got his throat slashed and
died in the making of one of the later zatoichi films or the tv
series.
G. M. Watson
----------
In article <ea614a6f.02111...@posting.google.com>,
barryb...@hotmail.com (Barry Begallo) wrote:
> i read somewhere that in most samurai movies real swords were not
> used.
That's correct. Except you can eliminate the word "most" from that sentence.
>
> and it makes sense.
It certainly does; real swords are extremely sharp and thus extremely
dangerous in the hands of anyone lacking proper training, which takes
several years. If real swords had been used in most samurai films, the rate
of attrition among the actors would have been extraordinarily high. At the
very least there would today be a large number of elderly, heavily scarred,
and thumbless Japanese film actors. You could not possibly stage a realistic
swordfight scene, especially a melee or any fight involving more than two
actors, with real swords. There would be far, far too much risk. In
addition, real swords can be quite heavy, and even a blow from the flat of
the blade, if delivered with some force, could knock you senseless or worse.
Even a master swordsman would never do anything so recklessly dangerous as
using real swords in a movie fight scene (a non-solo scene, anyway).
Incidentally, my teacher was a sixth dan (roughly the same a sixth-degree
black belt in karate), very Japanese and very traditional, and stressed
safety a good deal. He used to get a kick out of watching occasional samurai
films and pointing out the shoddy sword technique on display.
Even solo sword kata is not without some risk for someone using a real
sword. The most dangerous moment in sword kata is *noto*, the act of
sheathing the sword after using it; without looking, and while maintaining
perfect *zanshin* ("presence", for want of a better translation)-- looks
very cool but is very difficult to carry off successfully. Took me more than
a year of *iaido* training before I began to feel comfortable doing it, and
that was using an *iai-to*-- a practise sword, unsharpened. A beginner
attempting *noto*, or any other technique with a real sword, would be very
likely to do himself damage of a serious and even fatal nature, and also to
anyone located within a *katana*'s length of him.
>
> i bought myself a zatoichi sword and i couldn't slash it as fast as
> zatoichi. what that guy used was probably a thinner lighter pseudo
> sword.
Good guess. Most of those moves were invented by Katsu for the screen,
anyway.There are some Ninja sword techniques that utilize an underhand grip,
but such forms are very unusual.
>
> do you know what they used?
Usually a very thin, very light alloy imitation sword, specially designed
and mass-produced by the hundreds for the purpose. Sometimes swords of light
balsa or bamboo-type wood, their "blades" covered with a tinfoil-like
substance, were used. The principal actors, of course, would be issued more
durable and realistic-looking swords, especially in scenes requiring the
actor to clash his sword against his opponents'. It's fairly common in
samurai films, especially lower-budget ones, to see, in the background, the
extras' blades bending and wobbling about like so many long metal dildos.
It's a bit like not looking too closely during a death scene to see if you
can see the dead character(s) still breathing; a "willing suspension of
disbelief", I think it's called.
>
> but i heard kurosawa did use real swords in his movies.
I can't think of a single scene in a Kurosawa film-- and I've seen all but
three or four, some of them many times-- where real swords might
realistically have been in use. Perhaps in a single shot, or a static scene,
here and there. No matter how hypothetically skilled with a sword an actor
might be, that makes it no less dangerous for anyone of lesser skill he
might be playing a scene with. And he himself would be in danger from those
same lesser-skilled members of the cast.Few Japanese film actors have the
inclination or the considerable time required to develop genuine proficiency
with the sword, any more than most Western actors developed actual shooting
skills. Mifune, I believe, was quite skilled in Kendo, and Takakura Ken
holds a high-level rank in both Kendo and (I think) Iaido. But even in such
exceptional cases I think it very likely that Japanese film studio insurance
people are no more willing to see major stars quite literally risking their
life and limb on (or off) screen then are their Hollywood counterparts.
Except in very unusual circumstances, real swords have no place on a film
set.
BTW, since the Samurai film genre is as dead in Japan as the western is in
Hollywood, most of what I've written here should, of course, be read in the
past sense.
Geir Friestad
|
| BTW, since the Samurai film genre is as dead in Japan as the western is in
| Hollywood, most of what I've written here should, of course, be read in the
| past sense.
Not entirely. Samurai films are actually making a comeback in Japan
these days. OWL'S CASTLE (okay, a ninja pic, but still) apparently
was the start of it all, given the film's popularity. The interest
in period films have increased in its wake, and lately there's been
movies like DORA-HEITA, AME AGARU, GOJOE, etc. And there's more to
come: http://www.screendaily.com/story.asp?storyid=9047&st=samurai&s=3
--
Geir Friestad || ge...@portman.org || www.portman.org
"Ushinawareta toki o motomete."
G. M. Watson
----------
In article <slrnat9ev...@aerith.portman.org>, ge...@portman.org (Geir
Friestad) wrote:
> G. M. Watson <gm...@pop2.intergate.ca> wrote:
> |
> | BTW, since the Samurai film genre is as dead in Japan as the western is in
> | Hollywood, most of what I've written here should, of course, be read in the
> | past sense.
>
> Not entirely. Samurai films are actually making a comeback in Japan
> these days. OWL'S CASTLE (okay, a ninja pic, but still) apparently
> was the start of it all, given the film's popularity. The interest
> in period films have increased in its wake, and lately there's been
> movies like DORA-HEITA, AME AGARU, GOJOE, etc. And there's more to
> come: http://www.screendaily.com/story.asp?storyid=9047&st=samurai&s=3
>
You didn't mention Oshima's "Gohatto". I've seen it, "Dora-Heita", and
"Gojoe", and while each has its merits (and shortcomings), I don't think
they represent a revival of the classic, socially-conscious style of the
genre, which peaked in the 50s and 60s thanks to Kurosawa, Kobayashi,
Shinoda and a few others. As much as I love the work of the late Gosha
Hideo, I think his TV-influenced flashiness echoes the precipitous artistic
decline the genre suffered in the 70s (which was,it must be said,
attributable in part to the massive surge of interest in Yakuza films, and
in large part to TV, which more or less took over production of the Samurai
genre-- Samurai were much more in evidence on Japanese TV than in films in
the 70s). Truly good and intelligent Samurai/chambara (or even mere
jidai-geki) films since then have been extreme rarities. All too often
during the past 30 years, what "Samurai" films there have been have turned
out to be no more than empty, mindless, poorly-shot, written and directed
martial-arts/action flicks.
I'd like to believe in the "revival" implied in the article you cite (thanks
for the link). But I won't hold my breath, and the kind of films they're
talking about don't seem to hold much promise. I'd like to see someone make
a film with the power, brilliance and social insight of Kobayashi's
"Seppuku". But that ain't gonna happen as long as companies like Shochiku
keep prioritizing "youth-oriented period dramas" or "CG-heavy action films",
"targeted at the multiplex masses". (Especially if they're made by that
master shlockmeister, Yamada Yoji.) Even if they have Samurai in them, that
doesn't make them Samurai films as we once understood the term.
Keep in mind that "Dora-Heita" was made by the octogenarian Ichikawa, once a
great director but long since fallen from grace-- (and the film,
unfortunately, was really not all that good), and Oshima's poor health makes
it unlikely that he will direct again (in any case, he's never been much
interested in period film). The "old masters" (like, older than 60) are
almost all gone, but in any case major-studio support for their kind of work
was already gone, a long time ago. I loved "Gojoe" (been trying to find a
North-American-compatible video or DVD copy for some time) and I think it's
a crying shame that it never got North American distribution-- strange, in
the wake of "Crouching Tiger", some of whose audience it might appeal to--
but to be brutally honest, it's largely a big spectacular
special-effects/action vehicle and of not a great deal of merit
artistically. But I did like it-- a lot (guilty pleasure? Maybe...).
Anyway, I guess all we can do is wait and see. But given the state-- and the
total lack of artistic inclinations-- of the Japanese film industry
nowadays, it could be a very long wait indeed. Can you imagine Ozu or
Mizoguchi trying to get a film made today? My god...
GMW
Geir Friestad
|
|> OWL'S CASTLE (okay, a ninja pic, but still) apparently was the start
|> of it all, given the film's popularity. The interest in period films
|> have increased in its wake, and lately there's been movies like
|> DORA-HEITA, AME AGARU, GOJOE, etc.
|
| "Gojoe", and while each has its merits (and shortcomings), I don't think
| they represent a revival of the classic, socially-conscious style of the
| genre, which peaked in the 50s and 60s thanks to Kurosawa, Kobayashi,
| Shinoda and a few others.
Ah, yes I forgot about GOHATTO (which I didn't care much for, personally).
I do agree with the points you make. None of the movies I mentioned are
on the same level as the old classics. Of the ones I mentioned, I think
AME AGARU is the one that comes closest. It certainly is somewhat slight
compared to most of Kurosawa's movies, but it still carries some weight
and has an affecting emotional center. Certainly, it's miles better than
the distantly related DORA-HEITA (both were written or co-written by
Kurosawa and filmed after his death).
| I'd like to believe in the "revival" implied in the article you cite
| (thanks for the link). But I won't hold my breath, and the kind of
| films they're talking about don't seem to hold much promise.
Again, no disagreement there. However, one can always hope that good
things will come from this. One thing to keep in mind, by the way, is
that Screen International is a Variety-type magazine. I.e., it's
chiefly about market potential, rather than the artistic. Which is
reflected in what films they choose to write about and highlight.
| Keep in mind that "Dora-Heita" was made by the octogenarian Ichikawa,
| once a great director but long since fallen from grace-- (and the film,
| unfortunately, was really not all that good),
It's definitely not a great movie, but I do think it was a funny and
entertaining one. So it's not completely without merit. But hey, I
also like Hiroyuki Nakano's SAMURAI FICTION, which is even more
fluffy... :)
| I loved "Gojoe" (been trying to find a North-American-compatible video
| or DVD copy for some time) and I think it's a crying shame that it
| never got North American distribution-- strange, in the wake of
| "Crouching Tiger", some of whose audience it might appeal to--
| but to be brutally honest, it's largely a big spectacular
| special-effects/action vehicle and of not a great deal of merit
| artistically. But I did like it-- a lot (guilty pleasure? Maybe...).
Personally, I've only seen this movie without subtitles, which really
leaves it with a disadvantage. The story, after all, is really rather
important (the movie is a fancy retelling of well-known, historic events).
| Can you imagine Ozu or Mizoguchi trying to get a film made today? My god...
Not really, but I do hesitate to be entirely pessimistic. After all,
Hirokazu Koreeda, whose style certainly is influenced by Ozu's, has
managed to get a handful of (excellent) films made.
--
Geir Friestad || ge...@portman.org || www.portman.org
"I am vengeance. I am the night. I am Batman!"
David
>BTW, since the Samurai film genre is as dead in Japan as the western is in
>Hollywood, most of what I've written here should, of course, be read in the
>past sense.
I'd like to write a screenplay about an aquatic mammal who belongs to
an ancient Japanese warrior caste and saves a village from bandit
raids, & then goes home to enjoy a bowl of strawberries and cream
after playing a chess game with Death.
I'd call it "The Seventh Samurai Seal."
Jim Beaver
> G. M. Watson <gm...@pop2.intergate.ca> wrote:
> |
> | BTW, since the Samurai film genre is as dead in Japan as the western is
in
> | Hollywood, most of what I've written here should, of course, be read in
the
> | past sense.
And Hollywood is on a Western binge right now--none of them have come out
yet, but there are several movies and at least four tv series in the genre
in production.
Jim Beaver
G. M. Watson
----------
In article <slrnata0k...@aerith.portman.org>, ge...@portman.org (Geir
Friestad) wrote:
> G. M. Watson <gm...@pop2.intergate.ca> wrote:
> |ge...@portman.org (Geir Friestad) wrote:
> |
>
> |
> | You didn't mention Oshima's "Gohatto". I've seen it, "Dora-Heita", and
> | "Gojoe", and while each has its merits (and shortcomings), I don't think
> | they represent a revival of the classic, socially-conscious style of the
> | genre, which peaked in the 50s and 60s thanks to Kurosawa, Kobayashi,
> | Shinoda and a few others.
>
> Ah, yes I forgot about GOHATTO (which I didn't care much for, personally).
> I do agree with the points you make. None of the movies I mentioned are
> on the same level as the old classics. Of the ones I mentioned, I think
> AME AGARU is the one that comes closest. It certainly is somewhat slight
> compared to most of Kurosawa's movies, but it still carries some weight
> and has an affecting emotional center. Certainly, it's miles better than
> the distantly related DORA-HEITA (both were written or co-written by
> Kurosawa and filmed after his death).
"Gohatto" ends on such an unresolved note that when I saw it I was
momentarily convinced that the projectionist had forgotten to screen the
last reel. Or that Oshima had suffered another stroke during shooting. It
had its moments, but I can't say I liked it very much. But then, my favorite
Oshima film remains "The Ceremony", and I haven't seen it since the mid-70s.
I'm not familiar with "Ame Agaru". Can you say a bit more about it? Who's
the director?
>
(snip snip)
>
> | Keep in mind that "Dora-Heita" was made by the octogenarian Ichikawa,
> | once a great director but long since fallen from grace-- (and the film,
> | unfortunately, was really not all that good),
>
> It's definitely not a great movie, but I do think it was a funny and
> entertaining one. So it's not completely without merit. But hey, I
> also like Hiroyuki Nakano's SAMURAI FICTION, which is even more
> fluffy... :)
"Dora-Heita" was very old-fashioned, not surprising when you consider how it
came into being. But old-fashioned doesn't have to mean stodgy and rather
dull, and I'm afraid it was.I did like it, for what that's worth, but it was
disappointing.
>
> | I loved "Gojoe" (been trying to find a North-American-compatible video
> | or DVD copy for some time) and I think it's a crying shame that it
> | never got North American distribution-- strange, in the wake of
> | "Crouching Tiger", some of whose audience it might appeal to--
> | but to be brutally honest, it's largely a big spectacular
> | special-effects/action vehicle and of not a great deal of merit
> | artistically. But I did like it-- a lot (guilty pleasure? Maybe...).
>
> Personally, I've only seen this movie without subtitles, which really
> leaves it with a disadvantage. The story, after all, is really rather
> important (the movie is a fancy retelling of well-known, historic events).
Yes, I've seen parts of the story retold over the years in various media:
film, books, manga, Kabuki, Noh... I guess I was fortunate; I saw the film
at a festival, with subtitles and in spectacular widescreen. Quite an
impact! The final confrontation was jaw-dropping.
>
> | Can you imagine Ozu or Mizoguchi trying to get a film made today? My god...
>
> Not really, but I do hesitate to be entirely pessimistic. After all,
> Hirokazu Koreeda, whose style certainly is influenced by Ozu's, has
> managed to get a handful of (excellent) films made.
>
I liked "Mabarosi" very much, but didn't care for "After Life". I've yet to
see anythig else by him. But I agree, Kore-eda gives us reason for hope. To
be fair, there are still good, and sometimes excellent, films being produced
in Japan. I saw a number of new Japanese films at our recent film festival,
some of which were superb-- notably Kitano Takeshi's new one, "Dolls", which
is totally unlike anything he's ever done and might just be his best film
yet (tho fans of his violent/action films are going to absolutely hate it)--
drop-dead gorgeous cinematography; extraordinary costuming by Yamamoto
Yohji. Very reminiscent, in some ways, of Shinoda's great "Double Suicide".
Also excellent was "Border Line", the first feature by a young (27, I think)
Korean-Japanese director named Lee Sang-Il. The film stars Murakami Jun,
among other name stars (who apparently all worked for low fees because they
liked the script so much), and was made-- on a relatively small budget--
with sponsorship from the Pia Film Festival in Tokyo, which specializes in
first features by new directors.
And yet another wonderful new film is Sugimori Hidenori's "Woman of Water"
(Mizu no Onna), which stars Asano Tadanobu and also bears resemblances to
some of Shinoda's better work, although it's more lyrical--- again,
sumptuous (and very wet) cinematography. Check out <http://www.viff.org> for
more details on any of these.
Incidentally, I do have to say that "Aiki", the new feature by Tengan
Daisuke, who is the son of Imamura Shohei (a director I admire tremendously)
was very disappointing-- basically "The Karate Kid, this time in a
wheelchair, takes up Aikido instead". The festival audience seemed to like
it, but after some early promise it descends into hackneyed feel-good
formulaic crapola. I freely confess that I chose the film largely because of
who the director's father was, and I'm afraid he certainly isn't following
in his old man's footsteps-- no reason why he should, really, but the kid's
got a long ways to go before he measures up to his father's artistic vision.
It must annoy him no end to have people say things like that.
I've heard rumors that Miike Takashi (master of the perverse) wants to make
a period film. Now *that's* something I would dearly love to see! (Even
though "Dead or Alive-Final", the closer to the "Dead or Alive" trilogy,
was, IMHO, a huge letdown-- but then Miike is a very uneven director, not
surprising when you consider the sheer volume of work he produces.)
We'll just have to keep our fingers crossed and hope that all these
directors continue to have brilliant careers, I guess. Somewhat reassuring
to see valid moviemaking still going on out there in the vast sea of shit.
And when you think about it, none of the films I've described above could
have survived the journey through the Hollywood sewer pipe. So maybe I
shouldn't be quite so judgmental of Japan.
GMW
Ken
He said that he used wooden swords in far shots for safety,
metal swords in close-ups where wood would have shown.
Geir Friestad
|> movies, but it still carries some weight and has an affecting emotional
|> center.
|
| the director?
The film is known in English as both AFTER THE RAIN and WHEN THE RAIN
LIFTS, which is why I prefer to use the Japanese title. The director is
Takashi Koizumi. It's a rather short (about ninety minutes or so) period
film about a middle-aged ronin (played by Akira Terao) and his career
crisis, so to speak. The film is full of Kurosawa regulars, both behind
and in front of the camera, and is openly intended to be a tribute to
the late master (the film opens with a dedication to him). More info
can be bound on IMDb: http://us.imdb.com/Title?0181960
|> Not really, but I do hesitate to be entirely pessimistic. After all,
|> Hirokazu Koreeda, whose style certainly is influenced by Ozu's, has
|> managed to get a handful of (excellent) films made.
|
| I liked "Mabarosi" very much, but didn't care for "After Life". I've yet to
| see anythig else by him. But I agree, Kore-eda gives us reason for hope.
I like AFTER LIFE a lot, but perhaps more so because of the feelings and
thought processes it encourages, rather than as a film in itself. Aside
from this film and MABOROSHI, Koreeda has also made DISTANCE, which I
guess you could say is vaguely related to EUREKA. It could also be seen
as an interesting companion piece to Haruki Murakami's non-fictional
book, UNDERGROUND.
| I saw a number of new Japanese films at our recent film festival, some
| of which were superb-- notably Kitano Takeshi's new one, "Dolls", which
| is totally unlike anything he's ever done and might just be his best film
| yet.
My personal favorite is still A SCENE AT THE SEA, but I agree that DOLLS
is a great movie. I also have no problems seeing why so many people seem
to dislike it. It's certainly a very uncompromising movie.
| Very reminiscent, in some ways, of Shinoda's great "Double Suicide".
I have not seen this, but your comparison of it to DOLLS definitely
makes me want to see it.
| Incidentally, I do have to say that "Aiki", the new feature by Tengan
| Daisuke, who is the son of Imamura Shohei (a director I admire tremendously)
| was very disappointing-- basically "The Karate Kid, this time in a
| wheelchair, takes up Aikido instead". The festival audience seemed to like
| it, but after some early promise it descends into hackneyed feel-good
| formulaic crapola.
Your comments regarding AIKI is the main reason I waited so long before
replying. I wanted to see the movie for myself first. Now that I have,
I can't say that I agree with you, though I don't regard it as a great
film either. It's very conventional (feel-good formulaic, as you say),
but I don't feel that it crosses the line completely, and turns into
worthless, syrupy goo. Yeah, the comparisons with THE KARATE KID are
valid and, at times very obvious (bad guys dressed in black, hehe...),
but the film also provides an unflinching and interesting look at the
life of a wheelchair-bound person.
| I've heard rumors that Miike Takashi (master of the perverse) wants to make
| a period film. Now *that's* something I would dearly love to see! (Even
| though "Dead or Alive-Final", the closer to the "Dead or Alive" trilogy,
| was, IMHO, a huge letdown-- but then Miike is a very uneven director, not
| surprising when you consider the sheer volume of work he produces.)
I have to admit I've grown to like Miike less and and less. The first
movie of his that I saw was FUDOH: THE NEW GENERATION, which I back
then liked a lot because it showed me stuff that I'd, well, never
seen in a film before. However, since then my enthusiasm for him has
waned increasingly with each new film. He seems to be doing what
Seijun Suzuki did way back then - going wild within the confines of
genres, with little regard for established narrative rules and
conventional film language. And, to my personal distaste, increasingly
laced with the perverse (reaching a crescendo of sorts in the rather
dull ICHI THE KILLER). Miike is obviously a really talented guy, but
I wish he wouldn't stretch his talent so thin by making so many movies
a year. And the perverse stuff just doesn't appeal to me.
| We'll just have to keep our fingers crossed and hope that all these
| directors continue to have brilliant careers, I guess. Somewhat reassuring
| to see valid moviemaking still going on out there in the vast sea of shit.
Absolutely. There are other young directors, too, which haven't been
mentioned here yet, but perhaps should have been: Kiyoshi Kurosawa,
Shunji Iwai and Isao Yukisada. Though, come to think of it, that would
lead this discussion even further away from the samurai genre!
--
Geir Friestad || ge...@portman.org || www.portman.org
"Nothing great was ever achieved without enthusiasm."
G. M. Watson
----------
In article <slrnatt8s...@aerith.portman.org>, ge...@portman.org (Geir
Friestad) wrote:
> G. M. Watson <gm...@pop2.intergate.ca> wrote:
> |ge...@portman.org (Geir Friestad) wrote:
> |
> |
> | I'm not familiar with "Ame Agaru". Can you say a bit more about it? Who's
> | the director?
>
> The film is known in English as both AFTER THE RAIN and WHEN THE RAIN
> LIFTS, which is why I prefer to use the Japanese title. The director is
> Takashi Koizumi. It's a rather short (about ninety minutes or so) period
> film about a middle-aged ronin (played by Akira Terao) and his career
> crisis, so to speak. The film is full of Kurosawa regulars, both behind
> and in front of the camera, and is openly intended to be a tribute to
> the late master (the film opens with a dedication to him). More info
> can be bound on IMDb: http://us.imdb.com/Title?0181960
Ha! How coincidental-- I just came across it this very afternoon, on the
"new arrivals" shelf of our neighbourhood (and superb) video store, under
its English title, and wondered what the hell it was. It's touted on the box
as a previously-unfilmed Kurosawa/Hashimoto script, which means I'll have to
see it sooner or later. Plus it apparently has Nakadai Tatsuya (who I adore)
in a small role, another reason to see it.
>
> | I saw a number of new Japanese films at our recent film festival, some
> | of which were superb-- notably Kitano Takeshi's new one, "Dolls", which
> | is totally unlike anything he's ever done and might just be his best film
> | yet.
>
> My personal favorite is still A SCENE AT THE SEA, but I agree that DOLLS
> is a great movie. I also have no problems seeing why so many people seem
> to dislike it. It's certainly a very uncompromising movie.
As I say, fans of Kitano's who relish his yakuza/cop movies will hate it.
OTOH, wild horses couldn't have dragged my partner to one of Kitano's
violent films (I've been wondering for years whether I could risk showing
her "Hana-Bi"-- and she was ambivalent about "Kikujiro"), but she loved
"Dolls". I hope it's a huge success and brings him an entirely new audience,
which would give him the courage and clout to keep trying new things instead
of adhering to his tried-and-true formula-- I thought "Brother" represented
a dead end of sorts. Altho, having said that, I've yet to see a Kitano film
I disliked, which is more than I can say for Miike.
>
> | Very reminiscent, in some ways, of Shinoda's great "Double Suicide".
>
> I have not seen this, but your comparison of it to DOLLS definitely
> makes me want to see it.
See it, by all means. It's brilliant, one of the greatest Japanese films of
the 60s, arguably the last great decade for Japanese cinema. My comparison
is based on the fact that both use Bunraku as a metaphor for characters
doomed by inexorable fate. In the Shinoda film, which is an adaptation of a
Chikamatsu play and opens in a Bunraku theater, Bunraku puppeteers actually
appear on-screen and take control of the characters at a couple of crucial
points (notably at the film's climax), which is a chilling visual
representation of said doom.
>
> | Incidentally, I do have to say that "Aiki", the new feature by Tengan
> | Daisuke, who is the son of Imamura Shohei (a director I admire tremendously)
> | was very disappointing-- basically "The Karate Kid, this time in a
> | wheelchair, takes up Aikido instead". The festival audience seemed to like
> | it, but after some early promise it descends into hackneyed feel-good
> | formulaic crapola.
>
> Your comments regarding AIKI is the main reason I waited so long before
> replying. I wanted to see the movie for myself first. Now that I have,
> I can't say that I agree with you, though I don't regard it as a great
> film either. It's very conventional (feel-good formulaic, as you say),
> but I don't feel that it crosses the line completely, and turns into
> worthless, syrupy goo. Yeah, the comparisons with THE KARATE KID are
> valid and, at times very obvious (bad guys dressed in black, hehe...),
> but the film also provides an unflinching and interesting look at the
> life of a wheelchair-bound person.
I agree with your last sentence. I guess. But the black-gi-clad bad guys
were so cookie-cutter cliched I had to laugh out loud. It may not be "syrupy
goo", perhaps, but I found it to be a dreadfully flawed film. I hope Tengan
does better next time. I'm impressed that you took the trouble to see it
before replying, BTW. Would that more people on Usenet (including me,
sometimes) were so thoughtful in their posted responses.
>
> | I've heard rumors that Miike Takashi (master of the perverse) wants to make
> | a period film. Now *that's* something I would dearly love to see! (Even
> | though "Dead or Alive-Final", the closer to the "Dead or Alive" trilogy,
> | was, IMHO, a huge letdown-- but then Miike is a very uneven director, not
> | surprising when you consider the sheer volume of work he produces.)
>
> I have to admit I've grown to like Miike less and and less. The first
> movie of his that I saw was FUDOH: THE NEW GENERATION, which I back
> then liked a lot because it showed me stuff that I'd, well, never
> seen in a film before. However, since then my enthusiasm for him has
> waned increasingly with each new film. He seems to be doing what
> Seijun Suzuki did way back then - going wild within the confines of
> genres, with little regard for established narrative rules and
> conventional film language. And, to my personal distaste, increasingly
> laced with the perverse (reaching a crescendo of sorts in the rather
> dull ICHI THE KILLER). Miike is obviously a really talented guy, but
> I wish he wouldn't stretch his talent so thin by making so many movies
> a year. And the perverse stuff just doesn't appeal to me.
Well, again I have to agree with you, to an extent. And I've never much
cared for Suzuki. To be quite honest, I've yet to see anything by Miike
that, for me, equals the opening 10 minutes of "Dead or Alive", whose sheer
over-the-top insane bravura- especially when embodied by the wonderful Riki
Takeuchi-- had me whooping in delight (not a good thing to do in a crowded
theatre, even at a festival midnight showing). (I immediately recommended
the film to a film-sophisticate friend, who absolutely hated it...sigh.) But
of course I've seen no more than half-a-dozen Miike films, including some
ungodly pieces of crap and some utterly brilliant moments. Still, for now
I'll still see go see anything he does. He holds my interest and I keep
hoping he'll pull it all together sooner or later. But if he puts out much
more that's as bad as "DOA 3" or (good god!!) the-- perhaps deliberately--
godawful "Visitor Q", I'll have to reconsider that.I really must get around
to "Audition" one of these days...
>
> | We'll just have to keep our fingers crossed and hope that all these
> | directors continue to have brilliant careers, I guess. Somewhat reassuring
> | to see valid moviemaking still going on out there in the vast sea of shit.
>
> Absolutely. There are other young directors, too, which haven't been
> mentioned here yet, but perhaps should have been: Kiyoshi Kurosawa,
> Shunji Iwai and Isao Yukisada. Though, come to think of it, that would
> lead this discussion even further away from the samurai genre!
Agreed. Now I think I'll go back to reading "Emperor and the Wolf" and dream
about what used to be (and fantasize about living near LA's Toho La Brea in
its glory days).