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Zatôichi monogatari (1962)
The heroic victory of the deprived over the oppressor
Many text and film stories parallel the archetypal ideas of the private person becoming the heroic avenger and bringer of justice, and
the Revenge Tale has been a staple in human storytelling throughout both written and oral eras (the blinded Ulysses' vengeance come to mind as an example of the latter), and the Blind-Swordsman films carry the revenge tradition to an even more interesting level by including a champion of the people who (through hard work and cotemplative study) has overcome his obvious physical affliction of near-lifetime blindness to become a quiet and philosophical example of the of the provider of "Right-over-Might."
Several years ago I watched the TMC film presentations of Shintaru Katsu's (and, later, that of Takeshi Kitano's) often-understated-if-delightfully-satisfying depictions of the blind swordsman's abilities to emphasize with and bring justice to the downtrodden and oppressed.
As an avid reader and viewer of both classic and contemporary revenge tales, I implore all to partake of the joys of the Blind Swordsman.
The Twilight Zone: A World of His Own (1960)
Contract Pending
In the world of Network Television, as the first year of any series draws to a close, anxious moments lead to questions of creative (and production) mortality.
One must ask oneself: Had the fantastically creative and innovative TheTwilight Zone not been renewed, how would veteran television hand Rod Serling have wished to bow out?
Here's the answer.
Although Richard Matheson gets all the screenwriting credit, Serling's master's hand leaves fingerprints all over this final episode of Season One, and as we all know, the legacy lived on.
Passengers (2008)
Remake
Remake.
'Nuf said.
The acting is more than could reasonably be expected--with such a tired, thin, clinched storyline.
Whoever wrote the acting credits apparently forgot to watch ANY of the shooting of even the makeup sessions.
$ad!
(I kept looking for the "blonde" man. I finally decided that he was the haggard, suited, balding, brown-haired man.)
Not even close!
Proofreading is too expensive, I guess.
Again, the acting is good, even better than good, at times.
I watched it twice--all the way to the copyright info.
Attention to detail makes ALL the difference (think James Ivory). Garcia will get better!
The Last Time I Saw Paris (1954)
A Great Short Story Gone Wrong
Fitzgerald's "Babylon Revisited," is a clean, clearly written indictment of the disaffection promulgated by sudden, unearned wealth upon morally "uncompassed," ex-patriot Americans, an immature group fled to the decadence of between-the-wars Paris. One of the best examples of post-WWI Modernism, the story that provides the basis for the film is "thinned" into a screenplay designed to promote the two-dimensional stars, and in the process, the magic and depth of Fitzgerald is diluted into a mishmash of shallow characterizations wandering about upon a Technicolor screen.
"Babylon" (and its author) deserved a far, far better script and a more reasonable treatment. . . . And the literature merited actors whose dramatic abilities outweigh their makeup.
The Outsider (2002)
Zane Grey?
Not bad at all
Thinly veiled re-spreading (Mennonites instead of Mormons?) of Zane Grey's "Riders of the Purple Sage"--previously made into at least five films . . . Naomi Watts and others do a more-than-passable job of carrying off this version--despite a contrived happy ending for starry-eyed teens and readers of romance novellas. Indeed, it is the acting that makes this one a better-than-average (for modern westerns) effort.
The 1941, George Montgomery film is notably more revealing of social and religious conflicts and dogmas than any of the later films--under whatever title and despite their somewhat dubious originality.
Still, perhaps these works fall into the category of "imitatio" rather than straight copying?--at least one may always hope!
Girls Against Boys (2012)
Think "Black Swan" with FX for a three-year old.
Think "Black Swan" with FX for a three-year old. Or, think "The Corn Dog Man" with no plot, humor, quality writing . . . or ANY real complication. Or, think "The Rape of Lucrece" w/o poetic Drama . . . Or, think about any "story" totally dependent upon sex & violence. Wonder about WHY anyone would enjoy such plagiarism disguised as art but existing as nearly pure twaddle. Is cheap exploitation Art? What would Aristotle think of this film as "drama"? What would Charlie Chaplin think of this work as a waste of film? Is it really profitable to create such BAD cinema (it must be, as so many poor films are released). Wouldn't one learn more about philosophical existentialism by spending one's time pulling the wings off of flies? (Yes, one would.) Don't get me wrong; I UNDERSTAND what the message is. I UNDERSTAND the "techniques" (crude though they may be). What I cannot understand is why such a poorly made film was actually released upon an otherwise fairly guiltless universe. Still, if one likes pretension, slaughter, and gratuitous sex and violence--"git 'er Done!"
Oz the Great and Powerful (2013)
Poor Writing Will Out!
Such total reliance upon CGI effects will "date" late (1970's+) twentieth- and early-twenty-first century films . . . much as bad singing "dates" the studio-system films of the late 1930's and late 1940's Let's face it, neither Mickey Rooney nor James Stewart were singers--nor Lee Marvin, either--(OK, OK, "Paint Your Wagon" is late 1960's).
"Oz . . ." fails because it is horribly written (period). Either the actor in the male lead (who picks up diplomas like celluloid pennies from heaven) had NO SAY about the storyline or dialogue . . . or we've ALL been MOONED (and I don't mean as in "George lassoes the moon"!)
Stone (2010)
Are there answers to the big question?
"Stone" is, as one other reviewer notes, like "Monsters' Ball," but it is so in that the film presents life situations but offers no final answers to the title character's (and our) question: "Maybe there's a plan {for our lives} but what it it?"
Each of us has to find (or, perhaps, not find) the answer to the "meaning of life" for ourselves.
For those who have not yet contemplated this question, or--more to the point--for those who believe they have found the answer, then this film is, indeed, a waste of time.
For other viewers "Stone" hits home--and we leave the theater identifying, if not with the characters, then, at least, with their perplexity and desires for either closure or redemption.
The Picture of Dorian Gray (1945)
Thought-Provokingly Epicurean
Angela Lansbury at her most beautifully, sensuously, and vulnerably innocent!
Although sparse treatment of minor characters and some noticeable deletions from the novel (due to the straight-laced, 1945-ish treatment of certain of Gray's more perverse and debauched atrocities) may be "intrusive" to fans of Wilde's disturbing (but often delightful) descriptions of the more colorful of the late-Victorians' tastes in sensual depravity, this production is a fine example of the careful writing, thoughtful directing, and the control of character Hollywood's artistry could (seldom so successfully) proffer.
Despite George Sanders' somewhat stilted and--in modern terms--"out of the moment" portrayal as the film opens, within ten minutes or so the audience meets the serenely enchanting Hurd Hatfield's rendition of the title character, and the artistry begins. Once Hatfield enters the film the supporting performances become increasingly effective, and the remainder of the production, including Sanders as "Lord Henry," reach almost mythic proportions.
With near-perfection, The Picture of Dorian Gray (1945) delivers Wilde's portrait of Narcissistic and perfidious sensuality--the delight and desire of the suppressed and decayed late nineteenth-century Victorian elite-- . . . or, . . .
as Sanders quotes Wilde: "To get back my youth, I'll do anything except 'get up early, take exercise, or live respectably.'"