I am swamped with work and cannot write a fitting tribute to the master of world cinema, Kurosawa Akira (黒澤 明, or 黒沢 明), in my opinion the greatest film director of all time, who would have turned 100 today (23 March).
I almost can't describe in words the impact that all of the films in his canon that I've seen have made on me. I'll elaborate further when I have a moment to write again. In the meantime, 生日おめでとうございます Otanjobi omedeto gozaimasu, maestro. I hope you are still making great films in Heaven.
According to a Reuters article published today, missing scenes from Fritz Lang's "Metropolis" were discovered in a museum in Argentina.
In a quote in the article from "Helmut Possmann, head of the foundation which owns the rights to the film, the Friedrich-Wilhelm-Murnau-Stiftung", he said that the foundation was "overjoyed" by the find as the lost footage was considered to be gone forever:
"We no longer believed we'd see this. Time and again we had had calls about supposed footage but were disappointed."
Fans like myself of this true masterpiece of World Cinema, we are now salivating over the prospect of seeing it anew.
Throughout June 2008, Turner Classic Movies is broadcasting a series entitled "Race & Hollywood: Asian Images in Film". The special website dedicated to this very important film festival says that it "explores the variety of Asian characters depicted in American films, ranging from negative stereotypes and caucasian actors made up to look asian to the emergence of martial arts films that created their own Asian superstars, and the more sensitive and sophisticated vehicles of such dedicated actors as Sessue Hayakawa (*早川 雪洲, Hayakawa Sesshū), Miyoshi Umeki (*梅木 美代志, Umeki Miyoshi) and Pat Morita." Curated by University of Delaware professor, Peter X. Feng, in collaboration with TCM's great host, Robert Osborne, the festival -- with films ranging from the silent era through the start of the 21st Century -- is not only expository but, in the purest sense, provocative.
Asian Images in Film kicked off last night (June 3) with a one-hour documentary entitled "The Slanted Screen". It concentrates specifically on the "portrayals of Asian men in American media, chronicling the experiences of actors who have had to struggle against ethnic stereotyping and limited roles." The Slanted Screen features 15 interviews -- from Oscar-nominated actors James Shigeta and Mako (マコ岩松, Iwamatsu Makoto), to TV pioneers Dustin Nguyen and Bobby Lee, to director Justin Lin and more -- which, in a way, summarize the entire TCM series to come. That summary is their important perspective on the overwhelmingly maddening, virtual shutting out of Asian and Asian-American performers, and particularly Asian/Asian-American men in U.S. cinema. For all of the distinguished Asian and Asian-American artists who have directed, produced, written, photographed, and graced the screen in U.S. films, there are still today, in 2008 (!), virtually no major Asian or Asian-American actors on the U.S. cinema scene who command the same salaries as Caucasian actors. The rare exceptions are those who, even in very high quality films, still, in blatent or subtle ways, perpetuate Asian stereotypes.
TCM's series has purposely opened this and many other complex "doors" to the issues of Asian images on screen--with films to admire and admonish, respect and decry, sometimes simultaneously. Ongoing commentary by Professor Feng and Robert Osborn will bring out topics of discussion which will, no doubt, demystify, puzzle, inspire, enrage, empower and educate.
Race & Hollywood: Asian Images in Film can be seen on TCM on Thursday nights throughout June (check local listings).
From YouTube: The Trailer from Sidney Franklin's (and the uncredited Victor Fleming) "The Good Earth" (1937):
There have been many remarkable actors in the history of Japanese film. None, however, surpassed the late, magnificent ShimuraTakashi (志村 喬) for introspection and dignity. Where MifuneToshiro (三船 敏郎) was the power of the genius, Kurosawa Akira's (黒澤 明) finest work, Shimura was its heart and conscience.
Shimura was the leader of the Seven Samurai (七人の侍), considered one of the greatest-ever Japanese cinema masterpieces, the eyes of the wood-cutter in the other great Kurosawa work, Rashomon (羅生門), appeared in numerous other Kurosawa landmarks, as well as those for other cinematic masters such as the pioneering MizoguchiKenji(溝口 健二), for InagakiHiroshi (稲垣浩), OkamotoKihachi (岡本 喜八) and many more. Of course, I will always most fondly remember his work in "KaijuEiga", particularly his most well-known role to Western audiences, that of Dr. Yamane in the original Godzilla.
IMHO, his best work ever was in Kurosawa's Ikiru (生きる). In it, he plays Mr. Watanabe, an ageing, droning government functionary who learns that he has stomach cancer and only months to live. When he receives his diagnosis, he goes off on a journey of self-exploration that brings him not to some radically different place as would be the cliché, but to a return to bureaucracy and a triumph over it--securing a place for a simple children's park. The most special moments of the film come when he begins a fascination for a former government subordinate, a young woman who leaves her post to work in a toy production company. Watanabe falls in love; not with the girl, but with her lust for life. The pathos of Shimura-san's performance in his final scenes with the young woman, again IMHO (though the opinion is shared by many in the film community, have never been surpassed. Just look into those deep, emotional eyes and they tell stories that a thousand actors and actresses cannot tell with countless words.
ShimuraTakashi's career spanned 45 years. There are so many films in different genre's to choose from. If you've never seen a Shimura film, you've missed a wonderful experience. Here's a chance to "catch up":
Midnight Eye is one of the best online resources for those interested in Japanese Cinema. It features hundreds of articles, reviews and interviews about, and with, the great Japanese masters in all cinematic genres.
If you love Japanese movies, don't miss it. You'll always learn something new and interesting! :-)
According to a Reuters article published today, missing scenes from Fritz Lang's "Metropolis" were discovered in a museum in Argentina.
Throughout June 2008, Turner Classic Movies is broadcasting a series entitled "Race & Hollywood: Asian Images in Film". The special website dedicated to this very important film festival says that it "explores the variety of Asian characters depicted in American films, ranging from negative stereotypes and caucasian actors made up to look asian to the emergence of martial arts films that created their own Asian superstars, and the more sensitive and sophisticated vehicles of such dedicated actors as Sessue Hayakawa (*早川 雪洲, Hayakawa Sesshū), Miyoshi Umeki (*梅木 美代志, Umeki Miyoshi) and Pat Morita." Curated by University of Delaware professor, Peter X. Feng, in collaboration with TCM's great host, Robert Osborne, the festival -- with films ranging from the silent era through the start of the 21st Century -- is not only expository but, in the purest sense, provocative.
There have been many remarkable actors in the history of Japanese film. None, however, surpassed the late, magnificent Shimura Takashi (志村 喬) for introspection and dignity. Where Mifune Toshiro (三船 敏郎) was the power of the genius, Kurosawa Akira's (黒澤 明) finest work, Shimura was its heart and conscience.
Midnight Eye is one of the best online resources for those interested in Japanese Cinema. It features hundreds of articles, reviews and interviews about, and with, the great Japanese masters in all cinematic genres.
