This film is surely,
Of all the Pixar Cars films,
One of the top three.
Category / Cinema
Film review – 縄張はもらった / Retaliation (Yasuharu Hasebe, 1968)
Arrow’s release of Yasuharu Hasebe’s 1968 yakuza film ‘Retaliation’ is well with picking up alongside another release from the same director, ‘Massacre Gun‘ (which I have previously written about). I will admit that these are films in a genre for which my interest far outweighs my actual experience in, but as usual the Arrow discs serve not only as an excellent way to view the films but also to immerse yourself in the history of the company and background to the films themselves. But more on that later.
The film is a tale of gang warfare. Jiro Sagae (Akira Kobayashi) returns to the streets after eight years in prison to find that much of his former life has moved on – his gang is all but completely disbanded and the city he knows and loves is now in the midst of a land dispute over farmland, with two gangs using heavy-handed methods to acquire land off farmers to sell on at a profit to a company that wants to build a new factory there. Jiro approaches the leader of the Hasama family to offer his assistance in settling the dispute and is given two promises: he can complete the task his own way and he will get control over the area once the task is complete. Jo Shishido also stars as Hino, a former gang rival waiting to kill Jiro after his escape from prison, and there is an early performance by Meiko Kaji (as Masako Ota) as the love interest of Jiro, years before her starring roles in Lady Snowblood and the Stray Cat Rock series.
The plot does, at times, feel overly complex. This is perhaps due to the need to introduce characters of interest in each of the gangs, plus a lead character, plus a backstory between two of the Nikkatsu Diamond leading men and a love interest. There’s also an unexpected homosexuality twist near the end, which was undoubtedly controversial at the time. At its heart, however, is a simple turf war story that is the bread and butter of any mafia or yakuza film.
Nikkatsu may have later become known for their sexploitation films, with Yasuharu Hasebe even turning his hand to several “pink” films, but at the time they specialised in yakuza action films. Hasebe’s directorial technique is quite distinctive. The content is, invariably extremely violent (for the time, at least). He was a specialist in violence, and threw in elements of S&M briefly and a sexual assault that should have warned Nikkatsu of what to expect when they eventually gave him complete freedom to direct a number of sexploitation films in the late 1970s.
Another technique is to use foreground blocking to affect the composition of the shots. This is particularly used in fight scenes and in quiet meetings between gang members to give a sense of the action being the kind of thing you usually find behind closed doors, almost as if the cameraman has hidden away and is filming the characters, but if they realised then he’d be in danger. It’s a clever way to raise the intensity of the film.
As previously touched on, there are some essential bonus features on both this disc and that of ‘Massacre Gun’ that are well worth discovering. The half-hour interviews with film historian Tony Rayns are fantastic insights into the company and serve as a video essay to establish the background to the company at the time the films were released and also a means to discover more about the director Hasebe and one of the stars Jo Shishido. Additionally, Jo Shishido is also interviewed on each disc, providing an unfiltered take on the filmmaking process and his memories and experiences about the studio. In the booklets, Japanese film expert Jasper Sharp provides a long essay on the film and the studio that is also well worth reading.
As someone who has never had any kind of film or media training and with no formal qualifications behind me, items like these serve time and time again as very effective mini film study courses. I’m able to watch a film in its best possible picture and sound quality, learn more about it from experts, immerse myself into the history of the company behind it and then check out more films from the era if I wish to. It’s easy to take this kind of situation for granted, but 20 years ago it simply wasn’t possible without finding a rare VHS copy and doing significant research at libraries or enrolling on a course. Indeed, I would probably never have even heard of the film let alone giving it a chance by watching it.
A must have for budding Japanese film fans and one that you need to act fast on since only 3000 copies were released.
Short film review – Lou (Dave Mullins, 2017)
A sweet short film about a bully’s relationship with a lost and found box in a playground might just make your ticket to Cars 3 worth the entry fee.
Dave Mullins is a first time director but has been working with Disney since 1995 and Pixar since 2000, working in the animation department for the likes of Up, Monsters Inc., Ratatouille and Inside Out. It is clear that his attention to detail and love of a great story is at the heart of this film, which is brought to life wonderfully in a story that lasts only a few minutes.
The film opens with the lost and found box attracting the attention of the children in the playground of a school boy, encouraging them to play with the contents. However, the school bully J.J. begins teasing his class mates by taking away their toys and teasing them in the process. However, when the contents of the lost and found box come to life and start to turn the tables on him, he quickly learns a fast lesson in being nice to his peers, awakening memories he’s hidden inside himself that may be the real problem behind his poor behaviour.
It’s incredibly difficult to create something with such a large story and get the whole point across in a strictly limited timeframe, but Mullins and his team completely manage it. The short is, essentially, a silent film, but it has no difficulty in delivering a succinct but strong message.
The audience, which were mainly children, were completely captivated and gave a spontaneous round of applause at the end of the screening.
You can watch the opening 40 seconds below.
Film review – Cars 3 (Brian Fee, 2017)
I always try to stay positive about a film I’ve seen. With that in mind, I can happily announce that Cars 3 is one of the top three films in the series.
The wayward plot that feels deeply familiar on many levels. It’s Rocky III on wheels, with the care and attention of The Karate Kid III. This does little to rescue a franchise that looked in danger of sinking since the poorly-regarded Cars 2.
Put simply, Cars 3 is defined by lacklustre character designs and a thinly veiled attempt to use a film as a means to sell merchandise and toys.
This time around, Lightning McQueen (the returning Owen Wilson) is struggling as an ageing racing car. An arrogant young car named Jackson Storm (Armie Hammer) has shown up and is utilising modern technology to achieve better performance from his specs, forcing cars based on the older technology into retirement. McQueen refuses to retire and pushes his car too much in the final race of the season, leading to a horrific crash that takes him months to recover from. Determined not to retire, McQueen takes on additional training at a new facility sponsored by Sterling (Nathan Fillion), though he seems to want McQueen to retire and turn him into a brand rather than let him keep racing. Regardless of this, he’s given a personal trainer called Cruz Ramirez (Cristela Alonzo) who he quickly strikes up a love-hate relationship with.
One of the tough sells for the film outside of North America is that McQueen is essentially a stock car racer. NASCAR is the second most popular sport on American televisions, but is largely unpopular in Europe and the UK. Indeed, the sport is ridiculed by many who see it as vastly inferior and less exciting than the likes of Formula One and MotoGP. Perhaps as a British film fan I am spoiled when I see stock car racing – maybe the subtleties of the skill involved are lost on me. But converting that into an exhilarating plot point in a film is an unenviable task and something I don’t think is achieved in Cars 3.
For all the disappointment associated with the story, the visuals are nothing short of stunning. There have been huge advancements in animation in the eleven years since the original’s release. The benefits are felt with the backdrops, which feel somehow much more life-like than it’s predecessors. Even the character design, which is hampered by the restrictive nature of bringing cars to life, feels more advanced; a clear sign they’ve learned from two predecessors.
At its heart, this film eventually ends up being a buddy movie. Whilst it takes a while to get there, it’s an important move to bring the film closer to the original movie. I didn’t like either of the first two instalments, but Cars 3 stands alongside the original as being more in line with the Pixar ethos. It is, as the investors would say, “on brand”. So, whilst the first-time director Brian Fee has taken no risks here and the outcome is something that probably won’t overly please anyone, but nor will it offend anyone.
A safe bet that will maintain the franchise and opens the door for further sequels. Bland, forgettable, but pleasant enough to keep its target audience happy.
Though I do think Cars 2 is a better film.
Glastonbury 2017 Day Two – Prince Achmed, Quiz, Napalm Death, Everything
My second day at Glastonbury this year found me out for the lightweight I really am. I’m sat in my tent at 23:20 now, having given up for the night. There are probably four hours of quality entertainment ahead of me but I simply can’t hack it.
My day started swimmingly with a trip to the Pilton Palais for a screening of The Adventures of Prince Achmed. The performance was accompanied by the Guildhall Electronic Music Studio. The film and accompaniment were top quality and it was a well-chosen start to the day.
After wandering with some friends for a while, I stumbled across a man playing a great selection of covers songs at the Open Arms Bar. We watched a handful of songs, sand heartily (if ironically) to “Take Me Home Country Road” and then set off towards the West Holts Bar. This is where I was “that guy” – the one that randomly helps out with a pub quiz without anyone asking him to. Everyone loves that guy. Right?
Our next step, bizarrely, was to visit Shangri-La and watch Napalm Death. I’m going to be honest – the songs merged into one another and I was hardly impressed by any of their music. Perhaps I was too far back but it didn’t feel like any of their songs were distinct enough or had enough dynamics to encapsulate a crowd who started the set with interest if not enthusiasm.
We tried then to see Everything Everything at the Williams Green stage. The crowds were busy for this set, which was possibly the worst-kept secret of the weekend. Alas, we gave up by the second song and moved on.
And that brings me to here. I was too tired to carry on and made my way back to my tent, even though I desperately wanted to see a friend performing with The Trojans. Exhausted and in need of some rest, I’m hoping I last longer tomorrow night for the huge headline set from Radiohead. I’m sure they’ll have an uplifting song or two to get me through the tiredness barrier.
Film review – Die Abenteuer des Prinzen Achmed / The Adventures of Prince Achmed (Lotte Reiniger, 1926)
The uniquely-animated ‘Die Abenteuer des Prinzen Achmed’, Lotte Reiniger’s 1926 film, is a hugely important film. Work started on it in 1923, and it is the earliest-surviving animated feature film – it clocks in at 65 minutes.
The animation technique used involved cutting out cardboard silhouettes of the characters and manipulating them frame by frame. Some 93,000 frames were created for the film.
Reiniger’s attention to detail was matched by that of the restoration team at the Deutsches Filmmuseum, who in 1999 returned it to its former glory and allowed new generations to enjoy it.
Today’s screening, which was at the Tilda Swindon-curated Pilton Palais at Glastonbury Festival, was accompanied by a unique re-score by the Guildhall Electronic Music Studio.
It’s easy to create a modern score for a classic piece that simply doesn’t fit – Air’s ‘The Journey to the Moon’ is certainly guilty of that – but the mix of classical piano and basic sound effects works perfectly. Mike Oliver oversaw the project and acted as a mentor to those involved. The piano accompaniment from Barbara De Biasi is reminiscent of the Joe Hisaishi scores for Ghibli Studio. As a fan of Hisaishi’s work this was very much welcome. This was augmented by Eric Fabrizi with paper-based sound effects and live narration from Mike Oliver and his daughter Molly.
It all came together wonderfully and felt respectful of the original work whilst breathing a new life into it for a new, younger audience.
It was well attended by an early-afternoon festival crowd. Anyone appearing early for the Frozen sing-a-long would have been entirely confused. For everyone else, the film was a triumph. Congratulations to all involved.
Film review – レッドタートル ある島の物語 / The Red Turtle (Michael Dudok de Wit, 2017)
The Red Turtle may find it hard to be discovered by a dedicated mainstream market. This is almost inevitable for a feature-length traditionally-animated film that involves no spoken words at all, with a simple but thought-provoking story line. Its limited release reflects a genuine assessment of the expected appeal to the wider market.
This is a shame because the film is a genuine triumph.
The film opens with a man being thrown around helplessly in an unnamed ocean. Struggling to fight the waves, he falls unconscious, later waking up on an uninhabited island.
The nameless man never speaks, aside from the occasional “Hey!”, whilst his heritage is also somewhat ambiguous. Shipwrecked on an island and left to fend for himself, he busies himself with building a raft to escape and reunite himself with the outside world. However, a large red turtle prevents him from escaping, attacking the raft every time he attempts to leave. When it unexpectedly washes up on shore, he faces a conundrum – free it or exact revenge.
If you have any fears about The Red Turtle maintaining your attention, you needn’t. It’s one of the most engrossing films I’ve seen this year.
The beauty of the film comes in its simplicity. With no character back stories, no names, no requirement to set the scene beyond the initial opening gambit, we’re left to ponder its surprisingly inspirational content.
Around halfway through the film, the man’s decision to flip the turtle on its back is doubtlessly divisive. Left without much else to focus on, my mind inevitably ended up wondering what I would do in the same situation. The turtle dies, which the man immediately regrets and feels great sorrow for. I felt equally guilty for feeling like he wasn’t completely in the wrong. A senseless murder of an innocent animal, but one that felt partly justified as revenge.
It’s a simple act that drives the more fantastical second half of the film. The lifeless body of the turtle disappears and is replaced with a young, beautiful woman, whom the man subsequently falls in love with.
Clearly, this is a film that is steeped in the metaphorical, encouraging the viewer to think about the deeper meaning of what they are seeing – and giving them the space to do so.
The turtle is a visual representation of man’s relationship to nature. Even as the stranded man fights against the tides and tries to leave the island, the turtle forces him back onto the island, on which he has everything he could possibly need to simply continue to survive. The turtle evenrtually provides him with companionship and, later, a child, this providing him with a fulfilling life too.
It is a tale in part about man’s short-sightedness towards a nature that gives him everything, highlighting the knee jerk reaction to things he doesn’t understand. It is about the cycle of human life, about the destructive nature of humanity and about the forgiving nature of the surrounding environment – a nature that is forced to adapt to humanity’s shortcomings and still provide a platform for all life – human or otherwise – to continue.
For anyone with a passing interest in the future of the planet, beautiful animation or engrossing stories, this is a must-see.
Duke Weaselton’s Officially Licensed Movies
Around eighty minutes into the magnificent Zootropolis, there’s a great moment where Lt. Judie Hops (Ginnifer Goodwin) and Nick Wilde (Jason Bateman) follow a lead to solve their case. They wind up at a dodgy DVD stand manned by Duke Weaselton, voiced by the ever-entertaining Alan Tudyk.
That character is in itself a riff on his character in Frozen, the Duke of Weselton, but the jokes don’t stop there. His dodgy DVDs are all parodies on recent Disney movies, clearly having a pop at the endless rip-offs that flood the market every time a new Disney film is released.
The films include Pig Hero 6 (in place of Big Hero 6), Wrangled (a take on Tangled) and Wreck-It Rhino (Wreck-It Ralph).
They even then pan onto a second pile of DVDs and Weaselton brags that he has films that haven’t even been released yet. Those include Meowana, which is a take on the then-yet-to-be-released Moana that replaces the lead character with a cat. Giraffic, the second in the pile, is a Giraffe-themed parody of the upcoming Gigantic, which is a Jack and the Beanstalk tale due for release in 2020. Finally, Floatzen 2 is Frozen but with a moose and two otters in the lead roles, with a review attached underneath that reads “The best film of the year starring a moose and two otters.”
Digging even further, there are more hidden in the row above those in the centre of the screen. Most notable is what appears to be a sequel to Giraffic – a similar cover to the first film but with the tagline “AN INSTANT SEQUEL”. There are also alternative covers for Meowana, Wreck-It Rhino and a mystery film in the top left corner of the first screen (as above), which doesn’t match up with any of the other films but could be a draft poster for something like Ralph Breaks The Internet or one of the other upcoming projects.
Zootropolis is full of weird Easter Eggs and it’s certainly worth checking out again to try to pick them all up.
Film review – Drunken Master (Yuen Woo-ping, 1978)
Two decades before Jackie Chan broke into Hollywood with box office smash Rush Hour, he was making another significant breakthrough in his career. Snake in the Eagles Shadow and Drunken Master were both released in 1978 by Seasonal Film Corporation. They marked Chan’s first mainstream success as a lead actor and showed him to be a realistic option to fill the gap in the market left by Bruce Lee following his unexpected death in 1973.
Chan had worked as a stuntman on two of Lee’s biggest films: Fist of Fury and Enter the Dragon. But it took the two action comedy films in 1978 for him to rise to prominence and make the world pay attention to just how entertaining he is on screen.
Drunken Master, which has recently been remastered and issued in HD on Eureka’s Masters of Cinema label, tells the story of Wong Fei-hung (Chan), a young martial arts trainee with more confidence than ability. A couple of incidents in his local town lead him to be disowned by his father – a martial arts master – and he is forced to train with the great but harsh Beggar So (Yuen Siu-tien). Beggar So is a master of the secret martial arts techniques of the Eight Drunken Immortals, and Wong must train with him to master the techniques to defeat the notorious killer Yim Tit-sam (Hwang Jang Lee).
Once Chan appears on screen for the first time, his charisma and charm are there in plain sight. He commands the screen and plays everything for laughs. It feels entirely effortless and he inevitably carries the entire film.
The plot and delivery border on the ridiculous. There are comedic sound effects added to every single move in every fight, which may take some getting used to for newcomers to the genre, although why they would start here is beyond me.
The martial arts on display is exemplary, with Chan clearly an expert in his art to the point of making his character look completely believable as a poor student. Also notable are Hwang Jang Lee’s Taekwondo displays, which are utilised to great effect.
Inevitably, if you’re seeking out this film you’re probably doing so to see the origins of Jackie Chan’s career. On that level, you won’t be disappointed as it shows a young actor having fun finding his feet in a lead role. An underrated gem.
Drunken Master can be purchased on Blu-ray now. It is also available on U.K. Netflix.
Film review – My Life as a Courgette (Claude Barras, 2017)
My Life as a Courgette is a stop-motion animated film directed by first-time feature director Claude Barras. Short in length but big in heart, it has a way of drawing the viewer in and delivering a weighty emotional drama, despite its saccharine veneer.
It tells the story of the titular Courgette, a boy who is forced into an orphanage at the age of nine. He has come from a lonely and unhappy background but quickly learns to adapt and find his path with the six other children he lives with, notably the over-confident Simon and new girl Camille, whom he takes an immediate liking to.
This shot is one of the most memorable lingering shots of the film
The narrative is carried out from the perspective of the children, which gives rise to some elements of humour whilst giving the situation a melancholic edge. These are children all going through the same issue, as one child puts it they’ve “ran out of people to love them”.
The animation is truly beautiful and endearing, with a unique character design coupled with an a seamless stop-motion animation style. It is simply a joy to watch.
You’ll be hard-pressed to find a more emotionally-involving story in cinemas right now. This is one that needs to be seen.
My Life as a Courgette is out in cinemas now. You can watch a free ten minute preview below.
Cinema, etc. 