"Why do we always look up and glorify without questions?"

Goyo: The Boy General picked up soon after General Luna was assassinated in the prior film “Heneral Luna”. General Gregorio del Pilar and President Aguinaldo faced another colonizer when the Spanish ceded The Philippines to the Americans. Much of the story took place in Pangasinan during the five months in 1899 when Goyo was stationed there until the fateful battle in the Tirad Pass. I’m always leery of writing a review about another country’s history and revered leaders so this will only be my opinion on the artistic merits of the film.

“And what did the Republic do during those five months when its doom was being plotted?”
Over an hour of the film took place when the American forces were quiet and Goyo and his men were hanging out in Pangasinan. Instead of strategizing or training, Goyo spent most of his time trying to romance the lovely and distant Remedios. It scarcely felt like war was looming as there were parades, plays, feasting, and dancing going on much of the time. The people hailed Goyo as a hero due to his past successes against the Spanish. Not everyone loved him for there were those who blamed him and Emilio Aguinaldo for the death of General Luna. Other generals resented his arrogant attitude and Aguinaldo’s favoritism.

“Why are we blindly dependent on heroes?”
The movie didn’t set up any hero worship of Goyo. Using artistic interpretation, The Eagle as he was also known, occasionally had bloody visions from the past and blood-soaked fears for the future along with trembling hands. His military abilities were also sorely tested against the new foe. In one short skirmish with the Americans, sharpshooters picked off his men at an alarming rate causing him to retreat. He was shown on two separate occasions not recognizing gun or cannon fire leaving his people vulnerable. And much of the movie focused on his womanizing. The half of the movie with skinny dipping, women fighting over him, and hero worshipping began to wear thin.

“We don’t need heroes, we need soldiers”
The narration from historical letters showed how ill-prepared they were for war. Most of the soldiers were farmers or laborers. When the Americans advanced, they did so speedily, catching Goyo flat-footed. Lacking in supplies the military and Aguinaldo’s family traveled with little to eat or drink with the Americans hot on their trail. At Tirad Pass, Goyo and his men held the high ground but were unable to capitalize on it for long. Vastly outmanned and outgunned they were quickly overrun yet still able to give President Aguinaldo and the rest of the army time to escape.

The cinematography captured the time and beauty of the country even during the midst of war. The soundtrack elevated the emotional mood of each scene. Actors varied in strength and ability. One thing that stood out was for both countries, many of the soldiers were quite young. The sound could fade in certain scenes making dialogue garbled. But overall, the production values were quite high. The battle at Tirad Pass was especially well shot and choreographed. It’s one of the better Filipino films I’ve watched.

“Self-preservation is the law of God”
The message of the film could be blurred. Much of the film was devoted to Goyo attempting to romance the reluctant Remedio even when his ex-lover strolled into town. It didn’t help his cause that his briefcase was filled with love letters from pining women he’d abandoned. Was it a tragic romance or simply a criticism of the young general? Though the people loved their country and wanted autonomy, the military and Goyo were rarely shown in a positive light. There was no shortage of criticism for del Pilar, Aguinaldo, divisive generals, soldiers who ran away in fear, villagers who refused to help, and those who profited off the Americans. Aguinaldo was especially the target of much ire. Numerous bloody visions hinted that Goyo might not have been emotionally stable. Guilt or simply PTSD for a young man who had seen too much and carried a great burden on his shoulders?

“I’m beginning to believe they are right to call us children”
The narration frequently mentioned that the Filipinos were like children. Lack of solidarity and supplies, military leaders unskilled in strategic thinking, and political self-interest doomed the revolutionaries from the start. Their fight for independence soon became a fight for dignity. Despite the often negative portrayal of the military leaders, many courageous revolutionaries were prepared to die fighting for love of their country and did. It would take another 45 years for their dreams and sacrifices to blossom.

23 January 2024

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"Tired? Too bad!"

Billy Chong teamed up with Simon Yuen in a thinly disguised Drunken Master/Snake in the Eagle's Shadow copy though lacking the drinking. This time the chosen styles were Shadow Eagle's Claw vs the Double Phoenix Eyes! No secret books or lists, just good old-fashioned revenge for a father's murder.

His name was Ah Wen, they killed his father, and they would have several years to prepare to die! Ah Wen knew no kung fu and agreed to work at a dubious kung fu school in exchange for being taught. This male Cinderella never had time to learn kung fu because he was relegated to the never-ending chores in the kitchen. Luckily for him, Chang King Sang, the cook, was secretly a kung fu master who was in hiding from a gang of bad guys. After many “hilarious” encounters, Chang agrees to train Ah Wen. Ah Wen is confronted by the baddies, beaten and questioned, and let loose so that there could be another training montage.

Crystal Fist aka Jade Claw had a paper and worn thin plot. The humor was just as gaunt despite repeated tries to emulate Jackie Chan’s early movies. The strength of the film lie in the training montages and the fights. Three Yuens-Corey, Brandy, and Shun Yi along with Chin Yuet Sang choreographed the fights. The comic relief baddies played by Addy Sung and Brandy Yuen had a cool trick move when they teamed up. Some of the fights and training montages were better than others. The finale when Billy brought his fists to a sword fight was creative. Billy Chong only made around ten kung fu movies in the Golden Age but I always enjoy watching him fight. He was quick and agile and never kept his shirt on for long. Where the movie faltered was in the villain department. Chu Tit Wo was not a formidable or memorable bad guy. Chan’s movies in the same vein had charismatic and high kicking Hwang Jang Lee to bring a proper menace for the good guy to be pitted against. Simon Yuen wore the same scruffy wig and basically played the same character as he did in the other two movies. The wig helped camouflage the stuntman for the more complex and acrobatic moves. I don’t usually compare movies, but when moviemakers go out of their way to copy someone else, it’s going to happen.

Billy Chong brought his mischievous smile and quick moves to play against Simon Yuen’s wise, playful, gray wigged master. Even if his character was a retread from other films, I’m happy after 300+ movies of often being relegated to playing bit parts that the Yuen patriarch finally had a signature role to call his own before his untimely passing one year after this movie came out. Crystal Fist wasn’t a great or even classic kung fu flick but it did have entertaining moments.

2 Jan 2024

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Emotionally effecting

Still was a quietly melodic short film following the lives of twin brothers, Andres and Gael. It showed how children can find joy, peace, and comfort in the smallest of gestures and activities even when confronted with unkindness.

Andres and Gael are twin brothers who are tactile and nearly inseparable as they explore the world around them. I could see the constant push-pull in these boys. Separate identities yet close and nearly always together. Despite cruel words from a father and friend, the boys bond remained unbroken. The brothers’ love for each other was great enough to let each one be who they truly were without judgement.

Hilom/Still was short on dialogue and time yet still packed an emotional punch of childhood nostalgia, tenderness, and brotherly resiliency in the loss of trust in those around them.

28 Dec 2023

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Drunken style vs Thunderleg!

Drunken Master reunited Jackie Chan with much of the cast and crew from Snake in the Eagle’s Shadow from March of the same year. This time Chan played a mischievous Wong Fei Hung who much against his will was forced to be the student of Drunken Master Beggar So/Sam Seed. He was finally motivated to improve his skills and become serious with his training when confronted by Hwang Jang Lee’s Thunderleg!

Wong Fei Hung seems to make or find trouble wherever he goes. His exasperated father calls upon Uncle So to train or break the young man before he causes trouble he and the family cannot get out of. At first WFH doesn’t take the training too seriously until he is humiliated by the deadly Thunderleg who considers him unworthy of killing. The requisite training scenes follow along with a couple of test fights before he’s finally able to face Thunderleg in the grand finale.

The beginning of the film dragged with Uncle So only showing up around the 45-minute mark. That’s not to say there weren’t entertaining fights in that time. Chan had a memorable fight with Tino Wong in the market place and then later against his toady in the Wong school. The real highlight was when Wong put the moves on a girl in town and her mom schooled him in kung fu and manners. Linda Lin Ying was a delight to watch sparring with Chan. There were a couple of “comic” scenes and fight scenes that didn’t serve much of a purpose though. The story kicked into gear when Uncle So arrived and showed Wong his weaknesses. A 66-year-old Simon Yuen really found his hallmark role with the drunken master. Still nimble and energetic he held his own against the kung fu clown. Hwang Jang Lee’s Thunderleg was properly menacing and he showed why he was the most feared kicker in Hong Kong. At least he didn’t accidentally kick out one of Chan’s teeth like he did in the previous film!

The best part about movies like this was that there was almost no wire-fu. Utilizing wide angles and long takes you could watch people who actually knew how to do the moves and weren’t faking it with lots of editing and closeups. There was also no kung fu posing. The moves were relatively fast and fluid with each fight showcasing different skills. Yuen Woo Ping and Hsu Hsia provided the fight choreography. Hsu made an appearance as the King of Sticks fighting both Yuen and Chan with, what else, a long stick.

This was not a movie with much plot, not even a secret book or list and nary a rebel to be found. Most people, including myself, don’t worry about the plot much as long as the fights were entertaining and Drunken Master succeeded in that goal. They were well choreographed and shot. Although it had comedic moments it wasn’t over the top slapstick as some kung fu comedies could be. I liked this movie quite a bit better than Snake in the Eagle’s Shadow. While Wong Fei Hung could be cocky and annoying at times, he also faced consequences for his actions propelling him slowly but surely into being a better fighter and human being. Drunken Master ran a little long but the inventive fight sequences by compelling characters more than made up for it.

11/20/23

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"At the Louvre I saw the Black"

Kishibe Rohan takes his supernatural ability to read people like a book on the road to Paris. At the Louvre he will confront a relentless evil residing in a hidden painting. The story jumps back and forth in time with much of the story told in the past. Fair warning: If you have arachnophobia you will want to avoid this film at all costs.

Rohan is working on a new manga and after remembering a story about the blackest of blacks, so black it doesn’t reflect light and is in essence invisible, decides to hunt a painting down that uses the rare pigment. Death and spiders follow the path that takes him to an auction for a painting and then to the Louvre in search of the original.

The cinematography ranged from gauzy and ethereal, to elegant, to dark and foreboding. Discordant notes and chords accompanied the creepier facets of the film. The supernatural elements of Rohan’s gift and the cursed painting were well done, especially for someone who has neither read the manga nor watched the drama.

Takahashi Issei can always be counted on to give a layered performance even when wearing a headband designed for a manga character. He actually played two characters, giving them both separate personalities ranging from light to absolute darkness. Marie Iitoyo as Rohan’s editor seemed out of place with her childlike acting. Kimura Fumino matched the mood of the film as the haunted Nanase. The Louvre could almost be counted as a cast member with its lovely exhibits, own complex history, and gloomy, forgotten vaults.

The film felt like it might have been better served as a two-episode drama due to all of the backstories which took up a substantial amount of time. Both of the trips to the past felt overly long. Not having the compelling Issei on the screen also took away from the forward momentum of the story. Overall, it was a strange, creepy (crawly!) movie that did manage to integrate the past and the present connections to the sinister painting lurking in the shadowy corners of the Louvre.

10/25/23

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"The fear of men makes them the perfect prey of the devil"

Water Monster was a taut 78-minute monster thriller with very little filler. No slapstick comedy, no overwhelming CGI, just a fishing village trying to find a way to survive a lethal water monster attack.

Shui Sheng witnessed the Water Monkey killing his father a decade before. Now the creature is back and Uncle San, the village elder, declares they must once again sacrifice a virgin to save the village. After the death of her father and brother, Xiang Lan is willing to die, but her love interest, Shui, is not going to let that happen. He gathers a small force to face the village and the monster which at this time is difficult to differentiate between. Shui saves Xiang Lan. Then the heroes confront the Water Monkey and after a fierce, deadly battle cage it. Uncle San refuses to let them kill it thinking the creature to be a god. With that fateful mistake the village suffers even greater losses and must now confront not only the Water Monkey, but their fears and mistakes of the past.

Water Monster went where few guys in rubber suits movies dare to go. The body count of familiar characters was extremely high. Old beliefs were faced head on. Shui Sheng dared to call the village elder’s self-protective action as murder. Anytime someone in a movie says, “Please don’t blame us,” nothing good or righteous follows. Why is the guy who decrees someone must be sacrificed never volunteers himself? In a world where women are devalued, why not sacrifice a virgin male or the village chief as a more valuable “gift”? Chief Liu’s eyes were finally opened and he realized that “begging, sacrifice, and wishful thinking” only strengthened the monster and weakened them. It was time to unite and face death.

The atmosphere was perfectly dark and foreboding. The music and some of the lighting were reminiscent of Pirates of the Caribbean. Every time the familiar “bong pulse” rang out I wondered who had a piece of the Aztec gold. The monster costume looked like an updated version of the Creature from the Black Lagoon (1954), a movie that gave me nightmares when I watched it on the late, late-night show on tv at a childhood slumber party. The Water Monkey really would have given me nightmares as he was fast, extremely flexible and possibly a kung fu master. The fights were fierce, bloody, and deadly. An abundance of inventive weapons were created to stop the seemingly invincible foe.

The Water Monster kept the action coming at a thrilling pace. I was invested in several of the characters despite the limited amount of time devoted to them in this short movie. The village not only had to face the vicious monster, but also their fears and responsibility for their own safety. For what looked like a low budget horror movie, these still waters ran deep.

10/24/23

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Here there be monsters!

Monster Hunter was not a great movie, but it was a fun popcorn movie. For the ‘based on a video game’ genre it gave no more than the bare minimum---thin plot, adequate acting, lots of action and dangerous monsters. If a movie is going to scrimp on the script, it had better bring good CGI action and that is the one thing this movie got right.

The Hunter (Tony Jaa!) fell off his desert ship when it was attacked by a Diablos. Meanwhile in another world Capt. Artemis and her security team for the U. N. are in the desert searching for a missing team. An enormous sandstorm complete with powerful lightning transports them to the Hunter’s world where they are almost immediately attacked by a Diablos and later giant spiders. Now we know where Shelob came from! Artemis and The Hunter come to blows and then to a détente as they seek to make their way past all of the dangerous creatures, each wanting to return to their own home. When they finally make it to an oasis, The Admiral catches up with them, and after a misunderstanding, he takes Artemis into his confidence. The ship was headed toward the Sky Tower where an advanced ancient civilization once lived. The portal to her home is there with only one, well mostly one, problem. It’s guarded by a Rathalos, a giant fire-breathing dragon with a nasty temper.

Mila Jovovich of the Resident Evil series is no stranger to action and she made for a believable kick-ass heroine. Tony Jaa wasn’t able to show off his martial arts as much as I would have liked, but he had plenty of opportunities to fight and be heroic. I’ve been a fan of Ron Perlman’s since Beauty and the Beast. He’s made a career off of tough talking, rough fighting roles (Hellboy anyone?) and showed he could still face down a dragon at his age. After adding in Palico, a pirate cat, there was no denying the main characters were an odd lot.

This movie had little plot. Soldiers from one world land in a world where there be monsters. The sole surviving soldier befriends a warrior from the different world where they must work together to survive and destroy the gruesome monsters lurking about. What made the film work, in its own very limited way, more than the actors, were the exceptional CGI creatures. The Diablos, multitude of spiders, and Rathalos were terrifying and convincing.

If you are looking for a cohesive, multi-layered story and character development, better look elsewhere. If you have time to kill and enjoy a badass female lead taking on ginormous creepy critters, you could do worse than Monster Hunter.

10/6/23

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My first thought when watching The Great Yokai War was that it was a Miyazaki Hayao animated film come to life. The film was filled with strange spirits call yokai who were being turned into steam punk monsters to aid the demon lord Kato in covering the world in darkness. When the fate of humanity is at stake, who can you rely on? Only a grade school boy with a fancy sword and a handful of colorful characters.

Tadashi’s parents have divorced and he is living with his mother and grandfather in a rural area while his sister lives with the father in Tokyo. The other boys pick on Tadashi even after he is chosen as the Kirin Rider, the boy who will preserve world peace. What Tadashi doesn’t know is that the demon Kato and his dominatrix henchwoman Agi are rounding up yokai and turning them into destructive metallic monsters. Tadashi rescues a furry yokai and carries him everywhere as no one else can see it. The Goblin Mountain calls to him and he is tested by the yokai living there and deemed worthy. The Goblin gives him the sword of destiny before Agi and her metal minions carry the giant goblin way. Kato has created a giant frog airship to take to Tokyo. Some bystanders think Gamera has returned. Gamera was a turtle people, come on! Tadashi meets with other yokai and upon discovering Kato’s nefarious plan they travel to Tokyo to try and stop the handsome demon. A bean washing yokai joins them and is heavily foreshadowed as being key to thwarting Kato’s evil goal.

The film was extraordinarily creative. There were not just a dozen different yokai, but around 100 had some form of screen time. Tadashi’s team had a red spirit whose hair warned of danger, a turtle, and a water princess. They met a walking talking umbrella, a walking talking wall, a long-necked woman, and strange animal yokai to name a few. The Transformer elements were inventive if not unique, sadly the CGI was lacking.

The acting was about what you’d expect from this kind of movie. Some of it was quite over the top. Toyokawa Etshushi as Kato grounded the film and avoided chewing the scenery. A good thing as the yokai actors and the human artist didn’t leave much after they were done with it. The child actor did the best he could but his performance wasn’t compelling, one of the problems with putting the weight of the world on a pre-pubescent boy. Kamiki Ryunosuke has gone on to do numerous dramas and films. The music wasn’t memorable for the most part. The only funny element to me was the azuki bean song at a key moment. It was hilarious.

Kato’s revenge was based on humans ridding themselves of things that no longer serve them. Maybe it was a translation problem, but I found it confusing. “He is the resentment humanity has earned from those things you use no more and throw away.” With the example Tadashi was given about throwing away worn out shoes being bad, I wasn’t sure if Kato wanted people to be hoarders or run around naked. The yokai had good advice, especially from a country that has experienced many wars. “Those who discard their past have no future.” “Wars must not happen, they only make you hungry.”

If you want to show this film to younger children, it might be good to know that Agi and the Water Princess were sexualized. There were also dismemberments, blood, and what could be seen as scary monsters for young ones.

Director Miike went overboard to make an artistic fantasy world awaken. The biggest drawback for me was that the film took a long time to set up the story, too long. Forty-minutes passed by before the adventure began. Despite his innovate spirits, the theme was a familiar one. For once again, the only force in the universe that could protect humankind was a small boy. This time aided by a sword and a little red bean.

10/5/23

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"As if the Earth has been turned upside down"

In Shindo Kaneto's Onibaba, the viewer is left wondering who is the demon? In a time of war between two emperors, the poorly armed peasants pressed into military service suffered as well as the women, children, and elderly left to face violence and starvation at home. During this time a mother-in-law and daughter-in-law took drastic measures in order to survive.

As the women were not given names, I'll address them as MIL and DIL. Isolated near a swampy pond surrounded by tall grasses the women have made the terrible decision to murder lost or injured samurai and sell their armor and weaponry for food. They dump the bodies in a deep dry well within the sea of grass. One evening a neighbor returns after deserting the second army he was forced into. He claims that he escaped when farmers killed MIL's son. He was given a name, Hachi, but since the women have no names I'll identify him by HD (Horny Dude). HD has fallen as badly as the women for he showed up in the clothes he'd killed a priest for. HD desires DIL and slowly she gives into her sexual appetite and begins meeting him at night after MIL falls asleep. MIL tells him to stay away from DIL until they are able to harvest a crop. She can't murder samurai by herself and without DIL, she'll starve. HD tell her that he will just stay "friends" with DIL until then. When DIL is at HD's hut having a friendly mingling, a lost samurai general appears at the women's hut and orders MIL to guide him out of the grasses. He wears a demonic mask which he says is to protect his handsome face from being marred in battle. MIL tricks him into falling into the death hole and then climbs down to retrieve his gear and the mask. The mask, however, is adhered to his face and when she finally pries it off, she sees his grossly disfigured countenance. MIL tells DIL stories at night about hell and demons and the punishment for unmarried people who give into their lust. Wearing the mask, she terrifies DIL in the tall grass as the young woman is sneaking to HD's hut at night. After wearing the mask during a rain storm MIL discovers the gruesome curse for herself.

Onibaba wasn't a horror movie in the classic sense. It felt more like an episode of the Twilight Zone where karma played a trick on someone daring to taunt forces beyond their control. The tall grass acted as a fourth main character, waving and creaking haunting howls in the wind. Like predators slinking through them, the women pounced on the unaware unseen. HD and DIL has sexual trysts hiding in the reedy arms as well. Fair warning there was nudity in numerous scenes.

Onibaba explored how society and morality breakdown in the face of starvation and death. Murder and stealing no longer seemed wrong. Hunger for food and sex became overriding desires. While MIL had almost masklike features of exaggerated eyebrows, extreme makeup and Bride of Frankenstein hair coloring all before wearing the mask, the other characters behaved as immorally. Lust was the least of their sins. Ironically, the women never seemed to grasp that the man they had hoped to come home had fallen prey to civilians just like themselves trying to survive. Prolonged war leaves a society and its rules in tatters, making demons of many without the need to physically transform. But weren't the greater demons the ones who started the wars in their insatiable need for more power and voracious greed for more wealth?

10/2/23

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A menagerie of kung fu styles!

Snake in the Eagle's Shadow was Jackie Chan's first hit and first hint at the comedic kung fu movie style he would go on to perfect. A 65-year-old Simon Yuen meshed perfectly with Chan and the old kung fu artist showed he was still spritely for a man his age.

Chien Fu is an orphan who works as a janitor and tackling dummy for a martial arts school. When he "saves" a beggar from being abused by another school he inadvertently meets his new kung fu teacher. Pai Chang Tien is a Snake Fist master in disguise and on the run from the Eagle Claw clan who are seeking to eliminate all those who practice the reptilian style. After an arduous training montage, Chien Fu learns the Snake style just in time to face the Big Bad. But in order to defeat him he will have to add another style to succeed in the life or death battle.

Simon Yuen was a delight as the crafty old master who could defeat opponents with chopsticks and a rice bowl. He may have had stuntman help but there were many scenes where he was still showing he had the moves that had kept him employed for thirty years at the time. His son, Yuen Woo Ping, alongside Hsu Hsia created the entertaining fights. While acrobatic and comic, the fights could be slow as Jackie Chan went through his elaborate moves. The movie did show why there need to be animal rights activists when Chien Fu learned Cat's Claw technique from watching a house cat fight a cobra. PETA line 1! Tino Wong made an appearance as an offended fighter who roughed up some of the school's fighters and in the end had to be taught a lesson by Chien Fu. In the final fight with Hwang Jang Lee, aka Thunderleg, the legendary kicker accidentally knocked out one of Jackie's teeth which was quite apparent. The screeching cat sounds were hilarious when Chien Fu used the Cat's Claw technique.

Snake in the Eagle's Shadow started out slow, but once Simon brought Jackie up to speed on his fighting skill, the movie also picked up speed. Aside from the initial slapstick scenes, the comedy also became better integrated into the story as it went on and wasn't so over the top. This was a fun kung fu flick that showed off a variety of styles which I always find interesting. The chemistry between Chan and Yuen made up for story plot holes and lapses. For fans of Jackie Chan, it's one to check out to see where his comedic style really began to take root.

9/28/23

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"So many people have died, even hell is packed."

The Flowers of War was released shortly after the 74th anniversary of the Nanking Massacre. A drunk Westerner with no political alliance, a dozen church school girls, and a dozen prostitutes take refuge in a cathedral compound as the rest of the city lies in ruins. Surrounded by Japanese soldiers, the unlikely group of people will have to work hard to find a way to survive.

This film is not for the faint of heart. Dead bodies line the streets and civilians are shot whenever found. Children are raped and adult women are gang raped, tortured, and murdered. Where this film did not work for me, and I say this as an ardent Zhang Yi Mou fan, there was too much sexual flirting and beautiful images in such a stark and unsavory story. The film was based on a novella inspired by an American missionary's diary. The missionary, Minnie Vautrin, fought to protect students and refugees at Ginling College where she was president. Instead of someone like Minnie, we were given John Miller, a drunken reprobate. He transformed into a heroic knight willing to do whatever was necessary to save the girls overnight. His character growth was shockingly unbelievable. The prostitutes had the same saintly transformations just as quickly. We never learned the names of most of the school girls or prostitutes. It ended up being simple. Virgins must be saved. Prostitutes are expendable. I thought John's makeover time came across too lighthearted when the mortician was basically working his magic on women who were going to a terrible death. The Japanese were almost uniformly categorized as evil. It's not surprising. With a national trauma of 200,000-300,000 killed and countless women raped, that's a wound that does not heal easily.

Christian Bale was serviceable as John. Though a big name, his acting style doesn't appeal to me. John wasn't a very sympathetic set of western eyes to view the atrocities through. Ni Ni in her first role showed she had acting chops, even more impressive in a role that called for her to speak English much of the time. Her Yu Mo was seductive, strong, and sorrowful. I hated that they had Yu Mo fall for the uncouth John, it was more relatable when she used him for his western face to help save her and her friends. Huang Tian Yuan as sweet George made the most of his pivotal and heroic role.

Every action in this film was designed to elicit an emotional reaction and get the viewer's tear ducts flowing. It felt too contrived most of the time. It was hard to emotionally bond with female characters, both young and older, who had no names. The time was catastrophically devastating and those who survived the murderous onslaught faced horror after horror, there's no easy way to put that on film. Had there been more believable character growth and fewer flirty moments, I could have gotten on board with this film better.

9/27/28

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"Who doesn't treasure life?"

Street Angel followed a group of low-income workers who forged bonds of love and friendship as they dealt with the hardships thrust upon them in an uncaring city of have and have-nots. Music, magic tricks, humor, and true love lightened the mood of a melodramatic story.

Xiao Hong and her sister Xiao Yun fled the Japanese and ended up in Shanghai working in a tea house. Xiao Hong sings for the customers while the owner put her older sister to work as a prostitute. Hong flirts with the trumpet player, Xiao Chen, who lives across the street with his friends. Their flirtation turns to love and all seems well until Hong discovers her new guardians intend to sell her to a wealthy street gangster. Chen and his friend Wang, visit a lawyer with an office high in a skyscraper only to discover that justice is out reach for the poor. C buddies The buddies spirit Hong away and the two lovers marry. Yun finds her sister and for a time it looks like the sisters may have a happy life. Sadly, the melodramatic aspect of this film could not be outrun as the economy worsens and rent prices increase, even worse, the tea house owner and the gangster are hot on their trail.

Music dominated much of the film. Zhou Xuan sang several lovely songs and enthusiastic trumpet music also livened the story's setting. Chen entertained Hong and his friends with numerous magic tricks to keep everyone's spirits up when money was tight. Zhou Xuan and Zhao Dan played their roles exuberantly and earnestly as the lovers went from frolicking to despair.

The quality of the filming was difficult to tell as the film I watched in the public domain had not been restored and could be quite blurry at times. Even at that, I could tell it was well framed and shot. This was one of the earliest Chinese films to use sound and they made the most of it with the background music and musical numbers.

Street Angel worked in humor that bordered on slapstick without going overboard. The love story felt authentic, even the second love story felt earned. The bright loving, parade-like atmosphere crashed into reality by the end of the film when the characters faced the harsh truth of their lives and limits of their power. Those who lived high above them had access to justice and medical care while they struggled to keep a roof over their heads and a smile on their faces. "Who doesn't treasure life?" Treasure life they might, but the poor toiled in a system that would swallow them whole if they weren't lucky. This plucky group of friends were a delight to watch as they held each other up and held on tight, even when it seemed their luck had ran out.

8/29/23

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"Without a dictionary, how will you be the king of children?'

King of the Children was a heartwarming slice of life film set in rural China during the Cultural Revolution. The story rolled along languidly with gentle humor as Lao Gan learned he had been assigned to be a teacher to a small poverty-stricken middle school. Without preaching, the film addressed some of the problems the school and children faced during the chaotic political time.

Lao Gan who had not trained to be a teacher found out one day that he would take over a middle school class in a rural district. The children's poverty largely reflected his own. He was flummoxed that he had the only government approved manual and the children had no books. The principal had stacks of old teaching material in his building saying they were best used as toilet paper at the present time. The students had learned in the past by the teacher writing from the manual on the roughly hewn board in chalk. Poor Lao Gan was covered in chalk dust by the end of the day using this method. He also discovered that most of the children failed to recognize Chinese characters that they should have learned in elementary school. Top student Wang Fu called Lao Gan out saying he had no idea what he was doing but the effervescent teacher was quick to learn on the job. Realizing he needed to find a way to engage the children better, Lao stopped using the manual and started using personal essays to teach the children how to better comprehend the words they were learning in class. The teacher in the next hut complained that the students must not be learning because they laughed too much. It wasn't long before the principal knew he was not sticking to the manual, a problem regardless of the positive results. The Cultural Revolution was not open to a teacher who rocked the boat so Lao Gan's teaching career was short lived.

Xie Yuan was the heart and soul of this film with his genuine smile and wild, unruly hair. Lao Gan courageously and joyfully broke the rules in his attempt to open the children's minds to better understanding of what they were learning. Rote memorization and the copying of texts had not yielded successful results. By making the lessons personal, the students began to grasp the meanings and importance of the words and characters they were studying. But as many authoritarian leaders know, words and books have power which is why they try to control them.

The cinematography and scenery were gorgeous. Though the subject matter was realistic, the color filters were not, lending an almost fairytale ambiance to the poverty-stricken community and the special teacher who brought learning magic to the children. Red, blue and yellow filters, along with dense fog often conveyed mood better than words.

The film didn't directly confront the Down to the Countryside Movement. The children never spoke of being transferred from urban areas to the countryside to learn farming and animal husbandry instead of taking paths to higher education. Burned out tree stumps and a cleansing fire at the end of the film might have alluded to the 17 million youth of the Lost Generation. The words from the song in the background did give voice to it---

"I came from the eastern mountains
They don't let me go back
I came from the East
I want to go back."

I was a little surprised this movie was allowed to be made with its not-so-subtle criticism of the Cultural Revolution and perspective on poverty, but I'm glad it was. Lao Gan with his compassionate heart and riotous hair brought joy to the students and to this viewer. If you enjoy gentle slice of life stories about teachers attempting to break the education mold for the benefit of children, this might be one to try.

8/22/23

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"We know it's wrong, but preaching won't help"

Women of the Night was a brutal look at women without a support system who were left to fend for themselves on the streets during post WWII Japan. Sisters Fusako and Natsuko took different roads, but both ended up at the same destination—prostituting themselves to survive. Once again, Mizoguchi showed the devastating affects of war and poverty on women, this time taking on topics that were often taboo.

Mizoguchi spared no one in this melodramatic look at the plight of women in the chaotic years after the war. A husband died, two children died, parents died, dying of malnutrition was a real fear, two sisters slept with the same man, opium was on the scene, STDs were dealt with, two characters were raped, gangs preyed on the weak, abortion was discussed, and pregnancy affected a main character. While life on the streets could be rough and deadly, Mizoguchi veered from informative into an area that felt exploitive.

Aside from desperation, the film was filled with anger, deep seething anger. Rage-filled Fusako hoped to infect as many men as she could. Natsuko only saw men as a way to make money, even willing to betray her sister to find a patron. The prostitution gangs fiercely guarded their territory, viciously attacking any woman who wandered their way or sought to turn straight. Men patrolled the streets looking for easy marks to rob and rape, further exasperating the predicament of young women on their own. Once "defiled" the girls often felt they had nowhere to turn but to prostitution.

Fusako had resisted turning to prostitution until the betrayal, which felt like an insincere reason for abandoning hope, and immediately diving into the world of street walking. By the end of the film, she made a 180 in the shadow of the Madonna in a bombed-out church that looked like a cemetery. It brought to mind the old Madonna (virgin) or whore definitions for women. She decided that she would work on behalf of all women for a world where their virtue could be protected. After being shown the dire straits women without family or fortune faced it felt insincere and an excuse for a hopeful ending. When the Purity Association had preached chastity at a women's clinic, the prostitutes jeered that they weren't turning tricks for fun and who would feed them if they quit? Would jobs suddenly be available and polite society accept them? Would men no longer take advantage of them? At one point there were 70,000 officially recognized prostitutes, not counting those who worked the streets. Mizoguchi repeatedly heaped humiliating trials and tribulations upon the female characters in this film and seemed to leave them with the false hope that simply walking away would provide them with food and shelter and a society that might come to accept them and be a safe place for women. After all the fury, degradation, and sorrow, the film's ending felt trite and unearned.


8/21/23

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"Success always comes with a price in suffering"

In Uegetsu, Mizoguchi wove a strange tale of hubris out of fantasy and realism loosely based on Ueda Akinari's stories. The acting and story telling were well done as Mizoguchi explored militarism and the price women paid for it. At least I hope that was the message.

Spoilers Below:
The story opens with two couples-Genjuro and Miyagi and Tobei and Ohama. Genjuro decides to take his pottery to a larger town to sell with war on their doorstep, hoping to make a tidy profit. Tobei has dreams of grandeur as a samurai even though he doesn’t have enough money for a weapon or armor and heads to town with Genjuro. After Genjuro succeeds, he decides to make more pottery for a grander profit against Miyagi's advice. She wants them to be together happily and with soldiers headed their way they need to be prepared to flee. Genjuro ignores her and with Tobei, who was rejected by the samurais, works feverishly to fill his kiln. The soldiers arrive pillaging and enslaving, but the four manage to escape. Afterwards they rescue the pottery and take it to sell. Tobei uses his share to outfit himself and join the army. Genjuro is seduced by Lady Wakasa who says she will help him to make more money if he will marry her. He falls under her spell and forgets all about his wife and son. Ohama is captured by soldiers on the way home and gang raped. Miyagi is killed by ravaging soldiers for the meager amount of food she is carrying for her son. The husbands go about their lives enthralled with their circumstances, scarcely giving a thought to their wives caught up in the chaos of war.

Despite the negative ramifications shown of militarism and the effects it had on women, throughout the film I found the husbands reprehensible. Driven by ambition, lust, or a need for power, they hardly suffered. Yes, there was humor interspersed but the wives were not given the chance to laugh. After finally coming to their senses, Genjuro and Tobei both learned that home is where peace lies, coming full circle from the start.

Ohama's story was resolved too neatly for a woman who had been repeatedly "dishonored," not suffering the fate of so many comfort women from the previous war. I've read that Mizoguchi wanted a different ending, more in line with real life where she would have been shunned and Tobei would have stepped over her to grow his military power. Even with this "happy ending", had she been a real woman and not a man's version of a woman, she most likely would have suffered greatly from her painful and humiliating experiences and not immediately bounced back.

Death could not dim Miyagi's loyalty to her family. She who had been utterly abandoned by her husband continued to be caring toward him, looking out for him and her child by reuniting them. Miyagi who was forever separated from her child and husband due to his ambitious and lustful needs was never allowed to share the peaceful home fires she so lovingly stoked. Finally, Lady Wakasa could not be seen as a villain. She had been murdered along with her family by men bent on more power, and was only seeking the love she never lived to have.

The fantasy elements were well done and the film was well crafted. All of the performers conveyed their characters perfectly. The various soldiers and armies were routinely shown as out of control and often dishonorable---a scathing rebuke of militarism. This is one of those films that is considered a classic and one of Mizoguchi's best. While skillfully woven together, I could not get past the price of the husbands' hubris being paid by the women and why the dutiful wives were the ones who were destined to suffer for the men's misdeeds. How long Genjuro might have been haunted remained to be seen.

So even though the story taught a lesson to the husbands about ambition, and ultimately brought about the fulfillment of peace and harmony for those who remained, it came at a cost, a cost the women paid with their blood. Their selfish husbands finally did what was right for those who survived, but only after blowing everything up to begin with. Whether or not this was what Mizoguchi envisioned, as a woman it was a bitter pill to swallow.

8/15/23

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