We see the conspiracy target Yuri Klensky Yuri Tsurilo , a general and surgeon who never openly references the crackdowns but visibly lives in fear of being abducted. When Gonda discovers he is Eddie's father, he kills himself with a knife. Meanwhile, the sequel has an unusual problem: Chan became a better conventional director in between the two productions, filming his non-action scenes with greater polish. His 1923 melodrama starring Edna Purviance is a subtle and sophisticated film, and his 1928 silent film is a rambunctious masterpiece of pantomimic hijinks, less sentimental than most of his features from the period, but just as smart. In fact, since both Kazan and screenwriter Budd Schulberg had previously been members of the party, it was their being on the same page about the aftermath of the hearings, according to Briley, that led them to work together on and A Face in the Crowd. Her stunning presence, in bell-bottom pants, black leather jacket and Brian Jones hair-do, is a direct threat to the social order, both in the Bar Genet and in the streets of Tokyo.
In short, the female half of the couple is Eddie Pîtâ , the young ingénue among a loose clique of Tokyo-based trans women, and the one most suited to passing as overtly female. Extras A commentary track with film historian Aubrey Solomon is the lone substantial extra on this disc. Long unavailable in the U. As in the earlier film, Asquith begins on a light note, with a kindly ticket taker, Bill Aherne , falling in love with a classy salesgirl, Nell Elissa Landi. Plenty of grit and grain in both transfers, which is almost certainly appropriate to the source materials, but these qualities are also attractive. All are impossible to synopsize, of course, but the themes run from a monochrome study of developing civilization and nature to eye-popping psychedelic experimentation.
When Eva arrives, Willie can barely muster the energy to acknowledge her presence, insisting within seconds of meeting her that she only speak English and neither offers nor explains anything to her. The lossless mono track is clean as a whistle, nicely separating dialogue and Foley effects throughout. The chronological progression of the shorts allows one to see just how radically Matsumoto developed his art as the world entered the psychedelic age. Meanwhile he's also fighting for Gureko's heart, since the older man is also being wooed by the nightclub's queen bee, Leda Osamu. Synopsis This violent dramatic bloodbath concerns a love triangle in a gay bar in Tokyo. But these hiccups are few and far between.
An accompanying booklet contains numerous essays that approach the film from various vantage points. Slant is reaching more readers than ever, but as online advertising continues to evolve, independently operated publications like ours have struggled to adapt. The feud leads to a nasty cat fight and a glamorous funeral, with the escalating drama finally exploding in a bloody, startling climax. It looks stunning, not surprisingly, with an often staggering amount of additional detail visible. Newman, Earl McEvoy, Fred F.
The period Chinese martial arts extravaganzas were becoming passé, and American action cinema was ruled by brutes who killed first and asked questions never. When you see an Arnold Schwarzenegger film, even now, you expect him to kill someone—as an evitable release of energy and fulfillment of the functions for which that colossal body appears to be built. Her stunning presence, in bell-bottom pants, black leather jacket and Brian Jones hair-do, is a direct threat to the social order, both in the Bar Genet and in the streets of Tokyo. The casualness of this scene is more disturbing than the macho or preachy tonalities that American filmmakers have conditioned us to expect from such a moment. These films are true action comedies, though they also have subtle grit and tension. Like Glenn Branca did for music, Jarmusch successfully wrenched the stripped-down style that the movement was known for into something more refined. Few films of the silent era so baldly lay bare the unflattering, factory-like nature of early movie-making.
Throughout the film, Demme never stoops to mocking Melvin, even as the filmmaker abundantly illustrates how divorced from reality the man is. It all seems like a fairly straightforward Nouvelle Vague-inspired rendering of an afternoon rendezvous, with the man jokingly showing off his strength by lifting a chair as the woman remains off screen, bemoaning the brightness of the sun. Eddie Peter and the transvestite Leda Osamu Ogasawara both have sexual designs on bar manager and drug dealer Gonda. Here, cinema has become pure wish-fulfillment, and in the case of Julian, he took the bait hook, line, and sinker. Unfortunately, Solomon too often spends long stretches of time either completely silent, painstakingly listing out the credits of various actors and members of the production team, or reading direct quotes from critical reactions to the film around its 1948 release. Extras A commentary track with musician, critic, and filmmaker Chris D. The weakest entry of this set, it gives an abundance of ammunition to critics who see noir built out of misogyny and nothing else.
Asquith opens on a schmaltzy, softly lit close-up of a cowboy kissing a young woman sitting in a tree, but after the cowboy rides off, the woman picks up a nearby dove to snuggle, only for the bird to bite her lip. Overall Czech radical Jan Němec burst out of the gate with this stirring, unorthodox depiction of trauma set during the Holocaust, and Criterion treats it as the watershed film that it is. The scene is quintessential Demme, blatantly absurd on its face as couple after couple comes in for a kiss from Melvin and Lynda, but suffused with a giddy quality that strangely pulls the couple closer to each other in their shared affections. The widespread paranoia among Soviet citizens is most clearly communicated through the way background characters, so keenly aware of constantly being surveilled, often look directly into the camera. Other vintage supplements include a 1989 episode of Son of the Incredibly Strange Film Show, featuring Chan and actress Maggie Cheung, which turned a young Edgar Wright into a Chan fanboy, a 2017 program with Chan and the original members of the Jackie Chan Stunt Team, and interviews with cast members. The glowing whites burn so intensely that some images are hard to look at, while black levels are entirely free from crushing artifacts.
In this morass of past, present, and imagination, context-less images, untethered from discernible logic or chronology, stick out like transmissions from the subconscious—their appearances less skeleton keys for meaning than acute flickerings of a mind when pushed to the limits. In a scene that evinces a bit of the elusive Lubitsch touch, shadows on a distant wall act out various forms of kissing and embracing as the two youngsters flirt. The packaging features a liner notes booklet with an extensive essay by Hirofumi Sakamoto, Director of the Postwar Japan Moving Image Archive, with Hiroshi Eguchi and Koji Kawasaki, charting Matsumoto's iconoclastic career in Japan and notes on all of the short films contained here. Her stunning presence, in bell-bottom pants, black leather jacket and Brian Jones hair-do, is a direct threat to the social order, both in the Bar Genet and in the streets of Tokyo. One bit involving a coat rack is especially ingenious.
Baldwin stars in her own dialogue-light film as a recent, breastfeeding mother who feels increasingly as if a parasite has invaded her body, expressed through the contortions of modern dance and including a very messy scene that involves dairy products. Lamps and headlights blaze intensely and wash out whole swathes of the frame, while darkness melts other sections into inky and ominous voids, from which it seems anyone could be lurking and watching. Only a handful of location shots, like one filmed in a forest in a snowstorm, show any debris or other imperfections. Packed with bizarre tonal shifts and deliberate distancing devices inserts of film leader, startling bursts of animation and paintings, comic-style dialogue balloons popping out of characters' mouths , Funeral Parade of Roses has been cited in several sources as an influence on Stanley Kubrick's A Clockwork Orange presumably for its whiplash editing, youth gang imagery and sped-up montage sequence ; whatever the case may be, it's surprising the film doesn't enjoy a larger reputation as it's easily more accessible than anything by, say, Koji Wakamatsu. While grit has been scrubbed from the image, nothing looks overly digitized or compromised by the restoration process. Whether laughing with drunken businessmen, eating ice cream with her girlfriends, or fighting in the streets with a local girl gang, Peter's ravishing Eddie is something to behold.
That work, which also points to both the future and the past, via a nightmarish take on Jidaigeki chamber horror, pulls off a smoother integration of realist and fantastical modes, with a taut plot that supports the frequent slides into frenzied abstraction. There are optional English subtitles on the Region 'A'-locked Blu-ray. Theatrical TrailerOriginal 1969 Japanese Theatrical TrailerNew essay by Hirofumi Sakamoto, Director of the Postwar Japan Moving Image Archive. Extras Criterion has thankfully not skimped on the extras, offering three analytical supplements and two short films by Jan Němec. In fact, much of the minimal narrative action is precipitated by a scene shown in flashback, centered around an adolescent Eddie getting hot and heavy with his own mirror image and the violent series of events that follows his mother catching him in the act. Blacks and whites are well balanced throughout; especially impressive are the outdoor scenes of Lonesome being courted and corrupted by scheming politicians. The Masters of Cinema Series is proud to present Toshio Matsumoto's Funeral Parade of Roses for the first time outside of Japan on any home video format.