jamesrupert2014

A man becomes obsessed with truth and revenge after being inexplicitly imprisoned in a hotel room for 15 years, and equally inexplicitly, suddenly released. Much has been written about this weird, stylish and very violent Korean thriller. Needless-to-say, like live-octopus, it will not be to everyone's taste but I liked it and would recommend the film, (admittedly with caveats). The cast and acting are great (note: I watched an English-subbed version) and the story unfolds nicely (although the surprise 'twist' suffered by being telegraphed by a bit too much set-up). Deserving of its reputation as a breakthrough in modern South Korean cinema. There was a poorly received American remake starring Josh Brolin in 2013 and an unauthorised Indian version (Zinda, 2006) that, judging by a plot description, is a lot less bleak and brutal than the Korean original.

During a time of violent unrest in Japan's Azuchi-Momoyama period, two men, one obsessed with becoming wealthy, the other obsessed with becoming respected, recklessly and thoughtlessly put their families in danger. Although a classic in the 'jidaigeki' genre, the themes and messages in this beautifully made opus from Kenji Misoguchi are sufficiently universal that it is considered one of the first films to introduce Japanese productions to Western audiences (winning, or being nominated for, major awards in both Europe and America). I imagine that the music and the imagery of 16th century Japan must have been quite novel. The storyline, which blends historical drama with a traditional ghost story is compelling and the cast uniformly excellent (note: I was watching with English subtitles), notably Machiko Kyo as the quiet and creepy Lady Wakasa (she reminded me of the equally quiet and creepy Isuzu Yamada as the 'Lady Macbeth character' Kurosawa's 'Throne of Blood' (1957). Like many of Mizoguchi's films, the brunt of the suffering is felt by women, whose forced sacrifices at the hands of the men around them provides much of the pathos and tragedy. The B/W cinematography is outstanding and contributes to the film's moody sense of other-worldliness. Highly recommended.

Inveterate liar Billy Fisher (Tom Courtney) finds solace in daydreaming about a fictional country where he is the beloved ruler (among other things) as his web of fictional reality begins to collapse around him. As comedies go, this one is a bit bleak. It's hard not to sympathise with Courtney's selfish and deceitful layabout character (despite knowing that you probably shouldn't) whose life seems reflected in the drab, sometimes disintegrating, world in which he lives (the cinematography is excellent). As off-pointed out, the film made a star out of Julie Christie - not clear to me why - she is aesthetic and good in her brief (and essential) role, but IMO didn't shine above the rest of the cast (I particularly liked Barbera Fraser as the innocent, easily duped, Barbara).