Let’s get Owen Wilson writing again.
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Darby O'Gill and the Little People 1959
Can’t convince me Father Murphy isn’t the true biological father of George W. Bush.
First time watch for the kids. I was hesitant, mostly based on my being traumatized by the banshee at a young age, but they didn’t even bat an eye. Apparently the death coach is “not even scary.”
Yeah, I totally wasn’t even scared, either…
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High and Low 1963
Everything you love about Kurosawa, without a katana in sight. He takes full advantage of the wide depth of field with intricate, multilayered blocking in the claustrophobic early scenes. Shades of M as the story opens up onto the city and shifts into procedural manhunt mode. The visual ingenuity doesn’t let up as Kurosawa and his cinematographers employ frames within frames, windows, reflections, and an eventual shift to a more active (and sometimes handheld) camera; the stark contrast of the photography befitting an exploration of haves and have-nots. A tortured, but understated performance from Mifune plays perfectly against the breezy, confident Nakadai. Top tier Kurosawa.
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One from the Heart 1982
Found myself in total awe of the gorgeous photography and technical ingenuity on display while not quite able to connect with the story or characters. I do enjoy Coppola in this mode of intentional artifice — which we’ll see a bit more of in The Outsiders and perfected in Dracula — I just never invested in much beyond admiration for the skill involved.
A couple time-calsule-ish observations:
This is pretty much the last we’ll hear of traditional, lounge singer Tom Waits before he veers fully into carnival barker insanity (the good kind).
Hopefully Frannie and Hank held onto their fixer-upper. Gotta be worth a few million now.
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