Cinematheque Ontario - Japanese Classics

24 JAPANESE CLASSICS

All summer long from July the 4th till August the 18th, Cinematheque Ontario presents 24 Japanese Classics from Masters as Kurosawa, Ichikawa, Shindo, and Imamura (and more).

The series begins with Akira Kurosawa’s RASHOMON, a brilliant piece of storytelling and filmmaking detailing a murder as told from differing vantage points.  Of the films selected, three important genres – samurai; detective noir and Japanese horror – immediately stand out.  STRAY DOG, RASHOMON, BOY and NAKED ISLAND screen the first week followed by others.  Check the Cinematheque Ontario website for complete schedule, venue and prices:

http://www.cinemathequeontario.ca

Watch for weekly updates on this website for more capsule reviews as the films approach their screening dates.

Capsule reviews of films of the series screening this week:-

RASHOMON (Japan 1950) ****
Directed by Akira Kurosawa

RASHOMON details differing points of view of an account of a murdered samurai as the truth reveals itself.  The technique has been used most recently in the Hollywood blockbuster VANTAGE POINT.  RASHOMON is the name of the gate at the village where director Kurosawa’s characters tell their stories.  Though shot in black and white by cinematographer Kazuo Miyagawa, the film has a stunning look from the flowing streams, pounding rains and dense forests.  The fight scene between the murderer (Toshiro Mifune – Kurosawa’s regular) and the samurai is expertly and realistically filmed as well (few modern fight scenes are comparable).  But it is Kurosawa’s play between truth and deception that shows his mastery as a director.  RASHOMON marks Kurosawa’s first success in the west, winning an Oscar nomination for Best Foreign Picture in the process.

(Screening: July 4th – 7 pm)

TOKYO DRIFTER (Japan 1966) ***
Directed by Seijun Suzuki

The theme of gangster going attempting to go straight has been tried many times in films but never as colourful and alive as in TOKYO DRIFTER.  The character of the title refers to Tetsu (Tetsuya Hondo), always clad in a mod light blue suit who is a hit-man trying to go straight.  His past catches up to him in the form of more killings, wild women and lots of bar brawls.  Suzuki uses a multitude of camera techniques, from hand held, tracking, tilted camera, cross cuts and more to create an edgy field for his film.  His use of wild colours reflect his playful treatment of the subject matter.  TOKYO DRIFTER might offend some, for its political incorrectness (Caucasians are treated as bumbling idiots and women as pawns), and Suzuki does not care about a strong narrative either.  The result is a fun camp film, enjoyable undoubtedly, but with little substance.

(Screening: July 19th - 7 pm)