Reviews

Here we have an early and very underrated film by one of the most acclaimed Japanese directors: Akira Kurosawa. The whole film is a joy from beginning to end, packed with some nice Japanese humor brought by Japanese actor Kenichi Enomoto, whose acting might tend to be overacted, but one can't help but laugh at those facial expressions he pulls off.

The story concerns Yoshitsune, a Japanese general and six men guarding him, who need to cross the border to avoid being caught by one of his enemies. So as to go unnoticed, their men decide to impersonate monks (although one of them was one for real), and their general would disguise as a porter, borrowing a box porters tend to carry (or ,actually, taking it by force) from one porter (Kenichi Enomoto) they encountered on their path. The porter briefly joins the crew and accompanies them. When they finally get near the border, they are halted by the border patrol, due to orders they had received that stated no monks should pass, as it had been rumored Yoshitsune and his men were disguised as monks. There is where the biggest climax of the film is, when they have to prove they are actual monks.

The acting is extraordinarily realistic (with the exception of Kenichi Enomoto); it has that real feeling of the old Japan. Probably the character that most stands out is Benkei, enacted by a not very well known Japanese actor: Denjiro Okochi. The determination he demonstrates as a monk is praiseworthy. Another actor that stands out is Kenichi Enomoto, another unknown Japanese actor. As I mentioned in the beginning of this review, he is the one in charge of bringing a brighter side in the film, acting as a foolish, fearful and humble porter who firstly comes across Yoshitsune and his men without knowing who they really are. Takashi Shimura, who would take better roles in later films by Kurosawa, does make his appearance on the film, but he does not stand out at all, nor does he have an important role.

The camera-work is perfect to the portrayal of the story, very slow-moving and it adapts to the settings. There's not really much worth mentioning about it, but Kurosawa's touch is already present.

The film is really recommendable, probably one of the most appealing from Kurosawa's early works. The only problem with it is that it is too short, or maybe that's its biggest strength, in that you do not lose interest at all because everything fits perfectly and there are no boring scenes.

My score: 9.2/10

I do not know much about director Santiago Carlos Oves, but judging him solely on this effort, I can tell that he is no amateur at filmmaking nor at scriptwriting. What's presented here is so simple yet so marvelously narrated and portrayed. Camera-work and techniques are of less importance here, all that matters is storytelling and dialogs; the rest is really not that important when you have those two well done ( I mean that this film's aim is to tell a story not by means of great camera-work or images, but by means of great storytelling). Having made that clear, I will move on to give a brief explanation of the plot.

Jaime (Eduardo Blanco) is the average busy and married man with so many problems in his life that he barely has time to enjoy it. Worried about economic issues, his wife is always trying to talk him into selling the house in which his mother lives. At first he sees this as a non-problematic and easy task; he just thought he would easily convince his mother by telling her she would live with them, but it all turns out the other way around. He then occasionally visits her more often in order to put his wife's idea into effect, but apparently he never seems to be able to do it, as his mother always leads the conversation to another direction, always ending up talking about their past or their current life problems; she is not very good at just keeping conversations on one single topic. These conversations and visits make Jaime see how much he loves her mother and how much he had gotten away from her, and there is where the magic of this film lies, on conversations, as the title implies. Also, one more important aspect of the story is that the mother has once more fallen in love with a man, thing that inwardly rejuvenates her.

As far as camera-work goes and, as I have just mentioned earlier, the film is really not rich in filmmaking techniques. The whole film is represented by simple camera angles and images, yet the real powerful meaning lies on words.

The film is definitely worth watching, as it is an ode to our beloved mothers and how fundamental they have been and still are in our lives. You may or may not cry at the end but, whatever the result is, you will not regret having experienced it.

My Score: 9/10

Not the best film directed by Juan Jose Campanella, but it is unquestionably a good offering. The thematic of love is present and, as opposed to his other efforts, where love occupies a place in the plot, but it is actually not the main theme, here it represents the core of the film and functions as the main subject.

The story centers on two people, Jorge and Laura, who will eventually fall in love after some time of knowing each other. Laura would, however, find it difficult to start a relationship with Jorge, as she already had a compromise with another man who had traveled to Uruguay, but had not heard a word about him since his departure. With this in her way, she asks Jorge for time and, if she decided that it was right to start a new relationship over his current one, she would give him a call. She then, in fact, decides to let go of the past and goes on with her new relationship. They will encounter many difficulties on their path, just like all relationships, and eventually will arrive at a point of problematic situations that may cause the breakup.

Regarding character background, we find that Jorge is a devotee of writing; he really is passionate about it, but the company for which he works does not appreciate what he writes, so he pretty much ends up writing for himself and refuses to write what the company would have him do. One of the main reasons why Jorge is infatuated with Laura is that she actually is the only person that appreciates his art and interprets it differently from the average folk. Laura, on the other hand, is an enthusiastic, friendly, sympathetic woman who aspires to be a professional painter and that is able to appreciate art in general.

The atmosphere of the film is occasionally sustained by dialogs, whose only purpose is to simply make you laugh. Dramatic scenes do not get left behind; they are also important pieces of the film. The camera-work is nothing of great complexity nor is it and essential part of the film; it only aims to portray the story. Finally, the acting does not stand out and it actually sometimes seems forced and dull; nevertheless, it does not deter the film from being appreciated.

In conclusion, the film is highly recommendable for those who like Argentinian humor and romantic movies. Likewise, fans of the director should not hesitate to give it a try.

My Score: 8.6/10

Basilisk is a short yet wonderful Anime series that revolves around the Tokugawa era; although its story, rooted in ancient ninja lore, is not real, but only slightly based on some historical facts. The story centers on two antique and powerful ninja clan, Iga and Kouga, that had been at war for many years; but in recent years both parties had come to a peace agreement, which would be broken and unleash a fierce battle between the two clan once more. The story then, as I have just mentioned above, since the first chapter, begins with both clan having to battle themselves again, and guides us through the decisions and strategies made by both sides. The leaders of the ninja clan, Gennosuke and Oboro, had been together for a long time and were planning to contract marriage, which would definitely consolidate and signify lasting peace on both sides. But misfortune awaited them, for the breakage of the peace agreement would make it impossible for them to finally conclude the long-awaited marriage. However, not all of the ninja were satisfied by the marriage in the first place, mostly on the Iga side, as the hatred towards the enemy had not vanished completely yet. Many of the ninja still held a grudge against their rival clan, mainly because the hatred had been long generated by centuries of rivalry.

Every single character in this story is backed up by an impressive personality; they all are well developed and full of ideals that are worth of respect. Even though the story involves assassinating each other, and unfortunately many of the characters perish in earlier chapters to be really appreciated and to become fond of them, it does not detract the story from representing them properly and showcase their characteristics. Furthermore, The many flashbacks in the series help in filling up the gaps that would have otherwise affected character development. All characters possess well-thought, fear-provoking and hidden ninja skills that had been passed from generation to generation throughout the years. One of the key factors to obtain triumph is that the enemies do not get to acquire knowledge of their abilities, so that they can take them by surprise.

The animation is astonishingly well represented and polished and, as most of the story relies on bloody and long battles, it surely was necessary for the story. The soundtrack, which is very Asiatic sounding, fits beautifully to the environment and era; it helps in immersing you in the images and plot. Fans of gore and fighting Anime should love this, and not only them, but Anime fans in general, as this Anime offers a lot more than just simplistic, half-ass fighting scenes.

It is difficult to give an accurate score to a series, as they go from amazing chapters to just good ones. But I can assure that this Anime series is worth watching, and it will always make you want to know what happens on the next chapter.

My score: 9/10

Probably not the best film directed by Mizoguchi; In fact, It has been the least appealing to me thus far. The film is deluged with tons of political arguments and commentaries on the rights of women, rights which in those times women were bereft of. Therefore, I was not as intrigued to watch the film as I have been with other films directed by him. Nevertheless, because of the engrossing and mastered filmmaking skills of Mizoguchi, this film ends up resulting in a well-worth cinematographic ride.

The film is mostly accompanied by a bunch of resounding echoes of the discrimination against women in the background; it is actually the whole point the film tries so hard to remark, even though it slowly becomes completely apparent with one of the dialogues almost at the end and conclusion of the film. Throughout the film you will constantly encounter dialogues and images that demonstrate how unjustifiably and stupidly women were mistreated and underestimated. I imagine this film must have had a great impact on the audience of its time, as I believe this film is still a fresh portrayal of that matter.

The camera-work is what saves this film from crumbling and becoming a tad uninteresting; it is the pillar that sustains the story. I found various scenes filled with commentaries that were not really of my interest, but because of the camera angles in which they were recreated, they kept my attention. Also, some fight scenes are superb; at one point, the camera will be moving across a roof (travelling) and you will amazingly behold a battle taking place down below.

Last but not least, all there is for me to mention is that this is a riveting film, even though its topic might not be that attractive.

My Score: 8.3/10

This film could easily earn a place up there on the top of my favorite Kurosawa's films; I really was not expecting such a wonderfully portrayed story, but I guess I should no longer doubt Kurosawa, as he never ceases to surprise me.

The story centers on the life of doctor Kyoji (enacted by Great Toshiro Mifune), who accidentally contracts Syphilis from one of his operation tools covered in infected blood of a patient undergoing an operation, in which he was taking part. That incident would bring nothing more than misfortune and profound despair to his life, for he would restrain from doing that which he longed for; being alongside the woman he loved. In a few words, this is really a captivating yet sad story of a man suffering in deep silence who, in order to not make the life of the woman miserable, decides not to explain to her that which had befallen him, for he thought that would slowly conduce her towards renouncing him.

The acting is astounding and it is actually one of the most important aspects of the film. Toshiro Mifune, with the obvious help of his amazing acting skills, executes his role superbly, in that the suffering of the man seems truthful. Also, in one of the last scenes, where he lets the woman go to her wedding, his so steady attitude suddenly falls into absolute despair, bringing all his deep burdens to light, proof that even the most determined person has their limits.

The camera-work, just as I expected, is of great importance to the portrayal of the film, it is always in the right place to catch those expressive moments that are so essential to it.

I definitely consider this film to be as important to Kurosawa's filmography as many of his other films are. The film deserves a watch.

My Score: 9.3/10

First film I watch from Japanese director Keisuke Kinoshita and I'm definitely glad I decided to do so, as this film has resulted in a really staggering, completely beautiful experience. However, it might become heavy going at times, on account of its running time which almost draws near to three hours. Nevertheless, there are plenty of gorgeous scenes brimming with both happiness and sadness that will undoubtedly evoke emotions in you, whether liking the film or not. Moreover, if you are accustomed to black and white Japanese films, I don't think you will find any obstacles in order to fully appreciate it.

It all takes place in a sparsely populated, small island called Shodoshima, where in order to continue their studies, the children had to make a long walk to school. In one of those rather large walks, they come across their former teacher (she had just quit teaching) who tells them to treat the new teacher well. Then the new teacher (Isokichi Okada) arrives, impressing everyone on her way to school with her suit and bicycle, both of which were highly innovative in those times. From there on, both the teacher and the children would forge an unbreakable bond that would last for many years. As the plot slowly unravels, the teacher will gradually get into many of her students' lives as they grow up, and the problems they will tend to encounter in their way, which might prevent them from keeping on studying. There were as well the persistent thoughts of war; later in the film, when some of the male students were in sixth grade, they would think of getting drafted into the army to serve their country.

The acting is superb, there's absolutely nothing to reproach it. Every single person delivers an amazingly credible acting, they really resemble real people. The camera-work is nothing short of praiseworthy, whit static cameras and angles reminiscent of those of Ozu's, allowing a much better appreciation of the already astonishing film. I for one loved the scene when they go on a trip and travel by ferry. One of the female students would stand up and sing beautifully a song, while the rest remained seated. She would do the same at the end of the film, which brings back many memories of the old days.

This film is, without no doubt, the best student-teacher movie I've seen, and it will more than likely remain the best. Do not hesitate to get this one if you even have the remotest desire to watch it. If it did not get a perfect rating from me, that would be because of some scenes I consider somewhat unnecessary to the plot. However, the film is still a masterpiece.

Beware of the abundant emotional content, it might bring you to tears.

My score: 9.5/10

Before starting off this small review, I would like to remark that I am really acquainted with Japanese cinema, and I generally appreciate everything that comes from there. Having said that, I will feel more comfortable justifying the title of my review.

White Beast is a film directed by Mikio Naruse, an unsung director outside Japan, but greatly appreciated by fans of Japanese cinema. I wouldn't venture to say this film is one of his most revered efforts, though. (The lack of any reviews firmly backs up my statement.) Furthermore, there doesn't seem to be many prints of this film.

The main theme of the film mostly focuses on the daily life inside a women's prison, whereby Japanese society attempted to reform prostitutes. The main and only activity the women had to perform was sewing. As a main character there is a somewhat conceited, arrogant lady who tries to seduce the chief of, if I may name it like that, the rehabilitation center. As a secondary character we have said chief (So Yamamura) trying to run things right inside the center, so that the women allegedly learn how to work honorably, in an otherwise discriminating society against prostitutes (not that nowadays it is not a frowned upon activity). Then there is the doctor of the center, a woman whose role is not really clear to me, as it adds little to no importance to the main plot.

Becoming tiresome on some occasions, ranging from interesting to uninteresting scenes and commentaries, the film kind of disappoints and fails at whatever it was supposed to convey. On the one side, we have the main character whose actions are childish at times, and that is not quite certain as to what role is correct to take in society; on the other side, we have the righteous and kind chief who apparently does his best to help the women, but that wouldn't in anyway hesitate to approve an abortion. In one of the last scenes the main character, when she becomes aware that she has been infected with syphilis, she overreacts at it and crawls all around the place. I understand that it most be shocking to find out about it, but the scene was exaggeratedly overacted.

The film is supported, however, by great and believable acting in general (except, of course, for the scene explained above), no matter how useless some characters might be. Also, in regards to directing techniques, the film is neither riveting nor dreadful; it is actually a nicely done film.

I would recommend people who would be willing to watch this film to only do so if they are honestly interested in immersing in Naruse's filmography; otherwise this might be a great disappointment not only to folk not familiarized with him and Japanese cinema as a whole, but also to those already knowledgeable in the field.

My score: 6.3/10

This was my first experience in Naruse's realm and I must say I'm glad I chose to watch this film first, otherwise I think I wouldn't have appreciated it as it should, as I can deduce this must be one of his minor efforts.

As I mentioned above, the film is short, it has a running time of 54 minutes, and it is really difficult to highlight much from it except for its main theme and acting; both actually being great.

The main theme concerns a bus company that, with the passing of the years, has become old fashioned. Other bus companies have implemented their methods and modernized their means of transportation, making it yet more difficult for the other company to thrive. The main character, Okoma, one of the two people driving one of the buses of the company, and, in order to modernize their company, then proposes herself to be a tour guide inside the bus, who would obviously explain to the passengers the most interesting aspects of the places located near the routes by which the bus passes. Not having any experiences in how to comment on the places, both Okoma and her companion ask a writer, that they find in a restaurant, for help.

Hideko's acting is just splendid, a really charismatic woman throughout the whole film. The other characters are also extraordinary in their roles, although I really don't know many of them.

I think this film serves quite well as an introductory effort to this unspoken film director, as it is a simple yet surprising film that, despite its short length, manages to at least put a grin on your face.

My score: 9/10

In this film Ozu revisits again themes involving kids, but this time in a way more notorious modern Japan and the changes it has brought in society.

It all starts as a usual day; the members of a family prepare themselves to confront their problems, dreams and realities. The father, with his ups and downs at work, and having to attend to his children's demands and give them proper education, prepares himself for a new day. His wife, worried about complications that domestic life brings, and about how to save and handle money properly, is as well one of the family members attempting to live quietly and happily in an otherwise rather boring community. The main characters (the kids), which are obsessed with having a television (back then it was an innovative device), agree to remain silent until their parents indulge their caprice.

One aspect that I liked in this film was the misinterpretation of the kids' silence by one of the neighbors; the woman, who lives in the community, thought their gesture meant their mother was angry at her and other neighbors for having had the idea of her keeping the rent payments for herself. This leads everybody to think of her as a resentful woman, and they decide to return the favors she had once done for them, so that they wouldn't be owing her anymore favors. This is relevant even to today's standards; people often misjudge you by the slightest gesture, even though you didn't intend to be interpreted that way.

Other amusing aspect to point out would be the constant farting; there appears to be an ability to produce farts by swallowing some powder whose name I don't remember as of now. The kids keep on doing it throughout the whole film.

This is one of the easiest films to digest in Ozu's filmography, which means that this is an excellent option for people unfamiliar with this magnificent director. I for one consider this film one of his best efforts and it obviously ranks up there in the top of my personal favorite Japanese films.

My score: 9.3/10

Not a very well-known film even among Mizoguchi fans, this film is yet another good work coming from one of the masters of Japanese cinema. Starring a great Japanese actress "Kinuyo Tanaka", who at the same time plays an actress role in the plot, this is definitely a film that has a lot to offer.

Shimamura is a restless dramatist that wants to introduce western theater from authors like Ibsen in Japan. One day he sees Sumako arguing with his husband and intending to leave him, he interferes in the arguing and manages to calm it down. From there on both would forge a great bond and relationship that would not be free of guilty feelings from both sides; also, he would find in Sumako an excellent actress. So as to be alongside Sumako, even though he knows he's doing wrong, Shimamura abandons his family and goes touring with her and his crew through many important theaters in Japan.

The acting is superb, Kinuyo Tanaka is really a delight on screen, and you can see her here playing many different roles according to the play being performed. Also, all the plays are mostly in a few sequences, so you have a great panorama of what is being played as though you actually were sitting on the theater itself.

Notwithstanding the fact that this film gets sort of predictable at times (I sure knew Shimamura was going to die when he first started feeling bad), and that it feels a little bit rushed (the love between him and Sumako happens so fast that it is hard to believe), this film is still worth watching. One scene to point out in the film would be the last one, that's really a beautiful shot.

So if you are looking for another film to watch from Mizoguchi, or if you were doubting about watching this one or not, do not hesitate, even though the film might not be as good as his other efforts, it is still a good one.

My score: 8.3/10

Even though I had promised myself I wouldn't make more reviews for any Ozu's work (if you like his style, you'll probably like all of his works), I just obviously can't seem to contain myself, as I think Ozu deserves more praise and recognition.

The family Kohayagawa are preparing themselves to marry one of the family members, Noriko, the youngest daughter, while her sister Akiko, widowed with two children, receives a marriage proposition by a man who is socially and economically well – placed. The family patriarch, however, has a curious behavior. He constantly visits his former lover Tsune, behavior for which his daughter Fumiko reproaches him. The old man suffers from a sudden heart attack, though, which leads Fumiko to not reproach him anymore.

You may have noticed this is yet another Ozu's film based on family matters. Indeed, it seemed to me this was sort of a rehash of his former efforts because he repeats many of his old dramatic scenes. Although if you are only reviewing that aspect of the film you would be missing the point, as I think this is yet the most beautifully shot and image – based film in his entire filmography. I found myself contemplating every single frame of the many surprisingly shot scenes, even though the plot didn't get me all that hooked. The amazing colors all around the film also help enhance the beauty of its content.

Regarding the acting, I would just have to mention it is incredible and fitting to what's being portrayed (as usual in Ozu's films). However,one thing that always surprises me is the appearance of Chishi Ryu in all of Ozu's films; whether it is a complete appearance or just one or two simple scenes in the whole film, he's always there. We can see him almost at the end of the film standing by a lake next to a woman that seems to be his wife, beholding a chimney which expels the ashes of the deceased father of the Kohayagawa family.

This film might be a tad weak on the plot side, but on the technical and image side is much stronger and worth watching.

My score: 9/10