This isn’t one of Yasujirō Ozu’s better known works, nor does it star Setsuko Hara. It is however one of his funnier films and it does have a character named Setsuko though she is deceptively not the main character. Instead this is about a middle-aged married couple with a dysfunctional relationship and their failure to communicate with one another. The antics of the spoiled and willful wife are what makes this so funny. Unfortunately it does somewhat revert to an old-fashioned morality lesson and even lectures the audience about how a proper wife should behave at the end but it’s great while it lasts.
Seeing as the recent crop of genre fiction novels have not been terribly interesting to me, I’ve been venturing out to read a more diverse selection of books, especially non-fictional ones. This one is a memoir by a woman who was living in Berlin during the time it fell and was captured by the advancing Red Army in 1945. It’s a short book and covers a relatively short period of time from April to June 1945. But it’s packed full of detail as witnessed by a woman who is both exceptionally erudite and brutally honest in recording her experiences. The author was anonymous when the memoir was originally published but after her death, her identity has since been revealed to be Marta Hillers, a German journalist.
We needed multiple days to get through this epic and I shudder to think that Sergio Leone originally wanted something even longer. This would have been more bearable if it were actually good yet while it has the bones of a decent film, on the whole it’s so clunky. Robert De Niro is as great as ever and outacts everyone by a fair margin. But Leone is not American, has no ear for good American English dialogue and the film has no real psychological depth. It’s realistic in the sense that the characters are street hoods who never grew up but it also means that it’s really all just about sex and violence. It’s not a bad mobster flick but I certainly wouldn’t consider it among the greatest films of all time.
We’ve seen interesting work by Lou Ye before and here we have one with Gong Li as the lead. It’s a spy thriller that takes place when Shanghai was an international settlement nominally outside of Japanese control, a setting that I will note is popular for Chinese serials. Naturally Lou Ye adds his own artistic touch and plays around with what the protagonist is really up to. Unfortunately while it sets things up nicely and hints at a complex political situation with multiple factions in play, in the end it all amounts to nothing. All of the prior artistry feels almost superfluous when as it all but devolves into a conventional action movie.
I ordinarily wouldn’t pay any attention to these nondescript action show made especially for Netflix but this one has decent reviews and strong word-of-mouth recommendations. I’ve long thought that more grounded action movies would work well and ‘lo and behold here one is. This film intelligently uses corrupt police in a podunk rural town as the antagonists because there’s really no scarier villain in modern day America and even weaves in a vaguely plausible plot about civil forfeiture. Unfortunately the production is competent at best and mostly uninspiring. It’s not bad as an action movie but it’s not going to win any awards.
With its ostentatious displays of wealth and portrayal of the high life, this is another film that loudly announces itself as escapism amidst the Great Depression. The twist here is that it’s no rags to riches story but about thieves who pretend to be rich in order to rob them. It was made by Ernst Lubitsch who truly does have an artful touch in directing these things so it’s great fun for a little while. Still, the only question towards the end is which of the two female leads the male hero will choose and that’s the full extent of how sophisticated the film is.
Europeans make so many films about the Holocaust that watching yet another one isn’t particularly interesting to me. Jonathan Glazer’s newest one however takes a completely different tack by not showing a single Jewish victim at all. Instead it focuses on the home life of Auschwitz commandant Rudolf Höss whose family has established a mundane and pleasant existence just outside the camp’s walls. There is effectively no plot as it merely shows their everyday routines. Glazer claims that he aimed to demystify the perpetrators of the Holocaust to show that they are not evil in the mythological sense. Yet they most certainly are evil at least in the ordinary sense for being able to enjoy life under such horrendous circumstances.
