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Doku-ganryû Masamune (1942)
decent small scale epic
There is some confused information on this site regarding this film. I don't claim to be an expert on the samurai genre, but the version I saw was directed by Kono Toshikazu, not Inagaki, and was a Toei COLOUR release from 1959, not a 1942 B&W from Daiei. The cast list is correct - for the 1959 version, that is. It is possible there are two versions, in which case the only mistake here is listing the cast of the 59 version under the 42 title. If there are two versions, this review may be inappropriate, but since both were based on a novel, I am assuming they follow the same storyline...(?) Kinnosuke delivers an excellent performance, though I wish we could have seen more of the volatile, unpredictable temper Date Masamune was famous for. Historical purists will be disappointed - the film (perhaps wisely) ignores his early aggressions and atrocities against his neighbours, and (unfortunately) his ultimately futile backing of a trade mission to the Pope in Rome. This was an effort distinct to Masamune, and would have lent the story a similar uniqueness. Instead, the story concentrates lengthily on a doomed romance with a woodcutter's granddaughter, and his relations with the ruling government under the usurper Hiedeyoshi. I suspect the budget was rather limited - there are too many exteriors that are obvious stage sets, and the battle scenes, while large enough to be believable and exciting, are very brief. Despite its failings, the direction is sound and there are some powerful moments, such as Masamune's discovery of his ruined eye, and the kidnapping of his father by an enemy clan. All in all, worth tracking down for fans of samurai films and samurai history.
Machibuse (1970)
Good, but...
I agree with much of the criticisms other reviewers have mentioned, in particular that Mifune's character seems more of a disinterested spectator throughout most of the film that he probably should have been, and that the ending was on the weak side. Despite that, I thought the slow revelation of the story was intriguing. You knew SOMETHING was going on beneath the surface, and the mystery kept me watching even through the slowest moments. The layered backstabbing and betrayal behind the whole heist was a bit confusing, and the last scene was ridiculous - an afterthought that was unworthy of the rest of the film (what the heck was Crow doing wandering around in a field, anyway?). Also unsatisfying was Yojimbo's inability to admit to his feelings for Okuni - I wanted to see some character growth result from the whole experience. Still, I will take the advice of the previous reviewer who suggested the film requires more than a single viewing to appreciate it.
The Egyptian (1954)
A rare and precious treasure....
...as valuable as King Tut's tomb! (OK, maybe not THAT valuable, but worth hunting down if you can). I notice no one has commented on this movie for some years, and I hope a fresh post will spark some new comments. This is a film that I remembered only snippets of from childhood, and only saw recently when I tired of waiting for Fox to honour its own past, and hunted down the Korean DVD (in English, but with unremovable Korean subtitles). I won't go through another long plot description - suffice to say that seeing it for the first time in its proper widescreen format left me agape at the vistas and the scope of the film. The matte paintings still hold up, and the palace sets are truly breathtaking. But it is the smaller scale details that lend this film its depth and richness, offering a glimpse into the lifestyles of Egypt's poor as well as its elite. The bazaars, hovels, docks, embalming houses, and taverns are as fascinating as Pharaoh's throne room. While errors abound on the large scale (most notably the dynastic succession), the details are more meticulously researched than the vast majority of Hollywood's films. Visually, it's not without its flaws - the interiors are often too overly lit and colourful to blend seamlessly with the exteriors. Nevertheless, this is a movie that should be credited for being as audacious in the small as it is in the large. Tedious? In parts, absolutely. Overacted? Underacted? Yes, both - though 'understated' might be a more apt description. Too long? Absolutely not. I wished they had spent more time with Sinuhe's experiences in the House of Death, and among the Hittites, and less with his 'romance' with Nefer, though. Historically inaccurate? Yes, that too, but so was Shakespeare. Nobody chastises him for it. I appreciate historical accuracy as much as the next guy, but ultimately it has to be remembered that cinema is theater, not a history lesson.
Excalibur (1981)
Entrancing visual opera (very minor spoilers)
There are so many ways to describe this film - enchanting, bombastic, captivating, breathtaking, operatic, yet occasionally silly, uneven, and disjointed. At certain points characters go through emotional extremes in the blink of an eye (such as when Percival suddenly breaks down crying when offered a drink by Morgana), disrupting the otherwise almost poetic flow of the storytelling and visuals. Elsewhere the moments are so powerful as to be addictive (when Arthur slumps against a stone and calls out for his long lost mentor Merlin, I could almost feel the pain and weight of his years on my own shoulders). Perhaps it is best summed up as an example of myth masterfully crafted for the screen, its lyrical power bolstered by its stunning photography and carried along by the Wagnerian score. Despite its hiccups, 'Excalibur' achieves its aim with power, grace, and hypnotic allure.
The Blue Max (1966)
Underrated epic
As a kid I used to force myself to stay up half the night whenever this movie would appear on late night TV. It has never lost its ability to intrigue, and every time I see it I find new dimensions to appreciate. Beyond the spectacular aerial photography, I found the core moral dilemma the most engaging aspect of the film. While the German aristocrats see an absolute need for chivalry and honor to maintain their humanity in the face of horror and death, Stachel sees only hypocrisy and prefers the honesty of naked aggression and ambition. Ultimately, it is left up to the viewer to decide the morality of their philosophies. On the downside, I've always found it hard to accept Peppard as German, and the dry performance of Andress brings the pace to a dead halt whenever she appears on screen. Mason was brilliant as ever, though, as were Vogler and Kemp.
The Set-Up (1949)
Forgotten gem
Robert Wise was one of Hollywood's most versatile and talented directors, but amidst all the classic films he made, this one was purportedly his personal favourite. It's easy to see why. Seedy, gritty, and stark, it's about as subtle as a hard right to the jaw. Ryan - one of the most underrated actors in American cinema - delivers a superb performance as Stoker, an aging boxer looking to salvage his dignity if not his career. It's a moral choice that could cost him his friends, his marriage and his future. Among the many interesting facets of the film is the use of other boxers on the night's ticket to reflect and reveal aspects of Stoker's own character - the loss of his youthful dreams, the fear of pain and permanent damage. Wise reserves such subtle devices for Stoker alone - every other character is rather one-dimensional, though this came across to me as a conscious choice to better fit the story into the 'real time' format, and to keep us focused solely on Stoker's story. The camera work and visuals are as stark and as potent as the story, carefully chosen to reflect the emotional beats of the story. Overall, an archetypal example of film noir not to be missed. Don't consider yourself a true film buff until you've seen this movie!