The Sun (Сóлнце) - A. Sokurov

Russian film, Japanese history. Director - Alexander Sokurov, who is best known for his epic Russian Ark -- a film done in 1 take, 1 shot, which would highlight him as slightly more adventurous than most directors we know today. The film is set during the final days of WW2, and is part of a series of films that centre around political figures -- the others being Hitler and Lenin. The Sun's political figure is Japanese Emperor Shōwa Hirohito.

I don't know much about Hirohito, or why he talks really weirdly in this (even when talking Japanese) -- as if his tongue's too big for his mouth, which is intriguing. Perhaps a type of etiquette? The film epitomizes character study. The directory himself claimed not to be interested with politics and what you'd be taught from, say, the History Channel, and so those subjects are partially ignored. Hirohito's in a bunker (as they all are), yet in the Imperial Palace, which is quite cozy, rather than claustrophobic hell. He reminisces not so much on the past, but on his and the future of Japan -- or lack of it. 

It's a film that requires a lot of input from the viewer, introspection on this level is better suited to novels, but Sokurov's work will appeal to (and impress) certain audiences. Refraining from spoiling the plot -- or giving you a history lesson -- this is a film about what the man was or might of been feeling at the time (and throughout his life), his responsibilities, and his reflection on possible war crime accusations, which lead to awkward meetings to dictate peace terms with an American commander. Therefore, this is a film so many viewers will be either bored with, and perhaps bitterly disappointed that they weren't getting a historical romp or a heavy political showing.

Issei Ogata is the best Japanese actor I've seen -- especially in a role like this. What makes this role even more impressive in scale and to accomplish from Ogata's perspective is the fact that this wasn't screened in Japan due to right-wing extremists getting angry over the portrayal of Hirohito, yet Ogata and the other actors still had the guts to work with Russian director (and cinematographer) Sokurov to make this wonderful exploration of a 'human being' in an incredible situation. To think we as individuals, governments, uniting bodies and every country in the world fear atomic warfare -- this was the Emperor of a country watching his world burn before his eyes -- something even the Emperor, who was considered a deity in Japan -- a God amongst men -- couldn't control, or perhaps even understand; little of us can.

雨月物語

My 50th post. Never thought I'd get this many.

Ugetsu is a Japanese film made in 1953 by Kenji Mizoguchi. It's hailed as one of the most important films of the Japanese Golden Age of Cinema and is therefore one of the directors most celebrated films.

I decided to get this because on the Andrei Tarkovsky's wikipedia page there is a list of his top 10 films which includes Ugetsu, as well as another by Mizoguchi.

From what I've read Japanese cinema has always gained a lot of respect from western critics, especially in recent years. It seems to have become quite a trend. This it seems is due to Akira Kurosawa's Seven Samurai inspiring a lot of westerns. I nearly signed up for a Film Studies course, and a lot of that looked at Japanese cinema. I wouldn't consider myself a fan of this era of Japanese films at all mainly because I haven't seen enough, and it doesn't appeal to me.

Ugetsu isn't a Samurai film, but has some elements of it. It's quite a traditional story, and is based on some short stories from Japan. It's based in 16th century Japan.

The film itself is somewhat interesting. The version I have the picture is quite muddy, and the lightning makes some scenes very dark. The subtitles seemed ok, but the sound seemed out of sync. The acting wasn't realistic. I think that all comes with the era that the film was made.

Personally, I think it was quite an average film, nothing to get excited about. I imagine it's an essential Japanese film, and they would probably cover it on that Film Studies course. I think this is more of an 'important' film, rather than a good one. I found it interesting enough to gain enjoyment from despite what would by today's standards be considered major flaws. It gives it a sort of charm along with the traditional storyline. I suppose that what connotes to 'cultural'.