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December 18: "Tokyo Kids"

(Otona no miru Ehon - wa mita keredo Umarete)

film Yasujiro Ozu - Japan - 1932
(black and white, silent)

Scenario Akira Fushimi Geibei Ibushiya (adaptation) on an idea by Yasujiro Ozu
Cinematography and editing: Hideo Shigehara
Production: Shochiku Films
Cast: Tatsuo Saito (Chichi, Yoshi's father), Mitsuko Yoshikawa (Haha, the mother ), Tomio Aoki (Keiji, or Tokkan-Kozou), Hideo Sugawara (Chounan (eldest son)), Takeshi Sakamoto (Juuyaku, director), Teruyo Hayami (Fujin) Seiichi Kato (Kodomo), Shoichi Kofujita (Kozou, the driver), Seiji Nishimura (Sensei, the teacher), Zentaro Iijima, Shotaro Fujimatsu, Masao Hayama


Mystery Ozu (Revisited) by Eugene Green

Kids Tokyo, one of the first feature films by Yasujiro Ozu, spring in theaters in France. A funny and tender film that bears the seeds of future work of renowned Japanese fleet where an unfathomable mystery.

The opening scene of Kids Tokyo (1932), probably the silent film's most famous Yasujiro Ozu, is revealing. A couple and their two children are preparing to move into the suburbs of Tokyo when suddenly their car is stuck. The vagaries of life. Certainly. But this scene also symbolizes that the filmmaker will continually develop in the rest of his work. Show heroes, or more precisely, anti-hero, mired in the routine of daily life, drawing on Shomin-geki, stories about the simple life of the Japanese of his time. He portrays an almost minimalist in an extremely sophisticated and with a minimum of aircraft movements. He thus achieved what analysts consider his work as "mystery" Ozu. This incredible ability to break through the surface of things to go to an underground world, or rather air or full of Taoist mysticism. These are the "floating world" of Ozu, which captures the smallest oscillations of human feelings as the flat stone, which was launched on the water, drawing fine lines, wide at first, then imperceptible, almost invisible. But indeed present. Therefore

see or review Kids Tokyo with this in mind. An early work inspired the film that Ozu American burlesque was a fervent admirer - situations funny, faces, fights, accumulation and repetition of gags ... - Desiterata influenced by the film studios in Tokyo, but already with a language and a unique sensibility that makes the story of these two kids in revolt against their father, a celebratory movie, a comic gem with finesse. The two boys of 8 and 10 years, whipping a band leader, decided to play truant. Roundly scolded by their father, they realize that one, single employee is obliged to submit to the authority of his boss up to ridicule in front of him. Instantly, the children start a hunger strike. For if becoming someone important in society, as the father preaches, amounts to kowtowing to his boss, so why bother ...

Kids Tokyo, which will be a remake of Ozu Hello title in 1959, spring in its silent version without music. Originally, like all Japanese silent films, the film was accompanied by a benshi, barker whose popularity exceeded that of film actors. Ozu, including 34 of 50 feature films are dumb (unfortunately, most are now invisible), is cited as a model by many filmmakers, Wim Wenders and Aki Kaurismaki in mind. But the director, who died in 1963 at the age of 63 years, has actually been recognized in France until the late 1970s, after having long been overshadowed by Akira Kurosawa, Kenji Mizoguchi and Mikio Naruse . And yet, was it primarily for movies of the second part of his career, made after the Second World War, long after the advent of sound and color ( Late Spring (1949), The Trip to Tokyo (1953), The Taste of Sake (1962)).

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Ozu Yasujiro Ozu

[Fact Ozu Site Image made by CARC, national stage, with support from the National Centre for Cinematography (CNC) devices dedicated to national leadership of young people, initiated by the Ministry of Culture and Communications (CNC, DRAC) with the Ministries of National Education, Youth and Sports, the City and local authorities.]


Born December 12, 1903 in Tokyo of a merchant family ( commercial fertilizer), Yasujiro Ozu spent his childhood in Matsusaka, near the city of Nagoya, where he discovered cinema through western movies as Quo Vadis? (E. Guazzoni, 1912), Civilization (Ince Thomas Harper, 1916), or those of David Wark Griffith, Chaplin, FW Murnau, Josef von Sternberg and Ernst Lubitsch above, as well as film actors and s' actresses such as William S. Hart, Pearl White, Lillian Gish.

One of the first stars of Japanese cinema, Matsunosuke Onoe, sparked his interest in film, but he could barely remember three Japanese films at the age of twenty. During the Second World War, he could see Citizen Kane (O. Welles), the movie that impressed him most, The Grapes of Wrath , Stagecoach, How Green Was My Valley, Tobacco Road (J. Ford), Rebecca (A. Hitchcock), The Grand Passage (K . Vidor) and the films of William Wyler who then enthralled by French critics. And fully justified the decision of the American critic David Bordwell makes Ozu's "most cinematic of the great filmmakers before the New Wave," as he is regarded in his country as "the most Japanese of Japanese filmmakers." They forget that Yasujiro Ozu was born in the thirtieth year the Meiji period of openness and modernization of Japan and the Japanese intellectual youth is especially in this modern Western culture.

After failing the entrance exam to the business school in Kobe, between Ozu in 1923, against the wishes of his father but on the recommendation of an uncle understanding, the fledgling company Shochiku, Tokyo . He chooses to work specifically with Tadamoto Ookubo, prolific filmmaker specializing in comedies "no sense" inspired by the American burlesque. We know little in France Much of the work of Ozu's silent, for the most part disappeared, and neglect the farcical aspect of his cinema. Comic and tragic, derision and compunction, alertness and hieratic, triviality and spirituality are still to Ozu both sides of the same phenomenon, and the triviality, often at the heart of the most tragic situations.

Ozu begins in an easier kind held in 1927, with a historical film, the taxonomy of Japanese cinema calls "jidai-geki (period film about a period before the Meiji era), The Sabre penance. There he met one who will its principal screenwriter Kogo Noda. The section of "jidai-geki" moved to Kyoto, Ozu prefers to stay in Tokyo (and near his mother), he became a specialist in "Gendai-geki (films whose subject relates to the contemporary period), and especially" shomin-geki, "featuring the" little people ", particularly the world of office workers.

From that moment Yasojiru Ozu's life coincides with his work. Only the death of his father in 1934 appears to play an emotional role, but it worked long in the distant capital Ozu only joined in 1923. He lived mostly with his mother to death of it in 1962. We know of no female relationship, despite a brief affair with a geisha and a marriage proposal made to an actress ... It will also work with practically all his life (with the exception of three films in the last period) for the same studio, the idea of changing the employer who apparently never touched. Its only characteristic also shared by his screenwriter Noda, is a penchant for alcohol. On the last day of writing the script for Tokyo Story, this is his diary entry: "Done. 103 days , 43 bottles of sake. "

After being a director of several comedies, especially ludicrous is the late 20's he can make films that he considers more personal ( I graduated, but ... and The Life of an office worker ), closer to its aspirations and "shomin-geki" dark side of his earlier comedies.

The global economic crisis allows him, with his scriptwriter Noda, pushing in this direction with films such as The Choir Tokyo (1931) and Tokyo Kids (1931), descriptions ironic painful situations (unemployment, submission to the boss). It was at this period that systematized a stylistic characteristics of cinema of Ozu, the low position of the camera (up to tatami ", it was wont to say).

Having long resisted talking cinema, Ozu achieves An only son (1936), one of his darkest films: a complete misunderstanding between mother and son. Her work is tinged with more of that tone in the cultural tradition known as the Japanese "mono no aware", derived from Zen Buddhism, meaning both celebration and the renunciation of worldly things, a kind of serene sadness. After spending two years in the army in China, as a result of censorship, Ozu made films conform to the ideology of national unity without slipping into propaganda, as He was a father . (1942). After the war and six years of inactivity, it is, after 1949, with films like Late Spring (1949) or early Summer (1951) he found his fame and writer Noda. It becomes a filmmaker confirmed his country and cover price. It was in 1959 the first filmmaker to come to the National Academy of Fine Arts. This earned him then to be considered by the younger generation of Japanese cinema as a filmmaker academic, reactionary and conformist.

In early 1963, just months after completing his fifty-third film, The Taste of Sake , Yasujiro Ozu felt the first attacks of lung cancer will win on Dec. 12, the day his sixtieth birthday.


[Wikipedia] His tomb is inscribed with the single character 无 "mu" (Pronounced soft), a Chinese philosophical term that is usually translated as "nothingness", "vacuum".

careful though not to see the negative west of absence, disappearance, but rather a more positive direction East, which is the idea of becoming one with the universe, to blend into our surroundings . Indeed difficult to imagine a man so humanistic so enamored of life for eternity on a negative symbol on his headstone.

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Program

Here is the program on Tuesday I'll tell you what little I know of
Yazujiro Ozu (1903-1963).

1932 - Kids Tokyo
1932 - Where are the dreams youth?
1933 - A woman from Tokyo
1934 - Stories of Floating Weeds
1942 - He was a father
1947 - Story of an owner
1949 -
Late Spring 1953 - The trip to Tokyo
1957 - Twilight in Tokyo
1958 - Flowers equinox
1959 - Hello
1960 - Late Fall
1961 - Last whim
1962 - The taste of sake

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Little White Russian recipe ...

for 1 person:
- 1 / 3 vodka
- 1 / 3 liqueur Coffee (kahlua)
- 1 / 3 whole milk (or whipping cream)
- ice
Pour vodka and coffee liqueur over ice in a glass.
Fill the glass with cream and serve.
(in moderation)

The White Russian is a variant of "Black Russian" with milk. The origin of the recipe comes from Russia, was the morning coffee for some Russian crude stripping. Also, in the evenings watered vodka being dried up, some less adventurous could not tolerate violence of vodka cul sec and preferred to sip vodka with coffee liqueur which mitigated the power of alcohol while giving a coffee aroma.

some even mix in milk, as the laughter of their comrades, making and the variant of the most famous Black Russian: The White Russian. Both cocktails were regarded by Russians as drinks for women or tourists. The Black Russian and White Russian are becoming international later when they were actually sourtout consumed by tourists who did not dare mess with the local tradition of vodka cul sec.
(info www.1001cocktails.com)

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The Wonder of Yvan: The Big Lebowski Favorite


Big Lebowski
American Film, 1998
Director: Joel Coen
Screenplay: Joel Coen, Ethan Coen
With Jeff Bridges, John Goodman, Steve Buscemi, Julianne Moore, David Huddleston Philip Seymour Hoffman, Peter Stormare, John Turturro, Tara Reid, Sam Elliott, ...
Photo: Roger Deakins
Composer: Carter Burwell
Distribution: PolyGram Film Distribution
Duration: 1:57




Imagine that two big guys come in and Jeff-Dude-Lebowski (Jeff Bridges) to his claim money that his wife owes them. Before he has time to explain that he is not married and they have to be confused with the other Jeffrey Lebowski, the millionaire who is one of the thugs pees on his rug. Dude's best friend (John Goodman) advises him to go to Lebowski to require repair damage. In concurring with the opinion of his friends, the Dude is committed in a spiral of bad choices that will lead particularly hellish center of a kidnapping case where cross nihilists barges and Teutonic, an artist and somewhat lighter fierce, a producer of porn movies barge and well dressed, and half a dozen other characters of the same ilk.

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Yvan: indices


indices

's terrible ...





The winner of the evening!

film.

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Favorite Evelyne: Cinema Paradiso


Cinema Paradiso
Italian
1988 Oscar for best foreign film in 1989
Director: Giuseppe Tornatore
Screenplay: Giuseppe Tornatore
With Philippe Noiret, Jacques Perrin, Isa Danieli, Salvatore Cascio, Marco Leonardi, Agnese Nano, ...
Photo: Blasco Guirato
Composer: Ennio Morricone, Andrea Morricone
Distribution: Distribution
Ariane Runtime: 2:03




Alfredo has died. Salvatore, popular filmmaker, it's a piece of her past collapses. It was called the era Toto. He shared his free time between the office where he was an altar boy and the parish movie theater, especially the cab projection or reigned Alfredo ...

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Favorite Evelyne: indices

indices Evelyn

too easy for professionals indiceurs

Cinema Paradiso course

never seen such rapid indiceurs

but Ah!

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Favorite Francois M: "The Station Agent"

Film Tom McCarthy - USA, 2003


Screenplay: Tom McCarthy
Director of Photography: Oliver Bokelberg
Music: Stephen Trask
Editor: Tom McArdle


Interpretation Peter Dinklage, Patricia Clarkson, Bobby Cannavale, Michelle Williams, Paul Benjamin, Raven Goodwin, Jase Blankfort, Paula Garces, Josh Pais, Richard Kind, Lynn Cohen, Marla Sucharetza



Production: Senart, Next Wednesday, United States United
Producer: Mary Jane Skalski
Distribution: Diaphana Films, France

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Favorite Francois M: Indices

Simple indices

(Thanks to Leo for the loan of the train, Ulysses for the loan man)

Of indiceurs perplexed

The Noon, 3:10 to Yuma , and so


Aaaah, "The station master," and even "a dwarf! "

A little Corsican beer in honor of Francis O


and go for a film unknown to all
The Station Agent

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Favorite Vincent: CRAZY



CRAZY
Canadian , 2006
Director: Jean-Marc Vallee
Screenplay: François Boulay, Jean-Marc Vallee
With Michel Cote, Marc-André Grondin, Émile Vallée, Danielle Proulx, Maxime Tremblay Pierre-Luc Brilliant, Alex Gravel, Felix-Antoine Despatie, Natasha Thompson, Johanne Lebrun, ...
Photo: Pierre Mignot
Distribution: Océan Films
Duration: 2:09






CRAZY or a family portrait by Stephanie Nolin

The CRAZY director Jean-Marc Vallée (Blacklist ) footpaths infrequent in the corpus Quebecois film portraying authentic and sensitive of an ordinary family in Quebec. Valley tells of love, acceptance and difference with a backdrop of Quebec rapidly changing, shaped and modernized by the quiet revolution and the rise of nationalism.

This family chronicle, which takes place from 1960 to today, deals with the happiness and sincerity clashes in a family of five boys all more different from each other. At the heart of this battle is Zachary (Marc-André Grondin fabulous), the fourth of five brothers. Through his eyes and then disturbed adolescent child, constantly seeking the consent of her father (Michel Côté always great), we will relive several times.

music ubiquitous, real protagonist of the film, accompanied the connection, suggesting the emotions and marks the passage of time. The Pasty Cline, Aznavour, David Bowie vibrate at the same pace as the characters and make us vibrate too. Sets, events and actions, all larger than life, we will recall memories of our youth. Special attention seems to have been paid to every small detail.

Marc-Andre Grondin embodies with great accuracy and sensitivity of this teenager who yearns to meet the ideals of his father and for this reason that represses its true nature. Michel Côté, in the role of paternal affectionate but awkward refusing the difference, offers extraordinary performance and émouvra certainly more than one. Also note the superb game from Danielle Proulx mother comprehensive and Pierre-Luc Brilliant in the shoes of a junkie.

Before becoming a film about homosexuality, CRAZY is primarily a film about a father-son relationship and what we all need to be loved and understood by our parents. Are palpable in this film's unwavering commitment and family affiliation invisible unites a mother to her child. The humor, used wisely, sometimes defuse situations that might seem onerous.

In fact, watching CRAZY, it's like to contemplate our own family portrait. It shows a typical family that lives the joys and everyday problems. CRAZY is in fact a celebration of the immutable bond that unites us to someone for life. It is also and above all a hymn to tolerance. A disturbing film, touching, which will haunt you and could probably prove to be the surprise hit of the summer season. Must See!