The Butterfly

Oh, what a tangled web we weave...

The legendary team of Kurosawa Akira and Mifune Toshiro tackle Shakespeare's Macbeth in Throne of Blood. While hitting most of the bard's main beats, Kurosawa takes the murderous couple to feudal Japan in this highly stylized film.

Mifune plays Washizu (Macbeth) caging the frenetic energy always just below this actor's surface. Washizu and his friend Miki are returning to their lord's keep, aptly named Spider Web Castle, after defeating an opposing lord's army in battle. Lost in the woods, they come across a ghostly forest spirit who foretells their future. Washizu will become the next lord of Spider Web Castle and Mizi's son will become it's future lord. Both men are incredulous as they make their way to the castle through the fog, even more incredulous when the prophetic events begin to come true.

Washizu becomes the leader of the North Garrison where he and his wife (the talented Yamada Isuzu) live a comfortable life. Lady Washizu is not content though and stirs up feelings of ambition and dread in her husband telling him that the lord may seek to kill him seeing him as a rival, especially if Miki tells of the prophecy. Washizu is not convinced but when the lord ominously drops into their hands, it doesn't take much convincing from his wife to perform the murderous deed. Miki throws in with him out of his own ambition or pragmatism. The prince and Noriyasu (Kurosawa regular-Shimura Takashi) flee to their old enemy and make a pact with him.

Lady Washizu unrelentingly keeps up the murderous whispers until man after man is slain in order to keep their new status. Even as they work to stay on top, the doubts and guilt begin to build until the subtle and not so subtle signs of madness begin to creep in. With each passing day his men's doubts grow as does the strength of their enemy.

There is all sorts of imagery in this film starting with Kurosawa's trademark wind and rain ushering in dark changes. Fog blinding the men as they try to find their way ushers in chaos and uncertainty. Washizu and Lady Washizu act almost as if they are wearing masks. She barely moves and when she does it usually means someone is about to die as the only sound you hear is the rustling of her silk dress as it slithers across the floor. At the end when the opposing army shows up, they are highlighted in sunlight while Washizu always seems to be in rain or fog or dim, claustrophobic lighting. The name Spider Web Castle reflects the deadly web the couple find themselves in, one they cannot extract themselves from.

The forest spirit tells Washizu and Miki,
"Human beings are so strange,
they are terrified to look into
the bottom of their hearts."

Washizu, his wife and Miki end up looking into their hearts and find more darkness than they were aware of. Paranoia drives Washizu to have his best friend murdered and see treachery all around him. The spirit's prophecy causes the chaos that sinks into a man's soul inciting greed and winning at any cost to take over. Was the spirit prophesying or setting events into motion with the prophecy? Did the men act of their own will or were they victims of predestination?

The sets were amazing. Always looking for that perfect shot, Kurosawa didn't like the initial castle set and had another imposing one built on Mt Fuji. In two different scenes, especially the final one, it didn't take much acting to show fear when arrows were being fired as they were really being shot at the actors.

Kurosawa wasn't afraid to use silence and time to create tension in scenes, something rarely used in today's films. The scene with the silent castle as the troops slowly approached not knowing if they would receive a welcome or death was particularly powerful.

Wind and fog come again at the end of the film along with the chorus, reminding the viewer that desire and fate are never changing. The castle of delusion is never far away when one gives into the baser ambitions at the bottom of their hearts. Throne of Blood uses no iambic pentameter, nor Shakespearean quotes, maybe it's the stronger for it.


9/29/22

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Sometimes you have to risk all to have a safer and better life

When you open up your mind, you never know where you will meet your Best Friend. Set in the tumultuous 1980's in Korea, this film was very loosely based on real events and presidential candidate and activist Kim Dae Jung.

During a time of martial law, student protests, brutal interrogations and arrests, Lee Ui Sik finds himself and his family under house arrest for being in opposition to the ruling power. As the intelligence chief states, anyone not like himself is a "commie" and "commies" are detained, or deported, or killed. The chief calls upon Dae Kwon, a part-time patriotic helper, to move in next to the Presidential candidate, Lee Ui Sik and his family, who are serving under house imprisonment and surveil them. The goal is to prove Lee is a commie with ties to North Korea and finally rid themselves of him. Through a series of comic adventures, Dae Kwon and Lee meet, even ending up in a bathhouse with Lee's son. Though on opposite sides, both men are lonely and in need of friendship. The more Dae Kwon listens in on the upright Lee and the more he sees how the current government covers up its own dirty work, he slowly begins to change his mind and his ideas.

Like many Korean movies, Best Friend's mood changed on a dime and went from comedy to tragedy, back to comedy and a host of other emotions. Some of it worked and some of it didn't. It could be uneven and even jarring at times, but it was never boring. Veteran actor Kim Byung Chul as Dae Kwon's assistant was the catalyst for many of the laughs. Lee's family played it dramatically straight for much of the movie. Though a few scenes went fully into melodramatic territory, the final act revealed the dangers of attempting to change a corrupt regime.

Jung Woo gave a complex performance having to work both the comedy and melodramatic beats of the film. Dae Kwon not only dealt with spying on his neighbor, but he was also a husband and dad and not a very good one. Through his clandestine observations, Jung Woo shows Dae Kwon's epiphanies as old beliefs and habits make way for new ones. Scandal plagued Oh Dal Soo was fine as the beleaguered candidate having to make decisions even as he faced personal crises and death threats.

I have to give Korea points for being willing to look at difficult times in their history and work through them artistically. Though a fictional work, bordering on fantasy at times, Best Friend did push forth the idea that in order to change society even when it might come at great personal cost, it had to be done for the good of all and future generations.
With the themes of enemies to friendship, sacrifice for the greater good, and personal evolution, Best Friend, if not inspiring, could be funny, entertaining and even heartwarming. Not a perfect film, it was too erratic and sometimes heavy-handed, but one worth trying sometime. (7.75)



8/24/22

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Nameless daughter in lost and found!

Reclaim is an uneven but interesting story about a 60-year-old woman who has lived her life for others. When she finds herself between a rock and a hard place with her extended family, her reaction to their needs is to look for a larger home.

Ye Lan Xin's life has become one of many hats---mother, daughter, wife, friend, in-law, teacher, but none of them are truly her own. Her retired husband refuses to help around the house and uses her more like a servant. When she came home in the opening scene to find he had gone through her books telling her which ones to keep, he lost all sympathy with me. You don't mess with a person's books-that's sacred territory!

Her grown daughter soon moves back in after quitting her job and trying to start up her own company hoping for mommy's financial as well as emotional support. The daughter, too, doesn't see her mom as a person but more as an assistant and ATM. The grown son who had been educated on his parent's dime in the States, also expects her to do his bidding. When her mother who suffers from dementia once again wanders away from the nursing home, Lan Xin wants her to move into their apartment. Her husband's "antique" collection and teapot collection take up nearly a whole room but he refuses to part with anything. He even buys a champion pigeon and lets it roam freely through the house without cleaning up its mess.

Lan Xin decides to buy a larger house so everyone will have their own room. Out of all them, she has the least privacy, unable to even watch Richard Gere movies when she wants to.

Much of the movie involves Lan Xin walking up and downstairs, traveling in elevators and circling around reflecting the ups and downs in her life as she searches for an affordable home. There are a couple of fantasy scenes awkwardly imposed into the movie that don't really fit with the realistic mood and also make it difficult to know if some of the things that are shown really happened. Ultimately, what Lan Xin was looking for was herself and coming to terms with the young girl who wanted to go to Paris to study art and the older woman who had married instead and teaches art on the side. When someone asks her name she goes blank because it has been so long since anyone called her by it. The scenes of Lan Xin creating a dollhouse that resembles her home tells much of what she desires and also what she comes to learn. The movie is beautifully shot, particularly the trip she and her mother take to their home town. The music can be syrupy at times, but in this type of movie fit the mood well.

Nina Paw as Lan Xin gave a subtle performance yet quietly powerful as small clues showed through her almost imperceptible reactions. While his character could be grating with denigrating demands and opinions, Johnny Kou played the self-involved husband perfectly. The sets were all intricately designed, especially the main apartment, important since much of the action took place in the almost claustrophobic spaces as Lan Xin tried to carve out one tiny place for herself.

There are times when you will want to shake Lan Xin for letting herself be used by nearly everyone around her in her need for approval and other times you will want to cheer for her as she gains clarity. Far from a perfect movie, and too long for the subject matter Reclaim is still worth trying out to watch as one woman takes the slow journey to reclaiming her life.

"All of us are alone when we reach the end. There's nothing to be afraid of." -Lan Xin's mother



8/16/22

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The Monkey King 2 takes place 500 years after the Havoc in Heaven, a sequel to The Monkey King starring Donnie Yen. In this film Aaron Kwok plays the hairy hero to good effect. The Monkey King 2 boasts a strong cast with Feng Shao Feng as a righteous monk and Gong Li as a deadly and deadly alluring demon. The story didn't always serve them well but it was entertaining.

When a bumbling monk accidentally unleashes the Monkey King, Sun Wu Kong is given the task by the goddess of accompanying the monk to a temple and retrieving some holy scriptures. If he accomplishes the task his binding golden crown will be removed. Standing in their way is the White Bone Demon played to perfection by the ethereal Gong Li. She has several creepy demons to help her and if you have a fear of snakes, best to avoid this movie or use the fast forward button in some scenes. Another triggering thing is the death of children and torturing of children, let the viewer beware.

This version of the Monkey King is the most understated I have seen, and to be honest a relief. Some actors take their monkey performance over the top. Maybe all those years trapped in the Five Elements Mountain gave Wu Kong time to reflect. I quite enjoyed Kwok's performance which was emotionally compelling even through the hair and makeup. Sheng's monk could be overly righteous at times but did bring up the ethics of killing even when it meant self-preservation.

The side-kicks weren't fully developed though Pigsy did give some comic relief. And the big blue guy, Sand Demon Sha Wujing got to show his stuff in a battle with a near endless supply of skeleton warriors. As I've stated previously Gong Li made the White Bone Demon a formidable and believably malevolent villainess.

Sammo Hung choreographed the fight scenes and the high flying fighting was right up his alley. This was wire-fu on steroids but also quite fun and visually interesting. When dealing with an array of demons and other supernatural characters in a fantasy film the super-powered fighting made sense.

The sets, costumes, and CGI were all top notch. The final battle was creative and something to behold. The drawbacks for me, were some lulls in the story and an ending scene that put the onus on the Monkey King to kill when throughout the entire movie, the righteous monk had berated him for killing even to save lives. I enjoyed this Monkey King more than most in this genre, even with its flaws it was an entertaining movie.

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Chasing the Dragon depended on the star power of Andy Lau and Donnie Yen as the demonic duo of corrupt cop Lee Rock and triad leader Crippled Ho to carry it. While following the lives of the real-life criminal partners this film faltered by trying to portray them in a more noble light.

The two characters meet when Ng Sik Ho and his crew are busted, and Lee Rock sees a use for them. During a particularly brutal gang fight filmed from above and on the ground, Ng is crippled saving Lee Rock's life, thus the nickname. The film shows the rise of the two in their fields and the deep comradery they developed. Eventually, suspicions and differing goals begin to chip away at their trust and friendship.

Ho and Rock are shown almost heroically at times. They are family men with deep loyalties to their people. Rock's system for organizing the gangs and doling out the money is praised for reducing gang wars. Crippled Ho shines with his loyalty to family and friends. The British were portrayed as OTP evil, with no redeeming qualities and the only reason corrupt cops and drug dealing triads existed. If there were no British there would be no need for corruption, triads, drugs and prostitution. What? Yes, the British rule was highly problematic, and I have no argument with them underlining those issues, but these two men were feeding on their own people dealing in heroin for Pete's sake. Ho and Rock were bad guys, not heroes. Lee Rock was known as the 500-million-dollar man for what he made off of the crime trade. Show their hatred for the British but also show the toll of their actions on their own people. Instead, director Wong Jing seemed to want us to empathize for them which I found incredulous.

Aside from portraying the leads as honorable without acknowledging their dark sides, the film lacked in character development for the side characters. When crew members are killed off, the camera lingers, the music swells, yet without a proper bonding with the characters those scenes left me unaffected. There are numerous deaths. While the movie isn't gory, the body count is high. Again, these are murderous drug dealers and very corrupt cops. Not going to feel sorry for any consequences they encounter.

Andy Lau plays the role he has done before, this time smooth and suave. Donnie Yen in a host of really bad wigs struggles more with a performance that should have been menacing yet didn't always come across that way. It didn't help for the first part of the movie he was playing a character much younger than himself. Kent Cheng showed up as Lau's sidekick without much to do. The women were briefly shown for window dressing.

The fights were well choreographed by Yuen Bun, Yan Hua, and Yu Kang. Though Yen is getting older he showed how to fend off several baddies with a coat! Many of the fights were gang against gang with constant action. The brawls tended to be more entertaining than the movie around them.

The draw of Yen and Lau is inexorable for their fans, of which I am one. The fights filled in the gaps between scenes, but much was missing from this tale of two charismatic criminals. Despite the fact these guys were corrupt, dealing in death and drugs nothing felt very ominous. Rendering them as almost folk heroes against the Brits felt disingenuous at best. Instead of Chasing the Dragon (looking for a heroine high) it felt more like Look at the Cute Lizards (can someone pass me a Tylenol?).

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The shadow shapes everything. The light illuminates it.

The current synopsis tells the entire story of the special on Katsushika Oi so I won’t go much into the story for this review. I wanted to write something to highlight this interesting special to draw attention to it.

Oi and her famous father, Katsushika Hokusai, are at the center of this special. Though their relationship isn’t delved into very deeply it does show some of the conflict and comradery between them. Two artists obsessed with becoming better, letting everything else fall by the wayside. Along with their artistic disciplines there was a glimpse into their domestic habits. Neither cooked or cleaned, moving when the place became too cluttered.

The more Oi observed the world, the more interested she became in vibrant colors and the play of light and shadow. A fire could give her inspiration for creating new colors to work with. How much of Hokusai’s work she contributed to, especially after his stroke and/or palsy, may never be known, but her work can be seen in some of his. The ten surviving paintings directly attributed to her show a stunning use of color and shadow and also a different perspective than was often displayed at the time. This special attempts to understand her thinking as she worked through her own artistic beliefs and style.

The production values were quite good. The sets, costumes, and music all helped this viewer become emersed in the artists’ world. Miyazaki Aoi gave a wonderful performance as the daughter as consumed with painting as her famous father. Nagatsuka Kyozo’s portrayal of the wild haired artist and father was also quite good. Matsuda Ryuhei gave a nice turn in the supporting role of Keisai Eisen, an artist with whom Oi has a flirtatious friendship. It would have been more interesting for me if they could have gone deeper into what it would have been like for a single woman of advancing years staying unmarried and working as an artist with her father. All in all, as a brief look at Oi’s life and work, I found it educational and entertaining. I thought they did a good job of not making it about the more famous men in her life and giving her own artistic journey the proper attention. Even so, Oi may have been the focus of the film, her story couldn’t be told without her father. Until a light was illuminated on her own significant talent she worked in his shadow. Fortunately, a light did find the colorful storytelling in her own paintings.

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Brucesploitation, sexploitation, this was an abysmal kung fu movie. I can sit through just about any kung fu movie but nearly dropped this 90-minute movie-twice-while watching it.

What drew me to the movie was the cast---Lo Lieh, Nora Miao, Michael Chan, a host of famous kung fu stuntmen, and Bolo even makes a guest appearance! Bruce Le was not playing Bruce Lee, his character's name was Bruce Wong, but he tried to duplicate some of THE Bruce Lee's mannerisms which came across as laughable.

Bruce Wong was trying to find Bruce Lee's secrety secret Kung Fu Finger Book which had been entrusted to his sifu. Lo Lieh, playing the Big Bad Lee Hung, was after it as well. There you go, that's the plot. Bruce Wong's sister and ex-girlfriend were kidnapped three times. Did they get their frequent kidnapping card punched each time? There was gratuitous nudity, one scene had a naked woman being threatened with a snake. Those scenes pandering to fifteen-year-old boys dropped my rating to a 1. I gave it a 1 point bump for Lo Lieh and Bolo.

The fight scenes were actually pretty good, especially the ones Bruce Le wasn't in. Wong's buddy and an Interpol agent spent a great deal of time fighting each other and the baddies as well. The strong bit part players lent to some good fights. The nunchuck work, however, like Le's Bruce Lee mannerisms should have been omitted.

The problem the director and writer had was they didn't know what to do in between fights or how to develop anything that resembled a coherent story. Let's kidnap and threaten the women again! Show some boobs! Let's have a shot of someone walking down the street or down a hallway! How about watching someone drive a car or play cards? How about two people watching television? Should we have them say anything that would be considered plot or character development? What's that?

This might have been a watchable movie if Bruce Le hadn't tried to look like and act like Bruce Lee. All he managed to do was remind me how charismatic the original was. Michael Chan seemed to be channeling his inner Bruce, too. It might have been a watchable movie if the women hadn't been there to be objectified and tormented. They didn't need the women as bait because the "good" guys were always looking for a fight anyway. This movie had a strong kung fu cast, with good fights, and a magic kung fu book, everything a kung fu movie needs. Too bad the filmmakers took the low road into exploitation.

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A remake of Dangerous Liaisons made with an international cast of Hong Kong, Taiwanese, Chinese, Korean, and American actors. If this is the first version of this story you've ever seen, you might be far more impressed than I was.

What I liked about this movie: The cinematography was lush and the scenes were wrapped in golden light and settings. 1930's Shanghai came to life beautifully.

What didn't work for me: Mostly the acting and the reworked story. Cecilia Cheung played the Marquise de Merteuil/Madam Mo Jie Yu role. This is a key role, she was the independent, manipulative, devious mind pulling the strings in business, society, and the bedroom. She should have been the alluring lethal danger in this movie. Unfortunately, instead of displaying the cunning and cruelty at the heart of Jie Yu, Cecilia could only manage a fake smile and a grimace occasionally, bringing almost no nuance to this multi-layered character.

Jang Dong Gun in the Vicomte de Valmont /Xie Yi Fan role was pleasing enough but lacked the sexually sinister side needed as Valmont/Fan slept his way across Shanghai and ultimately tripped himself up by falling in love. Zhang Zi Yi portrayed the Madame de Tourvel/Madam Du Fen Yu role. Her performance was perhaps the most disappointing, and I'm a fan of hers. Somehow, they transformed her into a frumpy woman, a woman who moved and dressed like an elderly little old lady. A reserved character became almost lifeless in her hands, and it was hard to understand how Fan fell so hopelessly in love with her.

The secondary younger characters, integral to the story were given short shrift and much of their important action was done offstage.

Key parts of the original story were cut out or given to other characters. Sometimes a new vision works, this retelling of the tale did not for me. Again, if you've never seen other versions of this, this interpretation may be perfectly serviceable.

Most unsatisfactorily of all, they took the bite, rancor, revenge, and tragedy out of the ending. This cast lured me into watching yet another version of this story, bitterly disappointing me in the end. Jang Dong Gun's charisma did lift an otherwise limp version of this sexual and power games movie, but his performance wasn't enough to save it for me. Instead of Dangerous Liaisons it was more like Irksome Liaisons.

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Dumplings anyone?

The Name is a heartwarming and bittersweet love story built on longings and lies.

Ri Ae offers Cheol Woo a small fortune for him to create 20 paintings and let her sign her name to them for an art exhibit. Living in what amounts to an artistic coffin in the park, Cheol Woo ultimately, if not reluctantly, agrees to being a ghost painter. Of course, not all is what it seems with the two characters.

The Name's plot is quite simplistic, with well used tropes and twists that can be seen from a mile/km away. The characters have some growth, but little depth. Cheol Woo's supposedly ground breaking artistic style peaked quite awhile back in the real world, but I understand they needed art for the displays.

Romantic movies whether comedy or tragedy succeed or fail on the chemistry of the leads, something The Name succeeded with for the most part. Jeon So Min gave a nice but not overly wrought performance as a woman with a complicated relationship with her mother, who was dealing with her own health concerns, and living with unrealized dreams. Choi Jung Won gave a charming turn as the down on his luck but rarely down in his mood artist whose success was just always out of reach. The remaining cast give perfunctory if not inspired performances.

If you are looking for something new and innovative, this is not it, unless you haven't watched many dramas. If you are looking for a comfortable, familiar romance with two likable actors this is just the ticket.

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A Touch of Zen was a touch of beauty, truly one of the most beautiful martial arts movies I've watched. Much more than a kung fu movie, it sought higher ground.

The movie opened with a spider spinning her web. Political intrigue and battle strategy were woven throughout, complex and yet fragile. This three hour movie was divided into three segments. The first focused on Ku Shen Chai, an underachieving scholar and painter and his relationship with his mother. She harangued him for his lack of ambition and single status almost constantly. Strangers began wandering into town, including Hsu Feng's Yang Hui Ching bringing with them danger and subterfuge. The second segment turned into a battle between a large troop of government troops against a small band of rebels. Ku's knowledge and battle trickery came into play as his character evolved. The third segment moved into the spiritual realm as the monks sought to have both the good guys and bad guys move beyond the temporary conflict to peace.

ATZ was unusual for a martial arts movie, the fights didn't begin until after the first hour. The movie wasn't structured around the fights, the fights were used to enhance the story being told. The cinematography, sets, scenery, and costumes were extraordinary for a 1971 Taiwan martial arts movie. Hsu Feng had helped fund the restoration of this film and for that we should all be grateful. Clear, vibrant, lush, it was a treat for the eyes. King Hu's camera direction caused the viewer to ever look upward as the film progressed, symbolic for the message being woven throughout. His fight set among the bamboo inspired later films such as House of Flying Daggers.

Hsu Feng's character was a woman who spoke few words, preferring to let her blades do the talking. Wanted by the current corrupt regime, she was aided by two disgraced generals. They had hoped to find peace far away from the palace only to have trouble and death follow them. Hsu gave a quiet, yet memorable performance. Pai Ying 's General Shih also moved through the world with little to say. Only Ku and his mother chattering about gave the film a verbal foundation to stand upon. I enjoyed all the performances with the possible exception of Shih Chun's Ku. He seemed out of place with the other actors but perhaps that was the point. His character certainly evolved the most and showed that even someone without kung fu skills could still be beneficial in times of need. Lastly, Roy Chiao's performance as a Buddhist monk still connected enough to worldly events to aid those fleeing evil and spiritual enough to care about the evil doers was quite good.

Though clocking in at three hours long, A Touch of Zen kept my attention throughout. I could easily recommend this beautifully shot movie to martial arts movie enthusiasts and those who can look past a few dated performances and special effects to see the hidden gem lying beneath.

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An old school drama that dealt with AIDS, dementia, redemption, and single parenthood in a thoughtful and compelling manner.

I loved how this drama did not back away from confronting the stigma HIV/AIDS patients face, especially nearly two decades ago. Once the little girl's situation was brought out into the open, the drama used each episode as a teachable moment not just for the characters, but the audience as well. The scope of her disease was narrowed down for drama purposes but I'm glad they showed how people afflicted with AIDS need support and not ostracization.

Seo Shin Ae, as little Bom, won my heart with her performance. She moved from tears, to laughter, to precocious behavior seamlessly. She was a joy to watch.

Jang Hyuk gave a stellar performance as the closed off doctor who found redemption and peace on a small island. A family of misfits washed him as clean as the shore after the waves recede-a single mother, a daughter with AIDS, and a father with dementia in a remote community was not where this ill tempered doctor ever thought he would wind up. Throughout the drama Jang Hyuk allowed us to feel Min Ki Seo's contempt, his sorrow, his compassion, and his reluctant love developing.

The drawback for me was Gong Hyo Jin's performance. Most of the characters grew and changed, all except her Lee Young Shin. Hyo Jin excels at playing self-sacrificing doormats, but aside from a few smiles with Bom, her performance was rather one note. The writers were at fault as well, they never fully developed this matriarch of misfits. Up until the very end of this drama, I never understood her, never saw a glimmer of affection for the man they told us she was falling in love with. Her mumbling, stumbling, head down performance and frozen expression took away from the emotional depth of this drama. It was hard to hope for a relationship to develop between Min Ki Seo and this woman who could not crack her heart open long enough to share a part of herself with him.

I enjoyed this drama overall and would have loved it more if the writers and actress had let us watch Lee Young Shin grow and blossom, learn to stand up for herself and her daughter, and bask in the love of the imperfect but dedicated man who fought to stand beside her. As it was, I found Min's and Bom's First Guardian Angel and Angel friendship much more heartwarming and engaging.

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In the part of a bomb damaged town built around a cesspool, a gangster with TB and an alcoholic doctor collide to form an uneasy friendship. Drunken Angel can be a difficult movie to watch as the characters are all deeply flawed.

The angel of this movie, Dr. Sanada, is an ill-tempered alcoholic, as scruffy as he is cantankerous. Shimura Takashi gives a wonderful and unsympathetic performance as a doctor with little patience and even less tact. Though disheveled and always with a level of alcohol in his system he is a compassionate and skilled doctor. As he informs Matsunaga, the local gangster who comes to him for help, angels don’t look like beautiful dance hall girls, they look like him. Sanada not only tries to save Matsunaga’s life, but also his soul from being completely stamped out by the violent life he leads.

Matsunaga is torn between doing what must be done to live and the immorally squalid life where he is a big fish in a typhoid infested pond. Like Sanada, he has a terrible temper as well. Mifune Toshiro brings out all of the fear and frustration built up in this brutish character.

Unlike many yakuza or gangster movies, the criminals are not glamourized. Doctor Sanada speaks for those who live under the yakuza’s rule when he tells Matsunaga, the yakuza code of honor is a façade and merely self-serving. He compares it to the feudal system and declares it obsolete.


Sad guitar music often plays in the background setting the mood. Further setting the mood is the pool of filth where children play, foretelling their future in the crime ridden part of town.

The two damaged alpha males are fascinating to watch as they butt heads. A powder keg of fear and violence is set off when the deadly and treacherous Okada is let out of prison and has his sights set on Matsunaga’s job and girlfriend and Sanada’s female assistant.

This is a powerful movie about two opposing forces at work for the souls of the people, the hedonistic and violent yakuza on one side and the life ruled by reason and compassion on the doctor’s side of the disease infested swamp. It would take a “dirty, drunken angel” to reside in such a place and an angel tough enough to fight for the hard-won wins and suffer the heartbreaking losses. Drunken Angel is an emotional ride, but one worth seeking out and trying.

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When it comes to movies about historical figures I tend to take them with a grain of salt, sometimes a whole bag. I'm neither familiar with Xuan Zang's life nor am I a scholar of Buddhism or this time period so this review is based sheerly on my enjoyment of this film as a work of art. Though I am sure there are discrepancies as with most historical films I have no quarrel with the filmmakers for at least the major characters were dealt with respectfully. I've also neither read the novel nor seen the movie Journey to the West which are based on Xuan's life.

Xuan Zang set out for India, when it was forbidden to leave the country, in order to bring copies of more accurate Buddhist scriptures home. Reason, laws, and the threat of death could not deter him from his holy quest.

The cinematography was extraordinary and a treat for the eyes as Xuan traveled through both cities and desert wilderness, often alone. Varying from lush green to desolate sand and stone, and later snow capped mountains, the scenery was breath-taking. Ancient ruins, temples, and shrines are visited. Often the scenery showed him barely visible, a tiny monk making his way through a vast and sacred world. The music fit with the mood perfectly.

This is a slow, reflective film as Xuan's faith meets up against disappointment and hardship. Living in a time when I can find information with the push of a button, I'm in awe of someone who was willing to risk death, imprisonment, starvation, and thirst to increase his knowledge and faith and then the overwhelming desire to bring it back home again to share. His journey took between 16 and 19 years depending on the source and he covered over 25,000 km (15,534 miles). This film gives a glimpse of what he accomplished, the people he met, the effect he had on others, and the joy the scriptures brought to him. There are a couple of narrative hiccoughs when an inexplicable time and place jump occur, but that's a rarity, and a small quibble. The censor's heavy hand causes a few shadows as well. For the most part this is a film to soothe the eyes, ears, and soul. Every moment and person is treated as holy and a gift. It may be the idealized version of his life but it was a pleasure to sink into it and let the beauty of the colors and notes and love for all life wash over me.

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Rodan is the third movie in the family of Godzilla movies and the first to be filmed in color. I admit to being hesitant about watching a stand alone movie for this particular Kaiju. He'd never impressed me in the movies I've seen him co-starring in. Fortunately, my fears were unfounded. I found Rodan to be quite entertaining.

The movie starts with miners being violently killed in a dark, flooded cave. It is creepy and claustrophobic. Up out of the ground come giant killer dragonfly larvae. Much of the first part of the film is people hunting them down and attempting to kill them. Little did they know that what eats the giant insects was going to be more problematic-like letting a tiger in the back door to chase the wolves away at the front door.

Rodan was much more impressive in this movie than subsequent ones. He was huge, mobile, and destructive. Yes, you can see the wires at times if you look closely, but this old movie did quite a bit with the special effects and budget they had available to them. The miniatures were exquisite. Honda Ishiro and Ifukube Akira did a good job of bringing a giant flying dinosaur to life and making us care about him when by all rights we shouldn't.

Many times the human aspect of these movies fails. This time there was a sense of urgency and pathos from the beginning to the end. It also helped that this movie came before subsequent campy monster romps. As with Godzilla, by the end of the movie, even the human characters begin to feel sympathy for the great beasts.

Though around 65 years old I thought Rodan held up pretty well. He's now in my top three early Toho movies.

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A slow, slice of life story revolving around an estranged husband's and father's funeral. The funeral brings up old grievances and guilt. The mother must not only come to terms with her unfinished emotions for the man who left her but also deal with her three daughters' sense of loss and pain. Throw in a mistress, illness, divorces, family secrets, resentments, and Karaoke cab and there is enough to fill a drama much less a two hour movie.

For me there were too many characters and too many conflicts to fully connect with many of the characters. I enjoyed it but I didn't love it and likely would not visit this group of dysfunctional people again. Bittersweet and heart-warming at the same time, Big Little Women at least gave us a largely female cast and shined a light on the complicated female relationships and strengths within a family.

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