His Kind of Woman: A Priceless Affair

Is it too great a pun to call His Kind of Woman, Priceless? If so, slap the cuffs on me and take me away to jail because His Kind of Woman is a film which lives and dies by the vocal wonder that is Vincent Price. A constant reminder that the greatest flaw our society will always face is that he failed to live long enough to do a GPS voice over.

When dealing with a movie of the flair of His Kind of Woman, it's important to categorize just what kind of film it is. Setup and packed with all the markings of a fly by night, run of the mill noir tale, His Kind of Woman injects a lovely dose of self-awareness, and light hearted adventure along the way. The interplay and romantic tinglings between our picture of masculinity (Mitchum) and the epitome of sex appeal (Russell), reaches a chemical overload, exploding off the screen. And it's a good thing to, because the story just isn't that great.

But His Kind of Woman has a good enough story to do what it wants to do: spin noir on its head. Vincent Price's overblown tour de force finale, matched with Mitchum's tough guy looking for answers setup, all at the background of a beautiful costal resort in South America, it's just too much to handle. In most other hands, this film would be inept, generic, or so cheesy even milk would pass. Yet, it never falters.

True to the course, and willing to take a chance, His Kind of Woman shines in the most nuanced, twilight lit light. Of course, it doesn't hurt that the film features Jim "the Thurston Howell III Mr. Magoo" Backus as a bumbling background loafer - obviously present to supply this film with the necessary street cred. Oh, this is just a joy to be had.

Every character just works. Not only on their own right, but with respect to the personas of those around them. Their conversations bounce off one other flawlessly. It's almost as if the cast was born to work together. From bit players to big stars, everyone pulls their own weight. And the film is all the better for it!

Overall Rating: 8.00/10

Mini-Review: The 36th Chamber of Shaolin (1978)

I've often said the difficulty in going back in cinema viewing is that you are conditioned through years of experience in the present. All our time watching countless movies built upon the shoulders of giants. Those who saw potential in what we see as generic. Those who created grandeur through what we would now call old. And so when going back to see a movie whose influence can neither be denied or quantified, I try my best to keep that in mind.

Luckily enough, The 36th Chamber of Shaolin needed no help from my calculating mind at all. Over the top in cheese, awesomeness, and obsessive self-idealism, The 36th Chamber of Shaolin is entertainment in its purest form. A mild moral tale mixed in with a fantastical styling, wrapped in the comfort of action, under the dark tent of vengeance. It's the kind of movie you kind of wish was dubbed just to increase its magnificence ten-fold. And yet even that wouldn't begin to compliment it.

Now, I'm not saying it's one of those movies that every human being should watch before they die. I'm just saying it's one of those movies every human being should enjoy when they do; watch it, that is. The movie brings to light some of the most mentally staggering questions in history. Questions like "just how many wise old Chinese kung fu monks does it take to train a hothead?" Answer: In and around a baker's dozen. And I take no shame in saying each one is as equally awesome as the last.

That's really the kind of movie this is. Sure, there's the generic young idealist becomes kung fu master arc that has been featured so dominantly throughout the years. But that's just a component. It's the base element, from which the movie derives such an intense sense of awareness. Not afraid to be comical, self-mocking, and confident all at the same time, it imposes an enchanting charm onto the viewer. Glazing over their worries of cliches by standing steadfast alongside them. And in doing so it creates a tale worthy of those who seek out the opportunity to view it.

OVERALL RATING: 8.50/10

Recommended By: Silver Emulsion

What Do We Know About 'Mendacity?'

Cat on a Hot Tin Roof

What do we know about 'mendacity?' More than we're ever likely to let on. And that's a truth you can bet the farm on.

Such is the case of Tennessee Williams' classic play, Cat on a Hot Tin Roof, adapted for screen by Richard Brooks and . Fresh off the news that he is not dying of cancer, Big Daddy (Burl Irves) returns home to his multi-thousand acre farm, worth millions of dollars, and two children sitting on entirely opposite end of the spectrum. On the one hand you have Gooper, the loyal son who seeks for nothing but to appease his father... and if he's lucky get a large piece of the inheritance pie. Gooper is the archetypal child. Well mannered, well wed, and full family, with the business sense to see the farm into prosperity. Then, there's Brick (Paul Newman), the wild child, the star... the alcoholic. With his glory days behind him, Brick finds himself in a marriage he doesn't want, a life he can't stand, and remorse piled on so high he couldn't see daylight for miles. There's no denying something is eating away at Brick, but damned if he's going to let anyone in on it. That includes Maggie (Elizabeth Taylor), his wife.

Now, Maggie is by no means a saint. She knows time for inheritance talks are on the horizon and she'll be damned if she's going to let Brick lose out because of Gooper's trying ways. Only one problem: Brick doesn't want it. So caught up in trying to escape, Brick wouldn't care about the inheritance unless it was a ten feet tall bottle of Bourbon. Everyone can tell he's hurting, and the only one who cares enough to try and get in is the last person he's going to let anywhere near, Maggie.

Such is the world Big Daddy finds himself returning to. But even Big Daddy isn't the same. A brush with death has inspired a burning desire for life inside of him. He wants to do all the things he never did. Be the person everybody tries to tell him he isn't. Like Brick, he also wants to escape. He wants to escape his family, the pressures of death, the tales of inheritance, the conniving, the planning, the cunning and cheating. He wants peace, tranquility... and a beautiful girl with inviting arms for him to collapse into.

Yet as Tennessee Williams so masterly proves, for all their tales, complaining, and selfish ways, the one person each of them lies to most is thyself. It is in that spirit that throughout the next two hours, our characters do everything under the sun to convince those whom live in their tiny world that fault lay at the feet of everyone else.

However, there was one aspect of the film that struck me in a most unusual way: the submissive attitude of women. Perhaps it was the time it was written, or set, but despite some strong and commanding female presences, each woman feels beholden without question to the man. The man is the stronghold, the maker and breaker, and through his actions they define themselves more than anyone probably should. I do get that they are often the voice of reason in their respective relationships, but even still they seem to be voices of reason without conscience. What few actions they take on in absence of their other half, are often conniving, conceited, or just downright cruel. And while I won't argue that their male counterparts are any better, they at least show some sentiment of self-dependability. Something decisively lacking in the women.

Alas, that characterization seems limit minded and unfulfilled giving the overall greatness on display. From the lyrical styling to the volatile confrontations, Cat on a Hot Tin Roof is a classic to behold

You Can't Take It With You (1938)

"What makes you think you're such a superior human being? Your money? If you do, you're a dull-witted fool, Mr. Kirby. And a poor one at that. You're poorer than any of these people you call scum, because I'll guarantee at least they've got some friends. While you with your jungle and your long claws, as you call 'em, you'll wind up your miserable existence without anything you can call friend. You may be a high mogul to yourself, Mr. Kirby, but to me you're a failure - failure as a man, failure as a human being, even a failure as a father. When your time comes, I doubt if a single tear will be shed over you. The world will probably cry, "Good riddance." That's a nice prospect, Mr. Kirby. I hope you'll enjoy it. I hope you'll get some comfort out of all this coin you've been sweating over then!" - Lionel Barrymore as Grandpa Martin Vanderhoff in You Can't Take It with You. Also starring: Jimmy Stewart and Jean Arthur

It's always a solemn inducing experience when you go back and watch a classic and realize that the issues it approaches then are just as prevalent, and in turn frustrating as they are now. A reminder that the one thing we learn from all our years of studying history is that we never bother to learn the lessons of them.

The Anti Boxing Champion of the World

Who knew Kirk Douglas was Harvey Dent's grandfather?

These days we're well programmed to visual two extremes of boxing. In real life we see egoistical, self-obsessed prize fighters making it 'rain' money at random events. On the big screen, many of the tales which become lauded with adoration are those of the impoverished underdog fighting to overcome societal inflicted limitations and gain fame and fortune. You don't even have to go back to Cinderella Man for such a story. 2010's The Fighter more than covers the cinematically hallowed ground. We're conditioned for them. We anticipate them. Which is why it's such a unique experience when you go back before them and find a film that is, in many respects, the antithesis towards them. For that, I give you Mark Robson's 1949 film, Champion.

Best described as some half-mangled combination of Ray, Citizen Kane, and Rocky, Champion plays on the genre norms to create a beast of grim cinema. From the opening shot we see the all American tough guy, Midge Kelly (Kirk Douglas), dressed in fine robes standing proud in the ring. He's the story we've all heard. The boy who fought his way up from the slums to make it big. The crowd itself dotes on his every move. He's their hero. Hercules, Beowulf, and Odysseus, all rolled up into one crowning champion of boxing. Roll back time a little and he's just another bum sneaking a ride on a train.

Hitchhiking across the country to LA with his 'lame' brother, Connie (an amazing and easy to overlook performances from Arthur Kennedy), Midge is riding high of LA dreams. Unfortunately what he finds there is nothing even vaguely resembling the big time. Taking up mundane jobs as a busboy and dishwasher, Midge and Connie ride the fast train to nowhere. Midge passes his time with the young waitress, but when her father finds out the wedding ring is quickly thrust at him and Midge bolts. As a career in boxing begins to unfold for him, Midge becomes king of the world. Soon he has beautiful blonds aching for him. Money to do what he wants, when he wants.

"For the first time in my life, people cheering for me. Were you deaf? Didn't you hear 'em? We're not hitchhiking any more. We're riding" - Midge

From that moment onwards, he's lost. Midge is a shining example of an anti-hero. Yet, to call him a hero would be a bit of a stretch. Early moments would lead one to believe he's the kind of man you could look up to. Taking nothing from nobody, earning his way in life, and defending his crippled brother from all who would offend him. Over the next hour that image is slowly, meticulously deconstructed. The very first thing Midge loses in his battle to the top - loyalty. To get the women he wants, he's willing to sellout anyone. To get the money he craves, he's willing to let go of any women. A viscous wheel begins to turn and Midge shows no care for stopping it.

Champion works so well these days because it plays against all those predefined expectations of boxing films. We expect Midge to discover the error in his ways. To fall back onto those who truly love him, and Champion is more than willing to give it... but you have to play by its rules. Slight of hand, and quick of rashness, Midge falls into a sea of cheers, light, and money. A sea from which he is never to emerge again.

Champion has more than its fair share of faults. At times it fails to take itself seriously enough, and at other times feels unsure of what is to come. Yet, few can deny the power of that final Kirk Douglas scene. Damn near worthy of Oscar gold for that one moment alone. If only they had the good sense then to roll credits right away, you'd likely see more articles on the greatness of Champion now.

"You know what a "Golem" is? I think I knew all the time I was building one." - Tommy Hailey, Midge's Manager/Trainer (Paul Stewart)

A Trip to the Moon (1902)

A TRIP TO THE MOON

WRITTEN AND DIRECTED BY: GEORGES MELIES

BASED ON NOVELS BY: JULES VERNE & H.G. WELLS

REVIEWED FOR: 1001 Movie Club

 OVERALL SCORE: 10/10

How does someone truly review one of the first narrative films of all time? How does someone judge the accuracy of a science fiction film that predates modern knowledge in ways we can only hope to experience one day? That's the difficulty with watching this 1902 classic eight minute piece of cinema.

There's very little opportunity with this film to evaluate the film in terms of narrative flow, acting ability, character development, and cinematic style. When it was created almost none of those things existed in the world of cinema. Which in many respects makes A Trip to the Moon simply unrivaled in stature or importance. 

Georges Melies shaped the future of cinema in ways you and I will never fully understand. Where many saw trains and walking people, he saw the ability to create magic. To transport a viewer to a world beyond sight and sound. The ability to blend animation and science fiction, with stage originated storytelling, Melies was able to create a whole new world of entertainment right before everyone's eyes.

The career magician made a number of films after having first experienced moving pictures in 1895. These films, numbering in the 500's, detailed techniques, such as the blending of animation/artistry to create a seamless story without resorting to off screen narrators, or cue cards to describe events that could not be illustrated otherwise. 

There is no denying that A Trip to the Moon is painfully outdated. However, we'd all love to still look as grand and awe inspiring at 108 as Melies classic does. A Trip to the Moon is equal parts entertaining, fun, silly, outlandish, and just downright absurd. Making it a perfect mantle piece for things I love about cinema. Melies put time, heart, and genius into this film, and that's something to which I hold nothing but eternal respect.

*You can see the film in its entirety, here.

Classic Soup #3: Wild Strawberries, Defiant Ones, & Battleground

WILD STRAWBERRIES

WRITTEN & DIRECTED BY: INGMAR BERGMAN

Bergman's dissection of old age and the trials of life serves as a wonderful companion piece to his analysis on life and death in The Seventh Seal. Aging professor, Isak Borg's cold and fruitless life gives great context to the many conflicts a man can run into throughout a life without real passion. 

In many ways Wild Strawberries is reminiscent of Kurosawa's Ikiru. Both deal with men who must face death, each in their own way. Ikiru tries to find out what one can do with what's left of life, Wild Strawberries seeks out the things that never did. Love, passion, intelligence, all fading aspects of human life. Things that must be constantly rekindled, maintained, or shall be forever lost.

Bergman's Strawberries is a lovely take on human life, filled with increments of great happiness and sorrow. Never offering full answers, but never depriving the viewer of a chance to decide for themselves. The forefront Victor Sjostrom and Ingrid Thulin (as Borg's daughter-in-law) light up the screen. Each giving tour de force performances worthy of membrance.

Overall Score: 9.00/10

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  BATTLEGROUND

DIRECTED BY: WILLIAM A. WELLMAN

WRITTEN BY: ROBERT PIROSH

Battleground serves as the rare 1940's world war 2 epic more concerned with the mentality of its characters than the vibrance of its  battles. 

Covering the "Bastards of Bastogne," Van Johnson, Ricardo Montalban, and James Whitmore headline a star studded cast during one of the deadliest battles of the war. Yet Battleground does not maintain the myth of the American soldier, as classic films of its ilk tend to do. Instead Battleground treats the soldier as a far more human entity.

The soldiers in Battleground laugh, fear, hate, fight, and die (not all in that order and not all the same). These fighting men aspire to flee, seek to save, and try to find some way of surviving their numbing battles and short supplies. Wellman does a fantastic job of creating a timeless film by not relying on any fancy techniques of the time. The enemy is seldom seen but constantly there and always a threat. The tension is ever building and perfect in climax.

Despite being a rather realistic portrayal of the Bastogne battle, there are moments of unnecessary liberty taking (most notably the English speaking Germans subplot). 

Overall Score: 8.75/10

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THE DEFIANT ONES

DIRECTED BY: STANLEY KRAMER

WRITTEN BY: HAROLD JACOB SMITH & NEDRICK YOUNG

Escaped convicts Joker (Tony Curtis) and Cullen (Sidney Portier) must find a way to work together, despite their racial issues, if they want to find freedom from their life as part of a chain gang.

Most notable for its use of race as a platform for building character Kramer's 1958 film, The Defiant Ones, is a thrilling adventure tale with two of Hollywood's very best leading men at the helm. Curtis and Portier are simply a delight with every turn. Joker's 'that's just the way it is' mentality clashes beautifully with Cullen's need for a better life. 

Kramer, Smith, and Young (unfortunately not the name of a 60's music band) do a great job of balancing views on race. The characters go back and forth, each making mistakes, and each atoning for them. The line between convict and human has never been more transparent. A tale of two people trying to survive in the lives they were given, wanting to get what they'll never have. 

The only real problem with The Defiant Ones lay in the ending. The duo's rather anti-climatic finale leaves a bit to be desired from the directors and writing team. Still, The Defiant Ones survives because of its great adventure and message. That when push comes to shove, no matter who you are, humanity always supercedes race.

Overall Score: 8.00/10

Horror Classic Soup: Nosferatu & Phantom of the Opera

THE PHANTOM OF THE OPERA

DIRECTED BY: RUPERT JULIAN

NOVEL BY: GASTON LEROUX

Rupert Julian's 1925 silent classic retelling of the infamous Leroux novel delves wondrously into the world of everyone's favorite Phantom painting a more dark and violent portrait of the man.

In Julian's tale the Phantom, played by shape-shifting mastermind Lon Chaney, is not the sympathetic antihero, so much as a dark, disturbed, and vile thing whose life has become a thing of shadows and hate.

Erik, the phantom, is driven by two things in life - his distaste for other men and his love for opera singer Christine (Mary Philbin). Christine finds Erik alluring, in his secrecy, but is disgusted once his true figure is revealed. Erik's plea that he is what the world made him are rejected by Christine, and the tale becomes more about Christine's desire to return to her love, and flee this despicable monster, than a tale of torn romance.

Julian's tale sacrifices some of the more romantic undertones of the novel (albeit due to screening results) in preference of more action and adventure. This creates a more thrilling and compelling film, but I fear it loses some of the romantic beauty of the tale.

I can say as silent films age Phantom of the Opera has aged modestly. Some of its more silent-era dynamics, in terms of acting, may come off more cheesy than intended for those less familiar with silent films. All in all though, nothing that will lead its viewer anywhere near the off button.

Overall Score: 8.00/10

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 NOSFERATU

DIRECTED BY: F.W. MURNAU

WRITTEN BY: HENRIK GALEEN

Loosely based on the novel 'Dracula' by Bram Stoker, F.W. Murnau's tale of real estate agent Hutter's (Gustav von Wagenheim) encounter with the mysterious Count Orlak, Nosferatu (Max Schreck), is an engrossing adventure/horror tale.

Separated by Acts, Nosferatu relies equally on adventure and chase sequences as it does on eerie circumstances, and groundbreaking (for their day) effects, to gain the thrills necessary. The use of shadows, lighting, and a stare from Schreck that could launch a thousand fears, strikes an unsettling feeling into the viewer. A feeling that darkness and death are immeninent.

This feeling is supported by a wonderfully well laid out lore to Nosferatu. Nosferatu carries with him the Black Death destroying any town he visits. He can only be destroyed by the sacrifice of a young maid. The way his shadow always looms ahead of his movements, assuming he moves at all.

Murnau and Galeen give great weight to the original Stoker narrative, while still supplying their own spin on the tale. Nosferatu is as much about the destination as it is the journey. The mystery in the world, which has been liberally taken from since its creation, still carries the same wonder today as it did then. Schrek's Nosferatu is still as creepy and unnerving as ever, always supplying the viewer with more to fear.

Overall Score: 8.50/10

Classic Soup #2: Brazil, Rebecca, & Clemetine

REBECCA

Directed By: Alfred Hitchcock

Written by: Robert E. Sherwood & Joan Harrison

Novel By: Daphne Du Maurier

What I find most memorable about Rebecca is not the direction, or the writing, or even the mood. It is the characters which Hitchcock and company so wonderfully bring to life. Each maintaining an air of mystery, deceit, and love, with pasts left open to the viewers imaginations.

Olivier and Fontaine create such a unique countering couple, equally romantic and unromantic at all times. With Judith Anderson there flawlessly to supply the deep emotional strain. The constant worry and angst that goes with unrequited love, even in a relationship, amplified onto the big screen, I have to say I was hooked. Especially towards the latter half, as the film really began to suck me in.


That does mean the opening left me a bit wanting. Too much talk + cut + talk + cut again for my liking, but as the film progresses, and smooths out, it becomes the classic everyone has told me it is. Equally thrilling, dark, and realistic, with varying degrees of cinema exaggeration, Rebecca is a great cinematic experience. One that has taught me one thing: I need more Joan Fontaine in my cinematic diet.

Overall Score: 8.75/10

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BRAZIL

Directed By: Terry Gilliam

Written By: Terry Gilliam, Tom Stoppard, & Charles McKeown

Brazil is one of those movies that when it connects, I am laughing, loving, and enjoying it to the greatest of degree. Unfortunately that does imply that when it doesn't connect, I sit there solemnly starring at the screen begging for it to get on already. Don't get me wrong, the cast is great, and the direction is quite captivating, especially in terms of cinematic vision. I just found its plot, if I dare even call it that, to be jaded, and boring. 

The characters are way over the top, and I never really cared about them. The central Lowry -> Layton romance feels incredibly rushed. Though I feel this is more of a sentiment of Gilliam himself, rather than the film. Gilliam creates these wondrous worlds, but always seems more captivated by his side, fantasy within a fantasy, world. It makes for great visuals, just not a great story. Which is generally what I look for.

Of course, Robert De Niro being around to ham it up a bit is always appreciable (except for Rocky and Bullwinkle), and Jonathan Pryce is always a delight. The supporting cast handles the material well, even though Kim Greist does come off flat. I enjoyed seeing all the wonderful cast of actors, many of whom are currently highly praised, goofing off. I just didn't care enough to want to venture into the world anymore than I already have. Though it should be noted I saw the Director's Cut, not the original one.

Overall Score: 6.00/10

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MY DARLING CLEMENTINE

Directed By: John Ford

Written By: Samuel G. Engel & Winston Miller

Book By: Stuart N. Lake

What I found my pleasing about Ford's My Darling Clementine is that, while it does highly romanticize the events, it takes the time to build the character dynamics. We deal with the Earp and Doc Holliday character clashes. The varying stories that build their history. The town of Tombstone, its many dreamers, and aspiring moneymakers. Ford handles them all with great precision... then again, would you expect anything different?

Fonda is always great as the leading man. He has a natural atmosphere that makes all his characters seem as if there is something hurting behind their eyes. Victor Mature adds a wonderfully, more intellectual, look at the dynamic Doc Holliday. Of course, when your main villain is played by Walter Brennan, there's no real need to even mention greatness, it's just a given. Linda Darnell and Cathy Downs as local bar girl Chihuahua and Clementine, respectively, even make great showings with their limited screen time.

One thing I will say, is I feel that, at times, Ford loses sight of the main plot, due to the many distractions of the surrounding town life. It's understandable, and hardly frustrating, but I feel as if it would have added more backstory, and depth to the finale. Which comes rather abruptly I must say. Though as westerns go, this one is a real gem of a time.

Overall Score: 9.00/10

Classic Soup is a sporadic series on LiE as I continue my never ending journey through the old school films as I experience, some, for the first time.

Classic Soup #1

Classic Soup is a new, sporadic, series from LiE covering varying older films seen for the first time with short reviews and commentary.

 RIFIFI

Directed By: Jules Dassin

Written By: Jules Dassin & Auguste Le Breton

Novel By: Auguste Le Breton

Quiet, calculating, and captivating, Rififi is an exercise is visual narrative where dialogue and sound are deemed lesser by comparison to tension and shot composition.

This is most likely for the best considering that the dialogue is rather weak (minus a few moments int he finale), and the acting of some of the characters a bit comical. Luckily, the strength of the writing lay in the story and characters. Their flaws, weaknesses, and strengths all present themselves over the 2+ hour runtime, leaving its impression right at the heart of the viewer.

At times I felt as if the story dragged, and certain items, such as backstory for our characters, weren't nearly as well formed as I would like. Yet if you're looking for a film that combines beautiful camera use for pure tension, Rififi is one of the masterworks of that art.

Overall Score: 8.50/10

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MURDER BY DEATH

Directed By: Robert Moore

Written By: Neil Simon

Maggie Smith, David Niven, Alec Guinness, Peter Sellers, Peter Falk, Eileen Brennan, Elsa Lanchester, James Cromwell, and even Truman Capote. What more could you possibly expect than absolute zaniness?

And luckily enough it's the zaniness that works best for the film. Not the kind of movie that builds up to a punch line, so much as build up to memorable characters. Each of whom undergo a series of goofy situations which may or may not work for you.

By today's standards it's a very lighthearted affair. In many respects it builds a formula which has been emulated time and time again (to varying degrees of success). For me, I found Falk to be a real stand out here. In the respect that it desperately makes me want to seek out more of his performances. He channels a side of Bogart that's just over the top goofy in every way.

Unfortunately I can't say I was overly amused by all the characters (especially Sellers as Sidney Wang... going borderline racist I'd say). Not to mention, it's a rather slow paced film for its story. Perhaps, I would have been better served to see it under different circumstances.

Overall Score: 7.00/10

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M

Directed By: Fritz Lang

Written By: Fritz Lang & Thea von Harbou

Gripping, intense, and socially applicable, M is in many respects a crime epic. As this child murderer roams the streets we see the struggles of the police, the frustration of the criminal element, and the fear of society. Wrapped up into a beautifully shot film, Lang truly outdid himself with this one.

The dialogue is superb, to the point in which it blends message and opinion wonderfully. It has a goal, and finds the appropriate medium to present it. 

Supporting the writing, Lang creates a sense of tension, fear, and anxiety through countering moments of silence and noise. Our main villain is given a sense of understanding, but equal contempt, with a brilliant performance from Peter Lorre. All of which culminates in a final speech that is simply breathtaking to the nth degree of powerful. 

Always reaching for that little bit more, the only thud for me lied in the final shot. I understand why it ends that way, the final message on crime and punishment. Yet, I can't help but feel as if, given much of the story lay in the chase, and not the court, a more suitable final shot could be found. Still, the one brief moment, against the backdrop of near 2 hours of perfection, seems incredibly mundane.

Overall Score: 9.50/10

That about does it for this installment - if you have any recommendations/comments let me know as always!

The Great Dictator (1940)

THE GREAT DICTATOR

WRITTEN AND DIRECTED BY: CHARLES CHAPLIN
TOP 100 FILMS: #4
OVERALL SCORE: 10/10

Jewish Barber must wrestle with the rise of dictator Hynkel (Charles Chaplin in both roles) whom he not only looks exactly like, but who is also persecuting him, and those around him. Meanwhile Hynkel attempts to befriend fellow dictator in an effort to expand his empire, and prepare for global war.

Commander Shutz: "Strange, I thought you were an Aryan."
Barber: "No, I'm a vegetarian."

Quick, make fun of one of the greatest mass murderers in the history of man. Not too hard right? Now try and do it while, not only is that person alive (and perfectly capable of taking offense/action), but in the most accessible of all mediums, film. Not quite as easy is it? Well, there in lies the absolute brilliance that is Chaplin's feature talkie debut, The Great Dictator.

These days Chaplin may not be seen as hip, or cool, as modern comedies attempt to be. Instead, Chaplin had a charm unlike any other. His subtle mockings at pre-wartime Germany, the rise of Hitler, and the impacts on society, laced in political satire, moves at the speed of light beyond cinematic norms. The ability to find silliness in such tragedy. The ability to find humor out of such human despair. It's a power, wit, and charisma you just don't find anymore.

Chaplin could do it all, and The Great Dictator is the stage. He's not just a goofy tramp, but an accomplished, and talented actor, who can blend verbal jabs flawlessly with quiet zaniness. Let's be honest, who else could tackle Hitler's desire for world domination by combining dance and a floating globe? It's that visual eye for character, and humor, that allows The Great Dictator to breath such life.

Sentiments of humanity, grazed throughout a land of humor in dark context. Laughter blended with sadness. Hope blended with despair. A comedy that reaches beyond the confines of its own genre to be something more.... but only when necessary. You see, Chaplin knows comedy, perhaps better than anyone in the history of cinema. He knows when you just have to be funny. Be goofy. Take a chance. Have two dictators fighting over chair height to prove themselves.

Then of course you have, the speech. If you've yet to see the film, and therefore have missed the film's final speech you've missed one for the books. Not only socially important, but hope filled. Riddled with triumph. A calling for those to dream again. Powerful, beautiful, all in one. Impossible to be beaten. The sort of speech writers can only dream of penning. Perfectly exuding everything Chaplin sought out to say with this film, and so much more. It's simply icing on one of the world's greatest cakes.

I recall once saying to a friend: "Chaplin isn't for everyone... I've just never met someone worth knowing who didn't enjoy Chaplin." Sure, that's a bit of a hyperbole, but there's also some honesty. Chaplin had a way of seeing the humor in things most others couldn't. He could bring it to life, creating this amazing world. While still reminding us the world created is not so different from our own. It is apart of each of us, our lives, and affects us greatly. And, for my money, The Great Dictator is the ultimate highlight of that motif.

Double Indemnity (1944)

DOUBLE INDEMNITY

DIRECTED BY: BILLY WILDER
WRITTEN BY: BILLY WILDER & RAYMOND CHANDLER
REPOSTED FOR: 1001 MOVIE CLUB
OVERALL SCORE: 8.50/10

Enamored with the beautiful Phyllis Dietrichson (Barbara Stanwyck) career insurance salesman, Walter Neff (Fred MacMurray) agrees to take out an accident insurance claim on her husband, and help kill him in order to collect the money.

Smooth, cool, and riddled with noir style, Wilder's 1944 dark thriller is a true form of cinematic art. Breathing classic from every scene, Wilder, in typical fashion, never shies away from the cold hearted truth. It's Wilder's commitment to his story that brings home this narrative heavy tale. Wilder doesn't force romance, sexiness, or action, instead he allows each to come out in their own time. Concentrating on the mindset of his characters, especially our narrator Neff, really helps bring about the film's subtle evil nature.

Of course when you got Stanwyck and MacMurray headlining you're never far away from acting perfection. The two develop a strong chemistry immediately with wonderful wordplay and innuendo, that really sets the scene for the rest of the film. Forced to match wits with the claims approval overseer Barton Keyes (Edward G. Robinson), it's a collective of acting chops, and emotion. The trio face off with each scene, each vying for attention, oozing coolness, and grace, it's a writer's dream cast, one that deserves more nominations than it got.

Granted with Wilder behind the camera you know everything's going to be fluid. Never settling for anything less than what he wants, Wilder packs one heck of a punch in each scene. Using great camera angles, classic narrative devices, and a simple story of love, deceit, and con he pulls out a film event. It's surprising given its era that this movie ever made it through to see daylight. Yet it does so quite strongly with no over the top sacrifices in order for some ending different than what was necessary. As such it's a perfect combination of dark and cool that elevates each scene right until its grand finale, one well worth the thrill and wait.

Smart, stylish, and filled with thrills, Wilder's 1944 dark thriller, Double Indemnity is an amazing piece of cinema classic.

The Official Story (1985)

THE OFFICIAL STORY

DIRECTED BY: LUIS PUENZO
WRITTEN BY: LUIS PUENZO & AIDA BORTNIK
REVIEW FOR: 1001 MOVIES CLUB
OVERALL SCORE: 8.75/10

After the return of her longtime friend, Ana (Chunchuna Villafane), Alicia (Norma Aleandro), a local high school history teacher, is confronted with a very dangerous possibility: What if her government was capturing, torturing, and stealing the babies of people solely for their political differences? And, what if her adopted daughter is one of those babies?

Based around the events of the Argentinean Dirty War of the 1970's, The Official Story is a gripping character piece, analyzing, criticizing, and unveiling the country's dark history. Painful realistic, and emotionally raw, the film is a captivating experience. Difficult to take your eyes off, and harder to shy your heart away from. Alicia's journey of self discovery is as mesmerizing, and shocking, as any tale you're likely to see.

The careful direction at the hands of Puenzo really brings a great life to the story. Breathing into each scene a certain knack for character, and politics, blending not too often seen among modern mainstream films. He creates a world, real in its authenticity, but even more so in its portrayal. We learn of the events as Alicia does. We see only through the small scope that she is able to. This world built around her, shattered, torn, and coming apart. Visceral, without belittling. Few films manage that sense of emotion and heart, especially with such a strength and determination to make it so.

My only complaints would lay in that at times certain scenes felt off, and overly long. Perhaps it's the handling of them, or my inability to grasp the emotional backlog, but, at times, I felt as if the character's forced plot developments. Especially towards the middle of the film, after a rather lulling opening, just as the movie begins to move into the political surroundings. These plot elements tend to compound on top of each other, and suddenly explode in the finale.

Said finale ends up being perhaps the most telling scene of the film. While it leaves much on the table, Aleandro delivers an award worthy emotional spill. While Hector Alterio (who plays the husband, Roberto) is forced into a corner, stuck in such a powerful scene of raw emotion where he's outacted, but manages to hold his ground. This, and the early emotional break of Ana, give the film a bit of a operatic, over the top flair. But still maintaining that level of humanism that has earned the film such praise. There's no arguing it, this movie is a movie to see before you die.

While it may be a bit operatic at times, The Official History is a powerful tale of human emotion, and discovery. As these characters are pushed to their breaking points, we are absorbed into their world. The most gripping, and emotionally relatable of worlds: one that is real.

All the President's Men (1976)

ALL THE PRESIDENT'S MEN

DIRECTED BY: ALAN J. PAKULA
WRITTEN BY: WILLIAM GOLDMAN
BASED ON THE BOOK BY: CARL BERNSTEIN & BOB WOODWARD
REVIEWED FOR: 1001 MOVIE CLUB
OVERALL SCORE: 8.50/10

After the Watergate break in, up and coming reporters Bob Woodward (Robert Redford) and Carl Bernstein (Dustin Hoffman) team up to track down the real story. Leading the dynamic duo to break one of the biggest scandals in US history.

What first struck me as I sat there watching All the President's Men for the first time wasn't the story, it wasn't the amazing cast, but rather the impeccable realism. All the President's Men is as much a tale about Watergate as it is a tale about the ups and downs of being a reporter in the 1970's. Through the scope of this riveting scandal we see their lives, the constant battles with other papers and networks. We see how they struggle to stay awake, and at the same time must travel all over the country to find just one more clue.

Old school reporting in the set of one of the most shocking scandals in history, well, let's just say the movie just plain works. Hoffman and Redford are a wonder to see. They play to their strength perfectly blending in to the office, never overreaching for more screen time. Supplying their characters with the strongest of wit, emotion, and human flaws to make them oh so real.

Jason Robards, Hal Holbrook, Martin Balsam, Jack Warden, and a supporting cast that just never ends, are all sights to see as the supporting players to our Redford/Hoffman duo. Robards and Holbrook especially stand out as Washington Post editor Bradlee and Deep Throat respectively. They have a sort of unmistakable presence that captures at the heart of the film so well.

To bring that heart to life Pakula and Goldman go the extra distance for that little bit of added realism. You really feel apart of the journey, the trails, and the tails. It doesn't heighten tension or scenes with unnecessary soundtracks, it plays to the beat of the typewriter. To the pace of the pen. The movie moves exactly as fast as the important conversations take, and not a moment faster, or slower. Sure there's some added tension towards the end, but for the most part, it's the gripping conversations written, and captured, so marvelously, you can't help but feel apart of something.

Gripping, smart, and oh so true, All the President's Men is an unmistakable classic, brimming with a fondness for in depth reporting, and an insight to how one of the greatest scandal's in history came to be.

Glengarry Glen Ross (1992)

GLENGARRY GLEN ROSS

DIRECTED BY: JAMES FOLEY
WRITTEN & PLAY BY: DAVID MAMET
OVERALL SCORE: 8.75/10

Threatened with being fired if they can't make it to the top of their sales board, three salesmen (Jack Lemmon, Alan Arkin, and Ed Harris) clash with their young manager (Kevin Spacey) over the lack in quality of their leads. Meanwhile the current hot shot (Al Pacino) works to make his last big sale of the month on the unsuspecting James Lingk (Jonathan Pryce).

Performance films are inherently very difficult to review. The power of the performances and characters laid out before the audience often push plot and directing to the background. And in many ways Glengarry Glen Ross is a film that plays out much like a theatrical play. Fixated on a couple of locations we follow our group of main characters as they deal with the various situations before them.

Each conversation opening up a new spectrum of a character's personality. Each playing to the backdrop of a tough guy, tough sell, world, where money made is the bottom line. The speech by Alec Baldwin in the first 15 minutes lays the groundwork for this mentality. The mentality that if you can't make money for your company you're nothing. It's a harsh point of view, but one none to uncommon, and perhaps far too prevalent.

Though that's what allows Glengarry to succeed so amazingly. Glengarry shows what happens to men pushed to the edge of the corporate machine. How each person will react differently, and the ultimate personal consequences of said reactions.

The dynamic shared between them is captured with great marvel for the performance by Foley. He works the camera to really highlight the facial expressions, and talent he has available. While at the same time understanding the limitations of his story. The plot is the characters, and what they ultimately do, or don't do, over the course of these two days. He doesn't get fancy, and he doesn't get obsessed with cutting. He places the camera on the performers, and allows them to take the script to that next level.

Of course when Mamet steps up to the plate with brilliantly done writing, every performer would feel that empowerment. The characters, the structure, and of course, the dialogue, all give such a natural flow to the events. Giving an uncanny sense of reality to the whole scenario, that makes it so relatable.

Put it all together and Glengarry Glenn Ross becomes a film real performers dream of. A highlight to the craft of acting, and capturing the realism of life through steadfast direction and writing.

Glengarry Glen Ross is one of those rare films where each performance feels like a gift for the viewer. Nicely wrapped up in captivating characters, each with a great deal of depth, and ambition. We see their highs and lows, and what makes them who they truly are. For that, it's well beyond the price of any admission.

The Third Man (1949)

THE THIRD MAN

DIRECTED BY: CAROL REED
WRITTEN BY: GRAHAM GREENE
RE-REVIEWED FOR: 1001 MOVIE CLUB
OVERALL RE-SCORE: 9.50/10

Upon arriving in post-WW2 Austria, Holly Martins (Joseph Cotton) learns quickly the friend he was coming to work for, Harry Lime (Orsen Welles) has been killed in an accident only just before his arrival. Hard pressed by the cops for information, Martins begins to suspect there is more going on than meets the eyes.

I don't give out 9's often. In fact for a first viewing, my rule of thumb is not too, unless an absolute masterpiece was witnessed. For the first viewing of The Third Man I hopped into the 8.5 train for my scoring. My main complaint of the time, as I remember it, was a lulling first half out-weighed by a brilliant finale. Upon my revisiting the film, now having given an appropriate intermediate downtime, I can easily say the movie has definitely improved in my eyes.

The opening, and slow developing, portion felt more like a whimsical mystery as our guide, Martins, took names, numbers, and just about everything else, to solve this crime. It's an old school noir flair, caught up in Cotton's natural charm. And, thanks in part to a great writeup from Dark of the Matinee, I began to notice certain technical approaches the film takes to create this vibe. It's dark, mysterious, perfect for black and white. While at the same time alluring, appealing, and frantic.

Much like our Mr. Lime, the movie is always a little bit tilted. The dark surroundings, countered by the heavy character lighting, present a unique, and sharply split world, for the viewer. Supported by speeches that exasperate the moral center, to this day I still haven't shaken the infamous power of the Ferris Wheel conversations (first on the ride then as they come off it). These two sequences of lingual amazement shape the very moral question, at the heart of the film. Thrust at the viewer, forcing them to ask "is this humanity?" Cotton, in this case, must now become the focal point for our morality. That's where the final act gets its gusto.

I love the final act of The Third Man. I could talk about it all day long. Though, despite this second viewing, I still feel the setup is lacking. Perhaps it's a bit too much male toughness, and not enough heart. Cotton's Martin develops well, but starts off one note, and cliche. The witty tough guy, riddled with courage. I enjoy the caricature, but not enough to become overly in love with it. Though I have an aching feeling that fact will change in time. As, invariably, my tastes change. Who knows when that will happen, but I really feel as time goes on this movie will slowly move itself towards my top 100 films list.

As for its inclusion in the 1001 films to see before you die collection, it's undoubtedly justified. In fact, one could go as far as to say you're begging to be hated if you don't include it. A staple of its genre, and a personification of technical, and colloquy (for those who love their remarks bound in intellect), achievement. The Third Man is the kind of film that attracts film students like a mosquito to a flashlight. It's got all the appeal you could ever dare want. And, when it comes down to it, that's a powerful thing to have.

On some level I'm definitely glad I warmed up more to The Third Man. Noticing some of its stronger technical achievements, really got me into the mood more for this moral thriller. And when a movie has the power to suck you into its world through style and substance... Well, that's just a rare gift, few films manage.

Mutiny on the Bounty (1935)

MUTINY ON THE BOUNTY

DIRECTED BY: FRANK LlOYD
WRITTEN BY: TALBOT JENNINGS, JULES FURTHMAN, & CAREY WILSON
BOOK BY: CHARLES NORDHOFF & CAREY WILSON
REVIEWED FOR: 1001 MOVIES CLUB
OVERALL SCORE: 7.75/10

During a hectic and high disciplinary two year voyage to, and from, Tahiti, several crewmen on the ship The Bounty, lead by Fletcher Christian (Clark Gable) mutiny again strict captain Bligh (Charles Laughton).

Caught between era romanticism and a epic stature tale, Mutiny on the Bounty is a captivating adventure film that spends a bit too much time on setup, and not enough time on execution. I understand why they do it this way. It's to create Bligh as the super villain, and our crew as the lovable sailors thrown into a situation they don't want to be in.

A strong premise, all be it over-glorified and villainous, but it's the kind of tale developed to get you one sighted, and emotionally invested. Though I was surprised at its ability to humanize certain characters towards the latter fourth, something you don't see all too often in old school movies. Still, to ignore the historical facts, and review the film on its own merits, I found it a capable, albeit at times misguided, affair. With strong men, who long for a peaceful life, seeking out to fight seeming injustice. Basically it's Robin Hood minus the romance, and giving.

And Clark Gable is the ever strong leading man, holding the film together in its slow moments. He's got the natural it factor for delivering a line, even if its a cheesy as they come. While Charles Laughton's steadfast attitude provides a strong villain character, grounded by extreme discipline. Franchot Tone holds his own quite well as the supporting entry level man meant to bridge the cast with the terminology, but his character is a bit too comical and over the top at times for my liking. While the rest of the supporting actors are caught up in stereotypes and some of the acting idiocies of the time.

As for the central mutiny itself, I found its appearance rather abrupt. There's a lot of buildup, and we all know its going to come, but once the final turn over event occurs, and the mutiny begins, I was shocked how quick it was thrust at us. Not necessarily a bad thing, but rather underwhelming and far too quick. Yet after this point the movie really picks up, and gives us a lot to grab a hold of. High tension, and thrilling moments, and of course a little revenge subplot thrown in for entertainment's sake.

A strong and captivating tale, caught in some genre cliches of the time, that does manage to save itself from being boring towards its finale by humanizing various characters, and creating great thrills.

Seven Samurai (1954)

SEVEN SAMURAI

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, SHINOBU HASHIMOTO, & HIDEO OGUNI
TOP 100 FILMS: #1
OVERALL SCORE: 11/10 (oh yes, I went there)

After years of having their crops stolen, women abused, and lives thrown into misery, a group of peasant farmers, with nothing but rice to offer, hire 7 samurai to protect their village.

"So. Again we are defeated."

If I've said it here once, I've said it a thousand times, if a movie is in my top 10 it's there for a very important reason. One that can't be simply brushed aside for just any film. And out of all of them, Seven Samurai is the king. Epic in its dealing with action, characters, and morality, Seven Samurai is the very essence of everything I love about cinema. It's well built, structurally adept, and presents its audience with a wide range of emotions for them to feast upon. Each character, each moment, echoes throughout my mind like those beautiful lullabies you still remember from as a kid. Simply put, no film excites me more to see, or hear about than Seven Samurai.

And, much like, Ikiru I'll give you up front it's not "perfect." But I fully believe everything in it has a purpose, or if not I've got one for it. There's a certain beauty to the films we love. Seven Samurai grasps that very essence for me, in a way no other film does. No matter how hard I try, I can shake my sheer love for watching it. The opening shots, the notions of true suffering, and what is the point of a peasants miserable and poor experience. To the final still of a waving flag, highlighting the relationships gained, and lost, throughout the journey.

It's an epic of truly massive proportion. We see Kambei (Takashi Shimura) stand strong as the leader of this mis-match group of soldiers. We see Kikuchiyo (Toshiro Mifune) grow as a person, shedding his false wild exterior, and realizing what truly matters to him, accepting his past. Katsushiro's (Isao Kimura) growth from a boy to a man, and his realization of the true cost of war. And alongside them are many of the Kurosawa staples. The powerful Kyozo (Seiji Miyaguchi). The fun loving woodcutter, Heihachi (Minoru Chiaki). Shichiroji (Daisuke Kato), Kambei's seasoned friend and old ally. Gorobei (Yoshino Inaba), the second in command and loyal soldier.

Together they create a team so memorable I secretly wish I had the opportunity to meet them.

Yet, for all the fun, humor, and emotion, of the first hour and half buildup, Kurosawa's Seven Samurai throws in a stark reminder: war is not something to love. People die in war. Samurai, villagers, bandits. And it is here that I think Kurosawa executes a powerful sequence. The shift in tone as the first Samurai falls is felt from the strongest of the samurai to the viewer in the audience. It's quick, so quick you can't even believe it happened. Just a moment ago he was right there. And it's a notion echoed throughout the rest of the film.

Once the epic final confrontation occurs, Kurosawa reminds the audience in war, there's no time to sit down and mourn all those who lost. Perhaps that's why those of the Samurai that do die, always do so quickly. And just as they are the entire village is thrown immediately into another battle. Only those who survive must live with the loss. Which gives rise to the film's final lines. The stark question in the form of a never ending realization: who really wins a war? Is it the ones who fought, or the ones who benefit?

That's where Seven Samurai lays. Between the action, the humor, and the characters, is the moral principles it designs. The use of slow motion, romance, and epic fight sequences are merely a ploy. They're there to give you a great, and beautiful, while simple story. It's the morality that's meant to move you. Even in Kurosawa's most "Hollywood" films he never ignored those aching moral questions laying throughout humanity, and Seven Samurai is no different. It's gripping, thrilling tale, is so powerful, because it has the strength to back it up with something real underneath. It brings it to life, and allows it to stand on its own. And that's why, no matter how often I watch it, I always love every single moment of it.

To me, no matter what naysayers may go with, Seven Samurai is the perfect film.

While it may have a few nitpick flaws here and there, Kurosawa's epic tale of good men, war, and a village in need of help, is the greatest film I've ever scene, time and time again.

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Alternate Perspectives:

"There is no denying the importance of this work, but the question remains: is it good because of all the good movies it inspired, or is it good strictly in its own right?" - The Flick Chick

"Kurosawa's genius is in giving you a little bit of everything at just the right moments" - This Time it Will be Different

"Seven Samurai offers us flawed protagonists, some of whom are not skilled fighters, and one of whom is often drunk, belligerent, and decidedly non-heroic in his approach." - Japan Cinema

"In some says it's a parallel underdog story and band of misfits story. For me, that is always a great start. There are so many wonderful characters and special moments with them." - Movie Moxie

"I definitely knew watching this film that it was going to be epic and it was. I however, was disappointed, as I find you can only be when finally watching a film as over-hyped as this." - GmanReviews

"Sure, the movie's over three hours long, but it goes by like that due to the strong story-telling by Kurosawa. The action is gripping and the movie is beautifully shot." - Life of a Cinephile and Bibliophile

"Kurosawa manages to make a film that at no time does the audience feel like they are sitting through a three and a half hour movie. He manages this by his use of great editing, beautiful cinematography, an engaging story, and intriguing characters." - Stop the Planet of the Apes... I want to get off

Ikiru (1952)

IKIRU (TO LIVE)

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, SHINOBU HASHIMOTO, & HIDEO OGUNI
TOP 100 FILMS: #5
OVERALL SCORE: 10/10

Government worker, and widower, of nearly 30 years, Kanji Watanabe (Takashi Shimura), learns he has stomach cancer, and only a few months to a year of life left. As he confronts the realization of his impending death, he must also confront another fact: what has he truly done all these years?

"I can't afford to hate people. I haven't got that kind of time."

What does it mean to live? Is it breathing? Is it work? Work keeps you busy, sure. But what are you really doing? Are you actually living, or merely passing time? If you're passing time, then what for? Death? Is that all living really is? Passing time until we die?

In our daily lives maybe once a year we confront questions of this nature. And what do we do? We deal with it for a couple of days, self loathe, and then we go back to work. We stamp forms, file paperwork, double check forms, file more paperwork. But what in the world are we really doing? Is it true that it's not until were are actually forced to face death that we really feel any desire to do anything about life? Why can't we live our lives everyday? Perhaps because we live in a world in which doing anything but nothing is considered strange (as Ikiru so finely puts it). To do anything else would be... hard.

Don't worry I'm not quizzing you. Instead I'm addressing something of grave importance. You see I'm going to openly give you right off the bat that Ikiru is not a perfect film. It's last half hour splits more audiences than a Zach Snyder marathon, and it's rather long-winded. So there, you have that. Good for you. Now what? Ikiru didn't become #5 on my list because it was perfectly well written, or because it's direction was so jaw dropping, or its acting beyond dynamic. It got there for one reason: Regardless of who you are, Ikiru is among the top 5 most important thematic films you should have to watch at least once in your life.

"I have less than a year to live. When I found that out... somehow I was drawn to you. Once when I was a child, I almost drowned. It's just like that feeling. Darkness everywhere, and nothing for me to hold onto, no matter how hard I try. There's just you."

Ikiru is not an answer key to life. If you find an answer, it's your own, not the films. For every move forward, there's a move backward. For every move backward, there's a move sideways. Ikiru is instead a film that challenges you to find out what it means to truly live. All through the scope of Kanji Watanabe trying to find what it means for himself. He tries a wild night out only to be left empty and tired. He tries spending time with a young ex-coworker who now works in a factory, certain she has figured out something he doesn't understand. But he still can't grasp it.

And when he's finally found what he needs to live, Kurosawa cuts us off. Why? Why the sudden shift? Because nobody can understand what it means to live through the viewpoint of a single individual. Now we must address life from the viewpoint of all those closest to him. Why did they not know? What did he see that they don't see? Is it too late for them to change? In this world, can they truly change at all?

Ikiru is the kind of movie you never forget, unless you go in determined to. Takashi Shimura's performance reaches deep into the heart of the viewer and never lets go. His singing of Gondola no Uta comes from the very depth of human struggle. So powerful and moving, not even those in the same scene as him can handle it's true strength. And as each new individual runs into him they must also confront what life means to them.

But don't let that fool you. Ikiru is not a movie about someone finding what it means to live, and changing everyone around him. Ikiru confronts head on the very fact that it's so hard to change until you have nothing to lose. And Kurosawa is there to capture each transition, each memory, each struggle a man, and those he most readily effects, have. That's why I love Ikiru. That's why I watch it time and time again.

Perhaps life is meaningless. Perhaps life is about what you leave behind. Perhaps life is about what you do. Perhaps it's all of those and none of them. Who knows? Ikiru is going to show you all of them. And now it's up to you to decide: what does living mean?

I'll grant you Ikiru is flawed, and I'll simply reply I really don't care. Ikiru is the rare kind of film so well written, thought out, and composed it hits you at the very fabric of your being. It's throws its questions right at you, and you have to decide. Can I do what this character did? Should I do what he did? And that's its brilliance. If you come away from Ikiru unchanged, unmoved, or without real introspective, then you're the very kind of person it criticizes.

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Alternate Perspectives:

"Some characters triumph, others die, but they all realize that the world is evil and try to do something about it. In a world of rote and banality, these characters decide to actually live." - Not Just Movies

"The visual beauty of Ikiru cannot be denied. Few films I've seen are better shot, better acted and more emotionally honest. Unfortunately, unlike Rashomon, I can't forgive Ikiru's contrivances." - Brian's Film Review Blog