Pour qu'on oublie, afin qu'on se souvienne

Hiroshima Mon Amour (1959)

Hiroshima mon amour est un film qui enchante les sens. La scripte poétique est riche et il réchauffe les corps et l’âme des spectateurs et les acteurs dans le film. La façon dans laquelle l’amour est lié avec les scènes de la destruction est captivante, est ils se démontre leur amour dans la même manière dans laquelle ils parlent; lente, intense, profonde. Il est vrai que Hiroshima était un désastre. Or, présenté dans la lumière ce qu’il est, les scènes sont romantique. Il se peut qu’on pleure mais nous regardons encore. Quand les enfants courent sans leurs vêtements, tout blesses et sales comme résultat de l’explosion radioactive. Après avoir apparu hors des scènes de la guerre et la tristesse, nous voyons la beauté des bâtiments préfabriqués de nouveau Hiroshima. Un homme parle avec un accent japonais pour séduire une femme qu’il vient de rencontrer. D'ailleurs, durant le film, il m'inquiète comment incessant est l'homme pour forcer la femme à rester. La puissance des hommes quand on l'utilise mal, est effrayante, cependant, on peut insinuer que c'est un symbole pour l'attitude autoritaire de la propagande et les médias, peut-être, en ce qui concerne leurs manchettes sur la première page des actualités. Il est difficile de vivre sans savoir les événements navrants des atrocités de la guerre.

Néanmoins, la journée s’arrive avec le soleil qui brille à travers les fenêtres embuées, et ils doivent se lever et faire face le monde. Les scènes qui suivre essayent de montrer la normalité de leurs vies mais on sait que lorsque la nuit arrive, ce qu’il arrive aussi  est la peur, et les mémoires que veulent rester cachés. La création d’un nouveau trajet d’histoire promeut les idées qu’il faut oublier. Ainsi, une confrontation se produit entre le désir de rappeler et oublier. Afin que notre femme principale puisse échapper ses craintes, elle doit partir le pays et l’homme qu’elle a tombé en amoureuse dans un caractère éphémère.  Il est douloureux de la voir éclater en sanglots, ayant bu trop. L’alcool est un poison qui déchoit les barrières mentales qu’on a érigé pour protéger soi-même et les autres. À la fin du film, les caractères sont devenu les métaphores pour la dégénérescence de la moralité des humains en temps extrêmes de la guerre.

Puisque la vérité de la deuxième guerre mondiale était enraciné dans les pensés des téléspectateurs des années cinquante (onze ans après la guerre avait fini), la film a eu un effet résonant, qui continue à résonner au jour d'hui.

Toute réflexion faite, ce film est très importante pour l'histoire du cinéma, car il est disputé si ce film est le film qui a commence 'la nouvelle vague de cinéma français. Que ce soit ce film, il ne nie pas qu'on doit regarder ce film

 Que ce soit ce film, il ne nie pas qu'on doit regarder ce film. 

*****

RAN - Shakespearean Samurai

Ran (1985)

is an apt title for this film as it is synonymous to Japanese films to frequently run; into battle or for a messenger, or merely between conversing, fretting Shogun Warlords. In fact, Ran means "rebellion", "uprising" or "revolt", or to mean "disturbed" or "confused" in Japanese. All these translations can be used to describe an aspect of this amazing film.

Based on the tragedy of King Lear, yet fused with Historical events featuring real Emperors, who similarly, divided and conquered their land, Ran is a film drenched in rich complexities. What comes across most strongly is the melodramatic way in which this doomed story is conveyed. Kurosawa (Seven Samurai) really elaborates on the mythical elements of the combined history and fiction. However, more depth is added as Shakespeare's King Lear is based on a mythological pre-Roman Celtic king. It is interesting that these events have many similarities to other found across the globe in a completely different culture. So much so that the tradegy of greed, and desire to protect successes through one's family, seems inherent in human nature.


Next, Kurosawa retains the influences of theatre. The Globe is typically Elizabethan, yet the style of 'mystical intensity' thus described by Munakata Ueda (a pioneer in Noh Shakespeare), lends itself well to the poetic, dramatics of Noh Theatre. The circular globe is replaced with the square, wooden beams of a traditional Japanese shelter. Furthermore, the rich yet slow atmosphere is interspered with satirised sections and comical characters similar to the jesters or comedians that feature in Shakespearean tales.

Briefly, King Lear, or Hidetora has three 'loyal?' sons; Jiro, Saburo and Taro; for whom he divides the Kingdom. However, lust for power, manipulation from wives ensue, and battles and complications take place. Here is a link to a more detailed story

The film is a masterpiece. Kurosawa's attention to detail is exquisite and sustain's the reader's fixation for the running time of three hours. The atmosphere is your living room/cinema stills. Every melodramatic exclamation made by King Hidetora; every stab of a sword, or charge of uniformed soldiers, who move in unison like a menacing, black wave, is amplified. There is not one fixed colour palete. Kurosawa's atmosphere alters in each setting. The costumes and props revolve around the primary colours as each colour is allocated to one of the sons. I assume this is where inspiration for Power Rangers stems from. However, there is the contrasting hues that are prevalent in nature, and therefore are dependant on terrain- the barren and bleak greys of the wasteland reflect the misery and confusion of Hidetora in his inevitable (tragic) downfall. Yet the pinks and fresh green colours of beauty and plants radiate from the fertile hills and purer, more innocent characeters. Skin is an interesting canvas on which to add to the art of the film. As Hidetora becomes more and more decrepit, his face dirties and hollows out as the features become ringed with black makeup.

The devious seductress Lady Kaede is one of the most conniving women in all of film history, nevertheless, her determination is quite inspiring. Her make up has inspired Princess Amidala from the Star Wars prequels. Plus, the costume designer Emi Wada uses very unique designs that are not as traditional, using possibly 60's print (at least, very modern patterns). Her stunning qualities enriches the presence she commands on screen as she wades in the heavy kimonos. I think it is her serenity, that, juxtaposed with her outburst of precise ferocity is what makes her so impressive. One wonders what schemes she must devise when she sits cross-legged and ceremonial.

The soundtrack is equally haunting. Woodwind and stringed instruments played tentatively (yet still producing a good sound, confident in its disharmony) to create the ambient and almost lonely themes which reflects the questioning atmosphere of the characters, and the director himself.

Kurosawa has ultimate confidence as a film director to force the viewer to wait, and watch as observers of his creation. This is also relevant to the battle scenes. The scenes are as far away from Hollywood drama as can be. It is refreshing to see such well choreographed fights with less emphasis on individual toil, transitioned to the horror and destruction from the strength of the army of the prevailing brother. The image of the burning fortress, standing erect between yellow and red armies could symbolise Hidetora's mental and physical hell. Moreover, Kurosawa could be attempting to enlighten his audience to a human society that is doomed if it continues in greedy pursuits. This is furthered by the the shock that is shown so melodramatically on the face of Hidetora as he realises the terror he has caused to so many people. Innocent Lady Suë's
attempts portray redemption as positive are too late and therefore quite futile. As this film is Kurosawa's last Samurai epic, it could be his last jab at the destructive feudal society of 16th century Sengoku Japan, and perhaps suggesting we have not learnt from the mistakes in the past?

 ps I would love to add more stills yet I don't want to spoil the film for you all.
*****

Japangeles in 2019

Blade Runner (1982)

Let us just appreciate the beauty of this poster. 

In one image the whole aethetic of the film is captured so vividly. Set in a dystopian Los Angeles, with darkness and fleeting rain being a constant part of the scenery, our main characters shown in the poster, weave their way through the flowing current of 106 million people. 
LA has been Japanified. neon lights are the main source of illumination. This allows the atmosphere to feel contemporary, rather than wildly futuristic. The sparsity of CGI also adds to the realism. This is a key feature of what makes the film so good. However, it is insteresting to think that the storyline is this conflict between the real human and the 'Replicant' - manufactured humans - who are only distinguished by subtle traits only really recognisable by an elaborate test. This is why Blade Runner Decker (Harrison Ford) has to be sure. Despite this, there is little remorse when a replicant is shot. Their funeral is a statistic.

This film has been growing in poignancy. Yes, the costume, sets and score are achingly beautiful - but very 80s. Nevertheless, the notion and development of cyborgs, humanoids and AI is increasingly contemporary. It is as if the computer engineers are all sci-fi fans and just appealing to our fictional desires. Is this a good thing?

Ridley Scott (Legend, Gladiator) - the director explores many philosopical and ethical questions. People; living, seeing entities are created by a wealthy businessman who holds the monopoly on Replicant creation. He in effect is God. In the 21st Century there are questions about IVF, embryo selection and our role in altering and creating life. If, like the Replicants, you are known to be a 'fake' human, will the normal population view you differently. Blade Runner explores this through romance, and the prejudice that is held overtly by the police force of Blade Runners, but more subconciously by Decker . The 6 hunted Replicants have turned violent however in the finale they cower in fear of themselves and of death. How far do they differ from humans? The last, departing soliliquy is haunting. I won't say anymore. 

Rachael, is a stunning character whose wardrobe is uniquely 80s because of the her oversized shoulder shoulderpads and bold hair style. It takes inspiration from the New Romantics but also the more under-the-radar subcultures. She portrays a delicate classicism fused with futuristic shapes and materials. Ridley Scott sets up stunning shots in darkness with only a mustly light filtered through blinds; highlighting her ethereal cigarette smoke. Her image compliments the soundtrack which is hazy jazz on electro-saxophones and smokey synth presets.

This film is one of my favorites, and a visual spectacle. Full concentration is required for you to respect the beauty of Ridley Scott's masterpiece.

*****