Monthly Archives: October 2015

POETRY

The following was commissioned by and written for Asia’s 100 Films, a volume edited for the 20th Busan International Film Festival (1-10 October 2015). — J.R.

poetry

To explain why Lee Chang-dong’s extraordinary Poetry (2010) is my favorite Korean film, I first need to confess to a feeling of alienation from a good many other South Korean films and what I regard as their excessive reliance on rape and serial killers as subjects. Admittedly, these themes are by no means restricted to South Korean cinema or even more generally to Asian cinema, but they also help to account to my resistance to such highly praised European touchstones involving rape as Ingmar Bergman’s The Virgin Spring and Luchino Visconti’s Rocco and His Brothers (both 1960), and such American films regarding serial killers as Jonathan Demme’s The Silence of the Lambs (1991) and Ethan and Joel Coen’s No Country for Old Men (2007). The tendency of all these films to exploit and/or sentimentalize these subjects is scrupulously avoided by Lee and handled throughout with tact, delicacy, and a finely nuanced sense of development in its heroine’s ethical and aesthetic consciousness. Consequently, Poetry offers a profound social critique by addressing the theme of rape and its role in Korean society quite directly,

Poetry

The film centers on the suicide by drowning of a suburban, small-town schoolgirl who had been raped by several of her teenage classmates.… Read more »

THE WIND WILL CARRY US

The following was commissioned by and written for Asia’s 100 Films, a volume edited for the 20th Busan International Film Festival (1-10 October 2015). — J.R.

TheWindWillCarryUs-villagefromafar

 

This ambiguous comic masterpiece of 1999 might be Abbas Kiarostami’s greatest film to date; it’s undoubtedly his richest and most challenging. A media engineer from Tehran (Behzad Dourani) arrives in a remote mountain village in Iranian Kurdistan, where he and his three-person camera crew secretly wait for a century-old woman to die so they can film or tape an exotic mourning ritual at her funeral. To do this he has to miss a family funeral of his own, and every time his mobile phone rings the poor reception forces him to drive to a cemetery atop a mountain, where he sometimes converses with Youssef, a man digging a deep hole for an unspecified telecommunications project. Back in the village the digger’s fiancée milks a cow for the engineer while he flirts with her by quoting an erotic poem by Forough Farrokhzad that gives the movie its title, in a seven-minute sequence that figures as the film’s centerpiece, summarizing all its themes, conflicts, and power relations. (“I’m one of Youssef’s friends — in fact, I’m his boss,” the media engineer remarks smugly at one point.)  It is also a sequence that both recaps and further develops Kiarostami’s preoccupations with death, darkness, and burial that inform both Taste of Cherry (1997), his preceding feature, and ABC Africa (2001), his following one.… Read more »

Introduction to the Iranian Edition of MOVIE MUTATIONS, edited by Jonathan Rosenbaum & Adrian Martin

Reposted in order to include the cover of  Iranian edition (at the beginning), published today (on October 17, 2015), and Adrian’s latest books (at the end). — J.R.

Movie Mutations in Farsi

Revue trafic t.24: Revue Trafic

movie_mutations

Movie Mutations Spanish edition cover

 

May 19, 2014

Dearest Adrian,

I guess it must seem excessive, starting off a book composed largely of letters with yet another letter –- and rounding off a neat dozen of them with an unlucky thirteenth in the bargain. Skeptics who might find the following correspondence too chummy and cozy for comfort are apt to be equally or even more irritated by this Preface, but I can’t see any way out of this dilemma. And the same problem has applied to subsequent translations of these letters, originally written in four separate languages, into five others—Croatian, Dutch, Italian, Spanish, and now Persian—and often accompanied or followed by new letters by younger (or older) cinephiles with different tastes and orientations.

Considering that the first and last of the dozen letters by nine individuals that follow, written respectively in April 1997 and March 2002, are already mine, what could I hope to add in an introduction to make them more user-friendly to the world   outside our artificially constructed little circle? To which someone -– meaning any reader –- might reply, “Well, for starters, you might try addressing the reader outside this circle.” And of course I could –- but only at the cost of diluting the spirit of friendship and intimacy now bridging eight languages and over a dozen countries, a kind of togetherness that this exercise was intended to foster.Read more »

THE HOUSE IS BLACK

The following was commissioned by and written for Asia’s 100 Films, a volume edited for the 20th Busan International Film Festival (1-10 October 2015). — J.R.

thehouseisblack-mirror

The House is Black is the most acclaimed of all Iranian documentaries. It was directed by Forough Farrokhzad (1935-1967), widely regarded as the greatest of all Iranian women poets and the greatest Iranian poet of the 20th century, who died in a car accident when she was only 32. It was Farokhzad’s only film, produced in 1962 by her lover Ebrahim Golestan (an important filmmaker in his own right, for whom she also worked as an editor, and who serves as one of the film’s narrators). The film observes the tragic life of lepers in an isolated leprosy hospital (a hell on earth and a nest of suffering and death) near Tabriz in northwestern Iran. The Society for Assisting Lepers commissioned the film, and the director’s intention was “to wipe out this ugliness and to relieve the victims.”

thehouseisblack2

Farrokhzad avoids infringement by creating a close relationship with the lepers, and by searching for the seeds of joy and vitality within the hopelessness. She depicts the inhabitants in their daily occupations, having meals, praying, the children playing ball and attending school.… Read more »

THE STORY OF THE LAST CHRYSANTHEMUMS

The following was commissioned by and written for Asia’s 100 Films, a volume edited for the 20th Busan International Film Festival (1-10 October 2015). — J.R.

THE STORY OF THE LAST CHRYSANTHEMUMS

StoryoftheLastChrysanthemums-Kabuki

storyofthelatchrysanthemums

Though not the best known of Kenji Mizoguchi’s period masterpieces, this 1939 feature is conceivably the greatest. (For me the only other contender is the 1954 Sansho the Bailiff.) And according to film analyst Donald Kirihara in his book Patterns of Time: Mizoguchi and the 1930s (The University of Wisconsin Press, 1982), Mizoguchi himself regarded it “as a creative turning point in his career”. A film set in the 1880s that lasts 142 minutes and contains only 142 shots, it resorts to the more rapid editing style of Hollywood only when Kabuki performances are featured.

 

The plot, which oddly resembles that of the 1950s Hollywood musical There’s No Business Like Show Business, concerns the rebellious adopted son of a theatrical family devoted to Kabuki (Kiku, played by Shôtarô Hanayagi in his film debut) who leaves home for many years, perfects his art, aided by a young working-class servant who loves him but also dares to criticize his acting (Otoku, played by Kakuko Mori), and eventually returns.… Read more »

Global Discoveries on DVD: Mostly about Extras

My DVD column for the Fall 2015 issue of Cinema Scope. — J.R.

Practically speaking, we should invent our own extras, not necessarily or invariably depend on those that are made on our behalf. To cite four examples of what I mean:

a-marcel

(A) According to normal usage, Icarus Film’s DVD of Frederic Choffat and Vincent Lowy’s 44-minute Marcel Ophuls and Jean-Luc Godard: The Meeting in St-Gervais contains no extras. But according to my own usage, this DVD itself functions as an extra to a 100-page book that I own, Dialogue sur le cinéma: Jean-Luc Godard & Marcel Ophuls, published by Le Bord de l’Eau in 2011. That book, prefaced by short essays by Vincent Lowy and André Gazut and concluded by Daniel Cohn-Bendit’s essay for Le Monde, ‘Mon ami Godard’, transcribes two encounters between Godard and Ophüls, held in 2002 and 2009 (the first of these focusing more on Marcel’s father Max), whereas the DVD includes most (but not all) of the second of these dialogues, and somehow manages to leave out some of the more interesting parts, either through cuts or incomplete subtitles. Which doesn’t mean that Icarus’s release isn’t worth having — only that its contents are worth contextualizing beyond the material offered by Icarus.… Read more »