I Live in Fear
If you make a top ten list of greatest film actors, and Toshiro Mifune is not on your list, your list is invalid.
Give me the last hour of this movie over any action movie Hollywood’s produced in the last decade.
Can I be alone in my longing for inarticulacy, for a cinema that refuses to join all the dots? For an arrhythmia in gesture, for a dissonance in shape? For the context of cinematic frame, a frame that in the end only cinema can provide, for the full view, the long shot, the space between, the gaps, the pause, the lull, the grace of living.
Perhaps it is to do with memory and the sense that we are increasingly being pulled into a vast orchestrated project of amnesia. We discovered cinema in the same moment in history when we rediscovered - through Freud - the significance of our dreams. Now we are displacing and distorting - with our passion for genetics, neuroscience, cognitivism - the ineffable element of the dream within the machine. Our dreams are the place where we can remember that which we never realized we knew. And the prism through which we can reflect these visions - the trick of the light, that alchemy of smoke, of mirrors, so much more than the sum of its parts - is what the cinema is.
The state of cinema IS a dream state. No known address. Occupied, dictated, created by no one. When it comes to moving goal posts, what art form could be described as more flexible than film? As ever, it’s all up for grabs. And evolution, as ever, is the name of the game.– Tilda Swinton, The 49th State of Cinema address, SFIFF
(via kateoplis) Via
Naturally, a movie that means more the older you get.
Probably the first of his filmography that I’m not really interested in ever watching again. Considering his original cut was 4.5 hours, and seeing as the current 2.75 hour cut feels much longer, this might be one of those cases of a director being wrong about his own work. Still, parts of it feel unfinished. Good performances, but terribly paced.
Kurosawa talks about it being his second attempt at what he was trying to do in A Silent Duel, and it seems to work much better this time around. It’s easy to forget, in the midst of all the great samurai films he did, that his urban crime films are just as effective, and sometimes have a lot more to say.
One of the great things about working my way through his filmography is seeing an early solid film like this and knowing that his best is still to come.
A Silent Duel
A bit too much of a soap opera for my tastes, but a good showcase for Mifune.