A.K. (Documentary) (1985)

Call it the 'making of Ran', a documentary about Akira Kurosawa or a just a film about film! A.K. is a documentary made and edited by Chris Marker, the man who made one of the brilliant short film in French I’ve ever seen- ‘La Jette’, edited with captured still images. One has to watch the short to know the impossible magic of still frames and masterly editing which can move you like never before.

For the viewers expecting life story or comparative analysis of Kurosawa’s cinema will surely disappoint here. Unlike routine documentaries, Marker deliberately avoided direct conversation with Kurosawa or any of his crew members; he portrayed the whole film as viewer who’s like an admirable fan watching the filming process of Master on set without letting his own presence felt. He wanted us to carry this direct experience to be on Kurosawa set rather than stretching it with routine interview with the legend. We notice the Sensei sits amidst a crew, calmly, almost invisibly, directing the many sections into the creation of perfection. We see Master’s command over many facets of film- guiding actors to instructing crew like a military commander. It focuses on many integral elements of Kurosawa's cinema highlighting on location shooting of 'Ran', i.e.-Speed, action, weather, use of smoke, rain and horses and his faithful technical collaborators ranging from cameraman, sound man, set designer and the presence of Ishiro Honda, who worked as assistant director under Master till 1947 and made landmark ‘Godzilla’, the film Kurosawa wanted to direct from long.

Recommended to all AK & Chris Marker fans.

Ratings-7/10

THE HIDDEN FORTRESS (Japanese) (1958)

After his experimental ‘Rashomon’, moving ‘Ikiru’, the definite macho film of lifetime ‘The Seven Samurai’ and Bard’s brilliant screen adaptation ‘Throne of Blood’, here the wind man of Japanese cinema attempted perhaps the most light hearted adventure film of his career, purely made to entertain the audience and pacifying the cribbing Japanese critics and press who considered him too westernized. He set the plot between two Japanese enemy clans- Yamanas and Akizuki. The film opens with two buffoonery gravediggers escaped from one enemy clan and noticed a reward informing about Princess Yuki of Akizuki, the sole survivor of clan. During their wandering journey they surprisingly get gold hidden in wood. Soon they meet the legendary and valiant Akizuki Samurai General Rakurota Makabe (who else than Toshiro Mifune!) and the princess hidden in mountain castle with loads of royal gold. By tempting and offering gold to the two gravediggers, Makabe and the princess starts journey to reach their destination passing through enemy lines.

As i said, it is not moving piece of cinema like many of his earlier or later masterpieces but an entertainer with exciting adventure journey with intermittent fun, and few fine action moments including that brilliantly executed spear duel sequence between Mifune and other General. Needless to say the perfectionist director’s grand production design and captivating camera work is worth to notice in almost any of his films. Like any of his films Mifune remained the scene stealer here too but what’s quite queer to notice is the way Kurosawa had executed funny moments from two unlikely idiots sharing almost equal or more screen time than even Mifune. Since their entry as film opens, they constantly bitching when together and yet crave to be with each other when separated. They’re smart and yet stupid at times. The best of fun moment lies in that exciting drama when both of them tried to escape with gold while cheating a mute princess and ended up joining from where they left.

Many of the scenes in the film remind me Huston’s classic ‘The Treasure of Sierra Madre’ where greed for gold turned the partners themselves into enemies; however Kurosawa reflected it all in a quite light vein highlighting the fun part than the seriousness. Watch it for the queer combination of fun, adventure and drama that inspired George Lucas’s spectacular successful enterprise ‘Star Wars’.

Ratings-8/10

DRUNKEN ANGEL (Japanese) (1948)

‘Human sacrifice has gone out of style. Japanese make so many pointless sacrifices,’ said one drunkard angel. ‘You really gain your face when you put your life on line,’ said another drunken angel.

The title itself suggests some sort of social irony and it reflected in the movie’s two protagonists. Influenced by Dostoevsky’s fiction Kurosawa’s this quite early scripted-directed film is surprisingly the tale of not one but two queer drunken angels played by his long time stalwart actors- Toshiro Mifune and Takashi Shimura. Though Kurosawa brought both of their talents best show in later films of his career, this one is quite a special one to notice how both of these actors won Master’s heart by making their presence felt in many of scenes here. We see the unusual bonding of love and hate on screen between a rough and temperamental Yakuza gangster patient and a compulsive drunkard but concerning doctor. The doctor diagnosed him TB patient and advised him to abstain from smoking and alcohol when the doctor himself was dipsomaniac. As the gangster realized the worsening symptoms, he visited doctor frequently and tried to follow his advice. But as soon as his former Boss returned to claim his turf, he started losing both his luck, lady and finally his life.

The film established two prototype faces of Kurosawa heroes- a macho with loads of guts and attitudes and a humanitarian fighting against all odds. It would be surprising to know that in the initial script Mifune had just small supporting role to perform but Kurosawa was so impressed by his debut act that he increased his screen presence almost equal to Takashi Shimura, who also remained the man to watch in many of his films including his arguably career best act in ‘Ikiru’. It seems that Kurosawa was highly impressed by Noirs of that era and hence we see the reflections in many of frames- the hopeless and seedy postwar Japan where people are frustrated in their approach towards life and identities took solace in booze, music and woman. The highlighted part is the big muddy and toxic puddle slowly turning into city’s most contaminated garbage sight inviting bacteria and mosquitoes to spread infectious diseases.

Not Kurosawa’s best but nevertheless worth watching classic to explore the great actor-director combination happened to the world of cinema-Kurosawa-Mifune. It was the first flower of their long collaboration that further presented us bouquet of 16 films together.

Ratings-8/10

HIGH AND LOW (Japanese) (1963)

A brilliant combination of finely crafted suspense thriller and brooding human drama from Japan’s legendary filmmaker Akira Kurosawa. It’s an interesting beginning when any film begins with tension felt by its lead character. We see an ambitious and dedicated executive of National shoes, Mr. Gondo in baffling position.Unlike majority opinion for going attractive and inferior product in meeting with his fellow business partners, he wanted to make both trendy and durable shoes without compromising on quality. His dilemma and tension heightened further by a queer kidnapping of his own kid. Within moments he came to know that the kidnapper kidnapped the wrong boy (his servant’s son) instead of his own. The hefty ransom demand of 30 million is worth the life savings of Mr. Gondo; if he pay the amount, he’ll be bankrupt and so he adamantly refused to pay and informed the police instead. As soon as cops with a clever young inspector took the charge of the case, it kept taking the different turns. Does saving the income of your lifetime is more important than saving a life of a man? Kurosawa raised the pointer. Gondo convinced and changed his heart to pay the ransom and cops set the plan to nab the criminal but unfortunately the kidnapper is smart chap. Is it the Money- the only motive of kidnapper or it’s a personal grudge? The next is all edge on the seat thrill ride till its end.

Watching three inseparable actors of Kurosawa cinema is always a treat for all his ardent fans. Master’s favorite-Toshiro Mifune plays Mr. Gondo here along with fine supporting act by Tatsuya Nakadai as young inspector Tokura and Takeshi Shimura in a short cameo as Police chief. But more than that what’s surprising experience for me is the way Kurosawa treated the whole film, as I haven’t expected such an impeccable thriller from Kurosawa. The thrill and drama run parallel to each other for almost first hour on just a single setting reminds me Lumet’s ’12 Angry Men’ as there are many characters remained in frames for long time and making their presence felt in the narration. One may notice the rushes of Hitchcokian elements too in many of the scenes. The brilliant depiction of police surveillance and investigation pursuing to trace the kidnapper reminds me Fritz Lang and Melville’s matchless classics. There is a long scene where more than thirty cops gathered in police station on hot afternoon reporting their investigation duties and explaining every available clues and leads. And still amid all these, you’ll see the distinct humanitarian flame of Kurosawa throughout the film. I just loved the way he altered the whole film with the short conversation between Gondo and the criminal before the end. It makes you think hard about the criminal and possibly shift your sympathy too! Well, that’s what the touch of Master!

Need I say ‘Must watch.’

Ratings-9/10

HOTEL RWANDA (2004)

A compelling humanitarian film based on one of the factual ethnic blood massacre of African continent. Its film showing us the extraordinary courage and effort of an ordinary man to save lives of around thousand men in one of the most tragic and pathetic genocide couple of years ago. The warfare of hatred between Hutu and Tutsi reached peak when President of Rwanda was murdered by Tutsi rebel forces. The blind rage and aggression under Hutu power turned the streets of Kigali into bloodbath slaughtering Tutsi innocent civilians. UN Peace Keeping Forces remained helpless to control the diabolic face of ethnic hatred and the Hutu Radio kept poisoning the brain of Hutu civilians to destroy the ‘Tutsi cockroaches.’

The only ‘oasis in the desert’ is the man named Paul working as In charge Manager of Milles Collines Hotel in the city. He’s just upright family man who knows how to make powerful men and diplomats happy with offering finest scotch and cigars. His initial effort to save his family and close neighborhood Tutsi family-friends turned into humanitarian mission as situation become worst to survive. Soon the hotel became the HQ of around thousand Tutsi refugees and orphan kids coming from all walks of the city. The only hope for them is Paul and favorable support from one of the UN army officer. Somehow they managed to shift many of refugees to safe place but the news had spread to Hutu power much before they reached the destination.

The film is concerning humanitarian document made with an honest approach parallel to Spielberg’s holocaust drama ‘Schindler’s List’. Whether it’s Don Cheadle, Sophie Okonedo or any other actors, the performance remained so natural abstaining over dramatic effect. Though the film is based on factual details and it’s not a documentary film, it triggered many brooding questions about UN and other countries direct intervention to prevent and save the civilians from this bloody massacre. Well, its eye-opener to get the facts right; reading this FAQ on IMDB again pointed fingers towards colonial rulers who set the flame of discrimination between the two. Catch the following IMDB FAQ link - http://www.imdb.com/title/tt0395169/faq#.2.1.1

Ratings-8/10

THE LAST SEDUCTION (1994)

The body, charm and certain amount of mysteriousness are the weapons used by usual femme fatales to conquest the men and their world. Bridget Gregory is something else! She’s the bitch with a load of attitude from the very beginning to the end. The men though aware of her diabolic double face, love to trap themselves in the enticing deception of her charm and schemes. The men here are mere pawns and slaves and Bridget knows how to use and throw them just like her smoked cigarettes. She loves bending rules, changing names and playing with people’s minds. She pissed off her hubby and ran away with his illegal drug deal money. Then she took shelter in a small town and ensnared a young man into her scheme to kill her own hubby.

The plot bears much resemblance with Billy Wilder’s classic noir ‘Double Indemnity’ which clearly inspired so many neo noirs to follow but the big reason to watch this John Dahl’s well made modern noir is the way Linda Florentino carried herself in entire film with spark and attitude of her own. Her cold blooded and raw ‘I don’t care damn’ attitude is just matchless to compare even with Kathleen Turner (Body Heat) or Sharone Stone (Basic Instinct) and she has done this without more frequently showing her skin. Watch her encounter with Mike in a bar or the climax where she changed her near to fail game with unnoticed phone call. I’m adding her entry into some of the finest and intriguing bitchy acts of screen.

Ratings-8/10

URF PROFESSOR (2001)

‘Cult cinema’ is not generally a word so often used for Hindi mainstream cinema and yet there comes films that we love to watch time and again for their exquisite uniqueness never seen or enjoyed before. The films are push forward to other cinebuffs and much after their release they become admirable nuggets for long time. We don’t forget ‘Andaz Apna Apna’, ‘Jaane Bhi Do Yaaro’ or ‘Bheja Fry’ so easily. But at the same time there are certain dark horses comes from B grader cinema like Kanti Shah’s ‘Gunda’. Here comes a film which was made in 2001 but unfortunately not released in theatres till day, it’s one more reason to give it ‘cult’ status. Writer, editor, director Pankaj A. Advani’s low budget ‘Urf Professor’ is without exaggeration the new entry in ‘cult Hindi cinema’; fully loaded with adult fun, black humor and characters hard to avoid.

The first 20 minutes into the film and you'll laugh out loudly like never before. It begins with voyeuristic camera recording of a just married couple’s bed room. On the first night of their wedding, they’re sharing their post marital affairs. After husband's confession of his two post marital affairs now it’s turn for that conservative, shy Indian dulhan to say her something. And as she opens her mouth, it’s blast for your ears to listen the nympho set loose who continues sharing her endless list of sex encounters!!! Pay your eager ears to the language-it’s treat as far as your adult sense of humor can take. The lines are clear inspiration from those cheap desi porn magazine stories.

Cut to that scene and you’ll see introduction of our unusual protagonist. He’s ordinary looking, flab middle aged figure suffering from asthma. He has some typical traits-loves Gujarati thali, frequently visits local public library and issue books on sex, regularly buys a lottery ticket from blind man and keep doing his job of contract killer. His close friend and partner in crime Hudda called him ‘Professor’! Next follows the scene of the movie which is in my opinion the best possible comic sequence ever written, filmed and acted in Hindi cinema with so perfect timing. We see the Professor aiming Mehta’s wife in swimming pool visible from a high rise room's window while meddling with two callers on single line; one is Mehta, masturbating in his toilet who gave him ‘supari’ and the other is the mediator Hudda struggling to handle messy affair between two parties. We don’t see neither Mehta’s wife nor swimming pool and yet those bikini humor made all of you laugh loudest for sure.

The movie takes you to all unimaginable dark humor- contract killer professor obsessed with book titles ‘Sexercises’, mess with winning lottery ticket, theft of Mercedez-Benz with bagful of bucks, a dead body make-up specialist in big trouble with dead body and it’s alive replica, a wannabe bollywood actor ending up as low budget desi porn substitute and many things to follow. Manoj Pahwa will remain in memory as professor and so are some of other fine casting consists of always amazing Yashpal Sharma along with Shrivallabh Vyas, Sharman Joshi, Antara Mali and Devang Patel. Along with director, they too added their fine share of timing and punches of hilarious fun.

Give jolt to your dark sense of humor because for routine hindi cinema comedy this one is truly tearing apart all conventional inhibitions whether it’s constant cuss words, porn mocking moments or murders and death tinged with dark comedy. I’m sure it’ll blow your minds away for full two hours from beginning to the end and after watching it you’ll say ‘Khatam ho gaya #%^#6#*’ Let’s watch it one more time!!!