Satan's Sword III: The Final Chapter, Kazuo Mori, 1961
Not as elegant as the first two parts, with Mori often settling for showy camera movements instead of Misumi's precision framing (another telling sign: unlike in the first one, this time Ryunosuke's demons do materialize as phantom images, instead of haunting the dead space that is his face). The rousing, elemental showdown is worth the wait, though.
Toi... le venin, Robert Hossein, 1959
Hitchcock might be the more obvious influence, but the spirit is Bunuelian, with a relaxed psychosexual hangout vibe.
A Woman's Testament, Masumura / Ichikawa / Yoshimura, 1960
An omnibus film not so much "about women" as about the interrelationship of desire and money. The rating is only for the first part, by Masumura, by far the best of the three, a laconic, emotionally complex miniature about a female and a male hustler falling short of each other because they just can't quite manage to step out of their routine and out of their language. Punctured by a repeated shot of a Tokyo nightlife it might even benefit from the short running time because it allows Masumura to land his punches with less effort than in some of his other films.
For me, the other two really paled by comparison. The Ichikawa one is an exercise in style first and foremost, but too sketchy to go anywhere; and the Yoshimura one is sentimental fluff, somewhat elevated by a great Machiko Kyo performance.
Ball im Savoy, Steve Sekely, 1936
My very own comfort food. Stutters in the beginning, but after a while everyone finds his or her own groove. The Berkeley-style dance choreography (must've been one of the first German language musicals to try something like this for real) starts out almost touchingly inept, too, only to come into its own once Rosy Borsody takes center stage. Jaray mostly sleepwalks through his scenes; doesn't matter much, he'll always be Schubert to me, anyway.
The Ghosts of Kagami Pond, Masaki Mori, 1959
Another wonderfully lurid and atmospheric Shintoho horror film. Really need to check out more of these, there's an aggressive, confrontational quality that sets them apart from other Japanese films of the time, even a project as safely rooted in tradition as this one. Here, it's all about amping up the depravity - by introducing not just one, but multiple bad guys, by an abundancy of mugging and sneering, by an unwaivering commitment to a general air of sleaziness.
The very basic special effects and the low budget set design play right into this. Again and again the characters return to the same tiny stretch of Ghost Pond, trying to dump their dark secrets, only to get themselves sucked into it. A closed-off system, musty and perverse and strangely alluring.
Dumbo, both versions
Trunk on trunk we feel safe / Second time around and both the bad script and Burton's diligence register even stronger. All in all, not a good film, but a pleasant aesthetic object.
Wir machen Musik, Helmut Käutner, 1942
(Should I bump this up to 5 stars? Maybe next time.) One of the great musicals, one of the great romance films, and also, maybe first and foremost, one of the great domestic comedies. The constant transformation and (dramatic, emotional, sensual, erotic) mobilization of de Kowa's apartment is the true center of the film, everything evolves around the domestic space. Only here are de Kowa and Werner able to discover and transform each other, and even the (great) revue finale is all about closing in on the apartment's most important element - the piano, the instrument that embodies both their togetherness and their separateness, their (mostly her) orgasms and their (mostly his) delusions.
Ironfinger, Jun Fukuda, 1965
Very pleasant faux internationalist spy film (with even a single line of German thrown in). The Bond influence is everywhere of course, but still, this is not only much more fun than the bloated originals, the direction and overall production design is also much more solid than in most Eurospy cheapos. Fukuda keeps up the pace, and instead of going all in on the zaniness, he makes every gimmick count, even if some of the potentially more frivolous scenes (the one with the plastic explosive making its way from Hama's bra into Takahada's mouth, for example) remain underdeveloped. The "jumping barrels" finale has a nice, understated surrealist feel.
The Demon of Mount Oe, Okuzo Tanaka, 1960
Japanese cinema is always richer than one thinks and this special brand of fantasy period piece special effects extravaganza was completely new to me. In the beginning, the heaven opens up, pure color invades the world, a sky-oxen stomps on a cloud ... an all-out attack of screen-busting artifice that would've felt at home in Tsui Hark's GREEN SNAKE / THE LOVERS phase. All in all, though, Tanaka is much more of a pragmatist than Tsui: SFX as the art of the possible. A modern day Melies, maybe. Later on it's often just simple stop tricks, pyrotechnics, even suit-motion - whatever works to spectacularly animate what basically is an (extremely well-acted) morality tale with political implications: how to fight evil, at what costs, with what kind of allies etc.
Million Dollar Mermaid, Mervyn LeRoy, 1952
Am Strand von Boston da ging sie spazieren...
(Rote biopic tropes? Yes sir, en masse. I don't care at all, though. What is cinema if not the promise of a new, exciting body shining through the tedium?)
The Embryo Hunts in Secret, Koji Wakamatsu, 1966
A masterpiece of low-budget production design, starting with the "rain" thrown at the camera at the beginning. Later, what defines the film is the aquatic shadow play on the apartment's wall: a marinade, or a lotion, capturing and transforming the body, divorcing it from spirit until we're left with nothing but bottled-up paranoia in liquid interiors. Or rather: the world itself is the bottle, but the liquid is on the outside, filmed as if from an impossible place of blind and numb firstness. From the inside looking in.
Strange Days, Kathryn Bigelow, 1995
Had either forgotten or never realized that Juliette Lewis wears a de facto confetti dress in the end.
Mank, David Fincher, 2020
Many people on here, at least in my timeline, seem to be unwilling to take on MANK on its own terms. Which is, of course, perfectly legitimate sometimes, there clearly are quite a few films that make me react that way, too. What I don't really get, though, is the complaint about it not having a theme or center - often, and here too, a clear indication that something interesting is going on. The CITIZEN KANE revisionism indeed is a mere afterthought, but to me it's truly fascinating that for most of the runtime what we get are political maneuverings adjacent rather than directly related to moviemaking, maneuverings that could result just as easily in a hack work, a masterpiece, or no film at all.
One consequence of this indifference towards the product is that the implicit (and often explicit) pro-corporate bias evident in most Hollywood self-portrayals, including quite a few I love much more than MANK, is completely absent. The higher-ups are the assholes, just like in every other big company (Mayer's first big scene, the passage through the studio space, is shot like a malicious parody of a Sorkin style walk and talk), this is a given and the question of what it means artistically is not even explored. There's no sense of film history moving forward at all, and the strange, inconsistent stylistic choices might even play into this. Of course the film knows we know about KANE, and I guess it's one of the more poignant ironies of the script that its absent center is a larger than life closing in on the psychic structure of the very toxic entertainment/politics sociotope Fincher covers from an entirely different angle. (One thing that both films do have in common, though, is a sense of humor, and this is worth a lot; the first half of MANK is the funniest new film I've seen in quite a while.) (The only other film that gets more than a passing mention is WIZARD OF OZ - which is used mostly as a setup for a joke about Mervyn LeRoy's name.)
Also, I mostly like Oldman. His (and the film's) only truly bad moment is the dinner table showdown that not only makes him look like a whiny asshole but also tarnishes CITIZEN KANE much more than the tongue in cheek Welles stuff, because the film Mank makes up on the spot really sounds like self-righteous bullshit of the highest order. Of course Oldman is showy throughout, but for most of the runtime his mannerisms come across either as desperate (in the flashbacks, as long as he's still trying to fit in) or as helpless (while writing CK, bound to his bed and cushioned by a thoroughly feminized wide-angle space). Because of this it makes a lot of sense, I think, to put Mankiewicz against Thalberg more than against Hearst and Mayer; the latter especially is all caricature, so much so that some of his scenes have a borderline antisemitic feel. Mank and Thalberg, on the other hand, recognize themselves in each other: two different modes of compromise, two geniuses swallowed up by the system in vastly different ways. Both of them know that it wouldn't have taken much for both of them to switch sides.
Oldman's and the film's most beautiful moments arrive when he sidesteps office politics for platonic flirts with (the very good) Seyfried - the walk through the zoo at Hearst Castle, especially: this is indeed pretty much exactly the kind of scene Classical Hollywood excelled in and Post-Classical Hollywood is virtually incapable of putting together. That it comes out of nowhere just adds to the charm.
Citizen Kane, Orson Welles, 1941
Great film imo.