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I really liked Body and Soul and Garfield. He died too young.
Personal Recommendation Hall of Fame VI
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Red Beard
Akira Kurosawa is mostly known for his samurai epics and his noir. But on occasion, he directed some films that explored the human psyche. Ikiru, for example. And now Red Beard.
It starts with a young, brash doctor who has been sent to learn under a Dr who many call Red Beard, okayed with some solemn, and somewhat gruff. Under this gruff exterior, lies a gentle soul, who just wants to help everyone but recognizes his inability to do so. So he does the only thing he k owns how to do. He treats people.
The young Doctor scoffs at working for him. He finds the position beneath him, with a clear commentary on social issues pointedly made about the poor and the rich. While many poor people gather, waiting to be treated or, in some cases, to die, there is a rich lord who suffers from obesity, a life made of luxury but at what cost to himself?
The two doctors have a initial clash of wills, both being stubborn. Eventually, the young doctor starts to see Red Beard in a different light. He finally relents, and starts to do his chores and wear the uniform that is required of him.
Align the way we’re introduced to the many patients and staff of the hospital. A crazed woman who kills the men she mates with, earning her the Nick name Mantis, and Sahachi, who thinks only of others because of a self inflicted atonement, while carrying a tragic secret. Otoyo, a young girl rescued from prostitution. All have compelling stories in their own right.
At the center is Red Beard, with a performance from Mifune that shows his depth. The way he absent mindedly tugs his beard, lost in thought. A man who abhors violence, but isn’t above it, particularly when he breaks the arms and legs of several men who attempt to accost him. Afterwards, he then patches them up and bandages their wounds. He is a doctor after all
Kurosawa is, of course, at the top of his game here. With several great tricks with the lighting, particularly on Otoyo’s face. And the earthquake scene followed by Sahchi’s wife standing in the dust as it blows around her.
Great pick that really got better as the film went along
Akira Kurosawa is mostly known for his samurai epics and his noir. But on occasion, he directed some films that explored the human psyche. Ikiru, for example. And now Red Beard.
It starts with a young, brash doctor who has been sent to learn under a Dr who many call Red Beard, okayed with some solemn, and somewhat gruff. Under this gruff exterior, lies a gentle soul, who just wants to help everyone but recognizes his inability to do so. So he does the only thing he k owns how to do. He treats people.
The young Doctor scoffs at working for him. He finds the position beneath him, with a clear commentary on social issues pointedly made about the poor and the rich. While many poor people gather, waiting to be treated or, in some cases, to die, there is a rich lord who suffers from obesity, a life made of luxury but at what cost to himself?
The two doctors have a initial clash of wills, both being stubborn. Eventually, the young doctor starts to see Red Beard in a different light. He finally relents, and starts to do his chores and wear the uniform that is required of him.
Align the way we’re introduced to the many patients and staff of the hospital. A crazed woman who kills the men she mates with, earning her the Nick name Mantis, and Sahachi, who thinks only of others because of a self inflicted atonement, while carrying a tragic secret. Otoyo, a young girl rescued from prostitution. All have compelling stories in their own right.
At the center is Red Beard, with a performance from Mifune that shows his depth. The way he absent mindedly tugs his beard, lost in thought. A man who abhors violence, but isn’t above it, particularly when he breaks the arms and legs of several men who attempt to accost him. Afterwards, he then patches them up and bandages their wounds. He is a doctor after all
Kurosawa is, of course, at the top of his game here. With several great tricks with the lighting, particularly on Otoyo’s face. And the earthquake scene followed by Sahchi’s wife standing in the dust as it blows around her.
Great pick that really got better as the film went along
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Ballot sent earlier, but 1-9 were all 4 star films for me. Was tough narrowing it down past #4
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Ballot sent earlier, but 1-9 were all 4 star films for me. Was tough narrowing it down past #4
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Damn that's impressive picking by the other members...I hope my choice was one of those 4 star ones.
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Yeah, it was, overall, a great set of nominations and reminded me how much I’m ”behind” on so many of these great directors.
Wyldsyde19 watches:
8 1/2 (1963)
Annihilation (2018)
City Lights (1931)
Come and See (1985)
Hedwig and the Angry Inch (2001)
In the Mood for Love (2000)
Magnolia (1999)
Marathon Man (1976)
The Lives of Others (2006)
Red Beard (1965)
Samurai Rebellion (1967)
Sansho the Bailiff (1954)
8 1/2 (1963)
Annihilation (2018)
City Lights (1931)
Come and See (1985)
Hedwig and the Angry Inch (2001)
In the Mood for Love (2000)
Magnolia (1999)
Marathon Man (1976)
The Lives of Others (2006)
Red Beard (1965)
Samurai Rebellion (1967)
Sansho the Bailiff (1954)
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Cry of the City (1948)
A cop killer is on the run in Richard Siodmark's Cry of the City. It's sort of a cat and mouse game between Richard Conte(The Godfather) and Victor Mature (The Robe). Both are basically character actors who are given time to shine in this story. While the film doesn't have the visual flares of other man on the run films what it lacks in vision it makes up for in plot. It's not a long film but it bounces from scene to scene with great effect. And credit to the writer for doing such a great job with all the minor characters. While most to the dialogue is straight out of a dime store novel it kinda works here.
One of the things that I really enjoyed in this film was the role of women. Each chapter of the film has a different woman and her relationship with Martin. The villain from Caged shows up here as a battleaxe that helps Martin escape from jail and attempts to get the jewels and money on her own. Shelly Winters is also in this film as an ex-girlfriend who Martin uses. And that is something that I enjoyed about this story...Martin is a bad guy he's a cop killer and while the story is mostly from his perspective he always feels like he's the bad guy but we understand him. Conte is not Bogart, he's not really cool but he is smart and cynical and that comes across well.
The other thing that is great about this one is while Siodmark isn't a great visual storyteller he does save his best shots for last. The climax is really well framed and that makes it stand out from other parts of the film. Debra Paget also plays Teena the girlfriend and the basic plot device, the character that Martin is getting to. The film uses a great sense of restraint hiding her until the very end and Paget knocks it out of the park with her one scene. I wish more films would do stuff like that Martin loses so much in this film that it becomes clear the one thing he is after is this woman.
While Cry of the City never really elevates itself into classic noir territory it is as solid a B picture you will get. It has scope and scale of the man on the run that's important. While the cops are underwritten I felt like that worked here. Mature is a figure and spectre chasing Conte it's Conte's story and its a good one. Solid nom.
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Red Beard
Akira Kurosawa is mostly known for his samurai epics and his noir. But on occasion, he directed some films that explored the human psyche. Ikiru, for example. And now Red Beard.
It starts with a young, brash doctor who has been sent to learn under a Dr who many call Red Beard, okayed with some solemn, and somewhat gruff. Under this gruff exterior, lies a gentle soul, who just wants to help everyone but recognizes his inability to do so. So he does the only thing he k owns how to do. He treats people.
The young Doctor scoffs at working for him. He finds the position beneath him, with a clear commentary on social issues pointedly made about the poor and the rich. While many poor people gather, waiting to be treated or, in some cases, to die, there is a rich lord who suffers from obesity, a life made of luxury but at what cost to himself?
The two doctors have a initial clash of wills, both being stubborn. Eventually, the young doctor starts to see Red Beard in a different light. He finally relents, and starts to do his chores and wear the uniform that is required of him.
Align the way we’re introduced to the many patients and staff of the hospital. A crazed woman who kills the men she mates with, earning her the Nick name Mantis, and Sahachi, who thinks only of others because of a self inflicted atonement, while carrying a tragic secret. Otoyo, a young girl rescued from prostitution. All have compelling stories in their own right.
At the center is Red Beard, with a performance from Mifune that shows his depth. The way he absent mindedly tugs his beard, lost in thought. A man who abhors violence, but isn’t above it, particularly when he breaks the arms and legs of several men who attempt to accost him. Afterwards, he then patches them up and bandages their wounds. He is a doctor after all
Kurosawa is, of course, at the top of his game here. With several great tricks with the lighting, particularly on Otoyo’s face. And the earthquake scene followed by Sahchi’s wife standing in the dust as it blows around her.
Great pick that really got better as the film went along
Akira Kurosawa is mostly known for his samurai epics and his noir. But on occasion, he directed some films that explored the human psyche. Ikiru, for example. And now Red Beard.
It starts with a young, brash doctor who has been sent to learn under a Dr who many call Red Beard, okayed with some solemn, and somewhat gruff. Under this gruff exterior, lies a gentle soul, who just wants to help everyone but recognizes his inability to do so. So he does the only thing he k owns how to do. He treats people.
The young Doctor scoffs at working for him. He finds the position beneath him, with a clear commentary on social issues pointedly made about the poor and the rich. While many poor people gather, waiting to be treated or, in some cases, to die, there is a rich lord who suffers from obesity, a life made of luxury but at what cost to himself?
The two doctors have a initial clash of wills, both being stubborn. Eventually, the young doctor starts to see Red Beard in a different light. He finally relents, and starts to do his chores and wear the uniform that is required of him.
Align the way we’re introduced to the many patients and staff of the hospital. A crazed woman who kills the men she mates with, earning her the Nick name Mantis, and Sahachi, who thinks only of others because of a self inflicted atonement, while carrying a tragic secret. Otoyo, a young girl rescued from prostitution. All have compelling stories in their own right.
At the center is Red Beard, with a performance from Mifune that shows his depth. The way he absent mindedly tugs his beard, lost in thought. A man who abhors violence, but isn’t above it, particularly when he breaks the arms and legs of several men who attempt to accost him. Afterwards, he then patches them up and bandages their wounds. He is a doctor after all
Kurosawa is, of course, at the top of his game here. With several great tricks with the lighting, particularly on Otoyo’s face. And the earthquake scene followed by Sahchi’s wife standing in the dust as it blows around her.
Great pick that really got better as the film went along
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What I actually said to win MovieGal's heart:
- I might not be a real King of Kinkiness, but I make good pancakes
What I actually said to win MovieGal's heart:
- I might not be a real King of Kinkiness, but I make good pancakes
~Mr Minio
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LOVED reading the synopsis of Red Beard. This just launched it from A Need To See to an ANTS REAL SOON. That was awesome, and f@ckin cool to read you enjoyed it. Double YAY
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It’s one of Kurosawa’s best, especially with it being a non samurai film, essentially.
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Just looking at what was picked for you I see some pretty powerful stuff there. Of your movies I've seen all of them except: 8 1/2, Marathon Man, Red Beard
Wyldsyde19 watches:
8 1/2 (1963)
Annihilation (2018)
City Lights (1931)
Come and See (1985)
Hedwig and the Angry Inch (2001)
In the Mood for Love (2000)
Magnolia (1999)
Marathon Man (1976)
The Lives of Others (2006)
Red Beard (1965)
Samurai Rebellion (1967)
Sansho the Bailiff (1954)
Wyldsyde19 watches:
8 1/2 (1963)
Annihilation (2018)
City Lights (1931)
Come and See (1985)
Hedwig and the Angry Inch (2001)
In the Mood for Love (2000)
Magnolia (1999)
Marathon Man (1976)
The Lives of Others (2006)
Red Beard (1965)
Samurai Rebellion (1967)
Sansho the Bailiff (1954)
Let's see; I haven't seen Annihilation (2018), Come and See (1985), the first I'd watch for Portman and the visuals, and the second sounds too brutal for me. Magnolia (1999) Magnolia (1999) are ones I never ventured after but should and see other dialogue for Red Beard (1965) lol
Last edited by edarsenal; 12-18-22 at 06:28 PM.
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Cry of the City (1948)
While Cry of the City never really elevates itself into classic noir territory it is as solid a B picture you will get. It has scope and scale of the man on the run that's important. While the cops are underwritten I felt like that worked here. Mature is a figure and spectre chasing Conte it's Conte's story and its a good one. Solid nom.
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Diary of a Lost Girl (1929)
One of the common problems I had with my lot of films I saw in this hall is the difference between films that were "dated" and films that are "classics". And also going through the recent Sight and Sound poll what is a good female prostitute film and what is a bad one. Diary of a Lost Girl is an almost 100 year old film and it's good.
It tells the story of Thymian a young girl who is raped and then sent away to a reform school (basically a Magdalene House) where she flees and ends up a prostitute. The film covers issues of class and gender and sexuality of women of the time that feels more real than some other films I saw. I think he helps not having to go through the dialogue in that you see the film through Louise Brooks. Who fun fact ended up as a writer and a prostitute later in life. The extremes of typecasting.
Having already seen the documentary Looking for Lulu I had already seen most of this film in that film so I never bothered to watch the two hour version. And I would be lying if I didn't end up having to watch it a couple times over the last week because it is long and predictable. But I still enjoyed it for what it was. Brooks is an incredible actress and Papst managed to do an amazing job with casting as she feels like the star in the film because everyone else is ugly and normal looking. Andrew Engelman is especially creepy as a guy working in the reformatory.
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