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Madadayo ***
I must admit that I am a filthy American pig who has not seen many “foreign” films, not counting British or Australian films, which I’ve seen a larger number. However, after the disappointing influx of crappy American big budget films, I’ve deemed that perhaps I’ve been missing out. Especially when there are so many respected members on this forum who swear by them. Now I’m making a point to watch as many “foreign” films as possible, starting with one of the most respected director’s that ever existed. The reason I chose Madadayo first is because it was the only Kurosawa film available to me at this time.
Madadayo is a film about a professor near the end of WWII who after retiring, finds that all his pupils adore him. Actually, worship might be a better word. Its time frame spans the next two decades of the professors (Tatsuo Matsumura) life after retirement and the dedication of his pupils within his life. Every year they have a birthday celebration in his honor where they ask him in unison, “Mahda-kai? (Are you ready?)”, and after he gulps down a huge glass of beer in one breath answers, “Madadayo!” (Not yet!).”
This is an extremely sentimental film, sometimes to the point of ridiculousness. Not that I’m bashing it, because the movie is actually quite effective of moving me and forcing a grin onto my face. Where it seems to be silly sometimes is whenever the professor speaks, every single member of the class laughs uproariously, and when he loses his cat and becomes extremely depressed, the movie spends close to thirty minutes investing itself to this one particular development. Yet, when the conclusion to that segment comes to a close it is done very sweetly, and the pessimistic part of myself, which quailed during this whole segment, was completely moved. Not in a way where I felt like shedding tears, but in a way that just made me feel glad for the professor. I was able to internalize it and relate rather well.
This is Akira Kurosawa’s last film. According to many American critics’, it is a fine conclusion to a stellar career. Even though I have not yet seen any of his other films, I can believe it. I liked this movie better than all the other theater releases I have seen since the beginning of last summer, so if it isn’t his greatest, some of his other’s must be phenomenal. I already know that the next couple of his films that I’ll see are Rashomon and The Seven Samurai. If anyone can recommend others, I would greatly appreciate it.
Madadayo *** I must admit that I am a filthy American pig who has not seen many “foreign” films, not counting British or Australian films, which I’ve seen a larger number. However, after the disappointing influx of crappy American big budget films, I’ve deemed that perhaps I’ve been missing out. Especially when there are so many respected members on this forum who swear by them. Now I’m making a point to watch as many “foreign” films as possible, starting with one of the most respected director’s that ever existed. The reason I chose Madadayo first is because it was the only Kurosawa film available to me at this time.
Madadayo is a film about a professor near the end of WWII who after retiring, finds that all his pupils adore him. Actually, worship might be a better word. Its time frame spans the next two decades of the professors (Tatsuo Matsumura) life after retirement and the dedication of his pupils within his life. Every year they have a birthday celebration in his honor where they ask him in unison, “Mahda-kai? (Are you ready?)”, and after he gulps down a huge glass of beer in one breath answers, “Madadayo!” (Not yet!).”
This is an extremely sentimental film, sometimes to the point of ridiculousness. Not that I’m bashing it, because the movie is actually quite effective of moving me and forcing a grin onto my face. Where it seems to be silly sometimes is whenever the professor speaks, every single member of the class laughs uproariously, and when he loses his cat and becomes extremely depressed, the movie spends close to thirty minutes investing itself to this one particular development. Yet, when the conclusion to that segment comes to a close it is done very sweetly, and the pessimistic part of myself, which quailed during this whole segment, was completely moved. Not in a way where I felt like shedding tears, but in a way that just made me feel glad for the professor. I was able to internalize it and relate rather well.
This is Akira Kurosawa’s last film. According to many American critics’, it is a fine conclusion to a stellar career. Even though I have not yet seen any of his other films, I can believe it. I liked this movie better than all the other theater releases I have seen since the beginning of last summer, so if it isn’t his greatest, some of his other’s must be phenomenal. I already know that the next couple of his films that I’ll see are Rashomon and The Seven Samurai. If anyone can recommend others, I would greatly appreciate it.