It does. For admins.
Oh. If it is admin only, that explains it.
How to Get Ahead in Advertising would like to have a word with you.
Missed this. I am with you Malkav, and I started doing the same thing in my late 20s-early 30s. Now, when trying to caulk over my foreign gaps, I try to address gaps I have in French and Spanish Cinema. I started seriously handling the Italians in my mid-late 30s. Though I always go back to address the (now smaller) gaps I still have in Japanese Cinema as well.
It’s hard to watch a subtitled film while I fold my laundry, which is when I do a surprising amount of my movie/TV watching :)
I actually rarely can remember a couple of months later whether a film I watched had subtitles or not.
Question, since Story seems like the likely winner, is there a version of it without the score? I was mentally prepared for 2+ hours of (admittedly, beautifully filmed) b&w ruminations on mortality from 1950’s Japan, then I listened to the score in the trailer.
One might not like Ozu, but he is anything but ruminations. Don’t worry about the soundtrack of old trailers any more than you’d worry about the noise of modern ones, too!
You left out Mel Brooks.
Yeah, @Matt_W, they just used the main credits score over that scene for the trailer. And like Empty says, there is a plot in that film, it’s not a bunch of wood paintings on film. Not that it isn’t gorgeously shot (it’s Ozu, it is).
The impression of “Japaneseness” was no doubt encouraged by his severely restricted visual style. It consisted of low camera placement, usually from the perspective of someone seated on the floor, with virtually no camera movements and only straight cuts between shots. Especially characteristic of Ozu’s style are the carefully composed shots of landscapes or domestic interiors that often serve as pauses or transitions in the narrative. But in retrospect, Ozu’s loving attention to the textures of everyday life is precisely what gives his films their universal emotional resonance, and his rigorously formalized visual style invites the most subtle analysis.
Ozu’s most important collaborator was no doubt the scriptwriter Kogo Noda (1893-1968). Noda had worked with Ozu since the latter’s first feature in 1927 and with some frequency during the Twenties and Thirties. After the war, Ozu brought him back to work on Late Spring (1949), another great masterpiece, and he worked on every subsequent film that Ozu directed. It was in fact Noda who had initially suggested the plot for Tokyo Story , which was loosely inspired by Leo McCarey’s Make Way for Tomorrow (1937). Ozu hadn’t seen the film, but Noda recalled it from its initial release in Japan.
http://www.tcm.com/this-month/article/176232|0/Tokyo-Story.html
Wait, are people under the impression that Ozu’s films are abstract montages, or something? Every one of them is a straight-up, plot-driven melodrama. At least those I’ve seen – I’ve heard he did comedies too (e.g. ‘I Was Born, But…’)
I tried to address that above your post. His visual style is very composed, but the stories are, well, stories. The plot synopsis in IMDB is trying be general without giving away the plot, and gives a slightly faulty impression of the film, IMO. This “meditation on mortality.” thing…really pushes readers in the wrong direction.
Ok, I’m willing to give it the benefit of the doubt. This, and your assurance about the score (it was really the score that bothered me the most) has made me actually intrigued to see it. Not enough to switch my vote, but enough to be sanguine about the outcome either way.
I just automatically gave all the movies the benefit of the doubt. I don’t like spoilers, so I just assumed all the movies people were nominating will be worth watching, even the silent one (about Joan of Arc), because it has to be something special to be someone’s favorite film.
Except for Hudson Hawk, of course. I didn’t give that one the benefit of the doubt because I’ve seen it multiple times.
Regarding Times and the above Poll (that I am responding to) I think we have hit a good vibe. Given one film a month, the goal was to have 10 days be devoted to choosing the film (max) 10 days to watch it and 10 days to comment on/discuss it. For starters anyhow.
So looking at the micro-period for voting, we gave a little more time than normal (an extra 4 days, ) for nominations, as it was first Movie Club entry. So normally, it’ll be 3 days for Nominations (with a new thread going up on the first of the month), 3 days for Round one and three days for the run-off (with a day of flex in there).
I think the times seem to be working well, and the poll seems to agree.
To be clear, Tokyo Tribe is not my favorite film. It is the film I most want to make people see. (I do like it, though. Or at the very least really appreciate it for its sheer madness.)
Rest assured, if it doesn’t win, next time I will nominate something equally mental (I presume) and Japanese, like Wild Zero or Machine Girl.
OK then I’ll nominate the Zatoichi movie where Ichi has to take care of a baby and when he changes its diaper it pees in his face. It’s funny because he’s a samurai!
I can see in our elections, you will be: