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Really? Better than Still Walking?

sidehacker wrote:Really? Better than Still Walking?

Ditto. No Kore-eda that I've seen has even come close to this one. Too derivative of Ozu for you, perhaps, Michael?

When it comes to Kore'eda (so far), I have liked everything so much, that rating his works one against the other is an almost totally arbitrary exercise. Each one is unique -- and I am delighted to have all of them.

I wouldn't change a single thing about Still Walking (and I don't think it is "too Ozu-ish". ;~}

Is there such a thing a too Ozu-ish, except maybe length?

knives wrote:Is there such a thing a too Ozu-ish, except maybe length?

Not sure. In any event, while Ozu is clearly one source of inspiration for Kore'eda, I've always felt that many commentators overdid the extent of the connection.

Scharphedin2 wrote:

Yojimbo wrote:I remember when the original, 7 Up, was screened on television: being a contemporary of the subjects made it especially interesting for me. Its a pity, though, that a number of the participants opted out when it could have been really interesting to see how their paths diverged.

Is there a box-set? It certainly merits one

Yojimbo, as a contemporary of the series, and as an Irishman, I would be particularly interested in reading your thoughts in more detail in the thread I started.

I travel often to London through my work, and I have brought up the series with a few of the people that I work with over there, but so far (to my immense surprise) no one has seemed to be anything but vaguely aware of the series. Surprising, as I thought these films had reached a point of being cultural phenomena in Britain.

Can you give me a link to your thread, schar?
I'm surprised you saying few Brits seemed to be aware of the series.
(although, of course, with the '57+ cable channels' now available to most Brits, there are far more viewing options available than there were on 7 Up's release)

Michael Kerpan wrote:Not sure. In any event, while Ozu is clearly one source of inspiration for Kore'eda, I've always felt that many commentators overdid the extent of the connection.

Yeah, probably, but it's such an easy comparison to make! It did strike me as an attempt to "Kore'eda-ise" the Ozu home drama, and is very faithful in terms of tone (and possibly content) rather than form...

knives - length?

Yojimbo wrote:Can you give me a link to your thread, schar?
I'm surprised you saying few Brits seemed to be aware of the series.
(although, of course, with the '57+ cable channels' now available to most Brits, there are far more viewing options available than there were on 7 Up's release)

Here is the thread, Yojimbo. We can talk more over there.

foggy eyes wrote: knives - length?

Of the four Ozu's I've seen three of them felt like they could shave ten minutes off and be a better film. Not to say that would actually make them better films.

knives wrote:

foggy eyes wrote: knives - length?

Of the four Ozu's I've seen three of them felt like they could shave ten minutes off and be a better film. Not to say that would actually make them better films.

*chuckle* Yeah, just lop off those "Pillow Shots", they don't do anything to advance the plot...

Those 'pillow shots' are actually my favorite parts. I meant stuff like the drunken friends interlude in Early Spring.

Selective comments regarding some of my faves:

7). Butcher Boy, The (1997)
(unquestionably the greatest ever Irish film, by an Irish director: this was a marriage made in Heaven between Jordan and source novelist McCabe: a masterly blend of the dark, the humourous, and the surreal, with a marvellous performance by Eamonn Owens in the lead role
- unfortunately for him, he's never come close to repeating, let alone building on it
It looks great too.
An attempt to repeat the 'formula' with 'Breakfast on Pluto' was something of a misfire, though)

8). Hairdresser's Husband, The (1990)
Still my favourite Leconte film, despite strong competiotion from 'Monsieur Hire', 'L'homme du train' and 'Le parfum d'Yvonne'
Too often Leconte seems to believe that quirkiness, look, and original storylines are enough, so much so that he teeters towards tweeness, and souffle insubstantiality, but he gets the blend spot on here.
And I loved the soundtrack so much I sought out similar music


11). Crash (1996)
Next to 'The Brood', probably my favourite Cronenberg, although arguably his best film: its not a likeable film, but he got the whole look and sense of the novel absolutely right, even though he diverged somewhat in particular elements

14). Tierra (1996)
I hadn't seen any Medem film until they screened a timely season of his films at a Dublin Film Festival a few years back: he hasn't produced anything of substance since the festival.
This is easily my favourite of his films: although as a drama it is somewhat contrived, its more than compensated by the wonderfully 'earthy' look of the film and the performance, and look, of lead actress, Emma Suárez .
The lead actor is somewhat bland, as I recall, but given his name is 'Angel', and his profession is 'exterminator', you can forgive Medem his selection

19). Face/Off (1997)
Although I have only seen three of Woo's Hollywood films, and, consequently, have no great desire to see any more, this is not only the only film I've seen that can compare, in its balletic mayhem, with his Hong Kong best, but it also features two marvellous performances by two Hollywood actors, particularly Travolta, who I normally don't particularly care for: its story line is of course preposterous, but I wouldn't have it any other way from Woo

24). Milou en mai (1990)
The ensemble playing is undoubtedly an important factor, but Malle gets the whole tone, and pace spot on: for some reason I keep being reminded of Chekhov when watching this one

27). Shakespeare in Love (1998)
Quite possibly the best Shakespeare script not written by The Bard himself: I usually prefer his tragedies to the comedies but this film has persuaded me to give the comedies another chance

34). Parfum d'Yvonne, Le (1994)
If 'Milou' reminded me of Chekhov, this one undoubtedly serves to recall Proust: its all mood and memory, but it transcends its rather slight narrative and would make a wonderful triple bill with two other great Proustian movies: 'Time Regained' and 'La Captive'

35). Central do Brasil (1998)
Most people consider this one overly sentimental, almost Spielbergian in this respect, but I think the woman has just enough of a hard edge to her, and as a portrait of aspects of Brazil it bears comparison with the likes of 'Antonio Das Mortes' , 'City of God', and 'Me You Them'

37). Pusher (1996)
inevitably the remaining two films in the trilogy never measured up to the raw visceral excitement of this one: comparisons with 'The Godfather' are relevant in this respect; it also makes great use of the steadicam.
The director went on to make one of the best David Lynch movies not made by Lynch himself,...'Fear X', which starred John Turturro, but featured a movie stealing performance by James Remar which recalled Dan Duryea, and hopefully he can build on

42).Calendar (1993)
Atom Egoyan and me went our separate ways with his 'The Sweet Hereafter': that film was efficiently made and is obviously a mature work but it lacked the elements that made me a fan, albeit a brief one, as best personified by this film: the blend of the scenes of gentle self-deprecating humour where he lets the audience in on what is staring his self-acted character in the face, but he refuses to acknowledge, and the lyrical scenes of the journey to his homeland

44). Così ridevano (1998)
Another subject of a Dublin Film Festival season: its hard to choose between this, 'L'America', Stolen Children, and the 21st Century's 'Open Doors', but I think its theme gives it the nod for me; lead Enrico Lo Verso, who also starred in two of the others, gives another powerfully expressive performance

48). Notes From The Underground (1995)
I managed to tape it off a network tv showing in the 1990's and don't think its available on DVD yet: its a creditable low-budget reworking of the Dostoyevsky novel, translocated to modern day LA

49). Flower of My Secret, The (1996)
I prefer this one to 'All About My Mother' which I think was a turning point in Almodovar's development: with that film he became a 'better' director, but too slick, too polished for my tastes.
'The Flower of My Secret' is like a classic Hollywood 'woman's picture': something George Cukor would have been proud to have made.
Which I'm sure Almodovar would be glad to hear it described

50). Crow, The (1994)
'Dark City' is more universally feted, but I found that film perhaps too studied, although I hear there's a 'director's cut' now, which might be more rewarding.
I love the whole look of 'The Crow', but perhaps its that Jason Lee's character mirrors his own personal tragedy that gives the film added resonance

knives wrote:

foggy eyes wrote: knives - length?

Of the four Ozu's I've seen three of them felt like they could shave ten minutes off and be a better film. Not to say that would actually make them better films.

I can't think of any Ozu film that I wish was shorter -- not even Munekata Sisters. I would say pretty much every frame is warranted.

Yojimbo wrote:8). Hairdresser's Husband, The (1990)
Still my favourite Leconte film, despite strong competiotion from 'Monsieur Hire', 'L'homme du train' and 'Le parfum d'Yvonne'
Too often Leconte seems to believe that quirkiness, look, and original storylines are enough, so much so that he teeters towards tweeness, and souffle insubstantiality, but he gets the blend spot on here. And I loved the soundtrack so much I sought out similar music

This was #17 on my list. It's been quite a while since I've seen it, but I do remember it being a real charmer until the final 10 minutes or so, which truly destroyed me. I don't think I breathed once during the credits. Leconte has not made a finer film since this one.

Michael Kerpan wrote:

knives wrote:

foggy eyes wrote: knives - length?

Of the four Ozu's I've seen three of them felt like they could shave ten minutes off and be a better film. Not to say that would actually make them better films.

I can't think of any Ozu film that I wish was shorter -- not even Munekata Sisters. I would say pretty much every frame is warranted.

Early Spring? That's the only one I could actually say a specific thing was just filler. He also, from what I've seen, suffers from too many climaxes. That said he is one of my favorite directors from just the late set.

knives wrote:Early Spring? That's the only one I could actually say a specific thing was just filler. He also, from what I've seen, suffers from too many climaxes. That said he is one of my favorite directors from just the late set.

Maybe this topic would fit better in either the Ozu thread in Filmmakers or the Eclipse Late Ozu Boxset thread? (I dread continuing it here -- due to our ferocious moderators). ;~}

reno dakota wrote:

Yojimbo wrote:8). Hairdresser's Husband, The (1990)
Still my favourite Leconte film, despite strong competiotion from 'Monsieur Hire', 'L'homme du train' and 'Le parfum d'Yvonne'
Too often Leconte seems to believe that quirkiness, look, and original storylines are enough, so much so that he teeters towards tweeness, and souffle insubstantiality, but he gets the blend spot on here. And I loved the soundtrack so much I sought out similar music

This was #17 on my list. It's been quite a while since I've seen it, but I do remember it being a real charmer until the final 10 minutes or so, which truly destroyed me. I don't think I breathed once during the credits. Leconte has not made a finer film since this one.

I suspect it needed that dramatic late shift in tone to make it the great film it is

I am sort of surprised that Before the Rain failed to achieve even bottom feeder status; there's one recent Criterion title that failed to find love.

Michael Kerpan wrote:27. Moe no suzaku / Suzaku (Naomi Kawase, 1997). Kawase's first feature film might still be her best (despite a few minor lapses). There is (or was) a wonderful French DVD (French subs only).

I agree about the film, but to call the French DVD (as far as I know there is only one, right?) "wonderful" is, in my opinion, a bit of a stretch.

Specs and Caps:

-non anamorphic (both letter- and windowboxed)
-the French subs are burnt-in
-interlaced
-single-layered
-weak black levels









As you mention, it seems to be out-of-print so hopefully there is a possibility of a better version sometime soon.

feckless boy wrote:

Michael Kerpan wrote:27. Moe no suzaku / Suzaku (Naomi Kawase, 1997). Kawase's first feature film might still be her best (despite a few minor lapses). There is (or was) a wonderful French DVD (French subs only).

I agree about the film, but to call the French DVD (as far as I know there is only one, right?) "wonderful" is, in my opinion, a bit of a stretch.

Well, the only other alternative at the time the French DVD came out was a failrly low quality pan/scanned HK VCD -- with big burnt in Chinese subs (with tiny English subs below). The French release constituted a huge imprrovement. There is now an unsubbed Japanese DVD -- but I have no idea what this looks like.

Scanning through the results I noticed with some amazement that no film by Ken Loach even got the two qualifying votes -- with 60 lists submitted? Nothing of his broke into the top of my list, but I did end up placing two of them on the final list. His most widely appreciated film from the decade is surely The Wind the Shakes the Barley. But Sweet Sixteen and A Fond Kiss really merit more attention and consideration, as well. Some interesting things going on under the surface, I found.

I would also like to put in a word for one I forgot to vote for: The Corporation. I saw it high on Colin's list and knew I'd somehow forgotten it. This is still an extremely relevant film and one I hope more people on the forum will see. In terms of documentaries, it could have replaced either When the Levees Broke or Longinotto's Runaway on my list if I hadn't spaced it. The far-higher-ranking documentary on my list was Les Glaneurs et la Glaneuse. I won't even begin to try to write anything about it. I just hope those who have seen it will take the time to go back to it in years to come, and to watch the follow-up if they didn't take the time before.

Absolutely amazed at The Beat that My Heart Skipped only making it into the second (or third?) also-ran list - it would easily have topped mine...er, if I'd seen enough films from the decade to submit a list...perhaps I just need to see more of these films. Anyway, hopefully now that A Prophet is doing so well people might re-visit The Beat.

And yes, Loach also deserved more attention - as did The House of Mirth.

Gregory wrote:Scanning through the results I noticed with some amazement that no film by Ken Loach even got the two qualifying votes -- with 60 lists submitted? Nothing of his broke into the top of my list, but I did end up placing two of them on the final list. His most widely appreciated film from the decade is surely The Wind the Shakes the Barley. But Sweet Sixteen and A Fond Kiss really merit more attention and consideration, as well. Some interesting things going on under the surface, I found.

That surprised me, too. The Wind that Shakes the Barley was at #43 on my list. It's my only orphan this time (I think), but I'm happy to see that someone noticed its absence.

Sloper wrote:Absolutely amazed at The Beat that My Heart Skipped only making it into the second (or third?) also-ran list - it would easily have topped mine...er, if I'd seen enough films from the decade to submit a list...perhaps I just need to see more of these films. Anyway, hopefully now that A Prophet is doing so well people might re-visit The Beat.

The Beat that My Heart Skipped was my #21. I didn't really expect it to place, but I'm glad someone else voted for it. It's a film that I love more and more as the years go by, so I'll be moving it up my list next time. So, Sloper, you have until 2014 to watch at least 50 good films from the 2000s so that you can participate.

Exactly half of my picks made the final list. Here are some that didn't.

1. Battle in Heaven - Carlos Reygadas
Reygadas gets a lot of grief for his shamelessness (and I think he walks that thin line brilliantly), but I'm still surprised none of his films made it. In Battle in Heaven, there is no light or space between the personal, the political, the religious, the cinematic and the Mexico in this film. Bunuel would have been proud.

7. Los muertos - Lisandro Alonso
Will certainly be my swapsie next go around. I’m not sure I’ve seen a 2000s film with more integrity. He films real people in real surroundings and never once cheats his setting with his camera until the final shot. Zero psychology and zero shaky-cam. Like mana from heaven.

9. Drama/Mex - Gerardo Naranja
By far the most unpopular swapsie for this list. 8-[ It was my #1 seven months ago, which goes to prove how valuable this list project was in expanding my 2000s horizons. But I'll still defend it to the death: it wears Nietzsche's amor fati on it's sleeve, making it for me the most romantic movie of the decade.

16. Unknown Pleasures - Jia Zhang-ke
My second favorite Jia film, it gets the least love of his features and I'm not sure why. Maybe because it's so unrepentantly despairing. Plays almost like a Chinese 1984 with Jia exploiting the industrial landscape to a harrowing dystopian effect. A highly disturbing, soul-shattering account of existential crisis. You get the sense the protagonists in Platform will carry on but that this younger generation is already hopelessly lost.

18. Moolaadé - Ousmane Sembene
It's absence in the final list was the biggest shocker for me.

30. Once Upon a Time in Mexico - Robert Rodriguez
Yeah it's still here and I still ain't backing down.

I should not be complaining because INLAND EMPIRE made the list but I simply don't understand how Mulholland Drive ended up being ranked so high (#2) leaving INLAND EMPIRE long behind in its shade. Is it because most of you haven't seen IE? Or is it just too abstract for you? Don't get me wrong, I love MD but it's just that IE seems to be so much more, it offers everything we ask for Lynch and more. MD is an amuse-bouche to the 10-course banquet of IE.