- Published on
Historically, one of the biggest complaints that casual audience members and even some of genre entertainment harshest critics hold against Science Fiction projects is that they just cannot relate to the stories.
Mind you, not every theatrical opus that comes to life involves an alien invasion, some storied first contact with another species, or harmful genetic tampering carried out to dangerous degrees. Furthermore, not every SciFi oddity explores the theoretical treachery of Artificial Intelligence, nor does every flick involve hyperdimensional realities, time travel, or paradoxical conundrums. Why, it isn’t as if there need be ray guns and jet packs and flying cars and robots populating every corner of a tentpole release. Sometimes, the truly best Science Fiction films really only employ some fateful idea as a set-up – as a construct – and then the storytellers go off in a very human and very applicable direction.
For better or for worse, 2023’s Daddy pretty much fits into the category of latter films.
Co-writers and co-directors Neal Kelley and Jono Sherman basically craft the idea of a universe wherein the federal government has taken over the responsibility of determining who amongst the citizenry can and cannot be both ‘approved’ and ‘scheduled’ for becoming a parent … and that’s about as far and feverish as the SciFi framework goes. Once that limited parameter is set in stone, their story grows as a Comedy and a light character study of four men – who couldn’t be further unalike – thrown together at a weekend retreat wherein they’re apparently under evaluation for prospective fatherhood roles in this brave new world.
Of course, there’s a fair degree of risk associated with such an undertaking. Those showing up for Science Fiction might feel swindled as there really isn’t very much of it. Similarly, those showing up for the Comedy may wonder why and if the Science Fiction was truly needed. Hopefully, both will see the merits of such a union … because – as biology teaches us – it’s only with a merger that the two might bear fruit … a fitting metaphor for such a delightful glimpse into the never-ending possibilities of asking of ‘What If?’
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
Mind you, not every theatrical opus that comes to life involves an alien invasion, some storied first contact with another species, or harmful genetic tampering carried out to dangerous degrees. Furthermore, not every SciFi oddity explores the theoretical treachery of Artificial Intelligence, nor does every flick involve hyperdimensional realities, time travel, or paradoxical conundrums. Why, it isn’t as if there need be ray guns and jet packs and flying cars and robots populating every corner of a tentpole release. Sometimes, the truly best Science Fiction films really only employ some fateful idea as a set-up – as a construct – and then the storytellers go off in a very human and very applicable direction.
For better or for worse, 2023’s Daddy pretty much fits into the category of latter films.
Co-writers and co-directors Neal Kelley and Jono Sherman basically craft the idea of a universe wherein the federal government has taken over the responsibility of determining who amongst the citizenry can and cannot be both ‘approved’ and ‘scheduled’ for becoming a parent … and that’s about as far and feverish as the SciFi framework goes. Once that limited parameter is set in stone, their story grows as a Comedy and a light character study of four men – who couldn’t be further unalike – thrown together at a weekend retreat wherein they’re apparently under evaluation for prospective fatherhood roles in this brave new world.
Of course, there’s a fair degree of risk associated with such an undertaking. Those showing up for Science Fiction might feel swindled as there really isn’t very much of it. Similarly, those showing up for the Comedy may wonder why and if the Science Fiction was truly needed. Hopefully, both will see the merits of such a union … because – as biology teaches us – it’s only with a merger that the two might bear fruit … a fitting metaphor for such a delightful glimpse into the never-ending possibilities of asking of ‘What If?’
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In a dystopian society where the state has the power to determine who can and cannot father children, four men attend a government-sanctioned retreat in the remote mountains of California. When they show up at the site, only to find no guide or instructions, they are left to their own devices and must prove to themselves - and each other - that they have what it takes to become fathers.”
One of the greatest tricks in telling a superb story often boils down to two critical elements: (A) knowing exactly where to begin and (B) knowing precisely when it should end. It should go without saying that there are clearly other ingredients to any great concoction – a great cast, some noticeable circumstances, plot development, etc. – but those pale in consideration if they’re improperly framed. While all of the stuff in-between can be jiggled around for good measure, the poles – the start and the finish – must stay firmly cemented in place so that the assembly possesses the requisite meaning and the measurable impact. This is how we determine its ultimate effectiveness.
This is where I have my only substantive complaint with Daddy, a rather enjoyable and interesting ‘dystopian comedy’ if there ever was such a thing. While the beginning is damned exquisite – which I’ll get to in a moment – its denouement was a letdown, dialing down the whole affair to little more than a joke’s punchline. If a film leaves audience members wanting clarification, then it’s reasonable to conclude that something was awry … and I firmly believe a more fitting conclusion – one that kinda/sorta mirrored the prescient introduction – was needed for proper closure. Given this isn’t the kind of picture that requires a sequel, I would’ve preferred having a few of my questions answered.
Jeremy (played by Jono Sherman) has reached a crossroads in his life. He’s made the decision that he wants to be a father. Granted, he may or may not have found the right woman to aid him on this journey – even in the near future it takes two to tango – but the current political structure requires that he undergo an evaluation as part of the application process. This is where Daddy’s opening soars as the audience is introduced to this somewhat oafish young man being classically interrogated by F.R.A.N.N., an Alexa-style Artificial Intelligence wannabe who is little more than a glowing mechanical orb on an executive conference table.
As I said above, the film’s launch is brilliant. One couldn’t ask for a simpler or more effective outline for this universe, a place wherein men are no longer allowed to wildly sow their oats – as it were – without an institutional stamp of approval. To make matters even more satirical, it isn’t even another human being who makes that initial determination but instead a hyper-functional A.I. with no eyes, no lips, and (presumably) no vagina (another necessary component eventually). Only with F.R.A.N.N.’s positronic agreement does Jeremy advance to Round Two, a three-day retreat wherein his skills as a potential father are assessed.
“In a dystopian society where the state has the power to determine who can and cannot father children, four men attend a government-sanctioned retreat in the remote mountains of California. When they show up at the site, only to find no guide or instructions, they are left to their own devices and must prove to themselves - and each other - that they have what it takes to become fathers.”
One of the greatest tricks in telling a superb story often boils down to two critical elements: (A) knowing exactly where to begin and (B) knowing precisely when it should end. It should go without saying that there are clearly other ingredients to any great concoction – a great cast, some noticeable circumstances, plot development, etc. – but those pale in consideration if they’re improperly framed. While all of the stuff in-between can be jiggled around for good measure, the poles – the start and the finish – must stay firmly cemented in place so that the assembly possesses the requisite meaning and the measurable impact. This is how we determine its ultimate effectiveness.
This is where I have my only substantive complaint with Daddy, a rather enjoyable and interesting ‘dystopian comedy’ if there ever was such a thing. While the beginning is damned exquisite – which I’ll get to in a moment – its denouement was a letdown, dialing down the whole affair to little more than a joke’s punchline. If a film leaves audience members wanting clarification, then it’s reasonable to conclude that something was awry … and I firmly believe a more fitting conclusion – one that kinda/sorta mirrored the prescient introduction – was needed for proper closure. Given this isn’t the kind of picture that requires a sequel, I would’ve preferred having a few of my questions answered.
Jeremy (played by Jono Sherman) has reached a crossroads in his life. He’s made the decision that he wants to be a father. Granted, he may or may not have found the right woman to aid him on this journey – even in the near future it takes two to tango – but the current political structure requires that he undergo an evaluation as part of the application process. This is where Daddy’s opening soars as the audience is introduced to this somewhat oafish young man being classically interrogated by F.R.A.N.N., an Alexa-style Artificial Intelligence wannabe who is little more than a glowing mechanical orb on an executive conference table.
As I said above, the film’s launch is brilliant. One couldn’t ask for a simpler or more effective outline for this universe, a place wherein men are no longer allowed to wildly sow their oats – as it were – without an institutional stamp of approval. To make matters even more satirical, it isn’t even another human being who makes that initial determination but instead a hyper-functional A.I. with no eyes, no lips, and (presumably) no vagina (another necessary component eventually). Only with F.R.A.N.N.’s positronic agreement does Jeremy advance to Round Two, a three-day retreat wherein his skills as a potential father are assessed.
At an airBNB located in the California mountains, Jeremy meets three other prospective dads: Mo (Pomme Koch), Sebastian (Yuriy Sardarov), and Andrew (Neal Kelley) are also hoping for their respective shots to ‘get one past the goalie’ and start a family, though it remains unclear just who and how many of them have settled on a mate. (There are discussions, of course, but it’s mostly idle chitchat shared between nervous casual acquaintances and doesn’t amount to all that much.) Gathered around the dinner table, they’re awaiting the arrival of what they assume to be a government inspector (or sorts), and therein lies they’re shared dilemma: what do they do when no one shows?
Uncertainty abounds; and, yes, it’s the stuff of comedy. Eventually, they decide that the failure of their assessor to arrive must be part of the process, so they go about trying to impress one another and a possibly faceless Big Brother watching in every way they can. The men begin trying to impress one another with their skills and social status, believing that somehow they’re still under the proverbial microscope. They share, they bond, and they even entertain one another, hoping that minimally they’re passing time while earning their government’s approval. Just about the time wherein they begin to crack from putting their best feet forward, a woman does come knocking on their door: Ally (Jacqueline Toboni) insists that she’s merely lost in the woods after her automobile broke down nearby, but our four fathers-to-be are suspecting that that’s just what a secret inspector would say … wouldn’t she?
As one can see, Daddy functions largely on the humor of these four oddballs equally trying to come to terms with themselves as well as they can each other. It’s a constant battle to both match wits and best one’s fellow man all in pursuit of a goal they’re not entirely certain any of them are suited to achieve. Along the way, they do discover bits and pieces about themselves – often comically as opposed to anything matching seriousness – while trying to make the best of their bad circumstances. They’re a great ensemble together, and it's the kind of cast that feels like they had a helluva lot of fun whipping this story into shape.
Still …
Being a father means making certain sacrifices, often times for the benefit of the child or even one’s chosen mate/spouse. There’s always a give and take in life, but I suspect many parents would privately concede that – oft times – there’s far more give than anything else. “It’s what you sign up for,” they say. Without spoiling some of the film’s particulars, the tale really only goes so far, never quite definitively explaining everything about their time in isolation. Yes, someone does eventually arrive – it may or may not be who you expect – but there’s a pervasive ambiguity to the culmination of their shared journey that, frankly, needed a suitable wrap-up.
In some ways, the finish reminds me of what director Mike Nichols reached for in the last scene of The Graduate (1967): the film’s two lovers – Ben Braddock (Dustin Hoffman) and Elaine Robinson (Katharine Ross) – escape the clutches of family and are left riding off into the sunset seated quietly in the back seat of a bus. Over several seconds, Nichols zooms in on their expressions, and yet we’re never assured by either Hoffman or Ross’ faces precisely what they’re feeling. Are they happy? Are they sad? Are they elated? Did they achieve what they set out to? There’s just an existential meaninglessness to the scene – an underlying uncertainty surrounding what might lie ahead – but the audience was minimally given greater context for the stakes, giving us enough to process its intent however we may.
Uncertainty abounds; and, yes, it’s the stuff of comedy. Eventually, they decide that the failure of their assessor to arrive must be part of the process, so they go about trying to impress one another and a possibly faceless Big Brother watching in every way they can. The men begin trying to impress one another with their skills and social status, believing that somehow they’re still under the proverbial microscope. They share, they bond, and they even entertain one another, hoping that minimally they’re passing time while earning their government’s approval. Just about the time wherein they begin to crack from putting their best feet forward, a woman does come knocking on their door: Ally (Jacqueline Toboni) insists that she’s merely lost in the woods after her automobile broke down nearby, but our four fathers-to-be are suspecting that that’s just what a secret inspector would say … wouldn’t she?
As one can see, Daddy functions largely on the humor of these four oddballs equally trying to come to terms with themselves as well as they can each other. It’s a constant battle to both match wits and best one’s fellow man all in pursuit of a goal they’re not entirely certain any of them are suited to achieve. Along the way, they do discover bits and pieces about themselves – often comically as opposed to anything matching seriousness – while trying to make the best of their bad circumstances. They’re a great ensemble together, and it's the kind of cast that feels like they had a helluva lot of fun whipping this story into shape.
Still …
Being a father means making certain sacrifices, often times for the benefit of the child or even one’s chosen mate/spouse. There’s always a give and take in life, but I suspect many parents would privately concede that – oft times – there’s far more give than anything else. “It’s what you sign up for,” they say. Without spoiling some of the film’s particulars, the tale really only goes so far, never quite definitively explaining everything about their time in isolation. Yes, someone does eventually arrive – it may or may not be who you expect – but there’s a pervasive ambiguity to the culmination of their shared journey that, frankly, needed a suitable wrap-up.
In some ways, the finish reminds me of what director Mike Nichols reached for in the last scene of The Graduate (1967): the film’s two lovers – Ben Braddock (Dustin Hoffman) and Elaine Robinson (Katharine Ross) – escape the clutches of family and are left riding off into the sunset seated quietly in the back seat of a bus. Over several seconds, Nichols zooms in on their expressions, and yet we’re never assured by either Hoffman or Ross’ faces precisely what they’re feeling. Are they happy? Are they sad? Are they elated? Did they achieve what they set out to? There’s just an existential meaninglessness to the scene – an underlying uncertainty surrounding what might lie ahead – but the audience was minimally given greater context for the stakes, giving us enough to process its intent however we may.
Sadly, Daddy just … well … ends.
There are no answers as to what the retreat was all about, what fundamental purpose it could possibly have served in the way it took place, nor why none of these men had ever heard stories surrounding such experiences that one would believe might be commonplace in this particular universe. Because we’re never afforded the context with which to rank the closing frame, it winds down with aloofness, a bit of a narrative misstep to an affair that, otherwise, found a great deal to say about not only the human condition but also some insight into why we do what we do. The ambiguity might work for some, but I thought it reduced the whole experience to little more than a lazy, bad joke.
I – and these characters – deserved better.
Daddy (2023) was produced by Enhanced Media, The Kalin Company, and Twnshp Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Anchor Bay Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. As for the special features? The disc boasts a commentary track along with some extras by way of cut and/or extended scenes along with the cast’s improvisation reel. It’s a nice collection.
Strongly Recommended.
Clever but incomplete, Daddy (2023) both matures and gets a bit immature after its clever set-up, one that shows just how invasive one faceless government can still truly be in the era of modern technology. Who knew surrendering one’s rights could produce so many laughs? Still, excellent performances can’t quite escape the fact that a bit more context might’ve given its curious ending better legs to stand on – maybe even stronger baby steps toward a real resolution – as some might feel cheated with its all-too-easy punchline. Definitely worth a watch for those who like a few chuckles with their SciFi … and there’s barely any SciFi in here for those who show up for the Comedy.
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a complimentary Blu-ray of Daddy (2023) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
There are no answers as to what the retreat was all about, what fundamental purpose it could possibly have served in the way it took place, nor why none of these men had ever heard stories surrounding such experiences that one would believe might be commonplace in this particular universe. Because we’re never afforded the context with which to rank the closing frame, it winds down with aloofness, a bit of a narrative misstep to an affair that, otherwise, found a great deal to say about not only the human condition but also some insight into why we do what we do. The ambiguity might work for some, but I thought it reduced the whole experience to little more than a lazy, bad joke.
I – and these characters – deserved better.
Daddy (2023) was produced by Enhanced Media, The Kalin Company, and Twnshp Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Anchor Bay Entertainment. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. As for the special features? The disc boasts a commentary track along with some extras by way of cut and/or extended scenes along with the cast’s improvisation reel. It’s a nice collection.
Strongly Recommended.
Clever but incomplete, Daddy (2023) both matures and gets a bit immature after its clever set-up, one that shows just how invasive one faceless government can still truly be in the era of modern technology. Who knew surrendering one’s rights could produce so many laughs? Still, excellent performances can’t quite escape the fact that a bit more context might’ve given its curious ending better legs to stand on – maybe even stronger baby steps toward a real resolution – as some might feel cheated with its all-too-easy punchline. Definitely worth a watch for those who like a few chuckles with their SciFi … and there’s barely any SciFi in here for those who show up for the Comedy.
In the interests of fairness, I’m pleased to disclose that the fine folks at Anchor Bay Entertainment provided me with a complimentary Blu-ray of Daddy (2023) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Sorry, folks, but I was never a fan of the whole Buffy thing.
In fairness, I did give it a few tries. I remember catching the pilot episode along with a few of its earliest episodes. It didn't quite hook me, so I tuned it out ... only to be told to jump on board again somewhere around maybe Season 4 or so. Well, I did, and it really seemed like what I saw in it up front, so I tuned it out again. I did catch the series' finale -- part of it -- but it just wasn't for me.
In any event, I have kept my eyes on its talent, and I just heard on a podcast of the passing of Michelle Trachtenberg at the all-too-soon age of 39. The news is apparently just breaking, and the early indications suggest this was of -- ahem -- "natural causes." That seems a bit suspect to me -- who dies of natural causes at such a young age? -- but I'm really just here to pass along the word. I'll leave it at that.
It bears mentioning that the actress earned an incredible three Saturn Awards nominations -- 'Best Supporting Actress On Television' -- for her work in the vampiric program; and that is no easy task, indeed.
Our warmest prayers are extended to the family, fans, and friends of Michelle Trachtenberg.
May she rest in peace ...
-- EZ
In fairness, I did give it a few tries. I remember catching the pilot episode along with a few of its earliest episodes. It didn't quite hook me, so I tuned it out ... only to be told to jump on board again somewhere around maybe Season 4 or so. Well, I did, and it really seemed like what I saw in it up front, so I tuned it out again. I did catch the series' finale -- part of it -- but it just wasn't for me.
In any event, I have kept my eyes on its talent, and I just heard on a podcast of the passing of Michelle Trachtenberg at the all-too-soon age of 39. The news is apparently just breaking, and the early indications suggest this was of -- ahem -- "natural causes." That seems a bit suspect to me -- who dies of natural causes at such a young age? -- but I'm really just here to pass along the word. I'll leave it at that.
It bears mentioning that the actress earned an incredible three Saturn Awards nominations -- 'Best Supporting Actress On Television' -- for her work in the vampiric program; and that is no easy task, indeed.
Our warmest prayers are extended to the family, fans, and friends of Michelle Trachtenberg.
May she rest in peace ...
-- EZ
- Published on
Ouch.
Roberto Orci -- a screenwriter who once rather famously told longtime Star Trek fans to f#ck off -- has passed away. Sadly.
Of course, I mention none of that in any attempt to celebrate. It's been said that any man's passing is a cause for reflection; and I've always thought that true. I do hope that perhaps he found some peace with fandom in his final days -- not that life revolves around fandom or one's perception of it -- because Orci did work so fervently in a great many franchises that so many people around the world hold near and dear. It isn't always about the writing. It isn't always about the characters. It isn't always about the production. It ultimately is how all of this stuff works together -- in unison -- that has heroes establishing legacies that mean so much to fans. While I can respect that maybe he took it as a job, I'll still salute him for works good and bad in this space.
... and work the man did!
Just a quick look at his IMDB.com profile shows -- as I said -- a fascinating portrait of where he came and went. While not all of them are genre-related, a great number of them are. Hercules: The Legendary Journeys. Xena: Warrior Princess. Jack Of All Trades. Alias. Locke & Key. Cowboys & Aliens (2011). Fringe. Ender's Game (2013). Wow. I hadn't realized just how many enterprises he had dabbled in; there are even more, and that's a testament to the fact that he stuck to his guns and made things happen. Good for him.
Alas, none of us lasts forever, and word reached the Information Superhighway of his passing owed to kidney disease recently.
Our warmest prayers are extended to the family, friends, and fans of Roberto Orci.
May he rest in peace ...
-- EZ
Roberto Orci -- a screenwriter who once rather famously told longtime Star Trek fans to f#ck off -- has passed away. Sadly.
Of course, I mention none of that in any attempt to celebrate. It's been said that any man's passing is a cause for reflection; and I've always thought that true. I do hope that perhaps he found some peace with fandom in his final days -- not that life revolves around fandom or one's perception of it -- because Orci did work so fervently in a great many franchises that so many people around the world hold near and dear. It isn't always about the writing. It isn't always about the characters. It isn't always about the production. It ultimately is how all of this stuff works together -- in unison -- that has heroes establishing legacies that mean so much to fans. While I can respect that maybe he took it as a job, I'll still salute him for works good and bad in this space.
... and work the man did!
Just a quick look at his IMDB.com profile shows -- as I said -- a fascinating portrait of where he came and went. While not all of them are genre-related, a great number of them are. Hercules: The Legendary Journeys. Xena: Warrior Princess. Jack Of All Trades. Alias. Locke & Key. Cowboys & Aliens (2011). Fringe. Ender's Game (2013). Wow. I hadn't realized just how many enterprises he had dabbled in; there are even more, and that's a testament to the fact that he stuck to his guns and made things happen. Good for him.
Alas, none of us lasts forever, and word reached the Information Superhighway of his passing owed to kidney disease recently.
Our warmest prayers are extended to the family, friends, and fans of Roberto Orci.
May he rest in peace ...
-- EZ
- Published on
So many films ... so little time ...
It was on this day in the great nation of Germany that the good people of Berlin were treated to an exclusive theatrical premiere of The Cabinet Of Dr. Caligari. From what I've been able to ascertain, the picture opened widely across the country on the very next day, but this was its very first public exhibition ... and I think that serves as Today's High Point In Horror History.
Directed by Robert Wiene, the story sprang from the minds of Carl Mayer and Hans Janowitz. The film starred Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, Hans Heinrich von Twardowski, Rudolf Lettinger, Rudolf Klein-Rogge among others. Here's the plot summary as provided by IMDB.com:
"Francis, a young man, recalls in his memory the horrible experiences he and his fiancée Jane recently went through. It is the annual fair in Holstenwall. Francis and his friend Alan visit The Cabinet of Dr. Caligari, an exhibit where the mysterious doctor shows the somnambulist Cesare, and awakens him for some moments from his death-like sleep. When Alan asks Cesare about his future, Cesare answers that he will die before dawn. The next morning Alan is found dead. Francis suspects Cesare of being the murderer, and starts spying on him and Dr. Caligari. The following night Cesare is going to stab Jane in her bed, but softens when he sees the beautiful woman, and instead of committing another murder, he abducts her. Jane's father awakens because of the noise, and he and some servants follow the fleeing Cesare. When Cesare cannot outrun his pursuers anymore, he gently places Jane down on the ground, and runs away. Francis and the police investigate the caravan of Dr. Caligari, but the doctor succeeds in slipping away. Francis pursues the fleeing Dr. Caligari, and sees him disappear into a madhouse. Francis enters the madhouse, where he is sure he will find the truth behind all these mysterious events."
While I've only seen bits and pieces of Caligari, I can attest to the strength of its visuals, mostly, in weaving its arresting story. But rather than have me stumble and jumble my way trying to explain why it's a stand-out picture, I've done the noble copy-and-paste from Google.com below. Take a gander -- and check out the flick in its entirety if you wish -- and celebrate its horrific goodness.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
It was on this day in the great nation of Germany that the good people of Berlin were treated to an exclusive theatrical premiere of The Cabinet Of Dr. Caligari. From what I've been able to ascertain, the picture opened widely across the country on the very next day, but this was its very first public exhibition ... and I think that serves as Today's High Point In Horror History.
Directed by Robert Wiene, the story sprang from the minds of Carl Mayer and Hans Janowitz. The film starred Werner Krauss, Conrad Veidt, Friedrich Feher, Lil Dagover, Hans Heinrich von Twardowski, Rudolf Lettinger, Rudolf Klein-Rogge among others. Here's the plot summary as provided by IMDB.com:
"Francis, a young man, recalls in his memory the horrible experiences he and his fiancée Jane recently went through. It is the annual fair in Holstenwall. Francis and his friend Alan visit The Cabinet of Dr. Caligari, an exhibit where the mysterious doctor shows the somnambulist Cesare, and awakens him for some moments from his death-like sleep. When Alan asks Cesare about his future, Cesare answers that he will die before dawn. The next morning Alan is found dead. Francis suspects Cesare of being the murderer, and starts spying on him and Dr. Caligari. The following night Cesare is going to stab Jane in her bed, but softens when he sees the beautiful woman, and instead of committing another murder, he abducts her. Jane's father awakens because of the noise, and he and some servants follow the fleeing Cesare. When Cesare cannot outrun his pursuers anymore, he gently places Jane down on the ground, and runs away. Francis and the police investigate the caravan of Dr. Caligari, but the doctor succeeds in slipping away. Francis pursues the fleeing Dr. Caligari, and sees him disappear into a madhouse. Francis enters the madhouse, where he is sure he will find the truth behind all these mysterious events."
While I've only seen bits and pieces of Caligari, I can attest to the strength of its visuals, mostly, in weaving its arresting story. But rather than have me stumble and jumble my way trying to explain why it's a stand-out picture, I've done the noble copy-and-paste from Google.com below. Take a gander -- and check out the flick in its entirety if you wish -- and celebrate its horrific goodness.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
Question: Why Is 1920's 'The Cabinet Of Dr. Caligari' Such A Highly Regarded Film?
[Source: Google.com]
The Cabinet of Dr. Caligari (1920) is considered a landmark in film history because it:
Influenced other filmmakers
It influenced many filmmakers, including Alfred Hitchcock, Terry Gilliam, Guillermo del Toro, and Tim Burton.
Helped launch a German film golden age
It helped launch a period of German film that included Nosferatu (1922), Metropolis (1926), and M (1931).
Influenced modern film
Its emphasis on psychological tension, surrealism, and atmospheric storytelling continue to impact movies today.
Influenced Twin Peaks, Lost Highway, and Mulholland Drive
These films had disturbing plot twists and a duality of tone that were inspired by The Cabinet of Dr. Caligari.
Pioneered German Expressionism
It was the first film in the German Expressionist movement, which broke from realism to prioritize the artist's subjective experience.
Influenced horror film
It's considered by some to be the first true horror film.
Influenced film noir
Its use of design and lighting to convey emotion influenced the Hollywood style of film noir.
The Cabinet of Dr. Caligari (1920) is considered a landmark in film history because it:
Influenced other filmmakers
It influenced many filmmakers, including Alfred Hitchcock, Terry Gilliam, Guillermo del Toro, and Tim Burton.
Helped launch a German film golden age
It helped launch a period of German film that included Nosferatu (1922), Metropolis (1926), and M (1931).
Influenced modern film
Its emphasis on psychological tension, surrealism, and atmospheric storytelling continue to impact movies today.
Influenced Twin Peaks, Lost Highway, and Mulholland Drive
These films had disturbing plot twists and a duality of tone that were inspired by The Cabinet of Dr. Caligari.
Pioneered German Expressionism
It was the first film in the German Expressionist movement, which broke from realism to prioritize the artist's subjective experience.
Influenced horror film
It's considered by some to be the first true horror film.
Influenced film noir
Its use of design and lighting to convey emotion influenced the Hollywood style of film noir.
- Published on
So many movies ... so little time ...
On this day in 2022 (in the United States of America), The Prototype enjoyed what IMDB.com indicates was a limited theatrical release.
Directed by Marcelo Grion and written by Grion alongside Stephen Brown and Stephen Karandy, the SciFi/Thriller starred Mark Vasconcellos, Frank Spinelli, Victoria De Mare, Juan Antonio Devoto, Theresa Tilly, Ken Belsky, John Marrs, Michael Bertaut, and others. Here's the plot summary that's provided by our good friends at IMDB.com:
"A government agent stumbles upon an alien conspiracy to conquer Earth. Using a blue liquid created by the aliens to make soldiers stronger, he becomes The Prototype-the only hope for mankind."
Alas, folks, I've not seen this one -- I do see that it is currently available on Amazon Prime Video so I might be inclined to give it a look. I also see that it was rather warmly received by folks on the film festival circuit where it racked up an astonishing 27 wins amongst several key categories. Curiously (or maybe not), it does have a relatively low viewer score -- it's been my experience that flicks celebrated by festival goers don't always resonate with wider audiences -- but don't let that stand in the way of anyone giving it a spin if you're so inclined.
I'll post the trailer via YouTube.com below for you to decide.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
On this day in 2022 (in the United States of America), The Prototype enjoyed what IMDB.com indicates was a limited theatrical release.
Directed by Marcelo Grion and written by Grion alongside Stephen Brown and Stephen Karandy, the SciFi/Thriller starred Mark Vasconcellos, Frank Spinelli, Victoria De Mare, Juan Antonio Devoto, Theresa Tilly, Ken Belsky, John Marrs, Michael Bertaut, and others. Here's the plot summary that's provided by our good friends at IMDB.com:
"A government agent stumbles upon an alien conspiracy to conquer Earth. Using a blue liquid created by the aliens to make soldiers stronger, he becomes The Prototype-the only hope for mankind."
Alas, folks, I've not seen this one -- I do see that it is currently available on Amazon Prime Video so I might be inclined to give it a look. I also see that it was rather warmly received by folks on the film festival circuit where it racked up an astonishing 27 wins amongst several key categories. Curiously (or maybe not), it does have a relatively low viewer score -- it's been my experience that flicks celebrated by festival goers don't always resonate with wider audiences -- but don't let that stand in the way of anyone giving it a spin if you're so inclined.
I'll post the trailer via YouTube.com below for you to decide.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
So many movies ... so little time ...
On this day in 2020 (in the great nation state of Germany), audiences of the Berlin International Film Festival were treated to the very first theatrical exhibition of Last And First Men.
The film was directed by Jóhann Jóhannsson who also wrote the screenplay along with Olay Stapledon and José Enrique Macián. The feature's only acting talent was its narrator, actress Tilda Swinton.
For those curious, I have seen this film: back in 2023, I was provided a complimentary Blu-ray of it from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my thoughts on it right here. Frankly, I don't recall being all that enamored with the project -- it smacked of an experimental feature and little else -- but to each his own, as they say.
Here's the plot summary as provided by IMDB.com:
"Two billion years ahead of us, a future race of humans finds itself on the verge of extinction. Almost all that is left in the world are lone and surreal monuments, beaming their message into the wilderness."
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
On this day in 2020 (in the great nation state of Germany), audiences of the Berlin International Film Festival were treated to the very first theatrical exhibition of Last And First Men.
The film was directed by Jóhann Jóhannsson who also wrote the screenplay along with Olay Stapledon and José Enrique Macián. The feature's only acting talent was its narrator, actress Tilda Swinton.
For those curious, I have seen this film: back in 2023, I was provided a complimentary Blu-ray of it from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my thoughts on it right here. Frankly, I don't recall being all that enamored with the project -- it smacked of an experimental feature and little else -- but to each his own, as they say.
Here's the plot summary as provided by IMDB.com:
"Two billion years ahead of us, a future race of humans finds itself on the verge of extinction. Almost all that is left in the world are lone and surreal monuments, beaming their message into the wilderness."
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
So many films ... so little time ...
It was on this day back in 2020 (in the great nation state of Germany) that Sleep (aka Schlaf) was first screened for audiences of the Berlin International Film Festival.
Written (in part) and directed by Michael Venus, the simmering Horror feature starred Gro Swantje Kohlhof, Sandra Hüller, August Schmölzer, Marion Kracht, Agata Buzek, Martina Schöne-Radunski, Max Hubacher, Andreas Anke, Katharina Behrens, and others. Here's the plot summary as provided by our friends at IMDB.com:
"The idyllic village of Stainbach is being haunted by a mysterious demon. It turns out that the nightmares of Marlene (Sandra Hüller) are responsible for the dark events. She is driving some of the inhabitants of the village insane during her terrible dreams. When she discovers her nightmares are about a real place, she tracks down the village of Stainbach to get to the bottom of the mystery. There, she learns about the consequence of her dreams and suffers a nervous breakdown. Soon after, she is admitted to a psychiatric ward. Her daughter, Mona (Gro Swantje Kohlhof), journeys to Stainbach to find out the reason for her mother's breakdown and the demonic nightmares she suffered from. She comes into contact with the peculiar villagers and discovers the dark history hidden within the quiet village. Perhaps the nightmare isn't the demon that threatens the town after all, but rather - the past."
I've seen Sleep, and I can give it a solid endorsement. From what I recall, it was an interesting Horror-style Chiller, one that reminded folks to never forget their history. Folks wanting to know a bit more are encouraged to check out my review right here.
The trailer is below for those of you who want to take a gander.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
It was on this day back in 2020 (in the great nation state of Germany) that Sleep (aka Schlaf) was first screened for audiences of the Berlin International Film Festival.
Written (in part) and directed by Michael Venus, the simmering Horror feature starred Gro Swantje Kohlhof, Sandra Hüller, August Schmölzer, Marion Kracht, Agata Buzek, Martina Schöne-Radunski, Max Hubacher, Andreas Anke, Katharina Behrens, and others. Here's the plot summary as provided by our friends at IMDB.com:
"The idyllic village of Stainbach is being haunted by a mysterious demon. It turns out that the nightmares of Marlene (Sandra Hüller) are responsible for the dark events. She is driving some of the inhabitants of the village insane during her terrible dreams. When she discovers her nightmares are about a real place, she tracks down the village of Stainbach to get to the bottom of the mystery. There, she learns about the consequence of her dreams and suffers a nervous breakdown. Soon after, she is admitted to a psychiatric ward. Her daughter, Mona (Gro Swantje Kohlhof), journeys to Stainbach to find out the reason for her mother's breakdown and the demonic nightmares she suffered from. She comes into contact with the peculiar villagers and discovers the dark history hidden within the quiet village. Perhaps the nightmare isn't the demon that threatens the town after all, but rather - the past."
I've seen Sleep, and I can give it a solid endorsement. From what I recall, it was an interesting Horror-style Chiller, one that reminded folks to never forget their history. Folks wanting to know a bit more are encouraged to check out my review right here.
The trailer is below for those of you who want to take a gander.
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
So many movies ... so little time ...
On this day in 2010 (in the United States of America), audiences of the Sedona Film Festival were treated to a work-in-progress edit of Radio Free Albemuth; and this looks to be the very first time the picture enjoyed any theatrical engagement ever.
Based on a story from Philip K. Dick, John Alan Simon both adapted the work and directed the flick. The production starred Jonathan Scarfe, Shea Whigham, Michael Rothhaar, Alanis Morisette, Kathryn Winnick, Scott Wilson, Julie Warner, Hanna Hall, Rosemary Harris, Kelly Hare, and others. Here's the plot summary as provided by our friends at IMDB.com:
"Berkeley record store clerk Nick Brady (Jonathan Scarfe) begins to experience strange visions from an entity he calls VALIS that cause him to uproot his family and move to Los Angeles where he becomes a successful music company executive. With the help of best friend, science fiction writer Philip K. Dick himself (Shea Whigam) and a mysterious woman named Silvia (Alanis Morissette), Nick finds himself drawn into a dangerous political-mystical conspiracy of cosmic proportions. The story is set in an alternate reality America circa 1985 under the authoritarian control of President Fremont, a Nixon-like clone (Scott Wilson)."
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
On this day in 2010 (in the United States of America), audiences of the Sedona Film Festival were treated to a work-in-progress edit of Radio Free Albemuth; and this looks to be the very first time the picture enjoyed any theatrical engagement ever.
Based on a story from Philip K. Dick, John Alan Simon both adapted the work and directed the flick. The production starred Jonathan Scarfe, Shea Whigham, Michael Rothhaar, Alanis Morisette, Kathryn Winnick, Scott Wilson, Julie Warner, Hanna Hall, Rosemary Harris, Kelly Hare, and others. Here's the plot summary as provided by our friends at IMDB.com:
"Berkeley record store clerk Nick Brady (Jonathan Scarfe) begins to experience strange visions from an entity he calls VALIS that cause him to uproot his family and move to Los Angeles where he becomes a successful music company executive. With the help of best friend, science fiction writer Philip K. Dick himself (Shea Whigam) and a mysterious woman named Silvia (Alanis Morissette), Nick finds himself drawn into a dangerous political-mystical conspiracy of cosmic proportions. The story is set in an alternate reality America circa 1985 under the authoritarian control of President Fremont, a Nixon-like clone (Scott Wilson)."
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“An exploitation sex drama just this side of pinku-eiga with yakuza elements.”
To put it succinctly, there’s a great deal going on within Play It Cool … but the least of it has to do with either its pinku-eiga or yakuza elements.
In fact, the academic in me might suggest that the film offers up a reasonably accessible primer in how to tell a purely dramatic story compliments of writer/director Yasuzô Masumura (1924-1986). The storyteller’s Wikipedia.org page suggests that he may’ve been one of the more talented directors to emerge in post-war Japan, but there’s sadly very little information of real substance about his catalogue of output, much less a summation of what truly makes him memorable in the field of cinema or television. Essentially, the site gives some basic biographical data and that’s all; so those looking for a greater analysis might have to look elsewhere. Even what little is available on the man on IMDB.com is scant, a surprise given the fact that he worked so vigorously across a few decades in the Japanese film industry at a time wherein, culturally, there was a significant shift away from conformity and a growing focus on individuality.
Certainly, a casual glance at Play It Cool suggests an “out with the old, in with the new” mentality: our heroine – the young and impressionable Yumi (played by the stunning Mari Atsumi) – both clings to the traditional construct of “family first” while simultaneously coming to terms with the harsh reality that she needs to find her own place in the big, big world outside, even when that means sticking to the somewhat ramshackle and claustrophobic dwelling that serves as a home. Over the course of a few short days and owed to no fault on her part, the young woman finds herself forced to make ends meet when her mother Tomi (Akemi Negishi) is sentenced to prison for killing the lover who raped her daughter in a night of uncontrolled passion. Indeed, it was an odd turn of events given the fact that Tomi nearly had to rape the man herself only the night before when he refused her affections, choosing a good night’s sleep over her very own aggressive philandering.
The loss of a head of household leaves Yumi with no option but to turn to the life of a Japanese hostess in the local seedy nightclub marketplace. Immediately, her wholesome good looks catch the attention of Nozawa (Yûsuke Kawazu), who turned to a life of soft crime after he lost his law license in taking the fall for a prominent client. Realizing her beauty would be better appreciated – and far more profitable – in the district catering to wealthy elites, he recruits her for his own nightspot, eventually allowing her to call her own shots once she’s a proven attraction. Of course, even he succumbs to her charms even though he’s not above farming her out as a lucrative mistress when the chance arrives to please the millionaire Kada (Kô Nishimura), a decision that ultimately is leads to his undoing in the final reel. As fate would have it, Yumi’s sexual prowess send Kada to an early grave, putting her first in line to inherit the man’s fortune: such financial independence means that she has no further use for Nozawa, questioning whether she truly loved him as she said in the first place.
From the film’s IMDB.com page citation:
“An exploitation sex drama just this side of pinku-eiga with yakuza elements.”
To put it succinctly, there’s a great deal going on within Play It Cool … but the least of it has to do with either its pinku-eiga or yakuza elements.
In fact, the academic in me might suggest that the film offers up a reasonably accessible primer in how to tell a purely dramatic story compliments of writer/director Yasuzô Masumura (1924-1986). The storyteller’s Wikipedia.org page suggests that he may’ve been one of the more talented directors to emerge in post-war Japan, but there’s sadly very little information of real substance about his catalogue of output, much less a summation of what truly makes him memorable in the field of cinema or television. Essentially, the site gives some basic biographical data and that’s all; so those looking for a greater analysis might have to look elsewhere. Even what little is available on the man on IMDB.com is scant, a surprise given the fact that he worked so vigorously across a few decades in the Japanese film industry at a time wherein, culturally, there was a significant shift away from conformity and a growing focus on individuality.
Certainly, a casual glance at Play It Cool suggests an “out with the old, in with the new” mentality: our heroine – the young and impressionable Yumi (played by the stunning Mari Atsumi) – both clings to the traditional construct of “family first” while simultaneously coming to terms with the harsh reality that she needs to find her own place in the big, big world outside, even when that means sticking to the somewhat ramshackle and claustrophobic dwelling that serves as a home. Over the course of a few short days and owed to no fault on her part, the young woman finds herself forced to make ends meet when her mother Tomi (Akemi Negishi) is sentenced to prison for killing the lover who raped her daughter in a night of uncontrolled passion. Indeed, it was an odd turn of events given the fact that Tomi nearly had to rape the man herself only the night before when he refused her affections, choosing a good night’s sleep over her very own aggressive philandering.
The loss of a head of household leaves Yumi with no option but to turn to the life of a Japanese hostess in the local seedy nightclub marketplace. Immediately, her wholesome good looks catch the attention of Nozawa (Yûsuke Kawazu), who turned to a life of soft crime after he lost his law license in taking the fall for a prominent client. Realizing her beauty would be better appreciated – and far more profitable – in the district catering to wealthy elites, he recruits her for his own nightspot, eventually allowing her to call her own shots once she’s a proven attraction. Of course, even he succumbs to her charms even though he’s not above farming her out as a lucrative mistress when the chance arrives to please the millionaire Kada (Kô Nishimura), a decision that ultimately is leads to his undoing in the final reel. As fate would have it, Yumi’s sexual prowess send Kada to an early grave, putting her first in line to inherit the man’s fortune: such financial independence means that she has no further use for Nozawa, questioning whether she truly loved him as she said in the first place.
So … as I said above, there really is very little room for the yakuza throughout Play It Cool. What criminal institutions there are get referenced more as background (some loose subtext) than they do prominently, so much so that it’s almost inaccurate to even imply there are any gangs or families calling the shots in any of it. While I’ll concede that Masumura’s film does occasionally flirt with pinku ingredients (nudity and sex), it does so in a relentlessly tame style. Perhaps this being 1970 and whatnot, maybe the storyteller wasn’t all that interested in going – ahem – hard core. This unique subgenre had only started to take hold (from what I understand) in the mid-1960’s, and the true practitioners of such pictures – the pioneers, if you will – began in the 1970’s and lasted into the 1980’s. Thematically, Cool does feel like an effort chronologically in between – it tastefully hints at things to come and manages to keep its sexcapades invested with narrative purpose as opposed to true exploitation – and audiences shouldn’t expect floor-to-ceiling titillation because there’s none in here.
What there is, however, is a great degree of bona fide melodramatic storytelling presented with conceptual flair, so much so that – yes – it’s a mostly unheard-of flick deserving of rediscovery.
As a mother/daughter story, Cool presents two sides of the same female coin: Tomi has served a life in the trenches of the Sexual Revolution to the point wherein she’s become a bit of a relic, the kind I suspect most gentlemen’s clubs would rather be free of. It’s strongly suggested, in fact, that the only reason there’s still a place for the woman is because a lifelong friend and fellow sex worker feels an obligation out of friendship to keep her around. The younger prostitutes turn up their noses at the old lady, and they’re constantly suggesting Tomi is well past her prime. Arriving back home one night only to learn that her deadbeat boyfriend has tired of her and forced himself upon her daughter is an understandable catalyst for why the woman finally cracks, taking the law – and a butcher’s knife – into her own hands.
Somehow, Tomi remains committed to preserving Japanese tradition: in spite of her chosen profession, she stays true to raising a daughter virtuous enough to present to the proper suitor, one who’ll gladly take Yumi for all of his own and give her the life that Tomi somehow missed out on with her own choices. Such positive nurturing – to a good degree – is exhibited by Yumi even though she’s of an age wherein rebelling against one’s parent is the norm: even when prompted by her girlfriends to go out and chase boys, she resists, wanting little more than to get back home, practice her sewing skills, have a meal, and get a good night’s rest. She’s the dutiful daughter to a fault … and that’s why her eventually blossoming into adulthood is still a joy to watch, especially because it’s more than a bit subversive.
Like dear old mom, Yumi stays true to her upbringing.
What there is, however, is a great degree of bona fide melodramatic storytelling presented with conceptual flair, so much so that – yes – it’s a mostly unheard-of flick deserving of rediscovery.
As a mother/daughter story, Cool presents two sides of the same female coin: Tomi has served a life in the trenches of the Sexual Revolution to the point wherein she’s become a bit of a relic, the kind I suspect most gentlemen’s clubs would rather be free of. It’s strongly suggested, in fact, that the only reason there’s still a place for the woman is because a lifelong friend and fellow sex worker feels an obligation out of friendship to keep her around. The younger prostitutes turn up their noses at the old lady, and they’re constantly suggesting Tomi is well past her prime. Arriving back home one night only to learn that her deadbeat boyfriend has tired of her and forced himself upon her daughter is an understandable catalyst for why the woman finally cracks, taking the law – and a butcher’s knife – into her own hands.
Somehow, Tomi remains committed to preserving Japanese tradition: in spite of her chosen profession, she stays true to raising a daughter virtuous enough to present to the proper suitor, one who’ll gladly take Yumi for all of his own and give her the life that Tomi somehow missed out on with her own choices. Such positive nurturing – to a good degree – is exhibited by Yumi even though she’s of an age wherein rebelling against one’s parent is the norm: even when prompted by her girlfriends to go out and chase boys, she resists, wanting little more than to get back home, practice her sewing skills, have a meal, and get a good night’s rest. She’s the dutiful daughter to a fault … and that’s why her eventually blossoming into adulthood is still a joy to watch, especially because it’s more than a bit subversive.
Like dear old mom, Yumi stays true to her upbringing.
Oh, she’s forced to compromise all of the values of the Nuclear Family – sex workers must inevitably have relations, you know – but she retains a degree of innocence about it all, often times putting her at odds with her fellow courtesans. Like her mother was secretly loathed, so, too, is Yumi; but that’s because she’s vastly better at manipulating the men around her to abide by her terms instead of succumbing to the usual grind of the job. While perfectly ready, willing, and able to bed them, she first demands to be bested at poker … the very game used against her in the deflowering by her surrogate stepfather in the film’s opening. Before taking the men between the sheets, Yumi takes all their money, most times collecting five times the usual fee for conjugations, proving that – if nothing else – she’s no dummy. As one can imagine, this makes her competition green with envy as they’re unable to match wits with the young woman.
Masumura constructs this story with a great degree of subtlety. He makes good use of framing, lighting, set-up, and foreshadowing to set up and deliver on the melodrama’s highs and lows, never quite approaching the sheer gutter of what real life within the sex industry resembles. His cast of characters are all broken in some way, and yet each retains something that gives them a singular joy worn more like an anchor than a badge of honor. In his eyes, Yumi is an earlier, dingier incarnation of Garry Marshall’s Pretty Woman (1990) – less a lot of the feel-good schtick, the pop soundtrack, Julia Roberts’ pearly whites, and the whole sugary veneer – but one wherein our leading lady wears a poker face unlike any of her contemporaries. As we learn in the last reel, she’ll stop at nothing to stay true to her values even if that means killing an unborn baby in the womb to send a parting message to the only man she ever truly loved … even if she really did.
Play It Cool (1970) was produced by Daiei Studios. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. Lastly, if you’re looking for special features? There’s a good commentary track from Jasper Sharp and Anne McKnight that rarely sticks to a single thread but is informative enough to give a thumbs up. There’s also a solid visual essay that explores some of Masumura’s career as well as offers up a few tidbits about the feature directly.
Recommended.
Honestly, Play It Cool initially didn’t appear like a film I’d spend much time critiquing. The subject matter was interesting, and the performances were solid; but overall, my first viewing was a touch underwhelming. However, something about it stuck with me – the way one character seemed to so lovingly keep thumbing her nose at convention – and I gave it a second viewing. Then I gave it’s commentary track a whirl. I even watched its conclusion a third time because I thought I’d missed something. To my surprise, I found a great deal more to like than dislike – more to think about than ignore – so much so that I’d encourage folks to similarly watch it and let it digest before judging it too harshly on superficial merits. There’s more to digest here than is apparent at first blush, so why not be swept away by the lovely Yumi – my God, those eyes are heavenly – and her feminine wiles into a world wherein she calls the shots in ways too numerous to mention?
Why, you’ll be seduced … and not even know it.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Play It Cool (1970) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Masumura constructs this story with a great degree of subtlety. He makes good use of framing, lighting, set-up, and foreshadowing to set up and deliver on the melodrama’s highs and lows, never quite approaching the sheer gutter of what real life within the sex industry resembles. His cast of characters are all broken in some way, and yet each retains something that gives them a singular joy worn more like an anchor than a badge of honor. In his eyes, Yumi is an earlier, dingier incarnation of Garry Marshall’s Pretty Woman (1990) – less a lot of the feel-good schtick, the pop soundtrack, Julia Roberts’ pearly whites, and the whole sugary veneer – but one wherein our leading lady wears a poker face unlike any of her contemporaries. As we learn in the last reel, she’ll stop at nothing to stay true to her values even if that means killing an unborn baby in the womb to send a parting message to the only man she ever truly loved … even if she really did.
Play It Cool (1970) was produced by Daiei Studios. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the provided sights-and-sounds to be exceptional from start-to-finish. Lastly, if you’re looking for special features? There’s a good commentary track from Jasper Sharp and Anne McKnight that rarely sticks to a single thread but is informative enough to give a thumbs up. There’s also a solid visual essay that explores some of Masumura’s career as well as offers up a few tidbits about the feature directly.
Recommended.
Honestly, Play It Cool initially didn’t appear like a film I’d spend much time critiquing. The subject matter was interesting, and the performances were solid; but overall, my first viewing was a touch underwhelming. However, something about it stuck with me – the way one character seemed to so lovingly keep thumbing her nose at convention – and I gave it a second viewing. Then I gave it’s commentary track a whirl. I even watched its conclusion a third time because I thought I’d missed something. To my surprise, I found a great deal more to like than dislike – more to think about than ignore – so much so that I’d encourage folks to similarly watch it and let it digest before judging it too harshly on superficial merits. There’s more to digest here than is apparent at first blush, so why not be swept away by the lovely Yumi – my God, those eyes are heavenly – and her feminine wiles into a world wherein she calls the shots in ways too numerous to mention?
Why, you’ll be seduced … and not even know it.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of Play It Cool (1970) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
So many movies ... so little time ...
On this day in 2009 (in the United Kingdom), Zack Snyder's take on the groundbreaking comic book story that remains Watchmen enjoyed its glorious big screen debut.
And controversy has kinda/sorta followed ever since.
Good grief.
I remember back in the day saying something to the effect that because of fandom and the way they've treated Snyder is one of the reasons we can't have nice things.
Whether you enjoy Watchmen or not, there's really no denying that it's about as visually arresting a flick as the comics-to-film subgenre has ever had. (Again, read what I said, haters: whether you enjoy it or not ...) Snyder's take on the source material -- from Alan Moore, Dave Gibbons, and John Higgins -- truly energized storytellers to truly reach for the stars, showing just what was possible if you had the time, money, and skills to bring something to life for cinemas. I've often argued that those folks in fandom who just don't like Snyder -- for whatever reason -- have long trolled the film as being nothing more than the sum of such lush visuals, and I couldn't disagree more strongly. What he did in matching the style of the book to the screen and giving it his own unique signature is exactly the kind of filmmaking fans everywhere should embrace: this doesn't mean loving the man so much as it suggests that authentic storytelling deserves to be celebrated minimally.
But in order to avoid any further hate e-mail, I'll leave it at that.
The cast included such names as Malin Akerman, Billy Crudup, Patrick Wilson, Jackie Earle Haley, Jeffrey Dean Morgan, Carla Gugino, Matt Frewer, Matthew Goode, Stephen McHattie, Laura Mennell, and so many others. Here's the plot summary as provided by our friends at IMDB.com:
"It's 1985 in an alternate reality. The Watchmen - comprised of the Comedian, Dr. Manhattan, Nite Owl II, Ozymandias, Rorschach and Silk Spectre II - are a disparate band of masked superheroes, modeled after the Minutemen, who were masked superheroes of a generation earlier, most of who are dead or afflicted by the ravages of life. The Comedian belongs to both groups. Despite the activities of the Watchmen leading to the west winning the Vietnam War which in turn has kept Richard Nixon in the White House, Nixon has now outlawed masks, resulting in the Watchmen disbanding and going into retirement, most hiding their Watchmen past under their human identities. However, the Comedian, in his human persona of Eddie Blake, and Dr. Manhattan - former physicist Jon Osterman who obtained his superhero powers through a scientific accident which almost killed him - now work for the government. Dr. Manhattan's powers in particular have kept a watch over nuclear proliferation, as he is able to stop any nuclear attack. Regardless, the Cold War is at its height with recent Soviet posturing regarding nuclear bomb buildup. In her human persona of Laurie Jupiter, Silk Spectre II is Dr. Manhattan's assistant and lover, as much as they can be in Dr. Manhattan's now non-human state. Meanwhile, Ozymandias has come out to the world as wealthy genius Adrian Veidt, capitalizing on his Ozymandias identity to better the world, and Rorschach continues to work as a vigilante, although one wanted by the law despite he the reason that many criminals are behind bars. When Blake is murdered, Rorschach, as the only one still on the streets, believes the murderer is out to kill all the Watchmen, despite any number of people wanting to kill the Comedian for being a misogynist. Evidence points to it perhaps having something to do with an imminent attempt of nuclear annihilation. Rorschach has to convince his colleagues, who he has not seen since their superhero days, of the validity of his theory for them to come out of retirement, which is no easy task. If they do, which will require them to overcome external forces which seem to be conspiring against them, they will have to discover both who killed the Comedian and why before they befall the same fate as him and/or before the mastermind is able to exact his larger grand plan."
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
On this day in 2009 (in the United Kingdom), Zack Snyder's take on the groundbreaking comic book story that remains Watchmen enjoyed its glorious big screen debut.
And controversy has kinda/sorta followed ever since.
Good grief.
I remember back in the day saying something to the effect that because of fandom and the way they've treated Snyder is one of the reasons we can't have nice things.
Whether you enjoy Watchmen or not, there's really no denying that it's about as visually arresting a flick as the comics-to-film subgenre has ever had. (Again, read what I said, haters: whether you enjoy it or not ...) Snyder's take on the source material -- from Alan Moore, Dave Gibbons, and John Higgins -- truly energized storytellers to truly reach for the stars, showing just what was possible if you had the time, money, and skills to bring something to life for cinemas. I've often argued that those folks in fandom who just don't like Snyder -- for whatever reason -- have long trolled the film as being nothing more than the sum of such lush visuals, and I couldn't disagree more strongly. What he did in matching the style of the book to the screen and giving it his own unique signature is exactly the kind of filmmaking fans everywhere should embrace: this doesn't mean loving the man so much as it suggests that authentic storytelling deserves to be celebrated minimally.
But in order to avoid any further hate e-mail, I'll leave it at that.
The cast included such names as Malin Akerman, Billy Crudup, Patrick Wilson, Jackie Earle Haley, Jeffrey Dean Morgan, Carla Gugino, Matt Frewer, Matthew Goode, Stephen McHattie, Laura Mennell, and so many others. Here's the plot summary as provided by our friends at IMDB.com:
"It's 1985 in an alternate reality. The Watchmen - comprised of the Comedian, Dr. Manhattan, Nite Owl II, Ozymandias, Rorschach and Silk Spectre II - are a disparate band of masked superheroes, modeled after the Minutemen, who were masked superheroes of a generation earlier, most of who are dead or afflicted by the ravages of life. The Comedian belongs to both groups. Despite the activities of the Watchmen leading to the west winning the Vietnam War which in turn has kept Richard Nixon in the White House, Nixon has now outlawed masks, resulting in the Watchmen disbanding and going into retirement, most hiding their Watchmen past under their human identities. However, the Comedian, in his human persona of Eddie Blake, and Dr. Manhattan - former physicist Jon Osterman who obtained his superhero powers through a scientific accident which almost killed him - now work for the government. Dr. Manhattan's powers in particular have kept a watch over nuclear proliferation, as he is able to stop any nuclear attack. Regardless, the Cold War is at its height with recent Soviet posturing regarding nuclear bomb buildup. In her human persona of Laurie Jupiter, Silk Spectre II is Dr. Manhattan's assistant and lover, as much as they can be in Dr. Manhattan's now non-human state. Meanwhile, Ozymandias has come out to the world as wealthy genius Adrian Veidt, capitalizing on his Ozymandias identity to better the world, and Rorschach continues to work as a vigilante, although one wanted by the law despite he the reason that many criminals are behind bars. When Blake is murdered, Rorschach, as the only one still on the streets, believes the murderer is out to kill all the Watchmen, despite any number of people wanting to kill the Comedian for being a misogynist. Evidence points to it perhaps having something to do with an imminent attempt of nuclear annihilation. Rorschach has to convince his colleagues, who he has not seen since their superhero days, of the validity of his theory for them to come out of retirement, which is no easy task. If they do, which will require them to overcome external forces which seem to be conspiring against them, they will have to discover both who killed the Comedian and why before they befall the same fate as him and/or before the mastermind is able to exact his larger grand plan."
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ