Maybe early Kurosawa and me aren’t just meant to be, with the exception of “The Seven Samurai.” There’s something about “The Idiot” that I can’t fully immerse myself into. The film is about one idealistic man who finds himself involved in the lives of a few families in a Japanese city. Is it because the film doesn’t allow any of its characters a chance of full happiness? Does it try to cover and juggle too many plots and characters? Or maybe it’s because we’re seeing the work of a man who’s just starting out?
I’m part of the immature ilk whose reductive assessment of the film would be “zOMG, Japanese people in Western clothing! Loves it!” The film is a balance of post-war Japan and Dostoyevsky as the story’s source material. New, Western customs add to old customs, the caste system still exists, some people get ostracized, everyone is miserable. The audience can even over-read the three-footer snow as metaphorical of the heavy burden that society places on its characters.
If anything, this is the also the hardest Kurosawa’s actors have worked so far – I’ll find out if I’m wrong by the time I see “Ran” in three weeks. Toshiro Mifune, before his stardom, actually relaxes his face in some of the scenes. The female characters are still bitchy, but they freely flow from acidic to damaged to vulnerable. And we like bitchy, right guys?
I also borrowed my first Dostoyevsky from the library, a daunting task with all 643 pages of small print. Maybe this big, heavy key will unlock a few things and offer me more insight towards the film.
Inspired by Nathaniel, Nick, and Tomas. My A Star is Born posts will be out when the movie plays in my rep theatre. ETA: This post is also now a part of Nathaniel’s ‘Hit Me With Your Best Shot’ series.
I was screen capping A Streetcar Named Desire for my “Godfather” cast career post. Get some good caps of Brando, get out. Something really captivated me while skimming through this movie, because it felt like watching the frills and frenetic images of a silent movie at parts. Streetcar has that ‘silent’ German feel while the weaker On the Waterfront has Neorealist touches. East of Eden and Splendor in the Grass brings the crazy, which I like, but despite of how much I love them, I think colour drowns out the emotional punch that his black and white films had. [ETA: It’s been nine months since I wrote that sentence, I’m not sure if I agree with that now.]
The silent-era feel of the film was especially true when Vivien Leigh was on-screen. It helps since her character is a relic of the past, and the silent aesthetics compliment her. The camera captures her through overhead shots and full body long shots. It zooms and zeroes in her shamelessly as if Kazan wants us to feel her emotions by exposing her so closely on-screen. The mise-en-scene helped a lot into the mood of this film, enveloping Blanche with its draperies and decay.
I’ve been ambivalent with the movie, since it was one of the first classic-era films I’ve been introduced to. I saw this before Gone with the Wind. The film astounded me on my first viewing, watching Leigh’s vulnerability and Brando’s wavelengths. Seeing Brando in a suit seems even scarier because he’s calm at the moment and the audience knows he’s just waiting to snap.
But then it’s dialogue-heavy, like most early film adaptations of plays, and I’m more of a visual guy and I didn’t appreciate what this movie did visually back then. And since it’s one of my first outings on classical film, I ran to iMDb and most of when were cheering for the film. There’s a few who deride her performance, although it’s clearly the best of the bunch.
I got around to reading the play and I interpreted the ‘following morning’ scene – when Blanche makes it seem that she’s encountering trash for the first time, specifically the lines where Blanche tells Stella that the latter has forgotten about Belle Rive – as more sorrowfully than Leigh and Kazan did (honestly, I’m probably not gonna be the most subtle director ever, and that’s why I don’t plan to become one). So there was a brief period of slight dislike there.
But then this last time I saw Leigh playing Blanche strong to protect her sister, worn out both physically and mentally, convulsing on the floor. None of that was fake. Enjoy the screen grabs.