list http://www.spout.com/ Recent community activity around Rashomon on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Rashomon/28193/default.aspx Title: Rashomon
Year: 1951
Director: Akira Kurosawa
Plot: This landmark film is a brilliant exploration of truth and human weakness. It opens with a priest, a woodcutter, and a peasant taking refuge from a downpour beneath a ruined gate in 12th-century Japan. The priest and the woodcutter, each looking stricken, discuss the trial of a notorious bandit for rape and murder. As the retelling of the trial unfolds, the participants in the crime -- the bandit (Toshiro Mifune), the rape victim (Machiko Kyo), and the murdered man (Masayuki Mori) -- tell their plausible though completely incompatible versions of the story. In the bandit's version, he and the man wage a spirited duel after the rape, resulting in the man's death. In the woman's testimony, she is spurned by her husband after being raped. Hysterical with grief, she kills him. In the man's version, speaking through the lips of a medium, the bandit beseeches the woman after the rape to go away with him. She insists that the bandit kill her husband first, which angers the bandit. He spurns her and leaves. The man kills himself. Seized with guilt, the woodcutter admits to the shocked priest and the commoner that he too witnessed the crime. His version is equally feasible, although his veracity is questioned when it is revealed that he stole a dagger from the crime scene. Just as all seems bleak and hopeless, a baby appears behind the gate. The commoner seizes the moment and steals the child's clothes, while the woodcutter redeems himself and humanity in the eyes of the troubled priest, by adopting the infant. ~ Jonathan Crow, All Movie Guide
Times Tagged: 18
Number of Lists: 47
Number of blog posts: 4
Number of discussion threads: 9
SpoutRating: 4
]]>Mon, 13 Jul 2009 02:08:44 GMTRashomon1951Akira KurosawaThis landmark film is a brilliant exploration of truth and human weakness. It opens with a priest, a woodcutter, and a peasant taking refuge from a downpour beneath a ruined gate in 12th-century Japan. The priest and the woodcutter, each looking stricken, discuss the trial of a notorious bandit for rape and murder. As the retelling of the trial unfolds, the participants in the crime -- the bandit (<a href="/players/P____49015/default.aspx" style='text-decoration:underline'>Toshiro Mifune</a>), the rape victim (<a href="/players/P____39707/default.aspx" style='text-decoration:underline'>Machiko Kyo</a>), and the murdered man (<a href="/players/P____50669/default.aspx" style='text-decoration:underline'>Masayuki Mori</a>) -- tell their plausible though completely incompatible versions of the story. In the bandit's version, he and the man wage a spirited duel after the rape, resulting in the man's death. In the woman's testimony, she is spurned by her husband after being raped. Hysterical with grief, she kills him. In the man's version, speaking through the lips of a medium, the bandit beseeches the woman after the rape to go away with him. She insists that the bandit kill her husband first, which angers the bandit. He spurns her and leaves. The man kills himself. Seized with guilt, the woodcutter admits to the shocked priest and the commoner that he too witnessed the crime. His version is equally feasible, although his veracity is questioned when it is revealed that he stole a dagger from the crime scene. Just as all seems bleak and hopeless, a baby appears behind the gate. The commoner seizes the moment and steals the child's clothes, while the woodcutter redeems himself and humanity in the eyes of the troubled priest, by adopting the infant. ~ Jonathan Crow, All Movie Guide18Tag Target (>10)47494http://www.spout.com/ProductImages/t16670o6q8f.jpghttp://www.spout.com/films/Rashomon/28193/default.aspxFilm http://www.spout.com/groups/Movie_Polls/Re_Which_of_these_films_written_by_Shinobu_Hashimo/657/41432/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 4/3/2009 1:53:17 PM
Body: Although Harakiri is just amazing and the movie that caused me to look into this writer and make this poll, I still think I have to reserve Rashomon for my favorite. It's stunning to think that amazing piece of work was Hashimoto's first film!
]]>Fri, 03 Apr 2009 17:53:17 GMTRisseladaMovie Polls4/3/2009 1:53:17 PMAlthough Harakiri is just amazing and the movie that caused me to look into this writer and make this poll, I still think I have to reserve Rashomon for my favorite. It's stunning to think that amazing piece of work was Hashimoto's first film! http://www.spout.com/groups/Movie_Polls/Which_of_these_films_written_by_Shinobu_Hashimoto/657/41361/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 3/31/2009 1:24:05 PM
Body: Please reference this thread for the rules of this group. I recently watched the amazing Harakiri. It's one of the best films I've seen in a while. I just discovered that a man named Shinobu Hashimoto was a screenwriter on this film and some of the greatest and most well known Japanese films including many of the best known samurai films and many of Kurosawa's best films. Please vote only once in each poll. Movies referenced in this poll:The Bad Sleep WellDodes'ka-denHarakiriThe Hidden FortressIkiruRashomonSamurai RebellionSeven SamuraiThe Sword of DoomThrone of Blood
]]>Tue, 31 Mar 2009 17:24:05 GMTRisseladaMovie Polls3/31/2009 1:24:05 PMPlease reference this thread for the rules of this group. I recently watched the amazing Harakiri. It's one of the best films I've seen in a while. I just discovered that a man named Shinobu Hashimoto was a screenwriter on this film and some of the greatest and most well known Japanese films including many of the best known samurai films and many of Kurosawa's best films. Please vote only once in each poll. Movies referenced in this poll:The Bad Sleep WellDodes'ka-denHarakiriThe Hidden FortressIkiruRashomonSamurai RebellionSeven SamuraiThe Sword of DoomThrone of Blood http://www.spout.com/blogs/chrismorrell/archive/2008/8/2/33443.aspx Post By: chrismorrell
Post To: chrismorrell Blog
Post Date: 8/2/2008 11:05:14 AM
Body: 'Very Rashomon' ,or 'Rashomonlike' has become a shorthand movie term,of course...and it's not difficult to see why...the concept of the multi-perspective story, entered the mainstream cinema language...Some of the aspects of some of the story threads may seem arcane ,or incredibly corny,but that would be to critcise them completly out of context...drawn together by the three 'misfits' sheltering from the rain,the conclusion is incredibly contrived,but ,somehow,also, amazingly moving
]]>Sat, 02 Aug 2008 15:05:14 GMTchrismorrellchrismorrell Blog8/2/2008 11:05:14 AM'Very Rashomon' ,or 'Rashomonlike' has become a shorthand movie term,of course...and it's not difficult to see why...the concept of the multi-perspective story, entered the mainstream cinema language...Some of the aspects of some of the story threads may seem arcane ,or incredibly corny,but that would be to critcise them completly out of context...drawn together by the three 'misfits' sheltering from the rain,the conclusion is incredibly contrived,but ,somehow,also, amazingly moving http://www.spout.com/groups/Filmgaming/Re_TOP_5_MOVIES_TO_TEACH_AN_ALIEN_ABOUT_EARTH/563/31571/1/ShowPost.aspx Post By: Risselada
Post To: Filmgaming
Post Date: 6/23/2008 6:11:30 PM
Body: 1. The 7 Up series. Ok, I haven't even seen it all yet, but so far it seems to say more about humanity, it's journey, it's internal and outward struggles and joys more than anything else. 2. Planet Earth. Let's not be so conceited to only present them with HUMAN life on earth. Of course David Attenborough's narration will reveal our penchant for hyperbole. 3. The Singing Detective. Here we get the exploration of a character's self throughout his entire life. We see how the events of his life are like a mystery when trying to look through his memory for clues as to the way he is. Isn't this search the goal of all good art? And we get to see how art informs life and back again. We get some good meta-fiction and a portrayal of several different genres as genres inform our lives. Musicals, film noir, mystery, drama, comedy, all of it. And I named the American version instead of the original because it is great, and not just so I could break my trend of series that have come from Britain. 4. The Seventh Seal. For the varying human reactions to religion and death, I think this tops them all. If aliens don't even know these concepts, this would be a good lesson. 5. Rashomon. Something from the east is needed, and with Kurosawa being the ambassador of eastern films to the west, let's give the aliens that same film. This tells a lot about storytelling, how humans communicate, what their motivations are, and how the world is subjective. I actually just started watching Pather Panchali recently and I'm excited to see the rest of the movie and the series. This looks like potentially a trilogy that could fit on this list, but I don't want to say until I finish it. Also, has anyone ever seen the Human Condition trilogy? It has amazing ratings on IMDB, and the name sounds perfect.
]]>Mon, 23 Jun 2008 22:11:30 GMTRisseladaFilmgaming6/23/2008 6:11:30 PM1. The 7 Up series. Ok, I haven't even seen it all yet, but so far it seems to say more about humanity, it's journey, it's internal and outward struggles and joys more than anything else. 2. Planet Earth. Let's not be so conceited to only present them with HUMAN life on earth. Of course David Attenborough's narration will reveal our penchant for hyperbole. 3. The Singing Detective. Here we get the exploration of a character's self throughout his entire life. We see how the events of his life are like a mystery when trying to look through his memory for clues as to the way he is. Isn't this search the goal of all good art? And we get to see how art informs life and back again. We get some good meta-fiction and a portrayal of several different genres as genres inform our lives. Musicals, film noir, mystery, drama, comedy, all of it. And I named the American version instead of the original because it is great, and not just so I could break my trend of series that have come from Britain. 4. The Seventh Seal. For the varying human reactions to religion and death, I think this tops them all. If aliens don't even know these concepts, this would be a good lesson. 5. Rashomon. Something from the east is needed, and with Kurosawa being the ambassador of eastern films to the west, let's give the aliens that same film. This tells a lot about storytelling, how humans communicate, what their motivations are, and how the world is subjective. I actually just started watching Pather Panchali recently and I'm excited to see the rest of the movie and the series. This looks like potentially a trilogy that could fit on this list, but I don't want to say until I finish it. Also, has anyone ever seen the Human Condition trilogy? It has amazing ratings on IMDB, and the name sounds perfect. http://www.spout.com/groups/Real_movies/Re_Akira_Kurosawa/257/18245/1/ShowPost.aspx Post By: Risselada
Post To: Real movies
Post Date: 8/16/2007 5:37:53 PM
Body: I've seen 5 Kurosawa movies but wish it was more.I think Seven Samurai would be a fantastic place to start!Rashomon is my other favorite.If you like Shakespeare check out Ran or Throne of Blood (I haven't seen the latter)If you watch Yojimbo or The Hidden Fortress you may feel some familiarity as the former was remade into many different movies including A Fistful of Dollars. And the latter was a large influence on portions of Star Wars.
]]>Thu, 16 Aug 2007 21:37:53 GMTRisseladaReal movies8/16/2007 5:37:53 PMI&#39;ve seen 5 Kurosawa movies but wish it was more.I think Seven Samurai would be a fantastic place to start!Rashomon is my other favorite.If you like Shakespeare check out Ran or Throne of Blood (I haven&#39;t seen the latter)If you watch Yojimbo or The Hidden Fortress you may feel some familiarity as the former was remade into many different movies including A Fistful of Dollars. And the latter was a large influence on portions of Star Wars. http://www.spout.com/groups/Filmspotting/Re_Filmspotting_171_Bourne_Ultimatum_The_Simp/304/18062/1/ShowPost.aspx Post By: Risselada
Post To: Filmspotting
Post Date: 8/14/2007 1:58:33 PM
Body: HOW! I mean absolutely HOW can you not have Rashomon on your list??????!!!!!!!
]]>Tue, 14 Aug 2007 17:58:33 GMTRisseladaFilmspotting8/14/2007 1:58:33 PMHOW! I mean absolutely HOW can you not have Rashomon on your list??????!!!!!!! http://www.spout.com/blogs/bigjefflebowski/archive/2007/8/8/17655.aspx Post By: BigJeffLebowski
Post To: BigJeffLebowski Blog
Post Date: 8/8/2007 9:34:00 PM
Body: Witnesses, the latest film by Vinko Bresan, has been compared to Rashomon. It is not the first film to draw comparisons to Akira Kurosawa’s masterpiece, but it is one of the few films for which the comparison is more than superficially apt. Set amidst the Serbo-Croatian conflict, Witnesses is a deeply affecting work that shines a harsh light upon the moral relativity which, though ever present in society, becomes even more ambiguous in times of war. Utilizing the fractured, non-chronological, overlapping storytelling which has unfortunately come dangerously close to becoming a cliché, Bresan utilizes Kurosawa’s revolutionary device of portraying an event from several different viewpoints. This has been done countless times since, and has become a calling card for directors as diverse as Alejandro Gonzales Inarritu and Quentin Tarantino, but for Bresan, it is a means to a different end. For the two aforementioned directors, the device is used primarily as a gimmick, or to withhold plot and character revelations. What makes Bresan’s film different -- and more akin to Kurosawa’s -- is that he uses his chosen chronology to juxtapose the individual moral codes of his characters with one another. By attempting to approach some kind of moral objectivity, he skillfully shows us that morality, like all quantifiable things in the world, is relative to the circumstances and the people which surround and infuse it. The film follows three Croatian soldiers -- Josko, Baric, and Gojo -- whose war crimes cost Josko’s brother his leg, and his father his life. Further transgressions which can at best be called vigilantism draw attention from local authorities as well as one intrepid reporter with an unexpected, and unknown, link to the events. In broad strokes, Josko the screw-up, Baric the guilt-ridden hesitator, and Gojo the no-frills man of action can be considered archetypes, but it is to Bresan’s testament that they are never written or presented that reductively. All three have moments of doubt, moments of foolhardiness, moments of impulsive action. That we ultimately view them as no worse than misguided tells us something very significant about the subjectivity and contextually imperative nature of every individual’s moral code. When it becomes apparent that the most likely suspects in the murder of a local Serbian are the three Croatian soldiers, the mayor’s response to Detective Barbir’s inquiry is indicative of the film’s central conceit: “When the war is over, there will be time for investigations. For suspects, trials, and prisons. The 109th leaves for the frontline tomorrow. At times like these, it’s better not to find out certain things. They can do a lot of harm.” Without attempting to draw too many parallels to our country’s current situation abroad, it will suffice to summarize that the guilt for crimes, especially those committed in the morally questionable time of war, lies as much with those who turn a blind eye as with those who perpetrate the crimes themselves. As Bresan himself conveniently simplifies, “The aim was...to show the silent majority that looks the other way from crime.” “We are all witnesses,” Baric declares in a crucial scene, “We should all be killed.” Bresan’s greatest accomplishment in Witnesses may be his ability to portray this sobering reality and still maintain a sense of compassion and human decency for all of the film’s characters, regardless of how fleeting or tenuous it may be.
]]>Thu, 09 Aug 2007 01:34:00 GMTBigJeffLebowskiBigJeffLebowski Blog8/8/2007 9:34:00 PMWitnesses, the latest film by Vinko Bresan, has been compared to Rashomon. It is not the first film to draw comparisons to Akira Kurosawa&rsquo;s masterpiece, but it is one of the few films for which the comparison is more than superficially apt. Set amidst the Serbo-Croatian conflict, Witnesses is a deeply affecting work that shines a harsh light upon the moral relativity which, though ever present in society, becomes even more ambiguous in times of war. Utilizing the fractured, non-chronological, overlapping storytelling which has unfortunately come dangerously close to becoming a clich&eacute;, Bresan utilizes Kurosawa&rsquo;s revolutionary device of portraying an event from several different viewpoints. This has been done countless times since, and has become a calling card for directors as diverse as Alejandro Gonzales Inarritu and Quentin Tarantino, but for Bresan, it is a means to a different end. For the two aforementioned directors, the device is used primarily as a gimmick, or to withhold plot and character revelations. What makes Bresan&rsquo;s film different -- and more akin to Kurosawa&rsquo;s -- is that he uses his chosen chronology to juxtapose the individual moral codes of his characters with one another. By attempting to approach some kind of moral objectivity, he skillfully shows us that morality, like all quantifiable things in the world, is relative to the circumstances and the people which surround and infuse it. The film follows three Croatian soldiers -- Josko, Baric, and Gojo -- whose war crimes cost Josko&rsquo;s brother his leg, and his father his life. Further transgressions which can at best be called vigilantism draw attention from local authorities as well as one intrepid reporter with an unexpected, and unknown, link to the events. In broad strokes, Josko the screw-up, Baric the guilt-ridden hesitator, and Gojo the no-frills man of action can be considered archetypes, but it is to Bresan&rsquo;s testament that they are never written or presented that reductively. All three have moments of doubt, moments of foolhardiness, moments of impulsive action. That we ultimately view them as no worse than misguided tells us something very significant about the subjectivity and contextually imperative nature of every individual&rsquo;s moral code. When it becomes apparent that the most likely suspects in the murder of a local Serbian are the three Croatian soldiers, the mayor&rsquo;s response to Detective Barbir&rsquo;s inquiry is indicative of the film&rsquo;s central conceit: &ldquo;When the war is over, there will be time for investigations. For suspects, trials, and prisons. The 109th leaves for the frontline tomorrow. At times like these, it&rsquo;s better not to find out certain things. They can do a lot of harm.&rdquo; Without attempting to draw too many parallels to our country&rsquo;s current situation abroad, it will suffice to summarize that the guilt for crimes, especially those committed in the morally questionable time of war, lies as much with those who turn a blind eye as with those who perpetrate the crimes themselves. As Bresan himself conveniently simplifies, &ldquo;The aim was...to show the silent majority that looks the other way from crime.&rdquo; &ldquo;We are all witnesses,&rdquo; Baric declares in a crucial scene, &ldquo;We should all be killed.&rdquo; Bresan&rsquo;s greatest accomplishment in Witnesses may be his ability to portray this sobering reality and still maintain a sense of compassion and human decency for all of the film&rsquo;s characters, regardless of how fleeting or tenuous it may be. http://www.spout.com/blogs/jlgdrd/archive/2007/7/2/12870.aspx Post By: jlgdrd
Post To: Wicked Fun
Post Date: 7/2/2007 5:00:00 PM
Body: Pretty early in The 24th Day, it becomes apparent it was taken from a play, a dodgy proposition at best. Adhering to a key location, as plays often do, can be a successful approach, or it can crash and burn. Very slowly. It depends on the nature of the piece. The 24th Day has, essentially, two characters and it can be difficult to transfer a prolonged confrontation to the big screen. In a theater, we can see how they stand in relation to each other, our eyes instinctively find the face or physical dynamic that warrants our attention. In a film, the director chooses for us, deciding whether it's more important to see the expression of the man speaking or reacting. Tony Piccirillo, who wrote the play in question, and directed the film, has here carried it off. Scott Speedman (Tom) and James Marsden (Dan) hold our focus, without Piccirillo's shot manipulation feeling intrusive or neutral. Which, of course, is exactly the idea.Like Rashomon or 13 Conversations About One Thing, The 24th Day pivots on the terrible, unknowable nature of "The Truth" when crucial details are compromised by personal agenda - as Tom explains, the difference between the truth and the "true truth." Tom has discovered he's HIV-positive and wants to hold Dan accountable, since Dan is the only man he's ever slept with. Straight-identified and committed (in one way or another) to a female partner, Tom discovers he's infected under horrific circumstances, when his girlfriend's autopsy shows she had the virus. Twenty-four days after finding out he's positive, he lures Dan into his apartment, then holds him against his will until his blood test comes back. If Dan also has HIV, Tom informs him, he will kill him. Needless to say, this doesn't exactly make Dan the most reliable source. He has every reason to lie and Tom feints and parries with him, trying to get him to level instead of saying what Tom needs to hear. As they wait three days for the test results, and inevitably reveal their disappointments, resentments, and frustrations, the less we realize we know.Both Tom and Dan are blissfully attractive, and at first Dan is cajoling, using whatever line it takes to seduce Tom. He doesn't necessarily seem calculating at the onset. Even after he's tied up and begins to guy Tom with casual conversation, it takes a while before we grasp how far his charisma and credibility can take him. As adults most of us have resigned ourselves to the negotiability of truth, especially when dealing in the predatory realm of sex. But when STDs have become incurable, chronic, fatal, when any guy you meet could be ejaculating poison, then equivocation doesn't seem quite as harmless. The proverbial "game of love" turns into Russian Roulette. Despite times when The 24th Day hovers dangerously close to being a tract on the hazards of careless, indiscriminate fucking, it raises valid questions by forcing Dan to consider the impact of his actions on his partners.Though Dan and Tom both seem to lack integrity (Tom's profound denial verges on hubris, Dan is a conniving, manipulative dog) Piccirillo makes it hard to dismiss or condemn either of them. Tom clings to hetero-status because lack of education makes him feel inadequate. If Dan's conquests were women, his behavior would be acceptable to most men, even venerated. Straight men revel in acting out their virility, while the religious right seizes on AIDS as yet another example of how God is determined to punish us. Apparently hetero-sluts get special dispensation. The 24th Day isn't about assigning blame or coming up with easy answers. I wanted information about Tom and Dan I never got, but in this case I don't think it matters. The film raises questions about Patient Zero, bare-backing, the gender caste system, bisexuals who exploit gay men, character, responsibility and numerous other topics. It is a debate in which the participants have a vested interest in disclosure but an imperative need to know what's really going on. Piccirillo distracts us with the issue of Dan's test results, which has more to do with his attachment to Tom. Tom hates himself for giving in to his queer desires, blames himself for the death of his girlfriend. When Dan points out that women have more freedom to experiment with other women, we know he's tap-dancing, but he still has a point. It's the desperation of Dan and Tom that drives them to these epiphanies, to uncover truths that didn't matter before their mortality became part of the equation. It's their tragic, personal ordeal, and it's the way Piccirillo involves us in it that makes The 24th Day so unforgettable.
]]>Mon, 02 Jul 2007 21:00:00 GMTjlgdrdWicked Fun7/2/2007 5:00:00 PMPretty early in The 24th Day, it becomes apparent it was taken from a play, a dodgy proposition at best. Adhering to a key location, as plays often do, can be a successful approach, or it can crash and burn. Very slowly. It depends on the nature of the piece. The 24th Day has, essentially, two characters and it can be difficult to transfer a prolonged confrontation to the big screen. In a theater, we can see how they stand in relation to each other, our eyes instinctively find the face or physical dynamic that warrants our attention. In a film, the director chooses for us, deciding whether it's more important to see the expression of the man speaking or reacting. Tony Piccirillo, who wrote the play in question, and directed the film, has here carried it off. Scott Speedman (Tom) and James Marsden (Dan) hold our focus, without Piccirillo's shot manipulation feeling intrusive or neutral. Which, of course, is exactly the idea.Like Rashomon or 13 Conversations About One Thing, The 24th Day pivots on the terrible, unknowable nature of "The Truth" when crucial details are compromised by personal agenda - as Tom explains, the difference between the truth and the "true truth." Tom has discovered he's HIV-positive and wants to hold Dan accountable, since Dan is the only man he's ever slept with. Straight-identified and committed (in one way or another) to a female partner, Tom discovers he's infected under horrific circumstances, when his girlfriend's autopsy shows she had the virus. Twenty-four days after finding out he's positive, he lures Dan into his apartment, then holds him against his will until his blood test comes back. If Dan also has HIV, Tom informs him, he will kill him. Needless to say, this doesn't exactly make Dan the most reliable source. He has every reason to lie and Tom feints and parries with him, trying to get him to level instead of saying what Tom needs to hear. As they wait three days for the test results, and inevitably reveal their disappointments, resentments, and frustrations, the less we realize we know.Both Tom and Dan are blissfully attractive, and at first Dan is cajoling, using whatever line it takes to seduce Tom. He doesn't necessarily seem calculating at the onset. Even after he's tied up and begins to guy Tom with casual conversation, it takes a while before we grasp how far his charisma and credibility can take him. As adults most of us have resigned ourselves to the negotiability of truth, especially when dealing in the predatory realm of sex. But when STDs have become incurable, chronic, fatal, when any guy you meet could be ejaculating poison, then equivocation doesn't seem quite as harmless. The proverbial "game of love" turns into Russian Roulette. Despite times when The 24th Day hovers dangerously close to being a tract on the hazards of careless, indiscriminate fucking, it raises valid questions by forcing Dan to consider the impact of his actions on his partners.Though Dan and Tom both seem to lack integrity (Tom's profound denial verges on hubris, Dan is a conniving, manipulative dog) Piccirillo makes it hard to dismiss or condemn either of them. Tom clings to hetero-status because lack of education makes him feel inadequate. If Dan's conquests were women, his behavior would be acceptable to most men, even venerated. Straight men revel in acting out their virility, while the religious right seizes on AIDS as yet another example of how God is determined to punish us. Apparently hetero-sluts get special dispensation. The 24th Day isn't about assigning blame or coming up with easy answers. I wanted information about Tom and Dan I never got, but in this case I don't think it matters. The film raises questions about Patient Zero, bare-backing, the gender caste system, bisexuals who exploit gay men, character, responsibility and numerous other topics. It is a debate in which the participants have a vested interest in disclosure but an imperative need to know what's really going on. Piccirillo distracts us with the issue of Dan's test results, which has more to do with his attachment to Tom. Tom hates himself for giving in to his queer desires, blames himself for the death of his girlfriend. When Dan points out that women have more freedom to experiment with other women, we know he's tap-dancing, but he still has a point. It's the desperation of Dan and Tom that drives them to these epiphanies, to uncover truths that didn't matter before their mortality became part of the equation. It's their tragic, personal ordeal, and it's the way Piccirillo involves us in it that makes The 24th Day so unforgettable. http://www.spout.com/blogs/jlgdrd/archive/2007/7/1/12745.aspx Post By: jlgdrd
Post To: Wicked Fun
Post Date: 7/1/2007 1:25:00 AM
Body: Proteus is an historical drama, shot directly on video in the style of many past PBS specials, more comparable in experience to theatre than film. In the wrong hands stiff and self-conscious, in the right ones understated and dynamic. Filmmakers John Greyson and Jack Lewis have found in actual records of incidents emerging from Robben Island, a penal colony of Cape Town, South Africa, intriguing metaphors (or barometers) for the politics of masculinity that suffused Amsterdam and South Africa in 1725. What makes Proteus ingenious, is how easily it applies to contemporary culture. Like To Kill a Mockingbird, it says more about the community than the accused. Informs by the questions it raises in the audience’s minds. Questions the characters never ask. A possible theme of Proteus might be grotesque consequences of the unspoken: particular acts that are untranslatable in Christian society. Professions of love that even the subtitles refuse to transmit in English.Proteus opens with a trio of stenographers taking dictation, dressed in attire that I think must place them somewhere between the 1950’s and 60’s. They are struggling to translate phrases without using terms that sound “too contemporary.“ It is not until the end of the film that Greyson and Lewis reveal them as court reporters in the sodomy trial of Claas Blank (Rouxnet Brow) and Rijkhaart Jacobsz (Neil Sandilands). I confess I’ve never seen a device quite like this, radios and relatively modern attire turning up amongst colonials, and no one batting an eye. But when you consider the situation: people behaving in ways inconsistent with the sophisticated reasoning available to them, clinging to the trappings of provincialism while taking enlightenment for granted (or ignoring it altogether) it fits. The film is filled with frank improbabilities, an African man named Blank, a prisoner flogged to death for stealing penguin eggs, male lovers dealing in horse-imagery (“Today I will be the cinnamon mare.”) a tobacco pouch made from a woman’s mammary. What makes these bizarre incidents useful, is that in a world where the “crime” of same-gender sexual attachment has less to do with activity than with protocol and caste, they make perfect sense; without losing their obvious absurdity. Claas and Rijkhaart are executed for their behavior while the botanist who employs them, Virgil Niven (Shaun Smyth) is never made accountable in a court of law.Proteus spends a great deal of time exploring language and the nature of truth. An officer is sacked for interpreting orders inappropriately, even though it is a discretionary blunder. Claas distorts language and folklore to curry favor with Niven. Niven names the strange flower by extrapolating from the same myth. As previously mentioned any words used to denote man-to-man sex is biblical and pejorative at best. Even Claas and Rijkhaart have trouble discussing it. And if either one of them declares his love aloud, it is literally lost in translation. Confession is worse than denial. In the sad, twisted world of Proteus, it is worse to express love for another man than to talk about sex between men. It’s worse that Rijkhaart was penetrated by a black man. The number of films that turn on personal agenda and conflicting versions of reality are numerous (Rashomon, The Lady in Question, Bad Education, Go! ) but this is something else entirely. Like Molina and Valentin in Kiss of the Spider Woman, Blank and Jacobsz keep positing different viewpoints until they find mutual terrain. Claas earns redemption by admitting homoerotic behavior and in doing so, elicits his own execution. If this sounds like a B-Movie just waiting to happen, somehow Greyson and Lewis avoid it. The riveting content supercedes the plot. And it doesn’t have the famished, pedestrian look of many video-dramas. The cinematography goes way beyond aesthetic cloying to imbue shots with vibrance and meaning. Virgil Niven the botanist eventually names the exotic, tropical flower Proteus, for the shape-shifting Greek sea god. At first Claas doesn’t get the connection, but the audience understands only too well. We all know that sex between guys is a fact of life, whether it’s between privileged-class white men in the wharf district of Amsterdam, racially divided prisoners, sailors or circle jerk buddies at summer camp. Proteus is about transforming experience by altering language, removing stigma by shifting connotation. It’s almost too easy to go back to Robert Anderson’s Tea and Sympathy, where the heroine tells her husband he persecutes a sensitive student for what he fears most in himself. Almost 50 years later and “it still is news.“ Whether they want to admit it or not, most men, however they identify, know where to find gay-sex when they want it. And know that discretion will spare them the consequences of civilization’s homophobic mass hysteria.
]]>Sun, 01 Jul 2007 05:25:00 GMTjlgdrdWicked Fun7/1/2007 1:25:00 AMProteus is an historical drama, shot directly on video in the style of many past PBS specials, more comparable in experience to theatre than film. In the wrong hands stiff and self-conscious, in the right ones understated and dynamic. Filmmakers John Greyson and Jack Lewis have found in actual records of incidents emerging from Robben Island, a penal colony of Cape Town, South Africa, intriguing metaphors (or barometers) for the politics of masculinity that suffused Amsterdam and South Africa in 1725. What makes Proteus ingenious, is how easily it applies to contemporary culture. Like To Kill a Mockingbird, it says more about the community than the accused. Informs by the questions it raises in the audience&rsquo;s minds. Questions the characters never ask. A possible theme of Proteus might be grotesque consequences of the unspoken: particular acts that are untranslatable in Christian society. Professions of love that even the subtitles refuse to transmit in English.Proteus opens with a trio of stenographers taking dictation, dressed in attire that I think must place them somewhere between the 1950&rsquo;s and 60&rsquo;s. They are struggling to translate phrases without using terms that sound &ldquo;too contemporary.&ldquo; It is not until the end of the film that Greyson and Lewis reveal them as court reporters in the sodomy trial of Claas Blank (Rouxnet Brow) and Rijkhaart Jacobsz (Neil Sandilands). I confess I&rsquo;ve never seen a device quite like this, radios and relatively modern attire turning up amongst colonials, and no one batting an eye. But when you consider the situation: people behaving in ways inconsistent with the sophisticated reasoning available to them, clinging to the trappings of provincialism while taking enlightenment for granted (or ignoring it altogether) it fits. The film is filled with frank improbabilities, an African man named Blank, a prisoner flogged to death for stealing penguin eggs, male lovers dealing in horse-imagery (&ldquo;Today I will be the cinnamon mare.&rdquo;) a tobacco pouch made from a woman&rsquo;s mammary. What makes these bizarre incidents useful, is that in a world where the &ldquo;crime&rdquo; of same-gender sexual attachment has less to do with activity than with protocol and caste, they make perfect sense; without losing their obvious absurdity. Claas and Rijkhaart are executed for their behavior while the botanist who employs them, Virgil Niven (Shaun Smyth) is never made accountable in a court of law.Proteus spends a great deal of time exploring language and the nature of truth. An officer is sacked for interpreting orders inappropriately, even though it is a discretionary blunder. Claas distorts language and folklore to curry favor with Niven. Niven names the strange flower by extrapolating from the same myth. As previously mentioned any words used to denote man-to-man sex is biblical and pejorative at best. Even Claas and Rijkhaart have trouble discussing it. And if either one of them declares his love aloud, it is literally lost in translation. Confession is worse than denial. In the sad, twisted world of Proteus, it is worse to express love for another man than to talk about sex between men. It&rsquo;s worse that Rijkhaart was penetrated by a black man. The number of films that turn on personal agenda and conflicting versions of reality are numerous (Rashomon, The Lady in Question, Bad Education, Go! ) but this is something else entirely. Like Molina and Valentin in Kiss of the Spider Woman, Blank and Jacobsz keep positing different viewpoints until they find mutual terrain. Claas earns redemption by admitting homoerotic behavior and in doing so, elicits his own execution. If this sounds like a B-Movie just waiting to happen, somehow Greyson and Lewis avoid it. The riveting content supercedes the plot. And it doesn&rsquo;t have the famished, pedestrian look of many video-dramas. The cinematography goes way beyond aesthetic cloying to imbue shots with vibrance and meaning. Virgil Niven the botanist eventually names the exotic, tropical flower Proteus, for the shape-shifting Greek sea god. At first Claas doesn&rsquo;t get the connection, but the audience understands only too well. We all know that sex between guys is a fact of life, whether it&rsquo;s between privileged-class white men in the wharf district of Amsterdam, racially divided prisoners, sailors or circle jerk buddies at summer camp. Proteus is about transforming experience by altering language, removing stigma by shifting connotation. It&rsquo;s almost too easy to go back to Robert Anderson&rsquo;s Tea and Sympathy, where the heroine tells her husband he persecutes a sensitive student for what he fears most in himself. Almost 50 years later and &ldquo;it still is news.&ldquo; Whether they want to admit it or not, most men, however they identify, know where to find gay-sex when they want it. And know that discretion will spare them the consequences of civilization&rsquo;s homophobic mass hysteria. http://www.spout.com/groups/What_An_Ending/Re_Most_suprising_endings/343/11217/1/ShowPost.aspx Post By: Risselada
Post To: What An Ending
Post Date: 6/16/2007 3:27:35 PM
Body: [quote user="joem18b"] I heard that somebody is remaking Rashomon.[/quote]Where did you hear this? Seriously?The movie Rashomon is so fundamentally Japanese. And I only realized this all the more after listening to the commentary track on the Criterion Collection edition release of this movie. Is it being remade in Japan or in the US? I hope whoever does it really understands the different historical film and theatrical conventions that the different segments were referring to.
]]>Sat, 16 Jun 2007 19:27:35 GMTRisseladaWhat An Ending6/16/2007 3:27:35 PM[quote user="joem18b"] I heard that somebody is remaking Rashomon.[/quote]Where did you hear this? Seriously?The movie Rashomon is so fundamentally Japanese. And I only realized this all the more after listening to the commentary track on the Criterion Collection edition release of this movie. Is it being remade in Japan or in the US? I hope whoever does it really understands the different historical film and theatrical conventions that the different segments were referring to. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
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