Archive for February, 2014
Japanese director Hirokazu Kore-Eda’s newest film, Like Father Like Son, opens in San Francisco this weekend and it’s an outstanding example of a simple premise explored with utmost sensitivity and sincerity. The story is straightforward—two families discover their respective 6-year-old sons were swapped at birth at the hospital. They then must decide if they are going to trade the children back to their biological parents or continue to raise the sons who are not their blood relations. The film follows the effects of this momentous decision and the impact it has on each family.
Like a fine line drawing, the narrative reveals itself with subtlety and precision and is delivered with a light, understated touch that complements the underlying depth of emotion. What’s unspoken is as significant as what is said, and there’s not an ounce of fat on the exposition. By presenting only the most significant information the film focuses on the great importance of a casual remark or a banal gesture.
Kore-Eda’s naturalistic direction elicits beautiful performances from the kids as well as the adults, and he never allows their performances to devolve into cheap emotionalism. The characters are fully fleshed out, and every action and reaction feels true and genuine. Kore-Eda also manages to draw out a remarkable amount of tension from the plotline which on the surface seems almost too pat and simplistic. Yet the story goes to the heart of one of the humankind’s strongest bonds and explores the relationship between parent and child, questioning whether blood ties mean more than an adoptive family’s affection. In popular culture family ties all too often come off as false or exaggerated, so it’s to the director’s credit that he manages to infuse his characters’ interrelations with great meaning and significance and that he’s able to clearly communicate the heartbreak of their actions without reverting to sentimentality. At no moment does the film lapse into melodrama, although it easily could.
This is remarkably delicate and sensitive filmmaking, without a trace of bombast. The cinematic rendering of the narrative is poetic and lovely, almost minimalist in the way that character and plot details are revealed, yet it never loses its deeply felt connection to the characters’ humanity. It’s one of the best family dramas I’ve seen in a while and it’s highly recommended.
opens Friday, February 14, 2014
Landmark’s Opera Plaza Cinemas, 601 Van Ness, San Francisco (415)771-0183
Landmark’s Shattuck Cinemas, 2230 Shattuck Avenue, Berkeley (510) 644-2992
Opening this weekend in San Francisco and other select U.S. cities, The Attorney is the latest South Korean hit film to reach U.S. cinemas. Unlike some of the beloved ultraviolent S. Korean movies to reach our shores, The Attorney is a character-based drama that requires a bit of knowledge of the intricacies of recent S. Korean political history. Its appeal lies in its intimate look at S. Korean social strata, its commentary on political and governmental corruption, and yet another charismatic lead performance by the people’s actor, Song Kang-Ho.
Set mostly in 1981, The Attorney follows mild-mannered autodidact tax attorney Song Woo-Seok (Song Kang-Ho), who is moderately reviled among the snooty, better educated Busan lawyer crowd for his lack of a college diploma until he takes on the South Korean government in a case of “national security.” A group of teenage boys are framed for sedition and accused of being communists, their confessions taken under torture. Song is outraged and defends one of the boys, who also happens to be the son of the lady who runs the pork stew shop that Song frequents. Despite government corruption and obfuscation Song persists in the case and wins the respect of the law community.
The film takes a while to pick up steam, focusing at first on Song’s character and career. But once the main body of the narrative kicks in the story becomes an engaging courtroom drama, leavened with some unpleasant torture sequences that affirm S. Korean cinema’s leading role in oppressively violent imagery. No one films a beating quite like the South Koreans and, though mild by the standards of, say, A Bittersweet Life or The Yellow Sea, the scenes of a helpless, near-naked teenager lying brutalized on a concrete floor or choking underwater effectively make their point.
Dressed in a suit and with his often-wild and frizzy hair combed flat, Song Kang-Ho as Song Woo-Seuk is as straight as his hair, unlike the wacky characters he’s played in the past, including the “weird” in The Good, the Bad, the Weird, the conflicted vampire priest in Thirst, and the slacker dad in The Host. Song is on a roll this year, with three blockbuster hits in S. Korea including Bong Joon-ho’s Snowpiercer, the period drama The Face Reader, and The Attorney, which was the top-grossing film in S. Korea in the past month. In The Attorney he’s very effective as the modest tax attorney turned crusader, using his mobile and expressive face and body language to good effect. He’s always been good at playing the schlumpy everyman and here he exploits that persona, transforming from the wrong-side-of-the-tracks lawyer to a civil rights hero.
Although I was caught up in the story, I thought the film’s ending was somewhat treacly and let the government off the hook a bit. Even if Song is validated, does that mean he’s affected real social change, or is the movie all about him feeling good about himself? Sure, one person is redeemed, but was the oppressive social system dismantled? Or is that too much to expect from a commercial movie product? The anti-fascist commentator in me was a bit disappointed by the conclusion until I found out more about the film’s backstory.
The finer points of the film’s social commentary may be elusive to non-Korean viewers without some knowledge of late 20th century S. Korean politics but upon closer inspection I realized that the movie plays an interesting role in the real-life South Korean political milieu. By exposing the ruling party’s dirty legalistic tricks the film clearly condemns the paranoid, nationalistic mindset that gave rise to National Security Act instituted in the early 1980s that severely limited civil rights in S. Korea. More significantly, the movie is loosely based on the early career of former South Korean president Roh Moo-Hyun, a civil rights lawyer turned politician whose reforms were often vigorously challenged by more conservative elements in the South Korean government and who, after retiring from politics, committed suicide (not an uncommon choice for contemporary S. Korean politicians) amidst a blurred presidential legacy that included charges of corruption amongst his cabinet and family members. Ironically, after his suicide in 2009 public opinion of Roh improved considerably and The Attorney is a part of the reclamation and redemption of Roh’s legacy.
The Attorney has become a mega-hit in South Korea and is one of the top-ten grossing films of all time there, so its message has clearly resonated for audiences there. It’s an interesting example of the way that commercial cinema can work towards resolving troubling national histories like the NSA and reshape perceptions of controversial public figures like Roh.
opens Feb. 7
AMC Cupertino Square
Another round of international flights, this time on the much more updated Singapore Airlines. Not only does Singapore have a full 1000-plus slate of movies on demand but they have an entire Indian food menu to go with their Chinese and “Western” selections. Since they were out of the chicken mushroom rice noodles by the time they got to my seat, I ordered the chana daal, which came with lime pickle, some outstanding curried vegetables, a rather dry roti, and raita, which beats most U.S. airlines’ food service any day. Alas, they did not have the cup noodles featured on Cathay Pacific flights so my middle-of-the-flight hunger pangs had to be assuaged by a mediocre cold cheese sandwich. But lots of movies on tap!
This 2013 release was a sensation in China last year for all the wrong reasons as it was rated one of the worst movies ever on China’s online discussion forums, douban and baidu. The movie paradoxically was also one of the highest grossing films of the year in China, due to very bad word of mouth, and it indeed lives up to its negative hype. Truly unique and fascinatingly bad, it’s an astoundingly shoddy cinematic construction that plays like a bunch of fancy and expensive set pieces only tentatively linked together by a narrative structure. Genial superstar Andy Lau Tak-Wah portrays a super-spy assigned to crack the case of an arcane art heist involving two halves of a lengendary scroll painting. Along the way the film throws in a quartet of girl assassins on roller skates in clear plastic miniskirts, an obligatory psycho Japanese villain, and many gratuitous Andy-lounging-on-the-beach-in-Dubai shots, as well as fancy aerial shots of a car flying through the air dangling from a helicoptor attached to a magnetic grappler, a surfeit of swordfighting, explosives, and incendiaries, and many, many costume changes. The movie is full of technology fetishism at its best, and Andy Lau gets to be a combination of James Bond and a low-rent Tony Stark, complete with transparent floating holographic computer readouts and ridiculous gadgets. With its illogical leaps in time and space, the movie is great if you think of it either as one long dream sequence or as one long Andy Lau watch commercial.
Red 2 (Lee Byung-Hyun parts only)
Because I was fortunate enough to watch this on a plane I could skip over all but the scenes involving Lee Byung-Hyun, which absolutely elevated my viewing experience. In this one LBH demonstrates his much improved English diction and gets to play out a greatest-hits of Asian male action tropes. In his introductory scene he appears buffed out and naked, back and front, then goes on to assassinate someone with origami while wearing a kimono. Along the way he also brandishes two guns at time in a shootout, displays some high-kicking hung fu, and, in a pretty fun car-chase/shootout, practices a bit of Tokyo-drifting with a gun-toting Helen Mirren. As per usual LBH looks sharp in a tailored suit and holds his own as he grimaces and swaggers with John Malkovich and Bruce Willis. Somehow the audio on my seat-back monitor got switched to Japanese in the last five minutes of the movie so I missed out on all of the banter in the denouement, but I’m sure it was awesome and clever, and it was actually kinda fun seeing Helen Mirren dubbed in Japanese. In my fangirl dreams she and LBH have a thing for each other—spinoff sequel?
I LOVED THIS MOVIE. The best thing I’ve seen in a long time, English Vinglish is a lovely family dramedy anchored by Sridevi’s charming performance as a woman trying to balance between duty and self-worth. Sridevi is brilliant as a beleagured Mumbai mom and housewife who comes into her own on an overseas trip to New York City by herself. I probably also liked it since the main character is a mother on a long trip away from her family, which, seeing as I was on a long trip away from my family, made me feel all sympathetic and stuff. Also, Sridevi wears some of the most excellent floral-print saris I’ve ever seen.
Another winner and another example of the resurgence of commercial Hindi-language cinema (aka Bollywood), Fukrey (“slacker”) is a bit like The Hangover, B’wood-stylee. The plot involves a quartet of Dehli townies who long to attend the local college despite their apparent lack of intellectual gifts. Among those aspiring students are Coocha and Hunny, a pair of cheerful losers who earn their living as dancers in costumed street productions of religious Hindu mythologicals, and who apparently have a foolproof way of predicting winning lottery numbers that involves arcane dream interpretation. Their interplay in particular includes some extremely funny comic moments and the two riff off of each other as deftly as Martin and Lewis. Dreamy musician Zafar is stuck in a rut—three years after graduating college he’s still fruitlessly pursuing his musical aspirations, which causes his sensible and levelheaded girlfriend, who also teaches at said college, no end to angst. Lali works at his dad’s popular restaurant and sweet shop and also aspires to attend the local college, though he currently can only take correspondence courses. Somehow the four protagonists get caught up in an increasingly tangled morass of financial woe, eventually ending up in debt to the tune of 2.5 million rupees to the local drug boss, a toughie named Biphal (the excellent Richa Chadda from Gangs of Wasseypur 1 & 2) who has “Sinderella” tattooed on the back of her neck. The plot twists and turns ala its spiritual predeccesor, the equally clever and irreverent Delhi Belly, making great use of that city’s crowded, dusty locale to accentuate the characters’ sticky situation. The comedy is deft and skillful and, despite many chances for overdoing it, director Mrighdeep Singh Lamba directs with a fairly understated hand. The characters are somewhat broadly drawn at first but become complex and sympathetic and Lamba has excellent and economic visual storytelling skills—his narrative structure and editing cleverly tie together all of the loose ends of the wide-ranging story. This is the best kind of movie to watch on a long plane flight, with a nice long running time that eats up hours, a fun, lighthearted romp of a story, and amusing and likeable characters. Throw in a few quick episodes of song and dance and you have a winner. Great stuff—
An outstanding Tamil-language spy film written and directed by and starring the amazing Kamal Hasan. This is only the second Tamil film I’ve seen (the first having been Puddhupettai, starring the wonderful Danoush,) but it definitely won’t be my last. The film starts off in New York City as an upwardly mobile NRI woman (Pooja Kumar) describes her marital issues to her sympathetic psychologist. Somehow, through a series of complicated and indescribable narrative turns, the film ends up in the middle of an Al-Qaeda training camp in Afghanistan, where the plot takes a lengthy digression. The story then wends its way back to New York to further explicate links between Al-Quada terrorists, uranium, an oncology lab, and radioactive pigeons. A bomb scare and much frenetic action follows. Lead actor and director Hasan, who gets to show off his hand-to-hand martial arts chops as well as his classical Indian dancing skilz, among many other talents, anchors the film with his charismatic performance as the super-spy with a complicated personal life who wryly notes, “I have a lot of emotional baggage.” The movie’s production values are top-notch, the songs by Shankar, Ehsaan and Loy are outstanding, and the war scenes pull no punches, with men, women and children blown up, shot, strafed, and otherwise becoming collateral damage in the vicious guerilla fighting. The only weak link is Kumar as the clueless wife—she’s not quite able to pull of her character with much conviction, though admittedly she’s not given a lot of to work with.
Ip Man: The Final Fight
I only got to watch the first five minutes of the latest installment in the ongoing Ip Man saga before the in-flight movie system on the plane was shut off. This chapter, directed by stalwart Hong Kong director Herman Lau, chronologically follows the unrelated Donnie Yen pair of Ip Man movies as well as the unrelated Wong Kar-Wai version, The Grandmaster. Yau did direct Ip Man: The Legend Is Born, the prequel starring Dennis To as baby Ip Man, so there might be some thematic continuity there but for the most part the Ips are all running in parallel universes. Since the flight attendants had already confiscated the headphones by the time I started watching the movie it was a silent viewing experience for me, but I did get to see a very nicely staged encounter in which Ip Man challenges an eager young disciple to a battle to knock the grandmaster off of a square of newspaper laid on a kitchen floor. I watched the rest of the movie a few weeks later after I got back home and it didn’t disappoint, as a fun little slice of bygone Hong Kong ala Echoes of the Rainbow. Anthony Wong is great as the middle-aged Ip Man, carrying himself with dignity, grace, and the inimitable Wong Chau-sang swagga. The movie also includes familiar Hong Kong cinema faces including Anita Yuen as Mrs. Ip, Eric Tsang as a rival martial arts master (who has an outstanding duel with Ip Man that’s a marvel of cinematic fight choreography in the way that it makes two non-martial artists look incredibly suave and skilled), and Jordan Chan and Gillian Chung (yes, that Gillian Chung) as a couple of Ip Man’s disciples. In the face of the continued encroachment of China’s commercial film industry on the Hong Kong moviemaking world, it’s nice to see a genuine HK film with actual Cantonese dialogue (albeit with Ip Man and Mrs. Ip feigning broad Foshan accents). Bonus points for Anthony Wong not being afraid to play an old, albeit very cool, dude.