The Long and Short(s) of it
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) if they’re in a positive mood or the OCCU (Often Cranky Critics Universe) if they go negative.
But first here’s my long-awaited (you’ve been waiting, yes?) 2021 Top 10, as I’ve finally seen what I think will be the main contenders in my memory as time goes by, even though I know my #1 barely made a small CCAL ripple. You can compare my choices with other critics’ collective results at this Metacritic site, where only 3 of mine are in their Top 10 while only 1 more of mine is in their Top 20.
Top 10 Films of 2021
1. The Tragedy of Macbeth (Joel Coen), our review posted on January 20, 2022.
2. West Side Story [2021] (Steven Spielberg), our review posted on December 16, 2021.
3. Mass (Fran Kranz), our review posted on January 20, 2022.
4. The Power of the Dog (Jane Campion), our review posted on December 9, 2021.
5. Belfast (Kenneth Branagh), our review posted on November 25, 2021.
6. Being the Ricardos (Aaron Sorkin), our review posted on January 6, 2022.
7. Parallel Mothers (Pedro Almodóvar), our review posted on March 3, 2022.
8. Passing (Rebecca Hall), our review posted on November 18, 2021.
9. Nightmare Alley (Gulillermo del Toro), our review posted on February 10, 2022.
10. Drive My Car (Ryûsuke Hamaguchi), our review in this posting just below.
As you can see from comparing my Top 10 to Oscar's 10 finalists for the Best Picture of 2021 (you have to scroll down quite a ways to get to that category), we have only 5 overlaps there as well, so we diverge this year maybe a bit more than usual (although their winner and my #1 don’t often coincide) but I do find value in most of their choices which I didn’t take (except for Dune [Denis Villenueve; review in our October 28, 2021 posting] which didn’t resonate with me much, although it’s poised to take a good number of technical awards). OK, now back to the usual blog matters at hand.
SHORT TAKES
Opening Chatter (no spoilers): Now that I’ve probably completed my catch-up for most of the films that actually are in consideration for the Oscars or ranked highly with me even if they didn’t get any of those Academy nominations I can shift my future screenings to more current releases (yes, next week, The Batman [Matt Reeves], I promise), but given my time devoted this past week to Drive My Car along with other non-cinematic tasks on my private agenda I’ve decided to be a bit radical by assigning a big Oscar contender (nominated for 4 of the major ones) and its missed-by-1-minute 3-hour-running time to the Short Takes section so we’ll see how effective I can be with such a squeeze regarding this Japanese (yes, subtitles!) story of a stage director/actor who tragically loses his wife to a freakish-death (after silently catching her have sex with another man), walks off a role on stage, then becomes the director of another play where he ends up hiring the young man in the affair with his lost mate although neither of them say anything about it (there’s lots more occurring here, told in a quiet, melancholy manner; you might find it on the big screen as it’s still in 102 domestic [U.S.-Canada] theaters, down from 213 [so it's been minimal at the box-office with about $2 million domestically, $5 million worldwide] but you can also watch easily via streaming—check JustWatch for options). Also, in this Short Takes I’ll present intended short statements on intended short films, the 5 with Oscar nominations in the Short Films: Animation category, which I’ll present in order of my stars-ratings even though they run slightly differently in their theatrical presentation-order (I’ve given 3 stars to 3 of them, so those will be presented alphabetically here). Also in that section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, ye tedious software!) along with my standard dose of industry-related-trivia.
Here’s the trailer for Drive My Car:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film—or want to save some $ (as well as recognizing those readers like me who aren’t that tech-savvy)—to help any of you who’d like to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
Noted Tokyo stage director/actor Yûsuke Kafuku (Hidetoshi Nishijima) is married to TV screenwriter Oto Kafuku (Reika Kirishima) who narrates her dreams to him during lovemaking after which they polish the stories into scripts. One night she visits his dressing room after a performance of Waiting for Godot, introduces him to a young actor, Kōji Takatsuki (Masaki Okada) she’s impressed with. Next, Yûsuke’s to fly off on a business trip but at the airport gets a text his flight’s cancelled (weather) so he drives home to find Oto having sex with Kōji; Yûsuke quietly goes to the airport hotel, later chats with Oto on Zoom as if he’s at his intended destination, never admits what he saw (he’s to perform in Chekhov’s Uncle Vanya [maybe this helps note the connections?] so she gives him an audio cassette she’s narrated of the script which he constantly listens to while driving or, later, being driven), but one morning she says she needs to talk with him that night; however, when he's home he finds her dead from a sudden cerebral hemorrhage, upsetting him so much he walks off the stage during … Vanya when infidelity comes up in the dialogue. Later, though, he accepts a residency in Hiroshima to direct Uncle Vanya, although he’s taken aback his contract requires he be chauffeured in his own car by a young woman, Misaki Watari (Tōko Miura), though he withdraws his objections when he sees what a skilled driver she is. During auditions, Kafuku casts a deaf woman who signs her lines (OK as his ongoing tactic projects the script in Japanese and English onto a large screen up behind the actors), then is stunned when Takatsuki comes in but casts him anyway.
Kōji invites Yûsuke for drinks where they discuss serious matters as well as Kōji admitting admiration for Oto (neither man ever mentions the affair), hoping to learn more about her by working with Kafuku. With that tension bubbling, Yûsuke begins to know Misaki better as they talk on their daily drives: much later, he admits sorrow over the sudden death from pneumonia of his little daughter years ago who’d now be about Misaki’s age, his anguish he didn’t come home earlier the night of Oto’s death (he purposely stalled) as he might have gotten medical attention for her; Watari’s reveals her conflicted feelings about how she could have saved her abusive mother from dying in a landslide in their destroyed village, yet she just let the woman perish. ⇒A complication arises during the play’s rehearsals when police arrive to arrest Kōji because a man died after a confrontation with the young actor, a guy who was taking photos of him at a bar one night. The production company then gives Kafuku a choice of either he must take the role of Vanya or the play will be cancelled. He goes on stage successfully after having asked Misaki to drive to her snow-covered, destroyed village where they seem to more fully connect. A short, ambiguous epilogue shows her in a Korean supermarket, then coming back to Yûsuke’s easily-identifiable red Saab where a dog is waiting.⇐
In many ways this current film—with its methodical, deep-implications of events’ impact on the main characters—echoes aspects of Japanese master Yasujirō Ozu (Tokyo Story [1953], voted #3 of All-Time by polled Sight & Sound critics in their most recent vote [2012—another’s due this year; can Citizen Kane {Orson Welles, 1941} land on top again as it did from 1962 until 2012, dethroned by Vertigo {Alfred Hitchcock, 1958}?] while the polled directors ranked Tokyo Story All-Time #1) as there’s no hurry to present scenes, the camera’s largely static in recording action, certain events we might consider important to the overall plot are implied rather than directly shown, so whether Hamaguchi’s current work is ever regarded by others in such lofty-comparisons I’ll credit him with great accomplishments here as … Car won Best Screenplay at the 2021 Cannes Film Festival (first Japanese screenwriters, Hamaguchi and Takamasa Oe, to do so), is nominated for 4 Oscars (Best Film, Director, Original Screenplay, International Feature) with Hamaguchi only the third Japanese to earn a Best Director consideration from the Academy (Hiroshi Teshigahara, Woman in the Dunes [1964], Akira Kurosawa, Ran [1985]). The CCAL’s wildly supportive: a Rotten Tomatoes haul of 98% positive reviews, a Metacritic 91% average score. Drive My Car’s available for free to HBO Max subscribers; you can rent it at Amazon Prime Video, $5.99, or at Apple TV+ and Vudu, $6.99 rental.
As always, I’ll wrap up this (surprisingly short) review with a final note of commentary in aural form, a Musical Metaphor; in this case it must include The Beatles’ "Drive My Car"—which Hamaguchi wanted to use in his soundtrack but permission turned out to be too difficult to obtain—(from their 1965 UK Rubber Soul album, 1966 US Yesterday and Today album), although the gender roles would have to be reversed from song to film just as the song’s still-aspiring-star would also be replaced by an already-successful-man-of-the-theatre, but given how connections work out in this story at least the lines “But I’ve found a driver and that’s a start” would still be relevant. However, I’ll make my official Metaphor be Bread’s “Everything I Own” (on their 1972 album Baby I’m-a Want You) at https://www.youtube.com/watch?v=-Q1kB0R4Ijs because that song's lyrics show not only how both Yûsuke and Kōji feel about Oto but also reflect the complex feelings of Misaki toward her lost mother as each might say he/she “Would give up my life, my heart, my home / I would give everything I own / Just to have you back again,” which becomes as poignant in this case of the film as in the song’s original inspiration (not actually about broken-up lovers but composer David Gates’ response to the early death of his father) because Oto’s never coming back, nor is Misaki’s Mom, although Yûsuke and Misaki ultimately find a way to move on from their tragedies. (I did it! 3 hours on screen reduced to 2 paragraph-clusters! You may sustain your applause for as long as you like.)
*I’ve seen no content ratings (PG, R, etc.) for these Shorts nor for this program as a whole, but at my screening after Robin Robin and Boxballet showed a warning came up the others weren’t intended for children to see, allowing a brief interlude for anyone who chose to leave, echoing a general warning by the Landmark theater where I attended that, in general, this program is for “adults only.”
**I’ve rated the 5 films below, so I suppose my unofficial average for the whole program is 3½ stars.
While there are 3 programs of Oscar-nominated shorts from 2021 showing in various theaters around the U.S.A. and Canada (see the link just below for details) there generally aren’t streaming options yet, and my logistics for the next few weeks limit me to the Animation program so that’s what I’ll explore for you just below. If you click on this site you can scroll down to trailers for each of these 5 Animation finalists (and the others in Documentary and Live Action). By chance, my stars ratings of these films present them in the same alphabetical fashion as you find in this elaborated-link. (Please note each of these 5 titles below, in blue, takes you to an IMDb link for additional info.)
Here’s the trailer (1:00 overall for all 3 programs)
Before reading any further, I’ll ask you to refer to the plot spoilers warning far above.
Beryl, a 59-year-old-factory worker, narrates past memories of herself and sister Beverly, present updates of husband Ifor and grown-son Colin as Beryl talks of her life-long-passion for being a recognized artist. Style is whimsical-sketchy, Bev’s presented as a child with obsessions on dead insects and mice (but she’s now an L.A. celebrity of sorts after becoming obsessed with taxidermy); ⇒we see a good number of images of plump Beryl and Ifor in the nude [thus, the warnings]; Colin takes revenge on a cat who killed his pet pigeon.⇐ A rapid-fire presentation, consistently hilarious.
Bestia (Hugo Covarrubias; Chile) 16 min.
This one is quite disturbing to watch as it reflects back on the time of military dictatorship in Chile with our strange-looking female protagonist (all the humans in this story have large, seemingly-porcelain-heads) is a secret police agent (listens to audio tapes in a basement) who often plays with her dog but at one point appears to chop his head off for no reason, although he doesn't die; ⇒in another scene the dog has sex with her, then at another point she seems to be shot dead in the street.⇐ It's likely done in computer animation but intentionally looks like stop-motion with models.
Boxballet (Anton Dyakov; Russia) 15 min.
Put aside disgust with Putin in Ukraine for a minute if you can to appreciate this odd-but-tender-story—done in an effectively-stylized-manner—of the lives of a super-thin-prima ballerina working for a demanding taskmaster, but she also seems under the control of a rich hoodlum, and a burly-boxer who seems to keep getting beaten up by an even-bulkier-opponent. One day her cat causes an injury to him which she treats with medicine and care, but her obligations to the hood keeps them apart ⇒until she comes to him, defeated in the ring; then they go off together to the countryside.⇐
Robin Robin (Dan Ojari, Mikey Please; UK) 31 min.
An egg falls out of a nest into a dumpster, but when it hatches the baby bird is raised by a family of mice so she joins them in sneaking into nearby (messy) houses where they steal a bit of food; on one such mission she gets separated from her family, ends up with a magpie but when they try to steal a Christmas tree star to make big wishes they face trouble from a cat, ⇒yet they escape, the family’s united, and Robin aids in a big food heist for a holiday dumpster dinner.⇐ This one you can watch on Netflix, but even as a Short it seems too-overly-long to me, despite being a charming tale.
The Windshield Wiper (Alberto Mielgo, Spain) 15 min.
A fragmented, surreal exploration based on the concept of “What is love?” asked by a man in a café at the start which leads to a lot of quick vignettes of everything as quiet as a couple alone on a beach to a woman committing suicide as she leaps from a tall building. Along the way some couples are connected, some aren’t, a man tries to catch women’s attention but fails, ⇒a couple next to each other in a supermarket check dating apps on their phones while ignoring each other, a text exchange superimposes on a satellite shot of Earth. Mystery man's answer at the end: “A closed society.”⇐
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Friday March 11, 2022
5:00 PM Kramer vs. Kramer (Robert Benton, 1979) Drama about a troubled wife/mother (Meryl Streep) needing to find herself, in conflict with a workaholic husband (Dustin Hoffman), so she leaves him to raise their young son (Justin Henry) by himself which he learns to do with help from a neighbor (Jane Alexander); Mom returns, sparking a fierce custody battle. Big Oscar winner: Best Picture, Director, Actor (Hoffman), Supporting Actress (Streep), noms for Henry and Alexander.
Saturday March 12 2022
1:30 PM Spartacus (Stanley Kubrick, 1960) Among other aspects, known for admitting blacklisted-screenwriter Dalton Trumbo wrote the script (helped end the blacklisting curse in Hollywood); epic fictionalization of a slave revolt in ancient Rome led by Spartacus (Kirk Douglas), could possibly be seen as inspiration for the heroic resistance fighters in today’s Ukraine . Also stars Laurence Olivier, Jean Simmons, Charles Laughton, Peter Ustinov, John Gavin, Tony Curtis. The group chant “I am Spartacus!” still stirs souls. Oscars for Best Supporting Actor (Ustinov), Cinematography, Costume Design, Art Direction (last 3 for color films); back then Universal Studios’ biggest money-maker ever.
Sunday March 13, 2022
3:00 PM Bonnie and Clyde (Arthur Penn, 1967) Great example of American film beyond the boundaries of the old Studio System with Depression Era-outlaws played by Warren Beatty and Faye Dunaway (Gene Hackman, Estelle Parsons, Michael J. Pollard also in the gang). Romanticized version of history as robbers are Robin Hood-antiheros in their day, represent anti-establishment values for ‘60s audiences; shocking bloody ending. Parsons won the Best Supporting Actress Oscar; the film also got another one for Best Cinematography. Excellent use of Flatt and Scruggs music.
Monday March 14, 2022
7:30 PM Mr. Smith Goes to Washington (Frank Capra, 1939) Likely seems hopelessly optimistic now yet still inspirational about lost causes being the only ones worth fighting for in a government rife with corruption; James Stewart’s an idealistic but naïve Senator, faces defeat from a political machine, gets inspiration from Jean Arthur, Thomas Mitchell. Won the Oscar for Best Writing, Original Story (Lewis R. Foster); Stewart deserved to win for Best Actor, got it for The Philadelphia Story (1940).
Tuesday March 15, 2022
7:15 PM Hamlet (Laurence Olivier, 1948) Exquisite yet slimmed-down version of Shakespeare’s masterpiece (no Rosencrantz, Guildenstern, or Fortinbras; still runs 155 min.—only Kenneth Branagh used the entire play [1996], his version running 242 min.), Oscar winner for Best Picture, Actor (Olivier), B&W Art Direction-Set Decoration, B&W Costume Design. “Something is rotten in the state of Denmark” for sure so what’s our conflicted prince going to do about it (you repeatedly ask)?
Wednesday March 16, 2022
8:45 PM Some Like It Hot (Billy Wilder, 1959) Marvelous; big hit then now ranked as one of the best, if not the actual top comedy of all time, with Jack Lemmon and Tony Curtis disguised as women in a nightclub band in Florida trying to escape gangsters after they witness the brutal St. Valentine’s Day massacre in Chicago; also stars Marilyn Monroe, George Raft, Pat O’Brien (Oscar for Best B&W Costume Design). Joe E. Brown’s final, unexpected line was terrific for its time, now it’s immortal.
Thursday March 17, 2022
1:15 AM Rashomon (Akira Kurosawa, 1950) One of the great masterpieces of world cinema, brought awareness of contemporary Japanese films to Western viewers; set in medieval times, it’s the story of testimony to a court told by a woodcutter and a priest to another man during a rainstorm about a bandit (captured), a wife (raped or willing?), her husband (now dead), with different versions of what happened, even from the dead man spoken through a medium. Before Oscars were given for Best International Film this gem won an Honorary Award for “most outstanding foreign language film.”
7:15 AM Through a Glass Darkly (Ingmar Bergman, 1961) Maybe not as well-known as other Bergman masterpieces but serves as the first of a discomforting trilogy about spiritual issues in human experiences, followed by Winter Light (1963) and The Silence (1963). 4 family members take a vacation after one's (Harriet Andersson) been released from an asylum, with her doctor husband (Max von Sydow) telling the others she’s incurable, her father (Gunnar Björnstrand) has his own traumas. Won the Oscar for Best Foreign Language Film, nominated for Best Original Screenplay.
If you’d like your own PDF of ratings/summaries of this week's reviews, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: In quick fashion, here are some extra items you might like: (1) The Batman tickets are a bit higher; will this be a norm for blockbuster movies?; (2) Sam Elliott upset with gay themes in The Power of the Dog; (3) Could CODA win Oscar's Best Picture for Apple TV+?; (4) International Feature Oscar: Drive My Car or The Worst Person in the World?. As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can always search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
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AND … at least until the Oscars for 2020’s releases have been awarded on Sunday, March 27, 2022 we’re also going to include reminders in each posting of very informative links where you can get updated tallies of which films have been nominated for and/or received various awards and which ones made various individual critic’s Top 10 lists. You may find the diversity among the various awards competitions and the various critics hard to reconcile at times—not to mention the often-significant-gap between critics’ choices and competitive-award-winners (which pales when they’re compared to the even-more-noticeable-gap between specific award winners and big box-office-grosses you might want to monitor here)—but as that less-than-enthusiastic-patron-of-the-arts, Plato, noted in The Symposium (385-380 BC)—roughly translated, depending on how accurate you wish the actual quote to be—“Beauty lies in the eyes of the beholder,” so your choices for success are as valid as any of these others, especially if you offer some rationale for your decisions (unlike any awards voters who blindly fill out ballots, sometimes—damn it!—for films they’ve never seen).
To save you a little time scrolling through the “various awards” list above, here are the
Oscar nominees for 2021 films.
Here’s more information about Drive My Car:
https://www.youtube.com/watch?v=-18rVXCD1f0 (21:34 interview with director Ryûsuke Hamaguchi)
https://www.rottentomatoes.com/m/drive_my_car
https://www.metacritic.com/movie/drive-my-car
Here’s more information about 2022 Oscar-nominated Short Films: Animation:
https://shorts.tv/theoscarshorts/
https://www.rottentomatoes.com/m/2022_oscar_nominated_shorts_animation (100%,
but based so far on just 8 reviews)
For Robin Robin:
https://www.rottentomatoes.com/m/robin_robin (100%, but based so far on just 5 reviews)
Please note that to Post a Comment below about our reviews you need to have either a Google account (which you can easily get at https://accounts.google.com/NewAccount if you need to sign up) or other sign-in identification from the pull-down menu below before you preview or post. You can also leave comments at our Facebook page, although you may have to somehow connect
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If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu/, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact, but maybe while there you’ll get a chance to meet Eagles co-founder Glenn Frey, RIP). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker (although, as you know, with bar songs there are plenty about people broken down by various tragic circumstances, with maybe the best of the bunch—calls itself “perfect”—being "You Never Even Called Me by My Name" written by Steve Goodman, sung by David Allen Coe). But wherever the rest of my body may be my heart’s always with my longtime-companion/lover/
wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest, a never-changing-reality even as the moon waxes/wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand" (19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this well). But, while I’m at it, I’ll also include another of my top favorites, from the night before at Desert Trip, the Rolling Stones’ "Gimme Shelter" (Wow!), a song “just a shot away” in my memory (along with my memory of their great drummer, Charlie Watts, RIP). To finish this cluster of all-time-great-songs I’d like to have played at my wake (as far away from now as possible) here’s one Dylan didn’t play at Desert Trip but it’s great, much beloved by me and Nina: "Visions of Johanna"
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