alsolikelife
Entrou em mar. de 2001
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Selos6
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Avaliações33
Classificação de alsolikelife
A chronicle of a city schoolteacher who sojourns in the southern countryside, this film amply demonstrates an early populist streak in Hou's work, marked especially by his remarkable handling of child actors and themes (to think that 1982 was the year when Hou and Steven "E.T." Spielberg were most aligned in their sensibilities). There's an incredibly Farrellian sequence devoted to how the kids handle their teacher's request to produce their own stool samples for tapeworm inspection, and a musical number about drinking cola that comes out of nowhere (right before the hero gets his *** kicked while attempting to stop a poacher from fishing illegally). Despite the wacky sequence of events, Hou's understanding of social milieu is already pronounced.
Not only are no two Ozu movies the same, but each marks a notable
development along the continuum of one of the most formidable artistic visions in film. This mid-career masterpiece is no exception -- its unique qualities lie partly in its assiduous exploration of interior space in an ingenious opening sequence, beautifully capturing the rhythms and choreography of a family
household as they go about their morning routine. It's no wonder that this is the favorite Ozu movie of formalist film scholar than David Bordwell -- Ozu frames and re-frames his compositions, reinventing spaces with each cut and shot,
turning an ordinary house into a cinematic funhouse -- only PLAYTIME, IVAN
THE TERRIBLE and LAST YEAR IN MARIENBAD have offered similar wonders
as far as I'm concerned. Neither is this style for style's sake: as we follow the story of how this family is pressured by social convention to marry off their daughter, the inevitable disintegration of this family makes the synchronicity and synergy of that marvelous opening sequence all the more poignant. In between, there is a rich variety of interactions between three generations of families and friends as they meet their fates, individually and collectively, one exquisite, fleeting moment at a time.
development along the continuum of one of the most formidable artistic visions in film. This mid-career masterpiece is no exception -- its unique qualities lie partly in its assiduous exploration of interior space in an ingenious opening sequence, beautifully capturing the rhythms and choreography of a family
household as they go about their morning routine. It's no wonder that this is the favorite Ozu movie of formalist film scholar than David Bordwell -- Ozu frames and re-frames his compositions, reinventing spaces with each cut and shot,
turning an ordinary house into a cinematic funhouse -- only PLAYTIME, IVAN
THE TERRIBLE and LAST YEAR IN MARIENBAD have offered similar wonders
as far as I'm concerned. Neither is this style for style's sake: as we follow the story of how this family is pressured by social convention to marry off their daughter, the inevitable disintegration of this family makes the synchronicity and synergy of that marvelous opening sequence all the more poignant. In between, there is a rich variety of interactions between three generations of families and friends as they meet their fates, individually and collectively, one exquisite, fleeting moment at a time.