Also just got back from seeing Haywire, one of those agents betrayed by the big guys movie. Director Steven Soderberg is no Paul Greengrass, but he gets the motor running and does some nice things here and there. The story is a bit untidy and no one can get any serious emotional resonance going among the characters. But the real reason to see the movie is Gina Carano who seems to be as much at ease in acting as she is with martial arts. She may actually put Diana Rigg’s Emma Peel a bit to shame.
Just got back from Norwegian Wood, a Japanese film about a young man whose best friend commits suicide and then becomes involved with the friend’s girlfriend, who has emotional problems. At first the staid, understated, Ozu like approach to the subject matter was quite interesting and its often beautiful to look like. But then it becomes tedious what with an odd approach to the sexual dysfunctions of the characters and what is probably an error on the part of the screenplay in which they wait to long to let the audience know what is wrong with the girlfriend.
Most analyzers of the Oscar season don’t seem to get it. But I think this article does.
Just finished watching Hud, with Paul Newman, Melvyn Douglas, Patricia Neal and Brandon De Wilde, a movie that for some reason I have never managed to see before now. Beautiful cinematography by James Wong Howe and the acting is first rate, but did anyone buy, even then, Hud as a symbol of the degeneracy of America? Really?
A Deadline Hollywood article about producers who have started making a mark on the industry.
Saw Yasijuro Ozu’s Equinox Flower for the second time, a story about parents and their conflicts with their children over the changing mores of how one chooses a mate. I don’t know how Ozu does it. The drama is minimal; the acting understated; the pacing leisurely; everything is tightly controlled. Yet his movies are riveting and deeply moving.