Catching Up With The Classics: Akira Kurosawa’s HIGH AND LOW (1963)

Since I took July off from babbling ‘bout film to work on a book project (and go on vacation with my wife in Virginia), I thought instead of writing about some big new movie at the multiplex, I’d jump back into the blogosphere with a post about a classic I just caught up with. A black and white Foreign one at that.

I’ve seen a bunch of the films of the late great Japanese filmmaker Akira Kurosawa (1910-1998) over the years, but somehow never got around to seeing his 1963 thriller of sorts HIGH AND LOW until now. 

A co-worker spoke of re-watching it recently and I made the mental note to put it in my Netflix queue. So glad that I did because it had me from the get go with Toshirô Mifune’s intense performance as an executive for a shoe manufacturing company trying to fight off his colleagues attempts to cut costs and quality in a starkly shot opening scene.

With 16 films under the director, Mifune was to Kurosawa what Humphrey Bogart was to John Huston, or Robert DeNiro to Martin Scorsese, but the duo are more known for their Samurai movies than their modern day dramas like this one that they made together between 1948-1965.

The Hitchcockian HIGH AND LOW (aka “Heaven and Hell”) can be broken down into 3 acts. The first is set mostly in the interior of Mifune’s luxurious mansion overlooking the city of Yokohama and concerns the tycoon dealing with the kidnapping of his chauffeur’s son. The kidnappers meant to abduct Mifune’s son, but the kids who were playing “Cowboys and Indians,” or more accurately “Sheriffs and Outlaws,” had switched outfits.

In long unbroken widescreen shots a stressed-out Mifune wrestles with whether or not to pay the huge ransom (30 million yen). Paying it would ruin him as he just mortgaged his house in order to gain more control of his company, but not paying could destroy his reputation and his business could suffer greatly.

The Chauffer (Yutaka Sada), and Mifune’s wife (Kyōko Kagawa) beg Mifune to pay the ransom, while a dapper police detective (Tatsuya Nakadai) suavely oversees the situation. Mifune gives in and arranges to make the exchange for the child. Turns out the kidnapper has cleverly planned to have Mifune throw the money in 2 suitcases out of the window of a moving train, with the boy being released near the next stop. “Damn clever” Nakadai says.

The train sequence, which heightens the tension of the movie greatly, begins the second act. The film’s police procedural p.o.v. intensifies with the investigation into the kidnapping leaving no stone unturned. The cop that the Dude in THE BIG LEBOWSKI asks about leads may have joked sarcastically about detectives working in shifts at the crime lab, but here the police are definitely putting in overtime studying films, photos, and even the kid’s crayon drawings to close this kidnapping case.

The third act consists of the kidnapper (Tsutomu Yamazaki) being identified by the police and getting caught in their trap involving a heroin deal. I recently read a rant by a filmmaker about how framing something or somebody dead center is boring, but Kurosawa’s cameras, manned by cinematographers Asakazu Nakai and Takao Saito, keep Yamazaki in the middle of many shots as he makes his way through the dark streets, and it’s never not visually interesting.

In one shot a mirrored wall in a crowded club is shown, seemingly at an angle, but as the camera pans across the room we see that the wall itself was slanted, and Yamazaki in a strikingly bright white collared shirt and shades again enters in the center. 1995's SIN CITY (Dirs. Frank Miller, Robert Rodriguez, and Quentin Tarantino) featured a nod to this imagery via Elijah Wood's psychopathic character, Kevin.

During this sequence, the policemen following him are demoted to supporting players in the shadows, with the antagonist eerily commanding all of our attention.

These scenes also show how Westernized Japan had become in the early ‘60s. The sight of drunk patrons dancing to surf guitar music blaring from a jukeboxes in noisy bistros isn’t that far removed from background fodder in a MGM Elvis movie from the same era.

HIGH AND LOW is a multi-layered story told straight with little in the way of artistic flourishes and it’s all the better for it. The non-flashy clarity of the screenplay by Kurosawa, Hideo Oguni, Ryûzô Kikushima, and Eijirô Hisaita (based on the 1959 novel “King’s Ransom” by Ed McBain) makes for a very satisfying watch.

As densely detailed as it is, HIGH AND LOW ultimately boils down to a concept as simple as its title. “The kidnapper is right,” says one of the investigators looking at Mifune’s mansion from the poverty stricken streets below.

“The house gets to you…as if it’s looking down on you.” This view is confirmed by Yamazaki meeting face to face with Mifune in the final scene.

“Why should you and I hate each other?” Mifune asks. “My room was so cold in winter, and so hot in summer I couldn’t sleep. Your house looked like heaven to me, high up there,” Yamazaki explains. “That’s how I began to hate you. That gave me a purpose in life. It’s interesting to make fortunate men unfortunate.”

Unsurprisingly, there has been talk of remaking this film. Scorsese, Mike Nichols, and Chris Rock (!) have expressed interest in taking it on, but if you haven’t seen it, don’t wait for that to happen. Folks with aversions to old black and white subtitled films should get over it and queue this one up (or purchase the fancy Criterion Collection edition). It’s another in a long line of classic Kurosawa keepers.

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Hey, I Finally Saw…ROUNDERS

Now, when I’ve added to this feature in the past it was usually because I caught up with a classic, like the original TRUE GRIT or ERASERHEAD. But this time out, I’m just catching up with a movie that I’d been meaning to see since it came out fifteen years ago, I just never got around to it.

So now, mainly because I noticed that it’s just about to expire on Netflix Instant, I finally watched John Dahl’s 1998 poker-driven crime drama ROUNDERS.

But hold on, maybe it’s more than just a movie I missed - the A.V. Club’s Scott Tobias wrote an entry for it in their New Cult Canon series back in 2008.



Tobias argues convincingly that ROUNDERS is an extremely influential film that “lit the fuse on a multi-billion-dollar industry.” He points to the plethora of online poker sites that have endless usernames and/or avatars referencing the film as proof of its huge popularity among players.

For my first time watching it though, it felt less like an iconic celebration of the underworld of high-stakes gambling, and more like a slightly better than average late ‘90s crime drama that effectively maximizes on the then budding stardom of Matt Damon and Edward Norton. Both were fresh faced 20-somethings at the time, who had both gotten acclaim and in the case of Damon an Academy Award (shared with Ben Affleck for the GOOD WILL HUNTING screenplay).

In ROUNDERS, which is defined by the Urban Dictionary as “a player who knows all the angles and earns his living at the poker table,” there’s a familiar dynamic at work as Damon is, in a role similar to his working class but brilliant minded character in GOOD WILL HUNTING, the good guy trying to go straight, and Norton is the bad influence who wants Damon to get back in the game.

Damon, whose voice-over narration is overly prominent, has good reasons for turning his back on the lifestyle – he lost his entire life savings of $30,000 to a ridiculously accented Russian gangster played by a very hammy John Malkovich, and he promised he wouldn’t go near a card game again to his girlfriend (Gretchen Mol), who he is now in law school with.

Still, you know that he won’t be able to resist the lure of the game. Otherwise they’d be no movie, right? The basic premise boils down to the slimy Norton, who is actually nicknamed “Worm,” being heavily in debt, and his old partner Damon dusting off his mad poker skills to help his friend. This makes for some great gaming scenes, particularly one with the duo trying to hoodwink a room full of hard ass New Jersey State Troopers.

The second hour of ROUNDERS which begins with the nagging Mol leaving Damon to his gambling devices, is consumed by these tense gaming scenarios yet despite its predictable plotting, it still pulled me in.

I wasn’t interested as much in Damon’s predicament of choosing the proper father figure - Martin Landau as a muddled but wise professor and John Turturro as a somewhat beat down old-time rounder have hazy scenes in which they somewhat compete for the part, I think - than I was into the bad friend who manipulates his good friend basics this film nails.

Fanke Janssen is on the sidelines as a possible new love interest for Damon, but the movie doesn't seem too interested in that. The poker-powered bromance is what gets the spotlight.

In retrospect, the film foreshadows the relationship between Norton and Brad Pitt in FIGHT CLUB, which would be on Norton’s roster after his turn in AMERICAN HISTORY X (the era was busy for the actor). But if you’ve seen FIGHT CLUB you know what that relationship turned out to be.

ROUNDERS’ had a palpable impact on waves of impressionable poker players, many of who are no longer lulling about casinos or sleazy backrooms, but now playing high or low stake games comfortably at home in thousands of rooms online. For all you cyber-gamers out there, here are some of the better rooms available if you want to try your hand at some virtual Texas Hold’em, so you can sample the game yourself that provides the bookend scenes in which Damon goes up against Malkovich.

It may overly glorify the rush that makes a talented player like Damon’s character unable to quit the game, but it captures that pure excitement (Damon even regrettably tells Mol that he felt alive for the first time in 9 months when he sat back down at the table) so well that ROUNDERS may be the ultimate double edged sword of gambling movies.

ROUNDERS, which I’m glad I finally saw, is available for one more day on Netflix Instant (it expires at the end of February 1st).

More later…

1996 Raleigh Rock Comedy "Bandwagon" Now Streaming On Netflix Instant

John Schultz's 1996 directorial debut BANDWAGON has never been released on DVD, but it's available now streaming on Netflix Instant.

This is great news as its a hilarious indie mostly locally shot, and features a strong soundtrack with songs by Greg Kendall.

The film focuses on a fictional band just starting out named Circus Monkey - an endearing quartet of indie underdogs played by Lee Holmes, Kevin Corrigan, Steve Parlavecchio, and Matthew Hennessey.

N.C. native Schultz (formerly the drummer for the Connells) enlisted his old band mate lead singer Doug MacMillan to play the band's zen-like manager Linus Tate.

Many area locations can be seen throughout the film including the Brewery, the Cat's Cradle in Carrboro, andthere's a climatic concert set at the Rialto Theatre.Holmes is the protagonist, an earnest withdrawn guitarist/songwriter who seems to use the name Ann in every song he writes - "So Long (Ann)", "Ann It Goes", and the incredibly catchy "It Couldn't Be Ann" among them.

Holmes meets drummer Hennessey who is working as a clerk at School Kids Records, and before you know it they soon recruit bassist Parlavecchio and lead guitarist Corrigan to join their band.

Corrigan is for sure the most recognizable actor in BANDWAGON as he's gone on to be in many films and television series including PINEAPPLE EXPRESS, Freaks And Geeks, Community, and UNSTOPPABLE.

The bulk of the film concerns the band taking to the road in a old beat-up van with manager MacMillan in tow.

Circus Monkey's scrappy misadventures involving a gun, bar brawls, and the object of Holmes' affection - Ann (Lisa Keller) keep the film rolling from beat to beat.

Despite some stiff acting, BANDWAGON is a thoroughly enjoyable musical comedy that is really nice to see again - I long ago lost my VHS copy of the film so I was thrilled to find out from a friend that it is available via Netflix Instant.

Indie comedy fans as well as rock fans of all kinds should eat it up too.

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Blu Ray/DVD Review: CATFISH

I missed this film, referred to by some as "the other Facebook movie", when it played in Raleigh last fall, but just caught it as it's out now on Blu ray, DVD, and available via Amazon Video On Demand. Netflix subscribers will have to wait until next week (February 1st) to rent it because of that damn studio delay deal.

CATFISH (Dirs. Henry Joost & Ariel Schulman, 2010)

There's a little bit of controversy about this film's validity, but the film makers who appear as themselves swear that it's all real.

On the surface it's a documentary about New York photographer Nev Schulman spending months messaging through texts, Facebook posts, and phone-calls a 19 year old girl he met online.

Nev's brother Ariel and friend Henry Joost film with tiny hand held cameras the odd, and frankly creepy, relationship which started with a 8 year old mailing a painting she did of a photograph of Nev's that was printed in the New York Sun.

Nev friends the young girl whose name is Abby on Facebook, then also adds her mother Angela, her father Vince, and sister Megan who all live in Michigan.

Megan, as evidenced by her many photos on her Facebook page, is a pretty blonde and Nev is quite taken with her, that is, until he finds out that an MP3 she sent him if her playing guitar and singing wasn't her - it was taken from a Youtube clip.

Other claims that Megan made don't stand up to much scrutiny so the troubled trio decide to fly to Michigan and confront the mysterious teenager and her family.

This is where the story description has to end because to go on would spoil the film's supposed big twist - the promotional tagline even says: "Don't let anyone tell you what it is."

It would even be a Spoiler! to tell you what the film's title means so I won't do that either.

It's more out of respect for potential viewers of this film than for the film itself that I won't give it away. CATFISH is fairly involving as it builds to the reveal, but it really doesn't amount to much once it gets there.

It doesn't have insights into what's really hidden behind a Facebook profile or what the addiction of connectivity is doing to society, it pretty much only has whining strivers thinking a pathetic situation deserves documentation.

In one of the key scenes the puzzled protagonists approach Megan's mother's house. Mark Motherbaugh's soundtrack music, mostly effective in other places in the film, gets maddening with the same ominous piano key note being hit over and over. It's an annoying scene that sums up the manipulative methods at play.

If CATFISH is 100% real then it's much ado about nothing; if it's scripted and pre-arranged then it's, well, kinda stupid. These guys aren't completely without compassion, but their film feels as about as cheap as it looks.

Special features: Only a 25 minute Q & A with the film makers.

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RESTREPO Now Out On Blu Ray, DVD, And Streaming On Netflix Instant

RESTREPO 

(Dirs. Tim Hetherington & Sebastian Junger, 2010)

You really feel like you're in the middle of combat in this intense war documentary by Sebastian Junger (author of the book "The Perfect Storm" and British photojournalist Tim Hetherington.

Opening titles tell us: "In May 2007, the men of second platoon, Battle Company, began a 15 month deployment in the Korengal Valley of Eastern Afghanistan." Hetherington and Junger spent a year filming the troop as they build an outpost in the valley which was dubbed "the deadliest place on the planet" by CNN.

One of the first casualties shortly after deployment was a well liked medic - Private First Class Juan "Doc" Restrepo. Once venturing into the treacherous terrain ("where the road ends is where the Taliban begins" says one soldier) they establish a fire base and named it Restrepo in tribute to their fallen friend.

The men constantly get fired upon by insurgents in the hills which we never see, but that's completely understandable under such dangerous circumstances. It's amazing enough what we do see particularly one scene in which a cameraman captures from inside a army humvee when it runs over an IED and explodes.

In another harrowing sequence following the Company into what's called "Operation Rock Avalanche" we see a soldier emotionally break down after another death. Addressing his men, Capt. Dan Kearney tells them "to mourn then get over it and get back to work."

Interviews conducted later with principle platoon members help the narrative thrust, most in extreme close-up, and are full of painful memories yet a stirring proud-ness still remains. Much of the footage is grainy and shaky (the sunlit scenes fare the best aesthetically of course) but this obviously could never be a polished portrait - the reality of its penetrating rawness is precisely the point.

Like many other recent war documentaries RESTREPO will likely be ignored by the populace. Most folks like to look away from such harsh and devastating non-fiction. However those who pony up to watch it will find it impossible to ignore.

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