Takeshi Sakamato makes the first of many appearances as Kihachi in Yasujirō Ozu’s PASSING FANCY
PASSING FANCY (DEKIGOKORO) (出来ごころ) (Yasujirō Ozu, 1933)
Film Forum
209 West Houston St.
Sunday, March 19, $20, 4:30
212-727-8110
filmforum.org
Yasujirō Ozu might not have been keen on the latest technology — he made silent films until 1936, and his first color film was in 1958, near the end of his career — but there’s nothing old-fashioned about his mastery of camera and storytelling, as evidenced by one of his lesser-known comedy-dramas, Passing Fancy. On March 19 at 4:30, Film Forum is screening a 35mm print of the 1933 masterpiece, accompanied by a live benshi performance by Ichiro Kataoka and composer and pianist Makia Matsumura. Takeshi Sakamato stars as Kihachi, a character that would go on to appear in such other Ozu works as A Story of Floating Weeds, An Inn in Tokyo, and Record of a Tenement Gentleman. The film opens at a rōkyoku performance, where the audience is sitting on the floor on a hot day, mopping their brows and fanning themselves; Kihachi has an ever-present cloth on his head, looking clownish, a small boy with an injured eye who turns out to be his son, Tomio (Tokkankozo), sleeping by him. Foreshadowing Bresson-ian precision, Ozu and cinematographers Hideo Shigehara and Shojiro Sugimoto follow a small, lost change purse as several men inspect it, hoping to find money in it, then toss it away when it comes up empty. The scene establishes the pace and tone of the film, identifies Kihachi as the protagonist, and shows that there will be limited translated text and dialogue; in fact, Ozu never reveals what happened to Tomio’s eye. After the performance, Kihachi and his friend and coworker at the local brewery, Jiro (Den Obinata), meet a destitute young woman named Harue (Nobuko Fushimi). An intertitle explains, “Everyone years for love. Love sets our thoughts in flight.” Kihachi, a poor, single father, helps Harue get a place to stay and a job with restaurant owner Otome (Chouko Iida), hoping that Harue will become interested in him, but she instead takes a liking to the younger Jiro, who wants nothing to do with the whole situation, believing that Harue is using them.
The relationship between father (Takeshi Sakamato) and son (Tokkankozo) is at the heart of (PASSING FANCY
Ozu follows them all through their daily trials and tribulations — with hysterical comic bits, including how Tomio wakes up Kihachi and Jiro to make sure they’re not late for work — but things take a serious turn when the boy becomes seriously ill and Kihachi cannot afford to pay for the care he requires. Winner of the 1934 Japanese Kinema Junpo Award for Best Film — Ozu also won in 1933 for I Was Born, But . . . and 1935 for A Story of Floating Weeds — Passing Fancy is filled with gorgeous touches, as Ozu reveals the stark poverty in prewar Japan, focuses on class difference and illiteracy, and displays tender family relationships, all built around Kihachi’s impossible, very funny courtship of Harue and his bonding with Tomio, since love trumps all. And yes, that man on the boat is Chishū Ryū, who appeared in all but two of Ozu’s fifty-four films. For the special Film Forum screening, Kataoka will provide narration in Japanese; the event is sold out, but a standby line will start at 4:00 for this very rare and special experience.
“This isn’t how it was supposed to turn out,” Ryota Shinoda (Hiroshi Abe) says in Hirokazu Kore-eda’s latest masterful family drama and most personal yet, After the Storm. With the twenty-third typhoon of the year on its way, struggling writer Ryota decides to visit his mother, Yoshiko (Kilin Kiki), at the Asahigaoka Housing Complex in Kiyose, Tokyo (where Kore-eda lived for nearly twenty years, until he was twenty-eight). The broke Ryota is hoping to find some hidden treasures left behind by his father, who has recently passed away, to get him out of the financial hole he has dug for himself through a gambling addiction. His ex-wife, Kyoko (Yoko Maki), is threatening to take away his visitation rights with their young son, Shingo (Taiyo Yoshizawa), unless Ryota pays his back child support. To make some quick cash, Ryota has taken a job with a detective agency, where he is not exactly ethical; he claims he took the job as research for his next novel, but he even spies on Kyoko, who has a new boyfriend. As the storm approaches, the characters try to reconnect, and disconnect, forced to face what their lives have become. Written, directed, and edited by Kore-eda, After the Storm is a gentle, eloquent tale, where the smallest of gestures and details are packed with emotional resonance, from Yoshiko attending a class on Beethoven to Ryota purposely scuffing cleats he is buying for Shingo in order to get a discount, from Ryota and Yoshiko trying to eat frozen-solid ices to Ryota finding out something new about his father from a local pawnbroker (Isao Hashizume).
A surprise going-away party turns into a nightmare in Matt Reeves’s highly anticipated Cloverfield. Michael Stahl-David stars as Rob, a young man who has accepted a promotion that will send him to Japan. Although he is in love with his best friend, Beth (Odette Yustman), he is unable to tell her. But everything changes when the ground starts to shake, buildings begin to collapse, and people are on the run, attempting to escape from an enormous monster on the loose in post-9/11 Manhattan. And when Rob discovers that Beth, who had left the party early, might still be alive, he decides to risk his life and head uptown to save her. He is joined on the dangerous journey by his brother, Jason (Mike Vogel); Jason’s girlfriend, Lily (Jessica Lucas); Lily’s friend Marlena (Lizzy Caplan); and Hud (T. J. Miller), who serves as the comic relief. The entire film is seen through the lens of a video camera that Hud was entrusted with at the party, giving the film the feel of The Blair Witch Project, mixed with such Gotham horror stories as King Kong, The Day After Tomorrow, and the ridiculous 1998 Godzilla remake. Cloverfield, which has an ever-widening back story growing online (similar to that of Lost, which is also the creation of J. J. Abrams), doesn’t try to be anything more than it is — a monster movie set in New York City. The creature is kept hidden for most of the film, which doesn’t make any grand statements about science, humanity, or, really, anything except true love — and brutal death. And yes, there is a secret message hidden in the brief sound clip at the end of the credits. Cloverfield, which was followed by the conceptual sequel 10 Cloverfield Lane, is screening on March 17 and 18 in the Nitehawk Cinema “Midnite Screenings” and “Large and in Charge” series; the latter continues weekends in March with Pacific Rim and the 1958 and 1988 versions of The Blob.
The brilliant mind of Spike Jonze dazzles again with the spectacularly original romance her. In the very near future, geeky nerd Theodore Twombly (a radiant Joaquin Phoenix) makes his living writing personally commissioned letters for Handwritten Greeting Cards, developing relationships with the people he writes for, considering them family. Meanwhile, he and his wife, Catherine (Rooney Mara), are divorcing, although he is hesitant to sign the final papers. His life takes an unexpected turn when he buys the world’s first AI operating system and slowly falls in love with her during an extremely romantic twenty-first-century-style courtship. The talking OS (the sexy, gravelly voice of Scarlett Johansson), who names herself Samantha, wants to experience the world, so she and Theodore go everywhere together, including on a double date that is pure genius. When he shares his news with his best friend, Amy (Amy Adams), she doesn’t act the slightest bit concerned for his sanity, instead showing true happiness for his blossoming relationship. But as his and Samantha’s love grows, so does their need for something more from each other, which doesn’t always work out as planned.
